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Establishing the best preference settings

Establishing the best preference settings provides you with in-depth training on 3D + Animation. Tau… Show More

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

with Deke McClelland

Video: Establishing the best preference settings

Establishing the best preference settings provides you with in-depth training on 3D + Animation. Taught by Deke McClelland as part of the Photoshop CS5 Extended One-on-One: 3D Scenes
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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
    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
    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
    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
    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
    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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Establishing the best preference settings
Video Duration: 6m 10s 8h 51m Intermediate


Establishing the best preference settings provides you with in-depth training on 3D + Animation. Taught by Deke McClelland as part of the Photoshop CS5 Extended One-on-One: 3D Scenes

View Course Description

In the third installment of the Photoshop CS5 Extended One-on-One series, author Deke McClelland shows how to build, light, and render realistic 3D scenes in Photoshop CS5 Extended. Providing a systematic approach to scene building, the course explains how to produce reflections and refractions, balance the interplay of light and shadow, and frame scenes with 3D cameras.

Prerequisite course: Photoshop CS5 Extended One-on-One: 3D Fundamentals

Topics include:
  • Building complex 3D objects from simple shapes
  • Maintaining control over objects in a scene
  • Extruding and positioning glass
  • Illuminating a scene with precisely positioned lights
  • Modifying light attributes such as Attenuation and Falloff
  • Changing shadows on a mesh-by-mesh basis
  • Passing light through an opaque object
  • Understanding depth of field and field of view
  • Aligning lights and cameras
  • Rendering stereoscopic 3D artwork
3D + Animation Photography

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 open, 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 Cmd+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 a 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 worst the operating system ends up choking on it. So unless you're just copying little graphics, or you're then turning around and pasting in the Microsoft Word or some weird workflow like that turning this check box off. I also turn off Use Shift Key for tool Switch that way you can switch between the Marquee tool, 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 will switch over to Interface, and by default when you're reviewing an image in the Standard or Full Screen mode you'll see there's 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. To click on the pop-up menu choose Select Custom Color and dial-in 00 for Hue and 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 are pretty used to opening documents as tabs and that's the way a lot of PC people prefer to work and that's where 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's 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.

I'll 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 are 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's 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 crashed right now then we'd up losing all that work. So what I would like you 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 the Photoshop menu and choose Quit Photoshop, or you press Command+Q and that'll go ahead and quit the program.

It will also save all of your preferences if you have any unsaved changes to your images you will 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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