IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Steve Caplin.
And I'm the author of How to Cheat in
| | 00:07 |
Photoshop, 100% Photoshop, and Art and
Design in Photoshop.
| | 00:11 |
I'm also a freelance digital artist
working mainly for national and
| | 00:14 |
international magazines and newspapers.
Over the years, I've tutored and offered
| | 00:19 |
critiques to a wide range of Photoshop
users of all skill levels and of all
| | 00:22 |
walks of lives.
And what I've discovered is this.
| | 00:26 |
You may know all about Photoshop's
filters.
| | 00:29 |
You may have a perfect knowledge of what
all the tools and adjustments do.
| | 00:33 |
But if you get the perspective wrong in
your montages, they'll just look
| | 00:36 |
uncomfortable and awkward to the viewer.
Perspective is perhaps the single biggest
| | 00:42 |
problem for most Photoshop artists.
How do we line up several people in a scene?
| | 00:48 |
How do we draw pictures on a wall that
look as if they're really part of the wall?
| | 00:52 |
In short, how do we make sure that our
montages are convincing and realistic?
| | 00:58 |
The key to getting it right is a thorough
knowledge of how to read and work with perspective.
| | 01:04 |
And here's the good news, it really isn't
that hard.
| | 01:06 |
In this workshop, I'll show you the basic
techniques and then go on to see how we
| | 01:10 |
can put them to use in our everyday
Photoshop work.
| | 01:15 |
We'll cover Horizons, Vanishing Lines and
Photoshop's extraordinary Vanishing Point filter.
| | 01:20 |
As well as showing how to adapt a
photograph so that it fits in with a
| | 01:23 |
perspective of any scene in which we want
to place it.
| | 01:27 |
Finally, we'll see how to create a real
solid 3D object from a photograph using
| | 01:31 |
only the Vanishing Point filter.
I learned about using perspective the
| | 01:37 |
hard way by making mistakes and figuring
out what went wrong.
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I hope this workshop will help you to
quickly understand what has taken me
| | 01:45 |
years to learn.
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1. Why Is Perspective Important?When perspective goes wrong: Horizons| 00:00 |
What's wrong with this picture?
There's clearly something wrong with it.
| | 00:04 |
Look at all these figures don't look like
they belong together in this scene.
| | 00:09 |
But what exactly is the problem?
Well, we look at this and we see the
| | 00:13 |
figures in the foreground are larger from
the figures in the background, well,
| | 00:16 |
that's exactly how it should be.
I mean, we're looking at it in
| | 00:21 |
perspective, the farther away people are,
the smaller they appear.
| | 00:25 |
So, why is it that this girl in the blue
shirt looks so much smaller than the
| | 00:30 |
woman in the black shirt?
Why is it that the boy behind her in the
| | 00:36 |
brown top looks far too small?
I mean, he is smaller but then he's
| | 00:40 |
farther away is in perspective, he's
suppose to be smaller.
| | 00:43 |
The woman in pink right at the back,
looks like she's towering over the boy in
| | 00:47 |
front in of her, even though she's a lot
smaller than he is.
| | 00:52 |
And why is the man in the foreground look
like he isn't really as far in the
| | 00:56 |
foreground as the woman in the black
shirt?
| | 01:00 |
These are really tricky issues, and the
answer, all comes down to the horizon.
| | 01:05 |
The simple trick is our eye line is
always on the horizon.
| | 01:09 |
If we're standing as we are here, on the
beach looking straightforwards, our eye
| | 01:15 |
line is on the horizon.
Here's my son, Joe, and at the time this
| | 01:20 |
photograph was taken, he was exactly the
same height as me.
| | 01:23 |
So, when I look out to see the horizon,
his eye line is also on the horizon, and
| | 01:27 |
that works fine when we're standing down
on the seashore like this.
| | 01:33 |
If we're sitting down, we lower
ourselves, we lower our eye line, and we
| | 01:37 |
also lower the apparent position of the
horizon.
| | 01:41 |
Even when we're sitting down, looking
straight forwards, our eye line is always
| | 01:46 |
on the horizon, even if we're at the top
of a tall building.
| | 01:51 |
Here, we're standing on a cliff and you
can see people on the seashore far below,
| | 01:55 |
and you can see the pier way below us.
That shows how high we are.
| | 02:01 |
Even now, our eye line is on the horizon.
And when we look straight forward at any
| | 02:06 |
point, we see the horizon.
And this is the fundamental key to making
| | 02:10 |
perspective work in Photomontage
illustrations.
| | 02:15 |
And that brings us back to our original
image.
| | 02:17 |
Clearly, the problem has something to do
with the horizon.
| | 02:20 |
The trouble is, this photograph was taken
on a built up street, and there's no
| | 02:23 |
horizon visible.
So, how on Earth do we read the position
| | 02:27 |
of the horizon out of this image?
Well, that's the next problem we have to
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deal with.
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| Finding the vanishing point| 00:02 |
We've seen how important the horizon line
is to establishing the correct
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prospective you ever seen.
The question is, how do we work out where
| | 00:09 |
the horizon is supposed to be?
It's all the question of vanishing points.
| | 00:15 |
What we're going to do here is hide all
the figures in our scene, so we see just
| | 00:18 |
the background.
Now we can see lots of lines in here that
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we know are suppose to be horizontal.
The base of this lower wall, the top of
| | 00:28 |
the lower wall, the top of the upper
wall, the dividing line between these
| | 00:32 |
storeys in the building and, in fact, the
lines in the windows themselves.
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All of these point in the same direction.
So, let's find out where they all point to.
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We'll make a new layer and we'll call it
vanishinglines.
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Now, let's switch to the Shapes tool and
pick a good strong color.
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This green will do nicely.
I want to draw not shaped layers and not
| | 01:01 |
paths, but actual pixels.
We're going to use the Line tool which is
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one of the variants in the Shape tools,
and let's set a width of 5 pixels so we
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can easily see what we are doing.
We'll begin with this low wall.
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I can then click at the extreme right of
the bottom of the wall, and drag that the
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cursor follows the line of the wall all
the way along and, in fact, beyond it to
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the edge of the picture.
And when we release the mouse button, we
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see a green line drawn on our new
vanishinglines layer.
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Let's take another obvious line on the
picture, maybe the top of this dividing
| | 01:41 |
line between the storeys in this
building.
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Once again, we'll start on the right.
And I'm dragging all the way until it
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crosses over the original line we drew,
and I'll release.
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That gives us upper and lower vanishing
lines and you can see, they cross at this
| | 02:02 |
point, over on the far left.
Let's try taking a line along the top of
| | 02:07 |
this low wall.
So, once again, we're following the top
| | 02:11 |
of the wall and we find not entirely, to
our surprise, that it meets the other two
| | 02:15 |
lines pretty much at the same point where
they cross.
| | 02:21 |
Let's try a line along the top of these
windows, where we can drag through the
| | 02:25 |
windows and I'm continuing to drag all
the way down with a line following the
| | 02:29 |
tops of those windows and we find once
again, well, everything meets at this
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vanishing point.
And this is the key to understanding
| | 02:39 |
where to draw the perspective.
Everything tends towards that vanishing point.
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The important thing about that is that
vanishing point gives us our horizon.
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So, let's now make a new layer.
We can call this horizon.
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And let's switch to, say, a bright yellow
color.
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Now, we're going to position the cursor
at the intersection of all those
| | 03:02 |
vanishing lines and hold the Shift key as
I drag it, and that draws an exactly
| | 03:07 |
horizontal line.
And when I release it, that log is filled
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with yellow, and that is our horizon in
this picture.
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Not surprisingly, we could see that it
actually lines up with the lowest wall
| | 03:22 |
right at the back in front of these
windows, and it lines up with the
| | 03:26 |
horizontal part of that.
An we'd expect that the word horizontal
| | 03:32 |
means lined up with the horizon.
We could now hide all our vanishing
| | 03:37 |
lines, because that horizon is all we
need to deal with in this image.
| | 03:42 |
And actually, it's very much lower than
we might expect.
| | 03:46 |
Although you look at a scene and you
think you're going to be on quite a high
| | 03:49 |
viewing point, in fact, that's where the
horizon really is.
| | 03:53 |
Vanishing points can be worked out in
just about any Photoshop document.
| | 03:57 |
There's always some clue as to where the
vanishing lines should be drawn.
| | 04:01 |
Well, that isn't always as
straightforward as in this example.
| | 04:07 |
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| Composing the scene| 00:02 |
Not that we've created our horizon, what
can we do with it?
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Well the first thing we can do is to
reveal all those people we hid in this
| | 00:08 |
scene to see how close their outlines
lines are to that horizon.
| | 00:13 |
Let's turn them all back on again, and we
can see actually they're miles away.
| | 00:19 |
We position the people fairly high up in
the scene, but in fact, the real horizon
| | 00:23 |
is very much lower.
So let's grab all these people in turn,
| | 00:28 |
and move them down, so their eye-lines
are now on that horizon.
| | 00:33 |
Except for this boy, who has to be moved
up.
| | 00:38 |
Now as we move them, you can see the
position of their heads obviously
| | 00:41 |
changes, so that they're on the horizon.
But also, as we drag them up and down, the
| | 00:47 |
position of their feet changes, on the
pavement.
| | 00:51 |
And you can see that with this boy, I've
drawn a shadow that goes with this layer.
| | 00:55 |
So as we move him down, his feet move
forwards, so that he comes further
| | 01:00 |
towards us.
Because his feet are nearer to us in the
| | 01:05 |
picture, and that is how we work with
this horizon line.
| | 01:12 |
Let's take this girl here.
If we want to move her further towards
| | 01:15 |
the camera, we don't just drag her, we
scale her.
| | 01:20 |
So let's go into Free Transform.
And we see the familiar free transform
| | 01:25 |
bounding box.
In the center of this is our marker that
| | 01:28 |
marks the position around which the free
transform operation will take place.
| | 01:34 |
Let's drag just that and move it up to
her eyes.
| | 01:39 |
Now normally, when we work with free
transform, if we drag a corner handle,
| | 01:43 |
it'll scale from the opposite corner.
And you'll know of course that if you
| | 01:49 |
hold shift, it'll scale and keep the same
proportions.
| | 01:53 |
What's more important here is if you hold
the Alt key on a PC, Option on a Mac, and
| | 01:58 |
you drag a corner handle, it'll scale
from the center.
| | 02:04 |
And of course, we can hold shift as well
to keep the proportions the same.
| | 02:08 |
So look what happens now.
This girl's head remains on the horizon,
| | 02:14 |
so her eye line is on the vanishing line.
And as we drag, her feet move forwards
| | 02:20 |
and backwards in the scene and so she
becomes larger and smaller, and that's
| | 02:25 |
how we would position people accurately
within this scene.
| | 02:32 |
And let's bring her back to her and we
can position her slightly behind the
| | 02:36 |
woman in the black shirt.
And we can apply that.
| | 02:42 |
With the boy, we can position him where
we want in exactly the same way.
| | 02:47 |
We'll use Free Transform again.
We'll drag that center point marker and
| | 02:52 |
now we grab an opposite corner, Option or
Alt to make it scale from the center and
| | 02:56 |
the Shift key to keep him proportional.
And once again, we can bring him right forwards.
| | 03:05 |
So, with his feet on a line with the girl
in the blue shirt.
| | 03:10 |
He's now standing much closer to her.
In fact, we could drag him along so he's
| | 03:14 |
standing next to her.
And there he is.
| | 03:17 |
A really easy way to make this
perspective work.
| | 03:20 |
Let's take this man in the foreground.
Because he's right in the foreground, we
| | 03:24 |
can move him above all the other figures.
We can do the same thing here.
| | 03:29 |
Interfree transform, grab that center
marker and move it on top of his eyes.
| | 03:35 |
Now I can't reach the bottom corners here
but I can reach the top corner.
| | 03:40 |
The same thing applies.
Option key on a Mac, Alt on the PC, with
| | 03:43 |
the Shift key to maintain the
proportions, and we can scale him up and down.
| | 03:49 |
Although we can't see the position of his
feet, we can move him wherever we like
| | 03:53 |
within this picture.
And we can drag him backwards and
| | 03:58 |
forwards very easily simply by making him
larger and smaller.
| | 04:04 |
Because his eye line is on the horizon,
we know he's going to look right in this picture.
| | 04:10 |
Let's move this pair slightly over to the
side.
| | 04:12 |
And in fact, they're a little too close
here.
| | 04:15 |
Let's take the girl and make her slightly
smaller.
| | 04:18 |
Once again, we'll move that vanishing
point.
| | 04:21 |
Now, she's slightly behind him, so
they're more talking to each other.
| | 04:26 |
Now, in real life, not everyone is the
same height as us.
| | 04:30 |
We might assume, for example, but this
girl is slightly shorter than us.
| | 04:34 |
And so, in this case, we can move her
eyeline so it's a little bit below the horizon.
| | 04:40 |
We might imagine this man was slightly
taller than us, and so we could move him
| | 04:44 |
so his eyeline was slightly above the
horizon.
| | 04:48 |
Remember, the horizon marks the eyeline
of the viewer, which may or may not
| | 04:52 |
coincide with the eye line of the people
in the scene.
| | 04:57 |
Once we hide the horizon, there is the
picture in which all the people now
| | 05:01 |
appear to belong within this scene.
Arranging a scene so that all your human
| | 05:06 |
figures have their eye lines on the
horizon is the real key to making a photo
| | 05:09 |
montage illustration work.
Once you've recognized this fact, you
| | 05:14 |
won't suffer from that awkward,
something's wrong feeling, ever again.
| | 05:21 |
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2. Opening DoorsDrawing the vanishing lines| 00:02 |
In this chapter we're going to open this
door, and imagine a scene beyond.
| | 00:05 |
In order to make the scene look
convincing though, we need to draw in our
| | 00:08 |
vanishing lines.
Because there's a handy bookshelf on the
| | 00:11 |
right, this should be a fairly
straightforward matter.
| | 00:14 |
So lets make a new layer, and we can call
this one vanishing lines.
| | 00:18 |
We'll use the Shapes tool, as we did
before, set to drawing straight lines to
| | 00:24 |
draw in our vanishing lines.
And let's start with the bottom of this
| | 00:31 |
bookcase where we can draw a line along
the bottom and extend it out.
| | 00:37 |
Now, the problem here, is the picture
isn't wide enough to find our horizon.
| | 00:42 |
The vanishing point, where all the
vanishing lines meet, is way over here
| | 00:46 |
somewhere, as we can see if we try and
draw another one in.
| | 00:50 |
But we simply can't reach it, our picture
is not wide enough.
| | 00:54 |
So let's undo and work out a slightly
different method of drawing these
| | 00:58 |
vanishing lines.
Now, when you use Photoshop you may find
| | 01:02 |
that your image is within the application
frame like this, or you may find it's a
| | 01:06 |
floating window and that's entirely up to
how you set your preferences.
| | 01:12 |
Either way we can deal with this.
If it's in the floating window press F on
| | 01:17 |
your keyboard.
And you'll now see it floating within a
| | 01:21 |
gray background, and we can Pan this
around.
| | 01:24 |
And this is very useful for accessing
areas outside our image, outside the
| | 01:30 |
canvas area.
So what we can do now is with the Shapes
| | 01:34 |
tool, rather than having it set to draw
pixels.
| | 01:38 |
We can have it set to draw Pen Path, and
that's the second Icon here.
| | 01:43 |
So now, if we Click and Drag along the
bottom of this bookcase, we can extend
| | 01:48 |
our path as far as we want over to the
edge.
| | 01:53 |
And when we release the mouse button, we
can still see the path going through there.
| | 02:01 |
Let's try taking a line from the top of
the book case.
| | 02:03 |
I'm going to follow this shelf here.
And once again we can follow this
| | 02:08 |
straight through, and we can now see the
vanishing point way over to the left of
| | 02:12 |
our picture.
Just to confirm it, let's follow another shelf.
| | 02:19 |
And yes, that does indeed meet at the
vanishing point.
| | 02:23 |
And another shelf, and another higher
shelf, and you can see can all of these
| | 02:28 |
tend more of the left of the vanishing
point.
| | 02:32 |
Now in this image, your lines are not
going to tend precisely to the vanishing point.
| | 02:37 |
And that's because I built this bookcase
and I'm a better Photoshop artist than I
| | 02:41 |
am a carpenter.
So if the lines are a little bit wiggly
| | 02:44 |
well, then that's down to my carpentry
skills.
| | 02:48 |
However, what we've done here is to
establish, vanishing lines which give us
| | 02:52 |
our horizon.
We can now hold the Shift key down, and
| | 02:55 |
draw our horizon line straight through
the middle of that vanishing point.
| | 03:02 |
And the Shift key enables us to draw a
horizontal line.
| | 03:05 |
So what we'll do now, is turn all those
paths into a selection.
| | 03:12 |
We can do this by choosing Make Selection
from the paths menu, or we could simply
| | 03:17 |
hit Cmd+Enter on a Mac, Ctrl+Enter on a
PC, and there's our selection.
| | 03:23 |
If we now want to fill these on our
vanishing lines layer, with the
| | 03:27 |
foreground color, we simply press
Option+Delete on a Mac, Alt+Delete on a PC.
| | 03:33 |
And that will fill any selection with the
foreground color.
| | 03:37 |
I'm going to hide those edges, and just
to make it really clear, I'm going to
| | 03:40 |
take a brush, perhaps one smaller than
that one.
| | 03:45 |
And choose a bright green, and paint over
that horizon.
| | 03:48 |
Now you can see the horizon line more
clearly in our image, and now I'll deselect.
| | 03:55 |
With our vanishing lines, red out of the
shelves in the bookcase, we were able to
| | 03:58 |
establish the horizon very easily.
And that will now give us all the clues
| | 04:03 |
we need to complete this image.
| | 04:07 |
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| Selecting the door| 00:00 |
In order to open this door, we first need
to remove it.
| | 00:05 |
And so the first step is to select the
outline of the door.
| | 00:08 |
I'm going to hide our vanishing lines, we
don't need them just yet.
| | 00:13 |
So let's zoom in on the door.
We can select the outline using any
| | 00:17 |
number of tools.
I'm going to use the Lasso tool.
| | 00:20 |
Now, when you're using the Lasso tool in
Photoshop, it defaults to simply tracing
| | 00:24 |
a Free-form outline wherever you drag.
A useful trick with the Lasso tool is if
| | 00:29 |
you hold down the Alt key on a PC, Option
key on a Mac, after you first Click, it
| | 00:33 |
will now draw straight lines between the
points where we Click.
| | 00:39 |
So we can drag up to the top of this
door, and I can Click the top of it
| | 00:43 |
there, and over to the top right corner,
and all the way down to the bottom of the
| | 00:49 |
door, and back to the starting point.
And when I now release the Alt key it
| | 00:58 |
turns those series of Click points into a
selection.
| | 01:03 |
Now of course this works best with
objects with very straight edges, like
| | 01:07 |
the door.
And we could of course have used the Pen
| | 01:10 |
tool to draw the outline, but usuing the
Lasso tool with the Alt key which gives
| | 01:14 |
us the Polygonal Lasso tool on a
temporary basis is sometimes an easier
| | 01:18 |
way of doing it.
So let's make this selection into a new layer.
| | 01:24 |
We'll go onto our background and Choose
new layer via Copy.
| | 01:29 |
That'll make a new layer, but it won't
give us the option of adding a name to it.
| | 01:34 |
If we hold Alt on a PC, Option on a Mac,
it gives us this dialog.
| | 01:39 |
When we make the new layer, it will say,
what do you want to call it?
| | 01:42 |
And we'll call this door.
And it is very useful to gives names to
| | 01:47 |
your layers as you create them.
It'll make it much easier to find what
| | 01:52 |
you are doing later.
We also want to make a copy of this door
| | 01:55 |
layer, which we're going to use to build
a view through it.
| | 01:59 |
And it'll load up this door we just
created as a selection.
| | 02:03 |
And we can do that by holding Ctrl on a
PC, Cmd on a Mac, and clicking on the Thumbnail.
| | 02:09 |
And that will load the contents of this
layer as a selection, and you can see it
| | 02:13 |
all selected there.
In fact let's zoom out, and we can see
| | 02:17 |
the whole thing.
Now I'll make a new layer, and I'll call
| | 02:22 |
this doorway, and say OK.
And this layer, I'm going to fill with black.
| | 02:28 |
And to fill any selection with a
foreground color, we hit Alt delete on a
| | 02:32 |
PC, Option delete on a Mac.
And that does this for us.
| | 02:37 |
So there is our doorway filled.
We've placed the doorway above the
| | 02:41 |
original door, that's still in place, but
we have the doorway and the door as two
| | 02:45 |
separate layers.
By filling the copy of the door area with
| | 02:49 |
black, we're able to create a clipping
mask, on which we'll later create the
| | 02:52 |
scene beyond.
Meanwhile, we've kept a copy of the
| | 02:57 |
original door, so that we can open it
later.
| | 03:02 |
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| Drawing the floor and wall| 00:02 |
Let's start to make the view through this
doorway.
| | 00:04 |
We'll need to add a floor on the wall to
the view, to begin creating a convincing scene.
| | 00:09 |
Now, the back line of the wall needs to
follow a vanishing line, so let's view
| | 00:13 |
our vanishing lines.
Well, it needs to be behind this
| | 00:17 |
vanishing line that comes from the bottom
of the bookcase.
| | 00:20 |
But perhaps not quite as far back, as the
upper one that comes from the second shelf.
| | 00:26 |
So, let's find our vanishing point.
And we can do that by going to the Path
| | 00:32 |
panel, and highlighting the path we drew.
With the Shapes tool, we can now draw a
| | 00:38 |
new line.
It goes from the vanishing point, and we
| | 00:42 |
can Move it up and down as we Drag it, to
say well, I think about there, is a good
| | 00:46 |
position for our wall.
So, on our Layers panel, lets make a new
| | 00:52 |
layer, and we'll call it Floor.
We're creating the floor that will come
| | 00:58 |
in front of the wall.
We can use the Lasso tool, and remember
| | 01:03 |
with the Lasso tool, if you hold Option
on a Mac, Alt on a PC, you can draw
| | 01:07 |
straight lines between points where you
click.
| | 01:12 |
And so I'm following this vanishing line,
and now I'm going to loop around the
| | 01:16 |
bottom like this.
We no longer need to see our vanishing
| | 01:20 |
lines, or vanishing lines as drawn as
paths.
| | 01:24 |
So we can open the Paths panel,
shift-click on the selected path, to
| | 01:29 |
deselect it.
Let's fill this floor with a mid-tone gray
| | 01:34 |
sampled, from our Swatches panel.
As always, to fill a selection with a
| | 01:39 |
foreground color, we use Alt Delete on a
PC, Option Delete on a Mac.
| | 01:44 |
And there is our floor.
Clearly, it's in front of the doorway.
| | 01:48 |
And we only want it visible, where it
overlaps the view through it.
| | 01:53 |
So let's go to the Layer menu, and choose
Create Clipping Mask.
| | 01:58 |
We could also use the shortcut Option
Cmd+G on a Mac, Alt Ctrl+G on a PC.
| | 02:04 |
And now the floor is only visible where
it overlaps that doorway, using that
| | 02:08 |
doorway as a Clipping Mask.
Let's add a little noise to this.
| | 02:13 |
We can use Gaussian Noise, and we'll keep
it monochromatic, and let's add a little
| | 02:20 |
blur to it.
We'll choose Filter > Blur and Gaussian blur.
| | 02:27 |
And a small amount of blur, perhaps a bit
less less than that, will give us a rough
| | 02:31 |
feel for our carpet.
We can tint it maybe using the color
| | 02:38 |
balance controls.
But let's add a little red and a little
| | 02:44 |
blue to this to create a pinkish carpet.
If that's too bright, which it probably
| | 02:51 |
is, well, we could use curves.
Which, maybe, we should have used in the
| | 02:55 |
first place, instead of color balance, to
make the whole thing rather darker.
| | 03:00 |
I'm going to click Okay.
So this is the beginning of the view seen
| | 03:04 |
through this doorway.
Let's make a wall now, and rather than
| | 03:08 |
simply drawing a regular wall, I want to
make a wall that we can see in perspective.
| | 03:13 |
So I'll make a new layer and call it
wall, and we'll use the Rectangular
| | 03:17 |
Marquee tool to sketch out an area for
this.
| | 03:21 |
I want a pale brownish-yellowish color
here.
| | 03:25 |
So I'll choose that.
Maybe add a little bit of red to it, a
| | 03:30 |
little black, and fill our area with that
color.
| | 03:34 |
Again Alt delete on a PC, Option delete
on a Mac.
| | 03:38 |
And just to make things a little more
complex, let's add some texture to this,
| | 03:42 |
and let's add a regular texture.
So we can go to, for example, Patchwork,
| | 03:47 |
and this will give us a very regular
array of straight lines.
| | 03:53 |
We can make the squares a bit bigger and
maybe make the relief a little smaller.
| | 03:57 |
So we only get quite faint lines coming
out on our wall.
| | 04:01 |
And we'll click Okay.
Let's Deselect.
| | 04:05 |
We can make the wall part of the same
clipping group with the floor and the
| | 04:09 |
doorway, by choosing it from the menu or
pressing the keyboard shortcut.
| | 04:16 |
And there it is.
Let's move the wall behind the floor layer.
| | 04:20 |
And we can see that the wall is going
straight across the document, but we want
| | 04:23 |
this texture to go in perspective, so
let's show our vanity lines once more.
| | 04:29 |
When we go into free transform, we get
our familiar free transform handles.
| | 04:35 |
If we hold Cmd on the Mac, Ctrl on the
PC, and drag the corner handle up, we can
| | 04:39 |
move just that handle.
And we can adjust it so it follows the
| | 04:44 |
vanishing line drawn at the bottom of
that wall.
| | 04:48 |
We can do the same thing with the top
handle, holding Cmd or Ctrl and dragging
| | 04:52 |
it down.
Now to keep it moving purely horizontally
| | 04:55 |
or vertically, we just hold the Shift
key.
| | 04:58 |
And we can drag this down, so that the
lines in the tiles match the vanishing
| | 05:05 |
lines on the wall.
Let's Zoom in a little.
| | 05:10 |
Now that we have it in the right
perspective, we can see that all of these
| | 05:13 |
squares look too wide.
They're more like rectangles.
| | 05:17 |
We can easily grab the center handle on
the vertical and drag it.
| | 05:23 |
As we drag, you notice that it drags it
in perspective, rather than moving
| | 05:27 |
straight across it follows the top and
bottom lines that we've set.
| | 05:33 |
And round about there, seems to be a good
position for our wall.
| | 05:37 |
We could make it narrower from both sides
at the same time, and that looks good.
| | 05:41 |
So let's say okay to that and let's hide
our vanishing lines.
| | 05:45 |
And there are the wall, and the carpet in
place.
| | 05:49 |
Now one thing we'll notice here, as we
zoom in, is that the wall doesn't quite
| | 05:54 |
reach the top of the doorway.
And that's because when we selected the
| | 06:00 |
door earlier, we didn't make the
selection high enough.
| | 06:03 |
Easy to fix, we'll switch to our Doorway
layer, which forms our Clipping Mask.
| | 06:08 |
Make a selection of the top ,and hold
down the Alt key as we nudge it upwards.
| | 06:16 |
Problem fixed.
| | 06:20 |
| | Collapse this transcript |
| Adding the interior door| 00:02 |
Our view through the doorway is starting
to come together, although so far it does
| | 00:05 |
look a little artificial.
We can help to fix that by adding a real
| | 00:08 |
photographed element, such as a new door.
We don't need to draw the door, of
| | 00:13 |
course, as we already have one
photographed.
| | 00:15 |
Now, we've already cut out the door and
it's right down here.
| | 00:20 |
If hold Alt on a PC, Option on a Mac, and
click on the eye, we can see just that
| | 00:23 |
layer by itself.
Now the problem is, we cut this door out
| | 00:28 |
without it's frame.
It's not going to look convincing on that wall.
| | 00:33 |
Let's make a new selection, and we'll
highlight just the background here.
| | 00:39 |
You can use the Lasso tool again to
select the bottom of the door frame, hold
| | 00:44 |
in the Alt key and select up to the top,
along the top and down the other side.
| | 00:52 |
And I'll wiggle around the bottom of that
frame along this wooden bar, and then
| | 00:56 |
around the bottom of the left of the
frame.
| | 01:00 |
Now, you can see that there's a little
bit of lamp, and the lamp stand coming in
| | 01:04 |
on the left here.
We can fix that.
| | 01:09 |
Let's make a new layer from this, and
we'll call this one Second Door.
| | 01:13 |
Now, when you zoom on this, we want to
get rid of this bit of lamp and this bit
| | 01:19 |
of the stand, so let's lock the
transparency of this.
| | 01:26 |
That means when we paint on it, it wont
paint over the edges.
| | 01:29 |
We can switch to the rubber stamp tool
and sample a little bit of the door
| | 01:34 |
frame, just above the fending area, and
now we can clone that over it.
| | 01:41 |
And the same down at the bottom here.
And we can go all the way down, but let's
| | 01:48 |
sample it higher again to take out the
skirting board edge, then go right down
| | 01:52 |
to the bottom of our door frame.
And we'll just take out that shadow that
| | 02:02 |
appears from the lamp.
Let's view all the visible layers in our scene.
| | 02:12 |
So our second door, we can bring up and
we can put it at the top of the stack,
| | 02:16 |
and there it is exactly replacing the
original door in the background.
| | 02:23 |
We want to make it part of our clipping
group, so we can edit, using the Layer menu.
| | 02:29 |
And you can see, it now grouped with the
floor, the wall and the doorway.
| | 02:34 |
And let's now use Free Transform to flip
it horizontally, and we can do that by eye.
| | 02:43 |
And let's make this smaller.
So, you're going to move it so that the
| | 02:48 |
bottom of the door lines up with the
bottom of our wall.
| | 02:53 |
In fact, let's move it slightly over to
the left here.
| | 02:57 |
To make it line up perfectly, we need to
move this corner handle.
| | 03:01 |
So, we hold Cmd on a Mac, Ctrl on a PC,
and start to drag.
| | 03:04 |
And that'll allow us to move just that
corner handle by itself.
| | 03:08 |
Now, as we move, you can see we can move
it both horizontally and vertically.
| | 03:13 |
If we hold the Shift key, it constrains
that either one or the other.
| | 03:18 |
So with the Shift key held down, we can
move it slightly vertically.
| | 03:22 |
Let's pull the whole of this door down.
That's looking better.
| | 03:27 |
And we can do the same with the top.
Just dragging that up until the top of
| | 03:30 |
the door are at the same line as the
vanishing lines that appear in our wallpaper.
| | 03:36 |
We can make the whole door higher and
lower, if we like.
| | 03:40 |
Let's leave it where it was.
Now that we've done that, we can see some
| | 03:46 |
smudges where we patched earlier.
Let's just fix those by patching again.
| | 03:52 |
With the Clone tool, we'll sample high up
the door and then paint this all the way down.
| | 04:01 |
And there it is, with a new door in place
it is starting to look much more like a
| | 04:05 |
realistic view.
But there's still a fair way to go before
| | 04:10 |
we finish.
| | 04:12 |
| | Collapse this transcript |
| Building the skirting board| 00:02 |
To make the floor meet the wall better,
let's add a skirting board.
| | 00:06 |
Now, we don't have a large enough section
of real skirting board to work with in
| | 00:09 |
our original image, so let's fake one.
And we can fake one by copying a piece of
| | 00:14 |
the door.
Let's go back to our original image and
| | 00:19 |
to my mind, this piece of vertical looks
just like a skirting board to me.
| | 00:27 |
So, let's grab some of that, and let's
take it to the bottom here.
| | 00:30 |
We'll use the rectangular Marquee tool to
make a selection of just this piece of
| | 00:36 |
the door.
Let's make a new layer from this.
| | 00:40 |
And we'll call this one skirting board.
And when we drag this into our clipping
| | 00:46 |
mask group, between the floor and the new
door, it automatically added to that group.
| | 00:55 |
So, let's turn on all the rest of our
layers.
| | 00:59 |
Well, there's the skirting board, we can
pick this up and use Free Transform to
| | 01:05 |
rotate it, move it into place and drag
the bottom down so that it lines up with
| | 01:11 |
our vanishing lines.
Now, the top of it is parallel to the bottom.
| | 01:18 |
And because we've viewed it again in
perspective, we need to make it larger on
| | 01:22 |
the right-hand side.
If you grab that anchor point and drag it
| | 01:26 |
up until we now get our top of the
skirting board running in perspective
| | 01:30 |
along the line of the wallpaper.
Let's move this a little bit higher, and
| | 01:37 |
there it is.
Now that the skirting board is in place,
| | 01:42 |
the added photographic elements are
starting to make the whole scene look
| | 01:46 |
rather more convincing.
| | 01:49 |
| | Collapse this transcript |
| Adding a picture| 00:02 |
We'll add a painting to the scene to fill
up some of the space between the edge of
| | 00:04 |
the door and the wall.
And what better painting to use than the
| | 00:08 |
Mona Lisa?
Here she is, and let's drag her into our scene.
| | 00:13 |
Now, because we already had the Skirting
Board selected, when we dragged the image
| | 00:17 |
in, it appears above our currently
selected layer.
| | 00:21 |
And so it's already part of this clipping
group.
| | 00:25 |
We can use Free Transform to scale this
down, and let's move it up onto our wall,
| | 00:31 |
and let's zoom in.
All we have to do is get the size as we
| | 00:37 |
want it, and then drag the corner handles
so that the top and the bottom are
| | 00:43 |
aligned with our grid.
And let's make that slightly narrower.
| | 00:50 |
And let's move it over a touch.
Now, normally, we'd need to view our
| | 00:55 |
vanishing lines to do this, but because
we chose wall paper with a regular grid
| | 01:00 |
pattern, we can use that instead.
So there's the picture in place.
| | 01:10 |
It's easy to make our picture elements
match the perspective of the scene by
| | 01:13 |
using the vanishing lines we created
earlier.
| | 01:16 |
Or in this case, we can use the lines in
our tiled wallpaper as an extra bonus.
| | 01:24 |
| | Collapse this transcript |
| Painting the shadows| 00:02 |
With all the elements now present in the
view for the door way, we need to make it
| | 00:06 |
more realistic and we can do this for the
use of shadows.
| | 00:11 |
First though we'll tone down the bright
yellow of that wall.
| | 00:15 |
Let's switch to the wall layer and open
up hue and saturation adjustment and
| | 00:19 |
lower the saturation.
That's looking a little better.
| | 00:24 |
Now let's make our shadows.
We could paint them on directly but I
| | 00:27 |
prefer to do this on a hard light layer.
So we'll make a new layer that matches
| | 00:32 |
the shape of this cut out.
First of all we'll load the shape of the
| | 00:36 |
selection by holding Cmd on a Mac, Ctrl
on a PC, and clicking on the Thumbnail of
| | 00:41 |
our doorway, and that makes our
selection.
| | 00:45 |
Now, go to the top of this stack and make
a new layer.
| | 00:49 |
We'll Choose Hard Light as the mode for
this layer, and we'll fill it with a Hard
| | 00:53 |
Light neutral color.
Now, in Hard Light mode, 50% gray becomes
| | 00:58 |
transparent, so anything we do to darken
this layer will add shading to it, and
| | 01:03 |
we'll call this layer shading.
Let's inverse the selection so everything
| | 01:11 |
except the doorway is selected and press
delete to remove everything outside that area.
| | 01:20 |
And now, the shading layer exactly
matches the shape of our doorway.
| | 01:25 |
We can use the Burn tool to add our
shadows.
| | 01:28 |
Let's increase the size of the tool and
lower the exposure to around 50%.
| | 01:36 |
Now if you're using a very sensitive
tablet as I am, the harder you press with
| | 01:39 |
a pen, the darker the effect will be.
If you're using a mouse you need to do it
| | 01:45 |
all by changing the exposure, and there
are shortcuts to do this.
| | 01:49 |
If you press three you'll get 30%, seven,
you get 70%, all the way up to zero to
| | 01:53 |
get back to 100%.
Let's start with 50% and we'll zoom in a bit.
| | 02:02 |
We can darken up this layer to add our
shadows.
| | 02:06 |
Let's go along the top and down the side,
and let's zoom out again.
| | 02:17 |
So more shading over on the left, all the
way down the side.
| | 02:23 |
And this really starts to make the
interior of this view look more convincing.
| | 02:30 |
Let's add a little shadow down on the
right-hand side as well, and there's our
| | 02:35 |
shading complete.
The addition of these shadows really does
| | 02:40 |
start to make the view through the door
that much more realistic.
| | 02:47 |
| | Collapse this transcript |
| Opening the original door| 00:02 |
When we made the view through this
doorway, we began by selecting the
| | 00:05 |
original door and moving it to a new
layer.
| | 00:08 |
Let's now bring that door back into view
and open it.
| | 00:12 |
So here's the door, and we can simply
Drag this to the top of the Layer Stack.
| | 00:17 |
And there's the door in place.
Well the first thing we want to do in
| | 00:20 |
order to open it is to Flip it
horizontally.
| | 00:23 |
So let's do that.
Edit.
| | 00:26 |
Font Form.
And Flip Horizontal.
| | 00:30 |
We can now Drag it out holding the Shift
key down so we move it only horizontally.
| | 00:36 |
And we put it just on the right-hand side
of this open doorway.
| | 00:41 |
Now let's move this into better
perspective.
| | 00:43 |
We can use Edit and Free Transform to
begin.
| | 00:48 |
To adjust it into perspective, we can
hold Shift, Option and Cmd on a Mac,
| | 00:52 |
that's Shift, Alt and Ctrl on a PC.
And as we Drag one of these corner
| | 00:57 |
handles upwards it'll move the bottom one
down In the corresponding way.
| | 01:02 |
We don't want it quite as open as that
and we can fake it by dragging the
| | 01:07 |
handle, in the center, of this vertical
side to make the door appear slightly narrower.
| | 01:15 |
Let's now Drag the bottom down, and there
is a good view of our door in perspective.
| | 01:21 |
So let's commit to that transformation.
We need an edge to this door, to make it
| | 01:26 |
look like a real door.
Let's grab a center piece out of the
| | 01:31 |
middle of the door.
And I'm just using the Rectangular
| | 01:35 |
Marquee to select this.
And let's make a new layer.
| | 01:38 |
And we'll call this Door Edge.
We can now switch to the Move tool and
| | 01:45 |
Drag it over to the side.
We'll Flip it horizontally again.
| | 01:54 |
And move it to the top of the door.
I'm going to Zoom in here.
| | 02:01 |
And use Free Transform to Drag it down.
And in fact, I'm going to Drag it just
| | 02:07 |
below the bottom of the door, scroll to
the top and Drag the Top Edge a little
| | 02:13 |
higher, and now apply that.
To make this slightly different from the
| | 02:19 |
face of the door, let's darken it up a
little.
| | 02:22 |
And we can do that using curves.
As we D rag down, this edge gets darker
| | 02:29 |
and that makes a good edge for our door.
Let's now address the top and bottom.
| | 02:36 |
We can use the Eraser tool with a hard
edged brush.
| | 02:41 |
Got to chop off the top at an angle, and
then move to the bottom and do the same
| | 02:48 |
thing down here.
Now we've got a couple of lines coming
| | 02:55 |
through on here, and we're seeing those
because they are cracks in the original door.
| | 03:04 |
Let's paint those out.
We can switch to the Brush tool with a
| | 03:07 |
Soft Edged Brush, and we'll lock the
transparency of this Door Edge so we
| | 03:13 |
don't paint over the edges.
Now we can simply sample a color from the
| | 03:21 |
door and paint over.
While we're at it, I noticed at the top
| | 03:26 |
of this door, we've got a little bit of
the original frame captured within it.
| | 03:32 |
Let's switch to the door, lock the
transparency again.
| | 03:36 |
Sample a color, and paint that out.
And that's looking much better.
| | 03:44 |
Now there's still one thing that we need
to do to this Door Edge, and that's to
| | 03:47 |
add a lock to it.
We could draw a lock, but we don't need
| | 03:52 |
to because we have a door handle that is
the same kind of coloring.
| | 03:57 |
Let's go for the Rectangular Marquee and
select a Rectangle from within this door handle.
| | 04:04 |
We already have the door layer selected,
so let's Copy this to a new layer, and
| | 04:08 |
we'll call this Lock.
When we switch to the Move tool, and we
| | 04:12 |
start to Drag it over the Door Edge, and
it appears behind it.
| | 04:17 |
Well, that's because the lock is behind
the Door Edge in the Layer Stack.
| | 04:22 |
So let's move it above.
I will zoom in again.
| | 04:26 |
Now viewing this at 300%, we're seeing a
rather pixelated view.
| | 04:31 |
Let's use Free Transform to stretch this
down.
| | 04:35 |
And make it a little narrower, and Drag
the bottom down a little way to make it
| | 04:41 |
look inperspective, and we could Drag the
top corner up, correspondingly.
| | 04:50 |
And there's our Door Lock.
Move it down a little way.
| | 04:56 |
And let's darken up the edge of this door
just a little more.
| | 05:03 |
Opening this door was a very
straightforward process, all we had to do
| | 05:06 |
was to Flip it horizontally, and adjust
the perspective.
| | 05:10 |
Adding the Door Edge together with the
lock makes the whole thing look more realistic.
| | 05:17 |
| | Collapse this transcript |
| Adding shading behind the door| 00:02 |
We need to make this open door look more
realistic, and we can do this by adding a
| | 00:06 |
little shading behind the door.
So we'll go to the Door layer, and move
| | 00:11 |
one layer down.
We'll make a new layer and call this One Shadows.
| | 00:17 |
And we can paint directly on this layer
using our paintbrush with a large
| | 00:22 |
Soft-edged brush.
We'll set the foreground color to black,
| | 00:27 |
and we can do this by pressing D, and
that key sets the foreground to black and
| | 00:31 |
the background to white.
Let's lower the opacity to around 40% and
| | 00:37 |
start to paint in behind the door.
We have a very big brush to start with
| | 00:42 |
and we can use this to add some general
shading cast by the door on this bookcase behind.
| | 00:46 |
Make the brush a little smaller to add
some more shading, maybe go along the
| | 00:54 |
floor and up the wall a little bit.
Now let's zoom in, use a much smaller
| | 01:03 |
brush, and add a little more shading
directly beneath the door.
| | 01:11 |
When you're adding shading like this, it
always helps to work the low opacity and
| | 01:14 |
build up the shadow in small stages.
With the shading added, this open door
| | 01:23 |
now interacts correctly with the whole
scene.
| | 01:26 |
Making objects cast shadows is one of the
key ways to make any montage more realistic.
| | 01:35 |
| | Collapse this transcript |
| Adding the door's reflection| 00:02 |
That door now has a shadow, but look at
the floor beneath it.
| | 00:05 |
It's made of polished wood.
We need to add a reflection to that wood,
| | 00:08 |
if we're really to make the door look
like it's part of the scene.
| | 00:12 |
So let's Zoom in.
I want to select the bottom part of this
| | 00:16 |
door, since we'll only see the very
bottom of it as the reflection.
| | 00:21 |
We'll switch to the door layer and I can
make a Marquee selection that includes that.
| | 00:27 |
Let's make a new layer and call it Door
reflect.
| | 00:34 |
We'll flip it vertically using Edit >
Transform, and Flip Vertical.
| | 00:41 |
And I'll drag it down, so that the left
hand corner meets the left-hand corner of
| | 00:47 |
the door.
We could now use Free Transform to grab
| | 00:51 |
the opposite corner and again, when I
drag this I'm sheering.
| | 00:57 |
So if I hold the Shift key down, it's
going to constrain that to purely
| | 01:00 |
vertical movement.
And I can drag this right down like so.
| | 01:06 |
Let's apply that and nudge it up a little
bit so it meets the door.
| | 01:14 |
We need the edge as well, so let's go to
our door edge layer, select it.
| | 01:20 |
Make a New Layer from this and drag this
down as well.
| | 01:28 |
Now, in fact, there's no need to shear
this, I can just move it behind the door edge.
| | 01:33 |
We need to lower the opacity of both
these layers, and the easiest way to do
| | 01:37 |
this is to select them both.
Make a new group and call it reflection.
| | 01:44 |
We can now lower the opacity of the group
as a whole.
| | 01:50 |
So let's try it at 50%.
It can go lower than that.
| | 01:56 |
Let's drag it down, and that looks pretty
good to me.
| | 02:02 |
We could move that reflection just behind
the shadows we've painted on the ground,
| | 02:06 |
and then the shadow beneath the door
comes out more strongly.
| | 02:12 |
Now we've done that, I'm looking at this
carpet again and I'm thinking, that would
| | 02:16 |
look so much better if it were replaced
by our polished wood.
| | 02:20 |
So, let's make a selection of the wood in
the bottom here.
| | 02:26 |
And I've done that using the Lasso tool,
holding Option on a Mac, Alt on a PC, to
| | 02:32 |
make it draw straight lines between click
points.
| | 02:38 |
We can go to our background.
And make a new layer from that selection.
| | 02:46 |
And I'll call this Wood floor.
Now let's drag this above the carpet
| | 02:53 |
floor we made earlier, and move it over
into place.
| | 02:59 |
And you can see, well, it's the wrong
shape, because the original was cut off
| | 03:01 |
by the bottom of the picture.
And also, it's important to note that it
| | 03:07 |
is part of this clipping group which uses
the original doorway as a clipping layer.
| | 03:13 |
What I'm going to do now is go into Free
Transform and flip this vertically.
| | 03:20 |
And what that will do, is make our planks
appear to run the length of this hallway
| | 03:25 |
outside rather than going across them.
So let's rotate this and move it over to
| | 03:35 |
the side, and apply that.
I'm going to make a copy of all of this,
| | 03:44 |
so I'll select it by holding Cmd on the
Mac, Ctrl on the PC, and that loads it
| | 03:48 |
all as a selection.
And let's hide those edges.
| | 03:54 |
With the Move tool selected, if I hold
Option on a Mac, Alt on a PC, as I drag,
| | 03:59 |
I'm moving a copy.
And I can drag this across, and use Free
| | 04:05 |
Transform to shear that so it goes into a
better perspective to match the existing
| | 04:11 |
piece of floor.
And I'll make another copy, and shear
| | 04:19 |
this again.
Make it a bit longer, and there it is.
| | 04:24 |
Now that's still selected and if I show
the edges we can see that, so I'll
| | 04:29 |
deselect, and now I want to transform
this entire wood floor to make these
| | 04:33 |
lines between the planks follow our
perspective lines.
| | 04:40 |
So we'll go into Free Transform again.
And I can grab one of these top corner
| | 04:44 |
handles, and I can pull it down.
And with a little bit of tweaking and
| | 04:50 |
fiddling, we can make this more or less,
follow, the perspective as set, by our
| | 04:55 |
view of the scene.
And that might be about as good as we're
| | 05:07 |
going to get.
We need to patch it a little bit, there's
| | 05:10 |
a piece missing at the top here, and at
the bottom.
| | 05:13 |
Well, we easily use the Clone tool,
making sure that its sampling just the
| | 05:18 |
color of layer.
We can click that at our sample point,
| | 05:24 |
and then clone along this line between
the blanks, and we can do the same thing
| | 05:29 |
to fill in this piece of the font here.
These planks are no longer quite
| | 05:36 |
following the perceptive to leftUNKNOWN
the whole blank scene again.
| | 05:41 |
And pull that down, and that looks rather
good.
| | 05:45 |
To make the reflection, we need to copy
all of this wall assembly.
| | 05:52 |
Before we do that, I'm going to hide our
shading layer, for we don't want the
| | 05:56 |
shading copied.
I'm going to load the wall as a selection.
| | 06:00 |
And we can do this by holding Cmd on the
Mac or Ctrl on the PC and clicking on it.
| | 06:06 |
And now we can choose Edit, and Copy
Merged, and that makes a copy as if this
| | 06:11 |
was all one layer.
So when we choose Paste, it copies this
| | 06:17 |
entire piece of wall.
Let's flip it vertically and drag it down
| | 06:28 |
into position.
I'll make the left-hand side of this door
| | 06:36 |
meet the left-hand side of the original
door.
| | 06:41 |
And use Free Transform to share this.
So, it makes our reflection and when the
| | 06:44 |
bottom lines up the bottom of the door we
know that's correct.
| | 06:47 |
That's our reflection.
Let's lower the opacity of this down to,
| | 06:57 |
let's try 30%.
And there it is.
| | 07:03 |
The final step is to reveal our shading
layer again.
| | 07:06 |
And there it is.
Adding reflection is an interesting step.
| | 07:10 |
It's unlikely that any viewers of the
final image will notice the reflections
| | 07:14 |
directly, but without them the image
would also look a little odd.
| | 07:19 |
With the reflections and shading in place
our open door image is now complete.
| | 07:24 |
| | Collapse this transcript |
|
|
3. Correcting PerspectiveThe perspective problem| 00:02 |
Here's a truck photographed on a city
street.
| | 00:04 |
Or rather, it clearly wasn't photographed
on this street.
| | 00:07 |
The viewing angle's all wrong.
We need to make this truck look as if
| | 00:11 |
it's parked at the curb rather than
sticking out into the road like this.
| | 00:15 |
But how can we do this?
Well, the truck's in its own layer, so we
| | 00:18 |
can move it around easily.
So we should be able to adjust the perspective.
| | 00:23 |
And this building in the background gives
us very clear vanishing lines, in fact so
| | 00:27 |
clear, we don't even need to redraw them.
We can read them out of the lines in the
| | 00:32 |
building, and the lines of the edge of
the curb, and the white line down the
| | 00:35 |
middle of the road.
So, let's try using Free Transform.
| | 00:40 |
Let's see if we can squeeze this truck
up.
| | 00:42 |
By holding down Shift+Option+Cmd on a
Mac, Shift+Alt+Ctrl on a PC, we
| | 00:47 |
should be able to drag the front of it to
correct the perspective.
| | 00:55 |
Well, this clearly isn't working.
We can make it shorter.
| | 01:00 |
But it still isn't looking right.
It's clear that we can't adjust the
| | 01:05 |
perspective as easily as we could if this
were a flat surface.
| | 01:09 |
And that's because the truck is a three
dimensional object, and we can see two
| | 01:12 |
different sides of it.
More complex solutions are required for
| | 01:17 |
more complex objects.
So let's cancel that transmission and
| | 01:22 |
work out how we can do this again.
| | 01:27 |
| | Collapse this transcript |
| Correcting the truck side| 00:02 |
We want to adjust this trucks perspective
so that it matches the perspective of the street.
| | 00:07 |
Because it bends around the corner, we
have to spit it into its constituent
| | 00:11 |
plains in order to be able to adjust each
one independently.
| | 00:15 |
Let's use the Lasso tool to select just
the side of the truck.
| | 00:20 |
We can drag around to the top, and we'll
go to this top corner.
| | 00:24 |
Now, we can hold Alt on a PC, Option on a
Mac, and that'll draw a straight line
| | 00:29 |
between points where we click.
And we can drag this all the way down to
| | 00:35 |
this lamp.
Now, when we get to the lamp, we can't go
| | 00:39 |
straight down to the bottom because the
lamp is part of the back plane of the
| | 00:43 |
truck, and not of the side.
So, let's click and drag around the top
| | 00:49 |
of the lamp underneath it, and now we can
loop around, and select the rest of this side.
| | 00:58 |
When we release the modifier key, there's
our selection made.
| | 01:03 |
We'll make a new layer from this.
And we'll choose new layer via cut, and
| | 01:08 |
that will both make a new layer and
remove it from the original.
| | 01:14 |
If we hold down Option on a Mac, Alt on a
PC, it brings up this dialog and we can
| | 01:19 |
call it truck side.
And it's always worth giving names to
| | 01:25 |
your layers, it makes things much easier
later on.
| | 01:29 |
So, let's click OK.
With the truck side now isolated, we can
| | 01:34 |
use FreeTransform to distort it.
Let's begin by grabbing the bottom right-handle.
| | 01:42 |
If we hold down Command on the Mac,
Control on the PC, we can adjust just
| | 01:46 |
that handle.
And if we hold the Shift key as well, it
| | 01:49 |
constrains our movement to purely
horizontally or vertically.
| | 01:53 |
So, let's bring that up the street.
We can do the same with the top handle
| | 02:00 |
and bring it down.
Well, we can see, the top of the truck is
| | 02:05 |
now matching the tops of the windows and
bottom, if we lift it a little more, is
| | 02:09 |
matching the angle set by the curb as
they disappear of toward the vanishing point.
| | 02:18 |
But the whole thing is too wide, so let's
grab the middle handle on this side and
| | 02:23 |
drag this in to make our truck narrower.
As we do so, the perspective goes wrong
| | 02:30 |
again, so we need to keep on adjusting
both, the perspective of it going down
| | 02:35 |
the street, and the length of it.
And we really have to do this by eye,
| | 02:41 |
there's no automated way of making this
work.
| | 02:44 |
But so far, that looks pretty good to me.
That makes a convincing view of our truck
| | 02:50 |
going off down the street, so let's apply
that.
| | 02:54 |
The side of the truck now looks as if it
belongs in this scene correctly.
| | 02:58 |
We still have to work on the back, of
course, to make this image look more convincing.
| | 03:05 |
| | Collapse this transcript |
| Correcting the truck back| 00:02 |
With the side of the truck in
perspective, let's work on the back.
| | 00:06 |
We've already split the side and the back
into two separate layers, so this
| | 00:10 |
shouldn't be a difficult task.
We'll switch to the original layer, which
| | 00:16 |
now holds only the back of the truck.
So let's switch to the Move tool and go
| | 00:22 |
into Free Transform.
Once again, we can hold down the Cmd key
| | 00:28 |
on a Mac, the Ctrl key on a PC to adjust
each of these corner handles independently.
| | 00:36 |
So let's grab the top one and lift it up.
I'm also going hold the Shift key to make
| | 00:41 |
sure it moves purely vertically.
We need to make this slightly wider, so
| | 00:47 |
let's pull it across.
And now it's a little bit to high so
| | 00:52 |
we'll Drag the whole thing down a bit.
We're starting to see a little bit of the
| | 01:01 |
back ground through this, and that's
because the edge of the back of the truck
| | 01:05 |
is pinned not by the side where it meets
the side of the truck.
| | 01:11 |
But by the edge of this lamp.
So let's nudge the whole thing over to
| | 01:15 |
the right.
So we just see the tree through it.
| | 01:20 |
Let's make it a little bit wider again.
And we're going to pull the bottom left
| | 01:27 |
corner down a little way, and make it
again slightly wider.
| | 01:34 |
And we can click Okay.
So that's looking fairly good.
| | 01:41 |
The Lamp is partly hidden by the Wheel.
And that's because the back of the truck
| | 01:47 |
is on the layer behind the front.
But let's move it in front.
| | 01:54 |
And now the whole of that back lamp is
visible.
| | 01:58 |
If we zoom in on it, we can see the
perspective of this side of the lamp
| | 02:03 |
isn't exactly right and that is on the
back of the truck.
| | 02:09 |
So let's Select just that.
I'll make this a little narrower.
| | 02:16 |
I'll hide the edges and use Free
Transform to adjust just this.
| | 02:21 |
And I'm going to lift it up slightly.
And we can deselect.
| | 02:27 |
There's a very small gap we can just see
above the lamp.
| | 02:31 |
And that's where distorting the side
leaves a different result than distorting
| | 02:35 |
the back.
We can easily fix that by going into the
| | 02:39 |
side, and using the Clone tool to sample
some of the texture, I'll use it from
| | 02:44 |
higher up the truck here, and we can
paint that in.
| | 02:51 |
And that neatly fills the gap.
By splitting the truck into two layers,
| | 02:56 |
we were able to address the perspective
of each plane independently, and that's
| | 03:01 |
what allowed us to perform the slightly
complex perfective transformation.
| | 03:09 |
| | Collapse this transcript |
| Adding the shadow| 00:02 |
Even with the perspective corrected, this
truck still doesn't look like it's really
| | 00:05 |
part of the street, and that's because it
isn't casting a shadow on the road behind it.
| | 00:11 |
So let's paint one in.
We'll go to the background layer and make
| | 00:16 |
a new layer, and we'll call this one
shadow.
| | 00:18 |
And let's zoom in.
I'm going to switch to the brush tool,
| | 00:26 |
and choose a large soft edged brush.
Perhaps slightly smaller than that.
| | 00:38 |
With black as the foreground color...
I'm going to paint the shadow underneath this.
| | 00:44 |
If we paint at 100% opacity, it's going
to make a very unconvincing looking shadow.
| | 00:52 |
It's just too solid, and we get very
little control this way, so let's undo that.
| | 00:59 |
We'll reduce the opacity of the brush, to
let's say, 40%.
| | 01:04 |
And we can do that using the number keys.
Four on the keyboard gives us 40%, eight
| | 01:09 |
gives us 80% and so on.
We'll return to our 40%.
| | 01:16 |
It'll paint a shadow directly underneath
the truck.
| | 01:20 |
At 40% opacity, that isn't enough.
So let's build it up by painting it again.
| | 01:32 |
And again.
And again.
| | 01:37 |
By building up the shadow in stages,
we're able to paint it much more
| | 01:40 |
successfully, than if we used a heavier
opacity, and tried to do it all in one go.
| | 01:45 |
And then to paint a bit more behind the
truck.
| | 01:49 |
And now I'm going to look at these
wheels.
| | 01:54 |
Each of these, needs to cast it's own
shadow on the road surface.
| | 01:58 |
So I'll reduce the brush size.
And you can use the square bracket keys
| | 02:02 |
to do this.
The left square bracket makes the brush smaller.
| | 02:06 |
The right square bracket makes it bigger
again.
| | 02:10 |
And now we can paint a shadow, beneath
each of these wheels.
| | 02:15 |
There's the first one, and there's the
second one.
| | 02:20 |
Now that we have the shadows in place, we
can see a slight white fringing on the
| | 02:24 |
edge of this truck.
So lets fix that.
| | 02:28 |
We'll go look at the truck side layer,
and we want to paint that out.
| | 02:34 |
We don't really need to clone anything
into that to get rid of it, we can simply
| | 02:37 |
use a small paint brush.
So I'll make the brush small, and set the
| | 02:42 |
opacity up to 100% now.
I'll sample a color, from inside the tyre.
| | 02:48 |
And we can use this by holding down
Option on a Mac, Ctrl on a PC.
| | 02:53 |
With Photoshop CS 5, we get this color
ring coming up.
| | 02:58 |
And that shows us the sampled color, in
the top half off the inner ring.
| | 03:04 |
So that's the color underneath the
cursor.
| | 03:07 |
The bottom half of the inner ring shows
the existing foreground color, and the
| | 03:10 |
outer ring is simply there to isolate the
color for us so we can see it more clearly.
| | 03:16 |
We want this black color.
Now if I was simply to paint on this directly.
| | 03:21 |
We'll, where we paint the color would go
all over our art work.
| | 03:25 |
We clearly don't want that to happen.
So let's undo, if we lock the
| | 03:30 |
transparency of this truck side, like
this, we'll now paint only within the
| | 03:35 |
existing pixels on this layer.
And we can paint out all those white marks.
| | 03:42 |
And the same along the exhaust pipe.
When we get to the back here, let's
| | 03:48 |
sample a color again and paint this out,
and again, right at the back we'll sample
| | 03:53 |
a color, and paint out there.
And this is the quickest way of getting
| | 04:00 |
rid of that ugly white fringe.
Adding the shadow, greatly increases the
| | 04:06 |
realism of the scene.
As is always the case, shadows on the
| | 04:09 |
ground can make any object look like it
really belongs with that background.
| | 04:16 |
| | Collapse this transcript |
| Adding the sign| 00:02 |
Let's add a sign to our truck.
And we can make our own sign easily using
| | 00:07 |
the Type tool in Photoshop.
So, I'll begin by clicking in the Artwork.
| | 00:12 |
Let's choose a foreground color for our
sign to make it red, and we'll type the
| | 00:17 |
word, Perspective (sound playing) and let's make
it slightly bigger using FreeTransform.
| | 00:25 |
Now, it's clear it's going to be hard to
create our sign like this, because we're
| | 00:29 |
looking at this complex background of the
truck, the shadow and the street.
| | 00:36 |
So, let's make a backing for our sign.
We'll make a new layer and call it Sign Back.
| | 00:46 |
We'll trace this out with the rectangular
Marquee tool and fill this with white.
| | 00:53 |
Now, because we've said red is our
foreground color, we want to keep that
| | 00:56 |
red for the rest of our sign.
White is currently our background color.
| | 00:58 |
To fill any selection with the foreground
color, we would use Alt+Delete on a PC,
| | 01:09 |
Option+Delete on a Mac.
To fill with a background color, we use
| | 01:15 |
Ctrl+Delete on a PC or Cmd+Delete on a
Mac, and there's our sign back.
| | 01:17 |
Let's move it below the rest of our sign.
Let's add another word on here, and this
| | 01:25 |
time we'll put in CORRECTING.
And I want this entirely in capitals.
| | 01:33 |
Let make this a little larger, using
FreeTransform.
| | 01:38 |
And let's give it a bit of a curve.
We can use the Text Warp button to do
| | 01:44 |
this and we'll choose Arc.
We can grab this with the Move tool, and
| | 01:50 |
lift it above our word, Perspective.
And we can use FreeTransform to make it
| | 01:55 |
the right proportions for this.
Let's grab both these type layers and
| | 02:04 |
drag them down a bit, and we'll also add
one more statement at the bottom.
| | 02:13 |
Let's write, a guide for the Photoshop
artist.
| | 02:20 |
And we'll move that down a little.
And let's fill that with blue, just for variety.
| | 02:28 |
So, there's our sign.
How do we get it on to the truck?
| | 02:33 |
Let's start off by taking all of these
layers and I select them by selecting the
| | 02:38 |
top one, Alt and the Shift key, and I'm
selecting the back one, and we can merge
| | 02:44 |
them all together.
Cmd+E or Ctrl+E will merge all these
| | 02:52 |
selected layers.
And there it is.
| | 02:55 |
So, let's move it to the top and correct
that perspective so we can make it fit on
| | 03:00 |
the side of our truck.
We'll go into FreeTransform and drag it
| | 03:06 |
up so the top left corner matches the top
left corner of the panel on the side of
| | 03:11 |
the truck.
Now, we can grab each corner in turn.
| | 03:16 |
We can move this one to that corner, this
one onto that corner.
| | 03:22 |
As you can see, it's looking rather
bizarre until we move the final one into
| | 03:26 |
the corner how we want it.
And there it is, in place.
| | 03:32 |
We can hit Enter and that will apply our
perspective.
| | 03:36 |
So, there is the text on the side of the
truck.
| | 03:39 |
Now, it doesn't look like it belongs
there and that's because loader truck is
| | 03:43 |
actually white, the photograph of it
makes it appear far from white.
| | 03:49 |
If we change the mode of this layer, from
normal to multiply, it'll darken up
| | 03:54 |
what's underneath it.
And now this appears correctly, on the
| | 03:58 |
side of the truck.
Now, there's a small problem here.
| | 04:02 |
And that's that the word Photoshop covers
up some kind of plug or socket on the
| | 04:06 |
side of the truck.
What would we do if we wanted to make the
| | 04:11 |
whole side rather smaller than this?
Let's Undo the change to multiply and
| | 04:17 |
let's Undo our perspective distortion.
We could use FreeTransform to make it
| | 04:24 |
smaller and position it on the truck.
But now when we try and change the
| | 04:29 |
perspective, well, we're kind of guessing
how it's going to fit onto this truck.
| | 04:35 |
We can get the top and the bottom more or
less, right.
| | 04:38 |
But what do we do with this handle?
At the moment, it seems to be leaning back.
| | 04:41 |
If we drag it forwards, it's very hard to
correct so let's Cancel that.
| | 04:48 |
The trick here is to make a selection
that is larger than the area we actually
| | 04:55 |
want to use, something like that.
And while we're at it, let's change the
| | 05:03 |
mode of this from normal to multiply, and
the white disappears, and we can see
| | 05:08 |
through it.
So, the selection we've made is bigger
| | 05:13 |
than the sign itself.
Let's hide those edges and go into
| | 05:17 |
FreeTransform again.
And this time, our FreeTransform handles
| | 05:24 |
appear at the edge of our selection
rather than just at the edge of the layer.
| | 05:29 |
It's now easy to adjust all of these.
Once again, we can move each of the
| | 05:34 |
corners to match a corner on the truck.
And there is our much smaller sign in the
| | 05:43 |
correct perspective.
So, with the sign now in perspective on
| | 05:48 |
the side of the truck, the whole scene is
complete.
| | 05:51 |
When this perspective of every element in
the scene matches the perspective of the
| | 05:55 |
background, we're almost guaranteed that
our montage will work in a convincing manner.
| | 06:01 |
| | Collapse this transcript |
|
|
4. The Vanishing Point FilterCreating the first perspective plane| 00:00 |
This house is constructed of walls at
right angles to each other, just like
| | 00:04 |
most houses.
All those walls however, present an
| | 00:08 |
interesting perspective problem.
But we can use Photoshop's Invertive
| | 00:12 |
Vanishing Point filter to take most of
the hard work out of working with this images.
| | 00:18 |
So, let's go to Filter and choose
Vanishing Point.
| | 00:23 |
And it appears near the top.
Here's the image opened within Vanishing Point.
| | 00:29 |
And the first job is to find and define a
rectangular area within this image.
| | 00:35 |
We can do that fairly easily using this
wall.
| | 00:39 |
We can use the side of the wall and the
line of bricks to help us.
| | 00:44 |
Use the X key to zoom in.
This makes it much easier to define your
| | 00:51 |
perspective points.
So, I'll click the first point just at
| | 00:55 |
the top of this wall, and the second
point, I'll follow this line of bricks
| | 00:59 |
until I get all the way across to this
join in the corner.
| | 01:04 |
When I pull down now, well, there's a
garden gnome in the way, so let's pick
| | 01:10 |
this line, directly to the right of his
head where I can still see where the
| | 01:16 |
brick meets the corner.
And I'll click there.
| | 01:22 |
And finally, I'll follow this line of
brick work long until it meets the corner
| | 01:27 |
of the building, and I know that's
vertically aligned with the first point
| | 01:31 |
that I marked.
I can click.
| | 01:37 |
And there's are first perspective plane.
We can extend this by dragging one of the
| | 01:42 |
handles up and down.
And as we do so, it extends it in perspective.
| | 01:48 |
Let's pull it right down to the corner of
the wall and right up to the top of the wall.
| | 01:54 |
We've identified the rectangular area
within our first wall.
| | 01:58 |
And we've used that to create our first
perspective plane.
| | 02:01 |
This will form the basis for building
planes that match the rest of the image.
| | 02:08 |
| | Collapse this transcript |
| Creating the second perspective plane| 00:00 |
The first plane defines the perspective
of the whole scene, and we can use that
| | 00:05 |
as a basis to define all the rest.
Let's zoom in.
| | 00:10 |
Now, we want to tear off a new plane to
go along this wall, and this wall, as we
| | 00:15 |
said, is at right angles to the first.
To do this, we hold Cmd on a Mac, Ctrl on
| | 00:23 |
a PC, and grab one of the side handles.
As we drag, it produces a new plane in
| | 00:30 |
what it imagines is the correct
perspective to match the first one.
| | 00:37 |
Now, this is something that Photoshop
often gets wrong, and that's partly
| | 00:41 |
because the first plane we defined could
belong to a number of different perspectives.
| | 00:46 |
It's two planes are at right angles to
each other that really defines the whole
| | 00:50 |
perspective of the scene.
All is not lost.
| | 00:53 |
We can fix this by adjusting the
perspective of the second plane.
| | 00:58 |
We can grab this top handle and we can
drag it down.
| | 01:04 |
So it follows along the line of the
guttering, like so.
| | 01:09 |
Now, when a plane has a red outline like
this, this indicates it's an illegal perspective.
| | 01:15 |
In other words, this perspective doesn't
make sense in the real world as far as
| | 01:20 |
Photoshop can see, and that's cuz we
haven't finished distorting it yet.
| | 01:25 |
Let's grab the bottom right-hand corner,
and we can drag this one up.
| | 01:31 |
And as we get close to it, Photoshop is
now turning it blue again.
| | 01:35 |
In effect it's saying oh, I understand,
okay, this now makes sense.
| | 01:39 |
This could work.
Well, we want to line up with a line of
| | 01:42 |
the bottom here, but we can't see a clear
line.
| | 01:47 |
So, let's lift the whole of this plain
upwards and see if we can follow the line
| | 01:52 |
of this door.
So, we'll pull that down again, and that
| | 01:58 |
looks about right.
Let's pull the plane right down to the ground.
| | 02:05 |
And now, we can zoom out and adjust the
rest of this plane to go the full width
| | 02:11 |
of the wall.
Now, it's worth checking at this point
| | 02:16 |
that it is actually correct, so let's
zoom in.
| | 02:20 |
We can see actually it isn't.
It's not following the lines on this
| | 02:27 |
garage door.
So, let's grab the handle again and lift
| | 02:33 |
it up.
That's better.
| | 02:36 |
The lines within the grid are now
following the lines on the door.
| | 02:39 |
And at the top, it's following the bottom
of the guttering.
| | 02:43 |
Let's pull it down a little on the top.
There we go.
| | 02:48 |
That looks good.
Now, I spent some time making this second
| | 02:52 |
plane because after this plane's been
made, we can't then go back and make corrections.
| | 02:58 |
It's important to adjust the second
perspective plane correctly, as precisely
| | 03:03 |
as we can.
There's the two planes we define, then
| | 03:07 |
set the perspective for the whole of the
rest of the scene.
| | 03:12 |
| | Collapse this transcript |
| Tearing off additional planes| 00:02 |
With our first two perspective planes
defined, we can go on to tailor for
| | 00:05 |
additional planes at right angles to
those we've already created.
| | 00:10 |
So here's the plane for our initial wall,
and here's the corrected plane for the
| | 00:14 |
wall at right angles to it.
Let's try tearing off another plane to
| | 00:19 |
fit this side wall.
Again, we hold down Cmd on a Mac, Ctrl on
| | 00:24 |
a PC, and we can just pull this handle.
And because we took the trouble to get
| | 00:30 |
that second plane correct, we can see how
this plane is now matching the wall precisely.
| | 00:36 |
If we zoom in on it, again holding the X
key, we can see we follow the line of the
| | 00:43 |
brickwork and the line of the top of the
windows.
| | 00:51 |
There's a slight error at the bottom
here, but that could be down to some
| | 00:54 |
subsidence in the house.
We'll assume it's supposed to be truly vertical.
| | 00:59 |
What we can do now is extend the size of
this plane.
| | 01:03 |
We can drag it all the way up above the
roof, if we choose.
| | 01:08 |
Let's pan down a bit.
So, we can make that plane as big as we like.
| | 01:19 |
We could even tear off additional planes.
Let's first zoom in, and we can see that
| | 01:24 |
this wall is offset from the ground a
little way.
| | 01:29 |
Well, let's pull it down, and let's tear
it off along the ground.
| | 01:36 |
And again, our plane tears off in
perspective.
| | 01:42 |
We can pull it along the ground in this
direction as well.
| | 01:47 |
Let's zoom out again.
And we can in fact make this ground plane
| | 01:52 |
fill the whole of the ground space.
If we try and drag it towards the house,
| | 01:57 |
we're going to get into slight difficulty
because there are planes in the way.
| | 02:02 |
So instead, we can go to our garage door,
holding Cmd on a Mac, Ctrl on a PC, and
| | 02:09 |
drag this one forward.
And at this point, it might be easier to
| | 02:15 |
make the plane we've dragged at the
bottom here narrower but only filled up
| | 02:19 |
the glass area.
And now we can use this one to fill the
| | 02:26 |
whole of the front, of the cement in
front of this house.
| | 02:34 |
By tearing off right angle planes in this
way, we've been able to define the
| | 02:37 |
perspective for this entire scene.
All the groundwork has now been completed.
| | 02:45 |
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| Cloning in perspective| 00:00 |
The Clone tool does a special job inside
vanishing point.
| | 00:05 |
It clones, not just in the way the
regular Clone tool does in Photoshop, but
| | 00:09 |
in perspective.
It's an extraordinary and powerful new
| | 00:12 |
tool, so let's see how it works.
First we'll zoom in, to focus just on
| | 00:16 |
this side wall.
When we switch to the Clone tool, the
| | 00:21 |
first thing we want to do, is to hold Alt
on a PC, Option on a Mac to set the
| | 00:26 |
cloning source.
Now, when we move the tool around, we can
| | 00:32 |
see the patch moving with us, and that's
what we'll be cloning.
| | 00:39 |
And notice how it moves in perspective,
as we go up and down this wall.
| | 00:43 |
We can make the tool larger and smaller,
using the square bracket keys.
| | 00:48 |
So the right bracket to make it larger,
the left bracket to make it smaller.
| | 00:54 |
We could in fact make it so large, it
covers the entire decoration in one go.
| | 01:00 |
But let's do it in smaller chunks.
So what we have to do, is to find a place
| | 01:04 |
where these bricks that we're moving
align with the bricks already in place on
| | 01:09 |
this wall.
And I think about there works well.
| | 01:14 |
The dark brick right at the bottom of our
cloned source, matches the dark brick
| | 01:17 |
already on the wall.
So, I'll click there and drag, and there,
| | 01:24 |
we've cloned out that decoration on the
wall in perspective.
| | 01:31 |
Now, there's more to it than this,
because the clone tool can even clone
| | 01:34 |
around corners, and this is quite
extraordinary.
| | 01:39 |
Let's go up to this wall on the side wall,
and sample a clone point up here.
| | 01:44 |
There's the part we've sampled, and as we
move the tool around, we can see that
| | 01:49 |
sample moving with us.
Let's drag it down over the window, and
| | 01:55 |
around the corner.
And here it comes, we can use this now to
| | 02:00 |
clone out that security camera.
And you can imagine, if we didn't have
| | 02:05 |
enough clear wall on this wall, but we
did have enough on the wall around the
| | 02:09 |
corner, we could do it in this way.
So let's try painting it out.
| | 02:14 |
Well, it's certainly gone, but the
trouble is,INAUDIBLE different color,
| | 02:20 |
so let's undo that.
We can fix this, by turning on healing,
| | 02:24 |
and healing with a Clone tool, works in
much the same way, as healing with a
| | 02:28 |
Healing tool in Photoshop.
And we turn it on, and we start to paint.
| | 02:37 |
It will disappear.
But the color is still too bright.
| | 02:40 |
As we release the mouse button, we can
see, it now heals itself by blending it
| | 02:45 |
into the wall behind.
The clone tool, allows us to make quick
| | 02:51 |
and effective edits to our images.
Let's say you want to take out this lamp
| | 02:56 |
here, well, we can do this in the same
way.
| | 02:59 |
We'll select the clone source at the top,
move it further along, and now paint this out.
| | 03:10 |
Suppose you want to take out this
satellite dish around the corner, exactly
| | 03:14 |
the same.
Let's sample a point further down the wall.
| | 03:20 |
Say there.
And remember, we sample by holding down
| | 03:24 |
the Option key on a Mac, Alt key on a PC.
We need to align this sample with the
| | 03:31 |
wall, and now we can simply paint out the
dish by cloning over it.
| | 03:38 |
And we can take out the wire on the other
side, in much the same way.
| | 03:49 |
Have you noticed how the healing, blends
it in, with the rest of the wall.
| | 03:56 |
The Clone tool allows us to edit our
images without having to worry about
| | 03:59 |
aligning complex perspectives.
All that is taken care of automatically,
| | 04:03 |
by the vanishing point filter.
| | 04:05 |
| | 04:08 |
| | Collapse this transcript |
| Marquee drawing in perspective| 00:00 |
All the tools within Vanishing Point work
in perspective, not just the Clone tool.
| | 00:06 |
Let's try selecting an area with a
Marquee tool to see how it operates.
| | 00:11 |
We'll zoom in a little, and pick the
Marquee tool.
| | 00:15 |
Now normally, this would draw a standard
rectangle, and that happens within
| | 00:18 |
Vanishing Point, except now the rectangle
is drawn in perspective.
| | 00:23 |
Let me select this window, and you can
see that as we drag, the top of the
| | 00:27 |
rectangle runs along the top of the
window, and the bottom of it runs along
| | 00:30 |
the bottom of the window.
Let's go around the corner and select
| | 00:36 |
some brickwork, and the same thing
happens.
| | 00:39 |
Notice how the top and bottom of the
rectangle are exactly parallel to the
| | 00:43 |
courses of these bricks.
And that's an extrordinary thing to be
| | 00:47 |
able to do.
As well as being able to draw in
| | 00:50 |
persepective, we can even measure in
perspective.
| | 00:55 |
And let's see how that's done.
We'll take the Measuring tool and let's
| | 00:59 |
draw a line along the height of this
door.
| | 01:03 |
We'll draw it straight down with an angle
of 0 degrees.
| | 01:07 |
And we can see that the default
measurement here is 5.16.
| | 01:13 |
5.16 what?
Anyone's guess.
| | 01:16 |
Let's say, we want to measure in meters,
and we can set this to be 2 meters.
| | 01:21 |
And we'll check the link measurements to
Grid box.
| | 01:26 |
So, what we've assumed is that this door
is exactly 2 meters high, we can now go
| | 01:29 |
ahead and read any other measurements we
like out of this scene.
| | 01:34 |
We could measure the width of this window
and we can see that's 1.87 meters wide.
| | 01:42 |
We could measure the height of the
shutter.
| | 01:46 |
And we can see that's 1.29 meters high.
If we want to replace a piece of this
| | 01:51 |
downpipe on our guttering, we can measure
it and we can see it is not only 0.32
| | 01:57 |
meters long, it's also coming out of the
drainpipe at an angle of 29.2 degrees.
| | 02:06 |
For architects, this is a fantastic tool.
For anyone who wants to buy new curtains
| | 02:12 |
for their house, wants to get new
shutters, wants to get a new garage door,
| | 02:15 |
it's a remarkably clever way of
estimating the size of any item in the view.
| | 02:22 |
Using the Marquee tool in perspective is
very surprising.
| | 02:25 |
We wouldn't assume that Photoshop could
do this, but the ability to read
| | 02:30 |
measurements out of an image is truly
extraordinary.
| | 02:35 |
| | Collapse this transcript |
| Working on new layers| 00:00 |
So far we've been working on a singly
layer in Photoshop, the background layer.
| | 00:06 |
Of course, this means we lose flexibility
and the ability to change on edits later.
| | 00:12 |
The Vanishing Point filter, however, has
the ability to work with multiple layers,
| | 00:15 |
so let's see how that's done.
So far in this image, we've defined our
| | 00:20 |
perspective planes and we've cloned out a
few objects on this wall.
| | 00:24 |
So let's hit the Ok button to return to
the main Photoshop.
| | 00:29 |
And there's the image.
You can see we're working on a single
| | 00:32 |
background and it's been changed to
reflect the images that we've cloned out
| | 00:36 |
on this wall.
Let's make a new layer.
| | 00:40 |
And we'll call this one clone.
Now, even though we're working on an
| | 00:46 |
empty layer, there's nothing in here at
all yet.
| | 00:51 |
When we go back into Vanishing Point,
what we find is we can see all our
| | 00:57 |
perspective grids still intact.
We can see the background layer even
| | 01:03 |
though we're working on the new one.
So let's try something here.
| | 01:07 |
We'll zoom in on the image again, and
let's say we want to try and clone out
| | 01:12 |
this number by the side of the door.
Well, we can switch to the Clone tool,
| | 01:18 |
the shortcut is S, just as it is in main
Photoshop, and let's hold Option on a
| | 01:22 |
Mac, Alt on a PC to set our cloning
source.
| | 01:26 |
And we can do that on the edge of this
brickwork.
| | 01:30 |
And we now move this up.
We can see actually our butt is a little
| | 01:34 |
large, it's taken in part of the door, we
don't want.
| | 01:38 |
So let's use the Square bracket keys to
make it smaller, and there we go.
| | 01:43 |
That's a good place to clone.
And we'll click.
| | 01:46 |
And drag over it.
And now, that number plate is completely gone.
| | 01:52 |
We could do the same over the door.
So let's choose a piece of door.
| | 01:59 |
There appears to be something strange
going on over this door.
| | 02:02 |
Perhaps we've cloned over it
accidentally, so let's get rid of that.
| | 02:06 |
We'll sample a piece of the door next to
the mistake, move further along, and
| | 02:10 |
paint it out.
At the moment it looks a different color,
| | 02:14 |
but as we release the button, because the
Healing is turned on, it blended in perfectly.
| | 02:21 |
Let's go a little further and take out
that handle as well.
| | 02:26 |
When we now click the Ok button to return
to the main Photoshop, we can see what's
| | 02:31 |
happened there it's moving.
Well the number plate has been cloned out
| | 02:36 |
and the handle on the door on the garage
has also been taken out but it's been
| | 02:40 |
taken out on this new layer.
That means we can always edit our changes
| | 02:48 |
later, should we need to, and that's
extremely helpful.
| | 02:52 |
By creating multiple layers, we're able
to make all the changes we like in
| | 02:55 |
perspective without damaging the original
artwork beneath.
| | 02:59 |
It's well worth getting used to the idea
of making new layers before entering
| | 03:02 |
Vanishing Point.
So that any mistakes can easily be
| | 03:06 |
corrected afterwards.
| | 03:08 |
| | 03:10 |
| | Collapse this transcript |
| Copying the window| 00:02 |
We've seen how we can draw in perspective
a Vanishing Point with the Marquee tool.
| | 00:06 |
Let's know make use of that by making a
rectangular selection and copying it to
| | 00:10 |
another layer in the image.
Before we do, I'm going to make a new
| | 00:14 |
layer and I'll call this one new window,
because that is what we are going to do.
| | 00:20 |
With the layer created, we can go to
Filter, and choose Vanishing Point once more.
| | 00:25 |
And once again, Vanishing Point loads
with all our perspective planes in place.
| | 00:31 |
We'll zoom in a little, and now lets use
the Marquee tool to make a selection, of
| | 00:36 |
this window.
As we drag it, you can see that the
| | 00:41 |
selection is duly made in perspective.
Now we've made it.
| | 00:46 |
We need to move it somewhere else.
If we hold down the Alt key on a PC,
| | 00:52 |
Option on a Mac, we can drag this to move
a copy.
| | 00:57 |
And you can see what happens.
As we drag, it bends around that corner.
| | 01:01 |
When we hit the wall with the door on, it
bends again.
| | 01:05 |
So we've got this one selection which is
now appearing on two perspective planes.
| | 01:10 |
We're going to keep on dragging and we're
going to move it all the way down here.
| | 01:17 |
In front of this garage, and let's put it
in place just there.
| | 01:25 |
At the moment, Healing is turned off,
let's see what happens when we turn it on.
| | 01:29 |
Well, it's doing it's best to blend it in
to what it thinks are the right
| | 01:33 |
surroundings, but actually it is not
helping at the moment.
| | 01:37 |
So let's leave that turned off and we'll
click Ok to apply that.
| | 01:43 |
Now as you can see, it's gone slightly
wrong here and the perspective isn't
| | 01:47 |
quite up to it.
But because we made it as a new layer,
| | 01:52 |
it's easy to use Free Transform to
correct this perspective.
| | 01:57 |
There we go, we've pulled that wall out.
We can now add a Layer Mask to this.
| | 02:07 |
And paint on this Layer Mask with a Hard
edge brush in black to hide those parts
| | 02:13 |
of the layer we don't want seen.
Down the side in front of the door and
| | 02:21 |
along the bottom of the wall here where
it actually wraps around on to the cement
| | 02:26 |
in front of what was the garage.
And this is one of the really important
| | 02:33 |
parts about creating.
Each cloning activity, each moving
| | 02:37 |
activity, everything in Vanishing Point
on a new layer because it means it's very
| | 02:43 |
easy to adjust it afterwards to make it
fit.
| | 02:48 |
The ability to copy parts of an image in
perspective is extraordinary and we can
| | 02:51 |
remodel an entire house with only a
minimal amount of effort.
| | 02:55 |
Once we've defined our perspective
planes, the rest is easy.
| | 02:59 |
| | 03:02 |
| | Collapse this transcript |
| Extending the window| 00:02 |
Now that we've added a new wall and
window where the garage once stood, let's
| | 00:05 |
see if we can make that original window
more attractive by turning the two
| | 00:09 |
windows into one.
Once again, we'll make a new layer, and
| | 00:14 |
we'll call this wider window, and we'll
go back into vanishing point.
| | 00:22 |
Let's zoom in, and pan across.
I'll use the marquie tool, and I'm going
| | 00:28 |
to make a selection of this right-hand
window.
| | 00:32 |
And I'm going to make it taller than the
window itself, so that it covers up all
| | 00:36 |
of the shadow.
The whole of the shutter and you can see
| | 00:42 |
yet again as we make this selection it
does in fact make it in perspective, so
| | 00:47 |
once again to copy this we hold down out
on a PC, option on a MAC and now we can
| | 00:52 |
start to drag Now of course we can move
it up and down.
| | 01:00 |
But if we hold the shift key it only
moves horizontally.
| | 01:04 |
And when I say horizontally, of course I
mean horizontally in perspective.
| | 01:10 |
Let's drag it all the way over so it
meets the right-hand edge of this
| | 01:15 |
existing window.
Now we can see what is happening the
| | 01:20 |
right-hand edge of the window matches the
left-hand edge of our copy selection and
| | 01:24 |
that's fine.
There is a problem going on here we can't
| | 01:28 |
see the edge of the window within the
selection and there is a awkward joint at
| | 01:33 |
the bottom.
We can press this button, and that gives
| | 01:38 |
us the equivalent of free transform.
Now we can grab the center handle and we
| | 01:43 |
can drag this to make it slightly
narrower and that now works perfectly.
| | 01:50 |
When we deselect it there is our wider
window, though as we expected.
| | 01:57 |
It's not quite lining up on this side, so
let's click okay and return to our
| | 02:03 |
Photoshop layer.
Once again, because it's a new and
| | 02:08 |
separate layer, we can use free transform
to do any final tweaks that are necessary
| | 02:12 |
to make this window work.
We could even add a layer mask and use a
| | 02:21 |
soft edge brush to tidy this up.
If we want you could use the regular
| | 02:28 |
clone tool just to copy and paint over
any slight inaccuracies there may be.
| | 02:35 |
You can set the sample to all layers.
We switch out of the layer mask, the main
| | 02:42 |
layer and now we can sample a piece of
the original background and clone over
| | 02:48 |
it, and the same with the bottom.
Obviously, we're not cloning in
| | 02:55 |
perspective here, so we have to be fairly
careful about how we clone.
| | 03:02 |
A little Photoshop trickery was needed to
make the two windows look like a single
| | 03:08 |
window, but after all, that's what
Photoshop is for.
| | 03:13 |
| | Collapse this transcript |
| Copying the door| 00:02 |
So far, we've looked at copying objects
from one plane onto another plane that's
| | 00:05 |
parallel to it, or even onto the same
plane.
| | 00:08 |
When we move an item onto an adjacent
plane, we have to think about the angle
| | 00:12 |
of view as well.
Let's make a new layer and call this
| | 00:16 |
onedoor, and we'll go back into vanishing
point.
| | 00:19 |
And you can see when we re-add the
vanishing point, it's showing all the
| | 00:26 |
layers in our composition.
Let's use the Marquee tool to select the
| | 00:34 |
door, and now we can hold down once
again, Option on a Mac, Alt on a PC, and
| | 00:40 |
we can drag this door around the corner.
Let's position this new door at the
| | 00:50 |
bottom of this wall.
Now here, there's a problem.
| | 00:54 |
When we're viewing the door in its
original position, we're viewing it from
| | 00:58 |
the side.
We need to flip this door so that we're
| | 01:01 |
viewing it in the correct perspective for
the wall in which we're placing it.
| | 01:05 |
We can do that by going into Free
Transform, by clicking this button.
| | 01:11 |
And now, we can click the Flop button at
the top.
| | 01:14 |
Flop will flip a selection horizontally,
and Flip will flip it vertically.
| | 01:23 |
And there's our new door in place.
The left-hand edge is concealed behind
| | 01:29 |
this part of the wall.
On the right-hand side, we can see the
| | 01:33 |
interior of the door.
It's as if the door is slightly sunk into
| | 01:38 |
this wall.
By flipping the door horizontally, we've
| | 01:43 |
been able to turn it to face the other
way, so it looks in place on this side wall.
| | 01:50 |
| | Collapse this transcript |
| Adding new artwork| 00:02 |
As well as working with elements already
in the picture, we can add new images if
| | 00:06 |
we like.
Let's hide the door we added earlier,
| | 00:09 |
after all it's on a separate layer, and
let's add a for sale sign.
| | 00:14 |
So I'll make a new layer and I'll call it
for sale.
| | 00:19 |
And we'll start with a Marquee tool.
We'll draw out a rectangular area and
| | 00:25 |
fill it with white.
Let's add some lettering.
| | 00:32 |
I'll choose red as the foreground color
and I'll type in for sale, and move that down.
| | 00:40 |
And underneath I'll put charming house
and that's the beginning of our sign.
| | 00:51 |
I'm going to merge all of these layers
together, I'll select them all and use
| | 00:56 |
Cmd+E on a Mac, Ctrl+E on a PC then
merge all the selected layers into one.
| | 01:03 |
And let's say we want the words for sale
reversed out.
| | 01:07 |
So I'll make a rectangular selection and
we can choose Image > Invert.
| | 01:14 |
Now, we wanted the white to turn black,
but we didn't want the red to turn blue.
| | 01:22 |
So let's now go to edit and fade, and we
can say, when we Invert we only want to
| | 01:29 |
invert the Luminosity.
Now our red color remains red.
| | 01:36 |
There's the sign.
To make it look a bit more realistic,
| | 01:39 |
let's switch to the Burn tool.
And paint in a few little shadows on this
| | 01:46 |
just so it doesn't look quite so new and
shiny.
| | 01:50 |
Now, in order to get this into Vanishing
Point, we need to Select it and Copy it,
| | 01:56 |
and now we can hide that layer.
Let's make a new layer now and call this sign.
| | 02:06 |
When we go back into Vanishing Point, we
can now simply Paste.
| | 02:13 |
Shortcut is Cmd+V on a Mac, Ctrl+V on
a PC.
| | 02:17 |
And there's our sign.
And while it's outside or partially
| | 02:21 |
outside, any of the prospective planes,
it just shows it straight.
| | 02:27 |
Let's make is smaller, and as soon as
it's entirely on one perspective plane it
| | 02:33 |
now comes into a correct perspective.
Let's zoom in, so let's drag this sign
| | 02:41 |
around the corner and place it on this
wall.
| | 02:46 |
We're still in Free Transform mode and we
can again make it smaller until it's
| | 02:51 |
placed on that wall.
And you notice how pasting anything in
| | 02:55 |
the Vanishing Point automatically places
it in perspective on the surface to which
| | 03:00 |
it's attached.
If we were to drag it around onto the
| | 03:04 |
front wall for example.
It would be in perspective there as well.
| | 03:08 |
So let's click Ok and see how that looks.
Well, it looks quite good.
| | 03:17 |
The top and the bottom are a little
ragged, so let's tidy that up.
| | 03:22 |
We can use Lasso tool to select the top
and delete, and do the same with the bottom.
| | 03:28 |
And that's because Vanishing Point
occasionally has trouble with
| | 03:32 |
anti-aliasing, especially if you're
working with quite subtle differences in height.
| | 03:38 |
Now, to make this look like it's on the
wall, we need to extrude it slightly.
| | 03:42 |
Let's load it as a selection, we can hold
Cmd on a Mac, Ctrl on a PC, and click on
| | 03:47 |
it's thumbnail to load that as a
selection.
| | 03:52 |
With which the Move tool, we can now hold
down Option on Mac, Alt on a PC and nudge
| | 03:57 |
it using the Arrow keys.
And each time we nudge, it leaves a bit
| | 04:03 |
of itself behind.
That's the bit we want to work on.
| | 04:07 |
So let's inverse that selection.
Now, only the outside is selected.
| | 04:17 |
We can lock the transparency, so that
anywhere we paint doesn't go over the
| | 04:19 |
edge of pixels already here.
Switch to the Brush tool.
| | 04:23 |
And let's pick a pale gray.
And we can paint that over the edge.
| | 04:31 |
And let's hide those marching ants.
You could add a little bit of shading
| | 04:36 |
using the Burn tool for a bit of variety
in here.
| | 04:40 |
And finally, let's add a slight shadow on
the wall.
| | 04:44 |
And the easiest way to do this, is simply
to use a Drop Shadow layer style.
| | 04:53 |
That's a bit too strong, we can take that
down a bit, and move slightly closer.
| | 05:00 |
And there's are shadow.
To get new artwork into Vanishing Point,
| | 05:04 |
we must copy and paste.
There's no way to open the new image from
| | 05:08 |
within the Vanishing Point dialog.
But it does work remarkably well and the
| | 05:13 |
perspective matching can be perfect.
| | 05:17 |
| | Collapse this transcript |
| Adding graffiti| 00:02 |
The for sale sign looks fine on our wall.
But that required us to make a new object
| | 00:06 |
outside Vanishing Point.
Here's how we can paint directly within
| | 00:10 |
Vanishing Point using the Built-in brush
tool.
| | 00:14 |
We'll make a new layer and we'll call it
Graffiti.
| | 00:18 |
And we'll go back into Vanishing Point.
Let's zoom in, and we'll switch to the
| | 00:23 |
Brush tool which we haven't used yet.
Now, the Brush tool paints largely as we
| | 00:31 |
would expect.
Let's turn Healing off for now, and let's
| | 00:36 |
pick a deep blue as our color.
We can set the diameter of the brush and
| | 00:45 |
the hardness of the brush and we can
start to paint.
| | 00:48 |
And we'll paint on here Vanishing Point.
Now, as I'm painting, it's actually
| | 00:55 |
painting in perspective, and this can be
quite hard to get your head around.
| | 01:01 |
It's hard to tell it is doing that, but
you can see the thickness of the stroke
| | 01:05 |
at the end here is greater than the
thickness of the stroke at the beginning,
| | 01:09 |
and that's despite having exactly the
same diameter brush.
| | 01:14 |
And we can make that clearer by putting
in a couple of lines, beginning and end.
| | 01:21 |
By putting a vertical line at this end
and a vertical line at this end, you can
| | 01:26 |
see this one is thicker than that line.
Now at the moment, this doesn't look like
| | 01:32 |
it's truly part of the wall, but we can
fix that.
| | 01:35 |
Let's press OK.
All we need to do is change the mode of
| | 01:42 |
this layer from normal to hard-light.
And we can see it looks very pale on the
| | 01:48 |
wall, well, we can darken that up.
We could use the Curves dialog to darken it.
| | 01:55 |
And now it looks much more like it's part
of the wall.
| | 01:58 |
By changing the layer mode from normal to
hard-light, we're able to make our
| | 02:01 |
graffiti look like it really is painted
on to this wall.
| | 02:05 |
And although painting in Vanishing Point
isn't the easiest way to paint, it's
| | 02:10 |
extraordinary that it manages to do it
all, especially in perspective.
| | 02:17 |
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| Healing in Vanishing Point| 00:02 |
When we turn on Healing while painting
Vanishing Point, we get perhaps
| | 00:06 |
surprising results.
This is what happens.
| | 00:09 |
We'll make a new layer and we'll call it
healing, And lets go into Vanishing Point.
| | 00:16 |
I'll zoom in.
And let's say we want to paint out the
| | 00:20 |
letter box on this door.
We'll switch to the Brush tool, and this
| | 00:25 |
time we'll turn Healing on.
Now you might think we need to match the
| | 00:30 |
color of this door, but in fact we don't,
and to prove that let's go for a
| | 00:33 |
completely different color.
As we paint over it, well, it paints in
| | 00:38 |
red, as we'd expect, but once I release
the button.
| | 00:43 |
It blends it in to the left of the door.
We could paint out the words charming
| | 00:49 |
house, it paints in red because reds our
foreground color.
| | 00:55 |
And once again when you release the
button that disappears.
| | 00:58 |
And the same with the word house.
Turning on Healing, makes Vanishing Point
| | 01:04 |
behave much like the Healing tool, in the
main Photoshop environment.
| | 01:10 |
It's just another example of the
flexibility, of the Vanishing Point filter.
| | 01:15 |
Let's say okay, and return to see our full
Photoshop document.
| | 01:19 |
There it is with all the changes we've
made in Vanishing Point.
| | 01:22 |
It's quite extraordinary how much
difference we've been able to make.
| | 01:29 |
| | Collapse this transcript |
| Rotating a book| 00:00 |
This book has been photographed at an
angle, which means we can see the top,
| | 00:04 |
side, and the front cover.
As longs as we have the Extended Edition
| | 00:10 |
of Photoshop, that's all we need in order
to turn it into a 3D model.
| | 00:15 |
So, let's begin by going into Vanishing
Point.
| | 00:18 |
As always, we have to start by defining a
first perspective plane.
| | 00:24 |
Now on this book, it's a little tricky
because we haven't got any truly squared
| | 00:28 |
up surfaces.
All the corners are bending in slightly.
| | 00:31 |
Nonetheless, we'll do the best we can.
We're going to click just outside the
| | 00:36 |
back of this spine, over to the edge,
down to just beyond the bottom, and over
| | 00:42 |
to the bottom left corner.
Now you'll notice I've taken this
| | 00:49 |
slightly outside the book area, and
that's to make sure the whole book is included.
| | 00:54 |
We can tear off our second perspective
plane by holding down Ctrl on a PC, Cmd
| | 00:59 |
on a Mac, grabbing one of these center
handles and simply pulling.
| | 01:05 |
And here it comes.
Let's adjust this so that it matches the
| | 01:10 |
perspective of the side of the book.
And that's not bad.
| | 01:17 |
We could now tear off our final plane by
holding down again Cmd on a Mac, Ctrl on
| | 01:22 |
a PC, and dragging this backwards.
And that's just about all there is to it.
| | 01:29 |
All three planes now define that book.
To make our 3D object, we go to this tiny
| | 01:36 |
menu, up in the top, and we can choose
Return 3D Layer to Photoshop.
| | 01:43 |
We could also choose to export it to a
DXF, 3DS, or After Effects file.
| | 01:49 |
For now, let's return it to Photoshop.
Let's see what happens when we click the
| | 01:56 |
OK button.
It's position the book off the top of the
| | 02:00 |
canvas, so let's switch to our 3D tool
and drag it down, and we can make it
| | 02:04 |
slightly larger.
Now, at the moment, this looks pretty
| | 02:10 |
much like the original book.
The difference is we can turn it around.
| | 02:15 |
And you can see, we can view this book
from a wide variety of angles.
| | 02:29 |
Now in a sense, this book is like a stage
prop.
| | 02:32 |
The one thing we can't do is turn it all
the way around.
| | 02:34 |
Here's what happens if we try.
We can see the book is in fact completely hollow.
| | 02:39 |
It only consists of the three perspective
planes that we defined.
| | 02:44 |
Let's turn it back again.
The model we created is somewhat limited.
| | 02:52 |
We can't turn it right around, and there
are clearly many shortcomings with it.
| | 02:56 |
But it does demonstrate Vanishing Point's
ability to make 3D models directly from a photograph.
| | 03:02 |
If this had been a squared up box, such
as a typical product shot, the results
| | 03:07 |
could have been perfect.
| | 03:10 |
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|
|
5. Perspective CroppingPhotographing from an angle| 00:00 |
This photograph I took of a print in an
exhibition of Japanese artwork.
| | 00:05 |
We can see there's a clear problem with
this picture.
| | 00:08 |
The window behind me, makes the top half
of the picture much brighter than the bottom.
| | 00:12 |
And you can see my own silhouette as I
crouch down to take the picture.
| | 00:16 |
I couldn't remove the glass, so there was
no way of removing the reflection.
| | 00:20 |
An alternative approach was needed.
What I did next was to photograph this
| | 00:25 |
same picture from a different angle and
that was the only way I could remove my
| | 00:30 |
own reflection.
We can still see a bit of reflection on
| | 00:34 |
the outside but we can fix that.
Although there's no glare on the
| | 00:39 |
reflection on the main image, the angle
we photographed it from is ungamely and
| | 00:43 |
it doesn't present a true version of the
image.
| | 00:47 |
So far in this workshop we have looked at
how to add perspective to objects and how
| | 00:50 |
to read the perspective in a scene so
that when we add new objects we can make
| | 00:54 |
our perspective match the perspective of
the scene.
| | 00:58 |
In this lesson, we'll take the opposite
approach, and see what we can do to
| | 01:03 |
remove the perspective from this shot.
| | 01:08 |
| | Collapse this transcript |
| Using Perspective Crop| 00:00 |
Photoshop includes a useful addition to
its Crop tool and that's Perspective Crop.
| | 00:07 |
Its purpose is to do precisely what we
want to do here, which is to remove the
| | 00:11 |
perspective from this photograph.
So, let's see how it works.
| | 00:17 |
We'll switch to the Crop tool.
I will Crop the outside of this frame
| | 00:23 |
from corner to corner.
And so far, the Crop tool behaves exactly
| | 00:30 |
as we'd expect.
It simply marks out a rectangular area to
| | 00:34 |
crop our image.
If you look at the Options bar, we can
| | 00:38 |
see this new Perspective button that
appears.
| | 00:42 |
And if we check it, well, immediately,
nothing happens.
| | 00:47 |
But what we can do now is to move our
corners to the corners of the object we
| | 00:51 |
want to crop.
No need to hold down any modifier keys,
| | 00:56 |
that's all the perspective mode will do.
Now, the center point is still marked in
| | 01:02 |
the center of this image.
There's the center point marker.
| | 01:08 |
If we drag it out, we can see it more
clearly.
| | 01:10 |
And we have to position this so that
Photoshop knows where the center of the
| | 01:13 |
image is.
And it snaps to this location here.
| | 01:17 |
So, let's now hit the Tick to apply this
and see what happens.
| | 01:24 |
Well, that's close, but it's not close
enough.
| | 01:27 |
The proportions of this picture are
incorrect, and that's because there's a
| | 01:30 |
mistake in Photoshop's programming, which
means that the center point marker is
| | 01:33 |
positioned incorrectly.
This is something we clearly need to fix.
| | 01:41 |
| | Collapse this transcript |
| Drawing the diagonals| 00:02 |
We've seen how the Perspective Crop tool
appears to place the center point marker
| | 00:05 |
in the wrong location.
Now we'll look at exactly why it does
| | 00:09 |
that, and we'll see how to fix it.
The answer is to draw in diagonals.
| | 00:15 |
Let's make a new layer, and I'll call
this diagonals.
| | 00:18 |
We can use the shapes tool, set to
drawing pixels and sketch it on diagonals.
| | 00:30 |
I'll pick a nice bright color for this.
And we can draw these, let's draw them
| | 00:35 |
within the frame area.
One between that pair of corners and
| | 00:41 |
another between the second pair of
corners.
| | 00:44 |
Now lets see what happens when we use the
crop tool once again.
| | 00:51 |
We can start by drawing a crop rectangle
between the corners of this frame.
| | 00:57 |
And I'm not going right to the outside of
the frame, because we're also seeing the
| | 01:02 |
edge in here.
The perspective check box remains ticked
| | 01:06 |
because that's how we last left this
dialog.
| | 01:10 |
Let's move this one across, and the bottom
one.
| | 01:16 |
And we can see If we adjust this
slightly, now our corners match up with
| | 01:21 |
the extension to the diagonal lines we
drew, on the inner frame.
| | 01:28 |
Here's the centerpoint marker again, and
the point it snaps to, is just here.
| | 01:34 |
And we can just about see the marker in
the middle.
| | 01:36 |
So what's the problem?
Well what's happening is that the center
| | 01:40 |
point marker is snapping to the midpoint
of a line drawn between the centers of
| | 01:45 |
the left and right sides and the top and
bottom sides.
| | 01:51 |
If we drew lines between those, where
they intersect is where Photoshop
| | 01:54 |
automatically places the center point
marker.
| | 01:59 |
When you're working in perspective that's
incorrect.
| | 02:02 |
The center point isn't up there, it's
down here.
| | 02:06 |
So let's move it.
When we now apply the perspective crop,
| | 02:11 |
this is the result.
And because we drew the diagonals on the
| | 02:16 |
new layer, we can now hide that layer.
We no longer need it.
| | 02:20 |
With the centerpoint marker positioned
correctly, we can be sure that the
| | 02:25 |
resulting crop will display the image in
it's true proportions.
| | 02:30 |
There may only be a small difference
between the centerpoint marker being in
| | 02:34 |
the right position and being in the wrong
position, but when we're photographing artwork.
| | 02:40 |
That small difference is actually a big
difference.
| | 02:44 |
Drawing in the diagonals and moving the
marker is easy to do, takes just a couple
| | 02:49 |
of minutes and it makes a big difference
to the authenticity of the end result.
| | 02:56 |
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| Correcting lens distortion| 00:02 |
The Lens Correction filter in Photoshop
is a great way to correct for all kinds
| | 00:05 |
of distortions.
But it does assume that we're working
| | 00:09 |
with a full, uncropped image.
When we crop the shot, as we've done
| | 00:13 |
here, that's not going to work, we need a
different approach.
| | 00:17 |
Now, we can see the edge of this frame is
a little uneven.
| | 00:24 |
We can't square up the picture itself
because it was painted a long time ago
| | 00:29 |
and the paper on which it's printed
wasn't square to start with.
| | 00:35 |
What we can do is get the frame square
and then we know we're going to have the
| | 00:39 |
image itself in the right proportions.
Let's start by viewing our rulers, and we
| | 00:46 |
can pull down guidelines and bring down
one that matches the bottom of the top
| | 00:53 |
edge of the frame.
And let's bring in guidelines from the
| | 01:02 |
side to the other side and another, to
the very bottom.
| | 01:10 |
And because we know these guidelines are
perfectly squared up, we can see that our
| | 01:14 |
cropping has actually left it slightly
out of true.
| | 01:20 |
To distort this, we first need to turn
the background into a regular layer.
| | 01:24 |
And we can do that by double-clicking it.
And it'll call itself layer 0 by default.
| | 01:33 |
Let's now go into FreeTransform, and see
what happens.
| | 01:38 |
What we don't want to do is to grab one
of the corner handles and simply drag it.
| | 01:43 |
That'll distort the whole picture.
Instead, we can click the Image Wrap
| | 01:48 |
button up here on the menu bar and that
gives us four points of control around
| | 01:54 |
the edge, and another four within the
middle.
| | 02:01 |
Let's Zoom in.
Now, we can drag the top corner point,
| | 02:08 |
and I'm bringing this down until I can
see that the corner of the frame is now
| | 02:14 |
matching the line that we drew coming
from the corner over here.
| | 02:22 |
Let's bring that down a little as well.
We can do the same thing at the bottom.
| | 02:28 |
I can drag this corner out so that's now
matching and this corner is fine to start with.
| | 02:35 |
To have a quick look at the sides, that
one seems good, and the opposite side,
| | 02:39 |
it's going a little over here so let's
use these two handles just to pull it
| | 02:43 |
back very slightly.
And as we Zoom out, we can see the inner
| | 02:50 |
part of this frame, is now squared up,
lighting up with that glyph that we drew.
| | 02:58 |
For now, we can hit Enter or press the
Tick to apply that transformation.
| | 03:04 |
And there is our image, duly squared up.
The only thing we might want to do now is
| | 03:09 |
to square up the whole thing, and so,
fill in the transparency of the background.
| | 03:16 |
Because it's a black frame, we can do
this easily by using a black soft edge brush.
| | 03:21 |
We can sample the black, and let us paint
it in, along the top and all the way down
| | 03:29 |
the side.
Let's hide those edges.
| | 03:40 |
And there, at last, is our perfectly
squared up image.
| | 03:44 |
Drawing in the guidelines and using Image
Wrap distortion, meant that we were able
| | 03:48 |
to get the sides of our frame exactly
right.
| | 03:52 |
Sometimes, we need to use a few extra
tools in order to persuade Photoshop to
| | 03:58 |
behave itself.
| | 04:00 |
| | Collapse this transcript |
| Tidying up| 00:01 |
We've removed the perspective view from
this picture and squared it up.
| | 00:05 |
All we have to do now is to get rid of
that remaining glare, and we can use
| | 00:09 |
several techniques to do that.
First, I want to get rid of all these
| | 00:14 |
grid lines that we added earlier.
Just they're just going to get in the way.
| | 00:20 |
I'm confused here.
Let's Zoom in.
| | 00:24 |
So there are several ways we could
approach this as I say.
| | 00:30 |
We could, for example, Clone out things
like this vertical stripe.
| | 00:34 |
Let's try that.
First, making a new layer, which we'll
| | 00:38 |
call Patch, then we switch to the Clone
tool.
| | 00:42 |
We need to check that Sample All Layers
is checked.
| | 00:47 |
Now when we Clone, it'll sample not only
the current layer, but the layers below
| | 00:52 |
as well.
So we can sample the edge of this frame,
| | 00:56 |
left to the right of the obstruction.
And we can now go on top of it and Clone
| | 01:04 |
that out.
Now you can see I happen to line this
| | 01:08 |
perfectly correctly, and that's often
hard to do with the Clone tool.
| | 01:13 |
But because we've added this patch in a
new layer, it's very easy with the Move
| | 01:17 |
tool to use the arrow key on the keyboard
just to nudge this down until it aligns perfectly.
| | 01:24 |
This expanse over here is a slightly
different problem.
| | 01:28 |
We'll need a different technique for
dealing with that.
| | 01:33 |
Let's go down to the bottom, and we can
see at the bottom of the picture, well,
| | 01:36 |
there's no problem here at all.
There's no glare, so let's use the
| | 01:41 |
Rectangular Marquee tool, to select this.
We'll make a new layer, and bring this to
| | 01:48 |
the top of our layer stack, and let's
drag it up.
| | 01:55 |
Let's flip it vertically using Edit >
Transform, and Flip Vertical, and see how
| | 02:05 |
it fits in place.
Well it does indeed cover up that glare,
| | 02:13 |
but the color's all wrong.
Let's use the Curves dialog, to brighten
| | 02:19 |
this up.
And that's looking rather better.
| | 02:22 |
It's still not perfect, but it's closer
than it was.
| | 02:27 |
We can say, okay, to make the top blend
in we could add a layer mask.
| | 02:35 |
We can choose New Layer Mask and Reveal
All.
| | 02:39 |
If we now choose a large soft edged
brush.
| | 02:45 |
When we paint in black on this mask, it's
going to hide the effect on this layer.
| | 02:50 |
So we can mask out all the way along
here, along the top and this drawing at
| | 02:59 |
the side here.
And now, we've correctly got rid of that glare.
| | 03:08 |
Much better.
We still have the problem of the tinting
| | 03:13 |
on this white background.
It's bluer over on the left, and it's
| | 03:18 |
pinker over on the right.
Let's fix that.
| | 03:23 |
We'll use the Magic Wand tool.
We'll make sure that it says Sample All
| | 03:28 |
Layers and that's checked up here on the
Options bar.
| | 03:32 |
Usually, we'd have this box unchecked.
What that means is when I click on the
| | 03:38 |
image, it's going to sample both the
white on the original and the white on
| | 03:45 |
the extra layer we added up here.
And you can see it's taken in little bit
| | 03:53 |
of the top of the picture here as well.
We can use Lasso tool, to remove that
| | 03:58 |
from our selection if we hold Alt on a
PC, Option on a Mac before we start to draw.
| | 04:05 |
Anything we trace now will be removed
from the selection, I can now release the
| | 04:10 |
Alt key and hold it once more.
And this time, it'll enable us to draw a
| | 04:15 |
straight line between points where we
click.
| | 04:18 |
So, to get rid of that tint, let's use an
adjustment layer.
| | 04:25 |
We can pick that from the Icon and let's
choose Hue and Saturation.
| | 04:33 |
When we make an Adjustment Layer with a
selection active, it automatically opens
| | 04:38 |
with a layer mask that precisely matches
our selection.
| | 04:43 |
What we want to do here is to desaturate.
So you can drag the saturation, slider,
| | 04:49 |
over to the left, and now we get a plain
white background.
| | 04:57 |
Our photograph of the Japanese print is
now complete.
| | 04:59 |
It's an authentic, and representative
view, of how the print would have looked
| | 05:04 |
in the exhibition, if it hadn't had that
sheet of glass in front of it in the
| | 05:08 |
first place.
| | 05:11 |
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