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Establishing the best color settings

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

Video: Establishing the best color settings

In this movie, I am 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 have recommended in my previous one-on-one courses. So once again, if you have done it in the past you don't need to do it again. Otherwise, go up to the Edit menu and choose the Color Settings command, where you can press Ctrl+Shift+K, Command+Shif+K on the Mac in order to bring up this dialog box. The first change we are going to make is to switch the RGB space. Now by default its set to sRGB which is a consumer color space, it's designed to simulate a worst-case scenario monitor, it is not for us.

Establishing the best color settings

In this movie, I am 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 have recommended in my previous one-on-one courses. So once again, if you have done it in the past you don't need to do it again. Otherwise, go up to the Edit menu and choose the Color Settings command, where you can press Ctrl+Shift+K, Command+Shif+K on the Mac in order to bring up this dialog box. The first change we are going to make is to switch the RGB space. Now by default its 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 are going to get much better results, 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 Prepress group 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's 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 is going to add a little bit of noise it's going to rough up the colors in order to basically, achieve closer color equivalence, 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 turned it off. Next I go ahead and change Intent from Relative Colormetric 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 are 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 would 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 and 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 have 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 Creative 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 am 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 anyway 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's 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 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 thought, so I am going to click Cancel. I just want you to know that option is available to you. In the next movie, I am going to show you how to set up your workspace.

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This video is part of

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

90 video lessons · 11618 viewers

Deke McClelland
Author

 
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  1. 36m 15s
    1. Welcome to One-on-One
      1m 36s
    2. Making Photoshop your default image editor on a PC
      4m 2s
    3. Making Photoshop your default image editor on a Mac
      5m 53s
    4. Installing the dekeKeys keyboard shortcuts
      4m 10s
    5. Remapping Mac OS shortcuts
      4m 0s
    6. Establishing the best color settings
      3m 53s
    7. Constructing the ideal workspace
      3m 25s
    8. Adjusting the interface settings
      3m 6s
    9. Establishing the best preference settings
      6m 10s
  2. 1h 22m
    1. Understanding the disciplined approach to scenes
      58s
    2. Beginning an ambitious 3D scene
      6m 41s
    3. Staking your claim with the camera
      5m 51s
    4. Taking the disciplined approach
      7m 19s
    5. Building a complex Repoussé element
      7m 53s
    6. Taking control of Repoussé bevels
      5m 57s
    7. Mastering the spherical panorama
      5m 6s
    8. Opening up a spherical panorama
      3m 42s
    9. Using a diffuse texture as a layer effect
      7m 12s
    10. Embossing text with bump maps
      5m 42s
    11. Partnering bump maps with diffuse textures
      8m 12s
    12. Automating Repoussé with an action
      4m 57s
    13. Combining 3D layers with Merge Down
      8m 34s
    14. Nesting objects in regular increments
      4m 13s
  3. 37m 42s
    1. A scene's best supporting material
      40s
    2. Extruding and positioning glass
      6m 30s
    3. Introducing refraction
      7m 44s
    4. Adjusting a double refraction effect
      7m 45s
    5. Creating a reflective lens
      5m 16s
    6. Creating a "diffuse reflection"
      3m 56s
    7. Adding depth and highlights in 2D
      5m 51s
  4. 1h 53m
    1. Igniting the colors in your scene with light
      1m 35s
    2. Making sense of a single-mesh scene
      5m 43s
    3. Identifying and naming materials
      7m 36s
    4. Establishing a base camera and light
      6m 56s
    5. Creating and positioning point lights
      8m 31s
    6. Precisely positioning lights
      9m 40s
    7. Color, softness, and attenuation
      6m 1s
    8. Capturing a light with Gloss and Shine adjustments
      5m 9s
    9. Making a patterned, textured surface
      6m 48s
    10. Creating a highly polished hardwood floor
      9m 32s
    11. Using the Hotspot and Falloff options with a spotlight
      8m 3s
    12. Placing and pointing a spotlight
      8m 37s
    13. Aligning a light to the camera angle
      6m 34s
    14. Moving cameras and lights
      9m 11s
    15. Adding a 2D sky to a 3D window
      6m 44s
    16. Resolving ray tracing mistakes
      7m 19s
  5. 1h 45m
    1. Darkness conveys depth
      56s
    2. Shining light through a window
      7m 34s
    3. Using a 3D postcard as a light shield
      8m 1s
    4. Adjusting an infinite light source
      5m 41s
    5. Adding two new models to a scene
      8m 15s
    6. Looking through many objects in a scene
      7m 40s
    7. Changing shadows on a mesh-by-mesh basis
      4m 39s
    8. Adding a 3D postcard sky
      6m 52s
    9. Passing light through an opaque object
      3m 24s
    10. Diffuse texture vs. self-illumination
      5m 47s
    11. Designing a custom reflection map
      8m 48s
    12. Shielding the distant edge of a scene
      4m 54s
    13. Casting light through an opacity map
      9m 30s
    14. Employing an image-based light
      7m 5s
    15. Making wall art with a 3D postcard
      7m 41s
    16. Creating a Repoussé picture frame
      8m 56s
  6. 1h 6m
    1. Forget the Zoom and Hand tools
      52s
    2. Aligning the ground plane to a photograph
      6m 8s
    3. Creating the perfect straight-on view
      3m 26s
    4. Positioning a 3D scene as an object
      4m 26s
    5. Using an orthographic camera
      6m 34s
    6. Sinking a scene into the ground plane
      6m 27s
    7. Designing shiny surfaces
      7m 32s
    8. Making a seamless image-based light
      9m 49s
    9. Lighting a factory-new 3D car
      7m 42s
    10. Adding metallic paint and tire treads
      6m 36s
    11. Depth of field vs. field of view
      7m 21s
  7. 1h 4m
    1. A scene's most important ingredient
      1m 10s
    2. Importing independently editable meshes
      7m 21s
    3. Integrating a 3D scene into a photograph
      6m 11s
    4. Designing a content-aware diffuse texture
      8m 6s
    5. Creating a tapering horn in Repoussé
      5m 44s
    6. Using the camera to align meshes
      10m 56s
    7. Establishing symmetrical meshes
      5m 51s
    8. Employing a self-illuminated mesh
      8m 4s
    9. Creating a self-illumination map
      5m 38s
    10. Cleaning up jagged highlights
      5m 14s
  8. 23m 33s
    1. Crafting the final 3D product
      35s
    2. Photoshop's 3D rendering presets
      4m 49s
    3. Making line art without re-rendering
      2m 30s
    4. Working with the Face Style options
      6m 31s
    5. Working with the Edge and Vertex Style options
      4m 31s
    6. Rendering a stereoscopic 3D artwork
      4m 37s
  9. 1m 3s
    1. Until next time
      1m 3s

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