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Creating perpendicular planes

From: Photoshop CS4 One-on-One: Mastery

Video: Creating perpendicular planes

In this exercise we are going to add couple of more planes. At least one for this back wall right here, because it's just covered in graffiti as you can see. Then we are also going to create another plane along the floor. And these are both perpendicular planes. That is they are locked into perpendicular alignment with the rear wall. The Vanishing Point filter handles perpendicular planes splendidly as you are about to see. So I have going to say my progress as One pane down.tiff because after all, one pane down, a few more to go. Now I would like you to go up to the Filter menu, choose Vanishing Point and there is your previous plane that should be just sitting there waiting for you. Great.

Creating perpendicular planes

In this exercise we are going to add couple of more planes. At least one for this back wall right here, because it's just covered in graffiti as you can see. Then we are also going to create another plane along the floor. And these are both perpendicular planes. That is they are locked into perpendicular alignment with the rear wall. The Vanishing Point filter handles perpendicular planes splendidly as you are about to see. So I have going to say my progress as One pane down.tiff because after all, one pane down, a few more to go. Now I would like you to go up to the Filter menu, choose Vanishing Point and there is your previous plane that should be just sitting there waiting for you. Great.

Now we are going to drag out some perpendicular ones. I want to show you that you can create as many planes as you want inside of your composition and you can even create overlapping planes, if you want to. For example, let's say I want to create a plane along this angled wall right there between the two lights. I would grab my Create Plane tool and I would click at the four points like so, which represent the four corners of this plane, and then I would hope to heck that is blue, which it is. So that's great and if it isn't, if it's red or it's yellow, then I would just modify the corners ever so slightly.

And I should say, by the way, vis-a-vis that whole red yellow thing. Yellow is not that common; you don't run into yellow all that often. You run in red like crazy. Vanishing Point is always getting mad at you, about the planes anyway. As I say just modify them until you get it blue. So you can create independent planes, if you want like what I just did, but you can also create planes that are locked into perpendicular alignment. How do you that? Well, watch this, and this is really a sight to behold. I think you're going to be very excited by this one. I am going to click on this rear plane in order to make it active.

Notice Vanishing Point is very smart about automatically switching between tools for me. So, as soon as you get done modifying a plane or you click on an existing plane, you switch right away to the Edit Plane tool. So you can get to it by pressing the V key, but you don't need to. Now watch. If I were to drag this side handle, I would go ahead and stretch the seam. I would stretch this plane farther into the distance and I can go way, way down there, down to the Vanishing Point, if I want to. But the wall ends here, so I don't want to go any further than that. If you want to create a perpendicular plane along this rear wall, for example, then you press and hold the Ctrl key or the Command key on the Mac and drag it from that side handle, and look at that. It goes ahead and creates a plane that exactly aligned to that rear wall. I'm going to now drag this stop handle up like so in order to move it up. I'm not Ctrl+Dragging it at this point I'm just dragging it up like that, because you can expand each one of these panes independently at this point. It's just this right there, this edge is locked into perpendicular alignment.

If things are looking bad, if your rear plane here is out of alignment with rear wall, then you need to go ahead and undo the creation of the plane. You would press Ctrl+Z, Ctrl+Z, couple of times in a row. That would be Command+Z, Command+Z in a couple of times in a row. On the Mac you have standard multiple undos inside of Vanishing Point. So you don't have to press Ctrl+Alt+Z or Command+Options+Z the way that you do in Photoshop proper. And then you would go ahead and modify this wall here until you get it right and then you try again. And the reason is because otherwise, watch what happens if you start trying edit things after you got perpendicular walls.

I'll go ahead and Ctrl+Drag or Command+ Drag this guy out there, maybe drag this handle up once again. And then if I try to drag this corner handle, things get twisted very quickly. Look at that. That is bad! We've got two reds now. This is double anger out of Vanishing Point. Ctrl+Z, Command+Z on the Mac in order to undo that unpleasant modification right there. So you can see things go bad very quickly. And you no longer have access to any control handles, any corner handles that is to say, at this intersection.

So that has lost you. You really need to get that first plane right before you proceed. Hey! How about the floor? Watch this. I'll click on this rear wall again. There is my middle point right there, my bottom point and I'll go ahead and Ctrl+Drag it outward to cover up the floor. Awesome! Then I'll go ahead and zoom out here and drag this handle. Not Ctrl+Drag, just drag it out in order to expand the floor so it goes all the way outside of the image. You can even go ahead and cover the ceiling, if you wanted to do with this guy.

You Ctrl+Drag from this point here or Command+Drag on the Mac outward and then presumably you would drag this one out as well in order to cover it up. So that's up to you, just how nuts you want to go with your planes. You can create as many as you want. Anyway, the ones we really need are this plane along the rear wall and this plane on the really rear wall, the one farthest away from us. And we'll be editing inside of those planes in future exercises. Now of course, you don't want to edit. You don't want to make any modifications right here. Instead, because you have been making similar planes, you want to go and click on OK button in order to accept those new planes.

And then you go up to the File menu and once again choose the Save command so that you've saved your changes. In the next exercise, we are going to actually put these planes to use and we are going to heave away the graffiti and replace it with brick pattern. Stay tuned.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27709 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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