IntroductionWelcome to One-on-One| 00:03 | Hi! I am Deke McClelland.
| | 00:05 | Hello and welcome to Photoshop CS5
Extended One-on-One 3D Scenes, the third
| | 00:12 | installment in my four-part
series on 3D and Photoshop.
| | 00:16 | In this course, we'll look at 3D scenes,
which are the be-all and end-all of 3D
| | 00:21 | artwork in Photoshop Extended.
| | 00:23 | As you know, if you've watched the
previous courses, Photoshop requires you to
| | 00:27 | combine 3D objects into scenes to get
them to interact with each other, and you
| | 00:32 | can build these scenes from whole
cloth, using very basic shape tools.
| | 00:37 | From these rudimentary beginnings any
layer can turn into anything, including
| | 00:41 | metal, plastic and even glass.
| | 00:44 | The appearance of a scene is determined
by light reflecting off objects which is
| | 00:48 | why I spend some quality time.
| | 00:50 | Two chapters in all, showing you how to
light your scenes as well as specify how
| | 00:55 | individual objects cast shadows.
| | 00:57 | Next I'll tour you through all
aspects of the camera which to find your
| | 01:02 | view into the 3D world, and then we
return to the most basic building block
| | 01:07 | of 3D art, the mesh.
| | 01:09 | In the final chapter, we examined the
rendering engine itself, which lets you
| | 01:13 | outline your objects as line art and
even output an image as a stereoscopic work
| | 01:18 | of tangible reach out and touch at 3D art.
| | 01:22 | Meanwhile as always, you will need
Photoshop CS5 Extended not the standard
| | 01:27 | version of the program to
follow along with this course.
| | 01:30 | Now let's step into 3D
Scenes in Photoshop CS5 Extended.
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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
| | 00:03 | default image editor.
| | 00:04 | So you can double-click on an image
file at the desktop level and have it open
| | 00:08 | by default inside Photoshop.
| | 00:10 | Now this specific movie is
designed for you Windows users.
| | 00:13 | I am working on a PC right now, if you
are a Macintosh user, skip to the next
| | 00:17 | movie instead, where I show you how
to do the exact same thing on a 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, and you can
see we have got three files all of which
| | 00:32 | seem to be called welcome.
| | 00:33 | 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 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 then, inside, the Folder Options
| | 00:55 | dialog box click on the View tab and then,
drop down here to the check box, hide
| | 01:00 | extensions for known file types and
turn it off, so that you can see the
| | 01:03 | extensions and now click the OK button
and you will see the extensions after
| | 01:07 | every one of these file names.
| | 01:09 | Now it's time to make Photoshop our
default imaging application and we have to
| | 01:13 | repeat the process I am about to show
you for each one of these file types, for
| | 01:17 | JPEG files, TIF files and PSD files.
| | 01:20 | So I am going to go with the JPEG file first.
| | 01:22 | Right-click on it and then, choose
Open with, now you could choose Adobe
| | 01:26 | Photoshop CS5 at this point, but if
you do that you'll open the JPEG image
| | 01:31 | inside of Photoshop this
time and this time only.
| | 01:33 | Instead what you want to do is
Choose default program, then, inside the
| | 01:37 | ensuing dialog box hopefully, you'll
see Photoshop at the top here, if so just
| | 01:41 | 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
that at the top of the list.
| | 01:57 | So I'll go ahead and click on it, then
make sure, this check box Always use the
| | 02:01 | selected program to open this kind of
file is turned on and click OK, and that
| | 02:06 | will go ahead and automatically open
the image inside of Photoshop then, I'll
| | 02:10 | press Control+Plus to zoom in on the image.
| | 02:12 | All right, lets go ahead and
replay that stuff for the TIF image.
| | 02:15 | I'll minimize Photoshop, right-click
on Welcome.tif and you can do this, by
| | 02:19 | the way, with any JPEG image, any TIFimage,
any PSD image, you don't have to use mine;
| | 02:24 | choose Open with go down here, to
Choose default program and then, locate
| | 02:28 | Photoshop and list, make sure, the
check box is turned on click OK, same thing
| | 02:32 | happens again, you'll go ahead you'll
go ahead and zoom in on the image if you
| | 02:35 | want to, to see it up close and personal.
| | 02:37 | All right, so now its time to repeat
that step for the PSD file, I am going to
| | 02:40 | go ahead and minimize Photoshop once
again, right-click on Welcome.psd choose
| | 02:45 | Open with, Choose default program,
find Adobe Photoshop CS5 inside the dialog
| | 02:50 | box, make sure, the check
box is turned on and click OK.
| | 02:53 | Now this time we're going to
receive a special error message inside a
| | 02:56 | Photoshop and here, it is, it's
telling us that some of the text layers
| | 03:00 | 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, and you'll, notice
| | 03:11 | if you zoom in on this file, that even
though here in the Layers panel, we have
| | 03:15 | got three layers in all that have
little warning icons next to them and that's
| | 03:19 | telling us the fonts are missing even so,
all of the 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
| | 03:31 | hunky-dory, because you're seeing a
pixel equivalent of that type is well.
| | 03:35 | The final thing I want to mention
is that this is a four-part series.
| | 03:40 | We've got part one Fundamentals,
part two Objects, part three Scenes and
| | 03:43 | part four Type Effects;
| | 03:45 | I just want you to be aware of that.
| | 03:47 | In the next movie, I am going to show
you Macintosh people, if you're still with
| | 03:51 | 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'll show you how to install
my custom Deke keys 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
| | 00:08 | file, 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 were premium members or
| | 00:23 | have access to the DVD.
| | 00:25 | And you'll notice, if you have this
folder, that I've got three files, all of
| | 00:29 | which are called Welcome.
| | 00:30 | There is 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 at the Mac,
go to the Finder menu and choose the
| | 00:41 | Preferences command, then go ahead
and click on this little gear icon that
| | 00:45 | takes you to the Advanced panel and turn on
this check box Show all file name extensions.
| | 00:51 | You might also, if you work the way I
do, you might want to turn off, Show
| | 00:54 | 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;
| | 01:01 | but that's entirely up to you, it
has nothing to do with his course.
| | 01:04 | Then when your done, go ahead and click
close box in order to close the dialog
| | 01:08 | box and save your changes,
and you should now see the extension.
| | 01:12 | So here's the big problem and this must
be our most common tech-support question
| | 01:15 | where Photoshop is concerned.
| | 01:17 | Somebody wants to just double-
click on one of these files.
| | 01:20 | For example, I'll double-click on
Welcome.jpg and it opens up inside, my case,
| | 01:25 | 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, go
up to the Preview menu and choose Quit
| | 01:43 | Preview, to get out of that program,
then we are going to have to perform this
| | 01:47 | step incidentally on each of these three files;
| | 01:50 | right-click on Welcome.jpg or any JPG
file you have lying around it, it doesn't
| | 01:55 | matter, and then choose the Get Info
command, or you can press Command+I, the
| | 02:00 | Command key being that key that has
that has little clover leaf/propeller on it.
| | 02:05 | All right, I am going to choose the
Get Info command, it brings up this file
| | 02:07 | info strip, and make sure, you can
see the contents of this Open with area.
| | 02:12 | If Open with is collapsed like so then,
you need to click on the little twirly
| | 02:16 | triangle to twirl it open.
| | 02:18 | Then go ahead and click on whatever the
name of the wrong application is there
| | 02:23 | and choose Adobe
Photoshop CS5.app from the list.
| | 02:27 | Now if you don't see Photoshop CS5 in
this list, you are going to have to choose
| | 02:31 | other and then locate
Photoshop on your hard drive.
| | 02:33 | In any case, I am going to go ahead and
choose the application, because there it
| | 02:36 | is, and then you click on the Change All
button, to make sure all JPG files open
| | 02:42 | inside Photoshop for all time;
| | 02:44 | and when you do, you'll get this
alert message fine click Continue, and
| | 02:48 | you're done and then, you can close
out of Get Info and if you want just to
| | 02:52 | make sure it works, you can
double-click on that JPG file in order to open it
| | 02:56 | up inside Photoshop and I'm going to
go ahead and press Command+Plus in
| | 02:59 | 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 | we'll press Command+Option+H, and then
I'll drop down to the Welcome.tif file,
| | 03:14 | right-click on it, choose Get Info,
and do that exact same thing again.
| | 03:18 | Here inside the Open with area,
click on Preview.app, in my case, choose
| | 03:22 | Adobe Photoshop CS5.app, instead,
click on a Change All button and then,
| | 03:27 | click Continue, you can open the file if you
want to, don't really need to at this point.
| | 03:30 | I am going to click the close box and
then, run that step one last time for
| | 03:34 | Welcome.psd, right-click on it, choose
Get Info, inside the file info strip.
| | 03:39 | Go ahead and click on the name of
the wrong application choose Adobe
| | 03:42 | Photoshop CS5.app 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.
| | 03:55 | And once, it opens inside a Photoshop,
notice the program tells you, hey, wait
| | 03:58 | a sec, there's text layers inside this
file for which I don't have the right fonts.
| | 04:02 | In other words, I use fonts that
are not available on your system.
| | 04:05 | That's not a problem.
| | 04:07 | You go ahead and click OK, zoom in on
the image if you want to, and notice,
| | 04:11 | here, in the Layers panel, there's all
kinds of text layers that have little
| | 04:14 | warning next to them, little caution
icons, and that's telling me every single
| | 04:18 | one of my text layers in this case,
doesn't have an equivalent font here on this
| | 04:22 | particular system, 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 along with a file.
| | 04:38 | All right, one other thing I want to
show you is that we're seeing things
| | 04:41 | different on the Mac than we do on a PC,
most of my movies will be recorded on the PC.
| | 04:46 | 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
| | 05:00 | this thing called the Application
Frame that runs by default on the PC;
| | 05:04 | 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 a Photoshop and covers up all the
| | 05:18 | background applications.
| | 05:19 | If you don't like that, which most
Macintosh people don't, I should say, you go
| | 05:24 | up to the Window menu and you turn
Application Frame off, and that's it, just
| | 05:28 | want you to know there's one more thing,
this series, Photoshop CS5 Extended
| | 05:32 | one-on-one 3D is divided into four parts.
| | 05:35 | There's Part 1 Fundamentals, Part 2 Objects,
Part 3 Scenes, and finally, Part 4, Type Effects.
| | 05:42 | So that's how you establish
Photoshop as your default image editor.
| | 05:45 | In the next, movie, I'll show you
both Macintosh and Windows people how to
| | 05:49 | install my custom DekeKeys keyboard shortcuts.
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| Installing the dekeKeys keyboard shortcuts| 00:00 | In this movie, I am going to show
you have to install my custom deke keys
| | 00:03 | keyboard shortcuts and these are the
exact same steps that you take when you're
| | 00:06 | working on the Mac or the PC.
| | 00:08 | Now I should start 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 you
| | 00:16 | do not need to reinstall deke keys.
| | 00:19 | These are the exact same deke
keys included with those movies;
| | 00:21 | I include them here just for those of you
who have not installed them in the past.
| | 00:25 | Inside the 00_setup folder, you are
going to find a subfolder called dekeKeys
| | 00:30 | PsCS5 1 on 1, go ahead and open it up
and then, at the bottom of the list you'll
| | 00:34 | see dekeKeys PsCS5 1 on 1.kys, you want
that .kys file, whether you are working
| | 00:40 | on the Mac or the PC right-click on it
and then, choose Open with and be sure to
| | 00:46 | choose Photoshop CS5.
| | 00:48 | Here, is the problem Premier and
Premier Pro both also, recognize the .kys
| | 00:53 | file format, and so does Photoshop elements,
and so you don't want to open up the wrong program.
| | 00:58 | Anyway make sure, to choose Adobe
Photoshop CS5 and that will go ahead and
| | 01:01 | launch the program if it's not already
running, it will 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.
| | 01:13 | Even though Photoshop isn't giving you
any indication that any things happened
| | 01:16 | here is what you do.
| | 01:18 | You go up to the Edit menu and you
choose a Keyboard Shortcuts command, or you
| | 01:21 | press Ctrl+Shift+Alt+K,
Command+Shift+Option+K on a 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, that's
| | 01:36 | what everybody does.
| | 01:37 | It's just the operating systems that
decide to show them to you backwards.
| | 01:41 | Anyway, I'm going to go ahead and
choose the command and you'll notice that
| | 01:45 | the set now, reads Photoshop defaults in my
case, it may say, something different for you.
| | 01:49 | But you'll see the word modified in
parenthesis that shows you that your
| | 01:53 | keyboard shortcuts just got changed.
| | 01:55 | To confirm the they changed in the
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
| | 02:04 | Place command, it should have a
keyboard shortcut now, of Ctrl+Shift+Al+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 are
safe, and you do that by clicking on this
| | 02:18 | little floppy disk icon and then, go
ahead and name the file and I'm going to
| | 02:22 | call mine dekeKeys PsCS5 1 on 1 like
so, and then click the Save button.
| | 02:28 | And now, you'll see that name up here,
and set, you're done, you can click OK,
| | 02:33 | in order to accept your modifications.
| | 02:35 | Now one of the thing I want to
mention I'm 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, but you can
| | 02:44 | open inside your favorite browser
once for Windows and once for Mac.
| | 02:49 | So I have listed the Macintosh and
Windows keyboard shortcuts independently.
| | 02:52 | I'll double-click on the Windows file,
because after all I'm working on a PC.
| | 02:56 | Notice that I've listed all of
Photoshop shortcuts, Photoshop's default
| | 02:59 | shortcuts in black, in all of my revised
shortcuts in red and if you scroll down
| | 03:04 | the list, you'll see that place
has 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
keyboard shortcuts of Ctrl+L, Command+L on a
| | 03:19 | Mac, Ctrl+M. for curves or Command+M on a Mac.
| | 03:23 | Those who apply static adjustments, well
static adjustments aren't going to come
| | 03:26 | in too handy when you're working
with 3D layers inside of Photoshop.
| | 03:30 | We're going to 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
a Mac gives you a level adjustment;
| | 03:41 | Ctrl+Shift+M on a mac, gives
you a curves layer and so forth.
| | 03:46 | All right, so that's how you go about
installing my custom deke keys keyboard
| | 03:50 | shortcuts inside Photoshop.
| | 03:52 | For those of you who are working on a
mac, you have one more step, you need to
| | 03:56 | go ahead and change your operating
system level shortcuts, and I'll show you how
| | 04:00 | to do that in the very next movie,
its only for Macintosh people.
| | 04:03 | If you're working on Windows, you don't
have this problem than 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 deke
| | 00:04 | keyboard shortcuts in the Photoshop.
| | 00:06 | However, if you're working on a Mac, you
need to change some of Apple's OS level
| | 00:10 | keyboard shortcuts, not to avoid
conflict with my custom keyboard shortcuts, but
| | 00:14 | rather to avoid conflict with
Photoshop's native shortcuts.
| | 00:18 | We are going to be taking advantage of those
shortcuts an awful lot inside this 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
| | 00:28 | 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 check box 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 | check box that one that says, use all F1,
F2, etc., keys, the standard function
| | 00:48 | keys, that way they won't turn the
volume up and down and change the brightness
| | 00:52 | of your monitor and all that jazz.
| | 00:54 | You can still get to those features
however by pressing the FN key but it's in
| | 00:58 | the bottom left corner of American
keyboards while pressing a function key.
| | 01:02 | And notice, if you're missing this
check box it's because you're using a
| | 01:06 | keyboard, that doesn't have
function keys, just note that.
| | 01:09 | All right, next switch over to keyboard
shortcuts and I'm working I should tell
| | 01:13 | you inside of Snow Leopard that OS
X10 .6, which is little different than
| | 01:18 | previous operating system.
| | 01:19 | I just want you to know that, we'll
start off here, at Dashboard & Dock and we
| | 01:24 | are going to change this first
keyboard shortcut by clicking on it and then,
| | 01:27 | clicking on it again, and that goes
ahead and highlights the shortcut then, I
| | 01:31 | want you to press Ctrl+D, that is the
Ctrl key in the bottom left corner of your
| | 01:36 | 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.
| | 01:48 | If you don't want Expose I am not the
biggest fan of it these days, you can just
| | 01:52 | turn it off, just to get
rid of that functionality.
| | 01:55 | However, if you want to leave it
on that's fine, if you use it great.
| | 01:58 | Do go ahead and change the shortcuts however.
| | 02:00 | What I recommend for each one of these
is to stick with the default keyboard
| | 02:03 | shortcut almost, we'll just add control.
| | 02:06 | So Ctrl+F9 for the first one, for
application windows we'll change that to
| | 02:11 | Ctrl+F10 and for desktop,
we'll change that one to Ctrl+F11.
| | 02:15 | All right, next you can go ahead and
drop all the way down the Spotlight and
| | 02:18 | note that of all the keyboard shortcuts,
these are the ones that are the most
| | 02:21 | important to change, because Spotlight
uses the same shortcuts that Adobe uses
| | 02:26 | for zooming in and out inside of Photoshop.
| | 02:28 | So I'll go ahead and change Show
Spotlight search field from Command+Space to
| | 02:33 | Command+Ctrl+F1 so a totally different shortcut.
| | 02:36 | Again, you can choose something
different if you like, but you got to get
| | 02:39 | away from that spacebar.
| | 02:40 | Then go ahead and click on the second
item right there and I am going to change
| | 02:44 | it to Command+Ctrl+Option+F1, like so.
| | 02:47 | All right, having done that now I am
going to drop down to Universal Access and
| | 02:51 | there's not really any reason to turn
the zoom on or off so you can go ahead and
| | 02:54 | turn off that check box if you want to.
| | 02:56 | I really love these zoom out and zoom in
functions I think they rock, as a light
| | 03:00 | is zoomed in on your screen display and
makes work larger, if you can't see an
| | 03:04 | interface item or something like that,
but these keyboard shortcuts once, again
| | 03:08 | step all over Photoshop.
| | 03:10 | So here's the changes I am going to make.
| | 03:11 | I am going to click on the Zoom out
shortcut and I'm going to change it to
| | 03:15 | Command+Control+Option+Minus and
then, I'm going to click on the Zoom in
| | 03:19 | shortcut and change it to Command+Ctrl+
Option+Plus and it's going to show
| | 03:24 | up as equals, because it's really the equals
key, but we're thinking plus as we're using it.
| | 03:29 | All right, presumably after that you are
going to want to turn off Reverse black
| | 03:32 | and white and turn off voiceover.
| | 03:34 | Those are both items for hard of
seeing people, if you're hard to seeing on
| | 03:37 | yourself, perhaps you want to leave
them turned on, but Photoshop, doesn't
| | 03:40 | really lend itself to heart of seeing folks.
| | 03:43 | So my guess is you want to turn
both of them off, and that is it.
| | 03:46 | Now at this point, you can go ahead
and close out of System Preferences by
| | 03:49 | clicking on the close button and you
are now, ready to use all the keyboard
| | 03:53 | shortcuts inside a Photoshop both the
native ones and the ones I gave you,
| | 03:57 | without any interference
from your operating system.
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| Establishing the best color settings| 00:00 | In this movie, I am 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 have recommended in my
| | 00:10 | previous one-on-one courses.
| | 00:11 | So once again, if you have done it 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, where
| | 00:18 | you can press Ctrl+Shift+K, Command+Shif+K on
the Mac in order to bring up this dialog box.
| | 00:24 | The first change we are 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.
| | 00:36 | We are going to get much better results,
wider color gamut, if we switch from
| | 00:40 | sRGB to Adobe RGB, like so.
| | 00:43 | CMYK is between you and
your commercial print house.
| | 00:46 | So if you work with Prepress group then,
go ahead and contact them and find out
| | 00:51 | what CMYK settings you should be using.
| | 00:53 | Next go over to the More options button
and click on it and there's 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 is going to add a little
| | 01:06 | bit of noise it's going to rough up
the colors in order to basically, achieve
| | 01:11 | closer color equivalence, however, that
also, means if you specifically decided
| | 01:15 | an area of color needed to be one flat
color, one solid color and in my opinion
| | 01:20 | 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 Colormetric 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
| | 01:38 | better job of preserving gradual
transitions between colors and we are going to
| | 01:43 | have a 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
| | 01:51 | I recommend that you call this file,
and, by the way, you want to save it
| | 01:54 | exactly, where Photoshop sends you,
don't go to a different folder.
| | 01:57 | I would like to call this file Best
Workflow CS5, it will work across all the
| | 02:03 | CS5 applications, including
Illustrator and InDesign and so forth then, click
| | 02:07 | the Save button and you'll get this
description field right here, you can type
| | 02:12 | in your own description if you want to.
| | 02:13 | If you want to add my description, I
have already created one in advance, then,
| | 02:17 | 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, you can press Ctrl+C,
Command+C on the Mac then, go back to
| | 02:30 | Photoshop and just press Ctrl+V or
Command+V on a Mac, in order to paste, click
| | 02:35 | 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
| | 02:49 | would go ahead and load this Best
Workflow CS5 file, inside the Bridge using the
| | 02:53 | Bridge's color settings command.
| | 02:55 | In any case I am just going to leave
it at Photoshop here, I'll click OK, and
| | 03:00 | we have now applied what I believe to be the
best color settings for working inside Photoshop.
| | 03:04 | Now if this in anyway
shape or form messes you up.
| | 03:08 | If you end up getting colors that you
don't like, if all your images start
| | 03:12 | looking different, if your images start
printing different there's a very slight
| | 03:16 | chance that kind of stuff is going to
happen, but if it does then you can reset
| | 03:20 | back to the previous color settings easy as pie.
| | 03:23 | All you do is go up to the Edit menu,
you choose a Color Settings command again
| | 03:27 | and then, you switch your settings from
Best Workflow CS5 back to the defaults
| | 03:32 | which in this country are North
America General Purpose 2, that will take you
| | 03:37 | back to the sRGB space which as I say,
big mistake, but you can do it and things
| | 03:42 | will look the way that they used
to then, go ahead and click OK.
| | 03:45 | I don't recommend that thought,
so I am going to click Cancel.
| | 03:47 | I just want you to know that
option is available to you.
| | 03:50 | In the next movie, I am 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 to set up your panels inside a
| | 00:03 | Photoshop and how you save
them out as a custom workspace.
| | 00:07 | Now we'll be starting from the
Essentials Workspace, so if the word
| | 00:11 | Essentials is not already highlighted
in the top right corner of the screen,
| | 00:14 | go ahead and click on it and you may
even want to go over to this double
| | 00:18 | arrow icon right there and choose
Reset Essentials that way you'll be
| | 00:21 | starting from the same point as me,
which is how you get to all the panels
| | 00:25 | inside a Photoshop and choose Actions
and that will automatically drop the
| | 00:29 | 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
| | 00:36 | you prefer and that'll drop those
panels into the desire place as well.
| | 00:40 | Now go up to the Window menu and
choose Character and that will drop those
| | 00:44 | panels exactly where I want them to be
and then go up to the Window menu and
| | 00:49 | choose layer Comps and that will bring up
the layer Comps panel and the Notes panel.
| | 00:54 | Now my guess is you're not going to
need the Notes panel, so you can go ahead
| | 00:57 | and drag that guy out and close him, like so.
| | 01:00 | Next though we do need Presets panel
and the Navigator, so go up to the Window
| | 01:04 | menu and choose tool Presets and notice
that automatically opens the 3D panel as
| | 01:09 | well which will obviously be using quite
bit inside of the series and finally go
| | 01:14 | to the Window menu and choose Navigator.
| | 01:16 | Now I happened to move
these around a little bit.
| | 01:20 | I don't really like the way that
they're organized by default, so I grabbed
| | 01:23 | Navigator and I dropped it down into
the layer Comes group, it's totally up to
| | 01:28 | you, if you decide to go this way it
is important that you get always panels
| | 01:31 | open though, so you have easy access to him,
but exactly how they're organized is up to you.
| | 01:35 | I'm going to drag Navigator at that
point like so, and then I'm going to grab
| | 01:39 | tool Presets, these little tools and
I'm going to drag them and drop them
| | 01:42 | between layer Comps and Navigator,
and we end up with this effect and that
| | 01:47 | separates the 3D panel from
everybody else, so it's in its own little
| | 01:50 | container and I just do this for
screen real estate reasons, because I am
| | 01:53 | working on this tiny screen.
| | 01:55 | I switch the placement of the
Adjustment and Mask panel with the Histogram and
| | 02:00 | Info panel and I'm mentioning this and
showing it to you just so that you know
| | 02:04 | why my screen might look differently than yours.
| | 02:07 | All right so I'm going to go ahead and
grab this guy by this little top right
| | 02:11 | there that's sort of scrubby top to the
panel, I'm going to go ahead and drag it
| | 02:15 | and drop it just below Adjustments
and Masks like so, so that I get that
| | 02:19 | horizontal blue line, because I don't
want to combine it with a bunch of other
| | 02:22 | panels and we end up getting this, then
I go and collapse those panels just by
| | 02:27 | double-clicking that dark gray area
there, then I grab Adjustments and Masks by
| | 02:32 | its empty gray area, and I drag it
to this position right there, so it's
| | 02:36 | directly below the
Actions panel and above Brushes.
| | 02:39 | All right having done that, that's all
the panel adjustment I need to make, now
| | 02:42 | going to go up to this double arrow
icon click on it and choose New Workspace
| | 02:47 | and I invite you to do the same thing
if you're working along with me and I'm
| | 02:50 | going to go ahead and call this one-on-one.
| | 02:52 | We don't need to say the same keyboard
shortcuts or menus as part of workspace,
| | 02:55 | just go ahead and click the Save button
and you are done and you now have your
| | 02:58 | own custom one-on-one space and you
still have access to the essential space if
| | 03:03 | 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, then if I click
| | 03:13 | on one-on-one again than I'll end with
workspace I created just a moment ago and
| | 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 and
| | 00:04 | there's two reasons to take my advice frankly.
| | 00:06 | One is because you'll get better
results out of Photoshop and the other is so
| | 00:10 | that you and I are on the same page
and we eliminate as much opportunity for
| | 00:14 | confusion as possible, so this
movie is all about my panel preferences.
| | 00:19 | Assuming you went ahead and
setup the One-on-One workspace.
| | 00:22 | Go to the Color panel and switch it
from RGB to HSB, it's a better way of
| | 00:27 | dialing in colors in my opinion, it's
a lot easier to predict, then drop down
| | 00:32 | here to Layers panel.
| | 00:33 | Click on this flyout menu icon in the
upper right-hand corner and choose panel
| | 00:37 | Options, then inside of this dialog box
switch to the large thumbnail display so
| | 00:43 | that you can see big thumbnails inside
the Layers panel, also I recommend you
| | 00:47 | turn off a couple of check boxes here.
| | 00:49 | First turn off Use Default Masks on
Fill layers and then turn off Add "copy" to
| | 00:54 | Copied layers and Groups, you just
don't need the word copy every time you copy
| | 00:58 | something, then click OK and
you'll end up with is the effect here.
| | 01:02 | Now switch to the Channels panel and in
this case you can just right-click below
| | 01:07 | the names of the channels like
so and switch from Small to Large.
| | 01:10 | Next, go to the Paths panel right-click
anywhere inside of it assuming that you
| | 01:15 | 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 over here inside
the Adjustment panel I'll click on this
| | 01:27 | Adjustment icon to bring up the
Adjustment panel, and then I'll click on the
| | 01:30 | flyout menu and this assumes, by the
way, that you do not have an Adjustment
| | 01:34 | layer active 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 panel
| | 01:51 | flyout menu icon there and go ahead
and turn off this command Add Mask by
| | 01:56 | Default serves no function you can
always add Mask later to Adjustment layers if
| | 02:00 | you want to and also this
is a personal preference.
| | 02:03 | I'll click on the fly-out 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'm
| | 02:10 | creating a new adjustment layer.
| | 02:12 | All right, just a couple more changes
left, I'm going to go ahead and switch to
| | 02:15 | the Info panel, and then I'm going to
click on this little Plus sign there
| | 02:19 | that's got a tiny little arrowhead
next to it and I'm going to switch from
| | 02:22 | Inches or Millimeters or whatever it's
set to you for you to Pixels, because
| | 02:26 | Pixels serves you much better when
you're working in Photoshop than some other
| | 02:30 | arbitrary unit of measure.
| | 02:31 | And then finally, I will go ahead and
close the Adjustment panel, just to hide
| | 02:35 | it 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, otherwise the application
| | 02:50 | goes ahead and hides the other layers
in the name of better performance, but I
| | 02:54 | have yet to see it make much of a
difference, so I'm going to go ahead and
| | 02:57 | 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
| | 00:09 | a PC that would be the Photoshop menu
if you're working on the Mac, then choose
| | 00:13 | the Preferences command which is much
higher in the menu on the Macintosh side,
| | 00:17 | and then choose General or even more
simply you can press the keyboard shortcut
| | 00:20 | Ctrl+K here on a PC or Cmd+K on the Mac.
| | 00:23 | You definitely want to turn off Export
Clipboard and the reason that this option
| | 00:28 | should not be on is because you
routinely end up copying extremely large images
| | 00:33 | inside of Photoshop.
| | 00:34 | Now that doesn't present Photoshop with
a problem, you can copy and paste inside
| | 00:37 | Photoshop all you want, but then when
you switch to a different application,
| | 00:41 | Photoshop by default tries to export
that gargantuan Clipboard information to
| | 00:45 | the operating system and at best that
creates a huge slowdown and at worst the
| | 00:50 | operating system ends up choking on it.
| | 00:52 | So unless you're just copying little
graphics, or you're then turning around
| | 00:56 | and pasting in the Microsoft Word or some weird
workflow like that turning this check box off.
| | 01:01 | I also turn off Use Shift Key for tool
Switch that way you can switch between
| | 01:05 | the Marquee tool, for example, by
pressing the M key instead of having to press
| | 01:09 | Shift+M. Zoom Resizes Windows, that's
turned off by default on the PC and on by
| | 01:14 | default on the Mac, I recommend you
Macintosh people turn it off, and the
| | 01:18 | reason is, this way you get consistent
behavior between the Zoom tool and the Zoom commands.
| | 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
| | 01:29 | Mac, and if you want to zoom and resize
the window with this check box off you
| | 01:35 | just press Ctrl+Alt+Plus or Ctrl+Alt+Minus
on the PC that's Command+Option+Plus or
| | 01:40 | Command+Option+Minus on the Mac.
| | 01:42 | All right, next we will switch over to
Interface, and by default when you're
| | 01:45 | reviewing an image in the Standard
or Full Screen mode you'll see there's
| | 01:49 | light 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.
| | 01:56 | By clicking on this pop-up menu here
Select Custom Color, for some reason it
| | 02:00 | comes up blue, which is weird.
| | 02:02 | Anyway change the H and S values to 0,
and then I recommend a Brightness value
| | 02:06 | of 35%, click OK, do the exact
same thing for Full Screen with menus.
| | 02:11 | To click on the pop-up menu choose
Select Custom Color and dial-in 00 for Hue
| | 02:16 | and Saturation and then 35 for
Brightness, click OK, and I also recommend that
| | 02:22 | you change the second Drop Shadow
setting to None because we don't need drop
| | 02:26 | shadows in full screen.
| | 02:28 | Again, that's my opinion
you can go your own way.
| | 02:31 | On a PC we are 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 where I will be working.
| | 02:39 | Most Macintosh people prefer this
option to be turned off, and if so, if you
| | 02:44 | have open documents as tabs turned off I
also recommend you turn off this second one.
| | 02:48 | Enable Floating Document Window Docking,
that way your image windows don't tend
| | 02:52 | to glom together when
you're dragging them around.
| | 02:54 | In my case I'm going to
leave the check box on though.
| | 02:56 | So I'm saying that you either turn
both of them on or both of them off.
| | 03:00 | On the Windows' side both on, on the
Mac's side both off just a recommendation.
| | 03:04 | I'm going to switch to File Handling now.
| | 03:07 | This I really want you to do,
change Maximize PSD and PSB File
| | 03:11 | Compatibility from Ask to Never.
| | 03:14 | Now this is specifically a
recommendation for keeping your file sizes down,
| | 03:17 | otherwise 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 Bridge but
| | 03:29 | 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 of 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 going on.
| | 03:57 | 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 and figure out which face to
use then click on the word Type there and
| | 04:16 | change the Font Preview Size from
Medium to one of these others either Large or
| | 04:21 | Extra Large or Huge.
| | 04:22 | I'm going to go with Extra Large in my
case because I have a fairly small screen
| | 04:25 | to work with, and then finally click on
3D, and make sure up here that OpenGL is
| | 04:31 | turned on so you'll get the best performance.
| | 04:33 | You should have Allow Direct To Screen
turned on as well, Auto-Hide layers was
| | 04:37 | that option that we just turned off at
the end of the previous video it should
| | 04:40 | still be off for you.
| | 04:42 | I'll anticipate that, one of your
initial frustrations as you're working with 3D
| | 04:46 | inside of Photoshop is that as you are
creating your 3D objects they don't seem
| | 04:50 | to cast shadows onto each other and
that's because you have to ray trace the
| | 04:54 | objects in order to see the shadows.
| | 04:56 | If you want to get a rough sense of
those shadows while you are working you
| | 05:00 | would switch to Ray Tracer and
make sure Shadows is turned on.
| | 05:03 | However, that is going to really
degrade Photoshop's performance.
| | 05:07 | I just want you to know that, you get
a sense of your shadows as you work but
| | 05:10 | you have to be very, very patient as
you work as well, which is why I'm going
| | 05:14 | to suggest we leave this set to OpenGL,
first check box on second check box
| | 05:18 | off, and that is it, pretty tedious I
know but we are now on the same page
| | 05:23 | click the OK button.
| | 05:24 | Now there's just one more thing we need to do.
| | 05:26 | In order to save those changes we made
inside the Preferences dialog box as well
| | 05:30 | as those interface changes that we
applied in the previous movie we need to quit
| | 05:34 | the program because if we crashed right
now then we'd up losing all that work.
| | 05:39 | So what I would 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
| | 05:47 | Quit, on the Mac you go the Photoshop
menu and choose Quit Photoshop, or you
| | 05:51 | press Command+Q and that'll
go ahead and quit the program.
| | 05:54 | It will also save all of your
preferences if you have any unsaved changes to
| | 05:58 | your images you will have to decide
whether to save those changes or not.
| | 06:02 | All right, now that you and I are on
the same page I recommend you advance to
| | 06:06 | the next chapter so we can
get some real 3D work done.
| | Collapse this transcript |
|
|
13. Advanced Scene-BuildingUnderstanding the disciplined approach to scenes| 00:00 | Before you can make one object cast
a shadow or create a reflection on to
| | 00:04 | another you must first combine them
into a scene, which is after all the topic
| | 00:09 | of this course, but here's the thing.
| | 00:11 | Building a scene can be a nightmare
with objects run a muck, or it can be fun,
| | 00:16 | with each object falling
into a predictable place.
| | 00:20 | In order to make it fun, you have
to do something you don't normally
| | 00:23 | associate with fun.
| | 00:25 | You have to take a disciplined,
organized, systematic approach.
| | 00:29 | In this chapter, we will start with a
collection of shape layers, you know
| | 00:32 | rectangles and ellipses filled with
nothing all that interesting, just shades of
| | 00:37 | gray and from those simple building
blocks we will imagine an entire 3-D
| | 00:42 | environment, one that with any luck
will have you gaping with tangible 3-D joy.
| | 00:48 | Along the way, I will demonstrate
that disciplined approach I was telling
| | 00:52 | you about and you'll learn
everything there is to know about assembling a
| | 00:56 | complex scene.
| | Collapse this transcript |
| Beginning an ambitious 3D scene| 00:00 | All right gang, here's a nearer final and I
will explain what I mean by that in a moment.
| | 00:04 | But the near final version of the
camera that we are going to be creating over
| | 00:07 | the course of this chapter, and I want
you to note that just about everything
| | 00:12 | about this composition was done inside
Photoshop, that is to say, there is just
| | 00:17 | one imported element, which is a
photograph that you can see reflected around
| | 00:22 | this lens, there is little bit of grass
and some clouds and some sky, and that
| | 00:27 | same scene is reflected around
the exterior of the camera as well.
| | 00:30 | Everything else was done inside
Photoshop, there is not so much as a single
| | 00:34 | imported model, nearly everything was
done using Repousse and then assembled
| | 00:38 | into a larger 3D scene.
| | 00:40 | Now the reason I say that this is
the near final version of the scene, is
| | 00:44 | because I rendered it using Photoshop's
Ray Trace Draft setting, and I am going
| | 00:48 | to go ahead and zoom in on that lens element.
| | 00:51 | You can see that the reflections
inside the glass are awfully noisy;
| | 00:54 | as are the shadows below the camera,
and we would expect that of Ray Trace Draft.
| | 00:59 | But also, I am going to go ahead and
zoom out here, we have some sort of
| | 01:04 | over-the-top reflections going on,
even though we are catching just a little
| | 01:07 | bit of sky on the top of this metallic
ring, we are catching an awful lot of
| | 01:13 | the grass down below.
| | 01:14 | So we have got a lot of green, and if
I zoom in on this lower right region of
| | 01:19 | the camera, you can see that I've
assigned a brush metal effect, but it looks a
| | 01:23 | little bit fakey to my eye.
| | 01:25 | And then finally, I will go
ahead and zoom out once again.
| | 01:28 | The composition is a little bit dark,
a little bit brooding and moody.
| | 01:32 | I think it looks cool, but that is not
the final effect we are going for, this
| | 01:36 | is the final effect we are going for.
| | 01:38 | It's the exact same scene, except
Rendered using the Ray Trace final setting.
| | 01:43 | Now we have much less noise, both
inside the glass and down here in the shadow
| | 01:48 | detail, but also, it's a brighter scene,
don't ask me what's up with that, but
| | 01:52 | it's an elevated gamma, it works
that way on the Mac and the PC.
| | 01:56 | And we've got a lot more credible
subtle effects, so we don't have near the
| | 02:01 | degree of green reflection down here at
the bottom of this metallic ring, even
| | 02:05 | though we have just as much blue up
here at the top, and we have a much more
| | 02:09 | subtle effect where the
brush metal is concerned.
| | 02:12 | So I just want you to know this is the
final effect even though we are going to
| | 02:15 | be applying Ray Trace Drafts several
times, because it's quicker, this is the
| | 02:19 | final fight we are going for.
| | 02:21 | All right in this exercise we are going
to extrude a single object to serve as a
| | 02:25 | backdrop for our 3D scene.
| | 02:27 | So we are trying to take a very
disciplined approach, so that we can have fun
| | 02:32 | with this composition, instead of
having a miserable time, which is possible if
| | 02:36 | you take a more ad hoc approach.
| | 02:37 | Let me show you what I mean here.
| | 02:39 | I am going to switch to this initial
version of the composition, it's called
| | 02:42 | Shapes & image.psd and if you take a
look at Layers panel, you'll see a total of
| | 02:47 | 12 different shape layers, each of
which we are going to extrude independently
| | 02:52 | using Repousse, and if that sounds a
little daunting, believe you me, it's
| | 02:57 | going to be awesome, but each one of
these shape players represents a piece of
| | 03:02 | that camera that we saw just a moment
ago, including four different shapes
| | 03:06 | inside of the lens element.
| | 03:08 | And then if I go back a little bit here,
I've got the glass at the front of the
| | 03:12 | lens element and that lens object as
well, both of which are going to be
| | 03:16 | rendered in glass by the time we are done.
| | 03:18 | Anyway, we are going to start things
off with this guy called Rear, and I want
| | 03:22 | you to go ahead and Option+Click or
here in the PC Alt+Click on the eyeball in
| | 03:26 | front of the rear layer.
| | 03:27 | Rear represents the camera back.
| | 03:29 | that is the larger part of a camera
that contains a circuitry and so on.
| | 03:33 | And I want you to go head and
click on rear to make it active.
| | 03:36 | Then go on to the 3D menu, choose
Repousse and choose either layer Mask or if
| | 03:41 | you see it, Selected Path;
| | 03:42 | that works fine too.
| | 03:43 | I will go ahead and choose layer Mask;
| | 03:45 | I get this alert message telling me
that I'm going to rasterize the shape.
| | 03:49 | We all know by now that that's not true,
it's going to be converted to vertices,
| | 03:53 | but we are no longer going to be able
to edit this object as a shape layer.
| | 03:56 | And, by the way, if I were really
taking a disciplined approach I told you
| | 04:00 | about, I would go ahead and make sure
work to keep the shape layers around,
| | 04:04 | somehow or other whether I save this
initial version of the composition on a
| | 04:09 | different file name, so that I
preserve the original shape layers, or I keep
| | 04:13 | them in an independent group or something
along those lines, whatever, you would do that.
| | 04:18 | But I've got a bunch of back up
files for you, so you'll be fine.
| | 04:20 | Anyway, I am going to click of Don't
show again, because I don't want to see
| | 04:23 | this alert message over and over again,
click on the Yes button, and then, here
| | 04:27 | inside of Repousse, I am going to
start things off by loading up some materials
| | 04:31 | that I have created in advance for you.
| | 04:32 | Go to the All icon in the upper right-hand
corner here, click the down pointing
| | 04:36 | arrow head, then click the right
pointing arrow head, choose Load Materials,
| | 04:41 | and then you'll see this warning, may
be if you do just click OK, don't click
| | 04:45 | Go, click OK instead, and then
navigate your way to the 13_complex_scene
| | 04:50 | folder, select Camera materials.p3m and click
on the Load button in order to load them up.
| | 04:56 | All right, now we've loaded the materials,
five materials in all that I have made for you.
| | 05:00 | Now we need to assign one of the
materials to all surfaces of this object here
| | 05:05 | by clicking the down pointing arrow head
once again, scrolling to the bottom and
| | 05:08 | you will find among other new materials,
one cold Dark plastic, go ahead and
| | 05:12 | click on it to assign it to all five surfaces.
| | 05:15 | All right, now I am going to go ahead
and drag inside the image window so I can
| | 05:18 | get a sense of what this initial
object is going to look like, and it is
| | 05:21 | extruded way back there, it's
far too much of an extrusion.
| | 05:25 | So I am going to reduce the Depth value.
| | 05:27 | As you may recall, it's measured as a
percentage of the overall object size.
| | 05:31 | I am going to change it to 0.15, which
is going to 15% of the smallest dimension
| | 05:37 | of this object, and then I
will also change the Bevel values.
| | 05:41 | I am going to assign a Height value of
3 and the Width value of 5 and we end up
| | 05:45 | getting this effect.
| | 05:46 | Now do I really want to leave this
object rotated this way in 3D space, so that
| | 05:51 | each and every match is rotated
differently, and then I have to somehow
| | 05:54 | reconcile those differences as I add
them to the larger 3D scene? No, I do not.
| | 05:59 | I want each object to be flat on as
it's added to the scene, so that I have -
| | 06:04 | as little work to do, once I
start assembling the scene together as
| | 06:08 | possible, and I'm going to achieve that
effect by clicking on this little Home icon.
| | 06:12 | So every single time before you leave
Repousse, make sure to click on little
| | 06:17 | Home icon to return to
the initial mesh position.
| | 06:21 | And that way you're looking at the
object flat on, that's not what you are going
| | 06:23 | to want ultimately, but that's
where you are going to want to start.
| | 06:26 | Then click on the OK button in order to
create that Repousse object, we now have
| | 06:31 | a new 3D layer that is going to serve as
the base for our larger 3D scene, which
| | 06:37 | we are going to begin to
assemble in the next exercise.
| | Collapse this transcript |
| Staking your claim with the camera| 00:00 | All right, so in the previous exercise,
I showed you the first, and foremost
| | 00:03 | step to successfully creating a complex
3D scene inside of Photoshop and that's
| | 00:09 | to establish a base 3D layer, like we
have here, and then zero out its position
| | 00:14 | and orientation values.
| | 00:16 | And just to confirm that that is the
case, I am going to double-click on the
| | 00:19 | thumbnail for this rear layer,
here inside the Layers panel.
| | 00:23 | And you know what I am going to do, I am
going to go ahead and rename this layer.
| | 00:26 | Currently, it is the rear object in
the stack, but it's going to become our
| | 00:31 | overall camera scene, so I am
going to rename this layer camera. Al;
| | 00:35 | right, having done that I am going
to go ahead and click on the one and
| | 00:39 | only mesh inside of this camera scene,
which is rear, right here, inside the 3D panel.
| | 00:44 | And now I'll go ahead and select the
Mesh tool, which is going to be the 3rd
| | 00:48 | tool down on the left side of the 3D panel.
| | 00:51 | And notice here, because I have the
Rotate tool selected, I can see the
| | 00:54 | Orientation values, each of which are set to 0.
| | 00:57 | So 0 for X, 0 for Y, 0 for Z, I know I
am belaboring this point, but it's so
| | 01:02 | important, as you are about to see.
| | 01:03 | All right, now I will switchover to
the Pan tool, so I can see the position
| | 01:07 | values and they are each 0 as well.
| | 01:10 | Ultimately, we don't want to
see this object face on like this.
| | 01:13 | However, by virtue of the fact that we
have zeroed out the values, it will be
| | 01:16 | much easier to assemble the various
objects on top of each other into a scene.
| | 01:21 | However, of course, somehow we need
to modify the object, so we have a more
| | 01:26 | compelling view and we are going
to do that using the Camera tool.
| | 01:29 | So I'm going to go ahead and close the 3D panel.
| | 01:33 | So step two is to go ahead and grab
your Camera Rotate tool from the toolbox,
| | 01:37 | and then rotate your view of the scene
as desired, and in my case, I am dragging
| | 01:42 | to the right so that I'm rotating my
view to the right, so that I am rotating my
| | 01:46 | view to the right, I am rotating the
object relative to the view, relative to
| | 01:48 | me, to the left, of course.
| | 01:50 | And notice that I'm creating a view
that doesn't expose the top of the camera,
| | 01:57 | because if I do expose the top of the
camera, that means I have more things that
| | 02:01 | I have to draw, where this camera is concerned.
| | 02:02 | I will have to create the Shutter
Release, presumably the zoom buttons as well,
| | 02:06 | all kinds of stuff going on here at
the top, just going to simplify my life a
| | 02:10 | little bit, by making sure I don't
quite see the top, don't you know?
| | 02:13 | It's totally up to you, of course,
which portion of the camera you want to see,
| | 02:16 | but I just want you to know, by way of
a tip, you can simply your life just a
| | 02:20 | little bit by deciding what portions of
an object you see and which portions you
| | 02:24 | don't. Anyway, here is the camera view
that I'm going with, and you can follow my
| | 02:29 | lead as well if you want to get the same effect.
| | 02:31 | With the Orbit tool selected, as
I have selected in my case, I can
| | 02:35 | see Orientation values.
| | 02:36 | I am going to change the X value to 260
actually, which pops up the camera just
| | 02:42 | a little bit as you can see, and then
I am going to change Y value to 1, and
| | 02:47 | actually the Y value I had
before was 359, you might have seen.
| | 02:51 | But Orientation values are measured in
degrees, so 1 and 359 are going to be
| | 02:55 | basically the same thing.
| | 02:57 | And then I am going to change the Z value 150.
| | 03:00 | So we end up getting this effect
here in my case, that's all right, I am
| | 03:04 | going to switch now to the Pan tool and I am
going to change the Position values as follows.
| | 03:09 | I am going to change the X value to
1660, so I am trying to keep these values
| | 03:12 | very simple, by the way.
| | 03:14 | The Y value to -1500, and the Z value to
-200, and then we end up with this view
| | 03:21 | into the scene right here.
| | 03:22 | All right, having done that, so in
other words, we are zeroing out -- just
| | 03:26 | emphasizing this, once again, forgive me,
but we're zeroing out all the values
| | 03:30 | that are associated with the meshes
themselves, and we are doing all the work
| | 03:33 | here with the camera.
| | 03:35 | Having done that work, I am going to go
ahead and save out this view, so that we
| | 03:39 | can switch around our view anytime we
like and come back to the original by
| | 03:43 | clicking on a floppy disk icon and
I'll go ahead and call his guy Camera cam
| | 03:47 | because this is our camera looking at
a camera, click OK in order to save off
| | 03:52 | this view and we can come
back to it any old time we like.
| | 03:55 | All right, just for fun, let's
establish a few other base settings here, I am
| | 03:58 | going to go ahead and double-click on
the thumbnail for this camera layer to
| | 04:02 | bring up the 3D panel, and notice that
I have my default lights here, Infinite
| | 04:07 | Lights 1, 2 and 3, I don't want those,
so I am going to switch them out for some
| | 04:10 | lights I have created for you in advance,
by going up to the Fly-out menu icon
| | 04:14 | and choosing Replace Lights Presets,
navigate your way to the 13_complex_scene
| | 04:19 | right there, and go ahead and click
on the file that's called Overhead
| | 04:22 | spotlights.p3l, we will come back to
Lens lighting later, but we want Overhead
| | 04:26 | spotlights right now.
| | 04:28 | Click on the Load button and you will
end up with two spotlights, one called
| | 04:32 | Spot Light UR for upright,
and another one called Spot Light for up left.
| | 04:37 | Having loaded those two spotlights, go
up to the 3D menu and choose Ground Plane
| | 04:41 | Shadow Catcher, so that we have
something to cast shadows onto.
| | 04:45 | If you get the alert message telling you
that you have to Ray Trace the scene in
| | 04:48 | order to see the shadows, just go ahead
and click OK, and then finally just to
| | 04:51 | make sure all is well, go up to the 3D
menu and choose Snap Object to Ground
| | 04:55 | Plane, and that will go ahead and snap
the entire scene to the ground plane, it
| | 04:59 | shouldn't make any difference whatsoever,
at least it hasn't every time I have
| | 05:03 | tried it out with this specific example.
| | 05:06 | However, if you see a little bit of
movement, it should be a one time only
| | 05:09 | thing, and you should have that camera
sitting right there on the ground plane.
| | 05:13 | All right, just to confirm that
everything is the way it ought to be, click on
| | 05:17 | scene at the top of list and change
the quality setting to Ray Trace Draft.
| | 05:22 | And Photoshop will go ahead and Ray
Trace the scene, it should do so fairly
| | 05:25 | quickly, it might take a couple of
minutes, but you should get a sense of
| | 05:29 | where the shadows are.
| | 05:30 | Now we don't have much in the way of
shadows going on, I am just going to go
| | 05:33 | ahead and press the Escape key in order
to interrupt that Ray Tracing, hide the
| | 05:37 | 3D panel and turn on the White
Background layer, so that we can see the shadows
| | 05:41 | and that's the scene so far.
| | 05:43 | So we haven't made a heck of a lot of
progress, but we have established the base
| | 05:47 | settings for our overarching 3D scene.
| | Collapse this transcript |
| Taking the disciplined approach| 00:00 | In this exercise we're going to take two 3D
layers and combine them into a single 3D scene.
| | 00:05 | Now that in and of itself is nothing new.
| | 00:07 | We've been making scenes since we
combined the rings with Saturn back in Chapter
| | 00:12 | 1 of the 3D Fundamentals Course.
| | 00:14 | The news in this exercise is that
disciplined approach I was telling you about,
| | 00:18 | that's going to go such a long way
towards saving your sanity, when making
| | 00:22 | complex 3D scenes inside Photoshop.
| | 00:25 | I've saved my progress as Lights &
camera.psd and the first thing I am going
| | 00:29 | to do is double-click on a thumbnail for the
camera layer to bring up the 3D (SCENE) panel.
| | 00:33 | Make sure, a scene is selected and
switch Quality from Ray Trace Draft back to
| | 00:37 | Interactive (Painting), so that I'm
not constantly ray tracing my scene.
| | 00:41 | All right, now I am going to click on the
face layer to make it active and turn it on.
| | 00:44 | We need to go ahead and extrude this
layer, it's starting off as a vector based
| | 00:47 | shape layer, a rounded rectangle with
a circular hole cut out in the middle.
| | 00:51 | I'll go on to the 3D menu, choose Repousse
and then choose either layer Mask or
| | 00:56 | Selected Path, whichever is available.
| | 00:58 | I am not seeing the warning
this time, because I turned it off.
| | 01:01 | Now first step is to turn the hole into a hole.
| | 01:04 | For some reason Photoshop deems to do
otherwise when working with shape layers.
| | 01:08 | So drop down here to the Internal
Constraints options, and change the Type
| | 01:12 | setting from Inactive to Hole,
and then, you will go ahead and change the
| | 01:17 | circle to a hole, like so.
| | 01:18 | All right, now I am going to drag
inside the image window in order to rotate
| | 01:22 | that object in 3D space, so
we can see that huge extrusion.
| | 01:25 | I don't want any extrusion whatsoever,
so I am going to change the Depth value
| | 01:29 | to 0, and I am going to do all my work
with the Bevel settings by changing the
| | 01:32 | Height value to 3 and the
Width value to 4, like so.
| | 01:36 | All right, let's go ahead and assign a material.
| | 01:38 | Click the down pointing arrowhead next
to the All icon, up here in the upper
| | 01:41 | right-hand corner of the dialog box,
and assuming you loaded my materials in the
| | 01:45 | first exercise, then, go ahead and
select Titanium brushed, in order to create
| | 01:49 | this brush metal effect.
| | 01:50 | All right, that's nearly everything,
the only other thing we need to do, and
| | 01:54 | this is so important, is you need to
click on that Home icon in order to return
| | 01:59 | to the initial mesh position.
| | 02:00 | Now in just a moment it's going to
seem like it didn't do us any good
| | 02:03 | whatsoever, but it's actually an essential step.
| | 02:06 | So before you leave Repousse, go
ahead and click on Home and then click OK.
| | 02:11 | Now the next step, is to go ahead
and Shift+Click on the camera layer.
| | 02:15 | So both face and camera are selected.
| | 02:16 | I have mentioned several times now,
that when you are combining objects into a
| | 02:20 | scene, you can only do so two layers at a time.
| | 02:23 | So even though our final scene is going
to contain thirteen meshes, we have to
| | 02:27 | build that scene two layers at a time
over and over again, and as we do so, it's
| | 02:32 | always going to be the
bottom layer that takes precedent.
| | 02:35 | So camera needs to be at the bottom,
because the camera layer is the one.
| | 02:39 | If I bring up my 3D panel, that
contains my spotlight as I loaded in the
| | 02:43 | previous exercise, as well,
as that camera setting.
| | 02:46 | So very important that it's at the
bottom then, go ahead and Shift+Click on
| | 02:50 | face, which is above it, go up to the
3D menu and choose Merge 3D layers and
| | 02:55 | now I will go ahead and merge those
two layers into one, that layer name will
| | 02:59 | remain camera and you will keep if you
scroll down to the bottom of the list in
| | 03:03 | the 3D panel, you will see that you
keep your spotlights and your cameras
| | 03:06 | setting, all very important.
| | 03:08 | However, what we seem to have lost if
I hide that 3D panel, is that metallic
| | 03:12 | face that we just created a moment ago.
| | 03:14 | All right, I am going to switch my
Camera Rotate tool and I'm going to drag to
| | 03:18 | the right inside the image window, so
that we can see that the face plate has
| | 03:22 | come in at an odd angle.
| | 03:23 | Now I cannot defend why in the world
Photoshop does this, but it does do this habitually.
| | 03:29 | Every time you bring an object into a
3D scene, it comes in at an arbitrary
| | 03:34 | angle and you have to fix it.
| | 03:35 | Fortunately, because of this
disciplined approach that I keep stressing, it's
| | 03:39 | easy to fix the problem;
| | 03:41 | all be it, you have to
do it over and over again.
| | 03:43 | All right, so here is how it works,
double-click on the thumbnail for the camera
| | 03:47 | layer to bring back up the 3D panel,
and then notice we have got a couple of
| | 03:50 | meshes, rear and face.
| | 03:52 | If you want to see just those meshes
and nothing else, why then you can click
| | 03:55 | on the second icon in;
| | 03:56 | notice it says, Filter By:Meshes, so you
see just the meshes, the next icon lets
| | 04:01 | you see just the materials, and the
final one lets you see just the lights.
| | 04:03 | All right, so we're seeing just the materials.
| | 04:06 | I am going to click on rear, which is
the dark plastic camera back and I am
| | 04:09 | going to select the third tool down
here inside my list of tools in the 3D
| | 04:12 | panel and notice that the
orientation values are all zeroed out, and if I
| | 04:16 | switch to the pan tool, all my position
values are zeroed out as well, so a very good news.
| | 04:21 | However, if I click on face in my
list of meshes, I'll see that my position
| | 04:25 | values are all over the place and my
orientation values are all messed up as well rights.
| | 04:30 | All right, so the way to take care of
the problem, you could zero out those
| | 04:32 | values, of course manually, one value
at a time, or you could just go ahead and
| | 04:36 | click in this Home icon.
| | 04:37 | Now, the Home icon only works if
you already clicked on Home inside the
| | 04:42 | Repousse dialog box.
| | 04:43 | So you have to click on both of the
House icons in order to make this happen.
| | 04:46 | And it may not happen the first time,
so I'll try it, I'll click on the House
| | 04:50 | icon, that little house
icon there and nothing changed.
| | 04:52 | Now I have to say, irritating, and some
sort of bug going on, the solution is to
| | 04:58 | click again, and the second time you
click, it takes care of the problem.
| | 05:01 | So second time I clicked on this
little Home icon, all the orientation value
| | 05:05 | zeroed out and if I select my Pan tool all
the position values are zeroed out as well.
| | 05:10 | So what happen to the face mesh?
| | 05:12 | Well, the face mesh is now located
inside of that camera back and it's either
| | 05:17 | that is indeed the case, make sure,
the face is selected in the 3D panel and
| | 05:21 | then, with your 3D widget up on screen,
this is the easiest way to work, go
| | 05:25 | ahead and drag a little green arrow and
drag forward and you'll watch it emerge
| | 05:29 | like so, at least if you're
viewing this 3D scene at the angle I am.
| | 05:34 | So if you drag it to the left, that is
to say, if I drag to the left from that
| | 05:39 | green arrow, then I'll move the
item in front of the camera back;
| | 05:44 | if I drag the other direction I am
going to move it back of the camera back.
| | 05:47 | All right, I want to move it forward
and just forward, that's why I'm dragging
| | 05:52 | the green arrow and nothing more,
because I don't want to affect any of the
| | 05:55 | other values, just this Y position value.
| | 05:58 | So make sure, that you're seeing the
position values, if not, click the Pan and
| | 06:01 | the Mesh tool, make sure X and Z
or Zed or what have you set to 0;
| | 06:06 | and what we want is a Y value of -20, like so;
| | 06:11 | and that's going to more or less give
us the effect that we are looking for.
| | 06:14 | Now, I think I might have a little
bit of a gap going on, I am going to
| | 06:18 | switchover here to my Camera Rotate
tool once again, and I'm going to drag to
| | 06:22 | the right and sure enough I have a
little bit of gap between those two objects,
| | 06:27 | and the easiest way, to fix that gap
is to make sure the face mesh is once
| | 06:30 | again selected in the 3D panel, drop
down to the little R icon, which allows
| | 06:34 | you to Edit and Repousse, so go
ahead and click on the R to bring up the
| | 06:38 | Repousse dialog box.
| | 06:39 | And let's go ahead and
add a little bit of depth.
| | 06:43 | I'll increase that extrusion value to
let's say, 0.0.5, like so, and that will
| | 06:49 | go ahead and create an extrusion that goes
into the camera back, and then, click OK.
| | 06:53 | All right, having done that, we now have two
objects that are successfully glued together.
| | 06:59 | I still have my Camera tool selected,
so I'll go up the options and change the
| | 07:03 | View setting from Custom View 3 in my
case or whatever to Camera cam in order to
| | 07:08 | switch back to that original view.
| | 07:10 | And we have successfully
merged two objects into a 3D scene.
| | 07:15 | In the next exercise we're
going to build out the lens element.
| | Collapse this transcript |
| Building a complex Repoussé element| 00:00 | All right! Here I am looking at the final
Ray Trace version of the camera.
| | 00:03 | In this exercise, we're going to go
ahead and roughen the three objects that
| | 00:07 | make up the lens element.
| | 00:09 | I've saved my progress as Camera back.
psd, and I'm going to go ahead and select
| | 00:13 | the ring layer as well as turn it on.
| | 00:15 | This is another object that we
need to extrude inside Repousse.
| | 00:18 | Notice that it's a circle with
a smaller circle cut out of it.
| | 00:21 | I'll go up to the 3D menu, choose
Repousse, and choose layer Mask.
| | 00:25 | Then inside the Repousse dialog box
step one is to change Type from Inactive to
| | 00:29 | Hole so that we're cutting the
smaller circle out of the larger one.
| | 00:33 | Now if you can get away with not
rotating the object in 3D space, that's
| | 00:38 | the best way to work.
| | 00:39 | As I say if you decide to rotate to
make sure you click in the Home icon, but
| | 00:43 | things work even better.
| | 00:44 | You're not going to have to
click on that Home icon twice.
| | 00:46 | For example, up in the Options bar if
you don't rotate the object in 3D space
| | 00:50 | in the first place. All right!
| | 00:51 | I'm going to change the Depth value
to 0.02 like so, so that we have barely
| | 00:56 | any extrusion going on.
| | 00:58 | I'm going to do the vast majority
of my work with the Bevel options.
| | 01:01 | I'll change the Height value to 10 and
the Width value to a whopping 18 so that
| | 01:06 | we have these big huge beveled edges.
| | 01:08 | Now I'll go up to Materials area.
| | 01:11 | I'll click that down pointing
arrowhead next to the All icon and I'll select
| | 01:15 | Titanium brushed, like so. Then that's it.
| | 01:17 | Go ahead and click OK in
order to create that new object.
| | 01:21 | With the ring layer selected go ahead
and Shift+Click on camera so both of the
| | 01:25 | 3D layers are selected.
| | 01:26 | Remember that the bottom layer takes precedent.
| | 01:30 | Go up to the 3D menu and choose Merge
3D layers and you'll end up with a single
| | 01:34 | camera layer, like so.
| | 01:36 | Of course, your ring will be
in totally the wrong place.
| | 01:39 | So let's go ahead and
grab that Camera Rotate tool.
| | 01:42 | Drag to the right so we can see what's going on.
| | 01:44 | There is the ring in the background, go
ahead and bring up the 3D panel. Filter By:
| | 01:48 | Meshes, by clicking on this second
icon there, click on the ring mesh in
| | 01:52 | order to make it active.
| | 01:54 | Then very important, you've got
to select one of the Mesh tool.
| | 01:56 | So click on that third tool down on
the left side of the 3D panel and then go
| | 02:01 | ahead and click on the Home icon up
there in the Options bar and that will move
| | 02:06 | the ring into place.
| | 02:08 | Now it's not exactly where it needs to be,
you need to make some sort of modification.
| | 02:12 | So drag on the green arrowhead
associated with the 3D widget here and I'm going
| | 02:17 | to drag over to the left
to make that ring emerge.
| | 02:21 | Ultimately, I'm going to change this Y value
up here in the Options bar to -40, like so.
| | 02:26 | Then press the Enter key or the
Return key on the Mac for make your change.
| | 02:30 | You know what, I'm going to go ahead and
grab my Camera Rotate tool there again,
| | 02:33 | and I'm going to drag up so that we're
looking down at the camera like about so.
| | 02:38 | I figure it work well.
| | 02:39 | That's going to help us
position the telephoto elements.
| | 02:43 | So the first one is called tele out right there.
| | 02:45 | So go ahead and click on tele out.
| | 02:47 | This is the outer ring of the telephoto lens.
| | 02:50 | So select it turn it on as well,
and then go up to the 3D menu, choose Repousse
| | 02:55 | and choose layer Mask.
| | 02:57 | Then inside the Repousse dialog box
we need to go ahead and change Type from
| | 03:01 | Inactive to Hole once again so that
we cut that inner ring out of there.
| | 03:06 | Let's change the Depth value to 0.5
this time, which is relatively high.
| | 03:11 | So a depth of 50% of the
overall size of the object.
| | 03:15 | I'm going to change both Bevel
values, both Height and Width to 2.
| | 03:19 | Now I figure out I might want to
apply these settings more than once.
| | 03:21 | So why not create a Repousse Shape Preset?
| | 03:24 | Click the right-pointing arrowhead and
choose New Repousse Preset, and I'm going
| | 03:28 | to call this guy Tunnel, because
it's a kind of tunnel as you can see.
| | 03:32 | Then click OK and we will have a new
present down here at the bottom of the list.
| | 03:38 | Awesome!
| | 03:38 | I haven't rotated the object in 3D space.
| | 03:41 | So I don't need to click on Home.
| | 03:42 | I'll go ahead and just click on OK
instead in order to apply that modification.
| | 03:46 | With tele out selected go ahead and Shift+Click
on camera so you have to do this
| | 03:49 | over and over again when
merging these objects together.
| | 03:53 | Camera is going to at the bottom of the stack.
| | 03:55 | Then go up to the 3D menu
and choose Merge 3D layers.
| | 03:58 | Of course, as Photoshop so want to do,
it goes ahead and does its absolute best
| | 04:04 | to hide that new object inside of the scene.
| | 04:07 | It's as if no matter how you rotate the
camera, Photoshop wants to make sure you
| | 04:11 | have no chance of seeing that object.
| | 04:14 | However, it didn't go a good enough job.
| | 04:15 | We can see it there in the background.
| | 04:17 | I'll go ahead and click on little
Mesh icon up here at the top of 3D panel,
| | 04:21 | click on tele out, switch to the
Mesh tool in order to edit that mesh
| | 04:26 | independently of the others.
| | 04:27 | Then go up to the little House icon in
the Options Bar and click on it and that
| | 04:31 | goes ahead and sets that
object at the right angle.
| | 04:35 | Now it's even harder to see than it was
before, but it's right where it wants to be.
| | 04:39 | Now with the 3D widget up on screen go
ahead and drag that green arrowhead in
| | 04:45 | order to move the telephoto
lens in and out of the camera body.
| | 04:49 | So, isn't that great?
| | 04:50 | We have this great view of
exactly what's going on there.
| | 04:52 | I'll go ahead and move it
to, let's say about there.
| | 04:55 | The value I am really
looking for is a Y value of -250.
| | 04:59 | All the while, by the way, X and Z
need to remain 0, and, by the way, when
| | 05:04 | working with the Y value, I know this
doesn't make any sense, but negative
| | 05:08 | values move the object forward and
positive values move the object away.
| | 05:14 | So we're making these values more and
more negative, you may have noticed.
| | 05:18 | We started with the camera back at a Y
value of 0, the camera front at a Y value
| | 05:26 | of -20, the camera ring right there
at a Y value -40, and finally, this
| | 05:30 | telephoto lens, the outer side of the
telephoto lens at a Y value of -250.
| | 05:35 | So each object in turn is
coming toward the viewer.
| | 05:38 | Now let's grab tele in,
the tele in layer that is.
| | 05:42 | Go ahead and select it and turn on its
eyeball, and then go up to the 3D menu,
| | 05:46 | choose Repousse and choose layer Mask.
| | 05:48 | Now this is another object that's got
a hole in it, and I want to apply very
| | 05:52 | similar settings to what I applied before.
| | 05:53 | So I've got that preset.
| | 05:55 | I'll go ahead and scroll down the list and I'll
click on this little item that I called Tunnel.
| | 06:00 | Well, that gives me a Depth value of 0.5.
| | 06:03 | That's actually not what I want exactly.
| | 06:05 | I want 0.2 this time around.
| | 06:07 | It also gives me a Height and Width
value here inside the Bevels area of 2.
| | 06:10 | That's exactly what I want.
| | 06:12 | It did not change the Type.
| | 06:14 | The Type is still set to Inactive.
| | 06:16 | So your shape presents do not pay
attention to your internal constraints.
| | 06:20 | How frustrating is that?
| | 06:21 | Anyway, I'm going to change
that Type to Hole manually.
| | 06:25 | Now I have exactly the settings I want.
| | 06:27 | So Type set to Hole, Depth set to 0.2,
both the Bevel values set to 2, click OK.
| | 06:33 | Haven't rotated the object in 3D space.
| | 06:35 | So don't need to click on the House.
| | 06:36 | So click on the OK button in
order to apply that change.
| | 06:39 | This is going to seem like Old Home Week here.
| | 06:41 | Make sure tele in is selected.
| | 06:43 | Shift+Click on camera to
make it selected as well.
| | 06:45 | Go up to the 3D menu, choose Merge 3D layers.
| | 06:49 | Wait and watch with glee for what in the
world Photoshop does with that new object.
| | 06:54 | Oh, there it is!
| | 06:54 | Huge as all get-out. Great!
| | 06:57 | Then Filter By:
| | 06:58 | Meshes, by clicking the second
icon right there. Click on tele in.
| | 07:02 | Make sure one of the Mesh tools
is selected, in my case it is.
| | 07:05 | And go up to the Options bar, click
on the House icon in order to basically
| | 07:10 | position that element inside
of the larger telephoto element.
| | 07:15 | Now what we want to do is again,
using the 3D widget we're going to drag in
| | 07:20 | the green arrowhead and we're going to drag
to the left to make that guy emerge, like so.
| | 07:25 | The Y value I'm looking for this time
is an even -300, which will move the lens
| | 07:30 | element out like this.
| | 07:32 | Then finally, I'm going to switch back
to my Camera Rotate tool and I'm going to
| | 07:35 | go up to the Options Bar and
change View back to Camera cam, like so.
| | 07:40 | Then hide the 3D panel and
there is my 3D camera so far.
| | 07:45 | A total of five 3D objects merged
into a single 3D scene here inside
| | 07:50 | Photoshop CS5 Extended.
| | Collapse this transcript |
| Taking control of Repoussé bevels| 00:00 | All right, here I am looking at the
final Ray Traced version of the camera again.
| | 00:03 | I am going to zoom in on that lens
element, and notice this black frame that
| | 00:07 | contains the glass and the other
inner portions of the lens element.
| | 00:10 | You can see how it's covering up the
inner bevel that's associated with this
| | 00:15 | inner ring of the telephoto lens.
| | 00:18 | So inside of Photoshop, you have
independent control over the front bevel and
| | 00:22 | the back bevel, that's associated with
an extruded object created in Repousse,
| | 00:26 | but you do not have independent
control over the outer bevel and inner bevel.
| | 00:31 | So what I've done is I've gone ahead and
covered up that inner bevel, and let me
| | 00:35 | show you how that works.
| | 00:36 | I am going to switch to my image in
progress which I've called Hollow lens
| | 00:39 | element.psd, and I'm going to scroll
up the list here inside the Layers panel
| | 00:43 | and click on the frame item
right there and turn it on as well.
| | 00:47 | Let's go ahead and extrude it, notice
that we have a rounded rectangle that's
| | 00:50 | cutting a hole in the circle.
| | 00:52 | So I'll go up to the 3D menu, choose
Repousse and choose layer Mask, and then
| | 00:56 | inside the Repousse dialog box, I'm
going to go ahead and change the Type from
| | 01:00 | Inactive to Hole, so that we're
cutting a hole inside that object.
| | 01:04 | The Depth for this effect
should be 0 because we don't want any
| | 01:08 | extrusion whatsoever.
| | 01:09 | We are going to do
everything using the Bevel options.
| | 01:11 | Change the Height value to 5 and the
Width value to 6, and that's it, we're not
| | 01:16 | going to rotate the object in 3D space,
we are not going to apply any materials
| | 01:19 | either, just go ahead and click OK.
| | 01:22 | Now I'll go ahead and scroll to the
bottom of the Layers panel and Ctrl+Click or
| | 01:25 | Command+Click on the camera layer, that
is in an empty portion of the layer, not
| | 01:29 | directly on the thumbnail itself
otherwise you will generate a selection
| | 01:32 | outline, so what we want to have
selected, by the way, are the camera layer and
| | 01:37 | the frame layer, so just those two layers.
| | 01:39 | Then go up to the 3D menu and choose Merge
3D layers to merge them into a single scene.
| | 01:45 | That frame is going to disappear
in back of the camera as you see.
| | 01:48 | Let's go ahead and rotate things so
we can better see what we are doing, so
| | 01:51 | switch to the Camera Rotate tool, and I
am going to drag up into the right like
| | 01:56 | so, so that we have the sort of down-
view of the camera, and then I'll go ahead
| | 02:02 | and scroll to the bottom of the list
here inside the Layers panel, double-click
| | 02:05 | on the thumbnail to bring up the 3D Scene panel.
| | 02:08 | Let's click on this icon that lets us
filter by meshes, click on the frame mesh
| | 02:12 | to select it independently, switch to
one of the Mesh tools, third tool in the
| | 02:16 | list on the left side of the 3D panel,
and then we want to go ahead and 0 things
| | 02:21 | out up here in the Options bar by
clicking on that House icon, and that goes
| | 02:26 | ahead and changes all the
position and orientation values to 0.
| | 02:28 | All right, using the 3D Widget drag on
the little green arrow to the left in
| | 02:33 | order to bring that little frame element
out, like so, and we want to move it to
| | 02:38 | right about there, so it covers up the
inner bevel of that tele in item right
| | 02:45 | there, the tele in mesh that is the
inside edge of the telephoto lens, and I'm
| | 02:50 | looking for a Y value of -296
actually seems to work pretty well.
| | 02:55 | So go ahead and change that Y value
accordingly, once again -296 that's it, and
| | 03:00 | then switch back to your 3D Camera tool,
and up here in the Options bar change
| | 03:04 | View back to Camera cam or
whatever you call to your camera setting.
| | 03:08 | All right, now let's go ahead and
finesse a few material settings.
| | 03:11 | I am going to click on tele out.
| | 03:13 | Now I forgot in the previous exercise
to assign any materials to the telephoto
| | 03:18 | elements whatsoever.
| | 03:19 | So both tele out and tele in
need materials assigned to them.
| | 03:23 | So click on the tele out mesh and then
drop down to the Repousse icon right
| | 03:27 | there, the little R, click on it, that
will bring up the Repousse dialog box,
| | 03:31 | and this is the easiest way to assign
materials to all five faces at once.
| | 03:35 | Go ahead and click on the down-pointing
arrowhead next to All and then click on
| | 03:40 | this guy right there, the material I
have created for you called Titanium
| | 03:43 | Brushed in order to assign materials
to all five of those faces, where they
| | 03:48 | exist and then click the OK button
here inside the Repousse dialog box.
| | 03:52 | Go ahead and switch back to
the camera layer if necessary.
| | 03:54 | Then click on tele in here inside the
3D panel and repeat that process, click
| | 03:59 | on the R icon once again to bring up the
Repousse dialog box, then click on the
| | 04:04 | down-pointing arrowhead next to All
and select Titanium Brush once again, and
| | 04:08 | then once you've done that, go ahead and
click on OK in order to apply that modification.
| | 04:13 | All right, just three more materials
that we need to modify here, and to do so,
| | 04:17 | you are going to have to switch back to
the full scene, so click on Filter By:
| | 04:20 | Whole scene, that first icon at the top
of 3D panel and you can twirl-close rear
| | 04:26 | and face for now because we
don't need to look at them.
| | 04:29 | What we are looking to change is the
Front Bevel Materials associated with ring
| | 04:34 | tele out and tele in.
| | 04:36 | So click for starters here, ring Front
Bevel Material in the list, that's the
| | 04:40 | second material in the list of ring
materials, and then drop down to this little
| | 04:45 | sphere icon, click the down-pointing
arrowhead and change this guy to Titanium
| | 04:49 | smooth, which will be located at
some place at the bottom of the list.
| | 04:53 | And now we need to repeat that process
for the other bevels, so go ahead and
| | 04:57 | press the Enter key to
hide that list of materials.
| | 04:59 | We now, by the way, have a smooth
Titanium finish going on this large area of
| | 05:05 | this outer ring here, and we need to
do the same thing for these slim bevels
| | 05:09 | that are associated with the
telephoto elements of the lens.
| | 05:12 | So go ahead and twirl-close ring,
and then inside tele out click on this second
| | 05:17 | material which will be tele out Front
Bevel Material, click the down-pointing
| | 05:21 | arrowhead next of the sphere and again
click on Titanium smooth to apply it,
| | 05:25 | present the Enter key or
Return key to hide that list.
| | 05:29 | Twirl-close tele out, drop down inside
of tele in to the second material which
| | 05:33 | will be tele in Front Bevel Material.
| | 05:36 | Click the down-pointing arrowhead
next to the sphere and click on Titanium
| | 05:39 | smooth and press the Enter key or
the Return key on the Mac in order to
| | 05:43 | apply that modification.
| | 05:44 | Now things aren't going to look all that
different, but it's going to make a big
| | 05:48 | difference in our final composition.
| | 05:50 | All right, so that's the camera so far.
| | 05:52 | In the next exercise, we are
going to house the entire scene in a
| | 05:55 | spherical panorama.
| | Collapse this transcript |
| Mastering the spherical panorama| 00:01 | I've saved my progress as Outer lens
element.psd and if I double-click on the
| | 00:05 | thumbnail for the camera layer and
inspect one of these bevel materials that are
| | 00:09 | associated with either ring tele out or tele in.
| | 00:12 | Now you can see that the Reflection value
is awfully high I've cranked it up to 50%.
| | 00:17 | That means that we have some very
smooth reflective metal surfaces.
| | 00:21 | Problem is we have nothing to reflect
so far so we need to place the entire
| | 00:25 | scene inside of a spherical panorama.
| | 00:27 | Now we could apply some Environment
Maps which will give us something to
| | 00:30 | reflect, but as you saw in chapter 9 of
the 3D object course when we're working
| | 00:35 | with that 3D bowl environment maps
don't always work out so well they sometimes
| | 00:39 | sort of cop-out after the
top portion of an element.
| | 00:43 | Whereas if we place a scene inside of a 3D
panorama we're going to get a ton of reflectivity.
| | 00:48 | Now taking time to place a scene
especially at this point when it has six
| | 00:51 | different meshes inside of it.
| | 00:53 | Inside of a spherical panorama is a
little bit daunting, because you might
| | 00:57 | figure things could fall apart.
| | 00:58 | However, thank to the fact that we've
taken this disciplined approach it's going
| | 01:01 | to be a heck of lot easier.
| | 01:03 | All right, so here is what I want you
to do hide the 3D panel scroll to the top
| | 01:06 | of the Layers panel and click
on fotolia image and turn it on.
| | 01:11 | And this is this big image that's
created by Sandra Cunningham of the Fotolia
| | 01:15 | Image Library about which you
can learn more at Fotolia.com/deke.
| | 01:19 | And I'm going to go up with this
layer selected I'll go out to the 3D menu
| | 01:23 | choose New Shape From layer and
then choose Spherical Panorama.
| | 01:27 | And that will wrap this scene
inside of a gigantic sphere.
| | 01:31 | Now we don't care to take a big look
at it not really give a darn word as at
| | 01:35 | this point I just want to
combine it with the scene at hand.
| | 01:38 | So with this layer selected scroll to
the bottom of the list and Ctrl+Click, or
| | 01:42 | Command+Click on a Mac on an
empty portion of the camera layer.
| | 01:45 | So both of those three layers are
selected then go out to the 3D menu and
| | 01:49 | choose Merge 3D layers.
| | 01:52 | And wait a moment for Photoshop to do
it's thing and of course it's going to
| | 01:54 | place the sphere in the totally wrong location.
| | 01:58 | At this point I cant even see the darn thing.
| | 01:59 | So I have to grab my Camera Rotate tool
and drag to the right and there is the
| | 02:04 | sphere way in the background and also
very dinky, it's not even sort of big
| | 02:08 | enough to hold the camera that's a problem.
| | 02:11 | So let's go ahead and bring up the 3D
panel by double-clicking on the thumbnail
| | 02:15 | for the camera layer.
| | 02:16 | And then I'll go ahead and Filter By
Meshes once again and I'm going to click on
| | 02:19 | Spherical_Panorama to make it active.
| | 02:22 | And I'll drop down to the Mesh tool
click on it third tool on the list on the
| | 02:26 | left side of the 3D panel.
| | 02:28 | And you might presume, or I would
presume that you can click on the little
| | 02:32 | house icon in order to zeroed out the values,
but that doesn't actually quite do the trick.
| | 02:37 | It will do something to the scene,
but it might not do everything we want.
| | 02:41 | It's certainly not going
to zeroed out the values.
| | 02:43 | All right so let's check out
the size settings for starter.
| | 02:46 | So I'll click on Scale the Mesh and all
those values are set to 1 so that's a good thing.
| | 02:50 | You definitely wants your X, Y, and Z
values to be set to 1 for the scale values.
| | 02:54 | So that's great.
| | 02:56 | All right, now I'm going to click on the
Pan the Mesh tool and I'm going to have
| | 02:59 | to manually change these values to zero.
| | 03:02 | So 0 for X and then click on the
Y value change it to 0 as well.
| | 03:07 | For me Z is already set to
0 so that's a good thing.
| | 03:10 | And then go ahead and grab that
Rotate tool and make sure that those values
| | 03:13 | are zeroed out as well.
| | 03:14 | Actually things have worked out pretty
well for us so far that's what we want.
| | 03:18 | We want everybody zeroed out except for the
scale values all of which should be set to 1.
| | 03:22 | All right, now let's go ahead and
grab the Camera tool once again and the
| | 03:25 | specific camera tool I wanted this
guy Walk with the 3D Camera tool.
| | 03:29 | The tool that looks like a black set of
arrows, and then I'm going to go ahead
| | 03:32 | and drag down in order to
walk away from the scene.
| | 03:34 | And I'm going to have to do that a couple of
times so walk quite far away from that scene.
| | 03:39 | And you can press the Shift key if you
want to in order to constrain your action
| | 03:43 | so that you're not dragging back and forth.
| | 03:45 | All right, notice that the scene is
facing kind of toward at this point.
| | 03:49 | Now the Spherical_Panorama mesh is still
selected I'm going to switch over to my
| | 03:52 | Mesh Rotate tool and I can drag the
Green rotate widget right there in order to
| | 03:57 | rotate the scene around.
| | 03:59 | What I want to see happen I want the
scene to be exactly in back of the camera.
| | 04:04 | And when I figure that is that means
that the Z value needs to be set to -90.
| | 04:08 | And the reason I know this the way I
figure this out was by dragging this
| | 04:12 | Green rotate widget here I was changing the
Z value that's what I needed to figure out.
| | 04:18 | And I'm making it more and more
negatives and it make sense that it needs to
| | 04:21 | be at a right angle.
| | 04:22 | So -90? as the way to go that's going
to set that guy way at the back there.
| | 04:26 | All right, now let's move back into
the scene and I'm going to do that by
| | 04:30 | switching back to my Camera tool
and whichever tool is active here.
| | 04:33 | And I'll go out to the Options bar and
change the View setting back to Camera Cam.
| | 04:38 | So I'm back inside the scene and I can see
that scene right there at the back of the camera.
| | 04:42 | All right, well here is the problem I
don't want to see this scene that is the
| | 04:47 | daisies in the sky and the
clouds and all that jazz.
| | 04:49 | I don't want to see it at all I just
want to see White in the background here.
| | 04:52 | I just want to make sure the camera
is pointed toward that scene so I can
| | 04:55 | reflect the photograph.
| | 04:57 | What that means is I need to open up
the photograph by modifying the diffuse
| | 05:01 | texture and I'll show you exactly
how that works in the next exercise.
| | Collapse this transcript |
| Opening up a spherical panorama| 00:00 | In this exercise, we want to take that
giant spherical panorama and we want to
| | 00:04 | open it up, so the area in back of
the camera is completely white and the
| | 00:09 | panorama just appears in the 180 degree
portion of the sphere that's in front of the
| | 00:13 | camera so we still get that reflectivity.
| | 00:16 | I've saved my progress as Imperfect
panorama.psd and there is a couple of ways
| | 00:21 | to get to that Diffuse texture, that is,
that photograph that's wrapped on the
| | 00:25 | inside of the spherical panorama.
| | 00:27 | One is here inside the LAYERS panel
you can just double-click on Fotolia
| | 00:31 | Image, because that's what it was called
before and notice if you hover over it, there it is!
| | 00:35 | The other option is to double-click on
the layer thumbnail, and then switch over
| | 00:40 | here inside the 3D panel to Filter By:
| | 00:43 | Whole scene, so that you can see
everything and then scroll down the list until
| | 00:46 | you come to the spherical panorama,
click on Spherical Panorama Material which
| | 00:50 | is the material on the inside of the
sphere and notice that we have a little
| | 00:54 | Page icon to the right of Diffuse.
| | 00:56 | So if you click on it and choose
Open Texture, you'll get to that image.
| | 00:59 | So either way either choose this
Command or double-click on Fotolia Image
| | 01:03 | inside the LAYERS panel.
| | 01:04 | I'll go ahead and choose the
command in order to open this sky up.
| | 01:07 | Let's hide the 3D panel.
| | 01:08 | The next step is to convert
the sky to a Smart Object.
| | 01:11 | So with the Fotolia Image selected,
go up to Layers panel fly-out menu and
| | 01:15 | choose Convert to Smart Object or if
you've loaded dekeKeys you can press
| | 01:18 | Ctrl+Comma or Command+Comma on the Mac.
| | 01:21 | Now, I'll go up to the Edit menu,
and I'll choose Free Transform, or press
| | 01:25 | Ctrl+T, Command+T on the Mac,
and then go up to the Options Bar.
| | 01:29 | I want you to make sure that the
center item here inside this Reference
| | 01:33 | point matrix is selected.
| | 01:34 | That way we'll be scaling with
respect to the center, and change the Width
| | 01:38 | value, just the Width value.
| | 01:39 | So don't turn on the Chain icon.
| | 01:40 | Change that W value to 50% and press
the Enter key or the Return key on the Mac
| | 01:45 | a couple of times in a row to apply your change.
| | 01:48 | So that's going to leave this quarter
area over here on the right-hand side and
| | 01:51 | the left-hand side open, add them
together, and you'll get a big 50% area that's
| | 01:56 | open in back of the camera. All right!
| | 01:58 | Also I don't want a bunch of harsh
transitions in the reflection, so I'm
| | 02:01 | going to blur the image by going up
to the Filter menu, choosing Blur and
| | 02:06 | then choosing Gaussian Blur, and then go
ahead and change the Radius value to 15 pixels.
| | 02:11 | Works pretty well and then click OK in
order to apply that modification because
| | 02:16 | we're working with a Smart Object,
Gaussian Blur is the Smart Filter.
| | 02:18 | So you can make changes later on
down the line if you like. All right!
| | 02:21 | That's it.
| | 02:22 | I'm going to go ahead and close this
image and click the Yes button on the PC or
| | 02:25 | the Save button on the Mac to apply my
changes and now you can see that we have
| | 02:30 | a white area open up in the background.
| | 02:33 | But we're still going to
reflect the scene in the foreground.
| | 02:35 | Of course the only way to confirm that,
that's the case is to Ray Trace the
| | 02:39 | scene because that's the
only way you see the reflection.
| | 02:41 | So double-click on the thumbnail for
the Camera layer to bring up the 3D panel,
| | 02:45 | click on Scene up here at the top of
the list and change the Quality from
| | 02:49 | Interactive (Painting) to Ray Traced Draft and
Photoshop will begin to ray trace that scene.
| | 02:54 | Now, we're going to speed up the
progress of course, but you're going to begin
| | 02:57 | to see incrementally how the
reflections are rapping onto the camera, and you
| | 03:01 | also see those shadows cast onto the
ground plane shadow catcher, and notice as
| | 03:05 | the Ray Tracing progresses that you'll
see a lot of reflectivity projected onto
| | 03:09 | those shiny surfaces that represent
the beveled edges of that lens element.
| | 03:14 | You'll also see that peculiar
reflection inside the lens element.
| | 03:18 | Don't worry too much about that.
| | 03:19 | We're going to end up covering that up
with a bunch of interior elements of the lens.
| | 03:23 | All right!
| | 03:24 | There is the rendered
version of the scene so far.
| | 03:26 | So we've got completely white action in
the background which is exactly what we
| | 03:29 | want of course, and then we've got the
scene reflected on the foreground camera.
| | 03:33 | A perfect combination of visibility
and invisibility associated with the
| | 03:38 | spherical panorama here inside Photoshop.
| | Collapse this transcript |
| Using a diffuse texture as a layer effect| 00:00 | In this exercise I'm going to show you
how to paint a diffuse texture in order
| | 00:04 | to create an effect that you can't
otherwise achieve using the 3D features
| | 00:08 | inside of Photoshop.
| | 00:09 | I've saved my progress as Pristine
white background.psd, and I'm going to go
| | 00:13 | ahead and zoom in on this
lens element for a moment.
| | 00:16 | Bear in mind that this thing
ultimately has to make sense.
| | 00:19 | For example, this zoom lens needs to
be able to retract entirely into the
| | 00:23 | body of the camera.
| | 00:25 | And right now we have a separation
between the internal portion of the zoom lens
| | 00:29 | and the external portion, but we
don't have any separation between the lens
| | 00:33 | element and the ring. Now why is that?
| | 00:35 | Well, we got to pick things
apart in order to make sense of it.
| | 00:38 | I'm going to double-click on the
camera thumbnail here inside Layers panel to
| | 00:42 | bring up the 3D panel, then I'll
click on Scene at the top of the list and
| | 00:46 | change the Quality setting
to Interactive (Painting).
| | 00:48 | All right, now I'll switch
over to this icon Filter By:
| | 00:51 | Meshes and I'm going to turn off that
frame mesh in order to reveal the tele in
| | 00:57 | which is the internal
housing of the telephoto lens.
| | 01:00 | I'll go ahead and turn it off and
notice how it fits snugly inside of tele out.
| | 01:04 | So they are two independent objects one
of which fits inside of the other, but
| | 01:10 | if I turn off tele out, you'll see the
reason that it doesn't fit inside the
| | 01:14 | ring, because the rings
got this big white bevel.
| | 01:18 | And I was telling you a couple of
exercises ago that you don't have control, you
| | 01:22 | don't have independent control over
the outer bevel and the inner bevel when
| | 01:26 | extruding using Repousse.
| | 01:28 | So what in the world do we do?
| | 01:30 | Well, I'm going to go ahead and
create an artificial scene as I say using a
| | 01:35 | diffused texture and here is how it works.
| | 01:37 | Let's go ahead and put that scene back together.
| | 01:39 | Notice that you have to click on each
and every eyeball independently in order
| | 01:44 | to turn it on or off.
| | 01:45 | In other words, you can't drag over the
eyeballs column the way you can in the Layers panel.
| | 01:49 | All right, having turned all the
meshes back on, I'm going to switch back to
| | 01:53 | the full scene and I'm going to scroll
down the list here until I come to ring
| | 01:58 | and then the surface I'm looking
for is this one right here ring Front
| | 02:01 | Inflation Material.
| | 02:02 | Go ahead and click on that guy, first
item in the ring list, and then go ahead
| | 02:07 | and click on the folder next to
Diffuse and choose New Texture.
| | 02:11 | And let's go ahead and call this ring
seam or something along those lines.
| | 02:16 | And the size that I'm looking for is
Width of 900 pixels and a Height of
| | 02:20 | 900 pixels as well.
| | 02:21 | We don't care about the Resolution, I'm
setting my Background Contents to White,
| | 02:26 | 8 bits per channel is just fine, click OK.
| | 02:29 | Now that in and of itself is just going
to establish that a diffuse texture exist.
| | 02:33 | It doesn't open it for you until you
click on that little Page icon next to
| | 02:36 | Diffuse and choose Open Texture.
| | 02:39 | Now by default my texture is coming up
white, which isn't quite what I want.
| | 02:43 | I actually hit set, if we switch back to
that Pristine white background image in
| | 02:47 | progress there, and then I click on
this little Diffuse item right there, I'd
| | 02:52 | specify that the color of the diffuse
texture, the brightness is 75%, so I need
| | 02:57 | to dim down that diffuse
texture that I'm about to work on.
| | 03:01 | I'll switch back over to ring seam.psd.
| | 03:04 | Let's go ahead and hide the 3D panel,
because we don't need it right now.
| | 03:07 | Zoom in a little bit and I'll crank up
the Brightness of my foreground color to
| | 03:11 | 75%, like so, and then press Alt+Backspace,
or Option+Delete on the Mac in order
| | 03:17 | to fill the image with that very light gray.
| | 03:19 | All right, now I need to have a
sense of where that ring exists.
| | 03:24 | So I'll go up to the 3D panel,
and I'll choose Create UV Overlays and
| | 03:28 | I'll choose Wireframe.
| | 03:29 | Then I'll go ahead and establish
the Wireframe on an independent layer.
| | 03:33 | Now what we're seeing is the face of the ring.
| | 03:37 | To give you a sense of what I mean there,
I'm going to switch back to Pristine
| | 03:39 | white background.psd, there is the
face, that very tiny face element right
| | 03:44 | there, because most of the ring
at this point is devoted to bevel.
| | 03:49 | All right, switch back to the image in
progress, there is my Wireframe, I as
| | 03:53 | well go ahead and rename that layer
Wireframe, so I can keep track of what's
| | 03:56 | going on and I'm going to recolor it as well.
| | 03:59 | And I'm going to dial in HSB values of
210 degrees and a 100% and a 100% respectively.
| | 04:07 | And then I'll press Shift+Alt+Backspace,
or Shift+Option+Delete on the Mac to
| | 04:11 | fill just the Wireframe elements with that blue.
| | 04:14 | All right, now I'll click on the
Background layer and press Ctrl+Shift+N, or
| | 04:18 | Command+Shift+N on the Mac in
order to create a New layer.
| | 04:21 | And I'm going to call this
layer circle, and then click OK.
| | 04:24 | All right, now I need to locate the
center of the image, so I can draw a circle
| | 04:28 | that perfectly fits inside of this Wireframe.
| | 04:31 | And I'm going to do that by going out
to the View menu and choosing New Guide.
| | 04:35 | I'm actually going to choose
that command twice in a row.
| | 04:37 | I'll go ahead and set the Position
value to 450 pixels, by the way, and that's
| | 04:42 | going to be the exact center, because this
image measures 900 pixels wide by 900 pixels tall.
| | 04:46 | So I'll click OK, notice I'm
creating a Vertical guide to start with.
| | 04:50 | Now, I'll go back up to the View menu,
choose that command again, click on
| | 04:54 | Horizontal this time, and change the
Position value again to a 450 and click OK.
| | 05:00 | And we end up with the exact center
point of the image, but there are other ways
| | 05:03 | to do that, but that's the most
convenient in this case I think.
| | 05:06 | Now I'll go ahead and switch over to
the Elliptical Marquee tool and I'll press
| | 05:10 | the Alt key or the Option key on the
Mac and draw from the center outward like
| | 05:15 | that, until I get a circle that more
or less exactly hits the inside edge of
| | 05:22 | that Wireframe perimeter.
| | 05:24 | Now I'm going to press the DekeKey in
order to restore the foreground color to
| | 05:27 | black and I'll press Alt+Backspace, or
Option+Delete on the Mac in order to fill
| | 05:32 | that selection with black.
| | 05:34 | Now I'll click off.
| | 05:36 | That's not going to quite do the trick;
| | 05:38 | we're just basically hitting
the very edge of that Wireframe.
| | 05:42 | So if I switch back to the Pristine
white background image, I'll see that
| | 05:47 | I've got this blue Wireframe, but I'm
going to see the scene at all poking
| | 05:52 | around that lens element.
| | 05:53 | So I need to make that black circle a
little larger, and I'm going to do so, by
| | 05:57 | of course, switching back to
the image and applying a stroke.
| | 06:00 | This will give me a lot more control
than trying to exactly draw the circle
| | 06:03 | correctly in the first place.
| | 06:05 | So I'll drop down to the Fx icon and
choose Stroke, and notice my stroke Color
| | 06:10 | is Black as by default, the
Position is should be set to Outside.
| | 06:13 | And I'm going to crank that Size value up to,
let's say, 6 pixels, we'll see how that goes.
| | 06:18 | Opacity should be 100%;
| | 06:20 | Blend mode set to Normal is just fine, click OK.
| | 06:23 | And now let's try turning off the Wireframe,
because ultimately we don't want it to be there.
| | 06:28 | And let's just switch back to the
Pristine white background.psd image, and it
| | 06:32 | looks like we have a pretty decent seam,
one that more or less matches the seam,
| | 06:37 | between the inner and outer perimeters
of that retractable zoom lens, which is
| | 06:40 | to say that I think we're done.
| | 06:41 | So I'm going to switch back
to that ring seam.psb image.
| | 06:45 | Go ahead and close it, if necessary
click the yes button or the save button on
| | 06:49 | the Mac, and in my case, because I
kept switching back and forth between the
| | 06:52 | images, Photoshop, it automatically
updated that smart object on the fly.
| | 06:57 | Now I'll zoom out, so that we can take
the entire composition and that's it.
| | 07:01 | So that's one way, there are many
ways to do that kind of thing, but that's
| | 07:05 | one way to stimulate a missing 3D
element using a diffused texture here inside
| | 07:10 | Photoshop.
| | Collapse this transcript |
| Embossing text with bump maps| 00:00 | All right, so here I am looking at
the more or less final ray traced draft
| | 00:03 | version of the composition, and you'll
note that the camera housing sports all
| | 00:07 | kinds of branding elements, including
this emboss text along the right-hand side
| | 00:11 | of the camera back and the
emboss text around the shiny ring.
| | 00:16 | Anytime you want to emboss elements
whether text or otherwise you want to work
| | 00:20 | with a bump map as I'll
demonstrate in this exercise.
| | 00:23 | So I'm going to switch over to my
image in progress, it's called Simulated
| | 00:27 | seam.psd and notice that I have a
couple of other images open as well.
| | 00:31 | One's called Zoom extrusion bump.
| | 00:33 | Now this one is just plain weird, by the way.
| | 00:35 | This is the text for the side of the
camera back and what I did was the following.
| | 00:40 | I'll switch back to my image in progress here.
| | 00:42 | I double-clicked on the thumbnail for
the camera layer to bring up the 3D panel,
| | 00:46 | and then I located the rear mesh
which is the top mesh in the group, and I
| | 00:51 | clicked on rear Extrusion Material which
is the material around the perimeter of
| | 00:54 | the camera back and I went ahead and
lightened up that Diffuse color by clicking
| | 00:59 | on its swatch and raising the
Brightness value to 75%, and then I clicked OK.
| | 01:03 | Now we can't see what happened because
I'm blocking the scene a little bit with
| | 01:07 | the panel so I will move things over.
| | 01:09 | There is that extruded edge.
| | 01:11 | Now I need to add a bump map so I
clicked on the folder icon and I chose New
| | 01:15 | Texture, and I had to come up
with something extremely wide.
| | 01:19 | This was through trial and error, by the way.
| | 01:21 | I figured out that I wanted a
texture with that was 6000 pixels wide and
| | 01:26 | just 200 pixels tall.
| | 01:28 | Again, strictly trial and error, just
had to keep resizing the canvas until I
| | 01:32 | got it to work, and I needed those
6000 pixels because otherwise it ended up
| | 01:38 | looking choppy, and bear in mind that
this makes a modicum of sense because this
| | 01:43 | image has to wrap all the
way around the camera back.
| | 01:45 | Anyway I'm going to cancel out;
| | 01:47 | this is what I came up
with, this guy right here.
| | 01:50 | So it's called Zoom extrusion bump.
psd, and notice the text is backwards.
| | 01:55 | Again, just had to figure that out
through trial and error and also it's only
| | 01:58 | taking up the top half of the image
because when I was working things through
| | 02:02 | and I went ahead and created the UV map
I got this weird wireframe layer right
| | 02:06 | here, and notice if I zoom out
sufficiently it just covers the top of the
| | 02:10 | image, it's just the top half of the image,
it's the bottom half of the image goes unused.
| | 02:14 | So go figure.
| | 02:15 | Anyway I'm just going to go ahead and close
this guy, because we don't need it right now.
| | 02:18 | I just want you to know it's there and I'm
going to apply it right now as a Bump Map.
| | 02:24 | So with rear Extrusion Material
selected here inside the 3D panel I'll click on
| | 02:28 | the folder icon next to Bump and I'll
choose Load Texture, and then I'll go
| | 02:32 | ahead and find that vary file I had
open a moment ago, Zoom extrusion bump.psd
| | 02:37 | and click on the Open button and that
goes ahead and wraps that image exactly
| | 02:42 | into place, like so.
| | 02:43 | Now you can raise the Bump value if you
want to but you're not going to get much
| | 02:46 | in the way of result, so
Bump value of 1 is just fine.
| | 02:49 | All right, next what we want to do is
scroll our way down to the ring mesh, and
| | 02:54 | the specific material we're looking
for is Ring Front Bevel material, and the
| | 02:59 | image that we're going to apply this
time is called Ring text.psd and it's once
| | 03:04 | again found inside that 13_complex_scene folder.
| | 03:06 | Now you don't have to work with my
ridiculous text right there, in fact, when I
| | 03:11 | recommend you do if you're going to do
all this work in order to create this
| | 03:15 | camera that should be your name right
there, this is editable text so you can
| | 03:19 | change it in any way you like,
but here's the thing I've got a couple of guides
| | 03:25 | ready and waiting for you.
| | 03:26 | Once called wireframe and this is the
wireframe that Photoshop created for me The UV Overlay.
| | 03:31 | The inside is the inner bevel.
| | 03:33 | You don't need that because it's hidden,
you just want to work inside the outer bevel.
| | 03:36 | I also went ahead and created for you
this thing called baseline guide which you
| | 03:40 | might find a little more useful because
after you get done changing the text to
| | 03:45 | whatever your name is, let's say, for
example, I'll go ahead and grab my Text
| | 03:49 | tool here and drag across the entire
text and let's say your name is Mary Quite
| | 03:56 | Contrary or something along those lines
and you might not spelt it like this, so
| | 03:59 | I'll change that to an A, and then
press the Enter key on the Numeric Keypad,
| | 04:04 | that's not going to work quite right. Oh!
| | 04:07 | Your name is not May Quite Contrary
it's Mary, gosh I can't spell your name.
| | 04:10 | All right, so I'll press the Enter key
on the Keypad once again and now I need
| | 04:14 | to move that text downward.
| | 04:15 | So I'll press Ctrl+Down Arrow a few
times in a row, Command+Down Arrow on the
| | 04:20 | Mac to nudge that text down and you
can see that it's not lining up with the
| | 04:24 | guideline quite correctly.
| | 04:26 | So you'd go up here to the Option bar
and you click on Create warped Text, and
| | 04:31 | then you would change the value that
Bend value right there to something that
| | 04:35 | makes a little more sense and in my
case I'm going to have to raise that and
| | 04:38 | you're going to have to do so as well,
you're going to have to raise that value.
| | 04:40 | If this happens to be your name which
seems unlikely but still go ahead and take
| | 04:45 | that value to let's say 36, looks pretty good.
| | 04:48 | Click OK, and then I'll
nudge that text down into place.
| | 04:51 | Anyway, whatever your name is you
wanted to wrap along that baseline.
| | 04:55 | Let's go ahead and switch back to the
image in progress here, zoom the image so
| | 04:58 | that it's centered inside the image
window and I'm going to once again bring up
| | 05:02 | the 3D panel, scroll down to ring Front
Bevel Material, click on the folder next
| | 05:07 | to Bump and choose Load Texture, and of
course if you were to make any changes
| | 05:11 | to that Ring text.psd file you would
want to save your changes before you follow
| | 05:16 | this specific step, but assuming
you've saved your changes go ahead and grab
| | 05:20 | that file and click on the Open button
and it will automatically appear embossed
| | 05:26 | into the ring around the lens element.
| | 05:28 | All right, I'm going to go ahead and hide the
3D panel just so we can see what we've done.
| | 05:32 | That is how you create embossed
elements whether text or otherwise using bump
| | 05:38 | maps here inside of Photoshop CS5 Extended.
| | Collapse this transcript |
| Partnering bump maps with diffuse textures| 00:00 | If we take a look at this near final
version of the camera you can see that the
| | 00:03 | face ports a variety of different
branding elements as well as of flash and a
| | 00:08 | couple of HDR lenses.
| | 00:11 | We are going to create these
elements in this exercise using a kind of
| | 00:14 | partnership between a
diffused texture and a bump map.
| | 00:17 | I've saved my progress as Embossed type
.psd, and I'm going to double-click on
| | 00:22 | the thumbnail for the camera layer in
order to bring up the 3D panel, and then
| | 00:25 | make my way down to the first material
in the face mesh, which goes by the name
| | 00:29 | face Front Inflation Material.
| | 00:32 | Now we need to go ahead and load a diffuse
map that I've created for you in advance.
| | 00:35 | So click on the little folder icon
next to the word Diffuse and choose Load
| | 00:39 | Texture and then inside of the 13
Complex Scene folder find the file called Face
| | 00:44 | elements.psd and click on the Open
button and you'll see those elements appear
| | 00:49 | here inside of the image.
| | 00:51 | Now I'm going to go ahead and open this
file so that we can take a closer look at it.
| | 00:55 | By clicking on the little page icon
next to Diffuse and choosing Open Texture
| | 00:59 | I'll go and hide the 3D panel because
we don't need it up on screen right now,
| | 01:03 | and notice that I have three different
text elements those are just straight
| | 01:07 | forward everyday average
text layers inside of Photoshop.
| | 01:11 | The flash and the lenses
involved a little bit of handwork.
| | 01:14 | Now you can check out what's going on
with these objects if you have access to
| | 01:18 | this file of course.
| | 01:20 | The filaments and strobe layers right
there, those represent the flash, and
| | 01:25 | notice that I've taken those little
film and items which are the vertical
| | 01:28 | lines and I've distorted them
outward to the left using a very old filter
| | 01:33 | inside of Photoshop.
| | 01:34 | It's under the Filter menu under the
Distort submenu and it's this guy right
| | 01:38 | here, Shear, and I just used it in order
to bend the filament and out, and the whole
| | 01:42 | idea is that I'm trying to
match the angle of the camera.
| | 01:47 | So this is a foe effect of course,
meaning that it's a 2D effect simulating the
| | 01:51 | final 3D, and if I zoom in here to
the Camera you can see that it does a
| | 01:56 | reasonable job of matching that angle.
| | 01:59 | I've also created sort of some
interior lines inside of the lens.
| | 02:04 | Again, it's all 2D work, in fact in
this case it's all handwork and if you want
| | 02:08 | to check out those elements you can go
ahead and click on HDR 1 or HDR 2, twirl
| | 02:14 | them open in order to see
how they are put together.
| | 02:16 | So this guy right there is HDR 1 and
this guy right there is HDR 2, just in
| | 02:21 | case you're curious.
| | 02:22 | But here's the problem, if I switch back
to that final progress you can see that
| | 02:27 | it doesn't really look all that great
not because the lenses don't hold up they
| | 02:32 | kind of do in a sort of disniefied way.
| | 02:34 | But we've got two problems, one is,
that the lenses are too wide, so they've
| | 02:39 | been distorted as Photoshop is
applied to diffuse texture to the 3D object.
| | 02:44 | So let's go ahead and make those lenses
more narrow, and through trial and error
| | 02:48 | this is what I came up with.
| | 02:49 | I'll go ahead and click on the HDR 1
group there inside the Layers panel.
| | 02:53 | I'll go up to the Edit menu, choose the
Free Transform command or press Ctrl+T,
| | 02:56 | Cmd+T on the Mac, and then just
change the Width value to 94%.
| | 03:00 | So you can fool around with some other
values if you want to, but that's what
| | 03:04 | worked out for me and then let's go
ahead and repeat that process for HDR 2.
| | 03:08 | So click on the HDR 2 group, you should
be able to go ahead and choose Transform
| | 03:13 | again, but if you do so my
experience says that it'll transform from the
| | 03:18 | left-hand side of that
lens which is not we want.
| | 03:21 | We want to transform with regard to the center.
| | 03:23 | So go ahead and choose Free Transform
again, Ctrl+T, Cmd+T on the Mac, and just
| | 03:28 | re-enter that Width value of 94%.
| | 03:30 | Then press the Enter key or
the Return key on the Mac.
| | 03:33 | All right, having done that I'll go
ahead and close the image, click on the Yes
| | 03:36 | button here on the PC or the Save
button on the Mac in order to save my changes
| | 03:40 | and the lenses are looking better,
with a big exception they are brushed very
| | 03:46 | much like the metal in the background.
| | 03:48 | So the metal is brushed with these sort
of diagonal lines and so are the lenses
| | 03:53 | which, doesn't make any sense
whatsoever so was the strobe.
| | 03:55 | So are these white pieces of text here
which should appear embossed is my thinking.
| | 04:01 | So they should stick out a little bit.
| | 04:02 | This text down here in the lower right
corner, that's okay, it's just sort of
| | 04:06 | stamped onto the metal.
| | 04:08 | So its fine the way it is, but we
need to make some other modification.
| | 04:11 | So here's what I did.
| | 04:13 | I went ahead and opened up that file,
that same file that I created before, and
| | 04:17 | I'll just open it in front of you
here which is Face elements.psd, then I
| | 04:20 | created a bump map based on that file.
| | 04:23 | Let me show you how I made it.
| | 04:24 | I'll go ahead and turn on this brushed
layer right there and it appears just to
| | 04:29 | be a layer of gray, but if I go ahead
and expand that layer by clicking on the
| | 04:33 | down pointing arrowhead on the right-
hand side then you can see that it's a
| | 04:37 | smart object with a few smart filters
applied, including let's go ahead and zoom
| | 04:40 | in here a little bit, Add Noise and
then there's this Filter Gallery Filter.
| | 04:45 | Specifically it's the filter that goes by
the name Angled Strokes that's available.
| | 04:50 | I believe it's under the Filter menu,
you choose Brushstrokes and there it is
| | 04:54 | Angled Strokes, and that gives you the
effect that you are seeing so far, and
| | 04:58 | then finally there is Motion Blur,
and I didn't actually come up with this
| | 05:01 | combination of filters.
| | 05:02 | This is based on a bump map that's
included with one of the materials that
| | 05:06 | shifts along with Photoshop CS5 Extended.
| | 05:09 | All I did was to take this effect right here.
| | 05:11 | This brushed layer and I went up once
again to the Edit menu and shows Free
| | 05:15 | Transform Ctrl+T, Command+T on the Mac.
| | 05:17 | I'm going to get this warning telling
me that the filters will be temporarily
| | 05:21 | turned off as I go ahead and scale
the shape and I'm going to Alt+Drag or
| | 05:26 | Option+Drag one of the corner handles,
like, so until the rectangle is larger
| | 05:31 | than the overall image, just slightly larger.
| | 05:33 | Then I'll press the Enter key or the Return
key on the Mac in order to apply my change.
| | 05:36 | It's going to take a few moments
because Photoshop has to re-calculate all
| | 05:39 | those Smart filters, but once it renders you'll
see the brushed metal effect in the background.
| | 05:44 | Then go ahead and turn off that layer 12
.1 Gorilla pixels because we want that
| | 05:48 | to stamped onto the metal.
| | 05:50 | The Cambot and Click'n'shoot text
should be white as we're seeing here so that
| | 05:54 | the text sticks out just a little bit,
and then the other elements the Strobe
| | 05:59 | and the two lenses they should be
absolutely black, and if you're working along
| | 06:03 | with me you can get that effect by
turning off the Strobe and Filaments layers
| | 06:07 | and then turning on that
black Strobe layer right there.
| | 06:11 | Go ahead and expand out the layer
Effects so you can see them all and turn off
| | 06:15 | effects so you are just seeing the
black strobe shape and nothing more, and, by
| | 06:19 | the way, these layer effects tell the story of
how I achieved that strobe in the first place.
| | 06:24 | So in case you are curious you can
sort of plot your way through them.
| | 06:27 | Anyway, next I'm going to scroll-open
HDR 1 and turn off the two interior layers
| | 06:32 | right there, so we just have a black
circle, and then I'll scroll-open HDR 2 and
| | 06:37 | turn off those two interior layers so
that we're seeing that black circle there
| | 06:41 | as well, and then of course I would have
to transform these two circles in order
| | 06:45 | to get the final effect.
| | 06:46 | But I have already done this for you.
| | 06:47 | So I'm going to return to the Embossed
type.psd image and bring up the 3D panel
| | 06:54 | again, make sure that face Front
Inflation Material is selected.
| | 06:57 | Click on the little page icon next to
the word Bump because there's already a
| | 07:01 | bump map applied, this doesn't happen
to be the right one, and then choose Load
| | 07:05 | Texture, and then if you're working
along with me you have access to that
| | 07:09 | 13_complex_scene folder.
| | 07:10 | You can scroll your way down and find
a file that's called Strobe and Lens
| | 07:14 | protector.psd, go ahead and open it up,
and that will apply that bump map that
| | 07:20 | I just showed you how to create, and we
will end up achieving this effect right there.
| | 07:24 | All right, let's go ahead and hide the 3D panel.
| | 07:26 | I'm going to zoom out a little bit so I
can take in the entire image and let's
| | 07:29 | go ahead and apply a render at this point.
| | 07:31 | By bringing up the 3D panel
again, gosh why did I hide it?
| | 07:34 | I'll go to the Scene item at the top
of list, click on Global Ambient Color
| | 07:39 | because we want to make that
ambient color a little bit darker.
| | 07:41 | Take the Brightness value down to 65
%, click OK, and now let's go ahead and
| | 07:46 | change the Quality Setting from
Interactive (Painting) to Ray Traced Draft, and
| | 07:49 | obviously it's going to take a
few moments, maybe even minutes.
| | 07:53 | In order to ray trace the scene we're
going to go ahead and speed up the process
| | 07:56 | here inside the movie.
| | 07:57 | In any case a moment or two or three later
you'll see this rendered version of the scene.
| | 08:02 | All right, so much for the branding
and the flash and the lenses and the
| | 08:05 | embossed type and so forth, in the next
exercise we are going to start building
| | 08:09 | out the inside of the lens.
| | Collapse this transcript |
| Automating Repoussé with an action| 00:00 | All right, here I am looking at ray
traced final version of the artwork, and in
| | 00:04 | this exercise we're going to extrude
the series of four concentric rings that
| | 00:08 | work here inside of the lens element.
| | 00:11 | And we're going to do so because each
one of these rings relies on the exact
| | 00:14 | same set of Repousse settings, I am
going to show you how to record a 3D
| | 00:18 | action and play it back.
| | 00:20 | I've saved my progress as Jewels and
embellishments.psd, and notice here inside
| | 00:25 | the Layers panel, toward the top of the
list you'll see four shapes called inner
| | 00:29 | 1 through inner 4, these
are each one of the rings.
| | 00:33 | And if you turn each one of them on
you'll see that they are the same size in
| | 00:37 | the outside, so the outer circle is the
same size in the case of each, but the
| | 00:41 | inner circles get larger and larger as
we go from the smallest at inner 4 to
| | 00:47 | the largest at inner 1.
| | 00:48 | All right, so we're going to start
things off with inner 1, I am going to turn
| | 00:52 | off the others here.
| | 00:53 | And then I want you to go to the Window
menu and choose the Actions command to
| | 00:56 | bring up the Actions panel.
| | 00:58 | And let's create a new Action set by
clicking on the folder icon, and we'll call
| | 01:01 | this one Repousse and then click OK.
| | 01:05 | Now to record an Action, go ahead and
click on the little page icon on the
| | 01:08 | bottom of the Actions panel which brings
up the new Action dialog box, and let's
| | 01:11 | call this action Extruded ring
and click on the Record button.
| | 01:15 | Next, go up to the 3D menu, choose
Repousse, and the most flexible way to work
| | 01:20 | is to choose the layer Mask command,
which is available anytime you're
| | 01:23 | extruding a Shape layer.
| | 01:25 | And start by changing the Depth value
to 0.02, then go to the Bevel values and
| | 01:30 | change Height to 5 and then Width to 8.
| | 01:33 | Now we don't need any special
material, we definitely don't want to start
| | 01:36 | dragging inside of the image window
to rotate the object but we do need the
| | 01:41 | inner circle to provide a hole, so drop
down to the Internal Constraints, click
| | 01:46 | on the Type option and change it to
Hole, and then click OK in order to apply
| | 01:51 | that modification,
and that's all you need to do.
| | 01:53 | So now just click on the little
square Stop button in order to stop
| | 01:57 | recording the action.
| | 01:58 | All right, we've managed to create one
of the rings, let's try to create another
| | 02:02 | by playing back this action.
| | 02:03 | So turn off inner 1, click on inner 2,
turn it on to make it active, and then
| | 02:08 | click on the Extruded ring action and
click on the triangular playback button in
| | 02:12 | order to play that action back.
| | 02:14 | Now the problem is, just as when you
create a Preset inside the Repousse
| | 02:18 | dialog box the action doesn't pay any
attention to the constraint, so we are
| | 02:25 | not creating a hole in the center of this
object which is just a terrible tragic thing.
| | 02:30 | And if you were to twirl-open this item
that says Repousse from layer Mask, you
| | 02:34 | would see all kinds of settings here
but nothing about how we change the
| | 02:39 | constraint to a hole.
| | 02:40 | What is the problem?
| | 02:42 | Anyway, it's very frustrating and
everything, but there is a workaround, so
| | 02:46 | here's what I want you to do.
| | 02:47 | Click on Repousse from layer
Mask in order to make it active.
| | 02:50 | So you need the Extruded ring item to
be twirled open, then click on the little
| | 02:54 | circular Record button in
order to add to this action.
| | 02:58 | And I want you to go to the Actions
panel fly-out menu and choose this command
| | 03:02 | right here, Insert menu Item.
| | 03:04 | Then go up to the 3D menu, choose Repousse
and choose Edit In Repousse and then
| | 03:10 | click OK in order to insert that command.
| | 03:13 | And the reason you have to do that is
because notice that there's no little
| | 03:16 | dialog box icon next to
Repousse from layer Mask.
| | 03:20 | For some reason you can't have the
dialog box stay up onscreen so you have to
| | 03:24 | bring it back up onscreen as we're doing here.
| | 03:27 | Next, click this square stop
button in order to stop recording.
| | 03:30 | And I'm just going to playback this
one portion of the action, so it selected
| | 03:34 | you would notice Edit In Repousse is active.
| | 03:37 | Click on the Play button and that'll go
ahead and bring up the Repousse dialog
| | 03:40 | box and I can manually change Type from
Inactive to Hole, and then click OK, and
| | 03:45 | the rest of the work is done for me.
| | 03:46 | So it's kind of half an action is
basically what it comes down to.
| | 03:51 | All right, let's turn off inner 2 and
click on inner 3 to make it active and
| | 03:54 | then turn it on as well.
| | 03:56 | Now with Extruded rings selected here
inside the Actions panel go ahead and
| | 04:00 | click on the Play button and that will
first apply our original settings that
| | 04:04 | don't include the inner constraint,
and then it'll bring Repousse back up on
| | 04:07 | screen so that we can manually change Type
to Hole and click OK. And I have to say;
| | 04:12 | even though that's little bit of
monkey business going on there, it is a lot
| | 04:16 | easier, it's a lot more convenient than
having to choose command and dial-in all
| | 04:19 | the settings, that's a little
bit faster I believe as well.
| | 04:22 | I'll go ahead and turn off that inner 3
layer, scroll down a little bit, click
| | 04:26 | on inner 4, turn it on, and then play
this action again by clicking on the Play
| | 04:30 | button, wait for the dialog box to come
up onscreen, then change the Type option
| | 04:35 | from Inactive to Hole and click OK.
| | 04:37 | And we now have all four rings right
ready to go and you can check them out just
| | 04:41 | by turning each one of them on,
like so, here inside the Layers panel.
| | 04:47 | In the next exercise we will once again,
in a fairly assembly-line fashion, we
| | 04:52 | will go ahead and place those
rings inside the larger 3D scene.
| | Collapse this transcript |
| Combining 3D layers with Merge Down| 00:00 | In this exercise, we're going to take
those four extruded rings that we created
| | 00:04 | in the previous exercise and we're going to
merge them one at a time with our- 3D Camera.
| | 00:10 | And we're going to do so in the
most efficient manner possible.
| | 00:13 | Now we're not going to record an
action because, while you can record an
| | 00:17 | action in the first place, an action
that merges two 3D layers together,
| | 00:21 | during playback if you have two 3D
layers selected and you play the action
| | 00:26 | back then you will end up wiping
out the 3D layer and creating a 2D
| | 00:30 | pixel-based layer instead.
| | 00:32 | So it's just too risky.
| | 00:33 | Instead, we're going to do the following.
| | 00:35 | I've saved my progress as Four
extruded rings.psd, and I am going to start
| | 00:39 | things off here inside said the Layers
panel by collapsing each one of these
| | 00:43 | inner layers just so it takes up less
room in the panel, and then I'll click on
| | 00:47 | one of layers, inner 4 in my case, and
then Shift+Click on inner 1 to select all
| | 00:51 | four of them, and I'll scroll down
the list a little bit and drag them to
| | 00:54 | directly above the camera layer.
| | 00:56 | Of course, it's very important that
the camera layer is at the bottom of the
| | 01:00 | stack, so we keep our lights,
and our camera angle, and all that jazz.
| | 01:04 | Next, I am going to click on the
camera layer to make it active, actually
| | 01:07 | I'll double-click on its thumbnail to
bring up the 3D panel, click on Scene
| | 01:11 | to make it active at the top of the
list and change the Quality back from Ray
| | 01:14 | Traced Draft to Interactive (Painting)
so that we can get a little bit of
| | 01:18 | work done without any delays.
| | 01:19 | All right, now I am going to go
ahead and reverse the order of these
| | 01:23 | inner layers right here.
| | 01:24 | So in other words, inner 1 will be
directly on top of camera, inner 2 will be
| | 01:29 | directly in front of inner 1, inner 3
will be directly in front of inner 2, and
| | 01:33 | then inner 4 will be at the top.
| | 01:35 | All right, now I am going to
turn off inner 2 through inner 4.
| | 01:39 | And the reason I am taking this
approach is I want to merge inner 1 with camera
| | 01:42 | first and then inner 2, and then
inner 3, and then inner 4 as you'll see.
| | 01:47 | Now, as you know, the way to merge
two 3D layers together is to select one,
| | 01:51 | Shift+Click on the other, go up to
the 3D menu and choose Merge 3D layers.
| | 01:56 | But those of you who know my penchant
for keyboard shortcuts, I've got dekeKeys
| | 01:59 | and it just riddled with additional
shortcuts, may wonder why I didn't create
| | 02:04 | any shortcuts for the 3D menu.
| | 02:07 | And the reason is, for example, it'd
be great to have a Repousse shortcut.
| | 02:10 | The problem is that there are all
those different commands, whether you're
| | 02:13 | working with the Text layer or a Shape
layer, which is just dumb in my opinion.
| | 02:17 | I have to tell you, I don't
think there is anyway around it;
| | 02:19 | there should just be a
Repousse command and that's it.
| | 02:21 | There is no excuse for that submenu of
commands, but what it means is that I
| | 02:25 | can't really apply a shortcut, I'd have
to apply a bunch of different shortcuts
| | 02:28 | and that's not worth it.
| | 02:29 | You may also look at this one and
think, well, we apply this command a lot,
| | 02:32 | that needs a shortcut.
| | 02:33 | Well, it already actually has one.
| | 02:35 | So you can go ahead and apply this
command as you know, or here is the way to work.
| | 02:39 | Click on just the top layer of
the two that you want to merge down.
| | 02:43 | So don't click on both of
them, that would ruin things.
| | 02:45 | Just click on one, and then go up to
layer menu and choose Merge Down, or you
| | 02:51 | can pres Ctrl+E or Command+E on the Mac.
| | 02:53 | But this is a little risky.
| | 02:55 | So this is specifically technique
for those of you who are feeling
| | 02:58 | very comfortable in the realm of
3D and you're looking for a little
| | 03:02 | bit more efficiency.
| | 03:04 | If you feel like you're barely treading
water, you're better off choosing that
| | 03:07 | command under the 3D menu.
| | 03:09 | Anyway, I am going to go
ahead and choose that command.
| | 03:11 | Now what's going to happen is Photoshop
will merge inner 1 down into the camera
| | 03:16 | scene and we'll get the usual result
with inner 1 in the background someplace.
| | 03:22 | Let's go ahead and see where it went,
by grabbing the Camera tool, and this is
| | 03:26 | very important that you reset the
position each and every time, right
| | 03:30 | immediately after you add the object.
| | 03:32 | So go ahead and get that Camera tool,
I am going to drag it to the right so I
| | 03:36 | can figure out where in
the world the thing went.
| | 03:38 | I am guessing it's way outside of the sphere.
| | 03:42 | And let's see if I am right.
| | 03:43 | Might as well we have a chuckle here,
I'll go ahead and grab the Walk with the
| | 03:47 | 3D Camera tool and drag downward.
| | 03:50 | And sure enough, there it is.
| | 03:53 | Just ginormous outside of the sphere!
| | 03:56 | Thank you very much Photoshop.
| | 03:58 | Let's check out what's going on here.
| | 04:00 | I'll bring up the 3D panel and
I'll switch over to Filter By:
| | 04:04 | Meshes, and then I'll click on inner 1
and click on my Mesh tool right there.
| | 04:09 | And if I switch to the Scaling option,
sure enough all values are set to
| | 04:14 | 19.5, that is 1950%.
| | 04:19 | That means we are scaling the object to 191/
2 times its normal size. It's ridiculous!
| | 04:24 | Anyway, what we want to do is
click that little House icon and that
| | 04:28 | should remedy the problem.
| | 04:29 | We should change the Scale values to 1, 1,
1 and the Position values to 0, 0, 0,
| | 04:35 | and of course the
Orientation values to 0, 0, 0 as well.
| | 04:38 | All right, now let's switch back to the
Camera tool, go up to the Options Bar,
| | 04:42 | click on View and change it back to
Camera cam so that we are back inside the
| | 04:47 | scene where we want to be.
| | 04:48 | Now, we're not necessarily going
to see that ring at this point.
| | 04:52 | So make sure inner 1 is still selected
here inside the 3D panel, switch to the
| | 04:56 | Mesh tool again and let's go ahead
and switch to the Pan the Mesh tool here
| | 05:00 | inside the Options Bar.
| | 05:01 | And I want to change the Y value to -400,
that will be a starting point for this
| | 05:06 | specific ring, and then we'll
later move it into the right location.
| | 05:09 | All right, let's do the same for inner 2.
| | 05:12 | Now I'll click on inner 2, the inner
2 layer, turn it on, and let's say I
| | 05:16 | clicked on one, Shift+Clicked on the other.
| | 05:17 | See, this is the risk you run using
this wonderful efficiency technique that I
| | 05:21 | am sharing with you.
| | 05:22 | If you have two layers selected,
and then you go up to the layer menu and you
| | 05:26 | choose Merge layers, that's bad.
| | 05:28 | If you see Merge layers,
warning sign, that's a bad thing;
| | 05:31 | you want to see Merge Down.
| | 05:32 | But in any case if you choose command,
or you press the keyboard shortcut, then
| | 05:35 | you wouldn't see any command of
course, Ctrl+E or Command+E on the Mac.
| | 05:38 | Then look just like that, no delays,
we've gone ahead and squashed our 3D
| | 05:43 | objects and merged them into a 2D raster layer.
| | 05:46 | So we lost everything.
| | 05:47 | And the sign that you should see on
screen is that your ring didn't shift to
| | 05:51 | a different position.
| | 05:52 | So if you ever see the object
not shift, and you think oh, wow!
| | 05:57 | Hey, for once Photoshop didn't goof things up.
| | 05:59 | That's a bad sign, actually, because it
means you got rid of your 3D layers and
| | 06:03 | you now have a 2d layer.
| | 06:04 | So press Ctrl+Z, Command+Z on the Mac,
click instead on inner 2 to by itself so
| | 06:10 | the top layer of the two that you want
to merge, go up to the layer menu and
| | 06:14 | choose Merge Down or as I say,
press Ctrl+E, Command+E on the Mac.
| | 06:18 | All right this time around we're not
going to go outside of the sphere and try
| | 06:21 | to figure out where the ring went,
certainly it will eventually disappear here,
| | 06:25 | but we're just going to go ahead
and bring up the 3D panel. Filter By:
| | 06:30 | Meshes of course, click on inner 2,
make sure that one of the Mesh tools is
| | 06:33 | selected, go up here to the Options bar,
click on the little House icon in order
| | 06:38 | to restore the object to the 0, 0, 0
position and change the Y value this time
| | 06:43 | to -450, and go ahead and press the
Return key or the Enter on the Mac, just so
| | 06:48 | that we are seeing each
one of these rings, like so.
| | 06:51 | All right, let's go ahead and grab
inner 3, turn it on, make sure it's
| | 06:55 | selected independently.
| | 06:56 | I am going to use a keyboard
shortcut, Ctrl+E or Command+E on the Mac.
| | 07:01 | And so this is an efficient technique,
it's not necessarily a quick technique
| | 07:05 | of course, because you still have to
wait for Photoshop to do its thing, but in
| | 07:08 | the gradual passing of time you will go ahead
and merge those two objects into a single 3D layer.
| | 07:14 | Make sure you're still seeing that little
cube in the lower right corner of the thumbnail.
| | 07:19 | Then in the 3D panel, switch to Filter By:
| | 07:21 | Meshes and click on inner 3 to make it active.
| | 07:24 | I still have my Mesh tool, I'll go up
to the Options bar, click on the little
| | 07:27 | House icon in order to restore all the
various zero values, and then change the
| | 07:32 | Y value in this case to -500.
| | 07:35 | And then finally, once you see that
third ring pop into place there, go ahead
| | 07:39 | and click on the inner 4 layer, turn
it on, press Ctrl+E or Command+E on the
| | 07:43 | Mac in order to merge it down with
the camera layer, so again just that one
| | 07:48 | layer should be selected.
| | 07:49 | Wait it out, let Photoshop do its thing.
| | 07:52 | Then inside the 3D panel go ahead
and switch over here to Filter By:
| | 07:56 | Meshes, drop down to inner 4 to make
it active, go up here to the Options Bar
| | 08:01 | assuming your Mesh tool is still selected.
| | 08:03 | Click on the little House icon in
order to restore the 0, 0 values.
| | 08:08 | And then finally, assuming that your
Pan tool is selected, go ahead and change
| | 08:12 | the Y value to -550 and then press the
Enter key or the Return key on the Mac in
| | 08:16 | order to apply that change.
| | 08:18 | And you should see a total of four
rings coming at you like a series of washers
| | 08:22 | from the tip of that lens element.
| | 08:24 | All right, so far so good.
| | 08:26 | In the next exercise, we're going to
move the rings into the lens so that they
| | 08:30 | appear to decline in space.
| | Collapse this transcript |
| Nesting objects in regular increments| 00:00 | I've saved my progress as Shooting
washers.psd, and in this exercise we're going
| | 00:04 | to take those washers, better known
as rings, and place them one at a time
| | 00:09 | inside the lens element.
| | 00:11 | I'll double-click in the thumbnail for
the camera layer to bring up the 3D panel.
| | 00:14 | Then click on Filter By:
| | 00:16 | Meshes so that we're seeing the Meshes
independently of the materials, and the
| | 00:20 | lights and so forth.
| | 00:21 | And I'm going to turn off a few of
these meshes here, I am going to start by
| | 00:25 | turning off inner 2.
| | 00:27 | I want to leave inner 1 on because that's
the first Mesh that we are going to modify.
| | 00:31 | Turn off inner 3, and you are going to have to
turn each one of these Meshes off independently.
| | 00:36 | Turn off inner 4, and wait for
Photoshop to update the composition.
| | 00:40 | And then I'm going to turnoff frame
because otherwise that mesh would get in my
| | 00:43 | way of seeing what I'm doing.
| | 00:45 | Now I am going to click on inner
1, and actually, you know what?
| | 00:48 | I'll start with tele in, which is the
forward part of the lens element, just so
| | 00:53 | we can get our bearings here.
| | 00:54 | And I'll go ahead and select from the
third tool icon, I'll like 3D Mesh Pan
| | 00:59 | tool so that I can see my Position values
here, and I'll note that my Y value is -300.
| | 01:04 | All right so I was telling you
negative Y values move the objects forward, as
| | 01:09 | little sense as that makes, but that's
how it works, and positive Y values move
| | 01:14 | the objects backward.
| | 01:15 | So in order to move the object backward
I'd actually need to increase the value
| | 01:19 | by making it less negative.
| | 01:21 | So I am going to click on inner 1, I
don't want to change the position of tele
| | 01:24 | in, I want to click on inner 1 to make
it active, and then why don't we go ahead
| | 01:29 | and increase the value by 40, and for
those of you who are familiar with Math,
| | 01:33 | you know that means you actually kind of
subtract from 300-40, so in other words
| | 01:38 | we get -260, if that makes any sense.
| | 01:41 | And that will go ahead and scoot the
ring into the lens element, like so.
| | 01:45 | All right from here on out I am going
to scoot each one of these rings by a
| | 01:51 | factor of 20 so we'll go from
-262 to -240 to -220, and so forth.
| | 01:57 | So click on inner 2, turn it on,
and again, I could sort of drag the darn thing
| | 02:02 | around, or I could just make a decision
that I am going to work incrementally,
| | 02:05 | which seems to me to be a
better idea in this case.
| | 02:07 | So I've got inner 2 selected, I can
see my Position options, and I'll change
| | 02:11 | the Y value to -240, press the Enter
key or the return on the Mac in order to
| | 02:15 | scoot that ring inward.
| | 02:17 | All right, now click on inner 3 to make
it active, turn it on as well, and then
| | 02:22 | change the Y value in this case to -
220 and press the Enter key or the Return
| | 02:26 | key on the Mac in order to invoke that
change, and then finally, select inner 4,
| | 02:30 | turn it on and go ahead and change
that Y value to -200, and then press the
| | 02:36 | Enter key or the Return key on the Mac,
and we end up getting this effect here.
| | 02:40 | Here is the problem.
| | 02:42 | I'm still seeing a little bit of that
inner edge which is actually the hole that
| | 02:48 | is cut out of this face mesh.
| | 02:50 | And I don't want to see that, I want
to see all the back to rear without
| | 02:53 | anything else appearing in front of it.
| | 02:56 | Now, of course, if we are really
looking into the camera back we would start
| | 03:00 | seeing the circuitry in everything else,
we're going to cover up that stuff with
| | 03:03 | a lens and some glass so it'll look very pretty.
| | 03:06 | But anyway, in the meantime I want to
take inner 4 here and scoot it just a
| | 03:10 | little bit further back.
| | 03:11 | I am going to take that Y value up to -
180 and press the Enter key or the Return
| | 03:18 | key on the Mac, and that will scoot
this guy just a little bit inward so it
| | 03:22 | covers up that edge,
and everything looks exactly right.
| | 03:26 | Now you might say, well, now the rings
aren't spaced equidistant from each other.
| | 03:29 | Well they wouldn't necessarily be
spaced exactly equidistant from each other
| | 03:33 | inside of a camera depending on the
focal length, and so forth anyway.
| | 03:36 | So this ends up achieving a
pretty naturalistic effect.
| | 03:39 | All right, let's finalize things here
by turning the frame item back on the
| | 03:43 | frame mesh here inside the 3D panel.
| | 03:46 | And we end up covering up the rings and
nestling them inside the lens element, like so.
| | 03:51 | The only thing left now
is to introduce the glass.
| | 03:55 | So we now have a scene, a 3D scene,
that contains a total of ten extruded
| | 04:00 | objects as well as an 11th object
in the form of a spherical panorama.
| | 04:05 | All right, that completes the
basic housing of the camera.
| | 04:08 | In the next chapter I'll show you
how to introduce the glass elements.
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|
|
14. Working with GlassA scene's best supporting material| 00:00 | Materials define an object,
whether it's leather, metal or plastic.
| | 00:05 | That material makes the difference
between you wondering why a scene doesn't
| | 00:09 | quite work or feeling proud
of a 3D graphic well done.
| | 00:14 | Leather is easy, metal takes some
work, plastic not so, but the elusive
| | 00:19 | material, the one that
takes the most effort is glass.
| | 00:23 | It reflects, it refracts and
yet it's barely even there.
| | 00:27 | In fact, it is that one material that
contributes the most to a scene by calling
| | 00:32 | the least attention to itself and
providing support for everything around it.
| | 00:37 | Here, let me show you how it works.
| | Collapse this transcript |
| Extruding and positioning glass| 00:00 | Just so that we can get our bearings I'm
looking at the ray traced final version
| | 00:03 | of the completed camera.
| | 00:05 | In this exercise we're going to extrude the
piece of glass at the front of this lens element.
| | 00:09 | If you're working along with me,
go ahead and open up this file, it's
| | 00:12 | called Ring series.psd.
| | 00:14 | It is the culmination of the previous
chapter rendered using Photoshop's ray
| | 00:18 | traced draft setting, just so
that we can see the shadows and the
| | 00:21 | reflections and so forth.
| | 00:23 | Inside the Layers panel go ahead and
scroll on up so that you can see the two
| | 00:26 | shape layers, glass and lens.
| | 00:28 | I want you to click on glass to make it
active and turn it on as well and you'll
| | 00:32 | see this rounded rectangle.
| | 00:34 | Now go up to the 3D menu choose
Repousse and then choose layer Mask.
| | 00:39 | Inside the Repousse dialog box, I want you
to change the Depth value to 0.05, like so.
| | 00:46 | The only other thing we are
going to do is assign a material.
| | 00:49 | So go ahead and click on the down-
pointing arrowhead next to All, here in the
| | 00:53 | upper-right-hand corner of the dialog
box to bring up a list of materials.
| | 00:57 | You should see my five materials if
you've been working along with me.
| | 01:00 | If for some reason you haven't, then
click on the right-pointing arrowhead.
| | 01:04 | Choose the Load Materials command.
| | 01:06 | If you see an alert message, go
ahead and click on the OK button.
| | 01:09 | Navigate your way to the 14_glass folder,
click on Camera materials.p3m and then
| | 01:14 | click the Load button.
| | 01:15 | Now I'm going to cancel out
because I've already loaded my materials.
| | 01:18 | I'll click the down-pointing arrowhead
next to All and then choose this material
| | 01:23 | right here, Refractive glass.
| | 01:25 | That's the one I want you to use
and that's going to make the lens
| | 01:28 | completely disappear.
| | 01:29 | Don't worry about that for a moment.
| | 01:31 | There are no internal constraints so
you don't have to set type to hold this
| | 01:34 | time around, just go ahead and
click OK in order to extrude that shape.
| | 01:38 | Now it doesn't look like we've done
anything but make it disappear, and that's
| | 01:42 | because of the opacity of the glass is
absolutely 0% and we're not seeing the
| | 01:48 | refractions and the reflections and so
forth, until we ray trace this layer.
| | 01:52 | So in the name of keeping track of
it, as long as we're working in the
| | 01:55 | Interactive mode, bring up the 3D panel
and then find the first material which
| | 02:00 | is called glass Front Inflation Material.
| | 02:02 | Go ahead and select it and change the
Opacity of this object of this particular
| | 02:07 | material, and bear in mind, we only
have two surfaces that matter, Front
| | 02:10 | Inflation Material and Back Inflation Material.
| | 02:13 | We're not seeing the extruded
signs and we don't have any bevel.
| | 02:16 | Anyway go ahead and select the
Front Inflation Material and change the
| | 02:19 | Opacity value to 20%.
| | 02:22 | Then we'll at least see a
ghost version of that lens.
| | 02:24 | All right, next I want you to hide the
3D panel, switch to the camera layer and
| | 02:29 | just so Photoshop has attempted to ray
trace our scene all the time, go ahead
| | 02:33 | and change the Quality setting from
Ray Traced Draft to Interactive Painting.
| | 02:37 | You may recall in order to see that
option, you have to have Scene selected at
| | 02:41 | the top of the panel.
| | 02:42 | After a moment, Photoshop will go
ahead and re-render the Scene, like so.
| | 02:46 | I'm going to hide the 3D panel, scroll
back up here inside the Layers panel,
| | 02:49 | and as you may recall there are two
different ways to go ahead and merge these
| | 02:53 | two layers together.
| | 02:54 | One is to select them both and then go
up to the 3D menu and choose the Merge
| | 02:59 | 3D layers command, or you can go ahead
and click on the glass layer to make it
| | 03:03 | active, the top layer of the two,
and in this case glass has to be set directly
| | 03:07 | in front of camera.
| | 03:09 | Then you go up to the layer menu and
choose Merge Down, or you press that
| | 03:13 | keyboard shortcut Ctrl+E here on the PC
or Command+E on the Mac, and either one
| | 03:18 | should give you the desired result.
| | 03:20 | Now what you want to make sure that you're
not rendering the objects out as a 2D layer.
| | 03:24 | So, just watch to see that you've
got that little cube icon in the lower
| | 03:28 | right-hand corner of the thumbnail.
| | 03:30 | All right, not
surprisingly the glass disappears.
| | 03:32 | So double-click on the camera thumbnail
here on the Layers panel to bring back
| | 03:35 | up to 3D panel and then click on Filter By:
| | 03:38 | Meshes, so we can see each of the now a
dozen meshes inside of the Scene, click
| | 03:43 | on glass to make it active, and go
ahead and select from the third tool down
| | 03:49 | here on the left side of the 3D panel.
| | 03:51 | Go ahead and select the 3D Mesh Pan
tool from that fly-out menu and you'll see
| | 03:56 | these ridiculous position values and so forth.
| | 03:59 | Let's go ahead and reset the object by
clicking on the little house icon and
| | 04:03 | that should go ahead and zero out all
the values and establish scale values of
| | 04:08 | one across the board as we're
seeing here. So, all is well.
| | 04:12 | Anyway I'm going to go ahead and
switch for a moment to my Camera Rotate tool
| | 04:16 | and I'm going to drag to the right just
so I can better see what I'm doing, and
| | 04:20 | also better access the 3D
widget as I modify the mesh.
| | 04:24 | Now I'm going to switch back here to my
3D Mesh Pan tool and I'm going to drag
| | 04:29 | on this green-arrow-head.
| | 04:30 | I'm going to drag over to the left as
you see me doing here in order to move
| | 04:35 | the glass into the desired position
between the first ring and that frame
| | 04:40 | element right there.
| | 04:41 | And the value that I ended up with is a
Y value of -290, both X and Z should be
| | 04:48 | set to 0 and that ends up
giving us this effect here.
| | 04:51 | Just one other thing I want to do,
I want to give this frame element a
| | 04:54 | little bit of depth.
| | 04:56 | So I'm going to select it inside of the
3D panel and I'm going to drop down here
| | 05:01 | to this little R icon and click on it in
order to bring up Repousse once again.
| | 05:06 | So you can still access Repousse even
after you've piled a bunch of objects into
| | 05:10 | a scene, and I'm going to change that
Depth value their to 0.02, like so, and
| | 05:16 | click OK, just so that we
have a little bit of an edge.
| | 05:19 | Now you'll notice that the edge comes
in white, that's not really what I want.
| | 05:23 | So I'm going to switch back to the
whole scene and I'm going to scroll down the
| | 05:27 | list until I come to that
frame, there it is right there.
| | 05:31 | I'm looking for Frame Extrusion Material
so the center material in the frame-list.
| | 05:36 | Then click the down-pointing arrowhead
next to this sphere and select another
| | 05:39 | one of those materials I've
created for you, dark-plastic.
| | 05:42 | In order to render out that edge
as a piece of dark plastic, like so.
| | 05:46 | All right so that
establishes the placement of the glass.
| | 05:49 | Now I want to go ahead and switch
back to my original camera view.
| | 05:52 | So I'll select the Camera Rotate tool,
and then I'll go up to the Options bar
| | 05:55 | and switch View back to Camera Cam
and that would right my scene, like so.
| | 06:01 | All right so the glass looks a little
bit cloudy and that's because it's still
| | 06:04 | set to 20% Opacity, we should fix that.
| | 06:06 | Bring up the 3D panel, go ahead and
scroll down to the bottom of the list here,
| | 06:10 | locate the glass Front Inflation Material.
| | 06:12 | Go ahead and click on it and reduce the
Opacity value back to 0% and you'll see
| | 06:17 | absolutely all the way through that glass.
| | 06:19 | It won't look like it's there
at all but in fact it is there.
| | 06:22 | It is all sorts of refractive
qualities in particular going on and we'll see
| | 06:26 | what that looks like in the next exercise.
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| Introducing refraction| 00:00 | In this exercise I'm going to introduce you
to something known as the Refractive Index.
| | 00:04 | And so here's how it works.
| | 00:05 | Whereas reflection is light that bounces
off of an object, such as a mirror of course.
| | 00:10 | Refraction is how light bends as it
passes through a translucent object.
| | 00:15 | You have to have some reduction in
Opacity to see any difference where
| | 00:20 | refraction is concerned.
| | 00:21 | Our glass has no opacity whatsoever
so we are going to be able to see the
| | 00:25 | refraction in all its glory.
| | 00:27 | I've saved my progress as Invisible glass.psd
and I'm going to go ahead and zoom
| | 00:32 | in on this lens element.
| | 00:34 | So we can see it nice in close up and
I'll double-click in the thumbnail for the
| | 00:38 | camera layer to bring up the 3D panel.
| | 00:40 | Go ahead and scroll all the way to the
bottom of the panel and I want you to
| | 00:43 | click on glass Back Inflation Material.
| | 00:46 | Right now, we have two layers to our glass.
| | 00:49 | Both the front of the glass and the
back of the glass, and they each have a
| | 00:53 | refraction index, as you can
see indicated by this final value.
| | 00:56 | That means we're going to get a double
refraction effect and when you're first
| | 01:00 | trying to figure out what refraction is?
| | 01:02 | That could be a bit confusing.
| | 01:03 | So let's go ahead and crank that
Refraction value down to its absolute
| | 01:07 | minimum which is 1.
| | 01:09 | So I want the Refraction for the Back
Inflation Material, look back at the
| | 01:12 | glass to be 1 and you can go ahead and
leave the front of the glass the Front
| | 01:16 | Inflation Material set to 2.18, which is
the value that's applied by the material.
| | 01:20 | All right, now let's get a sense of
what things look like because unless we ray
| | 01:24 | trace, we can't see the glass at
all because it has an Opacity of 0.
| | 01:28 | So I want you to grab your rectangular
Marquee tool as I have, and then marquee
| | 01:33 | this portion of the image, like so.
| | 01:35 | So that we can ray trace this 1 area,
not have to ray trace the entire image
| | 01:40 | over and over again.
| | 01:42 | Then go up to the 3D menu and choose
Progressive Render Selection and that's
| | 01:46 | going to go ahead and ray trace
just that selected area of the image.
| | 01:50 | Now it will take a moment in order to
apply the changes but ultimately you will
| | 01:54 | see this cloudy effect here.
| | 01:57 | We also have quite a bit of refraction,
you can see that the rings appear to be
| | 02:00 | packed together and that's a
function of that refraction.
| | 02:04 | The cloudiness that we're seeing is a
function of two things, first of all there
| | 02:07 | is the refraction going on, so the
light is kind of bouncing around.
| | 02:11 | But also we have some
very shallow light sources.
| | 02:14 | In other words we've got the spotlights
that are coming in from the upper right
| | 02:19 | and the upper left and they're hitting the
glass at a shallow angle and bouncing back off.
| | 02:23 | So even though the Opacity value is 0
we're seeing that glass like crazy and so
| | 02:28 | we're not able to see into the lens very well.
| | 02:31 | Once you get a sense of what's going on,
press the Escape key in order
| | 02:33 | to cancel the render.
| | 02:35 | Here's what we're going to do.
| | 02:36 | We're going to light the lens directly.
| | 02:38 | So we're going to pop a
spotlight right into that lens.
| | 02:42 | Because we're going to be discussing
lights ad nauseam in a future chapter, for
| | 02:46 | now I just want you to load a light
that I've created for you in advance.
| | 02:49 | Go to the 3D panel fly-out menu here
and choose Add Lights Preset, don't choose
| | 02:55 | Replace because we want to keep our
existing lights, just choose Add Lights
| | 02:58 | Preset, and then navigate your way to
14_glass folder, you'll find a light
| | 03:02 | called Lens Lighting.p3l.
| | 03:03 | Go ahead and click the Load
button in order to load it on up.
| | 03:07 | Now every time you switch out a setting
when you're ray tracing a selection like
| | 03:12 | this, Photoshop goes ahead and switches
you back to the Interactive mode so you
| | 03:15 | lose all that ray tracing, because
it's not accurate anymore, don't you know?
| | 03:19 | The nice thing is it doesn't restart
the ray tracing until you tell it to.
| | 03:23 | All right, let's go ahead and zoom-out a
bit here so that you can see this light.
| | 03:26 | I want you to see what's going on.
| | 03:28 | I'm going to select the Light tool here
inside the 3D panel and I'm also going
| | 03:32 | to click on microlight because that's
the light that we just added, and I'm
| | 03:36 | going to drop down here to this
little Toggle misc 3D extras icon.
| | 03:40 | Click on it and choose first of all 3D
light, so that we can see the lights.
| | 03:45 | Now that's a little bit confusing because
we have three different lights coming in.
| | 03:48 | By the way, notice that the lights have
different colors associated with them so
| | 03:52 | we have a slightly yellowish light,
we've a slightly bluish light.
| | 03:55 | Those are coming in from the top,
and then we have this microlight which is white.
| | 03:59 | I'm also going to turn-on the selection,
so I'll click on this icon down here at
| | 04:02 | the bottom of the panel once again and
choose 3D selection so we can see which
| | 04:07 | light is selected and this is it.
| | 04:08 | Let's go ahead and zoom in a little bit here.
| | 04:11 | Notice we've got the light right there,
we've got these various axes that are
| | 04:15 | showing me how the light
is rotated in a 3D space.
| | 04:18 | I also have a little bit of what's
known as attenuation, so notice I turned
| | 04:22 | on, Use Attenuation.
| | 04:23 | I just accepted the values
that Photoshop applied for me.
| | 04:26 | Attenuation is a drop-off of the light source.
| | 04:29 | So this first ring shows me that the
light is at full power to this point in
| | 04:34 | the scene and then this large ring out
here shows me that that is the drop-off point.
| | 04:40 | That's the point at which
light completely goes away.
| | 04:43 | That is as I say known as Attenuation,
we'll be covering that in more detail
| | 04:47 | in a future chapter.
| | 04:48 | But just want to give you a sense of
what's going on, let's go ahead and turn
| | 04:51 | off all that garbage, so
it's no longer in our face here.
| | 04:54 | I'll go ahead and turn off
both 3D Selection and 3D Light.
| | 04:58 | And then I'm going to switch back to
my Marquee tool by pressing the M key.
| | 05:00 | Let's go ahead and zoom on in so
we can get an up-close and personal
| | 05:04 | rendering of the scene.
| | 05:05 | I'm going to go up to the 3D menu and
I'll choose once again Progressive Render
| | 05:10 | Selection and we'll have to wait it out.
| | 05:12 | So we're going to be speeding these up
inside the video, but you can count on
| | 05:16 | each one of these renderings taking a
few seconds, just to get started here
| | 05:20 | depending on the speed and
capacity of your video card, by the way.
| | 05:24 | Anyway, that's good enough to
give us a sense of what's going on.
| | 05:26 | Things are still a little bit
cloudy as they will be, that's okay.
| | 05:29 | We're going to increase the contrast in a
later exercise using an adjustment layer.
| | 05:34 | But for now I want you to know is just how
compressed these rings appear to be to each other.
| | 05:39 | Now if we want less compression and less
cloudiness as well, so less refraction.
| | 05:44 | You'd go ahead and click on
the Front Inflation Material.
| | 05:47 | Bear in mind your Back
Inflation Material has no refraction.
| | 05:50 | 1 is as low as you can go, 1 represents
the amount of refraction that you would
| | 05:55 | get if you were floating around in space.
| | 05:58 | So in other words, nothing, it's a
vacuum but our Front Inflation Material has a
| | 06:03 | fair amount of refraction, the highest
you can go is 3, so it's just 1 to 3.
| | 06:07 | Let's go ahead and take this value
down to let's say 1.2 and then press the
| | 06:12 | Enter key, and this is for the
Front Inflation Material once again.
| | 06:15 | Now as tedious as it may be, we're
going to go back to the 3D menu and choose
| | 06:19 | Progressive Render
Selection and we'll wait it out.
| | 06:21 | By the way, lower refraction settings
take less time than higher refraction
| | 06:26 | settings, typically, in order to render out.
| | 06:29 | Notice now, that the rings appear to
be more or less where they really are.
| | 06:34 | Now we're going to see them really where
they are, if the Refraction value is 1.
| | 06:38 | 1.2 applies just a little bit of
refraction, and in this case because we're
| | 06:42 | working with the front of the glass
we're seeing the rings compressed toward
| | 06:45 | each other, and also we have a lot
less cloudiness as you can see here.
| | 06:49 | All right, I'm going to click into the
image window in order to cancel that out.
| | 06:52 | Just by way of contrast, I'm
going to crank this guy up.
| | 06:55 | Not all the way to the
maximum but let's try 2.5.
| | 06:58 | Let's say and see what that looks like.
| | 07:00 | As soon as you apply the value
you go back to the Interactive mode.
| | 07:03 | In order to restart the Render you go
up to the 3D menu and choose Progressive
| | 07:07 | Render Selection, and that may seem
like a lot of work to have to go back and
| | 07:11 | forth like this, but it's a lot
better than having to render out the entire
| | 07:14 | scene every time because Photoshop would
start in the upper left corner and work
| | 07:18 | its way down to the lens in its Merry old time.
| | 07:21 | Anyway you can see that we're seeing a
lot more light bouncing off the lens so
| | 07:24 | more of a foggy appearance.
| | 07:25 | Also those rings are smashed
against each other at this point.
| | 07:30 | All right, I'm going to press the Escape
key in order to cancel the Render.
| | 07:33 | That gives you a basic sense of
what's going on with refraction, when it's
| | 07:36 | applied to the front surface.
| | 07:38 | In the next exercise I'll show you
what happens when we apply it to the
| | 07:41 | back surface.
| | Collapse this transcript |
| Adjusting a double refraction effect| 00:00 | I have saved my progress as
Front-surface refraction.psd, and now that we have
| | 00:04 | seen how said Front-surface refraction
compresses the rings together, we will
| | 00:08 | see how back surface
refraction spreads them apart.
| | 00:11 | And then we'll see how we can marry
the effects of front and back service
| | 00:15 | refraction in order to
achieve a double refraction effect.
| | 00:19 | If you're working along with me, make
sure the camera layer is selected and
| | 00:22 | bring up the 3D panel, and then I am
going to scroll to the bottom of the list
| | 00:26 | here and I want you to select the Front
Inflation Material for the glass mesh,
| | 00:31 | and go ahead and reduce the
Refraction value down to 1, so that we have no
| | 00:35 | refraction going on whatsoever.
| | 00:37 | Then click on the Back Inflation
Material and take its refraction value up
| | 00:42 | just incrementally.
| | 00:43 | Let's take it up to 1.1, because we are
going to make a lot of difference very
| | 00:47 | quickly with that value.
| | 00:49 | Then assuming that you still have a
Rectangular Marquee in place, go up to
| | 00:52 | the 3D menu and choose Progressive Render
Selection in order to render out the effect.
| | 00:58 | Now, this should go a little more
quickly than before because we have very
| | 01:01 | little refraction
associated with this piece of glass.
| | 01:04 | Also, by the way, we are not seeing
much of anything in a way of reflection
| | 01:08 | because the Opacity value is cranked down.
| | 01:11 | So, if you want to get reflection and
refraction, you need something between 0% and 100%.
| | 01:16 | A 100% Opacity is going to rule out
refraction, 0% Opacity is going to rule out
| | 01:22 | reflection, so you need something in between.
| | 01:24 | However, notice in our case that we now
have a deeper ring effect at work here
| | 01:30 | inside the camera lens.
| | 01:31 | All right, I am going to press the
Escape Key in order to cancel that render.
| | 01:35 | Let's see what happens if we take this
value up to 1.4, for example, so we are
| | 01:39 | just moving in baby steps here and
you'll see what a big difference it makes.
| | 01:43 | Now, I will go up to the 3D menu and
select the Progressive Render Selection command.
| | 01:47 | And this time around, we're going to
see the rings move even farther back like
| | 01:52 | so and they are moving like crazy.
| | 01:54 | Not only that, they are kind of
slanting as they move away from us.
| | 01:59 | So, notice that the final
ring is at a kind of crazy angle.
| | 02:02 | All right, I'll press the Escape Key once more.
| | 02:05 | Now, we could take this value all the
way up to 3 if you want to but that's
| | 02:09 | going to create the very crazy effect.
| | 02:11 | 1.7 is where things really start breaking apart.
| | 02:14 | So, I will go ahead and enter a
Refraction value of 1.7, then go up to the 3D
| | 02:19 | menu, choose Progressive
Render Selection once again.
| | 02:22 | And not only are we spreading the
rings apart from each other but we are
| | 02:27 | essentially opening up this area of
nothingness in the lower left corner.
| | 02:31 | And I suspect what's happening there is
we are starting to reveal the scene in
| | 02:35 | the background or just some world of
absolute nothingness, which frankly
| | 02:39 | doesn't particularly make any sense,
but this is the effect that you're going to achieve.
| | 02:43 | All right, here is something a
little more interesting I think.
| | 02:46 | I am going to press the Escape
Key in order to cancel the render.
| | 02:48 | Let's try to sort of merge
a little bit of both worlds.
| | 02:53 | I am going to take the Refraction value
for this back surface and set it to 1.5,
| | 02:58 | and then I'm going to click on the Front
Inflation Material and change it to 1.5
| | 03:03 | as well and let's see
what happens at this point.
| | 03:06 | I will go up to the 3D menu and
choose Progressive Render Selection.
| | 03:09 | Now, what you have to bear in mind is
you're not going to get strictly the
| | 03:14 | effects of 1.5 for Front Inflation
mixed with 1.5 for rear inflation and have
| | 03:20 | them just kind of merge together at
some sort of let's say 50% Opacity, rather
| | 03:25 | you have these two surfaces interacting
with each other and so the back surface
| | 03:29 | catches the light first and does its refraction.
| | 03:32 | And then the front surface takes that
refracted light and refracts it in a
| | 03:36 | different direction, plus you have a
little bit of merging of the two effects.
| | 03:40 | So, we can see here that we are
seeing some very obvious rings at these
| | 03:47 | locations that I am tracing, and then we have
these kind of phantom rings in the background.
| | 03:51 | We also have this kind of double
highlight effect back here in the background
| | 03:55 | where a phantom highlight is
mixing in with a stronger highlight.
| | 03:58 | Now, anywhere where you see noise as the
Progressive Rendering is being applied,
| | 04:03 | that just indicates that you will have
low opacity, so you are not really going
| | 04:07 | to have noise at this location, per se
just going have to wait out the render if
| | 04:11 | you want to see what it really looks like.
| | 04:13 | I don't have the time, so I am
going to press the Escape Key.
| | 04:16 | You can just imagine that's going
to be lower opacity highlight effect.
| | 04:19 | And when I say highlight, this is the
highlight that's being cast on the camera
| | 04:24 | back all the way through all of the
objects here inside the lens element,
| | 04:28 | because we have holes going all the
way back to that back rear object.
| | 04:34 | All right, the values I came up with for what
it's worth are 2.18 for each of these surfaces.
| | 04:40 | So, I am going to change the Refraction
value for the Front Inflation Material
| | 04:44 | to 2.18 and then click on Back Inflation
Material and change it to 2.18 as well.
| | 04:50 | And then let's go ahead and see
what we have come up with here.
| | 04:53 | I will go up to the 3D menu, choose
Progressive Render Selection and we'll see
| | 04:57 | what a hefty helping of
double refraction looks like.
| | 05:00 | And I love this effect because all of
these various highlights are pulling
| | 05:04 | apart from each other.
| | 05:06 | Now, it's a little bit murky,
which is why I am going to apply an
| | 05:10 | Adjustment layer, but first I am
going to let this run a little bit, we are
| | 05:13 | going to quicken the pace of course
here inside the video, so it's going to
| | 05:15 | go more slowly for you.
| | 05:16 | All right, this looks pretty good to me
but as I say this glass still comes off
| | 05:20 | is being pretty cloudy.
| | 05:21 | So, I've created an Adjustment layer in advance.
| | 05:24 | So if you go up to the top of the
Layers panel and twirl open the comp elements
| | 05:29 | group right there, you'll see that
the bottom item is called deepen.
| | 05:33 | Go ahead and turn it on,
it's an adjustment layer.
| | 05:36 | And if you click on the vector mask,
then you can see that we have this 2D path
| | 05:40 | outline that's accurately
tracing the area inside the lens.
| | 05:44 | Not only that, I'm going to zoom out here.
| | 05:46 | I'm also tracing each one of these HDR lenses;
| | 05:49 | although not entirely accurately.
| | 05:51 | So I am going to have to
address that a little bit.
| | 05:53 | And you know what, I am going to go
ahead and grab my Rectangular Marquee tool
| | 05:57 | once again and select this region right
there and might as well ray trace it to
| | 06:02 | by going to 3D menu.
| | 06:04 | I can't choose a demand because I
don't have the right layer selected, so I
| | 06:06 | will click on camera and then go up to 3D
menu and choose Progressive Render Selection.
| | 06:12 | And in the case, we are not going to see
the matrix move around because it's too
| | 06:18 | big for the selected area, so it's
just making passes in place there and you
| | 06:22 | don't have to wait too
long for this effect to apply.
| | 06:24 | I am going to press the Escape Key in order
to get just a vague sense of what's going on.
| | 06:29 | And then I will press Ctrl+D or
Command+D on the Mac to deselect that area.
| | 06:32 | And I am going to scroll back up my
list here inside the Layers panel.
| | 06:36 | Click on that deepen layer, click on the
layer mask to make it active and select
| | 06:40 | the Black Arrow tool here inside the
toolbox and I am going to click on this
| | 06:44 | larger circle there.
| | 06:46 | And go up to the Edit menu, choose
Free Transform Path or press Ctrl+T,
| | 06:50 | Command+T on the Mac and I am just
going to sort of nudge these guys into place
| | 06:54 | like so and this looks pretty good.
| | 06:55 | With the exception of we're kind of
missing this area in the lower right
| | 06:59 | region, so I am going to press the Ctrl Key or
the Command Key on the Mac and drag that guy out.
| | 07:05 | So, when you press Ctrl or
Command, then you can drag one handle
| | 07:08 | independently from the other.
| | 07:09 | Press the Enter Key or the Return
Key on the Mac to accept the change.
| | 07:12 | Click on this lower circle, go ahead
and free transform it as well by choosing
| | 07:17 | Free Transform Path from the
Edit menu. Drag this edge in;
| | 07:20 | maybe drag this edge in as well to about there.
| | 07:24 | It looks like press the Ctrl or Command Key
and drag at that lower left corner handle.
| | 07:28 | Press the Enter Key here on the PC or
the Return Key on the Mac in order to
| | 07:31 | apply that change, and then I am going
to click on the camera layer in order
| | 07:35 | to switch back to it.
| | 07:36 | And those are our lenses so far.
| | 07:38 | In the next exercise, we are going to
add a bona fide curving lens object right
| | 07:42 | there in the center of
the camera's lens element.
| | Collapse this transcript |
| Creating a reflective lens| 00:00 | In this exercise we're going to add
a kind of oblong piece of glass to
| | 00:03 | the center of the lens element, and that's
going to serve as the central light catcher.
| | 00:08 | So that we're not seeing all the
way through to the camera back.
| | 00:12 | I've saved my progress as Double
refraction effect.psd, and if you scroll up
| | 00:17 | inside of the Layers panel you'll find a
final shape layer called Lens, go ahead
| | 00:21 | and select it and turn it on as well.
| | 00:24 | And then go to the 3D menu choose Repousse
and choose layer Mask, and this time
| | 00:29 | around we're not going to apply any
Depth whatsoever, because this is not going
| | 00:32 | to be a flat piece of glass,
like that previous one that we had.
| | 00:36 | This is going to be a piece
of glass that bows outward.
| | 00:40 | So I'll change the Depth value to 0,
and then I'll drop down to the Inflate
| | 00:45 | option and change its Size settings from
Front to Front and Back, and then we'll
| | 00:49 | increase the Angle value to 90 degrees.
| | 00:53 | So we end up getting something
very nearly resembling as sphere.
| | 00:56 | Now up here in the upper right portion
of the dialog box I want you to click the
| | 01:00 | down-pointing arrowhead next to All,
and then select the final material which
| | 01:04 | goes by the name Central lens.
| | 01:06 | Now again the Opacity value of this
object is very close to 0, it's actually 2%,
| | 01:12 | so we're no longer seeing the
object without ray tracing it.
| | 01:15 | Anyway, go ahead and click OK
in order to apply those settings.
| | 01:19 | And now so that we can see what we're
doing, and also because it will serve as
| | 01:22 | well for catching reflections, I'm going
to bring up the 3D panel, I'll click on
| | 01:27 | lens Front Inflation Material and I'm
going to raise the Opacity value to 50%.
| | 01:32 | I'm also going to make a couple of
changes to the Back Inflation Material, I'm
| | 01:36 | going to lower the Reflection
value to 25% and I'm going to take the
| | 01:40 | Refraction value up to 2.18.
| | 01:43 | So we have not only a double refraction
effect but we have a couple of different
| | 01:48 | refractions interacting with each other.
| | 01:50 | Now what you end up seeing here is this
kind of bubble that might hold, you know
| | 01:54 | Glinda, the Good Witch in the Wizard of
Oz and that's actually going to work out
| | 01:58 | quite nicely once we place
the lens inside the camera.
| | 02:02 | So I have lens selected, it's directly
above the camera layer, so I can merge
| | 02:07 | one with the other just by pressing
Ctrl+E here on the PC or Command+E on the
| | 02:12 | Mac, and I'm going have to wait
for the merge to occur of course.
| | 02:15 | Once I'm done I want to keep an eye on
that Cube icon down there in the lower
| | 02:19 | left corner of the thumbnail to make sure that
it still have a 3D layer and sure enough I do.
| | 02:24 | Now of course who knows where that
lens has gone, we need to bring up the 3D
| | 02:28 | panel, go ahead and click that icon Filter By:
| | 02:30 | Meshes and then scroll to the bottom of
the list, click on Lens to make it active.
| | 02:35 | Go ahead and select the 3D Mesh Pan
tool and then go up to the Options bar and
| | 02:39 | click on the House icon right there
in order to reinstate the Position and
| | 02:43 | Orientation values to 0 and you can
actually make out a little bit of that
| | 02:47 | object at the back of the camera.
| | 02:49 | All right, let's go ahead and bring
it forward and I'm going to do so by
| | 02:52 | Shift+Scrubbing the Y value up here in
the Options bar and I'm going to take it
| | 02:58 | let's go to about -120 and see where it
lands inside of the lens elements, and
| | 03:03 | that certainly moving it forward.
| | 03:05 | I ultimately came up with a Y value of
-120, once again bearing in mind that -Y
| | 03:12 | values move the object forward.
| | 03:14 | All right so, so far it looks good there
is another change that I'd like to make.
| | 03:19 | I'm going to switch back to my Whole
scene options, scroll to the way bottom of
| | 03:23 | the list, click on the Front Inflation
Material and instead of the Diffuse color
| | 03:27 | being set to White truly doesn't make
any sense so we have this white ghostly
| | 03:31 | object inside the camera.
| | 03:32 | I'm going to click on that Color Swatch
and I'm going to change the Brightness
| | 03:36 | value to let's say 20%, click OK,
and now let's get a sense of what this area
| | 03:41 | looks like by ray tracing, I'll grab my
Rectangular Marquee tool, and then I'll
| | 03:46 | draw marquee around the central lens area,
so that I include the entire interior
| | 03:50 | of that frame element.
| | 03:52 | Now I'll go up to the 3D menu and
choose Progressive Render Selection.
| | 03:56 | Now this is not going to be a fast
process, I warn you, takes anywhere from a
| | 04:00 | couple of minutes to good five minutes
depending on how powerful your system
| | 04:04 | and video card are.
| | 04:06 | So we're going to be accelerating this
process quite dramatically and as resolve
| | 04:10 | bearing in mind that
initially we have a lot of noise.
| | 04:13 | You can see down if nothing else we've
managed to create this kind of sparkly
| | 04:17 | mysterious lens element in the
background and it's covering up the camera back.
| | 04:22 | So we don't have to worry about some
completely unrealistic bunch of blackness
| | 04:27 | in the background nor do we have to
worry about rendering the shutter release or
| | 04:31 | the image sensor or any of that jazz.
| | 04:34 | Also notice because this element has a
fair amount of opacity notice the front
| | 04:38 | face has an Opacity value of 50%, we
can see a reflection of that image in
| | 04:43 | this spherical panorama, I'll be it,
it's kind of cropped inside of this outer
| | 04:48 | frame element right here.
| | 04:50 | And then finally that little bit of
highlight there, that's a combination of the
| | 04:53 | gloss and shine working together and
we also have a little bit of highlight
| | 04:57 | coming in from that micro-spotlight.
| | 04:58 | All right, at this point I'm going to
go ahead and click the Escape key,
| | 05:02 | it's still awfully noisy we have some
more rendering to do, but before I render
| | 05:06 | any further I want to enhance the
reflective quality of this lens.
| | 05:10 | By adding and enhancing a diffuse
texture and I'll show you how that works
| | 05:14 | in the next exercise.
| | Collapse this transcript |
| Creating a "diffuse reflection"| 00:00 | All right so far we've got this
interesting reflection on the central lens
| | 00:03 | element, but it's not nearly enough.
| | 00:05 | So I'm going to enhance the effect not
using an Environment Map, because those
| | 00:10 | tend to be unreliable,
but using a Diffuse Texture instead.
| | 00:13 | I've saved my progress as Dark
central lens.psd and with the lens Front
| | 00:18 | Inflation Material selected here inside
the 3D panel, I'm going to drop down to
| | 00:22 | the Diffuse option, click on the Folder
icon and choose Load Texture, and then I
| | 00:27 | want to you to find a file called
Blurry daisies.jpg, it's a blurry version of
| | 00:32 | that same Fotolia image that we used
in the previous chapter and go ahead and
| | 00:36 | click the Open button to load it on up.
| | 00:37 | Now that's going to create quite the
bright happy lens as you can see here, in
| | 00:41 | fact it's lots of lens now and more of a
beach ball, so here's what I want to do
| | 00:46 | I want to deem the outside edges by
modifying this diffuse texture, so I'll
| | 00:51 | click the little page icon next to the
Diffuse and choose Open Texture to open
| | 00:55 | that image inside a separate image
window and I'm going to close the 3D panel so
| | 00:59 | I can see what I'm doing.
| | 01:00 | Right now, we've a single background layer.
| | 01:02 | What I want to do is great a
vignetting effect a dark vignette around the
| | 01:06 | outside of this image, and I want to
do so using a smart filter so with the
| | 01:10 | background layer selected I'll go to
Layers panel fly-out menu and choose
| | 01:14 | Convert to Smart Object, if you
loaded Deke keys, you've got the keyboard
| | 01:17 | shortcut of Ctrl+, or Command+, on the
Mac and I'll go ahead and rename the sky
| | 01:21 | lens texture and now I go up to the
Filter menu and choose Lens Correction from
| | 01:26 | the top of the list.
| | 01:28 | Now this is the first time you've
applied Lens Correction in a while or ever.
| | 01:32 | You may have to wait it out for a
moment while Photoshop loads its remote lens
| | 01:36 | profiles, but once a dialog box comes
up on screen click on the Custom tab in
| | 01:41 | order to switch to the Custom panel
right here and I want to reduce the Vignette
| | 01:45 | value, the Amount value their to -100
and that's it a Midpoint of 50 is just
| | 01:50 | fine, now go ahead and click OK in
order to apply that Vignetting effect.
| | 01:55 | Now to get a sense of whether the
vignetting is occurring inside of the lens I'm
| | 02:00 | going to up to the 3D menu and
choose Create UV Overlays and then choose
| | 02:04 | Wireframe and you can see that the
Wireframe describes a kind of circle.
| | 02:08 | Now I'm not that we are far enough
into that circle in order to do any good.
| | 02:13 | So I'm going to click on the Lens
Texture layer once again, press the Alt key or
| | 02:17 | the Option key on the Mac click the
black, white icon and choose Levels command
| | 02:21 | and I'm going call this
layer Darkness and then click OK.
| | 02:26 | And here inside the Adjustments panel
I'm going the raise the black point value
| | 02:30 | the 40, so we're darkening the heck out
of those corners, then I'm going to Tab
| | 02:34 | over to the Gamma value and press Shift+Down arrow
six times in a row to reduce
| | 02:39 | that value to 0.4 and so we get a
dark effect indeed and it is definitely
| | 02:44 | extending into that circular wireframe.
| | 02:47 | All right now we need to go ahead and
turn the Wireframe off and might as was
| | 02:50 | well call this new layer Wireframe
and then turn it off like so, because we
| | 02:54 | don't want a wireframe to across the
lens and then go ahead and close this image
| | 02:58 | click the Yes button here on the PC or
the Save button on the Mac and you'll see
| | 03:02 | that you apply this darker
Vignetting effect around that lens.
| | 03:06 | All right as always we can't really
gauge the effect until we go up to the 3D
| | 03:10 | menu and in this case choose
Progressive Render Selection, assuming that you
| | 03:14 | still have that marquee around
the central portion of lens element.
| | 03:18 | Now I hasten to add that and I know I
mention this all the time we are speeding
| | 03:22 | up the ray tracing significantly,
because in real life it takes several minutes
| | 03:26 | to apply and as a render progress excuse
the noise of course, but notice that we
| | 03:30 | have a kind of reflection
inside of our reflection effect.
| | 03:35 | So we have the larger reflection
which is a complete and total fake created
| | 03:39 | using the diffuse texture, and then we
have a legitimate inset reflection which
| | 03:44 | is created by the inside
of the spherical panorama.
| | 03:47 | All right so I'm going to press the Escape
key, I figure that's good enough for now.
| | 03:51 | In the final exercise we'll enhance
the scene with the help of a couple of
| | 03:54 | 2D layers.
| | Collapse this transcript |
| Adding depth and highlights in 2D| 00:00 | I've saved my progress as Simulated
double reflection.psd, and in this final
| | 00:05 | exercise of the chapter we're going to finish
off the effect using a couple of 2D layers.
| | 00:11 | Now the first thing I want you to notice here.
| | 00:12 | I'm going to hide the 3D panel for a moment,
and I'm going to collapse my camera layer.
| | 00:17 | So it's taking up a little less
space here inside the Layers panel.
| | 00:20 | I'm going to turn off the background
layer, and I want you to notice a curious
| | 00:24 | thing that's happening inside the lens.
| | 00:27 | All of a sudden we have a checkerboard pattern.
| | 00:29 | Now if we'd been working against a
transparent background in the first place,
| | 00:32 | in other words if I turn off the camera layer
there is nothing going on in the background.
| | 00:36 | If I were to work that way then I might
be terribly puzzled by the fact that I'm
| | 00:40 | seeing this checkerboard inside of the camera.
| | 00:43 | After all, what in the
world can it possibly mean?
| | 00:45 | Does it mean that there is actually a
checkerboard inside the camera, which is unlikely?
| | 00:51 | Or does it mean that Photoshop can't
render this scene worth beans which is
| | 00:57 | hopefully not the case.
| | 00:58 | Does it mean that Photoshop is trying
to indicate that this particular portion
| | 01:03 | of the larger scene is translucent,
which actually is not what's going on.
| | 01:07 | Instead, Photoshop is getting mildly
confused in deciding that this portion of
| | 01:13 | the 3D scene is in fact translucent.
| | 01:15 | In other words, it's not just that you
can see through this reflective lens,
| | 01:20 | it's that you can see through somehow
through the back of the camera and it
| | 01:25 | doesn't even make any sense.
| | 01:26 | But that's what Photoshop
is choosing to show us here.
| | 01:29 | So I just want you to know
that that sometimes happens.
| | 01:33 | Throwing translucent objects into a
larger scene sometimes creates a kind
| | 01:38 | of nebulous hole through the entire scene,
through even opaque objects in that scene.
| | 01:44 | Well, that's not necessarily a great
thing but sometimes you can exploit it.
| | 01:49 | So, for example, if I turn-on the
background layer that's going to brighten
| | 01:53 | things up by introducing a
little bit of white into the scene.
| | 01:57 | What if I want to darken things up?
| | 01:59 | I would click on the
background layer to make it active.
| | 02:01 | Currently black is my foreground color,
so I could fill that entire layer with
| | 02:05 | black by pressing Alt+Backspace or Option+Delete
on the Mac, and notice that the
| | 02:10 | lens just darkened up and it darkened
up quite nicely, so I like that effect.
| | 02:14 | Anyways, so it's a happy accident
that ended up working in my favor.
| | 02:18 | All right, now I'm going to turn off
the camera layer for a moment, and I want
| | 02:22 | you to note the sparkles layer right there.
| | 02:24 | I'm going to turn it on and
this is all there is to it.
| | 02:27 | The idea is I wanted to introduce
some other lights that were bouncing off
| | 02:32 | the central lens there.
| | 02:34 | These kinds of reflections
are very common, by the way.
| | 02:37 | I looked at a bunch of different camera
shots and found these sorts of things showing up.
| | 02:41 | It could be a factor of many lights
being shined into the camera, various
| | 02:46 | colored lights, or it could be a matter
of the white light refracting inside the
| | 02:50 | lens and then being reflected
back in its various color components.
| | 02:55 | Either way it doesn't really matter
but I ended up creating this effect using
| | 02:59 | the Brush tool, is essentially what I did.
| | 03:01 | So I drew this selection actually
this sort of crescent selection using the
| | 03:06 | Elliptical Marquee tool, I feathered
it, I filled it with White, and then I
| | 03:10 | set about adding a few other color
points using the Brush tool, sometimes with
| | 03:15 | specialty brushes, sometimes not,
and sometimes with translucent brushes and so forth.
| | 03:20 | Anyway, the reason it has that sharp
edge right there is because it's clipped.
| | 03:24 | If I Alt+Click or Option+Click on
horizontal line between sparkles and that
| | 03:28 | layer below which, by the way,
goes by the name deepen, there it is.
| | 03:33 | Notice the deepen layer has a Vector Mask,
and we saw how that worked a few exercises ago.
| | 03:38 | Anyway, I wanted to make sure that I'm
cropping sparkles inside of the lens, so
| | 03:43 | I Alt+Clicked or Option+Clicked the
horizontal line between the two, in order
| | 03:47 | to create a clipping mask that is clipped
with sparkles inside of the lower Vector Mask.
| | 03:52 | All right I'm going to go ahead and
reduce the width of Layers panel again, and
| | 03:55 | then I'll turn on the camera layer
and we end up getting this effect here.
| | 03:59 | Now it looks a little fakey in this
Draft mode, but as soon as we apply the
| | 04:04 | final rendering, it's going
to look quite good actually.
| | 04:07 | All right, I'm going to zoom out here,
and then I'm going to turn on the top
| | 04:10 | text layer in order to add
the tag line to the scene.
| | 04:13 | And then finally, let's go ahead and
render the scene using Photoshop's Ray
| | 04:17 | Traced Final setting.
| | 04:18 | So I'm going to click on the camera
layer, I'm going to bring up the 3D panel
| | 04:23 | and I'm going to change Quality from
Interactive (Painting) to Ray Traced Final.
| | 04:27 | Now I'm here to warn you.
| | 04:29 | This is going to be a long process.
| | 04:31 | If you want to ray trace your scene,
if you're working along with me and you
| | 04:34 | want to render it using Ray Traced
Final, then prepare to leave your machine.
| | 04:38 | It's going to take at least an hour,
possibly several hours to apply.
| | 04:43 | It's going to work better if
Photoshop's working in the foreground.
| | 04:46 | So you can't do anything else in
Photoshop while you're performing a ray trace,
| | 04:50 | by the way, because you'll
just interrupt the process.
| | 04:54 | You can work inside of other
applications on your computer if you want to, but
| | 04:58 | that's really going to
slow Photoshop to a crawl.
| | 05:01 | The best thing to do is, let Photoshop
remain in the foreground, let it do its thing.
| | 05:05 | Really honestly, this kind of ray
tracing is a great thing to do overnight.
| | 05:09 | Anyway we're going to
accelerate the heck out of the process.
| | 05:11 | All right so, here is the final
ray traced version of the image.
| | 05:15 | Did I say it might take an hour or more?
| | 05:17 | It took more than ten hours
to ray trace this darn thing.
| | 05:21 | But anyway, it's finally done.
| | 05:23 | I'm going to go ahead and fill the
screen with the image and zoom in slightly.
| | 05:26 | So here is the final version of that
complex scene, complete with glass elements.
| | 05:30 | Just for the sake of demonstration, here's
that same illustration before the ray tracing.
| | 05:36 | What a difference ray tracing
makes, here's the after version.
| | 05:39 | So several hours of ray tracing
later, but the results are worth it.
| | 05:43 | Thanks to the awesome, if slightly
sluggish 3D power of Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
15. Lighting Your SceneIgniting the colors in your scene with light| 00:00 | In the realm of 3D, an object is
wrapped in a diffuse texture and by diffuse I
| | 00:06 | mean a single color or
image spread over an area.
| | 00:09 | But regardless of the color or image,
that object will be black in the absence
| | 00:14 | of light, because without light, a 3D
scene is exactly what it is in real life
| | 00:19 | clouded by the darkness of night.
| | 00:22 | When you light an object, its colors
become visible, and the object depending on
| | 00:27 | its material to some degree shines
which makes lighting one of the most
| | 00:31 | essential attributes of a scene
as well as one of the toughest.
| | 00:35 | Watch the credits at the end
of a computer animated movie;
| | 00:38 | Toy Story, Shrek, the one with the
dancing penguins, and you'll see a laundry
| | 00:43 | list of lighting artists.
| | 00:45 | All they do is light, which is
to say lighting is a big job.
| | 00:49 | It requires not just placing the lights,
but also pointing them, plus defining
| | 00:53 | a few key attributes;
| | 00:55 | intensity, hotspot, fall-off, attenuation,
so it requires time, not to mention patience.
| | 01:02 | In this chapter, we're going to light a
bedroom by setting a table-lamp and four
| | 01:07 | can lights, you know, the
ones recessed in the ceiling.
| | 01:10 | And while it isn't easy,
it's well worth the work.
| | 01:13 | After all, light is the energy that
ignites the colors in your scene and
| | 01:18 | frankly, there's a certain zen to it.
| | 01:20 | Each light wakes a slumbering piece of artwork.
| | 01:23 | Each light is that diffuse texture
talking to that reflective surface, talking
| | 01:28 | to the lens of your camera.
| | 01:30 | Each light is another
fragment of your scene come to life.
| | Collapse this transcript |
| Making sense of a single-mesh scene| 00:00 | All right, kiddos! I want to give you a sense right
upfront here of where we're going with this chapter.
| | 00:05 | We're going to start with this basic
setup right here, this bedroom scene.
| | 00:11 | Thus far, it's un-rendered;
| | 00:12 | it's unlit, so you can get a sense of
the ginormous difference that lighting
| | 00:16 | makes in a 3D scene inside of Photoshop
as elsewhere in the real world as well.
| | 00:22 | This scene was assembled for me by a member
of our awesome graphics team here at lynda.com;
| | 00:27 | custom scene that Paul Roper put
together for us inside of Maya.
| | 00:32 | We're going to take this scene,
and we're going to go ahead and light it and
| | 00:35 | render it and we'll
ultimately come up with this.
| | 00:38 | So it's a fair sea-change I think.
| | 00:40 | Now I rendered this version of the
image using Photoshop's Ray Traced Draft
| | 00:44 | setting, and as a result we have
these very dark, even blackish shadows.
| | 00:49 | So you can see that.
| | 00:52 | And as a result, we have these
very dark sometimes black shadows.
| | 00:55 | For example, this little bit of
baseboard in the upper-right region of the image
| | 01:00 | is entirely black, whereas when I
rendered the scene using Photoshop's Ray
| | 01:03 | Traced Final setting, I ended up
with this version of the scene here.
| | 01:07 | So much brighter, also
we have filled-in Shadows.
| | 01:11 | So we have these orange shadows that
are created by the light bouncing off the
| | 01:14 | floor and then filling in the shadows.
| | 01:15 | So we have a much more
realistic version of the scene;
| | 01:19 | brighter, more cheerful as well and so forth.
| | 01:21 | I went ahead and filled-in the windows.
| | 01:23 | Those are 2D effects, by the way, so
that has nothing to do with the Ray
| | 01:28 | Tracing, because the Ray Traced Draft
version of the image, you can see we don't
| | 01:31 | have any reflections on the
windows, we do in this final version.
| | 01:35 | Again, totally 2D fakery;
| | 01:36 | I'll show you how that works before we're done.
| | 01:38 | Anyway, for now what I like you to
do if you're working along with me, is
| | 01:42 | switch over to Photoshop.
| | 01:43 | I was in the Bridge, by
the way, there for a moment.
| | 01:45 | I have opened this file
that's called Base comp.psd.
| | 01:49 | It's found inside the 15_lighting folder.
| | 01:52 | It contains a Background layer,
and then just one more layer, this moonlit sky
| | 01:56 | which comes to us from a fellow named
Stas Perov of the Fotolia Image Library
| | 02:01 | about which you can learn
more at Fotolia.com/deke.
| | 02:04 | The only reason we've got this image in
here is to fill-in that initial window.
| | 02:09 | So we'll come back to it later,
go ahead and turn it off for now.
| | 02:12 | Then I'd like you to go up to the 3D
menu and choose New layer from 3D File.
| | 02:17 | Then navigate your way to this
subfolder that's inside the 15_lighting folder,
| | 02:22 | it's called Roper resources, that is,
these files from Paul Roper, and I want
| | 02:27 | you to select the file that's called
Hotel room.obj and then click Open in order
| | 02:32 | to import this 3D scene into Photoshop.
| | 02:35 | Now, it not only contains the scene
ultimately rendered out as a single big mesh
| | 02:40 | but it contains a ton of materials as
well that will give us the option to
| | 02:44 | better manipulate the
scene over time. All right!
| | 02:47 | I am going to go ahead and
grab my 3D Camera tool here.
| | 02:51 | I am going to use the widget to zoom-in
on the scene, so I am dragging on that
| | 02:54 | blue arrow in order to move inward,
and then I'll also drag down on the green
| | 02:59 | arrow to move our view of the
scene down just a little bit.
| | 03:03 | I might go ahead and rotate it up just like
so, so that we can see down into the scene.
| | 03:08 | I am going to scoot this over as well,
because one of the things that we need to
| | 03:11 | do here is figure out where
all the various objects are.
| | 03:15 | So if I double-click on the thumbnail
for this Hotel room layer here inside
| | 03:19 | the LAYERS panel to bring up my 3D panel, you
can see that I've just got one mesh, that's it.
| | 03:24 | And if you go up to the little Filter By:
| | 03:26 | Meshes icon and click on it, sure
enough one mesh is all you got which means
| | 03:31 | that we can't move any of the meshes
around so we can't change the position
| | 03:34 | of the windows, we can't move the bed
inside the scene, we can't do any of that jazz.
| | 03:39 | That has a lot to do with the fact that
we imported this scene as an OBJ file,
| | 03:43 | which Photoshop doesn't like
nearly as much as DAE files.
| | 03:46 | But that's okay because
we can still work with it.
| | 03:48 | Where we are going to have the option of
manipulating the scene is in terms of its materials.
| | 03:53 | So if I switch back over to Filter By:
| | 03:55 | Whole scene, then I can see this
big long list of materials here.
| | 03:59 | Some of them make a modicum of sense,
like there's four window materials.
| | 04:02 | So I assume those go with the windows.
| | 04:04 | But the other ones, all these lamberts,
and then there are some lamps, and beds,
| | 04:08 | and I don't know what's going on with
all this stuff, and so I'd like to figure
| | 04:12 | out which material goes with which object.
| | 04:14 | For example, since the only control I
have over the bedspread is going to be a
| | 04:18 | material, I would like to
know which material that is.
| | 04:22 | I can't turn Materials on and off.
| | 04:24 | Notice they have eyeballs
but the eyeballs are dimmed.
| | 04:28 | So I ask you, why are they even
there if they are perpetually dimmed?
| | 04:33 | If we have no option to click on them,
why does Photoshop tempt us with them?
| | 04:39 | Here's the tip though.
| | 04:40 | If we click on one of these items like
this thing that's called BedsideTable,
| | 04:43 | I assume it's the bedside table right here but
let's confirm by going down to the Opacity value.
| | 04:49 | And if I set that Opacity value to 0
like so, and then press the Enter key, or
| | 04:54 | the Return key on the Mac,
sure enough the table disappears.
| | 04:57 | So that tells me that indeed this
material goes with that table, so that's
| | 05:01 | great, that's good news.
| | 05:03 | Also another way to sort of figure out
what's going on is to go down to this
| | 05:07 | little eye icon down here next to the
little grid that says Toggle Misc 3D
| | 05:12 | Extras, click on it and then choose 3D
Selection, and that way, you're going to
| | 05:17 | see a little wireframe around the selected item.
| | 05:20 | So we know it's the bedside table.
| | 05:22 | Instead of this weird long name it has
right now, let's just go ahead and call
| | 05:25 | it bedside table like so, and so that
way we know what in the world it is.
| | 05:31 | Now, I am going to crank the
Opacity value back up to 100%.
| | 05:34 | Okay, so we figured out one of the
many objects inside of the scene.
| | 05:39 | In the next exercise we're going to
organize and name all of the others.
| | Collapse this transcript |
| Identifying and naming materials| 00:01 | So in the previous exercise we managed
to hunt down and rename the most obvious
| | 00:06 | material in the scene,
which is the bedside table.
| | 00:08 | In this exercise, we are going to hunt
down to rename the remaining 16 materials.
| | 00:13 | Now, it's all a matter of due diligence,
we are just trying to navigate our way
| | 00:17 | around, figure out what's going on.
| | 00:18 | You could skip this step if you want to.
| | 00:20 | I don't recommend that you do that,
because you are going to be a lot better set
| | 00:24 | to navigate through the scene and make
it look beautiful if you know what's
| | 00:27 | going on in the first place.
| | 00:29 | I've saved my progress as
The single-mesh scene.psd.
| | 00:32 | It's found inside the 15_lighting folder.
| | 00:34 | I am going to click on this next item down here.
| | 00:37 | This material that's called bed05:blinn1SG.
| | 00:41 | I have no idea what in the world that means.
| | 00:43 | So we will click on it to make it active.
| | 00:46 | I do have my 3D Selections turned on.
| | 00:48 | You can do so by clicking on that little
icon down there at the bottom of the panel.
| | 00:52 | You can also do so by going up to
the View menu, choosing Show and then
| | 00:55 | choosing 3D Selection.
| | 00:57 | Either way, the check mark should
be in front of the command so you can
| | 00:59 | see what's going on.
| | 01:00 | This is obviously the bed frame
right here and it also includes the
| | 01:05 | frame underneath the bed.
| | 01:06 | So, I am going to go ahead
and name this bedframe, like so.
| | 01:10 | Now, I'll click on the next item
down that appears to be the bedspread.
| | 01:13 | So I will go ahead and rename it bedspread.
| | 01:15 | Now, some of these items are easy
to identify, others not so much.
| | 01:19 | The next guy is a little tough.
| | 01:21 | It's like what in the world
have I selected this time.
| | 01:23 | I don't see white edges around anything.
| | 01:26 | So I will reduce the Opacity to 0% and
keep a careful eye on the scene, because
| | 01:30 | theoretically I am seeing a
representative of just about everything in the scene
| | 01:34 | here from this view.
| | 01:36 | As soon as I reduce the
Opacity, the pillows go away.
| | 01:39 | Well, now what I do is I
sort of hunt further there.
| | 01:42 | I'd zoom into the scene, see what else
is going on, maybe change a bedspread to
| | 01:46 | an Opacity value 0% so that I could see if
it's not just pillows, it's something else.
| | 01:52 | I'll just tell you what's happening here.
| | 01:54 | It turns out it's both the
pillows and the mattress.
| | 01:56 | So, I am going to press Ctrl+Z or Command+Z
on to undo the reduction in the Opacity value.
| | 02:02 | We want most of these
objects to remain fully opaque.
| | 02:05 | Now I will go ahead and rename this
material mattress & pillows. There we go!
| | 02:10 | Now, let's drop down to blinn1SG and
that is baseboards this time around.
| | 02:16 | You can change the Opacity if you want,
but I know for a fact these are the baseboards.
| | 02:21 | Then click on the next one and it's like what?
| | 02:23 | I have no idea what blinn2SG is.
| | 02:27 | If I reduce the Opacity to 0% here, then
I don't see anything reduced in opacity.
| | 02:34 | You know what, I am going to press Ctrl+
Z or Command+Z on the Mac to reestablish
| | 02:37 | the Opacity value of 100% and
we'll come back to that guy.
| | 02:40 | Let's click on the next item down,
blinn3SG and I can see these little
| | 02:45 | selections, these white selection
edges around each of the cans at the top of
| | 02:50 | the scene above the ceiling.
| | 02:52 | So I am going to rename
this guy can housings, like so.
| | 02:57 | You know what, I bet;
| | 02:58 | we will come back to it in a second.
| | 02:59 | I am going to click on the next one,
lambert2SG and that's the entire ceiling.
| | 03:05 | So I am going to rename it, entire
ceiling because it's not just the ceiling, it
| | 03:10 | also includes the crown molding
along the interior of the ceiling.
| | 03:14 | Again, I just know that from sort
of flitting around inside this image.
| | 03:17 | Let's reduce the Opacity of the ceiling
to 0% for moment so we can see through it.
| | 03:22 | I'm also going to reduce the Opacity of
the can housings and now I'll click on
| | 03:27 | blinn2SG again and it's these little
guys right there, the light lights.
| | 03:32 | If I reduce the Opacity value 0%, sure
enough they go away. So that's them.
| | 03:37 | Press Ctrl+Z or Command+Z on the Mac
to reset the Opacity value back to 100%.
| | 03:42 | I'll call this guy just for the sake of
variety, I will call it ceiling lights
| | 03:46 | instead of can lights.
| | 03:47 | That way I can just look at this for
easily and note that can housings are the
| | 03:51 | exterior metal items, ceiling lights
are the items I need to light, because I
| | 03:55 | need to keep track of where these objects
are so that I can project light out of them.
| | 04:00 | Anyway, I am going to switch back
to can housings, restore its Opacity
| | 04:03 | value back to 100%.
| | 04:04 | Click on entire ceiling;
| | 04:06 | take its Opacity value back to 100%.
| | 04:08 | Click on lambert3SG and I
think what this is, is the wall.
| | 04:14 | So, I am going to change the Opacity
value to 0%, sure enough. That's both wall.
| | 04:18 | So I will press Ctrl+Z, Command+Z on
the Mac, double-click on this item and
| | 04:22 | call it both walls.
| | 04:24 | Then let's go ahead and scroll down.
| | 04:26 | We just have a few more
items, believe it or not.
| | 04:28 | There's lambert4SG. What is that?
| | 04:31 | I can't tell for the life of me.
| | 04:32 | So I will go ahead and reduce the
Opacity value to 0% and the floor goes away.
| | 04:37 | So, it must be the floor.
| | 04:38 | Press Ctrl+Z, Command+Z on the Mac to undo.
| | 04:41 | Then change the name of this item to floor.
| | 04:44 | Now, we have a handful of lamp items right here.
| | 04:47 | And to properly identify those, I am
going to go ahead and zoom in on my seams
| | 04:52 | more and by zoom in I mean with the camera.
| | 04:54 | So, I have still got my 3D Camera tool
selected here and I have got my widget
| | 04:58 | up, so I can drag on the blue arrowhead
to zoom in on the scene, and then I can
| | 05:02 | drag on the red arrowhead in
order to scoot over a little bit.
| | 05:06 | I'm going to zoom in even further,
because I really want to be able to keep a
| | 05:10 | close eye on that lamp right there.
| | 05:13 | So, I am just dragging on the
blue and red arrowheads, by the way.
| | 05:16 | Now let's click on lamp03:blinn1SG
and that is the lamp stand, all right.
| | 05:21 | So, I will go ahead and call it that.
| | 05:24 | The next item here is what? Don't know.
| | 05:28 | Can't see it when it's selected.
| | 05:29 | So we will drop down to the
next item and it's the lamp shade.
| | 05:33 | So I'll go ahead and name it that.
| | 05:36 | Then I will take that lamp shade and
I will reduce its Opacity value to 0%.
| | 05:40 | So, I can see there's a light
bulb inside of the lamp shade.
| | 05:43 | So, I am going to click on this
guy to check if it is the light bulb.
| | 05:46 | I'm not seeing any kind of
highlight around the light bulb.
| | 05:50 | So let's change the Opacity
value to 0% and see what happens.
| | 05:53 | And the light bulb disappears.
| | 05:55 | So, it must be the light bulb.
| | 05:57 | So, I am going to go ahead and
rename this guy light bulb, like so.
| | 06:01 | You know what, this time around, I am
not going to take the Opacity value up to
| | 06:03 | a 100%, I am just going to take it up to
20% because we are going to want to put
| | 06:08 | a light inside of that light bulb,
but I don't want it to get completely
| | 06:11 | obscured by the bulb shape.
| | 06:13 | Now, I am going to go ahead and click
on lamp shade again and let's take its
| | 06:17 | opacity value up to 75%.
| | 06:19 | We want it to have a little bit of translucency.
| | 06:22 | The only remaining items are the windows.
| | 06:25 | So let's go ahead and scroll over a little
bit here inside of our 3D scene by dragging.
| | 06:30 | So, I dragged to the right on red arrowhead.
| | 06:32 | I am also going to drag up on the
green arrowhead and that's this first
| | 06:36 | window right there.
| | 06:37 | So, I am going to call it window frame 1.
| | 06:41 | Then the next item down is
actually the pane inside of the window.
| | 06:45 | If I were to reduce its Opacity to 0
%, you can see that the window goes
| | 06:49 | white instead of gray.
| | 06:50 | So, I am going to rename this item,
pane 1, and then I'm also going to change
| | 06:56 | its Opacity value to 25%, because we do
want some translucency associated with
| | 07:00 | the window, 25% of service is just fine for now.
| | 07:03 | The next guys, I'll just ruin the surprise here.
| | 07:06 | We don't have to go hunting for them.
| | 07:07 | They are window frame 2 and pane 2.
| | 07:09 | So let's just go ahead and rename
them as such. So window frame 2.
| | 07:14 | Then for this final item here, I will
go ahead and call it pane 2 and I will
| | 07:19 | change its Opacity value from 100% down to 25%.
| | 07:23 | We have now managed to identify and name
every single one of the 17 materials in
| | 07:28 | this scene, which will make it a heck
of a lot easier to navigate and modify
| | 07:32 | these materials in future exercises.
| | Collapse this transcript |
| Establishing a base camera and light| 00:01 | All right, so you may have noticed, we
brought this model into Photoshop without
| | 00:04 | changing its position or orientation,
nor did we change the position or
| | 00:08 | orientation of the mesh.
| | 00:09 | We're going to be doing all of that
positioning and orientation work using the
| | 00:13 | camera, and that way the entire scene
and all its materials and all of the
| | 00:18 | lights will move as one and it will make
for a much more streamlined experience.
| | 00:23 | So we're going to start things off in
this exercise by establishing a kind of
| | 00:27 | home camera angle that we will visit
over and over again throughout this
| | 00:31 | chapter, and we're also going to
whittle down the lights and I'll show you why
| | 00:35 | that's necessary in just a moment.
| | 00:36 | I've saved my progress as All materials
accounted for.PSD, it's found inside the
| | 00:41 | 15_lighting folder, and you know what, I
just want to mention something, I might
| | 00:45 | have mentioned this before
but it bears re-mentioning it.
| | 00:48 | So I'm going up to the Window menu and
I'm going to choose the Open command or
| | 00:51 | press Ctrl+O, Command+O on the Mac,
but this is really specifically a Windows
| | 00:55 | issue, it doesn't really happen on the Mac.
| | 00:57 | You may end up finding yourself trying
to open an image, here I'm looking at the
| | 01:01 | contents of the 15_lighting folder,
and I can't see a darn thing except this
| | 01:04 | Roper resources subfolder and that's
because Photoshop has the tendency here
| | 01:10 | under Windows after you get done
importing a 3D file, then it decides that the
| | 01:15 | only files of type that you'll ever
want to open in the future are CIN, SDPX,
| | 01:22 | DPX and FIDO files, when that's insane.
| | 01:25 | Anyways, so what you do because you
can't find anything, is you click on this
| | 01:30 | down-pointing arrowhead and you choose
All Formats, and all of a sudden then you
| | 01:33 | can see all the standard file formats
that are available to you, just FYI.
| | 01:37 | Anyway I'm going to cancel out of there.
| | 01:40 | And what I'm going to do, I've got my
Camera tool still selected here and I'm
| | 01:44 | going to back off of the scene just a
little bit and you'll find that you may at
| | 01:49 | certain points either have your view of
the scene blocked by the ceiling or the
| | 01:53 | floor or one of the walls and that's
just something you are going to have to
| | 01:56 | deal with over time.
| | 01:57 | I'm going to go ahead and drag my
view of the scene down a little bit;
| | 02:00 | I might spin the scene as well, like so.
| | 02:03 | Here are the values I ultimately came up with.
| | 02:06 | Make sure that you are seeing the
Orientation values up here in the Options
| | 02:09 | bar and I do want the X value to be -106,
so I'm almost there and I'm going to
| | 02:15 | change the Y value to 0, and then I'm going to
change the Z value, also very close, to -128.
| | 02:22 | So we've got -106 for X, 0 for Y,
and -128 for Z. These of course are
| | 02:27 | the Orientation values.
| | 02:28 | Now let's go ahead and switch over to
that Pan, the 3D Camera tool, so that we
| | 02:33 | can see our position values and I'm
going to change the X value to -144, the Y
| | 02:39 | value quite different than what I have.
| | 02:41 | I'm going to change it to -38, and then
I'm going to change the Z value to 74.
| | 02:47 | So again -144 for X, -38 for Y and 74
for Z, and this is going to be our home
| | 02:54 | position, we can only see one of the
windows, we can't see the other one.
| | 02:57 | That's okay, we're going to actually be
able to see the other one pretty soon.
| | 03:02 | Thanks to the power of reflectivity
inside of Photoshop, but for now what I'd
| | 03:05 | like you to do is go up to the
Options bar, click on the little floppy disk
| | 03:08 | icon, our method for saving
everything don't you know, constantly using the
| | 03:13 | floppy disks and I'm going to go
ahead and call this camera angle Home
| | 03:16 | Position and click OK.
| | 03:18 | And now we'll be able to come
back to it any old time we like.
| | 03:21 | All right now let's check out
what's going on with the lighting in the
| | 03:23 | scene, it's not good.
| | 03:24 | Of course a very flat lighting, and if
I double-click on the thumbnail for this
| | 03:28 | Hotel room layer to bring up the 3D
panel, and then I'll go ahead and click on
| | 03:32 | lights so we can see that there are two
infinite lights and I want you to get a
| | 03:36 | sense of where they are.
| | 03:37 | So I'll drop down to this
little Toggle misc 3D extras icon.
| | 03:41 | I just love reading these little
tooltips, and I'll click on it and I'll choose
| | 03:44 | 3D Light so that we can see the 3D
lights in this scene and I'll go ahead and
| | 03:49 | click on my Light tool as well and I
can't see a darn thing and that's because
| | 03:53 | lights are way out there.
| | 03:55 | So we're going to have to grab the
Camera tool again, and I'm going to grab that
| | 03:59 | walk with the 3D Camera tool from the
Options bar, and I'm going to go ahead and
| | 04:02 | drag down in order to zoom away from
the scene effectively and there is one of
| | 04:08 | the light, so let's go ahead
and click on Infinite Light 1.
| | 04:11 | I have my Selections visible so I'm
seeing that it is the selected one, I'll click
| | 04:15 | on Infinite Light 2 and it's
coming upward from down below.
| | 04:18 | They're both trying to go through solid
surfaces, so Infinite Light 2 is trying
| | 04:22 | to go through the floor, Infinite Light
1 is trying to go through the ceiling.
| | 04:25 | Well, you know what, we don't need
Infinite Light 2, and I'll tell you what we
| | 04:28 | don't need any infinite lights, really,
because we are going to be using a point
| | 04:32 | light for the lamp right there, and we
are going to be using spot lights for
| | 04:36 | each one of the ceiling can lights.
| | 04:39 | So let's go ahead and get rid of
Infinite Light 2 by clicking on the Trash Can,
| | 04:43 | and the scene may dim down just a little bit.
| | 04:46 | Now I'm going to leave Infinite Light
1 here because notice what happens if I
| | 04:50 | were to turn it off then our entire
scene goes black and we can't get any work
| | 04:55 | done, so that's kind of a problem.
| | 04:57 | So I'll go ahead and turn it back on,
it doesn't make any sense that the light
| | 05:00 | is coming in through the ceiling,
and somehow illuminating the scene, but I'll
| | 05:04 | go-ahead and rename this guy Illuminator,
because that's a function it's serving
| | 05:08 | at least when we're not ray tracing the scene.
| | 05:11 | All right, so I'm going to scoot my scene over
a little bit, like so, using my 3D Widget here.
| | 05:18 | I have got the Camera tool selected
still, and now I'm going to click on the
| | 05:20 | floppy disk icon again, and let's go
ahead and name this guy Very Wide Angle,
| | 05:24 | and what I'm going to tell you is
when you're kind of work anywhere around
| | 05:27 | through a scene trying to figure it
out that you should save almost every
| | 05:32 | single camera placement you can,
because they don't take up any room and you'd
| | 05:35 | never know when you're going to want to
come back, and it's not always easy to
| | 05:39 | get to certain places.
| | 05:40 | Anyway, I'll go ahead and click OK so
that that position is saved out, and then
| | 05:44 | I'll go back up to the Options bar,
click on the View pop-up menu and choose
| | 05:47 | Home Position to go back into the scene.
| | 05:50 | Now I want you to see something,
I'm going to switch over to Filter By:
| | 05:54 | Whole scene so that I can see the
scene and the materials and so forth.
| | 05:57 | I will click on Scene at the top of the
list and I'll change the Quality setting
| | 06:00 | from Interactive to Ray Traced Draft,
because I want you to notice something
| | 06:04 | that happens when we ray trace a scene.
| | 06:06 | We get a realistic
depiction of the light source.
| | 06:10 | So we have this massive shadow that's
being cast into the bedroom because of the
| | 06:14 | ceiling because the ceiling is opaque,
and then we're seeing just a little bit
| | 06:18 | of the carpeting in the
foreground, and that's it.
| | 06:21 | So really the light that we've created
so far only serves a purpose when we're
| | 06:25 | working in that Interactive mode.
| | 06:27 | Anyway, so I'm going to go ahead and
click to interrupt the ray trace, click on
| | 06:30 | Scene again to make it active and
change Quality back to Interactive Painting.
| | 06:34 | And so we're going to keep this light
around, this illuminator, just so long as
| | 06:39 | we need it to get a sense of what's
going on in the scene and then once we've
| | 06:42 | created some real light
sources we will turn it off.
| | 06:45 | All right, so base camera angle
established, base light source established.
| | 06:49 | In the next exercise we're going to
turn on the light bulb inside of the lamp
| | 06:54 | using a Point Light.
| | Collapse this transcript |
| Creating and positioning point lights| 00:00 | In this exercise we are going to
create and position a Point Light.
| | 00:04 | I've saved my progress as
Primitive bedroom.PSD found inside the
| | 00:08 | 15_lighting folder.
| | 00:09 | I am going to double-click on the
thumbnail for my 3D layer to bring up the 3D panel.
| | 00:13 | Then I will click no this final icon over
on the right-hand side, Filter By: Light.
| | 00:17 | It looks like a lightbulb of course.
| | 00:19 | So that we can see the four
lights that are available to us.
| | 00:22 | I am going to run through them upfront here,
so nothing else to be reminded of how they work.
| | 00:26 | An Infinite light is a very distant, very
gargantuan light source such as the sun.
| | 00:32 | So you may recall that we used an
infinite light to light Saturn back in Chapter
| | 00:37 | 1 of the 3D Fundamentals course.
| | 00:39 | So, the light source is so very, very,
very big that it shines its light in
| | 00:45 | parallel direction, so all of the
rays of light are parallel to each other.
| | 00:49 | You can determine the direction of the
light source, but you can't determine its
| | 00:53 | position, because it is so very, very far away.
| | 00:55 | Think thousands, if not, millions of miles away.
| | 00:59 | You've got direction with Infinite lights.
| | 01:01 | You do not have position.
| | 01:03 | The opposite is the Point Light.
| | 01:05 | With a Point Light you've got a
little bulb, for example, and it's shining
| | 01:09 | its rays of light in all different directions
in a radio fashion, away from the light source.
| | 01:14 | So because it's an omni-directional
light source, you can't change its
| | 01:18 | direction, you can only change its position.
| | 01:21 | So you can only change the direction
of an Infinite Light and you can only
| | 01:24 | change the position of a Point Light.
| | 01:26 | Then Spot Lights offer you both options.
| | 01:29 | That is a light that trained in a
certain direction and that is a light that
| | 01:34 | shines in a specific direction and that
is a light that shines from a specific
| | 01:39 | point in a specific direction.
| | 01:40 | So you can change both its
location and direction, as we'll see.
| | 01:44 | We are going to see Spot lights, by the way,
for the can lights coming down from the ceiling.
| | 01:49 | Then finally you've got this guy
called the Image Based Light and that's
| | 01:51 | essentially a light that's
wrapped inside of a spherical image.
| | 01:56 | So it's another way to create natural
reflections in the scene without resorting
| | 02:00 | to placing the entire scene
inside of a spherical panorama.
| | 02:03 | We'll see how that light source works
in the future chapter, but for now we are
| | 02:07 | going to create a new Point Light.
| | 02:08 | You do that by dropping down to the
little page icon at the bottom of the 3D
| | 02:12 | panel and this page icon
only lets you create lights.
| | 02:15 | It doesn't matter how you're filtering
your 3D scene here inside the 3D panel.
| | 02:19 | You will always create
lights from this little icon here.
| | 02:22 | We are going to create a New Point
Light and I am going to go ahead and call
| | 02:25 | this guy, lightbulb.
| | 02:26 | Now, I am not sure exactly where
this light is at this point in time.
| | 02:31 | So I am going to go ahead and select my
fourth tool down, which is going to be
| | 02:35 | one of my lighting tools.
| | 02:36 | In this case the Light Slide tool,
because the 3D Light Rotate tool isn't
| | 02:41 | going to do me any good.
| | 02:42 | Again, I don't have directional control
with a Point Light, I just have position
| | 02:46 | control, which I can change
using the Pan or Slide tool.
| | 02:49 | Anyway, so for me the Slide
tool is selected, whatever.
| | 02:51 | I am going to drop down here to this
little toggle misc 3D extras icon, click on
| | 02:56 | it, and just confirm that I have both
3D Lights and 3D Selections turned on.
| | 02:59 | So I should be able to see this
light source, but I can't.Obviously, it's
| | 03:02 | illuminating the scene at some place here.
| | 03:04 | So what we need to do is switch over to
the Camera tool and we are going to be
| | 03:07 | doing a lot of this.
| | 03:08 | Switch to the Camera tool and let's
go ahead and change our view to very
| | 03:12 | wide-angle, if you saved
that one out along with me.
| | 03:15 | I can see that there is light.
| | 03:17 | It's like buried in the floor right now.
| | 03:20 | Now it's interesting to note, if I go
up to the View menu and choose Show, and
| | 03:25 | Choose 3D Ground Plane, that the
floor is aligned to the 3D Ground Plane.
| | 03:30 | So the lights are going to have a
tendency every once in a while, Point Light in
| | 03:33 | particular to arrive at the [0, 0,
0] location which is right at the
| | 03:37 | intersection of the green and
red axes there on the Ground Plane.
| | 03:42 | So we just need to move it up
to a more reasonable position.
| | 03:45 | Let's go up to View, choose Show, get
rid of the Ground Plane, because it serves
| | 03:49 | no purpose when we are working
here inside of an interior scene.
| | 03:52 | I am going to go ahead and lift that light
source by switching back to my Light tool.
| | 03:57 | You may notice this
happening every once in while.
| | 04:00 | This is this irritating bug.
| | 04:02 | There is a couple of irritating bugs as
you will learn when working with lights
| | 04:05 | inside of Photoshop.
| | 04:06 | One of them is that Photoshop decides
to give you a useless 3D widget like
| | 04:11 | this one here that just has a bunch of
sticks, but doesn't have any arrows or
| | 04:15 | anything like that.
| | 04:16 | Well, I won't expect it to have the
little rotate doodads, because after all I
| | 04:21 | can't change the direction of light source.
| | 04:22 | But I do need arrowheads,
because I need to change the position.
| | 04:25 | Here is how you get them.
| | 04:26 | You go and turn the light off.
| | 04:28 | Notice they come right back.
| | 04:29 | But of course, light is off so
we need to turn the light back on.
| | 04:32 | Anyway, turn it off, turn it back on,
and you'll get the things you need out of the 3D widget.
| | 04:37 | Now I am going to drag up on little
blue arrowhead to move the light source up.
| | 04:41 | So it's kind of hovering
in the middle of the room.
| | 04:44 | Let's go back into the room with a
camera by grabbing the Camera tool and then
| | 04:48 | switching our View to Home position.
| | 04:50 | So by now I hope you get
the idea. The camera is you.
| | 04:53 | That's you wandering in and out of the 3D scene.
| | 04:57 | Now I can't see the light source once again.
| | 04:59 | So I am going to switch to my
Light tool, and I get my sticks.
| | 05:02 | I don't want my sticks.
| | 05:03 | So I will turn off the
lightbulb, but I will turn it back on.
| | 05:05 | This is just hilarious
hijinks on Photoshop's part.
| | 05:09 | Even though I'm chuckling, I have to tell you,
it gets very, very tiresome after a while.
| | 05:13 | I'm crying as I laugh.
| | 05:15 | I am going to go ahead and drag on
the green arrowhead in order to move the
| | 05:20 | lightbulb sort of in the middle of things here.
| | 05:22 | I want it hovering right
above the bed for a moment.
| | 05:26 | So I am going to drag down on the
blue arrowhead and you can see that it's
| | 05:29 | sinking into the bed, like so.
| | 05:31 | So it's very helpful to have that 3D
Selection item turned on so that you can
| | 05:36 | see the light and you can see it sink
into objects, or you have a sense of
| | 05:41 | where it is in 3D space.
| | 05:42 | Now I am going to go ahead and drag it
over a little bit and Paul has helpfully
| | 05:47 | provided us with a grid here on the bed.
| | 05:50 | So I can see that this blue line
runs right between the two pillows down
| | 05:54 | the center of the bed.
| | 05:55 | I do want to center the light source
for now, even though it's going to go into
| | 05:57 | the lamp eventually.
| | 05:59 | Right now, I just want to
place it right above the bed.
| | 06:01 | I will move it over the top of the
bed a little bit, kind of in the middle,
| | 06:05 | actually like so, by dragging in the
green arrowhead, and then I am going to
| | 06:08 | move it up by dragging on the blue arrowhead.
| | 06:12 | So now I know it's centered
correctly above the bed. That's great.
| | 06:16 | Here is something I want to
demonstrate to you though.
| | 06:20 | You cannot see the light.
| | 06:23 | Now that may seem like an
awfully surprising thing to say.
| | 06:26 | But if I switch back over to the scene
here and click on Scene at the top of the
| | 06:30 | 3D panel, and then I change the
quality from Interactive to Ray Traced Draft,
| | 06:35 | and you know what, let's do one more thing.
| | 06:37 | I apologize, but I am going to
scroll down the list and turn off the
| | 06:40 | illuminator, because we don't need it.
| | 06:42 | That's that infinite light that's above
the ceiling that we needed momentarily
| | 06:45 | in order to illuminate the scene
here inside the interactive mode.
| | 06:48 | We don't need it anymore,
because we have this lightbulb.
| | 06:50 | I want to see the effect of lightbulb by itself.
| | 06:52 | So we've got this hovering lightbulb in
the middle of our scene, very present.
| | 06:57 | It's right there above the bed,
and yet I have the Scene selected, the Scene
| | 07:01 | item at the top of the list.
| | 07:02 | I am going to change Quality to Ray
Traced Draft and we are going to wait a
| | 07:06 | moment for Photoshop to do its ray tracing.
| | 07:08 | And I just love, while we wait here, I
want you to take a look at this excellent
| | 07:12 | shadow that's been created by the lamp.
| | 07:15 | It is just the most wonderful
cartoon shadow on the face of the planet.
| | 07:20 | It really does give us a sense
of how the lamp is put together.
| | 07:22 | We've got this wire that's holding up
the lampshade ostensibly, and then we've
| | 07:27 | got this bulb that's set very,
very low inside the lampshade.
| | 07:30 | I'm going to ultimately place the Point
Light just on top of that lightbulb, so
| | 07:36 | it's more or less centered inside the lampshade.
| | 07:38 | But do you see what I am talking about here?
| | 07:39 | Look at that scene.
| | 07:41 | We have this lightbulb hanging right
there in the middle of the room and yet
| | 07:46 | we're looking directly at the lightbulb,
not only is it not hurting our eyes,
| | 07:51 | but it's not even visible. We can't see it.
| | 07:53 | Well, that's the way it
works inside of Photoshop.
| | 07:56 | You don't actually see the lights.
| | 07:58 | You see light reflected off of meshes
and surfaces and materials and so forth,
| | 08:03 | but you do not see the light itself.
| | 08:07 | That's a little bit of a challenge sometimes.
| | 08:09 | If you have a light, a bear bulb that's
hanging down in the middle of the room,
| | 08:12 | what it means is after you're done
illuminating your scenes and placing lights
| | 08:16 | and so forth, then you're going to have
to create a 2D effect to represent that
| | 08:20 | light, because Photoshop
isn't going to do it for you.
| | 08:23 | So we've got ourselves an omni-directional
Point Light hanging in the middle of the room.
| | 08:27 | In the next exercise we are going to
move this Point Light into the lamp.
| | Collapse this transcript |
| Precisely positioning lights| 00:00 | In this exercise we're going to take
that point light that we created in the
| | 00:03 | previous exercise and we are going
to move it to the exact center of the
| | 00:07 | lampshade, or as nearly close
to the exact center as possible.
| | 00:11 | And this is a tricky maneuver.
| | 00:13 | In fact, working with lights is one of
the toughest things to come to terms with
| | 00:17 | inside of Photoshop, because
for one thing, they're invisible;
| | 00:20 | that doesn't help, but we just have
this have a sort of draft geometric
| | 00:23 | impressions of what the light sources
look like, can't really tell when the
| | 00:27 | light is running into another light or
when it's running into an object very well.
| | 00:31 | And we have the usual problems of
working in a 3D scene on a 2D monitor;
| | 00:34 | we can't stick our heads into the scene,
we don't have Binocular Vision, so we
| | 00:38 | don't have any of the tools that come
with working with 3D in the real world.
| | 00:43 | So what we're going to do is we're
going to take advantage of the shadows.
| | 00:47 | So we can use shadows and reflections
and refractions and all that jazz in order
| | 00:52 | to figure out where a light is with
respect to the objects inside of a scene.
| | 00:57 | I've saved my progress
as Bare bulb in space.psd.
| | 01:00 | It's found inside the 15_lighting folder.
| | 01:02 | I've got my 3D panel up on screen;
| | 01:04 | I'm filtering the scene according to the light;
| | 01:07 | I've got my lightbulb object selected
there, that is that point light that
| | 01:11 | you can see on screen.
| | 01:12 | And very important is you want to
make sure that 3D selection and 3D light
| | 01:15 | are turned on, otherwise you don't stand a
chance of figuring out where these darn things are.
| | 01:19 | And then finally, I'm going to go ahead
and switch over to my 3D Light Pan tool
| | 01:24 | over here along the left side of the 3D panel.
| | 01:26 | Now let's discuss what
we're seeing on screen here.
| | 01:29 | We're seeing this kind of spiky ball;
| | 01:31 | that represents the point light.
| | 01:32 | I'm going to call that the ornament,
because it looks like a kind of
| | 01:35 | Christmas ornament to me.
| | 01:37 | And then we've got three circles that
are surrounding the ornament, each of
| | 01:41 | which is positioned along the X, Y or
Z axes, so they represent these sort of
| | 01:45 | satellite paths, and they help us
figure out where the light is with respect to
| | 01:50 | solid objects in the scene.
| | 01:51 | All right, using this tool, the Pan tool
here, I'm going to go ahead and drag my
| | 01:57 | ornament like so, and I'm going
to press the Shift key as I drag.
| | 02:00 | You may recall that I know for a fact
that the light is positioned in the center
| | 02:05 | of the bed, so it's hovering above the
center of the bed, so at least I know
| | 02:08 | where it is for starters.
| | 02:10 | And now I'll just Shift+Drag it over,
and that basically constrains my drag
| | 02:15 | to exactly horizontal.
| | 02:16 | I'm keeping the Shift key down the
entire time here, which means that we're
| | 02:20 | dragging along the X and Y axes
without affecting the position of the light
| | 02:25 | along the Z axis, so we're not
moving it up and down, in other words.
| | 02:28 | And when I get it to about
here, this looks about right.
| | 02:32 | In other words, I can see the circles
that are surrounding the light descending
| | 02:36 | into the solid wall, and I can see the
top of the ornament, those tiny little
| | 02:40 | spikes there, they are
sitting on top of the lamp.
| | 02:43 | And now I'm going to release the mouse
button, then I'll release the Shift key.
| | 02:46 | And you may recall I still have Ray
Tracing turned on, which is actually very
| | 02:50 | useful, because without the Ray Tracing
I can't see the shadows, and this gives
| | 02:53 | me a sense of where this light must be.
| | 02:56 | So it's behind the lamp currently;
| | 02:58 | it's not inside the lamp;
| | 02:59 | it's behind the lamp, because after all,
it's casting this shadow, because the
| | 03:03 | lampshade is set to 75% Opacity, you
may recall from a couple of exercises ago.
| | 03:07 | So the light is passing through the
lampshade and is casting a shadow toward it,
| | 03:12 | so we have this ginormous
shadow now in the foreground.
| | 03:15 | So I do not have the light positioned
exactly right, but I do have it positioned
| | 03:19 | very nearly where I want it.
| | 03:20 | All right, I'm going to click in
order to interrupt the Ray Tracing.
| | 03:24 | I'll make sure lightbulb is still
selected as it is, because sometimes, by the
| | 03:28 | way, it will become deselected,
and that can be very confusing.
| | 03:31 | So that's one of the other problems
with working with lights, not only do you
| | 03:34 | lose your arrowhead sometimes and you
just have sticks for the Widget, but
| | 03:37 | sometimes the item becomes deselected,
and then you sit there and drag around
| | 03:41 | and nothing happens inside the Image
Window, and then you've got to go back and
| | 03:43 | reselect inside the 3D panel.
| | 03:45 | But I'll make that clear as we work along here.
| | 03:47 | Anyway, I'm in good shape.
| | 03:49 | My bulb is still selected;
| | 03:50 | my 3D Widget has arrows on it, and everything.
| | 03:52 | So I'm going to drag very slightly to
the left from that Red Arrowhead like so,
| | 03:58 | just to scoot the light a little
closer to me along the X axis, and then I'll
| | 04:01 | click to interrupt, because I
know that's not quite right yet.
| | 04:04 | I also want to drag it over just a
little bit along the Y axis too, so I'm
| | 04:09 | dragging from that Green
Arrowhead just slightly to the right.
| | 04:13 | And now I'll release and see
what I end up coming up with.
| | 04:15 | And it looks like we're getting closer
to being inside of the lampshade, because
| | 04:20 | after all, we're casting this
light down here on this end table.
| | 04:24 | Now ultimately, we want that shadow to
be exactly centered on the end table, and
| | 04:29 | that will tell us that
we've gotten everything right.
| | 04:30 | And also the entire scene will turn kind
of bluish, because after all, lightbulb
| | 04:35 | will be inside of that lampshade.
| | 04:37 | All right, so we don't
have it yet; that's okay.
| | 04:39 | Click in order to interrupt the Ray Trace.
| | 04:42 | And now I'm going to turn the Ray
Trace off, because we need to make a few
| | 04:45 | camera manipulations here, and if the
Ray Trace is turned on, it's going to be
| | 04:49 | fairly tedious after a while.
| | 04:50 | So go ahead and switch back to the full
scene, click on Scene at the top of the
| | 04:54 | list, change Quality back
to Interactive (Painting).
| | 04:58 | And now I'm going to modify my view
of the scene using the 3D Camera tool.
| | 05:02 | And I'm going to go ahead and
basically rotate my view like so, and I'm
| | 05:06 | rotating along the Z axis here, but I can't
really see my scene because now I'm outside of it;
| | 05:12 | I'm above the ceiling.
| | 05:13 | So I'd have to switch over to entire
ceiling here inside of my list, this
| | 05:17 | material, and I change the Opacity to 0
%, so I can see through the ceiling so I
| | 05:21 | have a sense of where things are.
| | 05:23 | All right, now I can drag up, like so.
| | 05:26 | Using the Widget, I'm dragging up from
the Green Arrowhead, and now I'll drag to
| | 05:30 | the left from the Red
Arrowhead and blah, blah, blah;
| | 05:33 | I'll keep manipulating my view
of the scene, but I tell you what.
| | 05:37 | Just to make things a little less of
a challenge here, I'll give you some
| | 05:39 | numerical values to work with.
| | 05:41 | Orientation, it's for the camera, by the way.
| | 05:43 | The Orientation values should be set to
-164 for X. You don't have to get these
| | 05:48 | values exactly right;
| | 05:49 | this is just going to allow us
to see down into the lampshade.
| | 05:52 | The Y value is 0, and I'm going to
change the Z value to -185, and then I'm
| | 05:57 | going to switch to my Camera Pan tool here.
| | 05:59 | And I'm going to change the
Position value as follows.
| | 06:02 | The X value should be -30, the Y value
should be 97, and then the Z value should
| | 06:07 | be 95, and we end up
getting this view right here.
| | 06:10 | And now what I'd like you to do is go
ahead and save it off by clicking on the
| | 06:13 | Floppy Disk Icon and I'll go ahead and
call this guy above lamp, and then click OK.
| | 06:18 | All right, now that we've positioned
our camera so we can really see what's
| | 06:21 | going on here, let's go ahead and once
again filter the scene according to the light.
| | 06:25 | And I'll click on lightbulb to make it active.
| | 06:27 | Let's go ahead and switch down to that
Light tool, fourth tool down in the list.
| | 06:32 | And I'm going to use my Widget, oh!
| | 06:34 | But it's just sticks.
| | 06:35 | All right, so let's go ahead and turn
off the lightbulb and turn it back on.
| | 06:39 | And now I can see there is my ornament.
| | 06:42 | Notice it's gotten very dinky here,
but that represents the center of my point light.
| | 06:47 | So I'm going to move it over a smidge like so;
| | 06:51 | I'm dragging to the left my Right Arrowhead;
| | 06:53 | you may need to make some other
modification if you're working along with me.
| | 06:57 | And then I'm going to drag down here on
my Green Arrowhead until I get that guy
| | 07:03 | positioned right about there;
| | 07:05 | I think that's right, but you
know what's really a help me?
| | 07:07 | If I go ahead and drag up on the Blue
Arrowhead, that's what I'm looking for.
| | 07:11 | See how the light is now evenly
illuminating the top of this little apparatus
| | 07:18 | right there, the thing that is
holding the lampshade into place.
| | 07:21 | And so, Paul has actually, got a new
fair amount of effort here to make sure
| | 07:24 | that this scene works, like the
lampshade has a support which is very good.
| | 07:28 | All right, now I'm going to
move this guy up just a little bit;
| | 07:31 | I'm dragging just slightly up on my Green
Arrowhead, and this looks pretty darn good to me.
| | 07:35 | Now I'm going to drag down my Blue
Arrowhead until the ornament just kind of
| | 07:40 | syncs right there into the light bulb;
| | 07:43 | right about there should be good.
| | 07:44 | All right, now I'm going to go
over to my materials for a moment.
| | 07:47 | I'm going to click on Filter By:
| | 07:48 | Whole Scene, and I'm going to drop
down here to this item that's now called
| | 07:52 | lightbulb_0, and you might
wonder well, why is it called that.
| | 07:57 | Since I went ahead and named my light,
lightbulb, then Photoshop decided, well,
| | 08:02 | you can't have two things being the same name.
| | 08:05 | And I'll go ahead and change our
material from lightbulb to something else.
| | 08:08 | So why don't we go ahead and name this
guy bulb shape just so it has a better name?
| | 08:13 | And I'm going to reduce its Opacity to 10% here.
| | 08:16 | Let's go ahead and switch
back to Filter By: Light.
| | 08:19 | And I'm going to click on lightbulb to
make sure it's active and we're going to
| | 08:22 | check out our values up here in the Options Bar.
| | 08:24 | And I've got it set to -34.29 blah, blah, blah.
| | 08:29 | What I found previously was -34.4 was an
ideal X value, so I'm going to go ahead
| | 08:35 | and enter the guy in there.
| | 08:37 | And then an ideal Y value would be
110, and then the ideal Z value is 47.
| | 08:44 | So -34.4, Y have a 110, Z 47.
| | 08:48 | If you have anything nearly
equivalent, that's going to be fine.
| | 08:52 | All right, now let's go back to the
Camera tool here, and then go up to the
| | 08:56 | Options Bar and change View from above
lamp back to Home position, and now I'm
| | 09:00 | going to Ray Trace the scene, by
switching over to my entire scene, clicking
| | 09:03 | on Scene at the top of the list, changing
Quality from Interactive to Ray Traced Draft.
| | 09:09 | And what we should see is this entire
room turn blue on us, because now we're
| | 09:14 | projecting that translucent lampshade
all over the room, and we also notice that
| | 09:20 | that dark shadow right there is
exactly centered on the end table, so we have
| | 09:25 | that lightbulb exactly where we need it to be.
| | 09:28 | Now we don't want the entire room turning blue;
| | 09:31 | this looks hideous, and we don't
want these really harsh shadows.
| | 09:34 | So we're going to recast the color of
the light and open up the shadows in
| | 09:38 | the next exercise.
| | Collapse this transcript |
| Color, softness, and attenuation| 00:01 | All right, now that the top part is
out of the way, positioning a light and
| | 00:04 | pointing a light are by far the toughest
parts of working with lights inside of Photoshop.
| | 00:09 | Now we're going to normalize the
scene by changing the color of light.
| | 00:12 | We are also going to open up the
Shadows to see what a big difference that
| | 00:15 | makes, and finally we're going to modify the
attenuation, which is the range of the light.
| | 00:20 | I've saved my progress as Crazy
blue room.psd, found inside the
| | 00:24 | 15_lighting folder.
| | 00:25 | And with the Ray Tracing turned on so
you can get a sense of the difference that
| | 00:30 | each one of these modifications makes,
I'm going to here inside the 3D panel,
| | 00:34 | switch over to Filter By:
| | 00:35 | Lights, make sure that lightbulb is
selected, and I'm also going to switch to
| | 00:40 | the Light tool so that I can
see the geometry of the light.
| | 00:43 | And now I'm going to drop down here to
this Color option, and you can assign
| | 00:48 | color to the light if you want to inside
of Photoshop and we sure as heck should
| | 00:51 | where this light is concerned for two reasons.
| | 00:53 | First of all, an incandescent light has
a sort of yellowish glow to it and also
| | 00:58 | we can use that yellowish glow since
it's a complementary color to blue to try
| | 01:02 | to defeat some of this overwhelming
blue light that's been cast by the shade.
| | 01:06 | Another option would be to change the
color of the material of the shade if we
| | 01:10 | wanted to, but I actually like this
blue shade, so I'm going to stick with it.
| | 01:14 | Anyway, I'm going to click on the Color
Swatch here and the color I want you to
| | 01:17 | dial in if you're working along with me
is 50 degrees for the Hue value, so we get a
| | 01:21 | shade of yellow, and I'm going to take
the Saturation value up to 25%, so it's a
| | 01:25 | very pale yellow and leave
Brightness set to 100%, then click OK.
| | 01:29 | And let Photoshop do a little bit of
ray tracing here, and we'll see that we
| | 01:33 | still have a crazy amount of
blue going on inside of the scene.
| | 01:37 | We have just cast a little bit of yellow
inside of it and so now it's become more green.
| | 01:42 | It's not what I want of course, so I'll
go ahead and click inside the scene or
| | 01:46 | press Escape in order to
interrupt the ray trace.
| | 01:48 | Now, notice that I've got Create
Shadows turned on so that we are casting
| | 01:51 | shadows inside the scene.
| | 01:52 | I definitely want that, but I don't
want the shadows to be this harsh, because
| | 01:57 | right now we are catching everything.
| | 01:58 | Notice this line that's going across
the end table, well that's the shadow
| | 02:02 | that's been cast by the
wire around the lightbulb.
| | 02:06 | And if we go ahead and soften that
shadow a little bit, not only will it become
| | 02:11 | a lot less harsh of course, the
shadows won't be nearly as crisp but also we
| | 02:15 | will lose some of the thinner
shadows, so just basically blur away.
| | 02:19 | So, check this out, I'm going to change
the Softness value to 5%, very low value
| | 02:24 | and you'll see what a terrific
difference it makes inside of the scene.
| | 02:27 | I've completely managed to break up that
wire shadow there and it's also going a
| | 02:31 | long way to breaking up that blue
shadow that's being created by the lampshade.
| | 02:36 | Now bear in mind when you're looking
at a ray trace like this, anywhere where
| | 02:39 | you see noise is going to end up
being rendered out as softness.
| | 02:44 | So each pass of the progressive
render ends up smoothing out that noise.
| | 02:48 | All right, so I'm going to click
inside the scene, press Escape in order to
| | 02:51 | interrupt that ray trace and I'll go
ahead and take the Softness value let's say
| | 02:54 | up to 10% and notice now that
we have noise all over the place.
| | 02:59 | Again, that will be rendered as
blurriness, but we've pretty much blurred away
| | 03:04 | the lampshade entirely.
| | 03:05 | We're not seeing that high degree of
blueness associated with the scene.
| | 03:08 | All right, I'm going to click again and
I'm going to take the Softness value all
| | 03:12 | the way up to 25% in order to
basically eliminate the lampshade.
| | 03:18 | So we're still seeing the lampshade and
it still looks blue but it's no longer
| | 03:22 | creating this freaky blue
effect inside of the scene.
| | 03:25 | All right, I'm going to pressing Escape
key in order to interrupt the Ray Trace
| | 03:28 | and I'm going to fire up the Intensity
value to 2, so basically doubling the
| | 03:33 | intensity of this light source, because
I ultimately wanted to look like in this
| | 03:37 | case a lone lamp inside the scene which
delivers a pretty harsh effect, but bear
| | 03:42 | in mind that will ultimately be adding
some can lights which we will go along
| | 03:46 | ways toward smoothing out the lighting.
| | 03:47 | All right, finally, I'm going to press
the Escape key again and I'm going to
| | 03:51 | drop down to the Use Attenuation check box.
| | 03:55 | Now what this does is it allows you to create
a drop-off where your lighting is concerned.
| | 03:59 | Attenuation, by the way, is
applicable to point lights and spotlights, not
| | 04:03 | to infinite lights.
| | 04:04 | And what it means is if I turn on Use
Attenuation, and then I'll just go ahead
| | 04:09 | and click for a moment in order to
interrupt the ray trace, we're seeing a point
| | 04:13 | at which the light is render to full
intensity, so in this case Inner is set to
| | 04:19 | 88.98, so 88.98% away from the light.
| | 04:25 | The light remains at full strength and
then the Outer value here is 266.95, so
| | 04:32 | 266.95% the way out it completely
drops away and in-between we have a gradual
| | 04:38 | reduction in that light source.
| | 04:39 | All right, I'm going to change the Inner
value because I want a really tight lightbulb.
| | 04:43 | I'm going to change the Inner value
to 10, and notice, by the way, if I go
| | 04:47 | ahead and click inside the scene to
interrupt here, that reduces the size of
| | 04:51 | the geometry, those rings around the
light and also if I click inside this
| | 04:57 | Inner value you'll see this first ring on
this little icon here, the first ring lights up.
| | 05:02 | So I'll move my cursor back in there,
and that shows you that is where the Inner
| | 05:06 | Attenuation is, it's just sort of a
graphical depiction though you know.
| | 05:10 | And then if I click in Outer we see the
bottom ring highlights which is telling
| | 05:13 | us that this is the end of the light
source and I'm going to increase that outer
| | 05:17 | value to 300, and then I'll go ahead
and press the Enter key or the Return key
| | 05:21 | on the Mac and I'll let the scene render.
| | 05:23 | And you can now see that we
have a much softer effect.
| | 05:27 | It still a harsh effect because
after all we're working with a single
| | 05:31 | incandescent light bulb inside of the
scene, but we have soften the effect
| | 05:35 | dramatically so it no longer
appears weird and artificial.
| | 05:38 | We now have a scene that is pretty
representative of something we would see
| | 05:42 | if we were trying to light an entire
bedroom using just the desk lamp and nothing more.
| | 05:47 | All right, I'm going to go ahead
and press the Escape key once again to
| | 05:50 | interrupt that ray tracing.
| | 05:51 | In the next exercise, we're going to
brighten the scene still more using a
| | 05:55 | combination of material attributes
specifically reflection, gloss and shine.
| | Collapse this transcript |
| Capturing a light with Gloss and Shine adjustments| 00:00 | In this exercise we're going to see how
the properties of reflection, gloss and
| | 00:04 | shine interact with a light
source inside of Photoshop.
| | 00:07 | I've saved my progress as
Softer shadows.psd found inside the
| | 00:11 | 15_lighting folder.
| | 00:12 | I've gone ahead and let the ray
tracing process complete a little bit.
| | 00:14 | So you can see how that noise is now
being rendered out as soft transitions.
| | 00:19 | All right, at this point I'm going to
switch back to my full 3D scene and with
| | 00:24 | Scene selected here at the top of the
list, I'm going to change Quality from Ray
| | 00:27 | Traced Draft back to
Interactive (Painting) for just a moment.
| | 00:30 | So then I can make a modification to
one of the materials in my group here, and
| | 00:35 | I'm going to select both walls.
| | 00:36 | The idea is I'm going to
turn the walls into mirrors.
| | 00:39 | Now you're not going to find floor-to-
ceiling wall mirrors in your typical
| | 00:43 | everyday average hotel room.
| | 00:44 | In large part because it would be a
nightmare to clean them but also I'm not
| | 00:48 | sure most guests would
appreciate those kinds of mirrors.
| | 00:50 | But it's going to serve us
very well inside this scene.
| | 00:52 | We're going to get an impression of how
light works inside of a 3D scene in Photoshop.
| | 00:57 | So I'm going to go ahead and change
first of all the Diffuse color, by clicking
| | 01:01 | on this little Color Swatch right there,
and let's dial-in the Hue value of 15
| | 01:06 | degrees, the Saturation value of 20% and
I'm going to take the Brightness of the
| | 01:10 | walls down to 75% and click OK.
| | 01:13 | So that we have these
fairly dim sort of reddish walls.
| | 01:16 | Just to make sure that I don't have
any diffuse texture in a way that the
| | 01:20 | texture isn't overwriting the color, I'm
going to click on this little page icon
| | 01:24 | and choose Remove Texture to
get rid of that diffuse texture.
| | 01:28 | Now I'm going to drop down to
Reflection and I'm going to crank that guy up to
| | 01:31 | 75%, which is roughly turning
these walls into absolute mirrors.
| | 01:37 | Now we can't tell, because we're
working in the Interactive mode.
| | 01:41 | So I'll have to click on Scene once
again at the top of the list, and I'll
| | 01:44 | change the Quality setting from
Interactive to Ray Traced Draft.
| | 01:47 | We will begin to render out the
reflections inside of the scene and you can
| | 01:51 | now see, both of the windows reflected on
this left-hand wall, which is kind of nice.
| | 01:56 | You can see the bedspread reflected, you
can see the lampshade and the end table.
| | 02:01 | Notice what you don't see reflected?
| | 02:03 | You don't see the light itself.
| | 02:05 | So not only are we not seeing the
light inside of the scene, we're not seeing
| | 02:09 | the light reflected either,
what in the world gives.
| | 02:12 | Well, in order to see a hotspot, in
order to see the light itself reflected on
| | 02:17 | the scene, you need gloss.
| | 02:19 | So I'm going to go ahead and click
inside the image window in order to
| | 02:22 | interrupt the ray trace.
| | 02:23 | I'm going to click on both walls again,
that material that defines these two walls.
| | 02:28 | I'm going to change the Gloss value
from 0% to a 100% and then press the Enter
| | 02:34 | key or the Return key on the Mac and
we'll see the scene re-render, and now we
| | 02:38 | have an enormous hotspot that's
associated with that lightbulb.
| | 02:42 | All right, that's too diffused in my opinion.
| | 02:45 | In other words, it's indistinct.
| | 02:48 | And to make that bulb more distinct,
then you need to increase the Shine value.
| | 02:52 | So I'm going to click again to
interrupt the ray trace, and I'm going to
| | 02:56 | change that Shine value to 50% and we
will get a much more isolated reflection
| | 03:01 | there inside of the wall.
| | 03:02 | Now we're still not seeing the bulb and
I'm not going to make the bulb visible,
| | 03:05 | Once again in the world of 3D inside of
Photoshop, you would have to create some
| | 03:09 | sort of synthetic 2D effect.
| | 03:11 | I'm not too worried about that but I
would like to go ahead and capture some of
| | 03:15 | that light inside of the lampshade.
| | 03:17 | So I'm going to click again to interrupt
the ray trace and we're going to make a
| | 03:22 | few modifications to that material
that's called lampshade here inside the list.
| | 03:26 | So I'm going to scroll down, there it is,
I'll click on it, and we'll see that I
| | 03:29 | have this blue Diffuse texture this time around.
| | 03:32 | If I'm concerned at all I could get
rid of any diffuse texture that might
| | 03:36 | be associated with this scene by choosing
Remove Texture from that little page icon.
| | 03:41 | Press the Escape key once again
to interrupt the ray tracing process.
| | 03:44 | There are a couple of
values I want to modify here.
| | 03:47 | First of all, I'm going to change the
Gloss value to a 100%, press the Enter key
| | 03:52 | or the Return key on the Mac.
| | 03:53 | Photoshop starts ray tracing, I click
in order to interrupt that ray tracing.
| | 03:57 | Sometimes you have to kind of
click and hold in order to get
| | 03:59 | Photoshop's attention.
| | 04:00 | Then I'm going to increase the Shine
value so that we have a more isolated effect.
| | 04:04 | I'll take that up to 25%, click
again to interrupt the ray trace.
| | 04:09 | Now I'm going to change the color of
the Specular highlight, by clicking on the
| | 04:13 | swatch to the right of the word Specular.
| | 04:15 | I'm going to increase the
Brightness value to a 100%.
| | 04:18 | What I'm saying is that this hotspot
can be as bright as absolute white, and
| | 04:24 | then I'll click OK in
order to accept that change.
| | 04:27 | Now let the ray trace happen here on screen.
| | 04:29 | Now we're still not getting a brilliant
light inside of the lampshade, we have
| | 04:34 | this kind of band of darkness right there.
| | 04:37 | But I like the effect.
| | 04:38 | I'm not sure why it's happening?
| | 04:39 | I think it's actually the bulb
shape that's casting the shadow.
| | 04:43 | But what I like about it is it
creates this kind of burnt-effect across the
| | 04:48 | center of the lampshade and it does
come off as being pretty darn natural.
| | 04:51 | All right, anyway, you get a
sense of what's going on here.
| | 04:53 | I'm going to go ahead and click
again to interrupt that ray trace.
| | 04:56 | That's how you work with the properties
of reflect, gloss and shine in order to
| | 05:01 | capture a light source on the material.
| | 05:05 | In the next exercise we're going to
swap out the materials for the bedspread
| | 05:08 | and floor.
| | Collapse this transcript |
| Making a patterned, textured surface| 00:00 | All right, as you can see here I've
gone ahead and let the ray tracing
| | 00:02 | progress a little bit, so that we have
softer transitions in the scene and I'd
| | 00:07 | like to offer here a little tip by way
of a best practice, because ray tracing
| | 00:12 | is so sluggish inside of Photoshop, whether
you're working with the Draft mode or the Final mode.
| | 00:16 | What I tend to do is I'll go ahead and
initiate the ray tracing in the first
| | 00:20 | place, let it swipe across the screen a
few times then click or press the Escape
| | 00:25 | key in order to interrupt the process
then I'll go up to the File menu and
| | 00:29 | choose the Save command.
| | 00:30 | So that I update that file on disk
and I capture whatever ray tracing
| | 00:34 | I've applied so far.
| | 00:36 | And then if I feel like I want to ray
trace the scene further then I'll go back
| | 00:39 | to the 3D menu and choose Resume
Progressive Render, which I'll go ahead and
| | 00:44 | pick up the ray tracing where it left
off, and then I'll take a break may be
| | 00:48 | come back 5 or 10 minutes later, see
what Photoshop has done, click again in
| | 00:53 | order to interrupt the ray tracing, go
back up to the File menu, choose the Save
| | 00:57 | command, press Ctrl+S, Command+S on
the Mac and so forth, and as long as you
| | 01:01 | don't do anything to the scene.
| | 01:03 | For example, you don't modify one of
the 3D attributes then that command will
| | 01:08 | still be available to you, as soon as
you make a big modification then it goes
| | 01:12 | away and you have to initiate the
ray tracing from scratch, anyway just a
| | 01:16 | little tip from me to you.
| | 01:18 | In this exercise we're going to go ahead
and switch out a few materials starting
| | 01:21 | with the bedspread and
then moving on to the floor.
| | 01:24 | I've saved my progress as Mirrored
walls.psd found inside the 15_lighting
| | 01:29 | folder, and I'm going to turn off the
Ray Tracing so we can get some work done.
| | 01:33 | By clicking on Scene here at the top of
the 3D panel and changing Quality from
| | 01:37 | Ray Traced Draft back to Interactive,
and I'm not a big fan of this bedspread,
| | 01:42 | it just looks a little bit too
old-school hotel room, I want something that
| | 01:46 | looks much hipper after all we've
got mirrored walls inside of this room.
| | 01:50 | So I'm going to click on the third
material down which is bedspread and I've got
| | 01:54 | a couple of textures ready and waiting for you.
| | 01:56 | Go ahead and click on little page
icon to the right of the word Diffuse and
| | 02:00 | choose Load Texture in order to replace
the existing diffuse texture with a new one.
| | 02:04 | Navigate your way to the 15_lighting
folder and you'll find a file called Blue
| | 02:08 | damask.psd and then go ahead and open
it on up and it applies a new texture
| | 02:14 | map as you can see.
| | 02:15 | Now in this case this is a seamlessly
repeating pattern, so we're in great
| | 02:19 | shape, if you want to check out what
it looks like, you can go to the little
| | 02:22 | page icon next to Diffuse.
| | 02:24 | Once again I choose Open Texture and
there you'll see it, this is a texture from
| | 02:28 | the Fotolia Image library, by the way.
| | 02:29 | All right, I'm going to go
ahead and close that guy down.
| | 02:32 | The problem is that the pattern
elements are much too huge and I want to get a
| | 02:36 | sense of how much smaller I should make them.
| | 02:39 | So I'm going to change my camera angle
by switching to be 3D Rotate Camera tool
| | 02:44 | here, and I'm just going to drag to
the right inside of my scene like so in
| | 02:49 | order to rotate the bed over a little
bit and I'll also go ahead and use my 3D
| | 02:54 | Widget in order to rotate the scene
upright and I'll drag to the right from that
| | 03:00 | red arrowhead to move the scene over to
the left like so, and then I'm going to
| | 03:04 | drag on the blue rotate gadget right
there in order to rotate my view above the
| | 03:10 | bedspread and I'll go ahead and
drag on the green arrowhead as well.
| | 03:14 | I just want to get a sense of what this
thing looks like from a bird's eye view,
| | 03:18 | and then I'm going to go ahead and get
my Walk tool here and I'll drag down like
| | 03:22 | so in order to move away from the
bedspread and I could go ahead and sort of
| | 03:26 | rotate the view a little bit as
well in order to center things.
| | 03:29 | Okay, so this gives me
good sense of what's going on.
| | 03:31 | Now I'll go over to Diffuse again, click on
the little page icon and choose Edit Properties.
| | 03:36 | So I can gain access to my U and V
Scale values, and let's try taking both of
| | 03:41 | those values down to 3 and notice that
Photoshop previews my changes as I work,
| | 03:47 | and what I'm doing is I'm packing three
versions of my texture across the width
| | 03:52 | of the bedspread and across the height,
and for what it's worth U represents the
| | 03:56 | Width value and V represents the Height value.
| | 03:59 | Now it looks to me like my shapes are
a little bit too wide, my pattern is
| | 04:03 | scaled unnaturally horizontally, so
I'm going to increase that U value, let's
| | 04:08 | say I take it up to 4 and that ends up
making the pattern elements too thin,
| | 04:11 | so I'll split the difference at 3.5 there,
and that ends up looking pretty good to me.
| | 04:17 | All right, I'll go ahead and click OK.
| | 04:18 | So 3.5 for U, 3 for V, you need to
remember that because we're also going
| | 04:23 | to apply a Bump Map.
| | 04:24 | Now of course anytime we change our
camera view we come up with something that
| | 04:27 | looks halfway decent, and you know what,
I'm going to drag up just a little bit.
| | 04:30 | So that guy is centered inside the image
window, you want to go ahead and save your camera.
| | 04:35 | So I'll click on the Floppy Disk icon
and I'll call this guy birds-eye bed
| | 04:39 | let's say and click OK.
| | 04:40 | All right, now that I've saved that
view so I can come back to it if I want to.
| | 04:45 | I'll go up to the Option bar, click on
the View pop-up menu and switch back to
| | 04:48 | Home position, so that I have
my standard view of the scene.
| | 04:51 | All right, now I want to add a
little bit of a Bump Map so that we have a
| | 04:55 | textured bedspread and I've gone ahead
and I've created that Bump Map in advance
| | 05:00 | it's based on the same pattern we saw
just a moment ago so you want to click on
| | 05:04 | the bedspread material here inside
the 3D panel and then drop down the bump
| | 05:08 | click on the Folder icon and choose Load
Texture and then locate the file that's
| | 05:13 | called Damask bump.tif and click
Open in order to open it on up.
| | 05:18 | Now I want to show you what this looks
like, so I'll click on little page icon
| | 05:22 | now because we have a bump map assigned
and I'll choose Open Texture, so we can
| | 05:26 | open the image in an independent window
and it's basically a reverse version of
| | 05:30 | that pattern we saw moment ago.
| | 05:31 | So the pattern itself is set in white
and the area around the pattern is set in
| | 05:37 | black, that will raise the pattern
elements and sink the rest of the bedspread.
| | 05:41 | All right, so I'll go ahead and close that
file just want you to see what it looks like.
| | 05:46 | Now of course it's not aligned properly
at all, because the UV map isn't set, so
| | 05:51 | I'll click on the little page icon next
to Bump and choose Edit Properties, and
| | 05:55 | I'm going to enter those same values I
entered a moment ago, 3.5 for the U Scale
| | 06:00 | and 3 for the V Scale, so we get an
exact match, and then I'll click OK, and you
| | 06:05 | can see that we are matching the bump
map to the pattern on that bedspread, and
| | 06:10 | of course the next step
is to render out the scene.
| | 06:12 | So I'll click on Scene in order to
make it active, switch Quality to Ray
| | 06:16 | Traced Draft and let Photoshop do its
slow and laborious thing here in the
| | 06:20 | background, but as it works you'll get
a sense of what's happening, we do have
| | 06:24 | this nicely rendered bedspread.
| | 06:26 | Lot more hip and urban I think to go
along with the mirrored walls and it's
| | 06:30 | also textured, so that we have this
nice depth associated with this robust
| | 06:35 | bedspread don't you know.
| | 06:36 | All right, I'm going to press the
Escape key to interrupt that render of
| | 06:40 | course I'll go ahead and render in
the background before the next movie, in
| | 06:43 | which I will show you have a greater
beautifully polished hardwood floor.
| | Collapse this transcript |
| Creating a highly polished hardwood floor| 00:00 | In this exercise, we are going to
render the floor in highly polished hardwood,
| | 00:04 | and we'll see how it
reacts to the light as well.
| | 00:07 | I have saved my progress
as Textured bedspread.psd.
| | 00:09 | It's found inside the 15_lighting folder.
| | 00:11 | And you'll notice that I've gone ahead
and let the ray tracing progress once
| | 00:15 | again, so we have smooth transitions.
| | 00:17 | I also want you to notice how
shrouded in darkness the foot of the bed is.
| | 00:22 | And we are not really going to be able
to tell what's going on with the floor in
| | 00:25 | that area unless we throw
another light into the scene.
| | 00:28 | So, I am just going to add
a dummy point light for now.
| | 00:31 | And I am going to start things off by
bringing up the 3D panel, making sure
| | 00:34 | Scene is active and changing the
Quality setting back to Interactive.
| | 00:38 | And then, will filter my scene by the Lights.
| | 00:40 | I will drop down to the little page
icon and choose New Point Light and I'm
| | 00:44 | going to rename this guy dummy light
because we are not going to use it in the
| | 00:48 | final version of the scene, it's just
going to help up get by a little bit here.
| | 00:51 | And I am going to change the Intensity
to something like 0.6 and let's raise the
| | 00:56 | Softness of the shadows to 25%.
| | 00:58 | All right, now let's
figure out where this light is.
| | 01:01 | I am going to select my 3D Light Pan
tool here and hide my 3D panel so I can
| | 01:06 | see what I am doing.
| | 01:07 | There is my light in the floor once again;
| | 01:09 | I've got my widget up on screen, so
I am going to take advantage of it.
| | 01:12 | I am going to drag up on the
blue arrow to move the light up.
| | 01:15 | I'm going to drag left on the green arrow
to move light over and a little more as well.
| | 01:20 | And, by the way, you can always move
this widget to different location, so you
| | 01:23 | have a little more room to work just by
dragging on this little title bar right there.
| | 01:27 | Anyway, I am going to drag this guy
into the bed just a little more, and then I
| | 01:31 | will drag on the red arrow head to the
right, so that it more or less centered
| | 01:35 | the light on the bed.
| | 01:36 | So, that I have more or less
centered the light on the bed.
| | 01:39 | And then, I will drag right from the
green arrow head to move the light back
| | 01:44 | so it's beyond the foot of the bed so we
can fill in the shadows down here at the foot.
| | 01:48 | All right, that should work out pretty nice.
| | 01:51 | Now, let's bring up the 3D panel.
| | 01:52 | Switch back to the entire scene and I am
going to click on floor to make it act,
| | 01:57 | the floor material, which is down the
list a little bit just below the walls.
| | 02:01 | And I'm going to click on the little
page icon next to Diffuse and choose Load
| | 02:05 | Texture to replace the existing Diffuse texture.
| | 02:08 | And I am going to scroll down my list
here inside the 15_lighting folder and
| | 02:11 | I've got this file called Seamless
hardwood.jpg and I will click the Open button
| | 02:15 | in order to open it on up.
| | 02:17 | And that loads the wood.
| | 02:18 | That's huge, these big huge
slats of wood that's no good at all.
| | 02:22 | So, I will click on the little page icon
next to Diffuse and choose Edit Properties.
| | 02:26 | And let's change both the U and V
Scales to 4, which ends up producing
| | 02:31 | pretty nice effect. Click OK.
| | 02:33 | Now, my problem with the hardwood is
it's running in the wrong direction.
| | 02:36 | I think, it should be
parallel to the length of the bed.
| | 02:39 | So, I need to rotate this texture by
going to the little page icon again,
| | 02:42 | choosing Open Texture to open that
texture in an independent image window.
| | 02:47 | And I want to show you something about
that this photo originally hailed from
| | 02:49 | the Fotolia image library but
it had some seams inside of it.
| | 02:53 | So, I painstakingly fixed the seams
and you can see that they are fixed.
| | 02:58 | Notice if I go up to the Image menu and
choose the Image Size command, I can see
| | 03:01 | that the image is 1400 pixels wide.
| | 03:04 | All right, so I am going to cancel it out.
| | 03:06 | And then if I go up to the Filter menu,
choose Other and choose Offset, which is
| | 03:10 | a command that allows you to see your
seams and I change the Horizontal value to
| | 03:14 | half the entire width of the image,
which is 700 pixels and then click OK.
| | 03:20 | I've now moved what used to be left
side of the image all the way to the center
| | 03:23 | and you can see there are no
seams across the width of this image.
| | 03:27 | Again, I did that basically one slat
at a time using the Marquee tool, so I
| | 03:32 | would select a slat using the
Rectangular Marquee right here and I would do
| | 03:35 | so manually of course.
| | 03:37 | And then I would go up to the Edit menu
and choose a Free Transform command and
| | 03:41 | transform that slat to make it wider.
| | 03:43 | So, did that a lot, ended up
getting this seamless composition.
| | 03:47 | Problem is it's going at the wrong angle.
| | 03:49 | So, I am going to go up to the Image
menu, choose Image Rotation and choose
| | 03:53 | either 90 degrees CW or 90 degrees CCW,
it doesn't really matter.
| | 03:57 | I will go ahead and choose this command here.
| | 03:59 | And if you have loaded D Keys, I have
given you given you keyboard shortcut of
| | 04:01 | mesh your fist right bracket to
perform a 90 degrees clockwise rotation.
| | 04:06 | Anyway, we end up getting this effect here.
| | 04:08 | Now, I am going to do one more thing as well.
| | 04:11 | Let's say I am thinking I want to bump map.
| | 04:13 | So, in other words I want a wood
grain surface associated with this floor.
| | 04:16 | Then I'd go up to the Select menu
choose the All command or press Ctrl+A,
| | 04:20 | Command+A on the Mac, and then I would
go up to the Edit menu and choose the
| | 04:23 | Copy command or press Ctrl+C
or Command+C on the Mac.
| | 04:26 | And that's it, just go ahead and
transfer the image to the clipboard for now.
| | 04:30 | Then go ahead and close the image.
| | 04:31 | Click the Yes button here on the PC or
the Save button on the Mac, and that goes
| | 04:36 | ahead and creates a hardwood
that you see in front of you.
| | 04:38 | Alight, now let's say I
want texture to the wood.
| | 04:40 | So, I would create a bump map by
clicking on this little folder icon and
| | 04:43 | choosing New Texture.
| | 04:45 | And then I will get this image menu up
here and they'll get the New dialog box
| | 04:49 | and I will leave the name set to floor Bump.
| | 04:51 | And notice that the Preset option
here is set to Clipboard so Photoshop is
| | 04:55 | automatically matching the size
of the image that I just copied.
| | 04:58 | So, all I do at this point is click
OK, I don't have to make any change
| | 05:02 | inside the dialog box.
| | 05:03 | Now, I go back to the little page icon
next to Bump, and choose Open Texture to
| | 05:08 | open this white image.
| | 05:10 | In my case, it's filled with white,
and then I will go up to the Edit menu and
| | 05:14 | choose the Paste command or
press Ctrl+V, Command+V on the Mac.
| | 05:17 | All right, a couple of other steps if we
want to convert this guy to a bump map.
| | 05:21 | Go up to the Image menu, choose
mode and then choose Grayscale.
| | 05:25 | Photoshop will ask you hey, do you want
to flatten this image. In my case, I do.
| | 05:28 | So, I am going to click on the Flatten
button, and then it tells me, you know,
| | 05:32 | hey, you are going to be discarding
your colors, do you know you can use the
| | 05:35 | Black & White command.
| | 05:36 | Yes, thank you very much, I know that.
| | 05:38 | Click on Discard in order to go
ahead and get rid of the colors.
| | 05:41 | Now, then go up to the Image menu,
choose the Adjustments command and choose
| | 05:45 | Levels, or you can just press
Ctrl+L, Command+L on the Mac.
| | 05:48 | And let's go ahead and take that
black point value up to 50, which is
| | 05:52 | approximately where this lump of
histogram begins and they'll take the white
| | 05:56 | point value down to let's say 180, which
is approximately where the histogram ends.
| | 06:02 | All right, now I will go ahead and click OK.
| | 06:04 | So, we are just exaggerating
the contrast of this image.
| | 06:08 | Then I will close the image and click
the Yes button here on the PC in order to
| | 06:11 | save my changes, that would be the Save
button on the Mac and I've got this bump
| | 06:16 | map that doesn't match my floor. Why is that?
| | 06:20 | Because I need to set my UV options,
so I will click the little page icon,
| | 06:24 | choose Edit Properties and then
change the U and V Scale values to 4 piece,
| | 06:29 | which are the same values that I
applied to the diffuse texture.
| | 06:32 | Now we have an exact match.
| | 06:34 | Thing is it might be a little too lumpy.
| | 06:38 | So, I am going to switch back to Scene
here and you know what, while I am here,
| | 06:42 | I am going to go ahead and rename
that mesh because it's really the entire
| | 06:46 | bedroom and so I want to call it
bedrooms instead of objMesh or whatever it was.
| | 06:49 | Then I will click on Scene and I will
set the Quality from Interactive to Ray
| | 06:53 | Traced Draft so that we can get a
sense of what's going on with this floor.
| | 06:56 | And here is something I do all
the time as well, by the way.
| | 06:58 | I will click to interrupt the
ray tracing, hide my 3D panel.
| | 07:02 | Then go back up to the 3D menu and
choose Resume Progressive Render so that darn
| | 07:06 | 3D panel is out of my face because I
spend a lot of time with that covering the
| | 07:11 | right side of the image.
| | 07:12 | Anyway, now that I have ray traced
the scene a little bit, notice that that
| | 07:15 | light over here, that dummy light is
doing a nice job of filling in that huge
| | 07:19 | shadow over here at the foot of the bed
but I can also tell that I have got too
| | 07:26 | much texture going on.
| | 07:27 | This doesn't look right with this
mirrored wall hypermodern bedroom.
| | 07:31 | It looks all rough;
| | 07:32 | it looks all roughly hewn and
it looks more like a cabin.
| | 07:35 | I don't want that effect at all.
| | 07:37 | All right, so you know what I am going to do?
| | 07:38 | I will click in order to
interrupt the ray tracing.
| | 07:41 | And this is sometimes how you
have to work inside the program.
| | 07:44 | The thing is, once you assign something to a
3D scene, it can be difficult to get rid of it.
| | 07:49 | It's not difficult to get rid of a bump map;
| | 07:51 | you can take that off the material very easily.
| | 07:53 | But if you throw an object into the
mix that is a mesh into a scene, you
| | 07:58 | can't just delete it.
| | 07:59 | If you decide, you don't like it anymore;
| | 08:00 | you kind of have to turn it
off by clicking on its eyeball.
| | 08:04 | And so what I am going to do in this
case is I am going to take that kind of
| | 08:07 | approach where Gosh!
| | 08:08 | May be I want to keep the bump map around,
I don't want to totally thrown it away.
| | 08:12 | So, I will click on floor and instead
of going to the little page icon and
| | 08:16 | choosing Remove Texture, which would
get rid of it altogether and I don't have
| | 08:20 | it saved elsewhere, so that
would ruin some of my work.
| | 08:23 | I'll change the Bump value to 0.
| | 08:25 | Then I will press the Enter Key and then
Photoshop wants to re-render the scene. You know what?
| | 08:29 | You know, I will press the
Escape Key in order to interrupt.
| | 08:32 | And in order to polish this floor,
give it a nice coat of lacquer.
| | 08:37 | I am going to take the Reflection value
up to 25%, and then I will click in the
| | 08:41 | scene to interrupt it.
| | 08:43 | Close my 3D panel, go back up to the 3D
menu, choose Resume Progressive Render
| | 08:48 | and we'll see what we have
brought inside of the scene.
| | 08:50 | Now, well, you have a much brighter
scene of course, because we've got that
| | 08:53 | second light source that's reflecting
off the walls and so forth, but also
| | 08:57 | notice this beautiful highly polished
hardwood floor, which is a function of the
| | 09:02 | diffused texture with no bump map essentially.
| | 09:05 | Since I crank the Bump map value down
to 0, we have no bumping going on at all.
| | 09:10 | And I went ahead and added
a Reflection value of 25%.
| | 09:14 | And even more important in this case,
I did not apply either a Gloss or a
| | 09:19 | Shine, so we have what appears to be
a uniform reflection across the entire
| | 09:24 | surface of this floor.
| | 09:25 | All right, I am going to go
ahead and click to interrupt again.
| | 09:28 | In the next exercise, we will
create our first of four can lights.
| | Collapse this transcript |
| Using the Hotspot and Falloff options with a spotlight| 00:00 | In this exercise we're going to
establish the first can light using a Spot
| | 00:04 | light, and I am going to introduce
you to two new lighting attributes,
| | 00:07 | Hotspot and Falloff.
| | 00:08 | I've saved my progress as
Polished hardwood floor.psd.
| | 00:11 | It's found inside the 15_lighting folder.
| | 00:13 | I've gone ahead and let the Ray Trace
complete once again so that you can see
| | 00:17 | just how brightly lit this scene is.
| | 00:19 | In fact, it's way too hot, especially
given in the nature of these mirrored walls.
| | 00:24 | So I am going to bring up my 3D panel
once again, switch over to Filter By:
| | 00:28 | Whole scene, click on scene at the
top of the list and change the Quality
| | 00:31 | setting back to Interactive (Painting)
so that we can get some work done here.
| | 00:34 | Now I am going to switchover to my
Lights by clicking on the little lightbulb
| | 00:38 | icon, and I'm going to
turn off that dummy light.
| | 00:40 | I could throw it away, all you have to
do is click on a light source and then
| | 00:44 | drop down to the little trash can icon
in the bottom right-hand corner of the 3D
| | 00:48 | panel and click on it.
| | 00:49 | That will go ahead and get rid of the light.
| | 00:51 | However, I figure I
might as well keep it around.
| | 00:53 | I might need it later.
| | 00:54 | Next, I am going to drop down here into the
little page icon and choose New Spot Light.
| | 00:58 | Now how do you know what kind of light to use?
| | 01:00 | Well, once again if it's sunlight or
moonlight or even if it's like stadium
| | 01:04 | lighting, some very distant light
source, you go with Infinite light.
| | 01:07 | If it's a lightbulb you go with Point light.
| | 01:09 | And if it's a directional light, which
is what a can light is, it's being cast
| | 01:14 | in a specific direction, it's not
infinitely far away, you can change out the
| | 01:18 | light just by getting on a ladder.
| | 01:20 | In our case, we can put the lights
wherever we want to whether there is
| | 01:23 | electrical wiring or not,
then you want a Spot Light.
| | 01:27 | So I am going to go ahead and choose Spot Light.
| | 01:28 | I am going to rename this guy, because you
can't name the lights as you create them.
| | 01:33 | You have to double-click afterwards.
| | 01:34 | I am going to call this guy, ceiling can FL,
and by FL I mean Foot of the bed Left side.
| | 01:42 | If we were standing at the foot of the bed.
| | 01:44 | That's the nomenclature I am going
to go with anyway, just so that you're
| | 01:47 | keeping track of what in the world I am up to.
| | 01:50 | So we've got this light selected,
let's figure out where in the world it is.
| | 01:53 | I am going to switch over to my Camera tool
and I will do so here inside the 3D panel.
| | 01:57 | Let's go to that very wide angle view.
| | 02:00 | There's the spot light.
| | 02:01 | It's right there at the foot of the bed.
| | 02:02 | It's very close to the [0,0] position.
| | 02:05 | Notice that for some reason I
have the ground plane turned on.
| | 02:09 | Actually that's going to help us out,
but if you want to see the ground plane,
| | 02:12 | then you go up to the View menu,
choose Show and then choose 3D Ground Plane.
| | 02:17 | By the way, notice everybody is on at this
point all of the four 3D options are visible.
| | 02:23 | So what we've got.
| | 02:24 | If I go ahead and zoom in, why don't I go
ahead and grab the Walk with the 3D Camera tool?
| | 02:29 | I'll drag upward while pressing the
Shift key so that I'm zooming in on the
| | 02:33 | scene without moving back and forth.
| | 02:35 | I'll zoom to, well actually
about this location should do us.
| | 02:39 | Now what we're seeing is a spot
light that's coming up out of the floor.
| | 02:43 | So you can see the point of the spot
light right there, and then you can see the
| | 02:47 | rays of light that are being cast, you
also see that little ornament which is
| | 02:52 | showing us the point light,
that dummy light right there.
| | 02:55 | Even though it's turned off we're
still seeing where it is in the same.
| | 02:58 | So just ignore that unless you
are working with the spot light.
| | 03:00 | I am going to go ahead and
grab one of my light tools here.
| | 03:05 | In this case, it's a Light Rotate tool,
but it doesn't really matter which one.
| | 03:08 | You should see your 3D widget on screen.
| | 03:10 | If it doesn't have arrows on it, then
you've got to turn the light source off
| | 03:14 | and then turn it back on.
| | 03:15 | But in my case I am good.
| | 03:17 | So I am going to drag on that blue
arrowhead upward like so, so that I am
| | 03:21 | moving the light up.
| | 03:22 | I want you to notice how this thing is shaped.
| | 03:24 | Let me go ahead and rotate a little bit,
so we get a better sort of angle at it.
| | 03:28 | Notice that it looks like a big 3D arrow.
| | 03:32 | That's what it's supposed to be.
| | 03:33 | The arrowhead is pointing in the direction
that the spot light is casting its light.
| | 03:39 | So this isn't necessarily supposed to
indicate the appearance of a spot light.
| | 03:43 | It's a directional arrow that's
showing you where the light is going, because
| | 03:47 | we've got the 3D Selection turned on.
| | 03:49 | We also have these three circles
surrounding that arrow, each of which are
| | 03:54 | aligned to one of the axes.
| | 03:55 | So what do we want to do?
| | 03:58 | Well, I am going to go ahead and spin this
guy all the way around if I can by dragging.
| | 04:03 | It's kind of a pain in the neck.
| | 04:05 | I am trying to drag this little red
sort of rotate item right there and I am
| | 04:10 | trying to drag it all the way around,
but I'm not having much success.
| | 04:13 | So at this point it looks like the spot
light is pretty well pointed directly at me.
| | 04:18 | Anyway, let's see if I just drag inside
the scene because I do have the Rotate
| | 04:21 | Light tool selected.
| | 04:23 | If I just go ahead and drag down I
might have more luck with pointing that spot
| | 04:27 | light down and make sure enough
that looks like it's doing the trick.
| | 04:29 | So you can see that the arrow is pointing down.
| | 04:32 | Now I am going to tell you, it takes
time to get used to these lighting tools,
| | 04:38 | and so you may experience a little bit
of frustration upfront, just take it from
| | 04:42 | me the more time you spend with lights
the better you're going to get at it the
| | 04:45 | more sense it's going to make to the
point that one day it just kind of clicks
| | 04:50 | and you no longer have
problems with lights anymore.
| | 04:53 | So that's my experience.
| | 04:54 | I am going to try to give you
a few tips and tricks as we go.
| | 04:57 | But first I want you to get a sense
of what's going on with a couple of
| | 05:00 | attributes over here in the
3D panel, Hotspot and Falloff.
| | 05:04 | So let's go ahead and scoot the light
over, and I was telling you, one day it
| | 05:10 | just clicks and yet here I am being
completely bewildered by what I'm doing
| | 05:14 | with a stern spot light.
| | 05:15 | I am moving it in entirely the wrong direction.
| | 05:17 | I was moving it up and out there.
| | 05:19 | Let's go ahead and drag on the green
arrow instead and see if that doesn't help,
| | 05:24 | then I'll drag in the blue arrow,
and then I'll drag in the green arrow.
| | 05:26 | So I am trying to scoot it above the
bed, folks, and now I'll move it over a
| | 05:31 | little more as well.
| | 05:32 | Notice that I'm dragging on the
little green rotate icon right there.
| | 05:37 | All that does is turn a
light around in a circle.
| | 05:39 | So it doesn't really do you any good.
| | 05:41 | Just in case you're confused by why in
the world that one's not doing anything.
| | 05:46 | Let's go ahead and try rotating
this in a slightly different direction.
| | 05:49 | I just want to show you
how Hotspot and Falloff work.
| | 05:51 | I don't even want to put this
in a halfway decent location.
| | 05:54 | Above the bed is just fine Photoshop.
| | 05:56 | That's all I'm going for.
| | 05:59 | So enough user error.
| | 06:01 | Let's see what I've done.
| | 06:02 | I am going to switch over to one of
my camera tools and then go up to the
| | 06:06 | Options bar and click on the View
popup menu choose Home position.
| | 06:10 | Here we are back at home.
| | 06:12 | Now here's what I want you
to see, Hotspot and Falloff.
| | 06:15 | When I hover over them, you can see that
a certain part of that little icon over
| | 06:19 | there to the immediate right turns red,
and that's showing us that the Falloff
| | 06:24 | is the far vertical element of the light.
| | 06:28 | So as the light is being cast away from
the light source, from the spot light in
| | 06:33 | this case, how far does it reach?
| | 06:35 | You can send that out to a full 360
degrees like so, which will fairly
| | 06:42 | illuminate the entire scene.
| | 06:43 | So in other words the light is going all the
way around the light source to some extent.
| | 06:48 | Now the Hotspot, which is the central
hottest portion of that light source i. e.
| | 06:53 | that's being projected away from the
light, is only radiating outward from the
| | 06:58 | center by 31.5 degrees.
| | 07:01 | That's a total of 31.5 degrees.
| | 07:03 | So, for example, if I set to 30 degrees
instead, then that would be 15 degrees
| | 07:08 | in one direction and 15 degrees in the other.
| | 07:10 | But you could raise at as high as 359
degrees which would turn this spot light
| | 07:16 | into a very close
approximation of a point light.
| | 07:20 | So just so you have a sense of how
far you can go with these values.
| | 07:23 | I'm going to take my Hotspot to 35
degrees, which is pretty big, but a little
| | 07:27 | bit enclosed, because I do want
these things to look like real can light.
| | 07:31 | I am going to take the Falloff value
down to 60 degrees, which is higher than it
| | 07:36 | is by default but lower than I had it.
| | 07:38 | That gives us a pretty broad
footprint on this bed, but bear mind, I'll go
| | 07:43 | ahead and zoom out here the conventional way
by pressing Ctrl+Minus or Command+Minus on the Mac.
| | 07:48 | Notice that our spot light
is not terribly far away.
| | 07:51 | So it's up there in the ceiling some place.
| | 07:53 | It's not in the right location.
| | 07:54 | It's not aligned to the
actual can inside of the 3D model.
| | 07:59 | And that's something we're
going to do in the next exercise.
| | Collapse this transcript |
| Placing and pointing a spotlight| 00:00 | In this exercise we are going to place
our Spot light inside of the can light.
| | 00:04 | That is to say we're going to align
it with the physical depiction, the
| | 00:08 | wireframe of the can light
here inside of our 3D scene.
| | 00:12 | I've saved my progress as First spotlight.psd.
| | 00:15 | It's found inside the 15_lighting
folder and I am going to grab my Camera tool.
| | 00:19 | It's actually already grabbed here.
| | 00:21 | I've got the Camera Walk tool selected.
| | 00:22 | I am going to go ahead and use the
widget here which I think I will drag up to a
| | 00:28 | better position, so we
can see it better on screen.
| | 00:31 | I'm going to drag on the Blue Rotate
icon so that I am looking up at the ceiling.
| | 00:36 | Now at this point I am just seeing black and
that's because the floor is getting in my way.
| | 00:40 | So I need to drag forward on the blue
arrowhead like so until I get through the
| | 00:46 | floor, and I haven't gotten
through it so far. There we go!
| | 00:49 | Now, I have popped through the floor.
| | 00:50 | So that's good news.
| | 00:51 | Now I need to actually see that can
light that's at the foot of the bed on
| | 00:56 | the left-hand side.
| | 00:58 | So, I'm going to hide the 3D panel and
I'm going to drag to the right from my
| | 01:03 | red arrowhead, like so.
| | 01:05 | I am not seeing the can light.
| | 01:07 | It's still sort of up above me.
| | 01:09 | So what I might do is just kind of
back off, but I don't want to back off too
| | 01:13 | much, because I'm going to go
through the floor. So that's no good.
| | 01:16 | Let's see if I can move this direction.
| | 01:19 | I'll go ahead and raise my view by
dragging upward on the green arrowhead and I
| | 01:24 | do seem to be making some kind of progress here.
| | 01:27 | So just as trying to figure out where
you are in 3D space with the light can be
| | 01:32 | difficult, it's also not easy to know
where you are when you're sort of sifting
| | 01:37 | through the world of 3D with your camera.
| | 01:39 | Anyway, I'm dragging up on the
green arrowhead. There it is!
| | 01:42 | Good!
| | 01:43 | Now I'm just way too close
to the scene at this point.
| | 01:46 | So I'm going to pull back by dragging
back on the blue arrowhead, like so.
| | 01:52 | This will probably work out pretty well.
| | 01:55 | In fact, what I like about this is that I
can see all four of the can lights at once.
| | 02:00 | So if you're having even more troubles than
I am, let's see what we've come up with here.
| | 02:04 | I will switch over to my Orbit tool,
and let's say we round off this X value to
| | 02:08 | -60 degrees, a Y value of 0.
| | 02:11 | It looks like it's doing
just fine, a Z value of -128.
| | 02:16 | That seems to work.
| | 02:18 | So now I'm flying by the seat of my pants folks.
| | 02:20 | Now, I am going to switch over to the Pan
tool and I'm going to change the X value to -125.
| | 02:26 | Let's change the Y value to
-50 and the Z value to 70.
| | 02:32 | So assuming we are on the same page,
let's go ahead and save things out by
| | 02:35 | clicking on the Floppy Disk icon and
I'm going to go ahead and call this guy
| | 02:38 | ceiling view and click OK.
| | 02:41 | Now let's try to move that spotlight so that
it is in alignment with this can right there.
| | 02:47 | I am going to bring up my 3D panel.
| | 02:49 | I am going to switch to my
Light tool, whatever it maybe.
| | 02:53 | I'm not seeing a widget and the reason is
because my ceiling can FL is not selected.
| | 02:59 | So I've got to click on it here
inside the list. That can happen.
| | 03:01 | That happens a lot in fact where your
lights get deselected as you're working away.
| | 03:05 | So you may have to reselect them many
times as you work inside of a piece of artwork.
| | 03:10 | I am going to start things off just by
grabbing let's say my Drag the Light tool
| | 03:14 | and I will just go ahead and
drag the light directly up, like so.
| | 03:18 | It's way out there someplace.
| | 03:20 | It's going through the ceiling
even though I believe the ceiling is
| | 03:23 | invisible right now.
| | 03:24 | So maybe let's take it until it's
starting to pop into the ceiling, like so.
| | 03:28 | My light has become
deselected again. Imagine that.
| | 03:32 | I'm going to click on it, ceiling
can FL here inside of the 3D panel.
| | 03:36 | You want to make sure
that you're seeing the light.
| | 03:37 | That's how I knew that it become
deselected, because I can no longer see it in
| | 03:41 | pink here inside of the Image Window.
| | 03:43 | I am going to go ahead and drag on the
red arrowhead, I will drag on the green
| | 03:47 | arrowhead like so as well.
| | 03:48 | I might drag down on the blue
arrowhead in order to kind of move it into the
| | 03:52 | scene so I can see it.
| | 03:54 | Let's hide the 3D panel for a moment.
| | 03:56 | Hopefully, the light will remain
selected as I continue to move it around
| | 04:00 | inside of the scene.
| | 04:02 | Basically, this is what I'm looking for.
| | 04:03 | I am trying to get it so that it's
right there inside of the can, and you don't
| | 04:08 | have to get it super aligned.
| | 04:10 | It's not necessarily that it's spot on
the way that the lightbulb was inside the
| | 04:15 | lamp, because we can't really see the lights.
| | 04:17 | We are not seeing the ceiling, for example.
| | 04:20 | So we're just seeing how the lights are
being cast, but this looks pretty good.
| | 04:23 | You want to see the tip of that arrow
coming out of the can, like so. All right!
| | 04:28 | So assuming that you have the light
in more or less the right location, and
| | 04:31 | we are not worried about where it's cast
right now, we are just worried that it's in there.
| | 04:35 | Then let's go ahead and switch
back to our previous camera view.
| | 04:38 | So I will switch back to
the 3D Rotate Camera tool.
| | 04:41 | I'll go up to the View pop-up menu and
choose Home position so that we can see
| | 04:46 | that the light is being cast down this way.
| | 04:48 | Now, a couple of things to note;
| | 04:50 | when you're trying to determine the
sort of orientation of the light, you can
| | 04:56 | drag your little axes, although you'd
want to make sure you have the Light tool
| | 05:00 | selected, so you're
affecting the light, not the camera.
| | 05:02 | So I would switch over to
my Light Pan tool let's say.
| | 05:05 | Make sure that ceiling can FL is selected.
| | 05:07 | Notice that I've lost my arrowheads.
| | 05:08 | That's always nice.
| | 05:09 | Turn off the ceiling light.
| | 05:11 | Turn it back on, your arrowheads are back.
| | 05:13 | But we don't want to use the
arrowheads this time around.
| | 05:16 | We want to change the angling, like so.
| | 05:19 | So you would go ahead and rotate the
light around or a couple of other ways
| | 05:24 | to work because it is pretty difficult to
figure out exactly where that light is pointing.
| | 05:29 | For example, in this case I can see
this big ellipse here, but does that mean
| | 05:34 | that the light is pointing away
from me or does that mean the light is
| | 05:37 | pointing toward me?
| | 05:38 | I suspect toward me but how would I
know for sure without playing around with
| | 05:44 | these controls quite a bit here?
| | 05:45 | Now I can see that it is lighting the
scene that away, that is, away from me.
| | 05:50 | So that's good news.
| | 05:51 | But let's say you want to apply some
automated positioning. Two ways to work;
| | 05:55 | one of which is flawed, I will show it to you.
| | 05:57 | But it doesn't really work all the
great, and then the other one is awesome.
| | 06:01 | Very, very useful technique!
| | 06:03 | So, the first one is this guy right there,
this icon up here in the Options Bar,
| | 06:06 | Point Light At Origin.
| | 06:08 | What that's supposed to do is point
the light right there at the origin.
| | 06:13 | We can see the intersection of
the green and red axes there.
| | 06:17 | This is the point at which the blue axes
would intersect as well if we could see it.
| | 06:21 | That should be the 0, 0
point, but that did not change.
| | 06:23 | So problem is the direction of the
light did indeed change but the direction of
| | 06:30 | our light rendering here, this 3D
light thing that we are seeing, the white
| | 06:34 | lines and ellipses and all
that, that did not change.
| | 06:37 | So that does not update, which is crazy.
| | 06:39 | So you can't really tell what's going on.
| | 06:41 | Here's the better way to work in my opinion.
| | 06:43 | Let's say that I want to aim
the light right here on the bed.
| | 06:47 | I am going to move this
widget out of the way for a moment.
| | 06:50 | Right in this location, you've got to have one
of the Light tools selected for this to work.
| | 06:55 | You press and hold the Alt key or the
Option key on the Mac, and you click at
| | 06:59 | that location and it aims the light right there.
| | 07:02 | So the light needs to be selected, Alt+
Click or Option+Click, and it aims the
| | 07:07 | light at that location.
| | 07:08 | That is an awesome trick and a
very easy one to work with as well.
| | 07:12 | So I am going to go ahead
and re-center my zoom here;
| | 07:15 | a couple of more modifications I want to make.
| | 07:16 | I am going to change the color of this
light by clicking on the little Color
| | 07:20 | Swatch and let's cool things down a
little bit by taking the Hue value to 210
| | 07:25 | degrees and the
Saturation value up to a mere 5%.
| | 07:28 | So it's just a little bit of coolness,
Brightness should stay 100%, click OK.
| | 07:33 | Now we don't want really
supersharp harsh shadows.
| | 07:36 | So let's go ahead and take the Softness
value up to 35% and then finally I want
| | 07:40 | to add some attenuation.
| | 07:42 | I was telling you about Hotspot
and Falloff in a previous exercise.
| | 07:45 | Those two options are
specifically designed for Spot lights.
| | 07:49 | They do not work for Point
lights, or Infinite lights.
| | 07:52 | Use Attenuation works for both
Point lights and Spot lights.
| | 07:56 | It doesn't work for Infinite lights,
because they are after all infinite and
| | 08:00 | they don't decline even slightly
over the vast distance of space.
| | 08:04 | I am going to change its inner value.
| | 08:06 | This value defines you may recall the
distance at which the light starts to
| | 08:10 | decline, and I'm going to change that
value to 80 and then the distance at
| | 08:14 | which it stops declining and becomes
nonexistent anymore, we are going to
| | 08:18 | change that to 120.
| | 08:19 | So, that's going to dim the light
considerably, so it doesn't go much past the
| | 08:23 | floor in fact and we are going to have a very
subtle lighting effect here inside this room.
| | 08:29 | That's the first can light.
| | 08:30 | We still have three more to place,
and I am going to show you some tips and
| | 08:34 | tricks for placing lights in the next exercise.
| | Collapse this transcript |
| Aligning a light to the camera angle| 00:00 | In this exercise we are going to
create and position a spotlight with the
| | 00:03 | help of the camera.
| | 00:05 | I've saved my progress as the
Foot-left ceiling light.psd.
| | 00:08 | It's found inside the 15_lighting
folder and here are the broad strokes, after
| | 00:12 | positioning your camera, so you can
position your camera exactly where you want
| | 00:17 | the spotlight to look, or any
other light for that matter.
| | 00:19 | Then you can tell Photoshop to
align that light with your camera view.
| | 00:24 | So we are going to go ahead and grab
the 3D Camera tool and I'm going to go up
| | 00:29 | to the View menu for a moment, choose
Show, and then turn off the 3D Ground
| | 00:33 | Plane, because I don't want to see it anymore,
but I want everything else to be visible.
| | 00:37 | And I am going to go ahead
and reposition the camera here.
| | 00:40 | I am going to change the camera
angle like so, and I'm dragging from this
| | 00:44 | little blue rotation option there,
associated with the 3D widget, so that I'm
| | 00:49 | looking down on the bed.
| | 00:51 | Then I'm going to drag the red
arrowhead to scoot my view over to left and I am
| | 00:55 | going to do that a couple of times
until I'm looking directly down on that can,
| | 01:00 | and this is the can light that's
positioned at the head of the bed over here on
| | 01:03 | left inside directly above the lamp.
| | 01:05 | Now we're going to have a better time
seeing exactly where we are if the ceiling
| | 01:09 | is turned back on, so here I am looking
at the entire scene inside the 3D panel,
| | 01:13 | and I am going to click on the entire
ceiling material in order to make it
| | 01:16 | active and change its Opacity back to 100%.
| | 01:19 | All right, having done that that is
just going to give us a clear idea of the
| | 01:23 | orientation of this can
that's pointing toward us.
| | 01:26 | I have still got my Camera tool selected.
| | 01:28 | So I am going to go ahead and drag on
that Z Rotation option until I am looking
| | 01:33 | directly down on the can like so, and I
am going to have to scoot my view up a
| | 01:38 | little bit, so that it moves down,
and then I'll drag in and all the while,
| | 01:43 | notice that I am zooming in here by
dragging on the blue arrowhead, and all the
| | 01:47 | while I want to make sure that
this can is aligned properly.
| | 01:50 | Now the square should be aligned with my view.
| | 01:54 | Notice it's kind of diagonal at the moment.
| | 01:56 | So I'm going to drag on the green
rotation option like this, so that I am
| | 02:01 | rotating my view clockwise, I am
rotating the can slightly counterclockwise and
| | 02:06 | I want that square to
look as square as possible.
| | 02:09 | Right now, we've got sort of a
trapezoid going on, because of my view.
| | 02:13 | So I am going to have to angle my view
just a little bit, and this time I am
| | 02:16 | dragging on the red rotate icon,
and then I'll drag on the blue one just a
| | 02:21 | little bit like so, not too much
because it's going to go out of frame.
| | 02:24 | All right, I'm more or less aligned
here and it might take a little bit of
| | 02:29 | tweaking back and forth to get it exactly right.
| | 02:32 | That's what I want.
| | 02:32 | I want the double ring, so I want to see
the black circle with a ring around it,
| | 02:37 | and that shows me that I am dead on,
but I'm looking directly down at that can.
| | 02:41 | Al right, now we are going to go
ahead and zoom in, but I can't get to that
| | 02:46 | little blue arrowhead very easily,
and if you're having the same problem, then
| | 02:49 | go ahead and switch to that Walk tool
up here in the Options Bar, and then
| | 02:52 | let's go ahead and drag upward to
move our view in, and I'm also dragging a
| | 02:58 | little bit to the left.
| | 03:00 | I'm trying to center that
can as much as possible.
| | 03:02 | Let's get the 3D panel out of the way,
and let's scoot my view up like so, using
| | 03:07 | the green arrowhead
right there on the 3D widget.
| | 03:10 | And now it looks like I can go ahead
and drag on the blue arrowhead and I'm
| | 03:15 | going to keep dragging in until I get to gray,
so the black should go away, I should see gray.
| | 03:20 | Now I am inside of that little canned
light fixture thing that's part of the
| | 03:24 | mesh, and finally, I will see the view below.
| | 03:27 | And so I'm looking directly
down from the can at my scene.
| | 03:32 | All right, let's go ahead and save
off this camera angle by clicking on the
| | 03:35 | floppy disk and I am going to call this
one can light 2, because it's the second
| | 03:40 | can light I am addressing, and I will click OK.
| | 03:41 | All right, now bring up your 3D panel,
go over to your lights, and let's
| | 03:47 | create yet another light.
| | 03:48 | You can't duplicate an existing light,
which is a pain in the neck. It's unfortunate.
| | 03:53 | So what you do instead is click on
the Page icon, choose New Spotlight.
| | 03:56 | You'll add a new spotlight to the
scene, who cares where it lands.
| | 03:59 | We're not interested in where it is right now.
| | 04:01 | I'm going to go ahead and rename this
guy, ceiling can HL, for head of the
| | 04:06 | bed left-hand side, and I'll dial in all
those modifications I did to the other light.
| | 04:11 | So I want to change its color for
starters to a Hue value of 210 degrees, a Saturation
| | 04:16 | value 5%, Brightness is 100%.
| | 04:19 | I want to leave that. Click OK.
| | 04:21 | Now I am going to change the
Softness of my shadows to 35%.
| | 04:23 | I am going to dial in a Hotspot of 35 degrees,
a Falloff of 60 degrees, turn on Use
| | 04:31 | Attenuation, and then I am going to
change the Inner value to 80 and the Outer
| | 04:36 | value right here, I will change to 120.
| | 04:38 | All right, so the light's set up,
but it's not even sort of in the right place.
| | 04:41 | Here's what you do.
| | 04:43 | To align the light to your camera angle,
go ahead and drop down here to this
| | 04:47 | bottom icon in the 3D panel
that says Move to Current View.
| | 04:51 | That's one way to work.
| | 04:52 | The other way is to go ahead and
select your Light tool, and you will see up
| | 04:55 | here in the Options bar that you also
have this little Camera icon that will
| | 04:59 | move the light to the current
view as well, and then click on it.
| | 05:01 | Now you may end up seeing
total blackness like this.
| | 05:04 | That just means the light is now in your
way of seeing the scene. That is just fine.
| | 05:08 | All right, next this I want you to do
is grab your Camera tool once again, any
| | 05:13 | of the camera tools will do, then go up
to the Options bar, click on your View
| | 05:17 | pop-up menu and let's switch over to
Ceiling view, if you went ahead and saved
| | 05:21 | that one, and it's saved as part of
this file, by the way, and then you will
| | 05:24 | see the ceiling and you can see
that light popping out of the can.
| | 05:29 | Now I want to make a slight adjustment to it.
| | 05:31 | So I'll go ahead and grab my Light
tool and I don't have any arrowheads on my
| | 05:35 | little stick, so I need to go ahead and
turn off the light and then turn it back
| | 05:38 | on, and now, I'll drag on that blue
arrowhead up slightly, just so that I am
| | 05:43 | tucking the light into the fixture.
| | 05:45 | All right, now we need to see
the scene from our Home view.
| | 05:48 | So let's go ahead and switch back to
the Camera tool, this time I am doing it
| | 05:50 | inside the 3D panel, just for variety.
| | 05:53 | Then I will go up to the View pop-up
menu here in the Options bar and
| | 05:56 | choose Home Position, and then
finally what we want to do is point the
| | 06:00 | light in the right direction.
| | 06:01 | So switch back to one of the light tools,
and then press the Option key or the
| | 06:04 | Alt key on the Mac and click on this
left-hand pillow right there, because I
| | 06:09 | want to light not only the bed, but I want
to light a little bit of that wall as well.
| | 06:13 | So I want some light to be hitting the
wall, in other words, so that we cover
| | 06:17 | this entire headboard,
and that looks pretty good.
| | 06:19 | All right, so that's how you go
about positioning the camera to the exact
| | 06:24 | point at which you want to project the
light and then aligning the light to the camera.
| | 06:28 | We've got two lights down, we have two
to go, and we will place those lights
| | 06:32 | in the next exercise.
| | Collapse this transcript |
| Moving cameras and lights| 00:00 | In this exercise, we're going to
position the two can lights on the right side
| | 00:04 | of the bed, and we're going to do
so by taking advantage of that camera
| | 00:07 | positioning technique.
| | 00:08 | And you'll see now that you've
established the first camera angle that it's
| | 00:11 | pretty easy to get to the other two.
| | 00:14 | I've saved my progress as
Head-left ceiling light.psd.
| | 00:17 | It's found inside the 15_lighting folder.
| | 00:19 | And assuming that you've been working
right along with me and saving your camera
| | 00:22 | angles, then switch to the Camera tool;
| | 00:24 | doesn't matter which one, and then go
up to the Options bar, and click on the
| | 00:29 | View pop-up menu and choose can light
2, or whatever you decide to call it.
| | 00:33 | And this is that view looking down from
the can light at the bedside table and
| | 00:36 | the lamp and so forth. All right!
| | 00:38 | I'm going to go ahead and drag my 3D
widget down to the bottom of the screen,
| | 00:42 | and I'm going to drag backward from
my blue arrowhead like so until I can
| | 00:47 | take in that can light.
| | 00:49 | And I want to be able to see the square
around the can, so I'm going to click on
| | 00:53 | the ceiling lights material here inside
the 3D panel, and notice that I've got
| | 00:56 | the panel filtered by Whole scene.
| | 00:59 | So go ahead and click on
not ceiling lights, pardon me;
| | 01:01 | I want entire ceiling,
that's the one I'm looking for.
| | 01:04 | And then go ahead and zoom out just a
little more so you can see that entire square.
| | 01:09 | And you want to make sure that it is
pretty much straight up and down, so if
| | 01:14 | you need to tweak your view just a
little bit to make sure that it's straight
| | 01:17 | up and down, do so.
| | 01:18 | And the reason that this is so important,
and I'm going to move my cursor very
| | 01:21 | far away from the widget, so I have a
little more control like so, and I'm still
| | 01:26 | dragging as I do this.
| | 01:27 | The reason I want that square to be as
absolutely vertically aligned as possible
| | 01:32 | is because now I just want to move
directly upward, and that will take me to the
| | 01:36 | right lamp at the head of the bed.
| | 01:38 | So let's see if it works out here.
| | 01:40 | I'm going to go ahead and drag
dramatically upward on that green arrowhead, and
| | 01:44 | I'm not seeing anything; that's okay.
| | 01:46 | I dragged all the way to the top of the
screen but it should be here some place.
| | 01:49 | So I'll just drag again and there it is.
| | 01:51 | Sure enough, that's the
other can light; awesome!
| | 01:54 | All right!
| | 01:55 | Now I need to go ahead and move in on
that can light, and I'll do so by dragging
| | 02:00 | outward here, that is forward on the
blue arrowhead, and I'll keep dragging
| | 02:05 | until I go through the gray.
| | 02:06 | Notice it turns from black to gray,
and then I should see the head of the bed
| | 02:11 | over here on the right-hand side in the wood
paneling on the floor and so forth. All right!
| | 02:16 | Super!
| | 02:16 | Let's go ahead and save off that view
by clicking on the Floppy Disk, and I'll
| | 02:19 | call this guy can light 3,
and click OK. All right!
| | 02:23 | Now let's create another light;
| | 02:24 | we have to do this one step
at a time here in this order.
| | 02:27 | Go ahead and filter the
scene by the Lights, like so.
| | 02:29 | And then drop down to the little page
icon, choose New Spot Light, rename the
| | 02:34 | new light ceiling can HR like so,
and I'm trying to make sure, notice, that my
| | 02:40 | view and my lights have different names.
| | 02:42 | So I don't end up getting _0 after
something, somewhere, and so forth. All right!
| | 02:48 | Anyway, this guy is selected.
| | 02:49 | Now let's go ahead and change its
color by clicking on the Color Swatch,
| | 02:53 | changing the Hue value to 210,
changing the Saturation value to 5;
| | 02:55 | I know it's a lot of busy work, but you
have to do it if you want your lights to match.
| | 03:00 | Change the Softness value to 35%,
change the Hotspot value to 35 degrees, change the
| | 03:05 | Falloff value to 60 degrees;
| | 03:07 | these are just the same values we've been using.
| | 03:09 | Turn on Use Attenuation, change the
Inner value to 80, and then change the
| | 03:14 | Outer value to 120.
| | 03:16 | And in a perfect world, you'd be
able to tab between these values, but I
| | 03:20 | can't get it to work.
| | 03:21 | So I had to select each
value independently. All right!
| | 03:24 | Having done that, the light is
in totally the wrong position.
| | 03:28 | So with the ceiling can HR light
selected, drop down to this last icon here in
| | 03:32 | the 3D panel and click on it, and that will
go ahead and align that light to our view.
| | 03:38 | Now let's go ahead and switch.
| | 03:39 | I still have my Camera tool selected.
| | 03:40 | So I'm going up to the View pop-up menu
and I'm going to switch to ceiling view
| | 03:44 | so I can see those lights
up there in the ceiling.
| | 03:46 | This is my new light;
| | 03:48 | it's hanging down a little too far, so
I'll go ahead and grab my Light tool.
| | 03:52 | And look, I've got arrowheads
on my widget. That's awesome.
| | 03:55 | So I'll go ahead and drag up on the blue
arrowhead just to scoot that guy in a little bit.
| | 03:59 | Now we'll switch back to the Camera tool,
and I'll go up to the View pop-up menu
| | 04:04 | once again in the Options bar, choose
Home position to restore my Home position,
| | 04:09 | of course, and then switch back
to the Light tool. So convenient!
| | 04:14 | And I'll press the Alt key or the Option
key on the Mac, and I will click on the
| | 04:18 | right side pillow in order to point
the light in that direction. All right!
| | 04:23 | Three spotlights down; just one to go.
| | 04:26 | Guess what?
| | 04:26 | It's exactly the same thing again,
but I'm going to run you through it because
| | 04:30 | otherwise, we're not going to
have properly lit our scene.
| | 04:33 | So I'll switch back to my Camera tool
here in the 3D panel, I'll go up to the
| | 04:37 | View pop-up menu, I'll choose
can light 3 this time around.
| | 04:41 | This is the view from the can light.
| | 04:44 | So I'm going to go ahead and back off
by dragging on the blue arrow back from
| | 04:49 | the blue arrow that is,
that's associated with my widget.
| | 04:52 | I'm going to switch over to my
entire scene here in the 3D panel;
| | 04:56 | I'm going to click on entire
ceiling so I can see that square.
| | 04:59 | I'll drag back a little bit more.
| | 05:01 | I want that square to be nice and aligned.
| | 05:03 | So I'll go ahead and rotate my view
vertically here or vertically in quote
| | 05:09 | fingers, anyway, by dragging
this green Rotation Widget.
| | 05:13 | And I'm going to move my cursor
dramatically away from the 3D widget, and the
| | 05:18 | reason I'm doing this is because it
gives me greater control, and I still have
| | 05:21 | my mouse down while I'm doing this.
| | 05:23 | Because if I drag very close in,
then I make big modifications;
| | 05:27 | if I drag far out, then I make
smaller modifications. All right!
| | 05:30 | Now I'm going to hide my 3D panel
so I can better see what I'm doing.
| | 05:34 | Now we have to move way over to the right.
| | 05:36 | So go ahead and drag to the right from
the red arrowhead, and you're going to
| | 05:41 | need to drag pretty much across
the entire width of the screen.
| | 05:44 | Then do it again until hopefully, there it is;
| | 05:48 | that final can light hoves into view.
| | 05:51 | And I'll go ahead and scoot it up just a
little bit by dragging down on my green
| | 05:56 | arrowhead, and then I will zoom in to
the scene by dragging forward on my blue
| | 06:00 | arrowhead until I go through the
gray, and then I should see the scene.
| | 06:04 | There it is, there is the wood floor,
there is the foot of the bed. Awesome!
| | 06:09 | Let's go ahead and save that out
by clicking on the Floppy Disk.
| | 06:12 | We'll call this can light 4
because that's what it is; click OK.
| | 06:16 | Now bring up the 3D panel, go ahead
and filter the scene by the Lights, drop
| | 06:20 | down to the little page icon,
click on it, choose New Spot Light.
| | 06:24 | Rename this new spot light ceiling,
what would this be, can, this time, FR for
| | 06:30 | Foot of the bed Right-hand side.
| | 06:32 | And I will change its color to a Hue of
210 and a Saturation value of 5%; click OK.
| | 06:39 | Then I will change the Softness to 35%.
| | 06:43 | I'll change the Hotspot to 35 degrees, I'll
change the Falloff to 60 degrees, turn on Use
| | 06:49 | Attenuation, change the Inner value to 80,
and then change the Outer value to 120.
| | 06:54 | All right!
| | 06:55 | The light is now established.
| | 06:56 | Now we have to position it.
| | 06:58 | So click on this little Camera icon
down at the bottom of the list of icons to
| | 07:02 | move the camera to the current view
so that it's shining directly downward.
| | 07:06 | Now then, my Camera tool is still
selected, so I will switch my View to ceiling
| | 07:10 | view so that I can see that final guy;
| | 07:14 | he's kind of far over here to
the right-hand side of the scene.
| | 07:17 | The light is protruding down a
little bit too far, so I'll switch to my
| | 07:20 | Light tool, and then I will drag up on the
blue arrow just slightly to tuck it in there.
| | 07:26 | All right!
| | 07:27 | Having done that, now I'll switch back
to my Camera tool, and then I'll go up to
| | 07:31 | the View pop-up menu here in the Options
bar, I'll switch to Home position, I'll
| | 07:35 | go ahead and center my
scene inside the Image window.
| | 07:38 | I've still got the
ceiling can FR light selected.
| | 07:41 | I want to switch to my Light tool, I
want to hide that 3D panel because it's in
| | 07:45 | my way, and then I want to press the
Alt key or the Option key on the Mac, and
| | 07:50 | click right about there in order to point
the camera at the foot of the bed. Phew!
| | 07:57 | Oh my goodness!
| | 07:58 | Isn't lighting fun? All right!
| | 08:00 | I'm going to go ahead and bring up
my 3D panel once again, switch to the
| | 08:03 | entire scene, and click on Scene to make sure
it's active up there at the top of the list.
| | 08:08 | Change the Quality setting from
Interactive to Ray Traced Draft, and then begin
| | 08:13 | ray tracing the scene.
| | 08:15 | And you know what, I'm going to go ahead and
click in order the interrupt that Ray Trace.
| | 08:18 | I've got lights going at all kinds of
crazy angles here which sort of interferes
| | 08:22 | with my view of things.
| | 08:23 | So I'm going to hide the 3D panel.
| | 08:25 | I'm going to press the M key to switch
back to my Rectangular Marquee tool, so
| | 08:28 | all of that 3D folderol goes away.
| | 08:30 | And then I'll go up to the 3D menu and
choose Resume Progressive Render so that
| | 08:35 | we can see what we've rot.
| | 08:37 | Now, I'm going to let this render for
a few passes in front of you here, but
| | 08:40 | of course, we're going to go ahead
and speed up this process so we're not
| | 08:43 | totally wasting your time.
| | 08:44 | You can see just how beautifully
and lustrously rendered this scene is.
| | 08:50 | There is, however, remaining
a big problem; the windows.
| | 08:54 | Notice that we can't see
anything through the windows;
| | 08:57 | it's as if they're opaque.
| | 08:58 | They're actually 20% opaque,
so they're mostly translucent.
| | 09:02 | I've just got to add some nighttime
elements behind those windows, and that's
| | 09:07 | exactly what we're going
to do in the next exercise.
| | Collapse this transcript |
| Adding a 2D sky to a 3D window| 00:00 | All right, I've gone ahead and let
the render process complete here and
| | 00:03 | I've saved my progress as All
four can lights.psd found inside the
| | 00:08 | 15_lighting folder.
| | 00:09 | Now I use the Ray Traced Draft setting,
which is just fine, you don't have the
| | 00:12 | resort to Ray Traced Final, but you do
need a complete render, because otherwise
| | 00:16 | you're going to have noise in the scene
and what we need to do now is integrate
| | 00:20 | the sky into the Windows that's going
to require some masking and if we've got
| | 00:24 | noise or going to integrate that
noise into the mask, which is no good.
| | 00:28 | So anyway start with a fully rendered
scene like this one here, then over here
| | 00:33 | on the right-hand side we've got this
window that's looks for all intents and
| | 00:35 | purposes light gray, like it's opaque
and yet if I bring up the 3D panel, Filter
| | 00:41 | the entire scene, so I can see all the
materials, and then I'll scroll down the
| | 00:45 | list until I come to this guy pane 1
click on it, and notice that the Opacity
| | 00:50 | value is set to 25%.
| | 00:52 | So we can see through that Window pane,
problem is, we're seeing through to the
| | 00:57 | Background layer right here, which is white.
| | 00:59 | What we need is a little bit of sky
and it's there, it's just not turned on.
| | 01:03 | So go ahead and turn on that Moonlit
Sky layer, which is that image from the
| | 01:07 | Fotolia Image library.
| | 01:09 | Now that takes care of that window just
fine, it doesn't take care of the other
| | 01:12 | two, because Photoshop can't reflect
something that's not actually part of the
| | 01:17 | scene this is a 2D layer that's just
setting in the background and the 3D scene
| | 01:21 | is completely unaware of it.
| | 01:22 | That's why we're going to
have to resort to masking.
| | 01:25 | So let's make a copy of this layer by
pressing Ctrl+Alt+J or Command+Option+J on
| | 01:29 | a Mac and I'll call this sky
reflection 1 because it's going to be the first
| | 01:34 | reflection after all.
| | 01:35 | Then I'll pop it to the top of the stack,
you can do that from the keyboard, by
| | 01:38 | pressing Ctrl+Shift+] or Command+Shift
+] on the Mac, or you can just drag it up
| | 01:43 | to the top of the stack if you prefer.
| | 01:46 | Let's press the 5 key in order to
reduce the Opacity of this layer to 50%, and
| | 01:51 | then I'm going to Ctrl+Drag or Command+
Drag it over to the left to about there,
| | 01:55 | so this region of clouds is inside the window.
| | 01:58 | It doesn't really matter what portion
of the clouds you see inside the window,
| | 02:01 | as long as you have a fair amount of
variety going on, that is luminous variety
| | 02:05 | and you're not seeing the moon,
wouldn't make any sense for the moon to be
| | 02:09 | reflected inside of this window,
because after all the trajectory of the light
| | 02:13 | coming off the moon is straight toward
us, that light is being bounced right at
| | 02:18 | us, not toward that mirrored wall.
| | 02:20 | So we don't want to see any
moon reflections going on here.
| | 02:23 | All right, having done that I'm going
to go ahead and turn this layer off,
| | 02:26 | because we need to generate a mask
leaving it set to 50% Opacity is fine for now.
| | 02:31 | Click on the 3D layer to make it active
and I'm going to go ahead and zoom in on
| | 02:34 | this window this reflected window here,
the old-fashion way by using my Zoom
| | 02:38 | tool and I'm going to scroll it down
just a little bit I want to make sure I'm
| | 02:41 | seeing the entire thing and then armed
with a Rectangular Marquee tool, go ahead
| | 02:46 | and marquee around the window like so,
| | 02:48 | So I am inside the window, but I am
fully enclosing all the panes, I don't want
| | 02:51 | to integrated any of the headboard,
so I avoided it, and what I'm doing is
| | 02:55 | saying, all right Photoshop, I want to
work inside of this area and the command
| | 03:00 | that I'm going to apply inside of
this area, it's under the Select menu and
| | 03:03 | it's Color Range, and if you loaded
DekeKeys and if you've got a keyboard
| | 03:06 | shortcut of mash your fist O,
so Ctrl+Shift+Alt+O on the PC,
| | 03:10 | Command+Shift+Option+O on the Mac.
| | 03:12 | All right, then inside the Color
Range dialog box, make sure the Fuzziness
| | 03:16 | value is 40 that's fine that's the
default setting incidentally, Invert should
| | 03:19 | be turned off, Localized Color
Clusters should also be turned off, and then I
| | 03:24 | want you to click inside one of the
window panes like so, inside one of these
| | 03:27 | dark regions, and notice that we've
selected pretty much all of these three
| | 03:31 | panes in this first column, but we
haven't quite selected all the panes over
| | 03:35 | here on the left inside.
| | 03:37 | So, go ahead and Shift+Drag inside
of one of these left-hand panes like
| | 03:42 | that, and that will fully integrate all nine
of these little sub panes into the selection.
| | 03:48 | So white equal selected areas, black
equals deselected areas, go ahead and click OK.
| | 03:53 | Now that's not quite the selection
we're looking for, it's a little rough, so
| | 03:57 | let's switch to the Quick Mask mode by
dropping down to little Quick Mask icon
| | 04:01 | and clicking on it, or you can just
press a Q key and you'll see the Quick Mask
| | 04:05 | Overlay I don't want to see the Quick
Mask Overlay, I just want to see the mask.
| | 04:09 | So I'm going to turn off the image
the easy way, from the keyboard, just by
| | 04:13 | pressing the tilde key, that's
the key to the left of the one key
| | 04:17 | directly above the Tab key in the upper
left-hand corner of your standard American keyboard.
| | 04:22 | If you don't have that key, or it
doesn't work the same in some other country,
| | 04:25 | then you go to the Channels panel,
and you turn off this eyeball in front of
| | 04:29 | RGB that work as well.
| | 04:31 | All right, let's go and zoom in and I'll
scroll down a little bit, just so I can
| | 04:35 | see the entire top of the image there.
| | 04:37 | I need to grab my Lasso tool and I'm
going to take advantage of the Polygonal
| | 04:42 | function of the Lasso tool by pressing and
holding the Alt key or the Option key on the Mac.
| | 04:47 | Keep that key down and then click
and do this number across the bottom of
| | 04:51 | these panes right here, now it looks like I'm
scalping off this little bit of edge right there.
| | 04:56 | So you know what, I'll just move my cursor to
this location and release the Alt or Option key.
| | 05:01 | And now I know I have my cursor in the
right location, I'll press and hold Alt
| | 05:05 | or Option again, and keep that key down,
click and then click around this area
| | 05:10 | in order to select the sort of
offending details right there and once you get
| | 05:15 | this range of gooks selected,
then I want you to fill with black.
| | 05:19 | In my case Black is a background
color, so I can press Ctrl+Backspace or
| | 05:23 | Command+Delete on a Mac.
| | 05:24 | All right, let's click off that
selection to deselect it, and employ that same
| | 05:27 | technique down here at the bottom of
the windows, press the Alt key or the
| | 05:30 | Option key on the Mac, keep it down and
then click around this region like so,
| | 05:35 | and then fill it with black by pressing
Ctrl+Backspace or Command+Delete on the Mac.
| | 05:39 | All right, great, wonderful selection,
it's going to work out beautifully.
| | 05:43 | Let's switch out of the Quick Mask
mode by either clicking on the icon or
| | 05:46 | pressing the Q key, then go back to the
Layers panel, if you left it, click on
| | 05:51 | that reflection 1 layer, turn it on,
and then let's go ahead and mask it by
| | 05:55 | dropping down to the Add layer Mask
icon down here at the bottom of the panel,
| | 05:59 | click on it, and you've gone ahead and
masked the clouds inside of that window.
| | 06:03 | I'm going to zoom out, I'm not really
loving this composition, I don't think the
| | 06:06 | reflection looks quite right.
| | 06:08 | So I'm going to change the Blend mode
from Normal to Screen, and then having
| | 06:12 | done that I'll press the Escape key, so
screen is no longer active here on the
| | 06:15 | PC, and I'll press the 3 key to reduce the
Opacity to 30% and that looks pretty good to me.
| | 06:22 | I think that's a fairly credible selection.
| | 06:24 | All right, let's integrate the clouds
into the far window right there, now the
| | 06:29 | problem is, we're masking this window,
we don't have any contrast whatsoever,
| | 06:34 | and I've got a fair amount
of noise going on as well.
| | 06:36 | So I'm going to try to take that layer
mask I've already created and repurpose
| | 06:40 | it, and I'll show you how
that works in the next exercise.
| | Collapse this transcript |
| Resolving ray tracing mistakes| 00:00 | In this final exercise of the
chapter, we're going to finish off the
| | 00:03 | composition, and we are going to do so
by taking the sky reflected inside of
| | 00:07 | this first window, and we're going to
duplicate and repurpose that reflection
| | 00:11 | inside of the second window.
| | 00:12 | Then we'll take care of a strange
problem that's occurring with the ray tracing
| | 00:17 | inside of the scene.
| | 00:18 | And I am going to start things off by
taking the top layer here in the stack,
| | 00:21 | and I am going to duplicate it by
pressing Ctr+Alt+J, Command+Option+J on a Mac,
| | 00:25 | and let's call this new layer reflection
2, because that's what it is, click OK.
| | 00:30 | And now, I'm going to press Ctrl+Shift
or Command+Shift on the Mac and I'm going
| | 00:36 | to drag this reflected pane into the far
window and it's not a match so far, but
| | 00:41 | it's going to work out nicely for us.
| | 00:42 | Now, what we need to do is transform
these panes to match the rear window.
| | 00:49 | However, if I run the Free Transform
command on this layer as it is, I will
| | 00:53 | modify both the layer, that is
the clouds and the mass together.
| | 00:58 | I don't want that, I want
to affect just the mask.
| | 01:01 | So click on the link between the two
thumbnails, here at the top of the Layers
| | 01:04 | panel, in order to unlink the layer
from its mask then, click on the layer mask
| | 01:08 | to make it active, then go up to the
Edit menu and choose the Free Transform
| | 01:13 | command or press Ctrl+T, Command+T on a Mac.
| | 01:16 | And I am going to drag this bottom
handle upward, until, we kind of squish the
| | 01:20 | panes a little bit and also, drag this
guy the top handle up as well, and I am
| | 01:24 | going to scoot in the right-hand side and
scoot in left-hand side just a little bit.
| | 01:29 | This point, I need to perform a skew,
and I am going to do that just by
| | 01:34 | pressing the Ctrl key or the
Command key on Mac and you drag the corner
| | 01:38 | handles, and I'm going to drag this
corner handle to about there, I am just
| | 01:42 | trying to make sure that the corners
of the panes line up properly, and this
| | 01:45 | one wants to be about there I think.
| | 01:47 | I've got the Ctrl key down, the Command
key down on the Mac this whole time, and
| | 01:51 | then, I am going to Ctrl+Drag this guy
upward and Ctrl+Drag this one upward as
| | 01:56 | well, these would be Command+Drags on
the Mac, and I went too far with this
| | 02:01 | modifications, so I'll
tuck it down a little bit.
| | 02:03 | Now, you are not going to get an exact
match, by the way, because panes don't
| | 02:07 | exactly, match each other but you will
get an approximate match, which is going
| | 02:11 | to be good enough for our purposes.
| | 02:12 | This is a very distant window and we are
going to create just a tiny little refraction.
| | 02:17 | I still have the Ctrl key down or the
Command key on the Mac as I am dragging,
| | 02:19 | this time the bottom handle.
| | 02:22 | So drag around as much as you like until
you think you have something that looks
| | 02:25 | fairly decent and you might see some
little tiny white edges or some dark edges,
| | 02:31 | not really anything to worry too much about.
| | 02:33 | Also, bear in mind that you're seeing
overly jagged transitions here, because we
| | 02:38 | haven't actually
rendered out the transformation.
| | 02:41 | Now I'll press the Enter key or the
Return key on a Mac in order to apply
| | 02:44 | that transformation, it isn't the best match
on the face of the planet, but it's pretty good.
| | 02:49 | This will help, I am going to bring up
the masks panel, you can also get to that
| | 02:53 | panel by going to the Window menu and
choosing Masks, and then, I want to change
| | 02:58 | the Feather value to 1, so I am just
going to take it up to 1 and that's going
| | 03:02 | to soften those edges.
| | 03:03 | And then, finally with my Selection tool
active I have got a Rectangular Marquee
| | 03:08 | tool active here, I am going to type 15
in order to reduce the opacity of this
| | 03:13 | layer to 15%, and that's it,
that takes care of that.
| | 03:16 | Now I'll press Ctrl+0 or Command+0 on
a Mac to zoom out and I'll zoom in a
| | 03:21 | little bit, by pressing Ctrl+1 or Command+1
| | 03:22 | All right, so that takes care of the
2D guy inside of the various 3D windows,
| | 03:28 | but we have one outstanding problem
left and it has nothing to do with anything
| | 03:33 | I have showed you so far.
| | 03:34 | Check out this reflection, and this is
one of those things you notice kind of
| | 03:38 | the eleventh hour, as you're working
inside of a 3D scene inside a Photoshop,
| | 03:42 | just some little thing catches your eye,
and you are like, what the heck is it?
| | 03:46 | Why do I have this little dent there
and what is being reflected in the floor?
| | 03:51 | So this is presumably the ceiling
over here, because that's one of the cam
| | 03:56 | lights I believe that's being reflected,
and this is the foot of the bed down
| | 04:00 | here and then, farther down, if I were
to scroll down, this little bit is the
| | 04:04 | window that's being reflected.
| | 04:07 | So this is like some portion of the
side of the window, what is that thing?
| | 04:11 | So you zoom in on it of course, and you
check it out in detail, and you can sort
| | 04:16 | of revolve your camera angle, but if
you start doing that stuff than the ray
| | 04:20 | tracing goes away and you lose your
reflections and you have to re-raytrace.
| | 04:24 | But if you just take a careful look at
it, you start seeing what it is and what
| | 04:28 | it is, it's a little bit of crown molding.
| | 04:31 | Oh, what is that doing right there?
| | 04:34 | There is no scene for the crown
molding above the window, nor would it get
| | 04:38 | somehow reflected below the ledge of the window.
| | 04:41 | So what in the world is up?
| | 04:42 | Well, I am here, to tell you there's not any
crown molding up there, nothing like this.
| | 04:47 | The crown molding runs totally
parallel to the wall as well it should;
| | 04:51 | so what's happening is a bug.
| | 04:54 | Photoshop is retracing the scene wrong.
| | 04:56 | Now in Photoshop's defense ray
tracing in accuracies are not that unusual.
| | 05:01 | You see them a lot of different programs.
| | 05:03 | Ray tracing is an extremely process
intensive task and it's kind of a black art
| | 05:09 | and things can end up going wrong.
| | 05:11 | So sometimes you just have to make a
decision and say, you know what, I'm going
| | 05:15 | to get rid of --in this case, the
entire ceiling element, because it contains
| | 05:20 | the crown molding and we
don't need to reflect the ceiling;
| | 05:23 | there's nothing up there to reflect,
so why don't we just hide it and do
| | 05:28 | Photoshop a little bit of a favor.
| | 05:29 | So I'm to bring up my 3D panel, and I
am going to click on the 3D layer that
| | 05:33 | will help to make it active and
were looking at the entire scene.
| | 05:37 | Let's go down here to entire ceiling
click on it in order to select it and let's
| | 05:41 | reduce its Opacity to 0%, and pressing
the Enter key or the Return on the Mac,
| | 05:45 | and that's going to evoke a new ray tracing.
| | 05:48 | So Photoshop is busily re-ray tracing
the scene, now, it may seem like wow!
| | 05:52 | Photoshop is doing a really
good job this time around.
| | 05:55 | First path and it looks beautiful,
not really, if you click in the scene or
| | 05:59 | press the Escape key, you'll see that
Photoshop just wasn't showing us what it was up to.
| | 06:03 | But in interrupting things - -and I'll
go ahead and restart here, by going up to
| | 06:07 | the 3D menu and choosing
Resume Progressive Render.
| | 06:10 | Notice over here on the right-hand
side of the scene behind the bed, we no
| | 06:14 | longer have that weird bit of crown
molding showing up, because the ceiling
| | 06:19 | is not there to reflect in, so Photoshop is
not making that mistake that it made before;
| | 06:25 | so that ultimately takes care of the problem.
| | 06:27 | The ceiling looks good and we even have
-- I think this is really interesting, I
| | 06:31 | am going to click in order to
interrupt the ray trace for a moment, and I am
| | 06:33 | going to zoom in on this
portion of the image right there.
| | 06:36 | We still have that little can light, and now
it looks lighter than the rest of the ceiling.
| | 06:41 | So it appears as if Photoshop is actually
reflecting the light source, which is awesome.
| | 06:47 | All right, so I'll go
ahead and reset my zoom here.
| | 06:49 | Let's switch to the final version of
the scene, this is the Ray Trace Final
| | 06:55 | Version of this entire scene, that
we've been craving over the course of this
| | 06:59 | chapter, now I am going to zoom it to 80
% down here in the bottom left corner of
| | 07:03 | the window, press the F key a couple of
times in order to fill the screen with
| | 07:07 | the image, that is the final
version of our bedroom composition.
| | 07:11 | Thanks to the raw and sometimes
untamed power of 3D lighting, here inside
| | 07:16 | Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
16. Advanced Lights and ShadowsDarkness conveys depth| 00:00 | Without light you're scene is black
that it is altogether dark and yet strange
| | 00:06 | as it may sound, with light there is
also darkness, no light conveys complete
| | 00:11 | darkness light conveys partial darkness,
these patches of darkness are known as Shadows.
| | 00:18 | Shadows are wildly important, without
them you're scene may colorful, but it
| | 00:23 | will also be flat, with
shadows your scene has depth.
| | 00:28 | In this chapter, I will show you how to
boost your lighting skills to the next
| | 00:32 | level, we'll point a light through a
window, shine a light right through an
| | 00:36 | object, explore self illumination and
create an image based light and throughout
| | 00:41 | we'll cast shadows rich, long, soft
scene defining shadows, because the
| | 00:48 | interplay of highlight and shadow with
the old masters called Chiaroscuro, is
| | 00:53 | what 3D scene making is all about.
| | Collapse this transcript |
| Shining light through a window| 00:00 | Here is the final project that we'll
be creating over the course of this
| | 00:03 | chapter, rendered using
Photoshop's Ray Traced Final setting.
| | 00:07 | There are all sorts of advanced
lighting and scene effects going on here.
| | 00:11 | We have light being cast-in through the windows;
| | 00:13 | we have light being cast through the
ceiling, which is responsible for among
| | 00:17 | other things, this text on the ground here.
| | 00:19 | We also have these extra models
that I've added to the scene and placed
| | 00:22 | directly on the bed.
| | 00:23 | They are casting shadows;
| | 00:25 | they've got Gloss and Shine
settings as we'll see later.
| | 00:28 | We've got a more realistic reflection
effect where the sky is concerned, because
| | 00:31 | the sky is a real element in this 3D scene;
| | 00:34 | that is therefore being
reflected into the walls.
| | 00:36 | So we're not working with 2D
layers and layer mask this time around.
| | 00:40 | I've also added reflectivity map to
the walls, so that not all portion of the
| | 00:44 | walls are equally reflective.
| | 00:46 | We've got this giant image light that's
surrounding the entire scene, and then
| | 00:50 | just to finish things off we've got a
hamburger inside of a picture frame.
| | 00:53 | So, that's what you have to look forward to.
| | 00:55 | But we're going to start things
off inside of this image here.
| | 00:59 | It's called Base bedroom.psd and is
found inside the 16_adv_light folder.
| | 01:03 | We're going to start things off by
turning-off a few lights, specifically
| | 01:07 | turning-off those ceiling cans that
we created in the previous chapter, and
| | 01:10 | we're going to send
light in through the windows.
| | 01:12 | So, I'm going to go ahead and bring up
the 3D panel by double-clicking on the
| | 01:16 | thumbnail for this hotel room layer.
| | 01:18 | Then I'm going to make sure that scene
is active here inside the 3D panel and
| | 01:22 | I'm going to change the Quality from
Ray Traced Final, where this image is
| | 01:25 | concerned, to Interactive (Painting) and that
way obviously we can get some work done here.
| | 01:31 | I'm going to go ahead and twirl close
the bedroom, that bedroom mesh, and I'm
| | 01:35 | going to drop down to these ceiling cans,
and I'm going to turn them all off for now.
| | 01:39 | So, if you're working along with me,
turn all 4 of these lights off.
| | 01:43 | So we're just working with that lightbulb
that's inside the lamp and nothing more.
| | 01:47 | But we're going to add another
infinite light coming in through the windows.
| | 01:51 | Of course, this needs to be an
infinite light, because the object that's
| | 01:55 | creating the light is the moon.
| | 01:57 | So light is ostensibly reflecting off
the sun, onto the moon, into the bedroom.
| | 02:01 | The moon is sufficiently distant, even
though it's not as far away as the sun,
| | 02:03 | but it's sufficiently distant,
that it requires an infinite light.
| | 02:06 | So, I'll go ahead and bring that 3D
panel back up and let's add that infinite
| | 02:10 | light by dropping down to the little
page icon at the bottom of the panel,
| | 02:13 | clicking on it and then
choosing New Infinite Light.
| | 02:16 | Now, I'm going to name this infinite
light, moonlight, because that's the
| | 02:20 | purpose that it serves.
| | 02:22 | And then we need to modify the
position of the slide source, but first of all
| | 02:26 | I'm going to crank up the Intensity
like crazy, since it's coming through
| | 02:30 | those windows, I want it to be nice
and bright, so I'm going to take the
| | 02:33 | Intensity value up to 7.
| | 02:35 | So I have an awful lot of
light being cast on the scene.
| | 02:38 | Notice that the Softness is set to 0%.
| | 02:40 | I'm going to leave it that way, so we
have some nice sharp edges where those
| | 02:44 | window lights are concerned.
| | 02:45 | All right, at this point you might want to go
ahead and back off of the scene a little bit.
| | 02:48 | So I'm going to select my Camera
Rotate tool here inside the 3D panel, and
| | 02:53 | then I'll go up to my options bar,
because I've saved off those camera views
| | 02:57 | in advance, I'll click on the View pop-up menu,
and I'll go ahead and choose very wide angle;
| | 03:02 | which is our most distant view at the moment.
| | 03:04 | And you may notice that you're seeing a
little bit of a window in the sky, which
| | 03:08 | doesn't make any sense.
| | 03:09 | It's as if the light is passing through I
suppose, this left window here onto the sky.
| | 03:13 | That's actually just a trick of these
2D layers here, and we might as well turn
| | 03:17 | them off for a moment.
| | 03:18 | The ones that are called reflection
1 and reflection 2, go ahead and turn
| | 03:21 | those guys off, so we no longer have
those 2D reflections, and if you want to
| | 03:26 | you can just go ahead and grab both of
the layers, select one then Shift+Click
| | 03:29 | on the other and press the Backspace
key or the Delete key on the Mac in order
| | 03:33 | to get rid of them.
| | 03:34 | All right, let's figure out where
in the world this infinite light is?
| | 03:36 | I'm going to go ahead and select my Light
Rotate tool or one of my Light tools anyway.
| | 03:41 | Then I'll drop down to my little eye icon
and I can see that I'm just seeing my 3D axis.
| | 03:47 | So I'll go ahead and turn on 3D Light, so
I can see the various lights in the scene.
| | 03:51 | Even though most of them are turned off;
| | 03:52 | you can still see them as
these little wireframe lights.
| | 03:56 | Then I'll go ahead and click on this
icon again and choose 3D Selection, so I
| | 04:00 | can see where in the world my
active moonlight, infinite light is?
| | 04:04 | And it's down here in the bottom
right portion of the scene shining
| | 04:08 | upward through the floor.
| | 04:09 | That of course is no good whatsoever to me.
| | 04:12 | I need it to come pretty much
exactly the opposite direction.
| | 04:15 | So, I'm going to go ahead and
drag on that little rotate icon;
| | 04:18 | the X rotate icon like so;
| | 04:20 | in order to move the light to
the other side of the scene.
| | 04:23 | Then I'll also drag if I can there, I'll
go ahead and drag that blue rotate icon
| | 04:28 | in order to train the light
through the windows onto the bed.
| | 04:31 | And that's still not
exactly what I'm looking for.
| | 04:33 | So I'll possibly drag this red
rotate gadget here in the 3D widget.
| | 04:37 | Problem is, it's not working for me,
because moonlight became suddenly and
| | 04:41 | mysteriously deselected here inside my list.
| | 04:43 | So I'll go and click on it again,
and then drag the widget like so, in order to
| | 04:48 | move things around, and I
would keep going back and forth.
| | 04:51 | The Y gadget, the green one, isn't
really going to do you any good as you may
| | 04:54 | recall, that just spins the light around in
its own little circle. But tell you what?
| | 04:58 | What I'm going to do is enter some numerical
values just to save us a little bit of time here.
| | 05:03 | So I'll click on moonlight to make it
active, and then I'll go to the options
| | 05:06 | bar, and I'm going to select that Y
value and I'm going to change it to -165,
| | 05:11 | and then I'll select the X value,
change it to 35, and then I'll click on the Z
| | 05:17 | value there, and change it to -58.
| | 05:20 | So, that we get the light coming
in more or less the right direction.
| | 05:23 | Let's go ahead and zoom back into the
scene by switching back to the camera tool
| | 05:28 | and then up here in the options bar,
click the View pop-up menu and choose Home
| | 05:33 | position to go back to that
standard position we've been viewing.
| | 05:36 | Then just to get a sense of what's
going on here, I'll click on scene in order
| | 05:40 | to make it active, switch back to my
rectangular marquee tool so I'm not seeing
| | 05:44 | all that 3D folder all on screen,
and I'll change the Quality setting to Ray
| | 05:48 | Traced Draft, just so I can get an
early sense of what's going on here.
| | 05:52 | Now we're going to accelerate the
process of course, so that you can get a
| | 05:55 | better sense of what's
going on that much faster.
| | 05:57 | It will take a while though, and the
more objects we add to the scene and the
| | 06:00 | more lighting elements, the more time
it's going to take Photoshop to render.
| | 06:04 | But what I want to notice here is we
do have a light being cast through the
| | 06:08 | window onto the top of the bed and onto this
end table as well, and onto the light shade.
| | 06:14 | Then we have this big, huge swath of light up
here in the upper-left corner of the screen.
| | 06:18 | That gives me a good
enough idea of what's going on.
| | 06:21 | So I'll press the Escape key,
let's hide the 3D panel for a moment.
| | 06:24 | You can see over here in the reflection
in the wall, this mirrored wall, you can
| | 06:28 | see this window lighting, this checkerboard.
| | 06:30 | Well, what's happening, is light is
going through the window onto the side of
| | 06:34 | the bed that we can't see, over
there on that right-hand side, if we were
| | 06:37 | looking at the bed from the footboard
and that is light that's being cast onto
| | 06:42 | the bedspread over here on the head side
of the bed and the foot side of the bed
| | 06:46 | as well, and then it's
dissipating onto the floor a little bit too.
| | 06:49 | So I just want you have to have a
sense of what you're seeing there?
| | 06:51 | We're also seeing the reflection of the
light from the end table on the floor as well.
| | 06:56 | The big problems with what we're
seeing are the big swath of light in the
| | 06:59 | upper left-hand corner.
| | 07:00 | That's because our scene as you may
recall from the previous chapter, our
| | 07:04 | scene has no ceiling.
| | 07:05 | The ceiling is set to 0% opacity,
and furthermore, see this little band of light right there.
| | 07:12 | Well, that's some light that's
being cast all the way over on the far
| | 07:15 | right-hand side of the scene.
| | 07:16 | We can't see it, it's way over this away.
| | 07:19 | However, it's being reflected on
that wall and that's a problem.
| | 07:22 | So we're going to have to add a ceiling
to the scene and eventually a far wall
| | 07:27 | as well in order to cut that light.
| | 07:29 | We'll be creating that ceiling and
adjusting our moonlight in the next exercise.
| | Collapse this transcript |
| Using a 3D postcard as a light shield| 00:00 | In this exercise we're going to
create a ceiling for our scene using a 3D
| | 00:03 | Postcard so that we no longer have this
light coming in through the top of the room.
| | 00:08 | Now those of you who followed along
with the previous chapter, you know that
| | 00:11 | there is a ceiling material that's
associated with this bedroom model.
| | 00:14 | So you may figure, well, why don't we
just turn it back on, set it to full opacity?
| | 00:18 | That would shield the room, by the way,
but if we do that we'll end up with that
| | 00:23 | weird crown molding reflection in the floor.
| | 00:25 | And we don't want, so we're going to
have to create our own ceiling once
| | 00:29 | again as a 3D Postcard.
| | 00:31 | I've saved my progress
as Too much moonlight.psd.
| | 00:34 | It's found inside the 16_adv_light
folder, and I'm going to start things off by
| | 00:38 | double-clicking the thumbnail for the
Hotel room layer to bring up the 3D panel.
| | 00:42 | Make sure scene is active and then
change the Quality setting to Interactive so
| | 00:46 | that we can get work done.
| | 00:47 | The next step is to create that 3D
Postcard, and I'm going to do that by
| | 00:51 | pressing Ctrl+Shift+N or Command+Shift+N
on the Mac, and I'm going to call this
| | 00:55 | new layer, shield 1.
| | 00:57 | The idea being that this is the first
of two light shields that we're going
| | 01:00 | to add to our scene.
| | 01:01 | Now click OK in order to create a new
empty layer, and let's turn it into a 3D
| | 01:06 | Postcard by dropping here to Create
New 3D Object list, making sure 3D
| | 01:10 | Postcard is selected, then click on the
Create button and we have ourselves a 3D Postcard.
| | 01:15 | Now we can't see it, because it's
invisible, because its diffused texture is
| | 01:19 | transparent, because the original
layer, that we just converted, was
| | 01:23 | transparent as well.
| | 01:24 | So we've got to change the material.
| | 01:26 | Click on shield 1_0, which is the
material for this mesh, and then notice that
| | 01:31 | we have page icons next to Diffuse and Opacity.
| | 01:34 | We want to get rid of both of those.
| | 01:35 | So click on little page icon next
to Diffuse and choose Remove Texture.
| | 01:39 | That will reveal a big layer of gray,
because we're looking straight on at this
| | 01:44 | huge gray postcard that's
covering up the entire image.
| | 01:47 | Just for the sake of safety click on
the page icon next to the word Opacity.
| | 01:51 | Choose Remove Texture to get rid of any
opacity mask that maybe there as well.
| | 01:56 | The next step is to merge this 3D
Postcard with a larger scene, and as you may
| | 02:00 | recall there are two different ways to do that.
| | 02:02 | One is to select the first layer, Shift+Click
on the second later, and go up to
| | 02:06 | the 3D menu and choose Merge 3D layers.
| | 02:08 | I consider that to be a lot of work.
| | 02:10 | So my preferred method is to click
just the top layer, make sure that it's
| | 02:15 | directly in front of the larger 3D
scene that contains all the attributes that
| | 02:19 | we want to retain, hotel room of course.
| | 02:22 | So just click shield 1, nothing else,
and press Ctrl+E or Command+E on the Mac
| | 02:26 | in order to merge it into
the hotel room environment.
| | 02:29 | That's going to make the 3D Postcard
disappear, because we have no idea where it went.
| | 02:33 | It's someplace far away.
| | 02:34 | So I'm going to twirl close the bedroom
mesh, and then I'll click on the shield
| | 02:38 | 1 mesh to make it active.
| | 02:40 | Let's go ahead and select one of the mesh tools.
| | 02:42 | I might as well start with the 3D Mesh
Rotate tool, and I'm going to change all
| | 02:45 | three of the Orientation values to 0.
| | 02:47 | So X, Y, and Z should be 0.
| | 02:50 | Notice I'm doing that manually.
| | 02:51 | Now you might figure what you'd like
to do is just click on that Home button
| | 02:54 | based on things that I've told you in
the past, because wouldn't that restore
| | 02:58 | all the values to 0?
| | 02:59 | Well, in the case of this scene that
we experience what is potentially the
| | 03:02 | worst bug in all of 3D Photoshop, and I want
to show it to you just in case you run into it.
| | 03:07 | I'm going to switch over to the Pan
the Mesh tool so we can see the Position
| | 03:10 | values which are all over the map.
| | 03:11 | If I click on the Home button to
return to the initial mesh position
| | 03:15 | whatever that means.
| | 03:16 | I'm going to get these completely whacky values.
| | 03:18 | Notice it says, --2147483,
and then it keeps going, 6.,(.
| | 03:24 | It's like what in the world is that?
| | 03:29 | If I press the Enter key
I've got to show this to you.
| | 03:31 | It's exceedingly unpleasant.
| | 03:33 | But if you press the Enter key then
Photoshop is going to deliver this alert
| | 03:36 | message saying, hey, that's invalid.
| | 03:38 | You've got to pick a number between two
identical non-numeric values, there is
| | 03:43 | just strings of weirdness, is required.
| | 03:46 | Well, that's what I've got.
| | 03:47 | I guess it's between those two.
| | 03:48 | The previous value has been inserted.
| | 03:50 | Watch this, I click OK and it comes back,
and I click OK and it comes back, and
| | 03:54 | I click OK and it comes back.
| | 03:56 | So here's what you do.
| | 03:57 | If you find yourself in this eternal
loop of goofiness you just hammer the
| | 04:02 | Enter key or the Return
key on the Mac seriously.
| | 04:05 | You've to click and hold on your screen
at the same time you are jamming that key.
| | 04:08 | So you don't really have to restart the program.
| | 04:10 | Isn't that the good news?
| | 04:12 | The bad news of course is that
it happens in the first place.
| | 04:15 | Who knows what
horribleness we just went through?
| | 04:18 | What I need you to do is go to the Window
menu, if you decide to follow along with me.
| | 04:22 | I hope you didn't, but go to the Window
menu and choose the History command and
| | 04:26 | that brings up this History panel.
| | 04:27 | Remember there was Merge Down, and then
I start setting a 3D position and then a
| | 04:32 | lot more 3D positions got recorded?
| | 04:34 | Well, I'm going to click on Merge Down
to go back to that point in time, because
| | 04:37 | I know that was safe.
| | 04:39 | Everything was okay back then.
| | 04:41 | Now I am going to bring
up the 3D panel once again.
| | 04:43 | Make sure that my shield mesh is active.
| | 04:46 | I'm going to switch back to Rotate the Mesh
tool and restore those values to 0 manually.
| | 04:52 | So anyway that's what you do
if that happens. I'm not sure.
| | 04:55 | Every once in while it happens and I'm
not sure why, but it's as regular as
| | 04:58 | rice inside of this specific composition.
| | 05:00 | We're merging that 3D Postcard as concerned.
| | 05:03 | So we're changing all of the
Orientation values and the Position values to 0.
| | 05:08 | Now you'll see down here at the bottom
of the screen you will see a bunch of
| | 05:11 | sort of white lines.
| | 05:12 | That's the 3D Postcard emerging.
| | 05:15 | It's not parallel to the floor and it's
emerging through the floor ever so slightly.
| | 05:19 | Now we need to back off from the scene
and I'm going to do that by switching to
| | 05:24 | my Camera tool once again.
| | 05:25 | I'll go up to View popup menu here in
the Options bar and I'll choose very wide
| | 05:29 | angle so I can backup from the scene.
| | 05:31 | Now I want you to see something.
| | 05:33 | If I click on moonlight here in my list,
because I have both 3D Selection and 3D
| | 05:39 | Light turned on, I can see my
infinite light right there and I can see the
| | 05:42 | direction of my light coming through.
| | 05:44 | But I want you to watch what
happens to that light. It actually moves.
| | 05:48 | Infinite lights move to
compensate for the size of the scene.
| | 05:51 | So let me show you what I mean.
| | 05:53 | I'm going to go ahead and click on
shield 1 to make it active, and I'm going to
| | 05:57 | switch back to one of my mesh tools.
| | 05:59 | It doesn't matter which one, because
I'm going to be relying on my 3D widget.
| | 06:02 | I'll drag up on that blue
arrowhead to move the ceiling upward.
| | 06:07 | Now notice if I go too far, if I go
way up in the air, my infinite light
| | 06:10 | is actually moving.
| | 06:11 | I've got a couple of infinite lights.
| | 06:12 | Notice that one that's way at the top
of the image, that's my original light
| | 06:16 | that I just left in there
for general illumination.
| | 06:19 | It's actually called
illuminator there in the 3D panel.
| | 06:23 | Notice both of those
infinite lights start moving around.
| | 06:26 | That's once again, because they are
compensating for the size of the overall scene.
| | 06:29 | Where we want the ceiling?
| | 06:31 | It's right about there, just below the lip
of that brownish wall as you see it there.
| | 06:36 | You should see a Z value if you're
looking at the Position values, a Z value in
| | 06:40 | the high 90s, mine is 98.3.
| | 06:42 | I'm going to change it to 99.
| | 06:44 | You should do if you want to
get exactly the same results.
| | 06:47 | Now then bring up your Scale
values by clicking on that Scale tool.
| | 06:50 | We're going to drag in a cube.
| | 06:52 | Make sure it's yellow there in the 3D
widget and then drag upward in order to
| | 06:55 | expand the size of that ceiling
so that it covers up everything.
| | 07:00 | Your X, Y, and Z value should
change somewhere upwards of a 120.
| | 07:03 | So in my case, they are 121.67.
| | 07:07 | Anything in that neighborhood
is going to work out just fine.
| | 07:10 | Let's switch to our previous view.
| | 07:11 | I'm going to go ahead and grab my
Camera tool here inside of the toolbox.
| | 07:16 | Go up to View pop-up menu and
change it to Home position so that we're
| | 07:19 | back inside the room.
| | 07:21 | Now ray trace the scene, so we get a
sense of what's going on by clicking on
| | 07:24 | scene and changing the
Quality setting to Ray Traced Draft.
| | 07:27 | I'm not going to let the whole thing
run of course, but we are going to see
| | 07:30 | right away that we no longer have
the light coming in, in the top right
| | 07:34 | corner of the image.
| | 07:36 | But we don't have the
light on the bed stand either.
| | 07:38 | So we lost the light that I wanted.
| | 07:41 | I want that little bit of window
light coming in on that side table.
| | 07:44 | I don't want these little
weird bands of light on the legs.
| | 07:47 | So we're going to have to
adjust the position of the light.
| | 07:50 | So I'll press the Escape key
to interrupt the render process.
| | 07:53 | So we'll adjust the angle of that
moonlight, that infinite light that's coming
| | 07:56 | in through the window to get it
exactly right in the next exercise.
| | Collapse this transcript |
| Adjusting an infinite light source| 00:00 | In the previous exercise you may
recall how as we expanded the 3D scene, by
| | 00:05 | increasing the height and the size
of the ceiling, we also, or atleast it
| | 00:09 | appeared we also moved, repositioned,
those infinite light sources, and I was
| | 00:14 | telling you that that's not actually
something you can do in Photoshop, you
| | 00:18 | can't move infinite light sources,
you can just point them in different
| | 00:21 | directions, because after all
they're infinitely far away.
| | 00:24 | So what gives, well, Photoshop is
actually relocating the light sources in order
| | 00:30 | to maintain the existing lighting
inside the scene, but it also messes up the
| | 00:34 | numerical parameters, which can be a
little bit confusing when you go back to
| | 00:39 | try to make some modifications.
| | 00:40 | For example, inside of this scene, I'd
like the moonlight to expand beyond the
| | 00:45 | bedspread here, in this
pillow region, onto the nightstand.
| | 00:49 | And so, that means I just have to
slightly decrease the angle of the light as it
| | 00:54 | comes through this window;
| | 00:56 | the light needs to be a little bit shallower.
| | 00:58 | So let me show you how that works.
| | 01:00 | I've saved my progress as 3D
postcard ceiling.psd, it's found inside the
| | 01:04 | 16_ adv_light folder.
| | 01:06 | And I am going to go ahead and bring up
my 3D panel, and I'll twirl close both
| | 01:10 | of my Meshes, bedroom and shield 1,
and then I'll click on moonlight which is
| | 01:14 | the last light in the list before
we start seeing the camera angles.
| | 01:17 | And I'll also go ahead and grab my Light tool.
| | 01:20 | And bear in mind, you need your 3D
Light Rotate tool, 3D Light Pan and Slide
| | 01:25 | have no effect when you're working
with an infinite light, because you can't
| | 01:28 | change it's position.
| | 01:30 | However, seemingly, Photoshop can,
because look at these orientation values;
| | 01:34 | they are now completely
different than they were before.
| | 01:37 | I had you enter an X value of -165, Y
value of 35 and a Z value of -58, and all
| | 01:43 | the values have now
expanded quite significantly.
| | 01:46 | Well, we still need to
change the angle of that light.
| | 01:48 | So what I am going to do, is I am
going to leave Ray Tracing on, which is
| | 01:51 | something I advise you to do when
you're experimenting with light angles inside
| | 01:55 | of Photoshop, because otherwise you
really don't know what you're doing.
| | 01:59 | So here's what I am going to do, I am
going to leave Ray Tracing turned on,
| | 02:03 | which is very useful when you're
experimenting with infinite lights.
| | 02:06 | Because you're not placing the lights
in physical positions, it's not going to
| | 02:10 | help you to get different camera angles
really, it's not going to help you all
| | 02:13 | that much to Option+Click or Alt+Click
at a specific location in order to
| | 02:17 | refocus a light as you do with
Spotlights, rather, your best tool is to just
| | 02:22 | make some modification and then see what
happens as Photoshop renders the scene.
| | 02:27 | And I know that's not the greatest tip on
earth, but that's the best tip I got for you.
| | 02:31 | So here is what we're going to do.
| | 02:32 | We're going to go wide, so we can
take in the entire scene at a time, by
| | 02:36 | switching to the Camera tool then I'll
go up to the Options bar and change the
| | 02:40 | View setting from Home position to my
second favorite here, very wide angle,
| | 02:44 | which allows me to take in the entire scene.
| | 02:46 | And I am going to go ahead and let it
render even though I haven't made any
| | 02:49 | real modifications to the lighting, just so
that we can see what's going on from a distance.
| | 02:54 | I'll go ahead and press the Escape
key here, because this gives us an idea
| | 02:57 | of what's going on.
| | 02:58 | Notice we have a light coming in though
this far window on the right-hand side
| | 03:02 | of the scene, onto the floor, so we've
got a big huge highlight over here on
| | 03:06 | the right-hand side.
| | 03:07 | We are not going to see that when we are
zoomed in, but it's interesting to know it's there.
| | 03:11 | And then you can see that little bit of
light on the pillows, not so much over
| | 03:14 | here on the end table.
| | 03:15 | All right, let's go ahead and address that.
| | 03:17 | Grab that Light tool again and, once again,
it's the 3D Light Rotate tool that you want.
| | 03:22 | And I can see that moonlight is
selected here inside the image window, so I am
| | 03:27 | just going to go ahead and drag it.
| | 03:28 | And notice that I am dragging kind of in the
opposite direction that the light is going;
| | 03:32 | I am dragging up into the
right just ever so slightly.
| | 03:35 | And right about there, I am just eyeballing
things based on my experience with this image;
| | 03:40 | right about there is what I want.
| | 03:42 | And sure enough that gets some
light pouring off onto the end table.
| | 03:46 | All right, so that's good news.
| | 03:47 | I'll press the Escape key
in order to stop the render.
| | 03:50 | And I am going to zoom back in by
selecting that Camera tool and then going up
| | 03:55 | to the Options bar and
changing View back to Home position.
| | 03:58 | And that of course is going to cause
Photoshop to re-render the scene, we're
| | 04:01 | working in a Draft mode at this point
in time, so it really doesn't take all
| | 04:04 | that long, you just go ahead
and let it do a couple of passes.
| | 04:07 | And in fact, there is no reason let it do
a pass down here at the bottom of the image;
| | 04:11 | all we care about is this region right here.
| | 04:13 | It's looking pretty darn good.
| | 04:15 | But I'll tell you what, just so that
you and I are getting exactly the same
| | 04:18 | results, I am going to have
you enter some numerical values.
| | 04:20 | Click on moonlight once again inside
the 3D panel, select your Light tool --
| | 04:25 | whatever it maybe, and here's
the values I want you to enter in.
| | 04:28 | And surprisingly, even though
we're going to make just a very slight
| | 04:30 | modification these are very
different numerical values.
| | 04:34 | And they are just ones that I
came up with through trial and error.
| | 04:36 | I don't pretend to understand what's going on,
specifically with these numerical values.
| | 04:41 | By the way, when you're dragging with
that 3D axis inside the Axis widget, even
| | 04:46 | if you just make modifications to the
green gadget or the red gadget, you end up
| | 04:50 | affecting all values up here in the Options bar.
| | 04:53 | So I am going to click
once again to stop the render.
| | 04:56 | And let's change that Z value to -120.5,
and then press the Enter key, or the
| | 05:01 | Return key on the Mac, in
order to update that Ray Tracing.
| | 05:04 | And even at this point, after just a
few passes, you can see that I do have a
| | 05:09 | fair amount of light
pouring over onto this end table.
| | 05:12 | I also have this interesting line
that's being cast by part of the frame here
| | 05:18 | across diagonally, across the end
table as well, which I quite like.
| | 05:21 | So, this is the effect that I am looking for.
| | 05:23 | Go ahead and press the Escape
key since I have that figured out.
| | 05:26 | You also might notice the position of
the red, green and blue gadgets here
| | 05:30 | inside the 3D widget, just to
give you a sense of what's going on.
| | 05:34 | All right, that takes care of
the light coming in the window.
| | 05:36 | In the next exercise we're going to
introduce a couple of new models into
| | 05:39 | the scene.
| | Collapse this transcript |
| Adding two new models to a scene| 00:00 | In this exercise, we're going to
introduce a stuffed animal that's been saved
| | 00:04 | out as an independent OBJ file,
and we're going to position it directly on top
| | 00:08 | of the bedspread or as nearly
precisely on top of it as possible.
| | 00:13 | I've saved my progress as
Moonlight thru window.psd.
| | 00:16 | If you're working along with me, make
sure the Hotel room layer is selected here
| | 00:20 | inside the Layers panel, and then I
want you to go up to the 3D menu and choose
| | 00:25 | New layer from 3D File.
| | 00:27 | Navigate your way to the 16_adv_light folder.
| | 00:30 | It contains a subfolder called Roper
giraffe, and I've been placing these
| | 00:34 | models inside subfolders because that
way the model and all of its materials
| | 00:38 | are collected together so that we don't end up
losing some sort of information during the import.
| | 00:44 | Go ahead and double-click on
Roper giraffe to open that folder.
| | 00:47 | Then click on Stuffed toy.obj and
click on the Open button, and you'll end up
| | 00:52 | introducing this big
bellbottom giraffe. All right!
| | 00:56 | We need to position this
giraffe inside the larger scene.
| | 00:59 | So with the Stuffed toy layer selected,
go ahead and press Ctrl+E or Command+E
| | 01:04 | on the Mac in order to merge it
with the Hotel room immediately below.
| | 01:09 | Now, as usual, we're going to lose the
giraffe, but of course, I neglected to go
| | 01:13 | ahead and cancel the ray-tracing.
| | 01:14 | So let's click inside the scene in order
to cancel the Ray Trace, you notice now
| | 01:19 | there is no sign of a giraffe in sight.
| | 01:21 | I will change the quality of
the scene from Ray Traced Draft to
| | 01:24 | Interactive Painting.
| | 01:25 | And in order to zoom-out, I will go to
my Camera tool, go up to the View pop-up
| | 01:30 | menu here in the Options bar
and switch to very wide angle.
| | 01:33 | Now that's not necessarily going to
show you the giraffe, although you can see
| | 01:37 | just a little bit of the
bottom of one of its feet.
| | 01:40 | So I am going to drag around inside
the scene like so until I can see that
| | 01:45 | giraffe show up someplace.
| | 01:46 | He seems to be over here on sort of
the right-hand side of the scene, and I
| | 01:51 | might go ahead and scroll over a
little bit by dragging to the right from the
| | 01:55 | right-pointing arrowhead and sure
enough, there it is. All right!
| | 01:58 | We need to go and move this
gargantuan giraffe into the scene.
| | 02:02 | A couple of things we can try here.
| | 02:04 | I am going to twirl+close bedroom inside
of my Scene list, and click on this guy
| | 02:08 | objMesh, and why don't we rename this
mesh as giraffe 1 because we're going to
| | 02:13 | end up adding two giraffes
to the scene in just a moment.
| | 02:16 | And we could go ahead and try clicking
on that Home button and see what happens
| | 02:20 | in order to return the giraffe to its
proper position, but that didn't actually
| | 02:24 | work because unfortunately, I
had the Camera tool selected.
| | 02:29 | So I will press Ctrl+Z or Command+Z on
the Mac in order to switch back out to
| | 02:33 | this Y view and with the giraffe 1 mesh
selected, I'm going to switch down here
| | 02:37 | to the Mesh tool, very important,
and then I'll go up to the Options bar and
| | 02:42 | click on the Home button and see what
happens, and actually, that's good. Look at him;
| | 02:45 | he's right there at the
bottom of the bed. Awesome!
| | 02:49 | So now we can switch back to the Camera
tool, I am so excited about that and I
| | 02:53 | will go up to the View pop-up menu
and switch back to Home position and we
| | 02:57 | should be able to see a little guy right
there at the bottom of the bed. Excellent!
| | 03:01 | All right!
| | 03:02 | I am going to bring back the 3D panel if
only to switch to my Mesh tool here and
| | 03:06 | hide that 3D panel once again.
| | 03:08 | And using my 3D widget here, I am going
to move it over a little bit, maybe to
| | 03:12 | about here so we can see what's going on.
| | 03:14 | I will drag the green arrowhead over to left.
| | 03:17 | He appears to be a little low;
| | 03:18 | he has kind of now
nestled inside of the mattress.
| | 03:22 | I'll drag up on the blue arrowhead in
order to move him out of the mattress
| | 03:26 | and I'm going to go ahead and rotate
him around, so we can see him as well by
| | 03:30 | dragging that green rotate gadget right
there, and that looks actually pretty good.
| | 03:34 | Now, here are the values
that I ended up coming up with.
| | 03:37 | I will switch over to my Rotate
Mesh tool so that I can enter a few
| | 03:41 | orientation values.
| | 03:43 | My X value is 0, awesome, I am going
to change my Y value to 4, and then I'll
| | 03:47 | change my Z value to -170.
| | 03:50 | So he is not far off.
| | 03:52 | And the values may shift a little to decimal,
so it's not a problem, not a concern at all.
| | 03:57 | Now go ahead and grab the Pan tool,
and let's enter a next value this time round
| | 04:01 | of -15, -15 that is to say and I'm
going to change the Y value to 70.
| | 04:08 | I actually have these guys pretty close
to what I want them in the first place.
| | 04:12 | Now, the Z value is a little
bit of a curiosity at this point.
| | 04:16 | I could drag the giraffe up and he is
obviously too high I would gather anyway
| | 04:20 | from this angle that you can't really tell.
| | 04:22 | But if I start dragging him down, he
is going to sink into the mattress and
| | 04:26 | that's not what I want.
| | 04:27 | So I'll go ahead and keep him a
little high for now until I figure out
| | 04:30 | exactly what I'm doing.
| | 04:31 | His scale values I think are off.
| | 04:34 | Let's go ahead and switch to
the scale of the Mesh tool there.
| | 04:37 | And sure enough, he is a little big,
at least he is just set to 100% instead
| | 04:41 | of being gargantuan, because we can see X, Y
approximately and Z values of 1 right there.
| | 04:47 | So I'm going to drag down on that Yellow
Cube in order to reduce the size of the
| | 04:51 | toy and that ends up
making them a little too small.
| | 04:54 | Here's what I'll do.
| | 04:55 | I'll change the X value to 0.88, I will
change the Y value to 0.88 as well, and
| | 05:02 | then I decided to make him quite tall,
because right now, he's got these huge
| | 05:08 | legs as you can see here, and I should,
by the way, credit Paul Roper once again
| | 05:12 | as creating this guy, same
fellow who created the bed model.
| | 05:16 | But I wanted the giraffe to be a little
taller because he is after all a giraffe.
| | 05:20 | So I dragged from this little Blue Cube
right there on the 3D widget, I dragged
| | 05:25 | upward in order to increase its height,
and I finally decided to come up with a
| | 05:30 | pretty big value here.
| | 05:31 | I am going to change the Z value to 1.16.
| | 05:34 | You may recall that's equivalent to
116%, and he ends up getting quite tall
| | 05:39 | indeed which I like. All right!
| | 05:41 | We've got one giraffe in a scene.
| | 05:43 | I want two giraffes in all because
they're ultimately going to become giraffes
| | 05:47 | in love, and it's going to be the same giraffe.
| | 05:51 | So one giraffe is in love with itself or there
is any number of stories you can tell about it.
| | 05:57 | But I would love nothing more, I have
to tell you, just nothing more on earth
| | 06:02 | than to be able to duplicate this
giraffe but that's not the way it works.
| | 06:05 | What you have to do is go up to the
3D menu, choose New layer from 3D File,
| | 06:10 | go ahead and grab Stuffed toy.obj, click on
the Open button to reintroduce it to the scene.
| | 06:15 | There he is.
| | 06:15 | All right, let's go ahead and merge him
with the layer below by pressing Ctrl+E
| | 06:20 | or Command+E on the Mac.
| | 06:21 | I'm working pretty quickly here
because after all, we've done it before.
| | 06:25 | He will be nowhere in sight,
because he is off being a gargantuan huge
| | 06:30 | giraffe, this big Macy's Day balloon animal
over there on the right-hand side of the scene.
| | 06:34 | I'm going to bring him into the scene
by the numbers, by bringing up my 3D
| | 06:39 | panel, and let's go ahead and
twirl+close bedroom once again.
| | 06:42 | Twirl+close these other guys too;
| | 06:43 | shield 1 and giraffe 1.
| | 06:45 | Double-click on this new objMesh
item and let's call this guy giraffe 2
| | 06:50 | because, of course, he is.
| | 06:52 | And now make sure that you have one
of the Mesh tools selected and let's
| | 06:55 | change these numbers.
| | 06:56 | I am looking at the Scale value.
| | 06:58 | So let's just go ahead
and change them right away.
| | 06:59 | Actually, wait a sec. What am I doing?
| | 07:02 | I can click on Home button in order to
bring that guy to the bottom of the bed again.
| | 07:07 | He should be right there;
| | 07:07 | yes, he is, awesome!
| | 07:09 | And now let's just go ahead I suppose
and raise him up and move him over like so
| | 07:15 | and spin him around a little bit, so
that he is kind of facing the other
| | 07:18 | giraffe, and move him inward.
| | 07:20 | I don't pretend to know what genders
these giraffes are, by the way, and now
| | 07:25 | let's change the scale values.
| | 07:26 | So I'm going to change the X value to 0.88,
and the Y value to 0.88 as well and
| | 07:32 | then the Z value is going to be 1.16.
| | 07:34 | He is exactly the same size as his
friend here, and then let's make a few
| | 07:39 | changes to the Orientation values.
| | 07:41 | For X, I will change it to 2.5;
| | 07:44 | for Y, the Orientation can stay 0;
| | 07:46 | and for Z, let's change it to -56.
| | 07:50 | And then Position values here, let's
go ahead and take the X value to 12 and
| | 07:55 | these are values needless to say that
I came up with through trial and error.
| | 07:58 | I'll change the Y value to 59 and I
don't really know what the Z value wants to
| | 08:03 | be, because if I take him too far
down, it will sink it to the bed;
| | 08:06 | raise him too far up, he is
levitating. Tell you what?
| | 08:09 | I am going to show you exactly how to
figure out how these guys land on the bed
| | 08:13 | in the next exercise.
| | Collapse this transcript |
| Looking through many objects in a scene| 00:00 | In this exercise we're going to move
the giraffes so that they are exactly
| | 00:04 | sitting on the bed or as
nearly exactly as possible.
| | 00:07 | And what that requires is being able
to see through the bed as the giraffe's
| | 00:11 | feet come down into it, but we've got
a lot of layers of stuff to work with
| | 00:15 | here, where you have to be able to see
through to the floor, and the bed frame
| | 00:19 | and the mattress and then finally, that spread
before we can get a sense of what we're doing.
| | 00:24 | I've saved my progress as
Levitating giraffes.psd.
| | 00:27 | It's found inside the 16_adv_
light folder, and I'm going to grab my
| | 00:30 | Camera Rotate tool.
| | 00:32 | And I'm going to drag down like so, so
that we're seeing underneath the entire
| | 00:38 | scene which is unlit,
which is why it looks black.
| | 00:41 | As I said, we have the floor, we've got
the frame, we've got the mattress, we've
| | 00:45 | got the bedspread in
between us and our giraffes.
| | 00:49 | If I bring up the 3D panel, you may
recall that the bedroom is one big huge
| | 00:54 | mesh, so turning it off isn't
going to do as too much good.
| | 00:56 | Then we're going to see two giraffes
hanging out in space here with this 3D
| | 01:01 | postcard ceiling, but that
doesn't give us a lot of context.
| | 01:05 | So I'll turn the 3D Mesh back on.
| | 01:07 | We're going to have to change the
Opacity value of the materials instead by
| | 01:12 | twirling open bedroom and I'll locate
floor inside of the list right there;
| | 01:17 | it's midway down, and I'll
change its Opacity from 100% to 0%.
| | 01:22 | And now we can see through the floor.
| | 01:23 | And looking there, there is
a giraffe; that's helpful.
| | 01:26 | So I'm going to drag to the right
from the red arrowhead so I can better
| | 01:29 | position things here.
| | 01:31 | And I might go ahead and drag down on
the green arrowhead like so, and I could I
| | 01:36 | guess bend the scene a little bit.
| | 01:38 | I guess that's kind of what I want;
| | 01:40 | it's hard to tell when you're
sort of wandering around a scene.
| | 01:44 | But this looks pretty darn good.
| | 01:46 | I'll go ahead and drag the blue
arrowhead outward like so or outward from the
| | 01:52 | blue arrowhead at any rate, so that
I'm zooming into the scene a little bit.
| | 01:56 | And then I'll drag to the left on the
right-pointing arrowhead, and somewhere in
| | 02:01 | this region should be the giraffes.
| | 02:03 | But again, I can't see them
because there is stuff in the way.
| | 02:06 | So let's go ahead and locate the
bedframe which is toward the top of the list
| | 02:10 | here, and I'll change its Opacity to 0%.
| | 02:13 | And now we're seeing through to this gray thing.
| | 02:15 | Well, I'm here to tell you
it's the mattress and the pillows.
| | 02:19 | This is a one that's easiest to forget is here.
| | 02:22 | I'll go ahead and change its Opacity
to 0% as well, and now we just have this
| | 02:25 | bedspread hanging out in space which is perfect.
| | 02:28 | I still can't see the giraffes, so
just for a moment, I'm going to reduce the
| | 02:33 | Opacity of the bedspread to let's say 50%,
so I can see through to the giraffes,
| | 02:37 | and make sure I have the
camera angle set up pretty well.
| | 02:40 | And this looks good;
| | 02:41 | I am going to modify the camera angle a
little bit and I want you to notice something.
| | 02:46 | Even though we're able to see all of
our 3D meshes as we work inside of this
| | 02:51 | scene, when you're working with a
material that's translucent, it ends up not
| | 02:56 | letting you see the
translucency as long as you're dragging.
| | 02:58 | As soon as you release, you can
see things just as you always would.
| | 03:03 | So that's just something to bear in mind;
| | 03:05 | kind of a little bit of a fluke
here inside Photoshop. All right!
| | 03:07 | I'm going to drag let's say actually;
| | 03:11 | well, that's okay I guess.
| | 03:13 | I want to move in on the scene, so I
guess I'll zoom in by dragging out from
| | 03:17 | the blue arrowhead.
| | 03:18 | And now I'll drag up like so on the
green arrowhead to raise my view of the
| | 03:23 | scene, and this should serve me well.
| | 03:26 | Because I want to get a sense of
what's going on, I don't want to not be able
| | 03:29 | to see the giraffes as I modify, which
is what's going to happen if I leave the
| | 03:34 | Opacity set to 50%.
| | 03:35 | Let me show you what I'm talking about here.
| | 03:37 | I'll go ahead and scroll down and I'll
click on giraffe 1, switch to my Mesh
| | 03:42 | tool, and I'll go ahead and drag giraffe 1 down;
| | 03:45 | well, I can't see giraffe 1
until its feet start poking through.
| | 03:50 | So the Opacity of the bedspread is
not doing me any good whatsoever.
| | 03:54 | So I might as well go back up to bedspread;
| | 03:57 | scroll up the list here,
and reinstate an Opacity value of 100%, like so.
| | 04:02 | So that I can see the giraffe's feet,
in my case, poking through the spread.
| | 04:07 | So I'll go back to giraffe and make sure
that my Mesh tool is selected once again.
| | 04:12 | And then I'll go ahead and drag up on
this blue arrowhead until the feet just,
| | 04:19 | basically, more or less go away.
| | 04:22 | They don't need to 100% go away because
after all, the toy has a little bit of
| | 04:27 | weight, so it would sink into
the bedspread ever so slightly.
| | 04:31 | But we want those feet to appear as
uniformly as possible, and so you could
| | 04:35 | modify the Orientation of the
giraffe just a little bit like so, if you
| | 04:40 | wanted to emphasize, one group of feet
coming in more than the other, that kind of thing.
| | 04:45 | But I was pretty happy with the
original Orientation, so I'll leave that alone.
| | 04:48 | And instead, what I'm going to do is
confirm the Position values by clicking on
| | 04:52 | the Pan the Mesh tool, and it looks
like my Z value is set to 21.95 in my case.
| | 04:57 | I ultimately, for giraffe 1,
came up with a Z value of 22.
| | 05:01 | Again, just if you want to get
the same results. All right!
| | 05:04 | Let's switch to giraffe 2 this time
around, and I'll go ahead and drag it down
| | 05:08 | by dragging down from the blue
arrowhead, and then I'll drag back up again
| | 05:12 | until I'm seeing kind of this number where the
feet are just slightly poking in to the bedspread.
| | 05:18 | Then I'll check out my numerical value
up here in the Options Bar, and this time
| | 05:21 | around I came up with a value of 22.
7 in order to have the feet just come
| | 05:27 | slightly into the bedspread. All right!
| | 05:29 | Let's go ahead and save out this
camera view because it's quite useful.
| | 05:32 | In case, I ever decide I want to throw
a few more stuffed toys on the bed or
| | 05:36 | some human beings or something like
that, I'll click on the Floppy Disk Icon
| | 05:40 | up here in the Options Bar, and I'll
change this View to let's say underneath spread;
| | 05:46 | would probably work well,
and I'll click OK. All right!
| | 05:49 | So I can come back to that one anytime I like.
| | 05:51 | Let's go ahead and switch back to
Home position however this time around.
| | 05:56 | And we're missing a fair
number of parts inside of the scene.
| | 05:59 | We just have this is strangely
levitating bedspread with these somewhat heavy
| | 06:04 | giraffes sitting on top of it,
so that's fairly miraculous.
| | 06:07 | Let's go ahead and scroll back up the
list and change mattress & pillows here
| | 06:11 | back to an Opacity of 100% so
that we can see the mattress.
| | 06:16 | And then click on bedframe close to
the top of the list, and change its
| | 06:19 | Opacity value to 100%.
| | 06:21 | And then finally, let's go ahead and
click on floor and raise its Opacity value
| | 06:25 | to 100% as well so that we have
our reinstated scene. All right!
| | 06:30 | Now let's go ahead and render the
scene so that we can see these giraffes
| | 06:33 | casting shadows onto the bedspread,
and I'll do that by clicking on Scene, I'll
| | 06:38 | pressing the M key to switch to the
Rectangular Marquee tool, so we're not
| | 06:41 | seeing all the lights and
selections in that stuff.
| | 06:44 | And I'm going to change the Quality
setting from Interactive to Ray Traced
| | 06:47 | Draft, and this will give
us a rough sense of going on.
| | 06:49 | Remember, by the way, that the Ray
Traced Draft setting produces blacker
| | 06:53 | shadows or produces a somewhat darker
scene on occasion, and the scene isn't
| | 06:58 | necessarily color accurate.
| | 06:59 | But we can see, thanks to the fact that we
really don't have that many lights in this scene;
| | 07:04 | we've got the light coming in
through the window and we've got the light
| | 07:08 | bulb inside of the lamp.
| | 07:09 | We, as a result, have some very dark
shadows that are being cast by the giraffes.
| | 07:15 | The interesting thing, and the reason I
put these giraffes in the scene in the
| | 07:18 | first place, Photoshop allows you to
control the behavior of shadows not only
| | 07:23 | using a light source as we've seen so
you can either set a light source to cast
| | 07:27 | a shadow or not, and you can set the
softness of those shadows, but you also
| | 07:31 | have the option of controlling
shadows on a mesh by mesh basis.
| | 07:36 | And I'll show you have that
works in the next exercise.
| | Collapse this transcript |
| Changing shadows on a mesh-by-mesh basis| 00:00 | In this exercise I'm going to show you
how to control the behavior of shadows on
| | 00:04 | a mesh-by-mesh basis.
| | 00:06 | I've saved my progress as Shady
stuffed toys.psd found inside the
| | 00:10 | 16_adv_light folder.
| | 00:12 | The first thing I'm going to do is,
increase the drama of the lighting a little bit.
| | 00:16 | You may recall that the main source of
lighting inside the scene is the point
| | 00:19 | light inside of the lamp.
| | 00:21 | In fact, the only other light source
that's turned on is the moonlight coming in
| | 00:24 | through the windows.
| | 00:26 | So I'm going to go ahead and double-click
on the thumbnail for the hotel room
| | 00:29 | layer to bring up the 3D panel.
| | 00:31 | I'll click on Scene to make it
active, change the Quality setting to
| | 00:34 | Interactive (Painting) so that we can
make a couple of changes here without
| | 00:37 | affecting the ray tracing.
| | 00:39 | Then I'll twirl-close bedroom and the
other meshes as well, just to give myself
| | 00:43 | a little more room to work.
| | 00:44 | Click on the Lightbulb light to make it active.
| | 00:47 | Let's take the Intensity value down
to 1.5 and I'm going to decrease the
| | 00:52 | softness of the shadows to 10%,
so we have some harsher shadows.
| | 00:56 | Now you may notice that this Create
Shadows check box, if you turn it off this
| | 01:00 | specific light source will not cast any shadows.
| | 01:04 | Let me show you what that looks like?
| | 01:05 | I'll go ahead and click on scene once
again and switch the Quality setting back
| | 01:09 | to Ray Traced Draft.
| | 01:11 | Notice this time around the ray tracing
goes quite a bit faster than it normally
| | 01:14 | does because it doesn't have to draw out
the shadows at the bottom of the scene.
| | 01:18 | So we don't have any shadows under the
end table or the bed, we also have no
| | 01:22 | shadow being cast by these giraffes.
| | 01:25 | We do have the big shadow being
cast by the moonlight but that's it.
| | 01:29 | That looks totally wrong obviously,
but I just want you to see it's an option.
| | 01:34 | So I'll go and click here in the 3D
panel in order to cancel the rendering.
| | 01:38 | I'll switch to lightbulb and
I'll turn Create Shadows back on.
| | 01:41 | So that you can see the top of the
scene renders pretty much at the same speed
| | 01:45 | it did before because
that's where the reflections are.
| | 01:47 | But the bottom of the scene is going
more slowly and you can see that we have
| | 01:51 | these very dark shadows indeed.
| | 01:53 | All right, I'm going to click in order
to interrupt the ray tracing and zoom in
| | 01:56 | on the giraffes, because I want you to
see how you can also control shadows for
| | 02:00 | individually selected meshes?
| | 02:02 | So I'm going to click on giraffe 1
and notice these two options right here,
| | 02:06 | Catch Shadows and Cast Shadows.
| | 02:08 | So I could turn off Cast Shadows for
this specific giraffe, giraffe 1 being the
| | 02:13 | left-hand giraffe, and as a result
we'll see that even though the right-hand
| | 02:19 | giraffe continues to cast a shadow the
left-hand giraffe does not, which is a
| | 02:25 | fairly interesting thing.
| | 02:26 | All right, I'll go ahead and press the
Escape key in order to cancel that render.
| | 02:29 | So let's click on giraffe 2 this time.
| | 02:31 | Look at the reflection of the giraffes
over here on the wall, notice that both
| | 02:36 | of the reflections are quite dim.
| | 02:39 | Well if I turn-off Catch Shadows
which means the shadows that are being
| | 02:42 | cast onto an object.
| | 02:44 | If I go ahead and turn-off those Catch
Shadows then that makes for a much more
| | 02:49 | luminescent giraffe, almost a glowing giraffe.
| | 02:52 | Notice how very, very
bright it is in the reflection.
| | 02:55 | It's also quite bright here on the bed as well.
| | 02:58 | I'm going to go ahead and click in
order to interrupt that ray tracing,
| | 03:01 | switch back to giraffe 1.
| | 03:02 | I'm going to turn its Cast Shadows back on.
| | 03:05 | So we can see that even though
giraffe 1 over here on the left-hand side is
| | 03:09 | indeed casting shadows, it has no
ability to cast those shadows onto giraffe 2
| | 03:15 | because giraffe 2 refuses
to catch any of the shadows.
| | 03:18 | All right, another thing you can do,
is control the visibility of a mesh
| | 03:22 | independently of its shadows.
| | 03:24 | For example, I'll click to interrupt the
rendering, make sure giraffe 1 is still
| | 03:28 | selected and I'll turn on
the Invisible check box.
| | 03:32 | Now this one is quite weird indeed.
| | 03:34 | You can see that we've hidden the
giraffe which is something I could do just by
| | 03:37 | clicking on the eyeball in front of the
mesh, but I have not hidden its shadows,
| | 03:42 | the shadows, it's either casting or catching.
| | 03:46 | So we can see this sort of shadow-only
version of the left-hand giraffe which
| | 03:50 | is just plain strange.
| | 03:52 | All right, I'm going to click in order
to interrupt the ray tracing, and now I'm
| | 03:55 | going to turn-off its Catch Shadows so
that those Catch Shadows will disappear,
| | 04:01 | that sort of shadow framework of
the giraffe that we saw a moment ago.
| | 04:04 | Notice that giraffe goes ahead and
disappears inside the reflection, but we
| | 04:08 | still have it shadow.
| | 04:10 | So this thing that we can't really see
inside of the scene is still very much
| | 04:14 | present and casting a shadow.
| | 04:16 | Now you may look at all that and
think, what in the world would you ever
| | 04:21 | use those features for?
| | 04:23 | Well, in a couple of exercises I'm going
show you a great use for one of those features.
| | 04:27 | But first I need to show you how to
integrate that moonlit sky into the 3D
| | 04:32 | scene, so it reflects here
inside the other windows?
| | 04:35 | And that's exactly what
we'll do in the next exercise.
| | Collapse this transcript |
| Adding a 3D postcard sky| 00:00 | In this is exercise we are going to
take care of that fairly obvious problem
| | 00:03 | where we can see the moonlit
sky in this forward window here.
| | 00:07 | But we can't see it reflected inside
the mirrored wall, because after all it is
| | 00:10 | not really part of the 3D scene.
| | 00:12 | So we are going to make it part of
the 3D scene as a 3D postcard layer.
| | 00:16 | Problem then is that postcards can
block the moonlight coming in the window, so
| | 00:21 | what we do about that?
| | 00:23 | Well, I have saved my progress as
Darker lightbulb.psd, it is found inside the
| | 00:27 | 16_adv_light folder.
| | 00:29 | I also have opened this image
here, it is called Two moons.jpg.
| | 00:32 | And it's quite wide, if I go to Image
menu and chose the Image Size command;
| | 00:37 | you can see that measures 2674 pixel
wide, whereas our 3D composition only
| | 00:43 | measures 1400 pixel wide.
| | 00:45 | So, we are better off converting this
item into a postcard layer here inside of
| | 00:51 | this image, and then copying it
over into the image in progress.
| | 00:55 | So, I am going to do that like so,
double-click on the Background layer here
| | 00:59 | inside the Layers panel.
| | 01:00 | And let's go ahead and call
this guy, two moons and click OK.
| | 01:04 | And next I will go the 3D menu and
choose New 3D Postcard From layer.
| | 01:09 | And we now have a 3D postcard.
| | 01:11 | All right let's duplicate it into the
other image by right-clicking on an empty
| | 01:15 | portion of that layer and choosing
Duplicate layer and then here inside the
| | 01:19 | duplicate layer, dialog box change the
document name to whatever document you're working in.
| | 01:23 | In my case Darker lightbulb.psd, click OK.
| | 01:26 | All right, let's switch back to that image.
| | 01:29 | There is the layer, now if you find
yourself dragging this layer with the move
| | 01:33 | tool and something gets cut off.
| | 01:35 | Don't worry about it, that just is a
screen refresh problem, it's going to
| | 01:39 | resolve itself over time here.
| | 01:41 | Namely, when we Ray Trace a
scene, if not earlier. All right.
| | 01:44 | let's go ahead and merge this guy with a
3D layer below it by pressing Ctrl+E or
| | 01:48 | Command+E on the Mac.
| | 01:50 | And I am going to go ahead after that
happens and switch to the wider angle
| | 01:55 | view, so I have a better
sense of what's going on.
| | 01:57 | Now I have made a mistake, a very common
one, I forgot to turn off the Ray Tracer.
| | 02:01 | So I will click in order to interrupt it.
| | 02:03 | I have just got that one
Hotel Room layer now selected.
| | 02:07 | I will bring up the 3D panel make sure
that scene is Active, change the Quality
| | 02:11 | setting from Ray Traced
Draft to Interactive (Painting).
| | 02:14 | All right that solves that problem.
| | 02:15 | We can't see the New layer that we added
that thing in the background right there;
| | 02:19 | that is the 2D layer that's
showing through the window.
| | 02:22 | So that doesn't count at all.
| | 02:24 | Go ahead and select the Camera Rotate
tool here inside the tool box, and then go
| | 02:28 | up to the view pop up menu in the
options bar, and switch to very wide angle, so
| | 02:33 | that we can see the entire scene.
| | 02:34 | There is still no sign of the
postcard of course, so let's go and bring up
| | 02:38 | the 3D panel once again, twirl close all
the meshes, so that you can get to two moons.
| | 02:44 | And go ahead and select one of the mesh
tools here, doesn't really matter which one.
| | 02:48 | Let's go ahead and change, since I'm
seeing the position values, so I am going
| | 02:51 | to change them all to 0, just to
sort of figure out where I am here.
| | 02:56 | And then I will switch to the Orientation
values, and all change them to 0 as well.
| | 03:01 | And now we have a sky
that's aligned to the floor.
| | 03:04 | We need to go ahead and rotate things,
so using the widget I'll drag the
| | 03:07 | green rotate gadget, in order to ensure
that the sky is long with respect to the floor.
| | 03:13 | And I need to sort of rotate it up, like so.
| | 03:16 | So I will drag the blue rotate gadget, I
will drag up on the green arrow head in
| | 03:21 | order to move the sky upward, so I can
see the sky and notice that it's still
| | 03:24 | flipped, it's flipped what
you might call horizontally.
| | 03:27 | So let's go ahead and drag the red
rotate gadget all the way around.
| | 03:32 | Now where the Orientation Values
are concerned, everybody's got to be a
| | 03:35 | multiple of 90 degree.
| | 03:37 | So let's go and round things off, X should
be -90 degree, instead of -86 in my case.
| | 03:42 | Y should be reduced to 0, and then Z
should be changed to -90 degree as well.
| | 03:49 | All right, so we have the
orientation more or less down.
| | 03:52 | I am going to drag the sky down so that
it's somewhat aligned with the room, and
| | 03:57 | I am going to move it backwards
as well, so it's behind the wall.
| | 04:01 | And let's make a few
modifications to the Position values.
| | 04:05 | I am going to click on the Pan the mesh tool.
| | 04:06 | And I am going to change the X value to
173 to position this object properly in
| | 04:12 | back of the windows.
| | 04:13 | I don't know about the other two values,
because I have got to align the moon to
| | 04:17 | the moon, so it shows through the windows.
| | 04:19 | So here's how I accomplish that.
| | 04:21 | I went back to the Camera tool.
| | 04:23 | I went out to the View Pop-up menu
and switched back to Home position.
| | 04:27 | Then I went ahead and turned off the
bedroom mesh, here inside the 3D panel, so
| | 04:31 | I can see two moons in the background.
| | 04:33 | And I will go ahead and
hide the 3D panel for a second.
| | 04:36 | I will press the M key in order to
switch to the Marquee tool and I will press
| | 04:41 | the 5 key to reduce the opacity of
this layer, this entire layer to 50%, so I
| | 04:46 | can see through it, to that 2D layer below.
| | 04:49 | And now we are going to do some
alignment here, by bringing back up the 3D
| | 04:53 | panel, making sure the two moon mesh
is selected, grabbing one of the mesh
| | 04:57 | tools, and I am going to hide 3D panel,
so I can better see what I am doing.
| | 05:02 | And I am going to drag on this red
arrowhead to move the sky over to the left
| | 05:08 | a little bit like so;
| | 05:10 | and apparently I am going too far.
| | 05:11 | I need to move it down, because
I was starting to see that scene.
| | 05:14 | Anyway, I will go ahead and move his guy down.
| | 05:16 | There is the moon I am looking for.
| | 05:18 | All right, let's go ahead
and drag it back over, like so.
| | 05:21 | And then drag it up a little bit, so
I am doing all this work using the red
| | 05:26 | and green arrowheads.
| | 05:27 | And I ended up coming up with these values.
| | 05:29 | So as I say, I have an X value of 173,
and I end up coming up with a Y value of
| | 05:34 | 29 and a Z value as 54.
| | 05:37 | And that looks like good alignment to me.
| | 05:39 | I am going to go ahead and switch
back to the rectangular Marquee tool by
| | 05:43 | pressing the M key, press the 0 key to do
increase the opacity of this layer to 100%.
| | 05:48 | Double-click on its thumbnail to
bring up the 3D panel, turn on the bedroom
| | 05:53 | mesh, so we can once
again see it inside the scene.
| | 05:56 | And I am going to scroll down the list
and turn off the moonlit sky 2D layer,
| | 06:00 | because it's no longer
factoring into the equation.
| | 06:04 | And now, drum roll please, let's
make sure that we have things more or
| | 06:07 | less lined up here.
| | 06:08 | I am going to click on Scene, and I am
going to change the Quality setting to
| | 06:11 | Ray Trace Draft, and I am going to click,
in order to interrupt that, hide the
| | 06:16 | 3D panel then go up to the 3D menu and
choose Resume Progressive Render, so that
| | 06:21 | we can see the render across the entire
screen, and make sure that I have done
| | 06:25 | what I should have done.
| | 06:27 | And it's looking actually pretty darn
good, that back window, that rear window
| | 06:31 | that's being reflected looks awesome,
this forward window looks quite good,
| | 06:35 | the moon is in the right place, the
middle window is showing off the scene,
| | 06:39 | and there is no longer any moonlight coming
across either the pillows or this end table.
| | 06:45 | So what do we do about that?
| | 06:46 | Well, I am going to show you
exactly how we solve those problems in the
| | 06:50 | next exercise.
| | Collapse this transcript |
| Passing light through an opaque object| 00:00 | So we have two problems.
| | 00:01 | We have this very obvious scene that's
getting reflected in the first window and
| | 00:05 | the mirrored wall, and then we also
have this 3D postcard sky that's blocking
| | 00:09 | the infinite moonlight.
| | 00:10 | We'll solve the first problem
just by editing the diffuse texture.
| | 00:13 | So that's fairly straightforward.
| | 00:15 | The second problem we will address
using those check boxes that I demonstrated
| | 00:19 | on the draft mesh items,
a couple of exercises ago.
| | 00:23 | For starters here I'll bring up the 3D
panel, go ahead, and Twirl+Open the two
| | 00:27 | moons mesh and you'll see
the two moons_0 material.
| | 00:32 | Click on the little Page icon next to
Diffuse and choose Open Texture in order
| | 00:37 | to open that Diffuse Texture and then
using the Rectangle Marquee tool, I'm
| | 00:41 | going to select roughly this region here.
| | 00:43 | Don't select the scene, leave it
deselected, and then press Ctrl+Alt+J or
| | 00:47 | Command+Option+J on the Mac, and let's
go ahead and call this guy seam cover and
| | 00:52 | then click OK, and I will Ctrl+Shift+Drag
or Command+Shift+Drag that item over
| | 00:58 | to the right and hide the 3D
panel so I can see what I'm doing.
| | 01:01 | I want to make sure that all of the
moons are exposed like so and this area
| | 01:06 | right here should get covered up.
| | 01:08 | That should be the old seam.
| | 01:09 | So this should work out
brilliantly in just a moment.
| | 01:12 | Overtime, as we begin to light the scene,
I know right now it's very dark and broody.
| | 01:18 | But as we add a couple of more lights
to the scene, the sky is going to end
| | 01:22 | up getting too bright.
| | 01:23 | So as long as we we're here I want to
anticipate that problem by pressing the
| | 01:27 | Alt key or the Option key on the Mac,
clicking this Black/White icon and
| | 01:30 | choosing Solid Color.
| | 01:32 | I'm going to go ahead and call
this sky blueness, and click OK.
| | 01:37 | We're going to dial-in the following color;
| | 01:38 | 225 for the Hue value, a Saturation value of
25%, and a Brightness value of 50%, click OK.
| | 01:46 | Then change the Blend mode
for this layer to Multiply.
| | 01:50 | I'll press the Escape key in order to
make sure that Blend mode is no longer
| | 01:53 | active here on the PC.
| | 01:54 | I'll press the 5 key to reduce
the Opacity of this layer to 50%.
| | 01:59 | We end up with this darkish
but still colorful effect here.
| | 02:02 | Go ahead and close the image,
and click the Yes button here on the PC or the
| | 02:05 | Save button on the Mac.
| | 02:07 | Photoshop will immediately forget to render
the scene, just sort of one of its oddities.
| | 02:11 | That's okay, we don't want it to render yet.
| | 02:13 | Bring up the 3D panel once again, and click on
the Mesh to make it active. Here is the deal!
| | 02:18 | We want this mesh which is
the two moons in the background.
| | 02:21 | We want it to be visible.
| | 02:23 | So don't turn on the Invisible check box,
but we don't want it to Cast Shadows,
| | 02:29 | because if it casts the shadow,
it's going to block the light.
| | 02:32 | So the first thing you do is you turn
off Cast Shadows, and you'll see by virtue
| | 02:36 | of the fact that the 3D postcard sky
in the background no longer cast shadows
| | 02:41 | that the light is capable of passing
right through it to the pillows, and to the
| | 02:46 | end table and so forth. All right!
| | 02:48 | The other thing we want to do, go ahead
and click to interrupt the Ray Tracing.
| | 02:52 | Just to make sure we're not creating
shadows on the backside of the sky, go
| | 02:55 | ahead and turn off Catch Shadows as well.
| | 02:58 | So all three of those check boxes
Catch Shadows, Cast Shadows, and Invisible
| | 03:03 | should be turned off and as a result
we get what amounts to a transparent sky
| | 03:09 | where the lighting is concerned, but an
opaque sky where its visibility inside
| | 03:15 | of the window frames is concerned.
| | 03:16 | And it still reflects beautifully, and,
by the way, if you look right there, you
| | 03:20 | can see that we managed to cover up that scene.
| | Collapse this transcript |
| Diffuse texture vs. self-illumination| 00:00 | In this exercise I'm going to
demonstrate two different ways to color
| | 00:03 | translucent materials inside a
Photoshop, specifically we'll be coloring
| | 00:07 | this pane of glass in the forward
window and you'll see how that color ends
| | 00:12 | up affecting lighting.
| | 00:13 | Now the two methods that are
available to you are the standard method of
| | 00:18 | assigning a diffuse color to the
material, but you can also assign color by way
| | 00:22 | of something known as self illumination.
| | 00:25 | I've saved my progress as No-shadow
visibility.psd and the first thing I'm going
| | 00:30 | to do is bring up the 3D panel and I'm
going to twirl open my bedroom mesh, and
| | 00:36 | I'm going to scroll down until I find
pane 1, and I'm going to raise the Opacity
| | 00:42 | of this window to 50%.
| | 00:43 | So notice it's grayish, doesn't have any
color saturation associated with it whatsoever.
| | 00:50 | As soon as I press the Enter key or
the Return key on the Mac, why then
| | 00:52 | Photoshop wants to re-render the scene,
but in order to really see what's going
| | 00:56 | on we need to switch out that Render
setting, so I'm going to click on Scene
| | 01:00 | and I'm going to change the Quality
setting this time to Ray Traced Final, and
| | 01:04 | you'll see that the scene is actually a lot
brighter than we've been led to believe so far.
| | 01:08 | Now we're going to speed up this
process, but it is going to take a while to
| | 01:12 | fully render out the scenes, well, I am
not for a second suggesting if you work
| | 01:17 | along with me that you fully Ray Trace
the scene between each and every step,
| | 01:22 | don't do that, don't even think of doing that.
| | 01:24 | At most, you'll want to go ahead and
let it do two or three passes and then
| | 01:28 | interrupt, that means you'll have a
very noisy scene, but you'll still get a
| | 01:32 | sense of what's going on,
and that's what I'm going to do too.
| | 01:35 | So I'll give each one of this Ray Traces two
or three passes, and then we'll move along.
| | 01:39 | All right, that's good enough for this
guy, as I say it's an extremely noisy
| | 01:44 | rendering, but otherwise it's giving us an
accurate sense for the colors inside the scene.
| | 01:48 | All right, just so we can compare things
very easily I'm going to duplicate this
| | 01:53 | image by going up to the Image menu and
choosing the Duplicate command, and I'm
| | 01:57 | going to call this one Diffuse Color,
and then click OK, and a moment later
| | 02:03 | we'll see a duplicate of the image on
screen, I'll go ahead and zoom in and the
| | 02:06 | click, and I'll scroll down
my list once again to pane 1.
| | 02:10 | And let's go ahead and assign a diffuse
color, and the color that I'm going to
| | 02:15 | assign is 225 for the Hue value, so were
more or less mimicking the color of the sky.
| | 02:20 | I'll increase the Saturation value to 50%,
which is pretty high, and then we'll
| | 02:25 | have a Brightness value of 100%,
and I'll click OK and Photoshop will begin
| | 02:30 | immediately re-rendering the scene.
| | 02:32 | Now once again we're going to make quick work
of this, we're going to speed up this process;
| | 02:37 | it's probably going to take a minute or so
to do two or three passes on your machine.
| | 02:41 | All right, so I'll go ahead and press
the Escape key after the third pass, and
| | 02:46 | I'll hide the 3D panel for a
moment, so we can see what's going on.
| | 02:48 | Notice the windows are more colorful.
| | 02:50 | So this is the images that appeared
before, the three pass image with the gray
| | 02:56 | colored windows, and this is the
three pass image with the bluish windows.
| | 03:01 | Well, obviously the windows are a lot
bluer, but not only that, also notice the
| | 03:07 | highlights over here in the
bedspread and along the table as well.
| | 03:11 | They go from being neutral
to quite a bit more blue.
| | 03:15 | So as I say, you've got to keep out a
keen eye, I'll go ahead and do it again,
| | 03:19 | these are the neutral highlights over
here to the left of the giraffe, over
| | 03:24 | here in the end tables as well, notice
things are white and then if I switch to
| | 03:28 | the more recent version of the image
with the diffuse color windows, we have
| | 03:33 | bullish highlights on this end table and we
have bluish highlights over here on the spread.
| | 03:37 | All right, well, let's check out the
difference if we were to work with self
| | 03:41 | illumination instead.
| | 03:43 | I'm going to switch back to that No-shadow
visibility.psd image, go up to the
| | 03:47 | Image menu and choose the Duplicate
command, and I'll call this guy Self
| | 03:52 | Illumination like so, and click OK and
then once this image comes up, I'll zoom
| | 03:57 | in on it, bring up that 3D
panel once again, click on pane 1.
| | 04:02 | We'll leave the Diffuse set to a neutral gray.
| | 04:05 | I'll click on Illumination and I'm
going to dial in that exact same color.
| | 04:08 | So Hue value of 225 degrees, Saturation
value 50% and a Brightness value of 100% and
| | 04:15 | I'm going to click in the Scene in
order to interrupt the Ray Tracing for a
| | 04:19 | moment, then I'll go up to the 3D menu
and choose Resume Progressive Render, so
| | 04:23 | that we can see the render
without the 3D panel in the way.
| | 04:26 | Again, I'll go ahead and let the
scene run for three passes, we're going to
| | 04:29 | speed it up inside the video and
notice as the Ray Tracer does it thing, how
| | 04:34 | much brighter and more vibrant the
scene is, when we apply Ray Trace Final,
| | 04:39 | instead of Ray Trace Draft.
| | 04:40 | All right, now I'll go ahead and press
Escape, so let's just do a comparison,
| | 04:45 | this is a self illuminated window along
with its reflected cousin over there on
| | 04:49 | the left-hand side, and this is the
diffuse color version of the window.
| | 04:53 | So the Diffuse color version is not
nearly so garish for one thing, but this
| | 04:58 | time check out the highlights over here in the
spread and over here in the end table as well.
| | 05:03 | So you can see that we've got these
fairly bluish highlights in the end table,
| | 05:07 | bluish highlights on the spread too,
and then when I switch to the most recent
| | 05:12 | version of the image, we have neutral
highlights across the table and neutral
| | 05:16 | highlights inside the spreads.
| | 05:17 | So, self illumination does not
influence the backlighting effect, whereas,
| | 05:22 | diffuse color does, just so as you know,
I just want you to notice that fairly
| | 05:27 | obscure, but I think
extremely important distinction.
| | 05:31 | Now we're going to work from the
diffuse color version of the image, because I
| | 05:35 | want those colorized highlights and I want
that color to appear here inside the glass.
| | 05:40 | In the next exercise we're going to
add a little bit of light to the foot of
| | 05:43 | this bed, so that we have
a more naturalistic scene.
| | Collapse this transcript |
| Designing a custom reflection map| 00:00 | In this exercise we're going to light
up the animals from the right-hand side,
| | 00:03 | so they have a little better
sense of volumetric detail.
| | 00:07 | And we're also going to assign a
Reflectivity Map to this background wall, so
| | 00:12 | that it's not uniformly reflective.
| | 00:15 | I've saved my progress as Diffuse
color glass.psd, and we've already got the
| | 00:20 | light source set up.
| | 00:22 | So we don't have to create a
new light this time around;
| | 00:24 | we're just going to take advantage of
one of the can lights, by bringing up the
| | 00:27 | 3D panel and let's make sure Scene is
selected and switch the Quality back to
| | 00:32 | Interactive (Painting).
| | 00:33 | Then notice that we've got a handful of can
lights down here near the bottom of the list.
| | 00:39 | And the one that we're looking for,
the one that we're going to use for this
| | 00:42 | purpose is ceiling can FR.
| | 00:44 | That's the one that's showing down
on the front right corner of the bed.
| | 00:48 | What we want to do though
is train it on the animals.
| | 00:51 | So go ahead and select that light source,
ceiling can FR once again, then grab
| | 00:56 | your Light tool, doesn't matter which
one, anyone of these tools down here in
| | 00:59 | the fourth tool slot on the right side
of the 3D panel, press the Alt key or the
| | 01:04 | Option key on the Mac, and go ahead
and click on the face of the left-hand
| | 01:08 | giraffe in order to train the light right on it.
| | 01:12 | And I'm also going to extend the Attenuation.
| | 01:14 | I'm going to take that Inner
Attenuation value up to 100. All right!
| | 01:19 | That's the first step.
| | 01:20 | The second step is to scroll back
up the list and find the giraffes.
| | 01:24 | Now notice that they have a
bunch of materials assigned to them.
| | 01:28 | The one that's called lambert2SG1,
that's the one that's the skin for each
| | 01:32 | one of these creatures.
| | 01:33 | And you can confirm that by selecting
that third material and changing the
| | 01:37 | Opacity value to 0%.
| | 01:39 | And you'll notice that the larger
portion of the giraffe turns transparent.
| | 01:43 | So we still have the horns
and the eyes and the feet;
| | 01:45 | those are the other three materials,
but we're not concerned about those. All right!
| | 01:49 | So I'll press Ctrl+Z, Command+Z on the Mac
to undo that change to the Opacity value.
| | 01:54 | I will as well go ahead and rename this
material, Skin, so we know what it is.
| | 01:59 | And I want you to change the Gloss
value to 20%, just so that we have a little
| | 02:04 | gloss going on, on the right-
hand side of the creatures.
| | 02:07 | You can see here that's too much,
so increase the Shine value to 50%.
| | 02:12 | So increase the Shine value to 50% in order
to constrain that reflectivity. All right!
| | 02:18 | Let's do the same thing to giraffe 2.
| | 02:20 | So drop down to its third material, go
ahead and rename it Skin as well, change
| | 02:25 | the Gloss value to 20% for this animal,
and change the Shine value again to 50%.
| | 02:31 | And let's go ahead and see what we've
managed to do here, by scrolling all
| | 02:34 | the way up to Scene, clicking on it,
and then let's change the Quality
| | 02:38 | setting to Ray Traced Draft.
| | 02:39 | And that'll give us an introductory
sense of what we've managed to do to these
| | 02:43 | two stuffed animals.
| | 02:45 | We are as usual, going to
speed up this Ray Tracing process;
| | 02:48 | I'm not going to let it go very far,
but I do want you to have a sense of what
| | 02:51 | the scene looks like with only a
fair amount of noise after all.
| | 02:56 | Now the thing that's bugging me, I like
the way that the giraffes look, bear in
| | 02:59 | mind that they're not really this dark;
| | 03:01 | this is a brighter scene than we're led to
believe by Photoshop with its Draft setting.
| | 03:06 | But we do have a kind of strange reflection
over here on the left-hand side of the scene.
| | 03:11 | We've got a reflection of the lamp
and then right behind it, we have
| | 03:15 | this massive yellow.
| | 03:17 | And that's because of the angle of the
giraffe is being reflected back at us.
| | 03:21 | Now it doesn't make for a
very good-looking scene;
| | 03:24 | we could change the camera angle in
order to move the lamp and the giraffes away
| | 03:28 | from each other inside of the mirrored wall.
| | 03:31 | But what I prefer to do is just get
rid of the reflectivity over here on
| | 03:36 | the left-hand side of the wall instead,
and that's something we can do with a Reflection Map.
| | 03:41 | All right!
| | 03:42 | That's a good enough rendering for
now, so I'll press the Escape key to
| | 03:45 | interrupt the Ray Tracing process.
| | 03:48 | Now here inside your 3D panel, go ahead
and scroll down to the material called
| | 03:51 | both walls, that's assigned to the
bedroom mesh, so if necessary, twirl that
| | 03:56 | bedroom mesh open so you can see its materials.
| | 03:58 | Currently, we've got the Reflection set
to 75% across the walls in general, and
| | 04:04 | I'll tell you what, I'm going to press
the M key to get rid of all those light
| | 04:07 | sources and other 3D items on screen.
| | 04:10 | If you apply a Reflection Map however,
you're going to be able to control the
| | 04:14 | various degrees of reflectivity
inside of these wall surfaces.
| | 04:19 | So click the down-pointing arrowhead
and go ahead and choose New Texture, and I
| | 04:23 | want you to set this texture to
the size values you see right here.
| | 04:27 | So a Width of 700 pixels and a Height
of 450 pixels, those values are half the
| | 04:32 | current image size of this composition.
| | 04:35 | And I'm going to rename this image, wall
reflection map, and then I'll click OK.
| | 04:39 | Now that initially is not going to do
anything, except encourage Photoshop to
| | 04:43 | re-render the scene.
| | 04:44 | We don't need that, so
click to interrupt that process.
| | 04:47 | The next step is to go down to this
Reflection value once again, click on its
| | 04:51 | little Page Icon, and choose Open Texture,
and we end up seeing this big white image.
| | 04:57 | All right!
| | 04:57 | Here's what we're going to do.
| | 04:58 | Go ahead and hide the 3D panel, go up
to the 3D menu, and choose Create UV
| | 05:02 | Overlays, and choose Wireframe.
| | 05:04 | And this is the wireframe
representation of how the wall fits onto
| | 05:10 | this Reflection Map.
| | 05:11 | You wouldn't know it to look at it,
but here's how it works, and you just have
| | 05:15 | to investigate it to figure this out,
but I'm just going to tell you to cut
| | 05:18 | to the chase here.
| | 05:19 | This area over here represents the
outside edge of both of the walls, so this
| | 05:25 | would be the far left side of the left
wall and the far right side of the right
| | 05:28 | wall, this is the middle section of
either one of the walls, and over here on
| | 05:32 | the left-hand side is the
intersection of those walls. All right!
| | 05:36 | So I'm going to go ahead and rename
this layer Wireframe, and then I'm going
| | 05:40 | to set it aside by turning it off, because that
gives me enough of an idea of what's going on.
| | 05:45 | I'll click on the Background layer to
make it active, press Ctrl+D or Command+D
| | 05:49 | on the Mac in order to deselect the image.
| | 05:52 | Go ahead and grab the Gradient tool,
which you can get by pressing the G key,
| | 05:56 | and make sure your Foreground and
Background Colors are set to Black and White
| | 05:59 | as they are in my case, and up here in
the Options Bar, make sure that the very
| | 06:03 | first gradient is selected,
Foreground to Background.
| | 06:06 | And then I want you to drag from the far
right side of the image to the far left
| | 06:11 | side of the image while pressing the
Shift key, so you're creating a perfectly
| | 06:15 | horizontal gradient,
and you'll get this effect here.
| | 06:18 | Now this would create no reflectivity
on the outside edge of both of those
| | 06:22 | walls, and uttering complete
reflectivity over here on the far inside edge.
| | 06:27 | That's not exactly what I want.
| | 06:29 | So I'm going to add a Levels
Adjustment layer by pressing the Alt key or the
| | 06:33 | Option key on the Mac, clicking that
Black-White Icon and choosing Levels, or if
| | 06:37 | you loaded DekeKeys, you can just
press Ctrl+Shift+L, Command+Shift+L on the
| | 06:41 | Mac, and I'll just call this
layer Adjustment, and then click OK.
| | 06:45 | Then inside of the Adjustments
panel, I want you to raise the Output
| | 06:50 | Levels value to 64.
| | 06:52 | That way what's happening is we're
creating some degree of reflectivity over
| | 06:57 | here on the outer edge of the wall.
| | 06:59 | That way we're lightening the final side
of the gradient, so we're creating some
| | 07:02 | degree of reflectivity on
the outside edges of the wall.
| | 07:06 | And then I want to increase the
reflectivity overall by increasing the Gamma value.
| | 07:11 | So I'll take that Gamma value up to 1.3.
| | 07:12 | So you don't need to change the
White Point or the Black Point;
| | 07:16 | just change the Gamma and the first
Output Levels value, like so. That's it!
| | 07:21 | Go ahead and hide the Adjustments
panel and close the image, click the Yes
| | 07:25 | button here on the PC or the Save
button on the Mac in order to apply your
| | 07:29 | change, and now we're going to have to
force a new rendering of the scene by
| | 07:33 | bringing up the 3D panel, clicking on
Scene, setting it back to Interactive
| | 07:37 | Quality, and then changing that Quality
setting once again to Ray Traced Draft
| | 07:42 | in order to Ray Trace a
scene. And you know what?
| | 07:44 | I'm going to click in order to
interrupt the Ray Tracing, hide the 3D panel,
| | 07:48 | so I can see the entire scene, go up
to the 3D menu, and then choose Resume
| | 07:53 | Progressive Render.
| | 07:54 | And again, we'll speed up the process.
| | 07:57 | I know I say that every single time,
but I just want you to understand that
| | 08:00 | things are going so much faster in our
video than they're going to go for you,
| | 08:04 | when you're Ray Tracing your
own scenes inside Photoshop.
| | 08:08 | And notice as the Ray Trace progresses
that we have a much reduced degree of
| | 08:12 | reflectivity over here on the left
side of the image, behind the lamp.
| | 08:16 | So those yellow blobs of giraffe are
not nearly so noticeable as they were
| | 08:20 | before, but we have a high degree of
reflectivity of these giraffes over here
| | 08:25 | at the intersection of the two walls, which
is going to serve us well in our final scene.
| | 08:29 | All right!
| | 08:30 | So I'm going to go ahead
and press the Escape key.
| | 08:33 | This is our version of the scene so far,
with better lit giraffes as well as
| | 08:37 | better reflectivity in the background.
| | 08:39 | In the next exercise, we're going to
create yet another 3D postcard shield
| | 08:44 | that's going to get rid of this
aberrant diagonal line of light.
| | Collapse this transcript |
| Shielding the distant edge of a scene| 00:00 | In this exercise we're going to create
yet another 3D postcard that's going to
| | 00:04 | serve as the second light shield for the
missing wall on the far right-hand side of the scene.
| | 00:09 | And it's going to cover up this little
slice of lightness that doesn't really
| | 00:13 | belong here and I'll show you why
it's occurring in a moment, but first
| | 00:17 | notice so that I've gone ahead and save my
progress as Selectively reflective walls.psd.
| | 00:22 | And what I'm going to do is switch to
my Camera tool, and then I'll go up to
| | 00:26 | the View pop-up menu here in the Options bar
and switch out to the very wide angle view.
| | 00:31 | And Photoshop will immediately set
about once again ray tracing the scene
| | 00:34 | and that's good enough.
| | 00:35 | I don't care if it's noisier or not,
I just went ahead and interrupted it.
| | 00:38 | Notice this triangular slice of light
that's being created by that Infinite
| | 00:44 | Light that is shining through windows,
but it's also shining in this direction
| | 00:50 | across this outside edge
that currently has no cover.
| | 00:53 | So this right here is the wall
that requires another shield.
| | 00:56 | Now the only wall that we can't shield
is this forward wall here, because if we
| | 01:01 | did so, then we wouldn't be able to
see into the scene in the first place.
| | 01:05 | All right, so I'll bring up my 3D panel,
click on Scene at the top of the list
| | 01:09 | and change the Quality setting from Ray
Traced Draft to Interactive (Painting).
| | 01:14 | Next, what we'll do is press Ctrl+Shift+N,
or Command+Shift+N on the Mac to
| | 01:17 | create a new layer and I'll call
it shield 2, and then I'll click OK.
| | 01:22 | Again, it's an empty layer, but we're
still going to convert it to a postcard by
| | 01:26 | selecting 3D Postcard inside this
Create New 3D Object list, and then clicking
| | 01:31 | on the Create button.
| | 01:32 | Now of course we've got a problem which
is that we can't see this postcard and I
| | 01:37 | want to change this to diffuse color as well.
| | 01:39 | So click on its material which is
called shield 2_0, and notice we have a
| | 01:44 | Diffuse texture and an Opacity map.
| | 01:46 | Click on that little Page icon next to
Diffuse and choose Remove Texture to get rid of it.
| | 01:51 | Then click on the Page icon next to Opacity and
choose Remove Texture to get rid of it as well.
| | 01:57 | Click on the color swatch next to Diffuse
and let's change the Brightness value to 50%.
| | 02:02 | So it's a fairly dark wall in the background.
| | 02:05 | Click OK in order to accept that modification.
| | 02:07 | Now let's go ahead and merge shield
2 with the layer below it by pressing
| | 02:12 | Ctrl+E, or Command+E on the Mac and
that will as usual lend the postcard in any
| | 02:17 | old place who knows where it's gone.
| | 02:19 | We need to bring it into the world of
visibility here by finding it in the first
| | 02:23 | place inside this long list in the 3D panel.
| | 02:26 | So I'm just going to go ahead and
twirl close every single one of my meshes.
| | 02:30 | Click on shield 2, which is the last
mesh in the list, select your Mesh tool in
| | 02:35 | order to make it active.
| | 02:36 | I'm actually going to select the
Mesh Rotate tool, so that I can dial in
| | 02:41 | Orientation values of 0 across the board here.
| | 02:44 | And then after I do that I'll switch to
the Pan tool and I'll 0 out it's values
| | 02:49 | as well, and that's going to go ahead
and align that 3D postcard to the bottom
| | 02:55 | of the scene, to the floor, and you
can see it kind of popping up there.
| | 02:58 | All right, let's go ahead and rotate
the postcard into the proper position by
| | 03:02 | dragging the Blue rotate gadget there.
| | 03:05 | And I'm going to switch back to my
Orientation values and I'm going to round
| | 03:09 | that X off to -90 degrees so the
wall is straight up and down.
| | 03:14 | And now we need to move the wall
outward like so, so that it barely cuts in,
| | 03:19 | we're just seeing a little bit of floor
down at the bottom left and a little bit
| | 03:23 | of ceiling left at the top as well.
| | 03:25 | I'm going to hide that 3D panel,
so I can better see what I'm doing.
| | 03:28 | And I might go ahead and reduce the
size of this wall, it's awfully big.
| | 03:32 | Let's check out the Scaling values.
| | 03:34 | They're in the neighborhood
of 106, 107 that's just fine.
| | 03:38 | And now I'm going to dial
in some new Position values.
| | 03:41 | I want the X value to be -40;
| | 03:43 | these are just some values I came up with.
| | 03:45 | the Y value should be -119.
| | 03:47 | So I already had a pretty close
there and a Z value of 0 is just fine.
| | 03:51 | All right, now let's go ahead and
zoom back into the scene by selecting the
| | 03:55 | Camera tool here inside the toolbox, go
up to the Options bar click on the View
| | 03:59 | pop-up menu and choose Home position,
so that we are back where we want to be.
| | 04:04 | And then bring up the 3D panel, click
on Scene, and go ahead and change the
| | 04:09 | Quality setting from
Interactive to Ray Traced Draft.
| | 04:12 | And of course, we're going to speed up
this process, but as you want your scene
| | 04:15 | rendered, you'll see that that diagonal
line of light has completely disappeared
| | 04:19 | or at least, almost completely disappeared.
| | 04:22 | What's going on right in this region here?
| | 04:24 | Well, that is not light that's being
captured by the floor, what that is, is the
| | 04:29 | inside edge of the footboard that's
associated with the frame of the bed.
| | 04:35 | So that's a natural piece of light
that's being comp by the scene, which
| | 04:38 | strikes me to say OK.
| | 04:39 | All right, that's good enough for now
I'm going to click to interrupt the ray
| | 04:44 | trace and switch to the M tool to
get rid of the 3D overlay there.
| | 04:50 | In the next exercise we're going to
add another infinite light that's coming
| | 04:52 | down through a hole in the ceiling.
| | Collapse this transcript |
| Casting light through an opacity map| 00:00 | All right, if you take a look at the
Final Ray Traced version of the image, you
| | 00:03 | will see that we have this text casting
light on to the surface of the floor and
| | 00:08 | it creeps up in here onto the bed frame as well.
| | 00:10 | And then I've also added this second window
effect on the right-hand side of the giraffes.
| | 00:16 | And I created all of these effects by
casting yet another infinite light through
| | 00:20 | holes in the ceiling and I am going to
show you how that works in this exercise.
| | 00:24 | Go ahead and switchover if you're
following along with me to my progress file
| | 00:28 | which is Far wall shield.psd
found inside the 16_adv_light folder.
| | 00:32 | And of course, if you're working along with
me successfully, just stay inside your file.
| | 00:38 | And I also want you to see this file right here.
| | 00:41 | It's called Cut out type & window.psd
and it's going to be responsible for the
| | 00:46 | holes in the ceiling.
| | 00:48 | So, we will apply this file as an opacity map.
| | 00:50 | Wherever you see black, that will be a
hole in the ceiling, wherever you see
| | 00:54 | white, will be an opaque portion of the ceiling.
| | 00:57 | But you may notice that the text is
backward and the reason is, and this was
| | 01:03 | just something I had to figure out by
working inside the file, but I can show
| | 01:07 | you how you would expect
this image to really look.
| | 01:09 | If I go up to the Image menu and
choose Image Rotation and then first choose
| | 01:13 | Flip Canvas Horizontal.
| | 01:15 | And then next, I'll go up to the Image menu,
choose Image Rotation and choose 90 degrees CCW.
| | 01:21 | So, this is the hole that we were
trying to create and the light comes through
| | 01:24 | that hole and hits the floor.
| | 01:26 | Okay, that makes sense, so why does
it have to be rotated and flipped?
| | 01:30 | Well, I'll try to give you
an idea of how this works.
| | 01:32 | I will switch back to the image in
progress, bring up the 3D panel, make sure
| | 01:37 | Scene is selected and then change the
Quality setting to Interactive (Painting).
| | 01:41 | Then I'll go ahead and select the
Camera tool and go up to the Options bar,
| | 01:46 | click on the View pop-up menu and
switch to very wide angle yet again.
| | 01:50 | And notice the ceiling right
here, the angle of the ceiling.
| | 01:53 | Well, I suppose from one vantage point,
it appears to be vertical, but it's
| | 01:57 | actually nearer to horizontal where
the scene is concerned and we originally
| | 02:00 | created it as a horizontal 3D postcard.
| | 02:04 | So, we have to go ahead
and respect that orientation.
| | 02:06 | Furthermore, we will be cutting the
hole from the inside up and you'll see what
| | 02:10 | that looks like in just a moment.
| | 02:12 | And so that is why, I will
just go and flip things back.
| | 02:15 | That is why this image after you get
done sort of figuring out what it needs to
| | 02:18 | look like, you have to go up to the
Image menu, choose Image Rotation and go
| | 02:22 | ahead and rotate it 90 degrees
clockwise, and then you would have to go up to
| | 02:26 | the Image menu, choose Image
Rotation and choose Flip Canvas Horizontal.
| | 02:30 | But that's the kind of stuff you only
figure out through trial and error and
| | 02:34 | working inside the file and seeing what works.
| | 02:37 | I am going to switch back
to the file in progress.
| | 02:39 | Of course, let's go ahead and
twirl close all of these meshes.
| | 02:43 | Save 1 actually, shield 1, represents
that ceiling shield so I will twirl it up
| | 02:48 | and go ahead and click on its material.
| | 02:50 | Drop down to the Opacity option, click
on the folder icon, choose Load Texture
| | 02:55 | and then navigate to the 16_adv_light folder.
| | 02:58 | You'll find a file called Cut out type
& window.psd, go ahead and open it on up
| | 03:03 | and you will see you then at some point
here, once Photoshop renders it out, you
| | 03:07 | will see that text rendered as a whole.
| | 03:09 | And I am going to go ahead and zoom
on in so that you can see that the text
| | 03:12 | actually reads exactly the way that it should.
| | 03:16 | So, give me a moment here in order to
zoom in and then rotate things into the
| | 03:20 | proper perspective and now you see
that there is our text reading exactly the
| | 03:26 | way that you would expect it to read.
| | 03:28 | You may see the Y getting cut off.
| | 03:30 | That's just because there's nothing
below the Y up to a certain point for us to
| | 03:35 | see along the floor of that scene.
| | 03:37 | Anyway, everything is where it
needs to be, that's my point.
| | 03:40 | Now, we need to add a light
that's casting down through this hole.
| | 03:44 | And so that means going down to the page
icon here at the bottom of the 3D panel
| | 03:48 | and choosing New Infinite Light,
because I want this to be another one of those
| | 03:52 | distant light sources.
| | 03:53 | Now, don't ask me what it is.
| | 03:54 | That's kind of the problem, I mean, what
object is casting this light onto the scene.
| | 04:00 | Well, I am going to go ahead and
double-click on Infinite Light 3.
| | 04:04 | And I am going to call it planet X,
because some other planet is coming;
| | 04:09 | it's orbiting the Earth and
casting light in through the roof here.
| | 04:13 | It doesn't really matter
what it is, it's just a conceit.
| | 04:16 | Here is what does actually matter, I am
going to go ahead and save out my Camera
| | 04:19 | view, because after all, I have
created it so I might as well save it.
| | 04:23 | And I will call it top of ceiling and click
OK, just so I can come back to it if need be.
| | 04:27 | And then I will switch back to very wide
angle, so that I can take in the scene at large.
| | 04:32 | And I'm going to take that new light
source right there planet X, and let's go
| | 04:36 | ahead and give it some color.
| | 04:37 | I will click on the colors swatch and
I am going to dial in a familiar Hue
| | 04:41 | value of 225 degrees.
| | 04:43 | I am going to change the
Saturation value to 15%;
| | 04:46 | a Brightness value of 100%
is just fine, so click OK.
| | 04:49 | And I want this to be a pretty
bright light, so I am going to take that
| | 04:52 | Intensity value up to 1.5 and I
want just a little bit of softness.
| | 04:58 | If you go too soft with the shadows,
then you'll end up blurring away the type,
| | 05:02 | you won't be able to see it.
| | 05:03 | So, I will change the
Softness value to a mere 1%.
| | 05:05 | Now, we do want to create shadows otherwise
we are not going to see the text on the floor.
| | 05:11 | Now, the light isn't at
really where we want it to be.
| | 05:13 | If I were to change the Orientation
values right now, that would be a mistake
| | 05:17 | because that would change
the orientation of the camera.
| | 05:20 | So, we need to go ahead and switch to
the Light tool, any light tool is going
| | 05:23 | to do, even though we can only change the
orientation of this light on its location.
| | 05:28 | And here are the values that I
want you to go ahead and enter.
| | 05:31 | I changed the X value ultimately to
257, then I will change that Y value to
| | 05:36 | -18.5 and I will change the Z value
right there to -349 and that should
| | 05:44 | pretty much do the trick.
| | 05:45 | The light is pretty far a field there,
I have to zoom out in order to see it,
| | 05:50 | but it is where I need it to be.
| | 05:52 | All right, let's go ahead and
zoom in to our scene once again.
| | 05:55 | The old-fashion way, by zooming by
pressing Ctrl+Plus or Command+Plus on the Mac, and
| | 06:00 | then I am going to grab my Camera tool,
and I will go up to the Options bar, go
| | 06:03 | to the View pop-up menu
and choose Home position.
| | 06:07 | And now, let's go ahead and Ray Trace
things and see what we have got here.
| | 06:10 | I'll click on Scene and change the
Quality setting to Ray Traced Draft.
| | 06:15 | Now, initially we are not going to see
very much going on, because after all we
| | 06:18 | are ray tracing the top of the scene,
we haven't done anything to that.
| | 06:22 | And I suppose if I were being a
little smart here, I could have selected a
| | 06:25 | portion of the image and just ray
traced that selected area from the 3D menu.
| | 06:30 | But golly, we are already beginning
to see that portion of the scene that's
| | 06:34 | affected down here at the
bottom of the image window.
| | 06:37 | And that gives us enough to go on, so
I will press the Escape Key in order to
| | 06:40 | cancel that ray trace,
and I will hide the 3D panel.
| | 06:42 | And you will see how that text
stretches all the way across the image.
| | 06:46 | Now, I decided for aesthetic reasons
that I wanted the words TO LOVE to break at
| | 06:51 | a different angle and then as I say I
wanted to add a kind of window reflection
| | 06:56 | over here in the bottom left corner of the bed.
| | 06:59 | So, I did that by modifying the opacity map.
| | 07:03 | I will bring up the 3D panel;
| | 07:04 | I will go ahead and make sure that I
can get to the shield 1_0 material.
| | 07:09 | Click on that little page icon next to
the word Opacity and choose Open Texture
| | 07:14 | to open that texture in a separate window.
| | 07:16 | I've already created these elements in
advance for you, but there is something
| | 07:20 | you are going to have to do.
| | 07:21 | Hide that 3D panel.
| | 07:22 | I want you to switch to your Type tool
by pressing the T Key and then select the
| | 07:27 | letters TO LOVE, like so, and press
the Backspace key here on the PC or the
| | 07:32 | Delete key on the Mac in
order to get rid of them.
| | 07:34 | Then press the Enter key on the
numerical keypad in order to accept your changes.
| | 07:39 | Now, it's just a matter of turning
on the other layers. Turn on TO LOVE.
| | 07:42 | Notice the TO LOVE layer has an
Opacity of 35%, that means it's not going to
| | 07:46 | create nearly as much of a
hole as the other letters.
| | 07:50 | So, the Opacity of the text is
actually going to drop down just a little bit,
| | 07:54 | but it's going to look great, as you will see.
| | 07:56 | And then I added this window element.
| | 07:58 | This window element was really a chore.
| | 08:01 | In order to figure out exactly where it had
to be, it was a lot of back and forth thing.
| | 08:05 | It probably took me 15 or 20
minutes of work to get it figured out.
| | 08:08 | I have gone ahead and
saved you the time and effort.
| | 08:11 | Go ahead and close this image and then
click the Yes button in order to save
| | 08:15 | your changes, that will be
the Save button on the Mac.
| | 08:17 | Then bring up the 3D panel, click on
Scene, go ahead and switch Quality back to
| | 08:23 | Interactive (Painting) and then switch
Quality back to the Ray Traced Draft.
| | 08:27 | I am going to click inside the scene in
order to interrupt the process early on here.
| | 08:31 | Close that 3D panel, then go up to the
3D menu and choose Resume Progressive
| | 08:35 | Render, so that we can see what we've got.
| | 08:38 | And as usual, we are going to speed up
this process so that you can see this ray
| | 08:43 | tracing happen, lickety-split.
| | 08:44 | Once we start getting to the bottom of
the scene, you can see for one thing that
| | 08:48 | we've got this window reflection that's
hitting the left side of the bed, that
| | 08:53 | wouldn't be possible with these windows
over here on the right-hand side of the
| | 08:56 | image, because there's no way the light
could come through and then wrap around
| | 09:00 | the left-hand side of the bed.
| | 09:02 | It is possible however;
| | 09:03 | if there is windows over here
on the other side of the room.
| | 09:07 | Who knows, may be there are.
| | 09:08 | And we also have this text wrapping around.
| | 09:11 | So we've got the D in STUFFED lifting
up onto the bed frame, and then we have
| | 09:15 | the words TO LOVE over here in the
bottom right-hand section of the image.
| | 09:19 | All right, that's good.
| | 09:20 | I will go ahead and press the
Escape Key to interrupt that render.
| | 09:23 | In the next exercise, I will show you
how to employer Photoshop's fourth and
| | 09:27 | final type of light, the Image Light.
| | Collapse this transcript |
| Employing an image-based light| 00:00 | In this exercise I'm going to show you
how to work with Photoshop's fourth kind
| | 00:03 | of light which is the image light.
| | 00:05 | I've saved my progress as Text
rendered as light.psd found inside the
| | 00:10 | 16_adv_light folder and
you may wonder along the way.
| | 00:13 | All right, so we do have this text
rendered in light, but it's really a function
| | 00:18 | of the fact that the light is casting a shadow.
| | 00:21 | It's the darkness around the letters
that's responsible for the contrast between
| | 00:26 | the dark floor and the light floor.
| | 00:28 | So how is it that shadows are adding light?
| | 00:30 | Well, it's really the
light that's adding the light.
| | 00:33 | It's just that the shadows are keeping
more life or being added to the scene.
| | 00:38 | So the fact that we have this much
light in the scene right now is the
| | 00:41 | combinative effort of the
four lights that we have going.
| | 00:45 | The point light inside of the lamp,
we've got the moonlight streaming in
| | 00:48 | through the windows.
| | 00:49 | We've got that one spotlight that's
being cast here onto the giraffes and then
| | 00:54 | finally, we have that planet X light
that's coming in through the ceiling
| | 00:59 | creating the light of the letters as
well as this window light right there, but
| | 01:03 | we still need more light.
| | 01:05 | I want another light that's going to
fill in these ultra black shadows, because
| | 01:09 | I think they look terrible.
| | 01:10 | And that light is going to be an image light.
| | 01:12 | Now here is how an image light works.
| | 01:15 | Remember when we're talking about
spherical panoramas which we've seen a
| | 01:18 | couple of times now.
| | 01:19 | We saw way back in the Fundamentals
portion of the series and back when we were
| | 01:23 | working with the camera, we employed
a spherical panorama there as well.
| | 01:27 | Now the point of spherical panorama is
to provide the rest of the objects inside
| | 01:31 | your scene with something to reflect.
| | 01:33 | Well an image light is very much the same thing.
| | 01:36 | It's a big huge spherical
panorama that casts light.
| | 01:41 | So everywhere that's bright inside of a
scene that's going to be a bright light
| | 01:45 | and everywhere that's dark inside of a
scene is going to be a dark light on a
| | 01:48 | pixel by pixel basis.
| | 01:50 | All right, so let's see how that works.
| | 01:52 | I'm going to go ahead and bring up
the 3D panel and with Scene selected I'm
| | 01:56 | going to switch to Quality
setting back to Interactive (Painting).
| | 01:59 | It be nice if we could take that dummy
light, remember it and we can go ahead
| | 02:03 | and convert it to an image light,
because it's more or less in the right
| | 02:06 | location, but if you try to change the
Light Type from Point to something else
| | 02:11 | you can change it to a Spot light you
can change it to an Infinite light, but
| | 02:15 | you can't change it to an Image Based light.
| | 02:17 | You'll always have to create new
Image Based lights inside of Photoshop.
| | 02:20 | All right, having said that I'm going
to drop down to the little Page icon and
| | 02:24 | choose New Image Based Light.
| | 02:27 | And that's going to create this
enormous amount of brightness inside the scene.
| | 02:31 | Ignore that, because it's not accurate.
| | 02:33 | Go ahead and scroll down the list until
you come to Image Based light 1 and I'm
| | 02:37 | going to change the name of
this light to global moon.
| | 02:41 | Because we're basically using that
moon image to fill in all of the shadows
| | 02:45 | inside of our 3D bedroom scene.
| | 02:47 | Now let me show you what this image looks like.
| | 02:49 | I'll switch over to Lone moon.jpg
it's nothing you haven't seen before is
| | 02:53 | that Fotolia image.
| | 02:55 | However, this time, it's cropped to a square.
| | 02:58 | Now normally when you're working with
spherical panoramas or image based lights
| | 03:02 | you want to make sure that you have
a seamlessly repeating composition.
| | 03:07 | And if I were to up to the Filter menu
and choose Other and then choose Offset
| | 03:11 | and I'll change both of these values to
256 pixels, because this image measures
| | 03:16 | 512 pixels wide and 512 pixels tall.
| | 03:19 | And no special reason for that it just does.
| | 03:22 | You'll see that the seams are glaring.
| | 03:24 | I've made no attempt to hide the seams at all.
| | 03:26 | Well, if you're trying to wrap the
entire scene and it doesn't have any walls
| | 03:31 | like our scene does then
it's got to be seamless.
| | 03:33 | However, in our case we've got walls
to hide the seam, so we don't really
| | 03:37 | care just Cancel out.
| | 03:38 | I just want you to see
what that image looks like.
| | 03:39 | All right, I'm going to switch back
to my composition in progress, bring up
| | 03:43 | the 3D panel scroll down the list and
make sure Global Moon is selected that's
| | 03:47 | our image based light.
| | 03:49 | Currently, we have no Image
associated with that it's just blinding light.
| | 03:53 | So go ahead and click on the Folder
icon choose Load Texture, and then I want
| | 03:57 | you to find that Lone moon.jpg file
that's inside the 16_adv_light folder and go
| | 04:02 | ahead and Open it on up and that
will apply that image as a light source.
| | 04:07 | So in other words, I'll switch back to
that Lone moon image wherever we have
| | 04:11 | bright pixels those are going
to be bright spots of light.
| | 04:15 | So imagine this big spherical panorama with
these little teeny points of light all over it.
| | 04:19 | So the bright pixels are bright lights,
the dark pixels are dark lights or no
| | 04:24 | light whatsoever in the case of black.
| | 04:25 | All right, I'm going to
switch back to the scene at hand.
| | 04:28 | Now the other thing I want to do is I
want to show you what this light looks
| | 04:31 | like and you can see it if you go
ahead and make sure Global Moon is
| | 04:35 | selected and then click on one of the Light
tools and you'll see what that light looks like.
| | 04:42 | And notice it looks like it's this
little sphere that's sitting over here in the
| | 04:46 | upper left corner of the room.
| | 04:47 | Well it is a big giant sphere,
but it's huge it's much bigger than this room
| | 04:53 | is and it's kind of permeates all of the
walls and all of the other surfaces as well.
| | 04:57 | It just covers everything so
don't worry about his placement.
| | 05:01 | You can't change it's placement you can
change it's orientation if you want, but
| | 05:04 | in our case we don't want to.
| | 05:06 | It's nice that the seam, you can see
right there, the seam is over here on the
| | 05:09 | right-hand side which means it's
going to be coming in from the right-hand
| | 05:14 | portion of the image and we've got wall
there and we're not worried about it and
| | 05:17 | so everything is OK.
| | 05:19 | The big problem is the Intensity.
| | 05:20 | I'm going to take that Intensity
value up to 1, not concerned about the
| | 05:25 | Softness of the shadows at all, we're just
using this light in order to fill in other shadows.
| | 05:30 | And so now at this point, I'm going to
switch back to the Scene and I'm going to
| | 05:35 | change a Quality setting this time to
Ray Traced Final, because otherwise we're
| | 05:39 | not going to get a sense of what's going on.
| | 05:41 | If you try Ray Traced Draft
you're going to get a garish
| | 05:44 | non-representative effect.
| | 05:46 | So let's go with Ray Traced Final here
even though it takes time to apply I'm
| | 05:49 | going to click in order to interrupt it.
| | 05:51 | Hide the 3D panel go ahead and press
the M key to switch my Rectangular Marquee
| | 05:55 | tool, so I don't see all
that 3D stuff on screen.
| | 05:57 | Then go up to the 3D menu and choose
Resume Progressive Render so that we can
| | 06:01 | see that rendering happening on screen.
| | 06:04 | And you're going to notice as the
scene renders that it darkens down
| | 06:08 | dramatically from that over lit
scene that we're seeing inside of the
| | 06:12 | interactive mode, but here is
my favorite part watch it happen.
| | 06:15 | We've got this amazing sort of blue
light that's coming in through our non-wall
| | 06:22 | side so the unshielded side of the
image and it's being reflected in front of
| | 06:27 | essentially really lies in front of
these giraffes here then it appears in back
| | 06:32 | of the giraffes is this amazing sort
of halo of light, right here at the
| | 06:36 | intersection of the two walls.
| | 06:38 | Anyway we're going to go ahead and
speed up a couple of three passes of the
| | 06:42 | render so you can get a sense of
what the scene really looks like.
| | 06:44 | All right, so that's enough for now.
| | 06:47 | There is our admittedly noisy,
but beautifully ray traced version of the scene.
| | 06:52 | We still have an outstanding issue here
though we've got this gag You're Never
| | 06:56 | Too Stuffed To Love and obviously
these are stuffed animals, but what in the
| | 06:59 | world are they stuffed with?
| | 07:01 | That's a question, I'll
answer in the next exercise.
| | Collapse this transcript |
| Making wall art with a 3D postcard| 00:00 | In this exercise we're going to add yet
another 3D Postcard, and we're going to
| | 00:04 | go ahead and mount it above the
headboard over here on the left wall, and
| | 00:07 | ultimately set it inside of a frame.
| | 00:10 | I've saved my progress as Global moonlight.psd.
| | 00:13 | If you scroll up the list here
inside the Layers panel, you'll find a
| | 00:16 | group called more items.
| | 00:18 | Twirl it open and you'll see we
have a collection of three layers.
| | 00:21 | I want you to ungroup those layers by
clicking on the more items group, and then
| | 00:26 | going to the layer menu, and choosing
Ungroup layers or pressing Ctrl+Shift+G,
| | 00:30 | Command+Shift+G on the Mac.
| | 00:32 | Then grab the hamburger
layer right there and turn it on.
| | 00:35 | Now this is another photograph from the
Fotolia Image Library, albeit a pretty
| | 00:40 | disgusting one to say, but it's a half-eaten
hamburger which is the reason these
| | 00:45 | stuffed animals are so very stuffed.
| | 00:48 | The good news is that it's going to
look great in the context of this scene.
| | 00:51 | So go ahead and move it directly above
Hotel room like so, not below Hotel room;
| | 00:57 | right above, and you don't
want any other layers in-between.
| | 01:00 | Then let's convert this item to a 3D
postcard by going up to the 3D menu and
| | 01:05 | choosing New Postcard From layer.
| | 01:08 | Now it's ready to merge with the scene below.
| | 01:10 | But if we merge right now, we're going
to end up ray tracing the scene again, so
| | 01:13 | click on the Hotel room
layer in order to make it active.
| | 01:17 | Bring up the 3D panel, make sure
Scene is selected, and change the Quality
| | 01:21 | setting to Interactive (Painting).
| | 01:24 | Having done that go ahead and scroll up
the list inside the Layers panel again,
| | 01:27 | click on that hamburger layer, make
sure it's directly above Hotel room;
| | 01:31 | nothing in-between, and press Ctrl+E or
Command+E on the Mac in order to merge
| | 01:36 | it into the Hotel room scene.
| | 01:38 | Now once you've done it, the
image is of course going to disappear.
| | 01:42 | I mean that goes without saying.
| | 01:44 | So we're going to have to find
the mesh here inside the scene.
| | 01:47 | So I'm going to twirl everybody close
until I can find hamburger right there,
| | 01:51 | click on that mesh to make it active.
| | 01:54 | I'm going to switch to any one of my Mesh tools.
| | 01:57 | Let's go ahead and start with the
Mesh Rotate tool, and we'll restore
| | 02:00 | Orientation values of 0 across the board.
| | 02:04 | Then go ahead and switch to the Pan tool and
change the X, Y, and Z values to 0 as well.
| | 02:10 | Of course, you have to do it one
at a time, which is fairly tedious.
| | 02:14 | That's good enough to get us started.
| | 02:15 | Now presumably, these little sort of
horizontal stripes down here underneath the
| | 02:20 | bed, that is the hamburger waiting to emerge.
| | 02:24 | So with my Mesh tool still selected, I'm
going to go ahead and move my 3D widget
| | 02:28 | down by dragging on its little gray title bar.
| | 02:32 | Then I'll drag up on the blue arrow to
move that hamburger upwards, like so.
| | 02:37 | I will go ahead and rotate it as
well by dragging the blue rotate gadget.
| | 02:42 | Let's go ahead and drag to the
left now on that blue arrowhead.
| | 02:46 | That might take a couple of drags in order to
move the hamburger more or less in the scene.
| | 02:51 | I'm going to drag it down as well by
dragging downward on the green arrowhead,
| | 02:55 | and it appears to be backward. It's flipped.
| | 02:59 | So let's go ahead and drag the red
rotate gadget until we flip it into
| | 03:03 | the proper position. My goodness!
| | 03:05 | This is as a yummy view of this photograph.
| | 03:07 | I'll go ahead and tweak it
over to the right as well.
| | 03:11 | So if nothing else, it needs
to be dramatically smaller.
| | 03:14 | So I'm going to drag down on the cube
icon and I might have to drag a couple
| | 03:19 | or a three times to get it down to a desirable
size here, which is to say not very big at all.
| | 03:25 | Let's dial in some numerical values, shall we?
| | 03:27 | I'm going to go ahead and switch to
the Rotate Mesh tool and round all the
| | 03:32 | values to the nearest multiple of 90
degrees so that be -90 for the X value, and
| | 03:38 | 0 for the Y value, and then
finally, -180 for that Z value.
| | 03:43 | I'll tell you what, I came up
with the following Scale values.
| | 03:46 | We might as well just put those in place
instead of sort of trying to figure out
| | 03:50 | what Scale values are going to work.
| | 03:52 | I'll click on that Scale
the Mesh tool right there.
| | 03:55 | I'm going to dial in an X
value of 22.5. Don't worry;
| | 03:59 | that's going to look wrong for a moment.
| | 04:00 | A Y value of 18.75, and then
the Z value really doesn't matter.
| | 04:07 | It could just be 1 for all of that.
| | 04:08 | Because this is a 3D Postcard, it has no depth.
| | 04:12 | Now we need to figure out how to center
the hamburger above the bed board, and
| | 04:15 | we really can't do that from this angle.
| | 04:17 | So we need to change the camera angle.
| | 04:19 | I'm going to hide the 3D mesh, switch to
my Camera Rotate tool, and I'm going to
| | 04:23 | drag inside of the image to the right, like so.
| | 04:28 | Then I'm going to rotate the
image using the widget here.
| | 04:31 | So I want it to be more or less
upright like this, and obviously, we need to
| | 04:36 | move the image to the side
the other way that is to say.
| | 04:39 | So I'll go ahead and drag to the
right from that red pointing arrowhead.
| | 04:44 | We need to rotate the scene to some degrees.
| | 04:47 | So I'm going to drag that rotate
gadget right there down into the left,
| | 04:50 | actually it ends up working.
| | 04:52 | Now let's go ahead and
straighten the scene some more.
| | 04:54 | I'm just using the widget in order to
accomplish all of this of course. Let's drag back.
| | 04:59 | I just want to see the scene head-on.
| | 05:03 | I might actually want to move up a
little bit so that I can see more height
| | 05:07 | associated with that wall.
| | 05:09 | Now let's grab that hamburger once again
by bringing up the 3D panel making sure
| | 05:13 | that hamburger is selected
switching to a Mesh tool.
| | 05:18 | I'm going to go ahead using the widget
once again, although let's move it into a
| | 05:21 | more neutral location.
| | 05:22 | I'm going to drag up on that green
pointing arrowhead in order to move the
| | 05:27 | hamburger upward, and I'm going to drag
on the red arrowhead a couple of times
| | 05:31 | in order to move this image over to the left.
| | 05:35 | You know what, let's drag it down so
that we can see exactly how it sort of
| | 05:40 | lines up with these bars along the bed.
| | 05:42 | So it looks like we need to be able to
count one, two, three bars inward on the
| | 05:47 | right-hand side and one, two, three
bars inward on the left-hand side as well,
| | 05:51 | and match the hamburger up accordingly.
| | 05:54 | So it looks like it wants to be right
there, and it wants to be higher as well
| | 05:59 | above the headboard. That's good.
| | 06:01 | Then I can't really get, yes,
I can to that blue arrowhead.
| | 06:05 | I can just sort of get to it, and I want to
drag it backward until it falls into the wall.
| | 06:10 | Then I want to bring it
outward just a little bit.
| | 06:12 | So, the values I came up with, let's go
ahead and check out the Position values
| | 06:16 | by switching to the Pan tool.
| | 06:19 | The values I ended up using, for what
it's worth, are 18.5 for the X value,
| | 06:25 | which scoots it over to the right just
a little bit, maybe that's too far but
| | 06:28 | that'll work out well.
| | 06:30 | Then I'm going to change the Y value to
118, so I almost got that exactly right,
| | 06:35 | and then the Z value should be let's
say 51, which means that I'm moving the
| | 06:40 | hamburger downward just a
little bit. Well, gosh!
| | 06:43 | Don't you know?
| | 06:43 | The Y value was moving it forward and backward.
| | 06:47 | It's the Z value that's moving it down.
| | 06:49 | That's our hamburger located I
guess exactly where I want it to be.
| | 06:53 | I'm thinking it wants to be
cheated just a little bit to the right.
| | 06:58 | So I'm going to cheat it
and we'll see what happens.
| | 07:01 | That took the X value down to 17.28.
| | 07:03 | I'm going to cheat it just a little
more by taking it down all the way to 17,
| | 07:07 | because once we sort of switch back to
our original position, the hamburger is
| | 07:12 | going to look like it's
too far over to the right.
| | 07:13 | So I think this will work out nicely.
| | 07:15 | Now because we did so much work
finding this perfect camera angle, let's go
| | 07:20 | ahead and save it off by
clicking on the 3D Camera tool.
| | 07:23 | I'll click on the little floppy disk
icon, and I'll call this guy headboard
| | 07:27 | view, because after all
it is, and then click OK.
| | 07:31 | There's just one more thing to do here folks.
| | 07:33 | That's to set this
photographic image inside of a frame.
| | 07:36 | We're going to do exactly that
in the next and final exercise.
| | Collapse this transcript |
| Creating a Repoussé picture frame| 00:00 | In this exercise we're going use Repousse
in order to create a frame, and then
| | 00:04 | we're going to mount that frame
around our photographic postcard.
| | 00:08 | And notice this layer right here
called Frame inside the Layers panel.
| | 00:11 | Go ahead and turn it on, and select it as well.
| | 00:14 | And all of this is a vector based
shape layer with one rectangle cutting a
| | 00:18 | hole inside of another.
| | 00:20 | And of course, that's just what we
need to create a frame using Repousse
| | 00:23 | inside of Photoshop.
| | 00:24 | Now if you wanted to come back at any
time to the shape layer, then you want to
| | 00:28 | create a copy of the shape layer by
pressing Ctrl+J or Command+J before you
| | 00:32 | start in with Repousse, in our case
though, we've got enough versions of this
| | 00:36 | file where you can always grab it if you want.
| | 00:38 | So we'll work on the original by going up
to the 3D menu, choosing Repousse, and
| | 00:43 | choosing layer Mask.
| | 00:45 | Once the Repousse dialog box comes
up on screen, here are the modifications
| | 00:49 | I want you to make.
| | 00:49 | First of all, change Type from
Inactive to Hole, so that the interior of the
| | 00:54 | frame is cutting a hole out of the exterior.
| | 00:57 | And we don't want nearly this much
Depth of Extrusion, so go ahead and
| | 01:00 | change this value to 0.1.
| | 01:03 | Then we want to add a Bevel, so change
the Height value to 2 and the Width value
| | 01:06 | to 3, and a standard
Linear Contour is just fine.
| | 01:11 | Now go up to the Materials in the
upper right-hand corner of the dialog box,
| | 01:14 | click the down-pointing arrowhead next
to All, and choose Metal Brass, which
| | 01:18 | should appear inside of your list if you've
been following along with me. And that's it!
| | 01:23 | You've now assigned that brass material
to all surfaces of this extruded frame.
| | 01:27 | Go ahead and click OK in
order to accept that modification.
| | 01:30 | And of course, by no means should you
rotate the frame in 3D space, before
| | 01:35 | clicking OK out of Repousse. All right!
| | 01:37 | The frame layer is set directly on
top of Hotel room as it should be.
| | 01:42 | So to merge the two together,
press Ctrl+E or Command+E on the Mac.
| | 01:46 | Once you've done that, the frame may go missing;
| | 01:49 | I wouldn't be surprised if it did
given that everything goes missing when
| | 01:52 | you add it to a scene;
| | 01:53 | sure enough, it did, which means
you'll need to bring up the 3D panel.
| | 01:56 | I'm doing so by double-clicking on
the thumbnail for that Hotel room layer.
| | 02:01 | Then find that new mesh which
should be at the bottom of the list.
| | 02:04 | We have quite a few meshes associated
with the Scene now, and there it is;
| | 02:08 | it's the one called frame.
| | 02:09 | I'm going to go ahead and collapse it as well.
| | 02:11 | Select it to make it active and then go
ahead and switch over to the 3D Mesh Rotate tool.
| | 02:17 | And go up to the Options Bar,
and this time around, you can click on Return
| | 02:22 | to initial position.
| | 02:23 | That will not make a mess of things,
because after all we're working with a real
| | 02:27 | 3D object created in Repousse.
| | 02:30 | So that went ahead and
zeroed out the Orientation values;
| | 02:32 | it zeroed out the Position values as well.
| | 02:34 | We still need to find this object
at some place inside of the scene.
| | 02:39 | And the easiest way to find that object
is to go to the Camera tool, so go ahead
| | 02:43 | and select it and then change your
View from this headboard view that you
| | 02:47 | created most recently, to very wide angle.
| | 02:50 | That may help us or that may not help
us so much at all, and let's go ahead
| | 02:54 | and sort of drag around here inside
the scene and see if we can find where
| | 02:58 | that thing has gone. There it is;
| | 02:59 | it's underneath the floor.
| | 03:01 | So with frame selected, go ahead and
grab whatever Mesh tool is available, and
| | 03:06 | we'll go ahead and use the 3D Widget here.
| | 03:08 | And because I need to drag so far up,
I'm going to move it down, and then drag
| | 03:12 | upward on the blue arrowhead.
| | 03:13 | That apparently has put the frame in
back of the scene, so we're going to have
| | 03:18 | to change our angle just a little bit
by grabbing the Camera Rotate tool and
| | 03:22 | dragging over to the right like so, so
that I can gain access to all elements of
| | 03:28 | the 3D Widget when I
switch back to the Mesh tool.
| | 03:32 | So the thing is I wanted to make sure
I could get to that red arrowhead, and
| | 03:35 | I'll drag back on it like so, and it's
going to take a couple of drags in order
| | 03:39 | to get this guy into the room.
| | 03:42 | Now the frame is a little big;
| | 03:43 | I don't think we need that big of a
frame for this picture, but might as well
| | 03:47 | move it down a little bit as
well so it's more or less centered.
| | 03:50 | Let's drag down on the yellow cube in
order to reduce the size of the frame, and
| | 03:55 | I might have to drag down a handful of
times to make sure that cube is yellow
| | 03:59 | before you begin dragging.
| | 04:00 | And then I'm going to drag to the
left from this green arrowhead to move
| | 04:05 | the frame backward.
| | 04:06 | That's probably good enough for
now where this view is concerned.
| | 04:09 | If you want to save off the view, you
can by going back to the Camera tool,
| | 04:13 | clicking on the Floppy Disk Icon,
and calling this another wide angle if you
| | 04:18 | want and then clicking OK.
| | 04:20 | My sense is that you should save just
about every camera angle you come up with.
| | 04:25 | Now I'm going to switch back to that
headboard view, so I can better see where
| | 04:29 | that frame fits inside of the scene.
| | 04:30 | And it's looking pretty good.
| | 04:32 | But I'm going to make my next changes
numerically by clicking on frame inside
| | 04:36 | the list, because it's
become deselected for some reason.
| | 04:39 | I'll click on the Mesh tool.
| | 04:40 | Now I'm going to start things off by
scaling this frame, so I'm going to switch
| | 04:44 | to this Scale the Mesh tool.
| | 04:47 | And here are the values that I came up with;
| | 04:49 | 0.17 across the board, and so I'm going
to make that change manually to the X,
| | 04:54 | Y, and Z values, as you see me doing here.
| | 04:58 | And that ends up positioning the frame
way too high, so let's switch back to
| | 05:02 | the Pan tool, and I'll enter an X value of -69,
which scoots that frame over quite nicely.
| | 05:08 | I may make some adjustments to that value in
just a moment, but that looks good for now.
| | 05:13 | And then I'll change the Y value to
117, and that moves the frame against
| | 05:17 | the wall of course.
| | 05:18 | And then finally, I'll change the Z
value to 81.27, is what I came up with.
| | 05:25 | And that looks pretty
darn good with one exception.
| | 05:28 | And I should mention, by the way, the Y
value I was telling you, moves the frame
| | 05:31 | forward and backward.
| | 05:33 | This Y value leaves a little bit of
room between the frame and the wall, so the
| | 05:37 | frame is not completely parallel and
jammed against the wall, which is the way
| | 05:41 | it works in real life.
| | 05:42 | In other words, you have
room between frame and wall;
| | 05:44 | they're not glued together.
| | 05:46 | At any rate, I need to shift the
frame over to the left just a little bit.
| | 05:49 | So I'm going to move my 3D Widget over,
and I'm going to drag to the left ever
| | 05:54 | so slightly on that red arrowhead until
it looks like I've trapped a hamburger
| | 05:59 | photograph inside the frame, and let's
see what value I came up with. -69.91;
| | 06:02 | why don't we try rounding that off
to -70 and see if that does work?
| | 06:07 | And it looks good to me.
| | 06:09 | Now to see what we have wrot, let's go
ahead and switch to the Camera tool once
| | 06:14 | again, go up to the View pop-up menu,
and choose Home position, so that we can
| | 06:19 | get back to the home
version of the scene, like so.
| | 06:22 | And then of course, I'm going to go up
to Scene, and I'm going to change the
| | 06:26 | Quality setting from Interactive
(Painting) to Ray Traced Final.
| | 06:30 | And I'm going to go ahead and let this rip.
| | 06:31 | Now just because I care so very deeply
about you, we are going to perform a full
| | 06:38 | Ray Traced Final version of the scene;
| | 06:40 | there is no reason for you to sit here
and watch that five to ten, to twenty
| | 06:46 | hour process in real time in a video,
so we're just going to go ahead and
| | 06:50 | fast-forward the heck to that point in time.
| | 06:52 | We're going to fade forward in fact.
| | 06:55 | So I'll just go ahead and click off
here in order to interrupt that process,
| | 06:59 | hide the 3D panel, and then
reinstate the progressive render by choosing
| | 07:04 | Resume Progressive Render from the 3D
menu like so, and then we'll just let
| | 07:08 | Photoshop do its thing.
| | 07:09 | At first, you'll see things render
very swiftly on screen, just so that you
| | 07:13 | can get a sense of what's going on, and then
we'll go ahead and fade to that final version.
| | 07:18 | Now notice that there's
one more layer at top here;
| | 07:20 | you can turn it on if you like.
| | 07:22 | It's a little bit of a heart glow, you
might notice, because the giraffes form a
| | 07:27 | kind of heart between them.
| | 07:29 | And there is a vector mask going on here.
| | 07:32 | If you click on the vector mask
thumbnail and then bring up the Masks panel, you
| | 07:35 | can see that I've applied 4
pixels worth of Feathering.
| | 07:39 | And that's a parametric edit, meaning, you
could modify the Feathering anytime you like.
| | 07:43 | I've also got here this layer mask.
| | 07:46 | I'm going to Shift+Click on the
layer mask in order to turn it on.
| | 07:49 | You can really tell at this point,
but the layer mask is painted into the bodies
| | 07:54 | and the feet of the giraffes in order
to mask that portion of the image away.
| | 07:59 | Because I've also got this effect right
here, I'm going to turn it on and let's
| | 08:02 | get rid of the Mask panel first.
| | 08:04 | I'll turn on the effect;
| | 08:05 | it's an Outer Glow, and it's not being
served well by this layer mask so far.
| | 08:10 | So first thing, I'm going to click on
the vector mask thumbnail in order to hide
| | 08:14 | that heart shape path, and then I'll
go over to the Layers panel flyout menu,
| | 08:18 | click on it, and choose Blending Options;
| | 08:21 | if you loaded DekeKeys, you can press
Ctrl+Shift+O, Command+Shift+O on the Mac,
| | 08:25 | and you have to turn on this check
box in order to make things work out
| | 08:27 | properly, layer Mask Hides Effects.
| | 08:30 | And that will go ahead and use that
layer mask to hide the Outer Glow, and we
| | 08:34 | end up with this effect
here. Isn't it charming?
| | 08:36 | All right!
| | 08:37 | I'm going to press the F key a couple
of times in order to switch to the Full
| | 08:40 | Screen mode and zoom in on those guys,
the stuff giraffes, who are so very
| | 08:44 | stuffed, because they ate this hamburger
picture, it's just the weirdest concept ever.
| | 08:51 | Thanks to the amazing 3D
power of Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
17. Mastering the CameraForget the Zoom and Hand tools| 00:00 | When working with a 2D photograph, you
zoom-in, you zoom-out, you pan around,
| | 00:05 | but at the end of the day your viewer,
the person is going to look at your photo
| | 00:09 | will see the entire thing subject
to the way you decide to crop it.
| | 00:13 | In 3D, that all goes out the window.
| | 00:16 | Sure, you can zoom, you can pan, you
can even crop, but your view and the
| | 00:20 | viewer's view is determined by the camera.
| | 00:24 | If you want to go in, you walk forward,
if you want to back out, you walk backward.
| | 00:29 | You even have control over such
real world camera lens qualities as
| | 00:33 | depth-of-field and field-of-view.
| | 00:35 | In fact, your 3D camera is the virtual
equivalent of an actual camera, only you
| | 00:40 | have an infinite number of cameras,
and they don't cost you a dime.
| | 00:44 | So you can sit there, and light,
and shoot your scene as many ways as you like.
| | 00:49 | In this chapter, we will explore 3D cameras.
| | Collapse this transcript |
| Aligning the ground plane to a photograph| 00:00 | All right, gang here is a project
that you have to look forward to over the
| | 00:03 | course of this chapter.
| | 00:04 | In addition to learning how to master
the camera here inside Photoshop CS5
| | 00:08 | Extended we are going to take this SUV
model, once again created by our very own
| | 00:12 | Paul Roper here at lynda.com, and we're
going to wrap it in this metallic highly
| | 00:17 | reflective paint job.
| | 00:19 | We're going to create a series of
reflections using an image light, much like
| | 00:23 | the one that we learned
about in the previous chapter.
| | 00:25 | We're going to add a few 3D
elements of our own using Repousse;
| | 00:29 | believe it or not these
horns are Repousse objects.
| | 00:32 | As are a series of tubes that you
can't see inside the campus but they're
| | 00:36 | responsible for these reflections
across the forward portion of the car, and we
| | 00:41 | even have a series of 3D rocks that
are peppered about the scene just to
| | 00:46 | heighten the credibility of the composition.
| | 00:48 | We're going to start things off
inside of this image, it's called Beach
| | 00:51 | composite.psd, it's found
inside the 17_camera folder.
| | 00:55 | It comes to us from Rahela of the
Fotolia Image Library, about which you can
| | 00:59 | learn more at fortolia.com/deke.
| | 01:00 | Now we're going to start things off by
importing the SUV model, and then we will
| | 01:06 | exactly align the ground plane with the scene.
| | 01:10 | So go up to the 3D menu and choose
New layer from 3D File, and inside the
| | 01:15 | 17_camera folder you'll find a
subfolder called Roper models, go ahead and
| | 01:19 | double-click on that folder, and then click
on the file called Base SUV.obj and open it up.
| | 01:25 | And that will introduce us fairly
unimpressive blue car model, looks something
| | 01:30 | like a toy at this point, but it's got
everything we need, and it's going to
| | 01:33 | look just awesome once we're done
with it here inside of Photoshop.
| | 01:36 | All right, the next thing I want you to
do with this layer selected is grab the
| | 01:40 | 3D Camera tool here inside the toolbox,
and then we need to be able to see the
| | 01:44 | Ground Plane, so if you can't like me,
go up to the View menu, choose Show and
| | 01:49 | then choose 3D Ground Plane, and as long
as we're here we might as well go ahead
| | 01:54 | and turn on the Ground Plane Shadow
Catcher as well, because after all we're
| | 01:58 | going to need to cast a shadow
on this photographic background.
| | 02:01 | So go up to the 3D menu, choose Ground
Plane Shadow Catcher, if you see that
| | 02:05 | alert message about how you need to ray
trace the scene to see the shadows just click OK.
| | 02:09 | All right, here is the deal, right
now we have got this Ground Plane that
| | 02:15 | doesn't necessarily align well with the scene.
| | 02:17 | I don't know if it does or not,
but I would know if this red X axis were
| | 02:23 | actually horizontal and aligned
ultimately with the horizon line of the scene.
| | 02:28 | So we've got this wonderful guideline,
this horizon line that's actually built
| | 02:32 | into the photograph and we
might as well make the most of it.
| | 02:36 | So for starters here I'm armed, notice
this, with the Orbit the 3D Camera tool,
| | 02:41 | and I'm just going to drag inside of
the scene in order to twirl it around.
| | 02:46 | Now you don't have a lot of control
with this tool, you can press the Shift key
| | 02:50 | as you drag, but that's going to
rotate the scene either horizontally, if you
| | 02:54 | drag horizontally or
vertically if you drag vertically.
| | 02:57 | So the Shift key serves as a constraint,
however the Ground Plane was already
| | 03:01 | crooked in the first
place so it remains crooked.
| | 03:04 | So you may prefer to take advantage of the
3D Widget, which is what I'm going to do here.
| | 03:08 | I'm going to go ahead and drag on
the green Rotate icon in order to
| | 03:14 | straighten up the Ground Plane to a
certain extent, and then I'm going to
| | 03:17 | drag on the red Rotate thingy there
in order to set the green line so it's
| | 03:21 | coming more or less straight on us.
| | 03:23 | And then I might go ahead and drag that
green rotate item a little more just to
| | 03:28 | write the scene like so, and this is
looking pretty good but I really can't tell
| | 03:32 | whether the Ground Plane is flat
against the scene or not, given that the grid
| | 03:36 | that represents that Ground Plane
is not really all that terribly deep.
| | 03:40 | You can make it deeper if you want to.
| | 03:42 | By going up to the Edit menu here on
the PC this would be the Photoshop menu on
| | 03:46 | the Mac and then choose the
Preferences command and then go ahead and choose
| | 03:50 | 3D, and next set your Plane Size from
Large to something even larger either
| | 03:56 | Extra Large or even Huge.
| | 03:58 | For purposes of this scene
Extra Large works quite nicely.
| | 04:02 | So go ahead and choose that command
and then click OK, and you'll immediately
| | 04:06 | notice nothing happened or at least you
may notice that in which case what you
| | 04:10 | have to do to force or redraw is zoom in
like so and then just go ahead and zoom
| | 04:15 | back out, and I zoomed in by pressing
Ctrl+Plus, Command+Plus on Mac, zoomed out by
| | 04:19 | pressing Ctrl+Minus, Command+Minus on the Mac.
| | 04:21 | All right, let's now go ahead and drag
down on this blue Rotate icon until you
| | 04:29 | get the back of the plane there more
or less aligned with a horizon line, and
| | 04:34 | if you can't get it to work, if you
don't have enough control then drag farther
| | 04:37 | away, move your cursor farther away
from that 3D Widget and then drag downward
| | 04:43 | like so and you should eventually get
something that looks more or less like this.
| | 04:48 | Tell you what, I'm going to go
ahead and give you some numbers here.
| | 04:50 | So that's we're working
with the Camera Orbit tool.
| | 04:53 | I can see the Orientation values up
here in the Options bar and I know that I
| | 04:57 | want the Y value to be the
nearest multiple of 90 degrees.
| | 05:02 | So I'm going to set it to 0,
and that'll go ahead and more or less level the
| | 05:05 | scene horizontally, strange as that may sound.
| | 05:08 | In order to really get things right we
need the Z value to also be set to the
| | 05:13 | nearest equivalent of 90 degrees
which in this case would be -180 and that
| | 05:18 | actually works out pretty nicely.
| | 05:19 | The X value is really ultimately up to you.
| | 05:22 | What it's going to do?
| | 05:23 | By the way, notice if I drop down to
my 3D Widget again and I drag down on
| | 05:27 | this blue rotate gadget then the value I
end up changing is the X value of all things.
| | 05:33 | So it's going to control the tilt of the scene.
| | 05:36 | I know that doesn't sound like what it
ought to do but that is what it does to.
| | 05:40 | So anyway let's go ahead and change
that value do -105, so we've got -105 for
| | 05:46 | the X value, 0 for the Y value, a Z
value of a 180 as you can see here.
| | 05:51 | Now for me anyway I don't know about you,
that ends up aligning the Ground Plane
| | 05:55 | with the scene pretty darn well however
the Ground Plane is too low, and so we
| | 06:00 | need to reposition the Ground Plane, we
need to bring it up we need to send it
| | 06:04 | backward and we're going to do
exactly that in the next exercise.
| | Collapse this transcript |
| Creating the perfect straight-on view| 00:00 | Now that we've oriented the ground
plane to match the photograph, we need to
| | 00:03 | position it as well.
| | 00:05 | I've saved my progress as Oriented plane.psd.
| | 00:08 | It's found inside the 17_Camera folder,
and I still have selected my Camera tool.
| | 00:13 | I can see the ground plane,
I've got my 3D layer selected.
| | 00:16 | Let's now go ahead and switch to the Pan tool.
| | 00:19 | And I find this tool to be more useful
when dragging around inside the Image
| | 00:23 | Window than the Orbit tool.
| | 00:25 | It's just a little easier to control.
| | 00:27 | For example, if I want to move my
view of the scene exactly downward which
| | 00:30 | is going to lift the scene upward,
always bear in mind with the Camera tool
| | 00:34 | that you're changing your view of the scene,
not necessarily the position of the object.
| | 00:38 | Then while dragging down with this tool,
I would press the Shift key in order to
| | 00:43 | invoke a perfectly vertical drag.
| | 00:46 | I can also press the Shift key while
dragging back and forth in order to invoke
| | 00:50 | a perfectly horizontal drag and that
is something that I actually need to do
| | 00:54 | where this scene is concerned.
| | 00:56 | For example, I would like to set that
Green line, that green Y axis line, so
| | 01:01 | that it runs through the
exact center of my image.
| | 01:05 | So I need a guideline at the center point.
| | 01:07 | I'll go up to the View menu and choose
New Guide, and I know that this image
| | 01:12 | mesh is 1400 pixels wide.
| | 01:13 | So I would select the Vertical Guide option
and I would enter half of 1400 which is 700.
| | 01:19 | However, I just found this out.
| | 01:21 | I have to admit to you.
| | 01:22 | I didn't know, after more than 20
years of using this product, I didn't know
| | 01:26 | you could just enter 50% for the position
value and Photoshop would do the math for you.
| | 01:31 | I just found that out from a member of my site.
| | 01:33 | So we all live and learn everyday.
| | 01:35 | I'm going to go ahead and click OK in
order to set that Vertical Guide right
| | 01:39 | through the center of the image.
| | 01:41 | Now while dragging inside the scene
I'll press the Shift key and I'll drag to
| | 01:45 | the left because I'm moving my view
of the scene to the left, and therefore
| | 01:49 | moving the entire plane to the right
until the Green Y axis line lines up with
| | 01:54 | that Vertical Guide. All right!
| | 01:55 | Then I might make some other modifications.
| | 01:58 | I might move the scene
back and forth, for example.
| | 02:01 | Let's say, I want to move away from the scene.
| | 02:03 | Then instead of pressing the Shift key,
armed with this tool I would go ahead
| | 02:07 | and press the Alt key or the
Option key on the Mac and drag downward.
| | 02:11 | Now, notice I'm kind of wobbling back and forth.
| | 02:13 | If you want to constrain this
drag, then add the Shift key.
| | 02:17 | So Shift+Alt+Drag down in order to move
away from the scene, Shift+Alt+Drag up
| | 02:22 | to move into the scene.
| | 02:23 | Obviously, that would be a Shift+Option+Drag
either down or up on the Mac. All right!
| | 02:27 | So I've written down a few specific
position values that I'm going to enter
| | 02:31 | in the Options Bar.
| | 02:32 | The X value is already exactly right as is.
| | 02:35 | It turns out -0.24.
| | 02:37 | That's because we aligned that Y
axis with that vertical guideline.
| | 02:40 | I'm going to change the Y value to -61,
and then I'm going to change the Z value
| | 02:45 | as well by taking it to 10.
| | 02:47 | And notice that, that goes ahead and
lifts the entire scene, so that the rear
| | 02:52 | of this extra large ground plane is
just shy of the horizon line of the sea
| | 02:57 | inside the photograph. All right!
| | 02:59 | That takes care of our camera angle,
but of course we should go ahead and save
| | 03:02 | it by going up to the Options Bar,
click on the Floppy Disk icon and let's go
| | 03:06 | ahead and call this guy Straight-on view,
because after all that's what it is, a
| | 03:11 | straight on view of the overall scene
and then click OK, and that way we can
| | 03:15 | come back to this view anytime we like.
| | 03:17 | Now, obviously the SUV is
nowhere near where it ought to be.
| | 03:21 | We're going to remedy that situation
using the Object tool in the next exercise.
| | Collapse this transcript |
| Positioning a 3D scene as an object| 00:00 | All right, we've managed to
establish the perfect straight-on view, hence
| | 00:04 | the name of this file, which is
called Straight-on view.psd, found inside
| | 00:07 | the 17_camera folder.
| | 00:09 | Now we are going to use the Object
tool in order to reposition the SUV model,
| | 00:13 | and bear in mind that the
object tool affects the entire scene.
| | 00:17 | So regardless of how many wireframes
are working side of a scene, they all move
| | 00:21 | along with the Object tool.
| | 00:23 | All right, so we no longer need to
guideline, by the way, you can press Control+;
| | 00:27 | or Command+;
| | 00:28 | on a Mac in order to hide it.
| | 00:30 | Then go ahead and grab the Object
Rotate tool here inside the toolbox.
| | 00:34 | I'm going to just basically
drag this guy around a little bit.
| | 00:38 | This, I find terribly unhelpful, just
dragging inside the scene with the Object
| | 00:43 | tool and you can't press the Shift key
if you want to in order to create a kind
| | 00:47 | of horizontal drag, but it's not
going to respect the ground plane.
| | 00:50 | This guy was already set directly
on the ground plane and now the rear
| | 00:55 | wheels are way off the ground plane and one
of the fore wheels is below the ground plane.
| | 01:00 | What a mess?
| | 01:01 | So that is not the way I'd
like to work with this tool.
| | 01:03 | I'm going to press Ctrl+Z, Command+Z on
a Mac in order to undo that modification.
| | 01:08 | Instead, I'm going to try to take advantage
of that 3D widget, now it's a little hard.
| | 01:12 | Because we have a straight-on view,
the green controls on the axes are
| | 01:17 | facing dead away from us.
| | 01:19 | But if you position your cursor over
the tiny portions of that rotate gadget
| | 01:24 | that are showing up there you
should see the full yellow circle.
| | 01:27 | Then go ahead and drag to the right in
order to rotate the vehicle to the left as so.
| | 01:33 | Here are the values that we're looking for.
| | 01:35 | 0 is what we want for X, 0 is also
what we want for Y, for Z, I want you to
| | 01:40 | change the value to 51.2 and I know
that's a highly specific value but that's
| | 01:46 | going to give us the
effect that we're looking for.
| | 01:49 | Next let's go ahead and move the car forward.
| | 01:51 | I'm going to do that using the Drag tool;
| | 01:54 | you can also use the Slide
tool if you want to, instead.
| | 01:56 | But I'm going to show you some
tricks associated with the Drag tool.
| | 01:59 | If you grab that Drag tool and you go
ahead and press the Alt key and drag down
| | 02:05 | then you will scoot the car forward,
this would be the Option key on a Mac.
| | 02:09 | If you want to make sure you're
scooting the car only forward and not back and
| | 02:12 | forth, then you would have the Shift key.
| | 02:14 | So this is the result of Shift+Alt+dragging
or Shift+Option+dragging downward.
| | 02:19 | This is the result of Shift+Alt+dragging
or Shift+Option+dragging backward.
| | 02:22 | All right I'm going to go ahead and
Shift+Alt+drag downward just a little bit here.
| | 02:27 | Now, I believe I've gone ahead and
scooted the car off of the ground plane.
| | 02:31 | Of course we really do want this
car exactly on the ground plane;
| | 02:35 | otherwise we'll see that it's
levitating in space, once we cast the shadow.
| | 02:39 | So go up to the 3D menu and choose Snap
Object To Ground Plane in order to move
| | 02:44 | it down to the proper location.
| | 02:46 | All right, I'm also going to increase
the size of this model and I want to
| | 02:49 | see what kind of changes I am making
to the size values, so I'm going to
| | 02:52 | click on the Scale:
| | 02:53 | The 3D Object tool there
in order to make it active.
| | 02:56 | Then I can see my scale values and then
position your cursor over the cube, so
| | 03:01 | it turns yellow, and drag upward like
so and release, and we're really looking
| | 03:07 | for those to values to turn
to 1.25, all the way around.
| | 03:10 | So I need to drag just a
little bit higher, like so.
| | 03:13 | There's 1.24, I almost got it, just a
little bit higher, 1.25 across the board.
| | 03:19 | Of course I could've entered those
values, but that would have been tedious by
| | 03:22 | comparison to repeatedly
dragging on a cube, don't you know?
| | 03:26 | All right you can go ahead and
reposition this guy if you want to by dragging on
| | 03:30 | the various colored arrows that
are associated with the 3D widget.
| | 03:34 | You can see that the tires have
descended below the ground plane.
| | 03:38 | So we need to go and snap the vehicle
once again, but first let's do this.
| | 03:41 | Let's enter a few specific position values.
| | 03:44 | Click on the Drag tool once again, so
that we can see the position values.
| | 03:48 | Here are the values I want you to enter.
| | 03:50 | For the X value it should be 1.34,
again, some pretty darn specific values.
| | 03:55 | For the Y value change it to -14.8,
and then we can let Photoshop figure out
| | 04:01 | the Z value for us.
| | 04:04 | You don't have to enter it, because you
can just go over here to the 3D menu and
| | 04:06 | choose Snap Object To Ground Plane.
| | 04:09 | You can see that the ideal Z
value, at least in my case is 0.067.
| | 04:12 | All right, that takes care of
the position of the automobile.
| | 04:16 | So we've got the scene
set exactly where we wanted.
| | 04:19 | In the next exercise, I'll show you
how to position an infinite light, the
| | 04:22 | sunlight in fact, with the
help of an orthogonal camera.
| | Collapse this transcript |
| Using an orthographic camera| 00:00 | In his exercise, I am going to
introduce you to the Orthographic camera and
| | 00:04 | we'll see how it can be useful
for positioning an Infinite Light.
| | 00:07 | I have saved my progress as Properly
positioned car.psd, it's found inside the
| | 00:11 | 17_camera folder and for starters
here, let's get a sense of what an
| | 00:15 | Orthographic camera is.
| | 00:16 | I will go ahead and switch to the
Camera tool here inside the toolbox and that
| | 00:21 | will display the ground plane
and so forth as you can see here.
| | 00:24 | Notice this final icon up here in the
Options bar, it says Zoom to 3D camera.
| | 00:29 | If you click on it, you've got two
little cubes you can select from, there's the
| | 00:33 | perspective camera which provides you
with a standard perspective view, the kind
| | 00:37 | of view you take for granted, that is,
things in the distance decline, and
| | 00:41 | ultimately disappear at the horizon.
| | 00:43 | Whereas, if you select the
orthographic camera, then you get no decline
| | 00:47 | associated with distance, and as a
result we get this kind of cartoon effect.
| | 00:52 | Now orthographic cameras can be
quite useful in certain disciplines.
| | 00:55 | My guess is if you're a standard
3D artist, you are not going to take
| | 00:59 | advantage of it all that often, but I
do want to show you how things work in
| | 01:03 | the orthographic world.
| | 01:04 | You can go ahead and take advantage
of the widget just as you normally
| | 01:08 | would, that is you can rotate your view
around by dragging on one of these rotate gadgets.
| | 01:13 | You can also move your view upward
and downward or side to side by dragging
| | 01:18 | either on the green or red arrowhead,
but notice, if you drag on the blue
| | 01:22 | arrowhead, nothing happens.
| | 01:25 | You can't get any closer to the scene
and that's because the size of the scene
| | 01:29 | is dependent upon its scale.
| | 01:31 | Notice the Scale value right here.
| | 01:33 | If I were to increase the Scale value to 1
over 40, then the scene is going to grow smaller.
| | 01:39 | If I increase that value, because it's a
fraction, then the scene will appear to grow larger.
| | 01:44 | You can also go ahead and drag with
your cursor inside of the image window.
| | 01:50 | Drag down in order to decrease the scale,
that is increase the value, and make
| | 01:54 | the object appear to look smaller.
| | 01:56 | You can drag up to increase the scale
that is decrease the value up here in the
| | 02:01 | Options bar and make the object appear larger.
| | 02:04 | So, how in the world does
this help us with infinite light?
| | 02:08 | Well, where an infinite light is
concerned there is no such thing as
| | 02:12 | perspective, because all of the
rays of light are treated as absolutely
| | 02:16 | parallel, so they are going to see all
distances associated with the scene as
| | 02:21 | absolutely the same.
| | 02:23 | So that can prove helpful for you as well.
| | 02:25 | I'm going to go ahead and rotate the
car upward like so, and I am also going to
| | 02:31 | rotate it away from me, so that I am
seeing the hood of the car, because I was
| | 02:34 | the light to be shining
essentially straight down on this automobile.
| | 02:38 | If you look at the photograph in
the background, you will see that it's
| | 02:41 | essentially high noon, and so we need
to create a high noon light as well.
| | 02:46 | All right, I'm going to rotate the car
further like so or at least my view of
| | 02:50 | the car and I would drag down in order
to reduce the scale, so that I'm seeing a
| | 02:55 | smaller version of this car.
| | 02:57 | Well, tell you what I came up with, I
ended up changing the scale value here to
| | 03:01 | something like 1 over 40, so that I
could see the entire car at a time, and then
| | 03:05 | I will switch over to my Orbit tool to
gain access to my Orientation values.
| | 03:09 | And, by the way, you can still use
Orientation and Position values just as you
| | 03:13 | would with a standard perspective camera.
| | 03:15 | And the values that I am going to dial
in and they are very close, by the way,
| | 03:19 | they don't get the light angle
exactly right, but this was how I ended up
| | 03:23 | arriving at my initial light angle.
| | 03:25 | So I changed the X value to -155 and
obviously I didn't do this numerically,
| | 03:29 | these are just the values
I ended up coming up with.
| | 03:32 | I got a Y value of 3, and then I end
up with a Z value of -298, just pretty
| | 03:39 | close to what I had right there.
| | 03:40 | Then I'll switch over to the Pan tool
and I'll change the X value to let's say
| | 03:45 | 24 and the Y value to -6, and finally,
let's raise our view a little bit by
| | 03:50 | increasing the Z value to 53, and now
I'm looking directly down on my car.
| | 03:56 | All right, let's bring up the 3D panel.
| | 03:58 | Go ahead and grab Infinite Light 2,
which is not doing us any good whatsoever
| | 04:03 | and delete it by clicking in the trashcan.
| | 04:05 | It's the light that's coming up from
below, and then double-click on Infinite
| | 04:08 | Light 1, and let's go ahead and call
this guy sunlight, and I am going to make a
| | 04:13 | couple of other changes as well.
| | 04:14 | I am going to increase the intensity
to 1.5 and I am going to change the
| | 04:18 | Softness value to 20%.
| | 04:21 | But we need to position the sunlight
properly, so I am going to click on the
| | 04:24 | Light tool just to make sure it's
active there and I'd also like to see my
| | 04:28 | light, so I'll go ahead and turn on 3D
Light, and I might as well turn on 3D
| | 04:33 | Selection here, so that I can see the
lights going in absolutely the wrong
| | 04:38 | angle, it should be going straight at that car.
| | 04:40 | And to make it so, drop down to the
little camera and light icon that says move
| | 04:45 | to current view and click on it and
you will more or less point the light in
| | 04:49 | the right direction.
| | 04:50 | All right, now it doesn't look exactly
right, and you could drag it around just
| | 04:53 | a little bit if you wanted to, like so.
| | 04:55 | That's what I ended up doing, was
dragging it so that I couldn't see the beam of
| | 05:00 | light going downward anymore, which
to my way of thinking meant that it was
| | 05:04 | shinning directly downward.
| | 05:05 | All right, let's go ahead and
see what we've come up with here.
| | 05:08 | I will switch to my 3D Camera Rotate
tool and I'm going to go ahead and save
| | 05:12 | this view by clicking on the Floppy
Disk icon and let's call it orthog birds
| | 05:17 | eye, and then I will go ahead and
click OK, and now I can go ahead and
| | 05:21 | reestablish my original view
by choosing Straight-on view.
| | 05:24 | By the way, you may see this view
called O, you can ignore it, I think it
| | 05:28 | came in with the model.
| | 05:29 | Go ahead and choose your Straight-on
view if you have it, and that will switch
| | 05:33 | you back to a perspective view, by
the way, so the cameras actually save
| | 05:37 | whether they are perspective or
orthographic on-the-fly, and then I'm going to
| | 05:41 | go ahead and click on sunlight and then
select my Light tool and I'll check out
| | 05:46 | the values up here in the Options bar,
and compare them to the ones that I came
| | 05:49 | up with an advance.
| | 05:50 | That X value is pretty close actually.
| | 05:52 | I am going to change it to -14 however,
so a fairly slight adjustment there.
| | 05:57 | I'm going to increase the Y value more
significantly to 6.5, and then I'll take
| | 06:02 | the Z value down to -31.5, like so.
| | 06:07 | All right, to see what we've come up
with, let's go ahead and click on scene
| | 06:11 | and then change the Quality setting to
Ray Traced Draft, and this car scene so
| | 06:14 | far is not very complicated, so it
should ray trace pretty quickly, at least
| | 06:18 | you should get a first pass in a
matter of a few seconds here, and this looks
| | 06:22 | pretty darn good to me.
| | 06:23 | So I am going to click in order to stop
the render like so, hide the 3D panel.
| | 06:28 | That's what we have so far.
| | 06:30 | In the next exercise, we're
going to take stock of our materials.
| | Collapse this transcript |
| Sinking a scene into the ground plane| 00:00 | All right, in this exercise we are
going to take stock of the materials that
| | 00:03 | are associated with this model, so
that we have a sense of what's what where
| | 00:06 | this SUV is concerned.
| | 00:08 | I have saved my changes as Sunlight set
.psd found inside the 17_camera folder
| | 00:14 | and make sure your Base SUV layer is
selected, go ahead and double-click on its
| | 00:17 | thumbnail in order to bring up the 3D
Scene panel, and notice that the thing is
| | 00:21 | called objMesh once again.
| | 00:23 | I want to call it Diablo, because
that's going to be the name of this fantastic
| | 00:27 | car we're designing and press the
Enter key or the Return key on the Mac in
| | 00:31 | order to accept that change.
| | 00:32 | Now this is one of just the
horrifying things about rendering inside of
| | 00:36 | Photoshop I have no idea why changing
the name of something invokes a new ray
| | 00:41 | trace, stop it Photoshop, and I say
stop it, of course, by clicking inside the
| | 00:46 | image window until it pays attention to me.
| | 00:48 | All right you can see now
that the mesh is renamed Diablo.
| | 00:52 | To avoid that problem in the future I
might as well, click on scene, and then
| | 00:55 | set the Quality back to Interactive (Painting).
| | 00:58 | All right, let's twirl open that mesh.
| | 01:00 | Notice you will see a long list of
materials none of which make it terrible
| | 01:04 | amount of sense, we are seeing the
wheels, where we have got our lamberts and
| | 01:07 | our blinns and all that jazz.
| | 01:08 | So let's get a sense of what's going on
with each of these, by clicking on one
| | 01:13 | of materials and go ahead and select
the Mesh tool, so that we are seeing the
| | 01:16 | selection on screen and if you're not
seeing the selection why then click on
| | 01:19 | this little I icon down here at the
bottom of the panel, and make sure 3D
| | 01:23 | Selection is turned on.
| | 01:24 | All right, this is
obviously the body of the car.
| | 01:28 | So I'm going to go ahead
and name it body, like so.
| | 01:31 | The next one, if I click on it, those
are obviously the windows that I just
| | 01:35 | happen to know, these are all of the
windows, by the way, so let's go ahead and
| | 01:38 | name them accordingly.
| | 01:39 | Click on the next item.
| | 01:40 | Don't really have any idea what
that is, because it's inside the car.
| | 01:45 | So what we are going to have to do is
go to body and change its Opacity to 0%
| | 01:49 | this old yarn and then go to windows,
let's change them to 0% as well so that we
| | 01:55 | can see into the vehicle and if I
click on blinn, what is that, 3SG, and I
| | 02:00 | change its Opacity value to zero,
why I end up losing the dashboard?
| | 02:04 | So let's go ahead and rename this guy
dashboard like so, and then go ahead and
| | 02:08 | increase its Opacity value back up to 100%.
| | 02:10 | And the reason we can't see the
selection, by the way, is, because it's in back
| | 02:15 | of some other materials and Photoshop
doesn't do a particularly good job of
| | 02:19 | showing a selected material
that's in back of another one.
| | 02:22 | All right, click on the next guy down, can't
see a selection, actually I can, look at that;
| | 02:26 | there are these selection edges around the
glass housing |
|
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