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Adjusting the interface settings

Adjusting the interface settings provides you with in-depth training on 3D + Animation. Taught by De… Show More

Photoshop CS5 Extended One-on-One: 3D Scenes

with Deke McClelland

Video: Adjusting the interface settings

Adjusting the interface settings provides you with in-depth training on 3D + Animation. Taught by Deke McClelland as part of the Photoshop CS5 Extended One-on-One: 3D Scenes
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  1. 36m 15s
    1. Welcome to One-on-One
      1m 36s
    2. Making Photoshop your default image editor on a PC
      4m 2s
    3. Making Photoshop your default image editor on a Mac
      5m 53s
    4. Installing the dekeKeys keyboard shortcuts
      4m 10s
    5. Remapping Mac OS shortcuts
      4m 0s
    6. Establishing the best color settings
      3m 53s
    7. Constructing the ideal workspace
      3m 25s
    8. Adjusting the interface settings
      3m 6s
    9. Establishing the best preference settings
      6m 10s
  2. 1h 22m
    1. Understanding the disciplined approach to scenes
    2. Beginning an ambitious 3D scene
      6m 41s
    3. Staking your claim with the camera
      5m 51s
    4. Taking the disciplined approach
      7m 19s
    5. Building a complex Repoussé element
      7m 53s
    6. Taking control of Repoussé bevels
      5m 57s
    7. Mastering the spherical panorama
      5m 6s
    8. Opening up a spherical panorama
      3m 42s
    9. Using a diffuse texture as a layer effect
      7m 12s
    10. Embossing text with bump maps
      5m 42s
    11. Partnering bump maps with diffuse textures
      8m 12s
    12. Automating Repoussé with an action
      4m 57s
    13. Combining 3D layers with Merge Down
      8m 34s
    14. Nesting objects in regular increments
      4m 13s
  3. 37m 42s
    1. A scene's best supporting material
    2. Extruding and positioning glass
      6m 30s
    3. Introducing refraction
      7m 44s
    4. Adjusting a double refraction effect
      7m 45s
    5. Creating a reflective lens
      5m 16s
    6. Creating a "diffuse reflection"
      3m 56s
    7. Adding depth and highlights in 2D
      5m 51s
  4. 1h 53m
    1. Igniting the colors in your scene with light
      1m 35s
    2. Making sense of a single-mesh scene
      5m 43s
    3. Identifying and naming materials
      7m 36s
    4. Establishing a base camera and light
      6m 56s
    5. Creating and positioning point lights
      8m 31s
    6. Precisely positioning lights
      9m 40s
    7. Color, softness, and attenuation
      6m 1s
    8. Capturing a light with Gloss and Shine adjustments
      5m 9s
    9. Making a patterned, textured surface
      6m 48s
    10. Creating a highly polished hardwood floor
      9m 32s
    11. Using the Hotspot and Falloff options with a spotlight
      8m 3s
    12. Placing and pointing a spotlight
      8m 37s
    13. Aligning a light to the camera angle
      6m 34s
    14. Moving cameras and lights
      9m 11s
    15. Adding a 2D sky to a 3D window
      6m 44s
    16. Resolving ray tracing mistakes
      7m 19s
  5. 1h 45m
    1. Darkness conveys depth
    2. Shining light through a window
      7m 34s
    3. Using a 3D postcard as a light shield
      8m 1s
    4. Adjusting an infinite light source
      5m 41s
    5. Adding two new models to a scene
      8m 15s
    6. Looking through many objects in a scene
      7m 40s
    7. Changing shadows on a mesh-by-mesh basis
      4m 39s
    8. Adding a 3D postcard sky
      6m 52s
    9. Passing light through an opaque object
      3m 24s
    10. Diffuse texture vs. self-illumination
      5m 47s
    11. Designing a custom reflection map
      8m 48s
    12. Shielding the distant edge of a scene
      4m 54s
    13. Casting light through an opacity map
      9m 30s
    14. Employing an image-based light
      7m 5s
    15. Making wall art with a 3D postcard
      7m 41s
    16. Creating a Repoussé picture frame
      8m 56s
  6. 1h 6m
    1. Forget the Zoom and Hand tools
    2. Aligning the ground plane to a photograph
      6m 8s
    3. Creating the perfect straight-on view
      3m 26s
    4. Positioning a 3D scene as an object
      4m 26s
    5. Using an orthographic camera
      6m 34s
    6. Sinking a scene into the ground plane
      6m 27s
    7. Designing shiny surfaces
      7m 32s
    8. Making a seamless image-based light
      9m 49s
    9. Lighting a factory-new 3D car
      7m 42s
    10. Adding metallic paint and tire treads
      6m 36s
    11. Depth of field vs. field of view
      7m 21s
  7. 1h 4m
    1. A scene's most important ingredient
      1m 10s
    2. Importing independently editable meshes
      7m 21s
    3. Integrating a 3D scene into a photograph
      6m 11s
    4. Designing a content-aware diffuse texture
      8m 6s
    5. Creating a tapering horn in Repoussé
      5m 44s
    6. Using the camera to align meshes
      10m 56s
    7. Establishing symmetrical meshes
      5m 51s
    8. Employing a self-illuminated mesh
      8m 4s
    9. Creating a self-illumination map
      5m 38s
    10. Cleaning up jagged highlights
      5m 14s
  8. 23m 33s
    1. Crafting the final 3D product
    2. Photoshop's 3D rendering presets
      4m 49s
    3. Making line art without re-rendering
      2m 30s
    4. Working with the Face Style options
      6m 31s
    5. Working with the Edge and Vertex Style options
      4m 31s
    6. Rendering a stereoscopic 3D artwork
      4m 37s
  9. 1m 3s
    1. Until next time
      1m 3s

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Adjusting the interface settings
Video duration: 3m 6s 8h 51m Intermediate


Adjusting the interface settings provides you with in-depth training on 3D + Animation. Taught by Deke McClelland as part of the Photoshop CS5 Extended One-on-One: 3D Scenes

3D + Animation Photography

Adjusting the interface settings

These few remaining movies are all about my recommended preference settings and there's two reasons to take my advice frankly. One is because you'll get better results out of Photoshop and the other is so that you and I are on the same page and we eliminate as much opportunity for confusion as possible, so this movie is all about my panel preferences. Assuming you went ahead and setup the One-on-One workspace. Go to the Color panel and switch it from RGB to HSB, it's a better way of dialing in colors in my opinion, it's a lot easier to predict, then drop down here to Layers panel.

Click on this flyout menu icon in the upper right-hand corner and choose panel Options, then inside of this dialog box switch to the large thumbnail display so that you can see big thumbnails inside the Layers panel, also I recommend you turn off a couple of check boxes here. First turn off Use Default Masks on Fill layers and then turn off Add "copy" to Copied layers and Groups, you just don't need the word copy every time you copy something, then click OK and you'll end up with is the effect here. Now switch to the Channels panel and in this case you can just right-click below the names of the channels like so and switch from Small to Large.

Next, go to the Paths panel right-click anywhere inside of it assuming that you don't have any Paths inside your open document and switch from Small to Large as well. All right, then switch back to layers, because that's where you're going to spend most of your time over here inside the Adjustment panel I'll click on this Adjustment icon to bring up the Adjustment panel, and then I'll click on the flyout menu and this assumes, by the way, that you do not have an Adjustment layer active inside the Layers panel. Otherwise you'll see the specifics of that Adjustment layer and you'll need to switch either to a different layer or click the arrow icon down here in the bottom left corner of the panel.

However, if you can see all 15 of the adjustment icons then click on the panel flyout menu icon there and go ahead and turn off this command Add Mask by Default serves no function you can always add Mask later to Adjustment layers if you want to and also this is a personal preference. I'll click on the fly-out menu again and I'll choose Auto-Select Parameter, because I like to be able to automatically select the first parameter when I'm creating a new adjustment layer. All right, just a couple more changes left, I'm going to go ahead and switch to the Info panel, and then I'm going to click on this little Plus sign there that's got a tiny little arrowhead next to it and I'm going to switch from Inches or Millimeters or whatever it's set to you for you to Pixels, because Pixels serves you much better when you're working in Photoshop than some other arbitrary unit of measure.

And then finally, I will go ahead and close the Adjustment panel, just to hide it on screen and I'll go up to the 3D menu and turn off this command, Auto-Hide layers For Performance. What that's going to allow you to do is see your entire layered composition while you're adjusting a 3D layer inside Photoshop, otherwise the application goes ahead and hides the other layers in the name of better performance, but I have yet to see it make much of a difference, so I'm going to go ahead and choose that command to turn it off. So those are the interface level preference changes that I recommend.

In the next movie, we'll visit the Preferences dialog box.

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