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Establishing the best color settings

From: Photoshop CS5 Extended One-on-One: 3D Objects

Video: Establishing the best color settings

In this movie I'm going to review my recommended color settings for achieving the best results when working inside Photoshop CS5 Extended. Now these are the exact same color settings I've recommended in my previous One-on-One courses, so once again, if you've done in the past, you don't need to do it again. Otherwise, go up to the Edit menu and choose the Color Settings command, or you can press Ctrl+Shift+K, Command+Shift+K on the Mac in order to bring up this dialog box and the first change we're going to make is to switch the RGB space. Now by default it's set to sRGB, which is a consumer color space, it's designed to simulate a worst-case scenario monitor, it is not for us, we're going to get much better results or wider color gamut, if we switch from sRGB to Adobe RGB, like so.

Establishing the best color settings

In this movie I'm going to review my recommended color settings for achieving the best results when working inside Photoshop CS5 Extended. Now these are the exact same color settings I've recommended in my previous One-on-One courses, so once again, if you've done in the past, you don't need to do it again. Otherwise, go up to the Edit menu and choose the Color Settings command, or you can press Ctrl+Shift+K, Command+Shift+K on the Mac in order to bring up this dialog box and the first change we're going to make is to switch the RGB space. Now by default it's set to sRGB, which is a consumer color space, it's designed to simulate a worst-case scenario monitor, it is not for us, we're going to get much better results or wider color gamut, if we switch from sRGB to Adobe RGB, like so.

CMYK is between you and your commercial print house, so if you work with the pre-press groups then go ahead and contact them and find out what CMYK settings you should be using. Next, go over to the More Options button and click on it and there are two changes I recommend down here. First of all, I turn off Use Dither, and what that means is when you're converting between color spaces, by default Photoshop going to add a little bit of noise, it is going to rough up the colors in order to basically achieve closer color equivalents. However, that also means if you specifically decided an area of color needed to be one flat color, one solid color, and in my opinion it's just not worth it, you don't really achieve tremendously better results with Dither on, so I turn it off.

Next, I go ahead and change intent from relative color metric, which is actually great for graphical work and we will be doing graphical work in this series. However, for photographic work, perceptual tends to be better and it does a better job of preserving gradual transitions between colors and we're going to have a lot of that inside of our 3D artwork as well. All right, once you've done that then go ahead and click on the Save button and I recommend that you call this file, and, by the way, you want to save it exactly where Photoshop sends you, don't go to a different folder.

I like to call this file Best Workflow CS5, it will work across all the CS5 applications, including Illustrator and InDesign and so forth. Then click the Save button. You'll get this description field right here; you can type in your own description if you want to. If you want to add my description, I've already created one in advance. Then you can go ahead and switch over to this file, which is called Best Workflow description.txt, open it inside of any text editor, go ahead and grab that text and copy it, like so.

You can press Ctrl+C, Command+C on the Mac. Then go back to Photoshop and just press Ctrl+V or Command+V on a Mac in order to paste, click OK, and the deed is done. You now have your settings saved as Best Workflow CS5. Initially your colors will be unsynchronized between the various applications. If you have the entire create of suite, and you've got the Adobe Bridge, then you would go ahead and load this Best Workflow CS5 file inside the Bridge using the Bridge's color settings Command. In any case I'm just going to leave it at Photoshop here, I'll click OK, and we have now applied what I believe to be the best color settings for working inside Photoshop.

Now if this in any way shape or form messes you up, if you end up getting colors that you don't like, if all your images start looking different, if your images start printing different, there is a very slight chance that kind of stuff is going to happen, but if it does, then you can reset back to the previous color settings, easy as pie. All you do is you go up to the Edit menu, you choose a Color Settings command again, and then you switch your settings from best workflow CS5, back to the defaults, which in this country are North America General Purpose 2.

That will take you back to the sRGB space, which as I say, big mistake, but you can do it and things will look the way that they used to. Then go ahead and click OK. I don't recommend that though, so I'm going to click Cancel, just want you to know that option is available to you. In the next movie I'm going to show you how to setup your workspace.

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This video is part of

Image for Photoshop CS5 Extended One-on-One: 3D Objects
Photoshop CS5 Extended One-on-One: 3D Objects

77 video lessons · 10908 viewers

Deke McClelland
Author

 
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  1. 36m 23s
    1. Welcome
      1m 44s
    2. Making Photoshop your default image editor on a PC
      4m 2s
    3. Making Photoshop your default image editor on a Mac
      5m 53s
    4. Installing the dekeKeys keyboard shortcuts
      4m 10s
    5. Remapping Mac OS shortcuts
      4m 0s
    6. Establishing the best color settings
      3m 53s
    7. Constructing the ideal workspace
      3m 25s
    8. Adjusting the interface settings
      3m 6s
    9. Establishing the best preference settings
      6m 10s
  2. 42m 34s
    1. Flat 2D layers in 3D space
      1m 6s
    2. Making a 3D postcard
      4m 12s
    3. Combining extruded type with a postcard
      5m 7s
    4. Matching a postcard to a background image
      7m 52s
    5. Masking, blending, and lighting a scene
      4m 55s
    6. Editing type in a diffuse texture
      3m 56s
    7. Tying objects together with reflectivity
      3m 59s
    8. Adding defects with a bump map
      5m 30s
    9. Adding rust trails to metallic type
      5m 57s
  3. 40m 15s
    1. The challenge of the multi-mesh object
      1m 7s
    2. Introducing the 3D shape presets
      6m 41s
    3. Duplicating materials, camera, and position
      3m 26s
    4. Loading and editing diffuse textures
      6m 15s
    5. Creating texture-specific bump maps
      4m 56s
    6. Faking a 3D bevel with 2D layers
      3m 42s
    7. Creating a starburst effect with Repoussé
      3m 12s
    8. Making rays of light with a diffuse texture
      3m 47s
    9. Filtering a 3D object as a Smart Object
      3m 40s
    10. Blending a 3D cube with 2D effects
      3m 29s
  4. 1h 12m
    1. Bringing models into Photoshop
      55s
    2. Accessing 3D models and materials
      3m 4s
    3. Importing 3D models
      5m 16s
    4. Prepping 3D models for export
      3m 36s
    5. Exporting a model as a 3D shape preset
      4m 5s
    6. Creating a credible leather texture
      4m 19s
    7. Scaling and repeating a texture
      5m 33s
    8. Identifying and painting details in 3D
      7m 28s
    9. Fixing gaps in a custom diffuse texture
      5m 43s
    10. Working with UV overlays
      7m 27s
    11. Navigating inside a complex UV map
      9m 21s
    12. Reflecting a partial environment map
      3m 55s
    13. Filling in missing parts of an environment
      3m 50s
    14. Making and painting a multilayer bump map
      4m 40s
    15. Simulating depth of field with a 2D filter
      3m 28s
  5. 55m 26s
    1. White is height, black is back
      56s
    2. Introducing 3D depth maps
      6m 3s
    3. Cylindrical and spherical projections
      7m 40s
    4. The advantage of 16-bit depth maps
      6m 54s
    5. Creating a 3D object from a 16-bit gradient
      4m 49s
    6. Making a 3D object look huge and distant
      6m 54s
    7. Depth maps vs. displacement maps
      4m 26s
    8. Hand-painting and blurring a depth map
      3m 37s
    9. Coloring a scene with lights and texture
      4m 16s
    10. Creating rips and tears in a 3D surface
      7m 46s
    11. Singeing the holes with 2D effects
      2m 5s
  6. 49m 35s
    1. Science meets art
      1m 19s
    2. Making a 3D volume from DICOM layers
      6m 5s
    3. Render settings and transfer functions
      5m 6s
    4. Using 3D volumes as creative tools
      5m 32s
    5. Building one 3D object from another
      5m 5s
    6. Adding white peaks to hills
      3m 1s
    7. Creating synthetic rain
      4m 23s
    8. Rendering 3D motion trails
      5m 30s
    9. Matching independent objects in 3D space
      6m 57s
    10. Making ghostly type with layer effects
      3m 3s
    11. Boosting the highlights of a 3D composition
      3m 34s
  7. 1h 3m
    1. The baffling power of Repoussé
      1m 1s
    2. Repoussé and pixels vs. vector masks
      6m 22s
    3. Creating a 3D revolution
      6m 32s
    4. Making seamless textures and bump maps
      6m 14s
    5. Merging and reconciling different 3D objects
      6m 44s
    6. Assigning and adjusting depth of field
      4m 8s
    7. Extruding a long, bending object
      9m 55s
    8. Blending a photographic foreground
      5m 7s
    9. Creating a custom contoured bevel
      6m 27s
    10. Moving one object between two others
      6m 34s
    11. When in doubt, move what's easiest
      4m 39s
  8. 1m 3s
    1. Until next time
      1m 3s

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