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In this course, Deke McClelland offers a sneak peek at the new features in Photoshop CS6. He reveals the secrets behind the new dark interface, searchable layers, the powerful Blur Gallery, Camera Raw 7, video editing, and the Adaptive Wide Angle filter, which removes distortion from extreme wide-angle photographs and panoramas. Deke also covers the new nondestructive Crop tool, dashed strokes, paragraph and character styles, editable 3D type, and the exciting Content-Aware Move tool, which moves selections and automatically heals the backgrounds.
If you are a 3D enthusiast, then hold onto to your hats, because Photoshop 13.1 includes a handful of lighting enhancements, including the ability to define lights in the 32-bit per channel mode, which means you can create some extremely nuanced lighting indeed. We are going to use these features to convert this kind of leadish looking 3D Bull here into this polished gold effect. The first thing I am going to do is switch to the 3D workspace by clicking on this pop-up menu in the upper right corner of the screen and choosing 3D, and that will bring up both the 3D panel along with the Properties panel, both of which I need.
I am going to start things off by adjusting my Sunlight here, which is selected inside of the 3D panel. If it weren't, I would just click on it. If you wanted to adjust the light, then you would switch to the Move tool. This is a way it works in all versions of Photoshop CS 6 and then you can drag to switch it around and so forth. But I don't want all this interface on screen. So I am going to switch back to the Rectangle Marquee tool, and I am going to adjust my settings numerically. Now the first thing I am going to do is increase the Softness of the shadow and notice that you can preview the softness on the fly, which is an extraordinary feature, very, very helpful.
You don't have to wait for the final render to get a sense what it is going to look like. I am going to take that Softness value up to 60%, and I am also going to breathe a little life into this light by clicking on the Color Swatch, and you can see it's already white, because the Brightness is set to 100%, but the 32-bit value is actually pretty dim for white. We can go much higher than that. What I am going to do is I am going to increase the Intensity of this white light like so, and I am going to take it up to +3 stops, which is as you can see, it doesn't alter the 8-bit value at all, but it does modify the 32-bit value, and it gives me a much brighter light sources than I could otherwise achieve.
Now I'll go ahead and click OK in order to accept that effect. I also have this other light source that's called Reflected Light, and if I turn it off you can see then it's light that's being essentially bounced off the ground back onto the ball. I'll turn it back on, and I want to increase its Brightness little bit too. So I'll click on its Color Swatch, and I'll go head and take the Intensity value for this light source up to +1.5. Again, that has no effect in the 8-bit values, but it does affect the 32-bit value.
It goes ahead and raises it up. You can take these values very high indeed. Notice you can take them all to 20 if you want to, which would be a little too much, I think, for the scene. So, I'll go ahead and return the Intensity value to 1.5 stops and click OK. Now let's achieve a Golden effect by adding some Internal Illumination, and I'll do that by clicking on my Material right here, which is the case of this composition is called the defaultMat, and it wraps around the entire bull, and I am going to click on the Illuminations Swatch to once again bring up that 32-bit per channel Color Picker.
Notice that the 32-bit RGB values are all cranked down to the Minimum, which is 0. What I am going do as I am going to start things off by dialing in some HSB values. So I am going to change the Hue value to 40 degrees and then I'll take both of these Saturation and Brightness values up to 100% like that. That's way too bright. So in this case I am going to take the Intensity value down, and I'm going to reduce it to -3.5, and you can see that we have this incredible degree of control over the light source with just these very minimal R and G values here that don't even amount to 1/10th.
We are still getting a fair amount of illumination coming off the model. Now we'll go and click OK in order to accept that effect, and as you can see, our Preview of this color is very dim indeed. It's almost black and yet it makes a big difference where the lighting is concerned. Now I'll go ahead and click on the Specular Swatch, and this time I'm just going to dial in the Hue value of 40 degree and a Saturation of 50%. I'll leave the Brightness set to 100%, and I am not going to modify the Intensity value at all this time.
Now I'll go ahead and click OK in order to accept that change, and by the way, Specular controls the color of the specular highlights. That is the color that's infused in the ultra bright highlights right there. Finally, I am going to make a couple of changes to my environment here. I'll click on Environment in order to select it and then I'll scroll down up here in the Properties panel to the Ground Plane options. I am going to take the Opacity of my Shadow down to 45%, and I'll also increase the Opacity of my Reflections to 40%, and you can preview those Reflections, as you can see here, on the fly, and I'll also increase my Roughness value.
So there's a little blur associated with the reflections, and I'll take that up to 10%. Again, you can preview that change. Now at this point we need to go ahead and render the scene. So I'll click on this tiny Render button at the bottom of the Properties panel and let it rip. You can see that the rendering looks little different. If you're familiar with rendering 3D scenes inside earlier versions of Photoshop CS6, then you'll notice that the rendering boxes have changed a little bit and they will change in size all over the place as the rendering proceeds.
We also have a little Time Remaining option down here so we can see that we've got at least 6 minutes to go, and that so far we are about 7% the way through the experience. However, I am supposed to making you watch this scene render for another 6 minutes, we are just going to go ahead and cut to the final version of the scene. Now that I have a final render, I want to darken things up a little bit, and because this is Photoshop, you can throw an Adjustment layer onto the scene even if it involves 3D objects just by switching back over to the Layers panel, and then I'll press Alt key or the Option key on the Mac and click the little black and white circle and choose Levels command.
Because I have a Alt or Option key down that brings up the New Layer dialog box. I'll go ahead and call this layer darken, and that goes ahead and replaces the 3D functions inside the Properties panel with my Levels options, and I am going to take this black point value up to 50 and then I'll tab over to the Gamma value and press Shift+Up Arrow in order to raise it to 1.1. That friend's is highly Polished Gold version of the bull thanks to the enhanced 3D lighting functions inside Photoshop 13.1.
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