Tài iệu Photoshop cs5 by Dayley part 102 pot

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CHAPTER
Using the 3D Panel
to Edit 3D Scenes
and Settings
IN THIS CHAPTER
The 3D panel
3D preferences
Render settings
Meshes
Materials
Lights
T
he 3D panel is one of the most versatile and comprehensive panels
in Photoshop. Almost everything you can do with a 3D scene can
be done from this one panel, and you can do lots of things with
3D scenes.
The panel is so versatile because it is actually four different panels, one each
for meshes, materials, and lights, each with unique settings that allow you to
make changes to each one of these areas of a 3D scene. The default panel,
the 3D {Scene} panel, allows you to access all these settings by selecting dif-
ferent layers that represent different aspects of the scene.
Feeling overwhelmed yet? Well, you don’t need to be; it’s all very organized.
This chapter breaks it down for you.
3D Panel Overview
Figure 23.1 shows the 3D panel as it appears when a 3D layer is selected.
You can see that it has multiple options. Individual options are covered in
detail throughout this chapter, but these are the main areas:
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Panel menu: Just like any panel, the 3D panel has a menu that
allows you to change your settings and select preferences.

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Filter buttons: The filter buttons allow you to toggle through the
different objects available in a 3D scene and make changes to them.
The 3D scene button shows the meshes, materials, and lights and
allows you to make changes to them by selecting their layer.
The other three buttons show you meshes, materials, or lights,
respectively.
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3D layers: Just like a miniature version of the Layers panel, these layers display the indi-
vidual editable items in a 3D scene, respective to the filter that is used to display them.
You can select these layers and edit their contents individually.
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Manipulation tools: The manipulation tools are a new addition to the 3D panel in CS5.
Available no matter which filter is selected, these tools activate the options bar and not
only allow you to move the 3D object or camera but also the 3D mesh and any lights that
are placed in the scene. A Materials drop button allows you to quickly add or change
materials over the entire selected 3D object.
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Settings: The settings area of the 3D panel changes dramatically based on which layer is
selected. If you select a 3D mesh layer, the settings specify shadow settings, for instance.
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View and Create buttons: At the bottom of the 3D panel are buttons that allow you to
toggle the view of several aspects of your 3D scene and create new lights. A delete button
gives you the option to delete any of the layers contained in your 3D scene.
FIGURE 23.1
The 3D panel in scene mode
3D panel menu

3D layers
Filter buttons
Settings
Move tools View and Create buttons
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3D {Scene} Panel
When you click the Whole Scene filter at the top of the 3D panel, you display every option avail-
able in your scene. You see the meshes, the materials applied to those meshes, and the lights
placed in the scene. If you have a very basic 3D object selected, as shown in Figure 23.1, these lay-
ers are manageable and easy to see. The more complicated your object is, the more likely you are
to have multiple layers that make it difficult to see and work with individual aspects of your scene,
as shown in Figure 23.2. As your object becomes more complicated, it is to your advantage to use
the other filters to make working with the different aspects of your object easier.
FIGURE 23.2
A complicated 3D object has so many layers in the scene that it is much easier to use the filters to reduce
the number of layers displayed.
Changing the 3D preferences
Using the Whole Scene filter, you can change the render settings of your scene. Before you do that,
however, you want to be aware of the 3D preferences that are available.
The 3D preferences are accessed by choosing Edit ➪ Preferences ➪ 3D. This opens the 3D category
of the Preferences dialog box shown in Figure 23.3 that allows you to make changes to how your
3D object looks.
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FIGURE 23.3
The 3D preferences
Change these options in the Preferences dialog box:

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GPU Memory (VRAM): This sets the amount of video memory that Photoshop is allowed
to use. 3D files are memory-intensive enough that as you work with them, you may feel
like you’ve gone back a decade in the speed and ease of use in Photoshop. If you can
afford the memory, give Photoshop the maximum amount.
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Interactive Rendering: Two settings are available here: OpenGL, which renders your
object relatively quickly and fairly accurately, and Ray Tracer, which is the highest quality
rendering you can do. If you want to render shadows, reflections, and refractions, you
must use the Ray Tracer setting. It also adds depth to your texture and gives a more realis-
tic look than OpenGL. The Ray Tracer setting is incredibly memory-intensive, and even
simple movements take time. Your best option is to leave your preferences set to OpenGL
until you need to have the Ray Tracer settings on—at the end of a composite creation, for
example. Figure 23.4 shows the difference between the OpenGL render and the Ray
Tracer.
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FIGURE 23.4
The first image is rendered using OpenGL. Although it is accurately depicted, it lacks the depth and
shadow of the second image, which is rendered using the Ray Tracer setting.
Note
In order to use the OpenGL render setting, you need to have a video card that supports it. If your video card
does not support it, your options default to the Ray Tracer setting. If this is the case, you can change your ren-
der settings in the 3D panel so you are not working with a fully rendered object at all times.
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3D Overlays: These options simply allow you to set the colors in which your 3D objects
and meshes appear.
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Ground Plane: This option allows you to set the size and color of your ground plane. The
ground plane in your scene simulates the ground in your view, setting perspective and
catching shadows. The ground plane is discussed in greater detail later in this chapter.
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Ray Tracer: If you’ve chosen to render your objects using the Ray Tracer setting, you can
set the quality of the rendering here. The merits are obvious; you can render more quickly
with a lower quality, but it doesn’t look as good. If you can’t use OpenGL, setting this
quality to 1 or 2 until you are ready to print or collapse your file is a good option for
speeding up your work.
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3D File Loading: These options allow you to set initial limits on the lights and textures
that are allowed to be active on an object that you are opening. Photoshop doesn’t remove
extra lights and textures; they simply are turned off. They can be activated again using the
3D panel.
Render settings
When you have the Whole Scene filter selected, the layers in the 3D panel are headed by a layer
labeled Scene. With this layer selected, the render settings are active in the settings area of the 3D
panel, as shown in Figure 23.5. These settings can be adjusted so you can view your 3D scene at
varying qualities and speed up your processing time. As with all the best options in Photoshop, a
preset menu contains several options as well as the ability to customize the settings just the way
you want them.
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FIGURE 23.5
The render settings are active when the scene layer is selected.
Render presets
Whenever you bring or even create a new 3D object from the Photoshop presets, the render set-
tings are already custom settings based on the settings that were specified previously for that
object. Most of the time, these settings are higher quality settings, giving you the best preview of

the object but using a high amount of computer resources. While you are positioning objects and
creating scenes, you may not want the wait time that previewing the finished object can generate.
Choosing a less-complicated render saves you time.
I wish I could tell you that the render presets were in order from the least complicated to the most,
but the list is in alphabetical order, as you can see in Figure 23.6. Most of the render settings are
somewhat self-explanatory, and clicking each gives you a preview. The simplest setting, Bounding
Box, creates a bounding box around the area of your 3D object and turns off the visibility of the
object itself. This is the fastest and easiest render, giving you maximum capability when it comes to
movement. Other settings fall in the middle, rendering your object as a wireframe or shaded
object. Figure 23.7 shows an example of three render settings.
Note
It goes without saying that the more powerful your computer is, the better you can work with 3D objects that
have been rendered at higher settings. The render setting you use is based on your computer power as well as
your personal preference for viewing your objects.
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FIGURE 23.6
The render setting presets
FIGURE 23.7
The more complicated the render, the more time it takes to manipulate and edit it.
Bounding box Line illustration Paint mask
Edit render settings
Click the Edit button to the right of the drop-down list of render presets, and the 3D Render
Settings dialog box opens, as you can see in Figure 23.8. These options allow you to customize
how your 3D objects are rendered so you can create the perfect balance between processing speed
and best view.
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FIGURE 23.8
The 3D Render Settings dialog box
Most of these options can be selected in conjunction with one another, depending on the settings
you choose. For instance, you can create a paint mask and check the edges option to show the
wireframe to create a shaded wireframe rendering. These are the main options available in the 3D
Render Settings dialog box:
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Face options: These settings determine how the surfaces on your 3D model appear. You
can choose from several face styles that include everything from the texture that has been
placed on the model to a simple paint mask. If you choose unlit texture, you can use the
texture option to change the way the texture looks. Other options are available with other
face styles as well as if you are rendering ray traced objects.
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Edge options: These allow you to adjust the look of the edges of your object. You can
make them bolder or add more edges by increasing the crease threshold. A basic wire-
frame is one of the best options for viewing your object efficiently while manipulating it.
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Vertex options: Vertices are the points made by the junctions of the polygons that make
up the frame of the 3D model. The Vertex options allow you to view and make changes to
the way these points appear on your object.
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Volume options: If your 3D object is a volume created from DICOM images, this option
allows you to make changes in the way it can be viewed.
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Stereo options: If you want to render your 3D object so it can be viewed with 3D glasses,
choose this option to set the stereo options.
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Quality
Again you are given the opportunity to improve the quality of your rendering by sacrificing pro-
cessing time. This option is set by default to render your 3D object in Interactive (painting) mode
so that as you manipulate and edit your objects, you are working with them in real time rather
than waiting after each move for your object to be re-rendered. When you are finished creating,
manipulating, and adding texture to your object, you want the final draft to be rendered in the
highest quality possible. At this point, choose Ray Traced Final Draft from the Quality drop-down
menu. This process takes several minutes at best, so be sure you are ready to complete the final
rendering.
Paint On
The Paint On option allows you to choose a texture to use to paint on using the 3D paint mode. If
you choose a texture that has not been created for your object, Photoshop creates it for you.
Painting on these textures doesn’t actually leave painted pixels behind; it just makes changes to the
texture. When you paint on a glossy texture, for instance, you make changes to the glossiness of
your 3D object.
Global Ambient Color
Double-click the Global Ambient Color swatch to change the color of the reflective surfaces in your
3D scene. This light doesn’t cast any direct light or shadows, but it can add a cool or warm tone to
your scene.
Creating cross sections
Creating a cross section is another very versatile option found in the scene settings within the 3D
panel. A cross section is created by cutting into a 3D object and looking into it. Cross sections have
several varied uses.
Cross sections are great for use with architectural renderings. A cross section allows you to see
inside the models of 3D buildings. You can see in Figure 23.9 that I cut the roof off this simple
room to show you the inside of it. You can see that this could be a very valuable application for
looking at or editing more complex buildings or furnished rooms.
You also can use cross sections to cut down any 3D model for use in a composite. You can inter-
sect a cross-sectioned object with another object or image, or you can just use the cut down ver-
sion of an object. By using two instances of the same 3D model, you can open a previously solid

object, such as a box, by creating matching cross sections.
Select the Cross Section box in the Render Settings area of the 3D panel to get started. Your 3D
object is cut exactly in half along the X axis, as shown in Figure 23.10. Using the settings, you can
create a cross section on any plane, position it anywhere on your object, and tilt it from side to side
or back to front.
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