3D in Photoshop: The Ultimate Guide for Creative Professionals doc

Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com 3D in Photoshop | Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com This page intentionally left blank Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com 3D in Photoshop The Ultimate Guide for Creative Professionals Zorana Gee Pete Falco AMSTERDAM  BOSTON  HEIDELBERG  LONDON  NEW YORK  OXFORD PARIS  SAN DIEGO  SAN FRANCISCO  SINGAPORE  SYDNEY  TOKYO Focal Press is an imprint of Elsevier | Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Focal Press is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2010 Copyright Ó 2010 Zorana Gee and Pete Falco. Elsevier Inc. All rights reserved. The rights of Zorana Gee and Pete Falco to be identified as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher's permiss ions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data 3D in photoshop: the ultimate guide for creative professionals. 1. Adope photoshop. 2. Digital art. 3. Three-dimensional imaging. I. Gee, Zorana. II. Falco, Pete. 776-dc22 Library of Congress Control Number: 2010930199 ISBN: 978-0-240-81377-6 For information on all Focal Press publications visit our website at focalpress.com Printed and bound in the United States 10111210987654321 Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Contents Foreword ix About the Authors and Acknowledgements xi Introduction xv Part I Introduction to 3D Concepts 1 Chapter 1 Scene 3 1.1. The 3D Scene 3 1.2. Meshes and Vertices 3 1.2.1. 3D vs 2D 3 1.3. Cameras 5 1.3.1. Perspective Camera 5 1.3.2. Orthographic Camera 5 1.3.3. Depth of Field 6 1.4. Lights 7 1.4.1. Point Light 7 1.4.2. Infinite Light 8 1.4.3. Spot Light 8 1.4.4. Image-Based Light 9 1.5. Materials 9 1.5.1. Photoshop-Supported Material Properties 11 1.6. UVs 16 1.6.1. UV Maps 17 Chapter 2 Rendering: OpenGL (OGL) and Adobe Ray Tracer (ART) 19 2.1. OpenGL 19 2.2. Ray Tracing 21 2.2.1. Ray Tracing Effects 22 2.3. Other Render Settings 24 2.3.1. Depth Map preset 24 2.3.2. Normals preset 24 Part II 3D in Photoshop 27 Chapter 3 Getting Started with 3D in Photoshop 29 3.1. Workspace and the 3D Panel 29 3.2. Importing 3D 31 v Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com 3.3. Converting to 3D 31 3.3.1. 3D Postcard 31 3.3.2. 3D Shape from Preset 32 3.3.3. 3D Repoussé Object 33 3.3.4. 3D Mesh from Grayscale 34 3.3.5. 3D Volumes 35 3.4. Navigating 3D 35 Chapter 4 Materials 37 4.1. Material Library and Browsing Materials 37 4.2. 3D Material Tools and Editing 39 4.2.1. Material Dropper/Loader Tools 39 4.2.2. Changing Material Color 39 4.3. Painting on 3D 40 4.3.1. Optimal Positioning of your 3D Model for Painting 41 4.3.2. Painting on Unwrapped Textures 42 4.3.3. Reparameterizing UVs 43 4.4. Tiled Painting 43 Chapter 5 Lights, Shadows and Final Rendering 45 5.1. Light Types 45 5.2. Positioning Lights and Keyboard Shortcuts 45 5.3. Editing Lights 46 5.4. Adding and Editing Shadows 47 5.4.1. Ground Shadows and Snapping Object to Ground Plane 50 5.5. Colored Transparent Shadows 51 5.6. Final Rendering 55 5.6.1. Test Rendering 56 Chapter 6 Adobe Repoussé e 3D Extrusions 57 6.1. Introduction to Adobe Repoussé 57 6.2. Changing the Repoussé Shape 60 6.2.1. Presets 60 6.3. Constraints 64 6.3.1. Holes 65 6.3.2. Active Constraints 66 6.3.3. Inactive Constraints 66 6.4. Assigning Materials 67 6.4.1. Extrusion Texture Mapping 67 Contents vi Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com 6.5. Mesh Quality 67 6.5.1. Repoussé Speed 68 6.6. Split Apart Functionality 68 Chapter 7 Performance Settings and Optimization 71 7.1. 3D Preferences 71 7.2. GPU Memory (VRAM) 72 7.3. Interactive Rendering 73 7.3.1. OpenGL (on by default) 73 7.3.2. Allow Direct To Screen (on by default) 73 7.3.3. Auto-Hide Layers (on by default) 73 7.3.4. Ray Tracer (off by default) 73 7.4. Ray Trace Quality Threshold 73 7.5. 3D File Loading 74 7.5.1. Active Light Source Limit 74 Part III Workflows 75 Chapter 8 3D and Compositing with Bert Monroy 77 8.1. Simple Complexity 97 Chapter 9 Adobe Repoussé with Corey Barker 103 9.1. Text and Reflections 104 9.2. Creating Realistic 3D Product Shots 113 9.3. Masking 3D Shapes for Effect 125 9.4. 3D and Photoshop Effects 133 9.5. Cover Art Breakdown 144 9.5.1. Getting Started 144 Chapter 10 Painting, Texturing and Lighting with Stephen Burns 153 10.1. Importing 3D Using 3DVIA 154 10.2. Creating the Layout 157 10.3. Texturing the Walls of the Buildings 170 10.4. Lighting the 3D model 173 10.5. Adding the Wet Look to the Street 175 10.6. Adding Localized Bump and Reflective Characteristics 178 10.7. Adding Depth of Field and the Splash 181 Contents vii Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Chapter 11 Creating Lenticulars with Russell Brown 187 11.1. Getting Started 188 11.1.1. Equipment and Software 188 11.2. Basic Lenticular Workflow 188 Part IV Appendices 193 Appendix A: File Formats 195 Appendix B: Interoperability and Limitations 199 Index 201 Contents viii Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com Foreword Gavin Miller Traditional analog photography combined the creative use of cameras with post processing in the darkroom. Photographers adjusted scene composition and lighting, and controlled exposure, focal length and depth of field to capture the moment on film. In the darkroom, chemical manipulation for transfer curves was combined with optical manipulations such as dodge and burn, convolutions using moving film (such as a Rostrum Camera) and compositing using optical masks. Photoshop, in its early days, was largely inspired by the desire to move image manipulations to the digital realm in which they were more repeatable, convenient and expressive, allowing not dozens but hundreds of layers, and image transformations and effects not possible with analog processing. At the same time, Photoshop became a rich graphic design medium in which vector or raster graphics could be manipulated to create the impression of some simple forms of lighting and geometry, such as floating text with drop shadows and embossing. With the growth of 3D functionality in Photoshop, the creative potential is expanding in a new direction, in which it is the photographic studio itself that becomes virtual, with lights, cameras and models taking the form of algo- rithms rather than physical objects. Many of the same creative decisions remain from physical photography such as scene composition and camera focal length and depth of field. But there are a range of new artistic decisions to make in which the models themselves can be made of a wide variety of shapes and materials. Images take on a new role as surface textures applied to geometry, capturing the appearance and structure of substances rather than whole objects. A 3D rendering might be an end in itself, or be part of a larger compo- sition with captured imagery or 2D graphic elements. By integrating 2D and 3D tools into the same application, a new creative medium is possible in which layer effects and 3D rendering styles interact to produce images that would be expensive or impossible to make with either alone. 3D graphics imposes a certain amount of structure on the resulting images, with shadows con sistent with the geometry and lighting. Sometimes a designer will have a particular look in mind and carefully manipulate all the elements to produce the desired result, but just as valid is exploring the model by moving the camera and lights around until a happy accident of light and shadow resonate with the viewer, as happens with physical photography. | ix Simpo PDF Merge and Split Unregistered Version - http://www.simpopdf.com [...]... glossiness control specular highlights Shininess is the intensity or brightness of the highlights and glossiness is the size or spread of the highlight Therefore, shininess needs glossiness to be used as an effect whereas glossiness does not need shininess (Figure 1.14) Using a map for glossiness will alter where the highlights appear on your model Using a map for shininess will alter how bright the. .. the surface of the model and Photoshop will automatically place any painted detail into the right corresponding place in the 2D texture It may be necessary to start with a little painting in 3D before attempting to paint directly into the 2D image so that you can get your bearings on which parts of the image map to which parts of the surface The UV mapping process results in a correlation between the. .. a single value) and a map If a map is not specified, the base value is used across the entire surface of the material If a map is specified, the values in the map override the base value The alpha channel in the map is then used to blend (multiply) the value at each pixel in the map against the base value Diffuse The diffuse color is the color that an object reflects when illuminated by “good lighting,”... In this part This book is all about Photoshop and the ways you can integrate 3D into your design workflows; however we wanted to take a step back and start off with an introduction to basic 3D concepts that will be important to understand, before diving into how it all works in Photoshop In this part we explain 3D concepts in a way that anyone new coming into the world of 3D can understand so that they... exist in large libraries on the web, and using them for a particular purpose then becomes a matter of designing the textures and lighting for a given shot – something at which Photoshop excels Secondly, Photoshop CS5 now has a new modeling tool called Repoussé that focuses on transforming 2D graphic designs, including text, into high-quality 3D models While this does not solve the general modeling problem,... should serve as a good introduction Early chapters focus on the elements of 3D image-making and how to control them in Photoshop CS5 Later chapters introduce model creation using Repoussé, and then take on the form of tutorials in which experts in the field explore how to combine the best features of 2D and 3D graphics After that, the readers should be well position to explore the creative potential of... map For example, the diffuse map might have small, yellow rectangles to represent windows, while the selfillumination map consists of matching white rectangles against black to illuminate the yellow windows Normal Maps Normal Maps are textures used for simulating the lighting of bumps and dents on a 3D object e the direction in which a surface faces It allows the program to add more detail to the 3D. .. flat These flattened pieces are then packed into different locations of your image When you paint or apply detail on that part of your 2D image, the colors show up on the respective part of the 3D model This mapping from 2D image locations to locations on the 3D model can be very confusing at first Fortunately, in many cases you don't have to worry much about the UV mapping By painting directly in 3D onto... for being an awesome and thorough 3D Quality Engineer – always keeping the quality bar high and Tai Luxon for stepping in and helping as technical editor The following artists and designers wrote the workflow chapters in the book: Bert Monroy is considered one of the pioneers of digital art His work has been seen in many magazines and scores of books He has served on the faculty of many well-known institutions,... http://www.simpopdf.com 3D graphics has been seen in the past as difficult and expensive for a number of reasons Firstly, the computational power required for high-quality imagemaking has only recently become main stream Secondly, the creation of suitable 3D models is a large undertaking Finally, there is a steep learning curve to high-end 3D production tools The problem of model creation is being tackled in two ways For . Lighting with Stephen Burns 153 10.1. Importing 3D Using 3DVIA 154 10.2. Creating the Layout 157 10.3. Texturing the Walls of the Buildings 170 10.4. Lighting the 3D model 173 10.5. Adding the. using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including. or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data 3D in photoshop: the