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Establishing the best preference settings

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

Video: Establishing the best preference settings

In this final movie I'll review the settings that I recommend you change inside the Preferences dialog box. Assuming that you have Photoshop opened, go to the Edit menu if you're working on a PC, that would be the Photoshop menu if you're working on the Mac, then choose the Preferences command which is much higher in the menu on the Macintosh side, and then choose General or even more simply you can press the keyboard shortcut Ctrl+K here on a PC or Command+K on the Mac. You definitely want to turn off Export Clipboard, and the reason that this option should not be on is because you routinely end up copying extremely large images inside of Photoshop.

Establishing the best preference settings

In this final movie I'll review the settings that I recommend you change inside the Preferences dialog box. Assuming that you have Photoshop opened, go to the Edit menu if you're working on a PC, that would be the Photoshop menu if you're working on the Mac, then choose the Preferences command which is much higher in the menu on the Macintosh side, and then choose General or even more simply you can press the keyboard shortcut Ctrl+K here on a PC or Command+K on the Mac. You definitely want to turn off Export Clipboard, and the reason that this option should not be on is because you routinely end up copying extremely large images inside of Photoshop.

Now, that doesn't present Photoshop with the problem, you can copy and paste inside Photoshop all you want but then when you switch to a different application, Photoshop by default tries to export that gargantuan clipboard information to the operating system, and at best that creates a huge slowdown, and at worse the operating system ends up choking on it. So unless you're just copying wee little graphics, or you're then turning around and pasting in the Microsoft Word or some weird workflow like that, turn this check box off. I also turn off Use Shift Key for tool Switch. That way you can switch between the Marquee tools, for example, by pressing the M key instead of having to press Shift+M. Zoom Resizes Windows, that's turned off by default on the PC and on by default on the Mac.

I recommend you Macintosh people turn it off, and the reason is this way you get consistent behavior between the Zoom tool, and the Zoom commands. So then if you want to zoom without resizing the window, you press Ctrl+Plus or Ctrl+Minus on the PC. That's Command+Plus or Command+Minus on the Mac and if you want to zoom and resize the window, with this check box off, you just press Ctrl+Alt+Plus or Ctrl+Alt+Minus on the PC. That's Command+Option+Plus or Command+Option+Minus on the Mac. All right! Next, we'll switch over to Interface, and by default when you're reviewing an image in the Standard or Full-screen modes, you'll see this light gray background behind the image which I don't think offsets the image nearly well enough.

So I recommend you darken that up, by clicking on this pop-up menu here, select Custom Color, for some reason it comes up blue which is weird. Anyway, change the H and S values to 0, and then I recommend a brightness value of 35%. Click OK, do the exact same thing for Full Screen with menus. So click on the pop-up menu, choose Select Custom Color, and dial-in 0, 0 for Hue & Saturation and then 35 for Brightness, click OK. And I also recommend that you change the second drop-shadow setting to none, because we don't need drop-shadows in full-screen.

Again, that's my opinion, you can go your own way. On a PC we're pretty used to opening documents as tabs, and that's the way a lot of PC people prefer to work and that's the way I will be working. Most Macintosh people prefer this option to be turned off. And if so, if you have Open Documents as Tabs turned off, I also recommend you turn off this second one, Enable Floating Document Window Docking. That way your image windows don't tend to glom together when you're dragging them around. In my case I'm going to leave the check box on though. So I'm saying that you either turn both of them on or both of them off.

On the Windows side both on, on the Mac side both off, just a recommendation. I'm going to switch to File Handling now. This I really want you to do. Change Maximize PSD and PSB File Compatibility from Ask to Never. Now, this is specifically a recommendation for keeping your file sizes down. Otherwise, you're going to have gargantuan huge images. The only reason not to do this is if you work with Lightroom a lot and you want to be able to see the previews inside Lightroom, this way you won't see previews inside Lightroom. You will inside the Bridge, but not inside Lightroom, but I think it's worth it because you get smaller files. All right! Now, I'm going to switch to Performance, and I just want you to make sure that Enable OpenGL Drawing is turned on, and that a video card is detected.

If not, and you're sure that you have a video card that supports OpenGL which is important for getting any kind of reasonable work done inside of Photoshop, then you should quit out of the program, and either restart the program, or restart your computer and try again and see if you can get Photoshop to recognize what's going on, otherwise you may have to call your video card vendor. All right! Now, I'm going to switch over to Cursors and I'm going to turn on Show Crosshair in Brush Tip, just a personal preference I want you to know that I'm doing it. If you like big huge font previews when you're trying to switch between typefaces and figure out which face to use, then click on the word Type there, and change the Font Preview Size from Medium to one of these others either Large, or Extra Large, or Huge.

I'm going to go with Extra Large in my case because I have a fairly small screen to work with. And then finally click on 3D, and make sure up here that OpenGL is turned on, so you'll get the best performance. You should have Allow Direct To Screen turned on as well, Auto-Hide layers was that option that we just turned off at the end of the previous video. It should still be off for you. Well I will anticipate that one of your initial frustrations as you're working with 3D inside of Photoshop is that as you are creating your 3D objects, they don't seem to cast shadows onto each other, and that's because you have to ray-trace the objects in order to see the shadows.

If you want to get a rough sense of those shadows while you're working, you would switch to Ray Tracer and make sure shadows is turned on. However, that is going to really degrade Photoshop's performance. I just want you to know that. You get a sense of your shadows as you work, but you have to be very, very patient as you work as well which is why I'm going to suggest we leave this set to OpenGL, first check box on, second check box off, and that is it. Pretty tedious I know but we are now on the same page, click the OK button. Now there is just one more thing we need to do. In order to save those changes we made inside the Preferences dialog box as well as those interface changes that we applied in the previous movie, we need to quit the program, because if we crash right now, then we'd end up losing all that work.

So what I'd like you to do, if you're working on a PC, go up to the File menu and choose the Exit command, or you can press that keyboard shortcut Ctrl+Q for quit. On the Mac, you go to the Photoshop menu and choose Quit Photoshop, or you press Command+Q, and that will go ahead and quit the program, it will also save all of your preferences. If you have any unsaved changes to your images, you'll have to decide whether to save those changes or not. All right! Now that you and I are on the same page, I recommend you advance to the next chapter, so we can get some real 3D work done.

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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 · 10903 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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