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Introducing Vanishing Point 2.0

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Introducing Vanishing Point 2.0

Alright let's get our first taste for the Vanishing Point Filter and by the way what we are about to see is Vanishing Point 2.0 newly updated inside of Photoshop CS3. Make sure that you have the bluegallery.psd image open from the 17vanishingPoint folder then go up to the Filter menu and choose the Vanishing Point command or you can press Ctrl+Alt+V or Command+Option+V on the Mac. And just as with the Liquify function that we saw in the previous chapter Vanishing Point brings up an entire utility.

Introducing Vanishing Point 2.0

Alright let's get our first taste for the Vanishing Point Filter and by the way what we are about to see is Vanishing Point 2.0 newly updated inside of Photoshop CS3. Make sure that you have the bluegallery.psd image open from the 17vanishingPoint folder then go up to the Filter menu and choose the Vanishing Point command or you can press Ctrl+Alt+V or Command+Option+V on the Mac. And just as with the Liquify function that we saw in the previous chapter Vanishing Point brings up an entire utility.

You will see that it comes complete with its own toolbox, a bunch of options along the top of the screen that vary depending on the selected tool and an image window in which you do your work. You also see that I have already drawn a base plane. Go ahead and zoom in on this image if you need to so that you are seeing it at the 10% zoom size and you can checkout the zoom size down here in the lower left hand corner of the window and of course you zoom and scroll inside of Vanishing Point the same way you do in the larger realm of Photoshop.

So I press Ctrl+ or Command+ on the Mac in order to zoom in. Now the reason I have this base plane in place here, this perspective plane in place is just to show you that once you draw a plane and click the OK button here inside the Vanishing Point Filter the plane gets saved along with the image and it doesn't matter what file format you use that is to say this could be for example, in the case of this image this is a layered native Photoshop, a native psd file. But I could just as easily save a plane with a tif document or a jpeg document or what have you.

Now I want to give you a sense of how this plane was created. So let's go ahead and delete the existing plane by clicking on it to make sure it's active and then pressing the Backspace key or the Delete key and that will go ahead and switch you automatically to this tool right here the Create Plane tool that allows you to lay down a base plane and this is a 4. plane meaning that it has four corners it's basically a rectangle rendered in perspective and here's how you draw that base plane. We are going to draw it along the central wall just because it's the most obvious surface inside the building and that's the way I always recommend you work, always choose whatever is the most obvious plane, work with it, you can draw other planes out from it as we will see in a moment but for now go ahead and click at one of corners along this wall then click at another corner, click at a third corner like so and then click at a fourth corner and it doesn't matter if you get things exactly right for now because we will be able to modify this plane in just a moment.

But notice that as soon as you click four times Photoshop goes ahead and renders out your plane. Now at this point I can modify the plane by dragging a corner handle like so in order to get those corners exactly where they need to be and notice as I am moving the corners around my grid is changing colors. These colors actually mean something so you should pay attention to them. When you see a blue plane it means that Photoshop is happy with you that this is a good plane and it can work with it. If you see a yellow plane let me go ahead and get the yellow one here, it means that Photoshop is none too happy with this plane, it doesn't really think it works very well for the image but it will do its best to keep up with you no guarantees.

And then finally if you see a red plane that means Photoshop is just plane angry at you forget about it it's not even going to try to play ball. So that's what's going on you have got blue, yellow and red don't settle for anything less than blue, don't settle for yellow there is no point in doing that and definitely don't leave the plane red. Alright at this point we do need to get this grid exactly right because every other grid we create from this point on is going to be based on this central grid and once we have a lot of planes based on each other things get pretty complicated, things get pretty gnarly in terms of trying to modify the plane.

So make your first plane its absolute best and I am going to do that by just dragging these corners around until I get them exactly in place and here's a little trick you might want to be aware of. If you press and hold the X key you will zoom in temporarily for as long as the X key is down you will zoom in to twice the current level of magnification. So I am zooming in at 200% right there then I release the X key in order to go back out then I will drag this corner handle around press the X key to make sure I have it exactly in place as I do then release X and release the mouse button in order to set that point down.

I will go ahead and drag this guy up here to where it wants to be. Notice that I am trying to follow the angle of the base of these light units right there. Alright so I will drag this corner around press the X key in order to make sure that it's in exactly the right place and then release. We have a bit of a bow associated with this wall it may not be the wall it maybe the distortion associated with camera lens but in any case we have a little bit of bow that we are not going to be able to account for with this very straight line along the edge of the plane.

Nothing to worry about, we are just concerned about these corners and finally let's get this guy into place again I will press the X key in order to zoom in tight and make sure I have got it exactly where it needs to be, everything looks good then I will release the X key and I have got my base plane yeah this is the first of several planes that we will be creating. So go ahead and make sure that you have got one drawn and then join me in the next exercise when we draw a bunch more.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39119 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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