Creating 3D Artworks with Adobe Dimension | Gabriel Teo | Skillshare

Creating 3D Artworks with Adobe Dimension

Gabriel Teo, CGX STUDIO

Creating 3D Artworks with Adobe Dimension

Gabriel Teo, CGX STUDIO

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6 Lessons (1h 40m)
    • 1. Course Introduction

      1:52
    • 2. Welcome! Getting Started

      2:02
    • 3. Day 1 - 3D Design in Adobe Dimension

      42:27
    • 4. Day 2 - Studio Lighting and Presentation

      21:12
    • 5. Day 3 - 3D Photo Integration

      24:33
    • 6. Day 4 - Mock-up Presentation Techniques

      8:01
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About This Class

Welcome, Y'all Creative Rockstars! 

3D graphics is taking the world of entertainment and visual design. From AR/VR, 3D mock-ups, motion graphics, UX design, visual communication, animation to game design - creatives now have a huge arsenal of software and apps to create 3D visual arts and experiences.

From my years of teaching in renowned universities, I have the opportunity to work with students with astounding talents in the fine arts, illustration, fashion, photography, film, and graphic design. I recognized a challenge many creatives face: 3D design can be overwhelming for many creatives - the complex workflow from 3D navigation and modeling, texturing, lighting, rendering, and post-image editing can take away our initial fuse of inspiration and creativity: This is what inspired me to create this fun and practical project-based course - to inspire and work with creatives new in 3D design to create 3D graphics easily. 

Course Overview:

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This course is designed for creatives who:

  1. Are new to the world of 3D graphics and design, and want a less technical approach to learning about 3D design.

  2. Are seasoned graphic designers who want to incorporate 3D graphics into their projects and portfolio.

  3. Want to quickly and easily incorporate 3D artwork and design for clients' presentation. 

  4. Want to use 3D graphics in their school assignments.

  5. Want to harness the creative possibilities in working between 2D and 3D graphics inside Adobe Creative Cloud ecosystem. 

Adobe Dimension: 

We will be using Adobe Dimension to kickstart our journey into the world of 3D design. Adobe Dimension offers many advantages for creatives:

  1. Native 3D design app in Adobe Creative Cloud ecosystem: Ability to create content for UX/AR, design 3D graphics with Photoshop, product and brand visualization, and virtual photography.  

  2. Import 3D models from other applications such as Adobe Medium (VR sculpting tool), and seamless integration with Adobe Aero to create Augmented Reality content in a fun and engaging creative environment. 

  3. Create realistic 3D renders with a suite of lighting tools, including HDRI: image-based lighting. 
  4. Create 3D materials very easily with Adobe Capture using tablets and smartphones. 

  5. Present and render 3D art with photographs: Matching photographic perspective and lighting.  

What you will learn in this course:

  1. Working with 3D models in Adobe Dimension.

  2. Produce realistic 3D renders using studio and image-based lighting techniques. 

  3. Polish your 3D renders in Photoshop for final presentation. 

  4. Use mock-up photography templates to showcase your 3D design and artwork.

Additional Resources:

  1. Course Project Files:
    Google Drive

  2. Download 7-day free trial: Adobe Creative Cloud
    (exclusive monthly/annual pricing plans for students and teachers)

  3. Download Adobe Capture for smartphones and tablets:
    Apple iOS
    Google Play

  4. Online art and design eCommerce:
    redbubble

Awesome Royalty-Free Content:

  1. Great collection of photographs and textures:
    unsplash.com

  2. Downloadable 3D content (includes Creative Commons License):
    myminifactory.com

  3. Professional mock-up templates and creative resource:
    unblast.com

Inspiration:

  1. Pinterest Boards
    Sculptures

  2. Awesome artworks produced by creatives using Adobe Dimension:
    Behance

  3. 36 days of type by Riya Mahajan:
    Portfolio

  4. Kimberly Potvin (Adobe content lead for 3D/AR) showcases a super cool example of using Adobe Dimension and Adobe Aero to create an immersive and fun AR (Augmented reality) experience:
    Showcase on Behance

Let's Play \m/

Meet Your Teacher

Teacher Profile Image

Gabriel Teo

CGX STUDIO

Teacher

Gabriel Teo has more than 18 years of global industry experience working in major film and game studios. In 2001 he headed the cinematic department at a game development studio in Dubai Media City and worked as the visual effects supervisor with Disney Channel ME. He became the visual effects compositor for Weta Productions, New Zealand in 2005 before teaching at Auckland University of Technology, lecturing and heading the animation and moving image departments.

As head of Media Research and Development at Huhu Studios in Auckland, he supervised visual effects for Noah’s Ark, as well as developed collaborative cloud technologies for games’ cinematic production. Gabriel developed the Visual Effects department at SCAD Hong Kong, and led the design an... See full profile

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Transcripts

1. Course Introduction: 3d island design can be a very complex subject for many creatives. Over the years, I have taught super talented students who are skilled in traditional 2D design and finance to work in feature films in school. And after their graduation, I designed this course for anyone who finds it challenging to guest added in 3D art. And one's simple and elegant 3D program that can produce visually stunning, beautiful outwards for leisure and formwork. Robbie dimension has several awesome advantages. It is part of the Olympic Family, which means it integrates seamlessly with Photoshop. Illustrator, and dimension works seamlessly with arrow. If you are interested in creating augmented reality content in the future. The cost animals, anyone new to the world of 3D design to create 3D artworks using dimension and Photoshop from the ground up. The project classwork is easy to follow along, and I will demonstrate the various tips and tricks to create and produce 3D renderings and presentation for classrooms and clients. You will learn about realistic 3D lighting techniques, applying material to 3D surfaces, integrating 3D sculpture into a photograph, and finally presenting artworks with mock-up templates. In Photoshop. You will start to create 3D are works and presentations within a day and confidently used 3D content creation in your daily creative workflow. So welcome on board and let's play. 2. Welcome! Getting Started: A big warm welcome to everyone who is joining our classes. So before it gets started with the practice, there are some things that I would recommend you guys to do. First, to be sure to check out the dimensioning Gary checkout or some outward by artists around the world. And they're just amazing, amazing work that has been churned out. You'll be provided a link to download all the scene files and a project files for classes. If you open up a 3D model files this outer scan models that you can use. I have more description of them in our individual classes. I've also provided a link for you to download the free trials for Adobe Cloud. And note that if you're a student, you can subscribe to a monthly subscription to the Creative Cloud for really, really good price. So all the models that we're going to use for a class or download from a website called manufactory.com, desert or skins from artists around the world. And they are open source. They are free to be used for training and for teaching as well for practice. So if you download the file from here, it be STL printable file, provided the 3D files in our project folders, so you don't have to worry about them. I've also provided you a link to an splash side. Splash is a really good photography platform that's open source. You can download that textures in photos and represents for free and use the hyperlinked and blast. So Ambras is really, really cool. It has all the free mock-up templates for you to download for free fonts, icons, graphics, 3D models. So this is, these are two of my favorite websites. So let's get started and see you in class. 3. Day 1 - 3D Design in Adobe Dimension: Contract says they were Adobe dimension. So today's going to be really, really fun. Show you guys how easy it is to import three models in two dimension, how quickly and easily we can apply textures and shaders onto the model and use a physically based, realistic lighting images in dimension two to lighter models. And then I'll show you guys how to relate it out. Sapiens PhD, Photoshop, foul, and Photoshop. I'll show you guys a very simple tricks that are used to improve the final rendering of the image. And then we can save it out to be used for our portfolio and for presentation. Also remember to check out the Pinterest boards that I've included. My US bring trades, a lot of sort of real-world sculptures and how did shadows and the effect of rho forms and shapes. So, so these are very important for artists to do a bit of research and just look at how lighting effect over more than fill of the sculpture. And also to look at how contrast like the shadows can carved out in the overall, overall silhouette of the sculpture. So the first thing I need you guys to do is to look at the download of folders. And day one, this is going to be the project files that we're going to use for a class. So if you open up the project files and if you look at 3D model, this OBJ file, 3D files are gonna be JSON. So we're going to use that model for class. And if we want to find out more about JSON, you can double click on a link and it will bring you to the description of the sculpture, the scan, and you can download the 3D printable file years wow. In the 3D renders PSD folder, you can see a Photoshop file and a PNG file. Sort of Photoshop file consists of the different layers of what they have done. And you can open up and check it out as well. And if you look at 3D models folder, what I did was I downloaded a number of different scans from critics can store and I reduce the polygon counts. So for example, if you'd like to use NGO, you can open up a folder. And I reduce from over 2 million over polygons, which is a huge file, to a 180 thousand polygons and convert it to OBJ. So you can easily use it in dimension, right? And again, if you want to find out more about the model, can click on the link and you're bringing to the 3D scan store and the whole descriptions right here. But if you doubt from the 3D scan store is going to be over 2 million polygons, which is a lot of data, which is great, but really, really heavy for A 3D application. So the first thing, when you open up dimension, you'll be introduced to the interface. So the reason why I like dimensions, because it is so easy to use. And what I want you guys to do is to import the model, right? So the first thing we wanna do, so there's two ways to call a foul import. Any can employ 3D model or Eumaeus background, right? So I'm going to import a 3D model and then navigate to the folder of day one, lighting a Roman sculpture. And what I'm gonna do is go to 3D model and import JSON one APK, OBJ file. The first thing you see when the mortar is important, it is soap are huge, right? So it looks pretty weird. So what we're gonna do is to first on the top right corner, this is the real-time preview. What a final render. I want you to turn it off, right, because maintained out, it's easier for the computer to render, right? You can see like the final preview rented. And the second thing I want you guys to do is to press F, to frame rate for press F, you framed the whole model and the way it looks now loosed, right? Alright, so the second thing, what I want you guys to do to practice navigation in 3D, the first thing, selection, how do we select the model? On the left corner, you can see this little arrow key like Photoshop. And again, just like Photoshop, schottky diodes are very similar with V. So if a press V, I go to a selection tool, right? And what I wanna do next is to rotate it 90 degrees standing angle. I can just click on this rotation bar. And if I press shift, it was napped to greet. You repress shifts, right? So it's pretty cool. The second trick that's really, really cool would be, what if I wanted to sit on the ground? So because right now we would like in the ground. So why did you do on the right, there is this constant up to ground or move to ground. Alright, so if I click on it, boom, right, so automatically it will start to ground. And then our press S to frame it and now lose more proper. So that's the first step, right? So again, if you look at the navigation rotation right here, you can move up and down, right? You can also scary. Okay, so just by pressing V, if you want to undo it, just continuously go back to the original position. The next one I want you guys to do is you create a platform like a little platform down at a box here. So what I'm going to do is to go to my shapes, basic shapes tab and grab the box. And you can see now there's, I can place it on the ground, right? And I can also use it to navigation to too scary how to move it and launch it, right? So I'm going to do now is to move this model up and plays this box beneath it. Okay? The second thing why, why it gets to do to learn how to navigate around 3D space. So you've got breast one, or I can say now, I can rotate around a scene, press two. I can pan around. And then press three, I can dolly zoom in and out, right, so that's pretty cool. And again, if you want to use the tools on the left, right, right here. So all you need do to remember v to select the model, and then one to rotate around the model, to do pen. And three to zoom in and out. As easy as bad. Okay, if you're one more options, you can click on the navigation tool and you can see there's different ways to dolly around their model. But other CME, but don't worry about that for now. So what I'm gonna do is to sit this box to align with the sculptures is really hard to visualize it in 3D, right? So I'm going to do is to go to the top view, but in Beznau options here. So why didn't they do photo camera and then camera view can see desktop view, right? So Cricket top. And then why can do is press V because I want to select a box, but knows how to select a box. On the right top corner can see this thin tab. So this syntax like layers in Photoshop, this consists of the different items, objects that there are in the scene. So I'm going to select a cube. And you can see nanocubes here. And I'm just going to move it. And what I'm going to do is to enlarge it, right? But you can see it's really hard to enlarge it this way, right? So very easily you can just press S, right? Can say no impress S. You can literally see the scale tool, right? Asthma scale. Right? And if you want to move, you can press E, says on a keyboard, if you check your keyboard, S bottom of E plus E, Now we can move. Alright? And you press R, You can rotate as well. Okay? So SDR will be the Schottky to then get around there as well. And if I wanted to go back to a perspective view, can go to my camera view. And you can see now I can go to my front view, for example, if I press one and I can rotate. Okay? Alright, if I press F, I can frame on the selector model. If I go back to say to sculpture and I'm gonna rename it, double click on it, right, embraced s. And now he's framed this way. So it's easier this way. Press V and I'm going to align it to to sit on the box. So the next time I want you guys to learn how to set up the canvas sites. For now. I wanted to be portrait. So I went, so how would I do that? Press V right, and then go to the top left hand corner of the canvas and can see the pixels description double-click on it. And on the right bottom corner, cutscene. Now the Properties tab for a canvas can be changed here, right? So for the width, I want it to be say, 500. And then for the high 100000. So double grief. So now it's portrait mode. And the second thing I want to do is for resolution 72 DPI is great for screen-based renders. But if I want to print it, I will need a list of 300 dots per inch or DPI resolution, right? So our chain then as well in case I want to print it out. And then what we will do next is to present my spacebar and can never get around the canvas. If I wanted to frame it to my screen size, I can go to feed canvas and your snap. So that's pretty easy as well. So now aligned the portrait mode, one will do next is to frame up the model to pose it, right? So I'm going to do is press one, criteria around, press two, handed around and pressed three. I can dolly zoom in. Okay. All right. So one thing, when you dolly zoom in, I can see that there's a bit of distortion. I would say this torsion, but it's quite a big wide angle. So you see the perspective is quite huge, right? So how do you change that? So it's very easy on your right. If you look at the thin tab and in camera settings, there is a type of field of view. So think of your view as if increase the number. It becomes like a super wide angle lens, right? So if I press three and zoom in, you can say so. Super saturated, right? Like the effects. But for now, I wanted to be more so like a zoom lens, like so it doesn't have the parallax distortion. So I'm gonna do, is I'm going to change from 109 to say ten. I just reduce it and then press F to frame it. I SO P53 millimeter slide my sculpture breast f. C. Now it doesn't look them wide angle lenses. It looked more like a zoom lens. So I like that effect. Okay, so I'm gonna press two. We'll be it around. So from now, one Windows just suddenly find a pause. Taylor like, hey, so I think that what we're gonna do is I'm going to put it in this way. Yeah. And again, if you want to find inspiration for posing and how to align model checking a Pinterest board that a lot of really good references in their next step, but I want you guys to do is to go to the assets tab, right? Sort of first one is considered models that you can import. The second one is really cold. It is consists of materials and shaders and embedded textures that you can apply to your model. And subways in dimension is all just drag and drop. So when you guys to have a play with it, but one would do it, I'm gonna go down to substitute materials and choose a marble material. So I'm going to do now is to just drag and drop onto my model. And we're going to apply it to the base ten as well. So they look like they're part of. Entire skull. Cereno, you might think, oh, it doesn't really look super photo real, what's happening? So the real why? Because this is just a preview mode, is not really showing you the sort of final plug result. So what we're gonna do is to activate a real-time progressive rendering technology in dimension. So on the top right corner, right, if you look at this pattern right here, you just click on it. And I can say, Does a bear pixelation, but what it does it competitor is trying to do a real time render of the scene of the material. So that's why I lose a bit weird. But when you rent it out and when b like that. So he just trying to maximize the computing resources to give you a real time visualization of the final result. So great. So what we're gonna do next is to change the background color, right? Because I want here sculptor to pop. So how did I do that on a top right hand corner? And I'm gonna go back to the foreseen. Right? And you can see in camera settings, you can change the perspective view. But environment, right, is the one that we're gonna focus quite a lot in this class. So Environment view, you can see the background color right now is white. I'll change it to black. Right? Okay. So the first thing, OK. And firearm and like this, the default lining. So what I want you guys to do is to call on the left, will go to the lighting tap right there to sort of groups of lights, right? The first one dash like sort of it's more sort of like, you know, if you have square light or sunlight or query point line, these are individual lives that if you applied to it, then you can have different lighting scenarios or different ways to light the model price. So these using sort of like spotlights or the lights, individual likes that's available hip. Okay. But what we're gonna do is to use studio lights. How do I do that? So in the environmental likes tab, if you look at the images right here. So it's very interesting. So if you're new to a lighting in 3D, this CT image based lighting, meaning these are all 360 images of 32-bit data. I mean, there's a lot of information in there. Save say for example, this is taken in outdoor sunrise camps at campsite seem. So if I drag it in a cutscene, not the lighting has a big impact on the final look of the render. So you've only the marble materials sort of ICC. No. No, it's saturated, but the lighting does have a big impact. So for example, if I'm in like a forest scene and I including into my 3D scene, can say now the environmental impact of because of the global illumination, skyline, sunlight and that the fields lie from Lehman's surrounding my trees, right? So, so this is a big impact on 3D live in. So there's something which if you're new to 3D, suddenly they need to be aware of that lighting plays a pivotal role in getting a good run out of battery you seem. So what I'm gonna do is. We're going to use the first one. You can studio loci lights, right? You can double-click on it. That's fine as well. Right? And what it does is studio light. If you don't know what it is, if I double click on it on the right and the environmentally, if you just click on the student Light I image, you can see now that there are two sort of main lights, right? So this seems to be the key light because it's huge. And then these cobia backfield like rights that is located is not as bright. If I use like a studio panels LAI Awesome, even really bright like this, didn't like seeing. Haven't taken it. Casinos suburb, I suppose because it consists of so many, so much lights like illumination around the three states, the photo, right? So again, this is why we call it mentioned baselining. Basically the, the light, the lights come from images and then bounce off onto the model and reflected after modal response, right? My favorite one, Debian hundreds would be the first one, the studio loci light, because it gave me a lot of room to play around with a key light. And in class give me a lot of good contrasted shadows to scope the moderates well, so this is the reason why we're going to use the first one to dress up our lights and to use our likes to sculpt our models. So let's focus on a light. For now. Now that I have used the studio light, loci light on the top right-hand corner, right in their environment tab. This is, this controls the whole environment. So if I have a lower legs in there, this quadrant overall intensity rotation, right? So we went there for now. What we're gonna do is focus on the actual environment like the loci, like they were selected. Okay? So if your thing is too bright or too dark, you can clear it intensity, right? So you can see now I can make it brighter in though consider shadows. I'm not atomic, but he can see supernova exposed here. Alright, so I'm gonna just keep it to 100. And the next thing what we are going to do is to play rotation. So instead of using default lighting, directional lights, or the liking position, what we can do is to rotate it so that one will do now is to show Beatrix. So if you put it right in the face, right, a main fill of key light, rider frontal face. I mean, it's fine, but it looks very kind of flat, right? So what I usually like to do is to not look at a bright areas, but also just also look at the shadows, right? So if I rotate it just lay off to its sculptures right? Now. I can see what I'm doing now is to look at the shadows, look at how the shadows can sculpt them all up. And essentially it did curves, all sorts of give it a very nice studio lighting look. Some liking what I see right here. I can see that the shadows here really doing well. And the lights, the key lights is addressing on the nose. I can see the key light among the eyelid and the cheekbones. I like it, right? So just by moving, just blindly, do rotating it to minus 12 degrees, I can get this effect. So if you feel that you're committed slowing down, you can turn off the real time preview, right? So he's going to look just like a preview model. But then when Egypt for you to play with the lights became, doesn't need that extra resources to render the final preview. So you can do that as well. I'm going to turn on because if it's final, my computer. Also one thing that's super cool, remember light and this is the default light from a studio by faunal change over a color. You can say a phrase among you wanna make it more warm, right? You can, you can use the car tabular and change it as well. But I wouldn't do that. So we're going to keep it to the studio light. So we're going to do is to tone down the studio like little bigger there still is pretty bright. So I'm just gonna branches a little, just tone it down a little. Alright? And now again, the issue is not the shadows seems to be pretty darn, right? So I'm going to do is to introduce that directional lights. Okay, so that's pretty cool. So I'm going to do is to use say the circle lied and drag it in there. Yeah, but now we face a challenge. It looks really, really bright. Two-pi, right? One-on-one dislike to be tooks quaint like a rim light right around the curves of the sculpture. So what I'm gonna do is first thing to rename the lives. I'm gonna create TOP RIM. So there we are unknown, disliked used to use as a rim light. The second thing why I wanna do is to choose the position of the line. But before I do that, that's one trick that I wanna show you guys is if we rotate this modern around or this camera around, we are going to lose this position, right? So we're going to lock it down. How do we do that? On the top right-hand corner, there is a camera tab, right? Cannibal amongst happy if you click on it. What I wanna do is to hit the plus icon. And what it does it you were saved my view, which is really important. So I'm going to do now is to press one rotameter model. Why am I doing that is because I want to show you a cool trick. And one of the top rim to effect like the rim around the head data shoulder. Right. So how do we do that is I can even see the light here, right? So if you click the top Lorem directional light that we just imported, you've gone away. Now the parameters, there is an action tab and you click on the selection tool, like the position tool, click on it. And what it can do now is I can choose a spot for the light to light. So for example, let's say I wanted to be around the direction to be around this corner. Click on it. And if your model look kinda weird this way, acronym. Then the winner realtime rendering. And again, just proto lights. I can see it easier. Or I call. So now that I've changed the camera perspective, I want to go back to my positions. So why didn't you go to do is to go to a top right-hand corner and click on View one more. Step back to her first position that we wanted. And one need to do next is to clip and grow time preview, render. Ok. I'm still not liking the position of the live, but it's getting close. So how do I perfected? So now what we've done is we've selected the sort of the set position to, to light. And what I'm gonna do next is to them play with the rotation, right? Because now we're rotation. I can adjust where the light is shooting light from. Right hand also, I can blow it the height as well. Right? So while doing this, I'm looking at the shadows, right? Mixture that is not going to overpower the, the min fuel light. Okay, just very subtle. Came awesome. So now we have the main studio light as the main key light, and then the top Rim. We've been using it to essentially the curves and the silhouette of a model. So it stands up against the background of liking how the highlights is lighting up the weapon. And also very suddenly in highlighting the scope, the cloth, right while keeping the contrast and the shadows in text. So this way I look, when I look at it, is not too bright, right? Still, I feel like this a bit too much. So I'm going to do is to reduce the intensity of my rim light. Because again, I'm very conscious about the main field. I do not want the rim light to distill the lamb lie, right? I wonder, I wonder rim light to support a main light. So, so that's why it's very important for me to look at the model and the lighting. A mixture that attention still goes to the phase that the audience will not be over convinced by the lights and the lights agreements to support the overall model. So have a play between environment lighting, rim light. I can go to a Roman light and reduce the intensity. Alright, so again, if it's darker means is more contrasty. Soda effects very different from say, make it super bright in, in my look, chloride. But it doesn't mean folks didn't feel. So kinda like to have a more contrasty look to my render hostname. So i like how simple it is using a Reimann line and just a TOP RIM to lidar to model. And what I'm gonna do now is also looking at the platform. So another good trick is when you look at 3D model, if the If the vertices or the corners are really sharp, that you can really see reflections and really well, right? If you see this flex to hyperlinks really well, but the Halley hears and missing because there's not enough light catchment area to show off the, the highlights. So I wanna do is another trick that I wanna show you guys. If you're got to the cube model, right? And if you go all the way down, there's a tab called Bevel. Alright. I'm gonna check yes, one battle. But now to round it, I don't want that. So I'm gonna do, is I'm gonna click say point2, which gets a little bit bevel, if we're considering the fact that when I increase it, maybe five scenario can see suddenly the highlights is appearing on the base model. Does Q, right? Because there's a little bit of Bembo in there. Right. So, so this way, it looks more cohesive to the sculpture. So I like that. That's called in unlike how the highlights accentuating the shape of the desktop site doesn't know to computer-generated brining. It actually looks like a real stone test, not too sharp. Great. So the next thing, what I want to show you guys this to how easy it is to rent it out. Final image to Photoshop and do a bit of adjustment tricks in imposed and rented out for our presentation. If you go up to the render tab right, top left corner render, in a relative itself, you can treat a view. So that's my current view that wanted to render. And I can name it to say Jason, View one and the quality. So what I'm going to set it too high, right? So by if you want to preview how it will look just from memory, can choose low but the Manchus high. Okay? And you'll be offered few options. So first, we wanted to render as a PSD or Photoshop file, right? No philosophy found. Sal, we can choose between 1632 bits. I will suggest 16 bits. 33 is great. Like trillions of colors by 16 bids more than enough is really, really good color information channel for us to collaborate in Photoshop and ready on the CB2 so you can save it to your desktop. And then what you need to do next is to click on Render. So when rendering is done, you can go to the lower right hand corner and just open up Photoshop from here. When Photoshop opens up, you see a few additional layers, such as, for example, you can select the mass are based on colors. But we're gonna talk about a really good render upwards. Got a death information. This allows you to create like a zip that where whatever is in focus will be clear and waterways known him for gays will be blurred out. So this is the depth information they'll show. You can sort of play with it. And you get a random image. But you also get a reduced noise. Render the image industrially color, show you what it is. I'm going to zoom in to say a point here. And you can see the different between a reduced noise render and one with the default rendered image, right? So that mentioned has a good algorithm where is, where reduce the noise figure using this render, right? So, so that's the main difference between the two. And what I wanted to do next is to bring back the color information back on to the highlights. So you can see right now and highlights pretty overexposed. And I'll show a couple of tricks that's so easy to bring back colors, right? So make sure that you're on the rendered image can reduce layer, alright, and click on the Adjustment layer and go to selective cock, right? So when close selected color, you've introduced us several cards to address the huge. But the first thing we're gonna do is go to the whites, right? And just go back to the adjustment parameters and go to the black adjustment tab. And you can see now when adjusted, like increase the Blacks, right? Because in NYC and bring back information that is missing if you don't have this parameters, right, I can go to cyan magenta and also adjust the use of it as well. So there's a really cool adjustment trick that I always like to use. Okay? And you can also go to the Blacks, right? So if you go look at the darker areas, right? And so again, I can bring back information from the shadow areas, right? So again, this almost acts like a curve or levels. They were used that before. But this gave me a lot of coal adjustment parameters like kinda just use not just the shadows and the highlight by can control the US as well. Right? So that's a pretty cool trick. And if you go to neutrals, wishes to mid tones, you can adjust over colors of it so you can, again, whether you want it to be more contrasty, you go to the black and just the flags or digest that yields as well, right? So again, this little post tricks is very simple, but it does enhance the image a lot. So this is before adjustment, after adjustment, right? You can see there's a huge difference, but just using a simple selective common node, adjustment node, then you can apply your post grading tricks on it. Well, another step that I like to do to improve the final quality of the shadow in the highlights is to add in a Curves Adjustment node or layer, right? So what it does is on the top right-hand corner, this will affect the highlights and the bottom right, a bottom left where just the, the shadows. Okay, so again, you can see from the levels here. So for example, if I increase the highlights, right, so I can make it brighter, okay? And you don't want to crush the shadows or make it more contrasty because if it's the shadow is to have less contrast, right? It looks really blend. So you want to introduce like crush it more, right? It's almost like a little S curves, right? More highlights, darker shadows. And then you get this contrasts a result that looks kind of pops, right? The image pops more. Awesome, unlike what we have done here. So the next step, which is really interesting, is to introduce death of fetal, right? So for example, if I wanted to focus on the head area and a slight blur to the cloth. And I can do this depth information. So I'll show you guys how to play around with it. So the first thing we need guys to do is to collect the layers. So usually my tricky says, I will select the base image adjustment layers and I will create a group control G. Or you can just click on this button right here. This folder button, right? Coil roar, right there isn't because do not want to destroy any information from there, then I can press Alt and just to be kept the same group layers, okay? I will just group list. I'm going to right-click and mushed a group, right? Because using a lens blur, I can do it on multiple layers. I can even do it on one layer, right? So and I call it say, that image. And if anything goes wrong, you won't change anything. I still had gone. My role is to play around with awesome. So let's see how we can draw information from the dead channel and apply that depth of you in Photoshop, right? So first thing when you want to do is to activate the visibility of the Dev Channel, right? The second thing we wanna do is to go to your exposure, alright? Okay, and check this out. So we need, I need you guys to do is to go to gamma correction and go crush it all the way down. So now when you crush it all the way down, you can see the information, right? The gray scale information. So the theories in anything that's say, contrasty color like white for example, will be closer or further from the camera. So this column for grayscale information allows Photoshop doesn't extend distance in z depth, right? Or the front and back. Okay, so why do we have to crush it? There are few reasons why. I'll show you. So this is a really important technique and tricks. So you can see that aliasing around the edges. So the issue with that is we do depth of field with aliasing around it. You look at, right? So by crushing it all the way down, right? What I'm doing is I'm trying to just focus on areas that will be blurred out. So next thing what I want you guys to do is to go to channels and just pick an n-channel like BlueJ handled, right? And just right click on it and duplicate the channel and adequate depth. Okay, so now for the show, understand that that channel, you'll be used for the depth view. And make sure you co-create RGB CO2 layers and disable the visibility of the dev channel. Okay, and I'm gonna go to my depth image and go up to my filter, blur, and then Landsberg. Alright, so automatically Photoshop knows, okay, the depth channel will be used for the, the depth of field information. So the first thing we need to do is to set a focal point. I'm going to choose the face, okay? And if I increase the radius of the Effect, like say 30, right can say now, slowly blurry. So this increase the effects of the depth of field. If you don't want it just 0, and then everything will be back to normal. Alright? So again, gradients is to the tap at perimeters to they can use to play with the effects. So I'm going to choose ten. I'm not going to make it brighter. I can do it in post. I'm going to make it more accurate and that's it. So once it's done, just click OK and bang out and navigate city effects on Photoshop itself. And it looks really good, right? So on the depth image. But if you have anything, you want to change. You still headquartered rock layers, right? So that's why I created this folder because in case anything goes wrong with the hacker ra layer two to play with, right? But this will be a n results that w1. There's one additional trick that you guys might want to have a shot at, which is, if you look at images over r, it looked really good, but the bottom here, it looks really bright, so it's cool, stealing the focal point from the sculpture. So what I'm gonna do is do a symbol trade using exposure. Make sure you click on the image and then go to exposure, just Malaya. Okay? And from here you can play with adjustment of exposure, but now it's going to affect the whole image. That's, that's fine. But just want to show you what it can do. Just torn down their exposure little. Okay, just focus on here. So how do we affect just at the bottom right corner of the skull, right. So what I'm going to do is to zoom a little bit more and focused on the mask area. That's why I like to use adjustment layers because they're not disruptive, right? So on the Muslim itself, okay, I will select it and then go to the gradient tool like grantees for the black and white gradient. Anything that's whites will reveal the exposure. Anything dense black is kinda an eraser, right? So what I'm gonna do is to make sure you click on the image itself but on the mask itself, and then choose the gradient. And I'm just going to do a shot like that. So now if I draw this, we can say that the cautious getting darker because the wider area is on top. So I'm gonna do a rebus. Alright? So you can see now the effect is very subtle, right? At the same time, you can calculate using Adjustment layer. So I like it a lot. And you can go back to the parameters and just play exposure. And then you can say it's only affecting the bottom area, but it's not too drastic is very subtle and that's why I like about it. And in fact, by reducing exposure, we can see now I'm growing back a lot of details into the highlights as well. Alright, so this lossy bitrate, you can enhance your image a lot and make it polished for final presentation. So I like what I say here for i. So what we've done is we created a dev channel and apply it to our model. We use a few tricks like selective colors and curves to polish up the shadows and highlights. And then finally do an exposure adjustment just to balance out the whole image. So I like what I see and one can do is to run, save it out as an ps, as a PhD, so safe as PSD. And if you want to save an image, just go to Save As. And a lot of question I have is what do you want to save the prep preferred methods? So I would always recommend PNG, alright, because PNG is, it has a lossless compression better than JPEG. And it holds out contrasts the images and pixel resolution better when you're opening and closing the image. So when you choose to save as an image out, definitely recommend PNG. Thank you very much for your time today. I clearly have a lot of fun working with the guys to expand my workflow. I'm using dimension to two like a sculpture and very quickly in photo realistically. So remoter checkout the print corresponds as well. Observe how sculptures in a real-world behave with lights and observe how lights can affect the shadows and the highlights and where you can place key lies in how the overall lighting can have a big impact on the emotional feel. Visceral fill out the final model. So thank you very much for today and I look forward to having you guys found day to practice with Adobe dimension. 4. Day 2 - Studio Lighting and Presentation : Hi everyone, welcome back. So today what we're going to do is a follow-up session from the first one. So what we're going to do is to import a head bust pretty scan and having a box here. But we're going to do today is to study how we can play reflections and also apply glossy material to the standing box. And what we're gonna do next is to generate out to Photoshop. Bitter postfix, and m can rent it out for presentation. Remember to check out the Pinterest board as well. To get inspiration from artists and sculptors and how they go about lighting their sculptures. And yeah, just observe how lights can affect over details and silhouette of the work. So the first thing what I need you guys to do is to go to the Downloads folder and then go to day two. So in, in day two, you're gonna see the 3D model that we'll be using today, the head bust. And you want to find out more about the model, you can click on a link and a 3D scan file. And this file has been reduced from about 2 million polygons to about a 130 K polygon, so easier for you to work with. And also the file's time saving in Photoshop and also dimension so they can open up and check out what I have done as well. So let's get started. So the first thing what I need you guys to do is to import the 3D model. You can do it this way like what we did for the first session to go File Import and get a modal. Or it can hit the plus icon right here. And you can pull your contents and then choose how you want to import images or lights or materials, right? So there are two ways to do it. So we're gonna do use the first one, the file import 3D model, okay? And look for the 3D model that we're going to use for today. The bust on 3K model. Awesome. So if you can't find a model, makes you press F to frame, can now model is here, sometimes over, like really laughs, So it's kind of disappear. Also, The second thing when you're accustomed to do is to turn other real-time preview. So it's easier for us to navigate around 3D space. So turn it off, right? And just to recap, if we press one, you can rotate it around the selected model, around the scene. Posterior. You can pan around up and down and then press three. You can zoom in and out. So super easy. So again, just like what we did for the first session, we just need to just drag and drop the box into that. But what I did now is to double-click on it. So what it does is when you double-click on the assets, it was Nev right into the middle of the scene. So that way it's also a good indication for being to know like waste right in the middle of the scene. Alright, so press V to select the model. I'm just gonna put it up there. Okay? So what we've touched on before yesterday, if you click on the object itself, if you want the skill breast S to scale. Alright, okay, or you can scale it from here as well. So it's up to you. So you want to scale it like at the same time. I can activate the constraint proportions. And then from here, right, it's very easy for me to concrete from here to about the size. And then press V. Ok. So I'm going to press one and just navigate around and said this model on top of the box. And now it's really hard because in a perspective view, alright, so I'm gonna go to camera and stricter view top. Alright, so now top view, if I present a cube, right now, consider cubed. If it's really hard for you to see it, you can go to environment and tender background to say Black. Alright, so that was either see my models because they are in white. So I'll go to my cube and press V, right? So now I can navigate around sort of poet right-hand middle. If I wanted to go back to a perspective view, I can just press one. And now if it were turned to perspective view, and then press V, just sit this on top of it. And I'm just going to slightly make the size larger. So I'm going to press S to scale just like scared. And the reason now we can see is getting together is because I didn't turn out the constraint proportions, right? So I'm going to Rosie and tons of concrete proportions. And now when I scale, I can secure it on the x-axis and press V. I can navigate it and make sure I got it. Awesome. So in the next step, what I want you guys to do is to frame it into a portrait mode. So again, just to revise, press V and press on the proportions parameters. And if you go to the right side of your screen, consider properties. So I'm gonna do is the width. I'm gonna make it 600, right? And then the height. Let's make it 1000. Awesome, right? And if I wanted to snap to the middle, I can just go to fit canvas. And then Canvas will be constrained to your screen size Poston, No forgetting the resolution, I want to set it to 300, so in case I wanted to print. So the next step is to frame my model. So again, if you look at the perspective, it looks like a wide angle lens and deployment changing. Remember the go-to camera, right? And for your camera perspective, just live it to even zeros. Find patterns lipid to like ten. Alright, and press S. Mixture is select the sculpture so I'm gonna rename it to bust and press f. So now it's easy to navigate. But for now, I feel I usually win in terms of the perspective. So I really wanted to have a little bit of that. Perspective, the angle, right? So like, you know, like a penny, five millimeters lens. So I'm gonna do is go to my camera and just increase their field of view. Maybe I'll just make it like 25. And I'm going to zoom in. Now looks better to me. And what I'm gonna do now is to press V, select the box. And I'm going to do is to resize it. So I'm gonna click on the cube and the scale and do four. Okay, now it looks better. Express one. Like this framing. Awesome. So now I've set up the angle that I want, the portrait mode. And most importantly, remember to save your view because if you rotate your view around, you're going to lose this camera settings. So go to your bookmark settings. Camera bookmarks, hit the plus icon and just save this camera view. Alright, so that way you can say for example, you want to change a bigger angle and you decide not to. You can just go back to your angle, camera bookmarks, snap back to the desired angle. So next thing what we need to do is to apply material onto the skull. Alright, so go to your left side of the screen and go to your materials tab. We're just going to use the same mama material for now. Just drag and drop. Okay. And for the platform, for the box that support platform, I wanted glassy material. So I'm going to do I'm going to go up there and just search for glossy material. One we're going to do is to like the white glossy material. And you see when you drag it on there on your right properties, you can change the colors of your materials, right? So I'm gonna change it to black. So you can see a beer textures in here, the roughness and the reluctance variation. So the rougher it is, the less reflective or b. So I just leave it for now. Okay? If you look at the, the, the textures, the displacement field is too much. You can repeat the textures, right? So if I say I repeat to like six, right now is not as heat. So in other words, set up the materials for the scope and the base. The next thing I want to do is to apply a lighting in there. So what I'm gonna do is go back to the main scene, and this is a default environment. So we're going to use a studio light for the environment. Click on a real time preview so I can see roughly what house can look like a setup for rendering. So for now, obviously, the light for me is to bribe them with two shiny new material. So I'm going to do is go to my lighting tab. Go to the studio Luke Luke, he lied. Like it in. And I want you guys to play around with different lighting and scenarios and choose one that you like. So put a low-key light. I can rotate it around as if it's the kind of looked at at one. So also trying to get different light flooding scenarios. So cost studio backlight. Double click on it. You can apply to the scene. And I like it a lot because it really gives you like a museum kind of dark studio lighting vibe. And the reflection looks really, really good, right? So I'm going to use a studio backlight as my main default key light. And again, if you wanted to look at the 360 image, that's doing the living, can just advocate when a properties like So that's a good start. What I'm gonna do now is to go to environmentally and do a beer rotation, right? And what I'm gonna do now is to look at my model and measure. It doesn't looks, doesn't look too flat. Well, it looks pretty good. Just with one image based lighting, I can get a quite a good photorealistic look to it. I will reduce the key lighter, about 80% intensity. Castillo really bright. Okay? And the next thing what I wanna do is I like this sort of asymmetrical kinda back lighting effects. I want to like push it more and want to enhance it more to push the water out from the dark background. Ok, so next time, what I want to do is to go to my directional lights and bringing a cycle of light. And just like what we have learned before in session one, I want the light to affect the back of the head like back to eliminate like cheekbones and the neck. So to do that, we need to do is to rotate the model around first and then click on the directional light, rim light. And it's very important to rename it as well. So I'm going to call it right. Ok. And I'm going to use the target leaving tab and click on areas that I wanted to illuminate. And one will do next is to introduce another light, like the key, the back of the room light from the left of the model. So again, I'm going to drag in satellite, hit on the target mode and your target on the left side order Skulpt. We can adjust the details later. And again, remember, I'm just gonna call it left rim. So go to your camera bookmarks and click on View one. Awesome. So now what we're gonna do is go back to the right rim light and perfect the lighting of angle, right? So again, I can rotate it. Consider the effects of it, right? So I'm trying to do is to essentially the curves of the cheekbones and the neck. And I can also adjust the height of the light. Just pretty cool. And I'm going to do is to reduce the intensity as well. But before I do that, I want to have a bill of colors to it. Just like a blue, light blue, light blue. Just a little bit ten of it. Alright, and again, on the left side of the skull, the lab frame, I'm going to do the same, kind of rotating around an angled, unlike. And I'm gonna change it to the colors to a slight kinda blew. Awesome, like that. The light is essentially getting the curves given the years, the highlighting the protrusion of the sculpts, the crack, and the neck as well, like the angle now. So now I'm just going to adjust the brightness because I still feel it's too bright. So I'm gonna go back to my RAM and light and just reduce it to something like 50% intensity. And go to say the right rim. I can reduce his likeness. And on the left rim, light can change it to 16. I still face to little bit bright so I can reduce a more awesome. So the next thing what I want to do is to focus on the reflection of the sculpture on this pedestal, right? So it's looking good so far. So what we're going to do is to select the cube. And in the Caribbean side you can see under actions some material selection. So select the material and you are bringing to the Properties tab, right? This is the place where we can, we can control how the reflection will look in the scene. So if, if I turn up the roughness tab, you can see now that it looks like because without the roughness, right, looks very metallic layer, super shiny, almost like a super shiny marble. So I'd like to introduce a bit of roughness so that the reflection of bit diffuse. So it looks more natural to the eye. And you can also address a roughness variation. So it's looking good so far, I'm gonna go back to the overseen tab. So you go to the cube and go all the way down and the Babylonian kingdom bevel, right grouse about rounded Saturn radius 2.2. Alright? And we select the model. So now you can see there's a bit of buffering there for like go for it. So I'll just turn it off for now. So this isn't really quickly. We have imported a modelling to a scene. We have box in a thin introduced couple materials on today. Have a studio lighting there and couple of spotlights, room lights, tabular settings. And now we are ready to render to export it to Photoshop. So go to your render tab on the call right hand, left hand corner. And against currently it's fine. We can name it too. The FAO named the new one and choose high, the highest quality setup PSD to 16 bits, because like billions of colors to play with and save it to a directory that you like and hit Render. Possible. So when renders done, just go to your lower bottom rights and open up editing Photoshop. Cool. So again, just recap with courts to render layers images. So the first one, random image has got a bit of grain. We lose nomad and we have the reduced noise render from dimension. And we've got the the depth information. They can use it to create a deaf or few or focus point and a shallow depth of field, right? Retain information. So the first thing we want to, want to do is to simply just bringing back some information into the highlights and shadows and bit of exposure settings to wrap this up for final presentation. The first thing we're gonna do is to keep on random image, right? Measures like the layers and go to my Adjustment Layer. And what we're gonna do is to select Selective Color and musical to the whites and using the black channel. I'm just going to take it, right just to bring back a bit information. And that can also play with you as well, right? So you can see, I can change the hue of the highlights as well. Who came. So I want to introduce a bill that kind of a bluish green coloring to it, right? And how choose blacks? Shallow areas. And again, just play it a contrast, right? If I want, I can also play the humerus file and then go to neutral semitones and just do a final adjustment, color hue to the image. Awesome. So what I wanna do next is too dark and the bottom corner of the image, right? So because I wanted to focus to be on the face. So what I'm gonna do next is to introduce exposure, right? So when go to address malaria and then go to exposure, right? And then just play just renewed exposure. Okay? All right. And the next thing is using the mask itself. I'm just gonna go to gradient, right? Misha kick on the mask of the exposure and using back-end wide channel of the gradient tool, I can introduce the exposure just to the bottom of the image. And because it's a gradient is more subtle. And if it's too much, I can also use opacity to reduce it this way. Awesome. So I like what I see and I like how is it is just using dimensional Photoshop. And quickly we can rip up something that looks so realistic and pretty for presentation. So the next step to save it as a Photoshop file and also save as an image. If you want to send it off. On emails or smaller file size, you want to extend it for print. Just make sure you save as a PNG. So thank you guys for joining me in this session. And remember to again go to Pinterest boards and get inspired from sculptors and painters to help improve your writing skills, observation skills as well, right, Misha, you look at the highlights and shadows and see that in a lot of times it's the shadows that dark areas that essentially the silhouette of the model. So thank you all so much for your time. This has been a really fun session and I'll see you in the next class. 5. Day 3 - 3D Photo Integration: Hi everyone, welcome back. So what we're gonna do today is becoming too great a 3D model with a photograph that we can now from and splash. And again, I'll show you in Photoshop how easy it is. We can use some postage rates to improve the quality of an image and an output for presentation to the Downloads folder, right? And in the folder you have the photograph to be using for today. And then sin vowels in Photoshop files that you can open up to happen. Look in the Fourier itself, there is a substance Materials folder. This would be the material that we would download from substance designer. And I'll show you how to do that. The model that we're using today. And if you want to find out more about the 3D scan model, just click on the link and it will bring you to the download site. Alright, let's get started. The first thing we're going to do is to important treaty model, circular file, import, 3D model. Then go to the download folder project the three, right? And you go to 3D model. We're going to choose the 100 K models, so it's easier for us to Vorbis, press F to frame it so you can say it and also remember to rename it. So I'm just gonna coins sculpture. And again to let it sit on the ground, or we need to do is go to the right-hand side of the action tab. Measure taken sculpture. And then he said on grounds. So breast F to frame it again. Now it's in frame. So the next thing we need to do is to import the background image for it to sit on. So go to fowl, import and set image as background. And go to the project files folder. You'll see that I've included a photograph that, that downloaded from man's blush. Sandy Lane is a really good open source photography website that you can use to download textures and photographs. So we're gonna click on it open, headed next. And why me, you guys to do is to go to the right side and click a matched image, shows the image size. The light, which is going to have multiple lights. So we can turn on the lights here and make sure you click a match camera perspective. Click. Okay, awesome. So the next step, what I want you guys to do is to apply a shader or textures onto the sculpture, right? So make sure you click on the sculpture itself and go to File, Import, and click Place material on selection. And goes into the folder that I have downloaded. Cause substance materials. Click on the substantive material and Kate, open songwriter can see the parameters of the shader and textures that we've placed on the sculpture. So right now if you look at the textures. This kind of huge, right? So I'm going to repeat it to like say ten. Now consider grains or the Marbles. It looks better. You can increase it to 151. So this is a way for you to adjust the touches procedurally on the sculpture. You might want to play with the rest of parameters like the colors and the veins colors. It is up to you, but just leave it as default for now. One thing I always like to do to check on the paper points, so press V and click on the sculpture itself. Doesn't make sure that the x, y, and z axis, they are correct. So one way to check is good Objects aligned. You seen how Press q. So seriously, right now there's a bit of slight changes because now the objects, what we've done is we've align it to the scene right out aligned to object, right? So that way it is easier for us to navigate around or moving around like 0, Y-axis, X-axis. But I'm going to do is to pause it now and make sure I got the right angle and scale that I want. If you want to scale it up, you can press S by S, S and you're scary. On the x-axis you can see is now proportionate. So what we can do is press shifts. And when you scale, is going to scale x, y, and z, let's print out like that. And if you want to move it around, you can press E and rotate, you can press R. So what I'm gonna do is I just want to highlight the background. People from the press has shifts, scale it up a little bit more. Press E, I can move it backwards a little. So now it looks pretty good like it. And oppressed are, and just wanted to see which angle fits me better. Okay, I kinda like this view. Perfect. Right now we're still looking at the preview render, some meals. Going to click on the real time progressive render and see how it's going to look with the background image and with the life has generated, generated for us using the background image. So now what we need to do is to learn how to study the lights. What I'm gonna do is to turn off all the other lights and KID environmentally on so I can double-check on individual lives and what they do and how I can fully adjusted to likely closer to the background image, right, to integrate it better with the background. So for environmentally, if you one can intensify it so you can see the effects. You can even rotate it so you can see where the light is coming from, right? Just observed the shadows. You can see the highlights as well. So it's right here, it's fine. So the next step is called a directional light. First one. Click on it, right, so make it visible. And now if you want to see like better, you can increase the intensity. And there we can see the direction of the light's kind of rotated. Alright? So the light's coming slightly from this side, right, which represents a ceiling light. So let looks pretty good. And I'm going to do is to improve the colour. I'm going to drop the ceiling light colors, so that's a slight kin of blue. And I'm going to go to directional light too. Ten On the visibility. And one trick that's really good, is really confusing to see where it's coming from. I can change the light to a really dramatic like color, like a bright red or pink and death in this way you can see clearer where the light is coming from. So dimension has created a light that's kind of a rim light. So it kinda represent like coming from the back of the sculpture. So that's cool. But a study that back because copper is seen that as a tin of this bluish green turquoise colors. So I'm just going to drop. Awesome. And now the rational light three, I'm going to tell it on the visibility it on. And again, if I want to see where it's coming from, I can change the color. So it's coming from this area almost like the derive from feel of it. So it's almost like a fuel line, which is great, right? It seems that there is a window over here. So I'm going to do is again, I drop a color that's closer to this area of the light. So I'm just going to click on this area. And the next thing is, and I'm just going to turn off the real time preview. Now because we don't want to do next, is to look at the highlights. And of course the shadow is fall. And just perfect my dashboard lights to set it up for final rendering, sort of first directional light. If I rotated, I can see that the highlights will change. So what I'm gonna do is just make sure that the highlights, accentuating the curves. And directional likes to as well. I'm just going to, I'm not going to adjust a lot because I'm still gonna respect dimensions. Algorithm. Scott took a little just to enhance the line I came in and just the height as well. You can see it. The highlights will change based on the lighting angle. And then directional lights three, same thing. I can just play around the lights and just measure essentially the sculpture. And also remember you guys can change the shape of the light from circle to square, right? There's a slight difference on there and you can even change the size of it. A window size can sit as you can see a huge difference, right? So you can play around with it and find the best adjustments to your liking. Don't make it too different because we still wanted to integrate a background. So I'm going to turn back on the realtime rendered. Look at the lighting and look at the background sculptures, right? So we're going to use them as a reference to adjust our like bigger dreamer, super bright, overexposed comparing to the sculptures at the back. So I'm just going to go to directional L1 and decrease the intensity of the light. I'm going to go two dashed analyzed three into decrease the intensity of the lines. Will go to environmental i1 and just play a build a rotation because I still feel that it's slightly dark at a friend. I wonder reduced the specular highlights on the sculptures. So I'm gonna do is go to sculpture, Go to the materials that tab. And I'm just going to look at the roughness. So if I have 0, roughness is going to be super specular, is going to be super shiny. So I'm just going to introduce a bit more roughness to it. So now I'm also looking at the references parameters, the sculptures from the photograph. M is looking at the shadows direction. Comparing to the shadow directional sculpture might just want to make sure that your lines to the background image from not just the highlights, but all should the shadows wave force. So right now it looks pretty good to me the shadows law to be in place. Just like the background sculpture. I would just hone down the environment light and little scientists make, make it 90. So that makes them one on one you got to do is to look at the reflections. So you look at the background, the sculptures, the reflections on the ground. I wanted to have the same effect on ours as well. So go to Environment tab and go all the way down to the ground plane, considered this reflection opacity. So just tell me all the way up. Kissing nowadays like Gorgias of repression on it. But of course it looks fake. But again, if you look at it, it represents like the background image. So what we're gonna do is then liberatory reflection, roughness, the measured, there's a slight Berkeley tells me, looks pretty close to the background. And what I'm gonna do is for reflection opacity, I'm just going to tone it down to about 50. Then we feel like we're sitting on the ground. Like that. The highlights is very close to the background image as well. It is, it looks overexposed, But I was supposed to resemble the background. This is how we can integrate our 3D sculptures and photograph by observing the photographs that we have. First is the examiner highlights and also the shadows YOU force and how dark it is. So before we set about to fall rendering and dopant, I'm in Photoshop. I want to show you guys how we can download the materials. Well, good dimension. So if you go to the top left-hand corner, the plus icon, we can Impala content here, but you can go to substance source, click on it, and we'll bring you to the substance assets browser website. You can subscribe to it, can look into it. And there's also free assets. Say you'd like these marble material. You can download from here and import it into dimension. But one thing that's really cool is before you download it, you click on the image. You bring you to the substance sauce, you or show you the materials and a different presets that you can play with in dimension, but you go to the substance 3D tab. This is a really cool way to play with the materials before you download them. For example, I can change the texture of it. I can change the colors. The roughness thinks that we can do in dimension. We can do it here as well. When you're happy with the trick that you have done, that custom materials that you have adjusted, you can just download from here and make sure you save it as SB SAR. Alright, so this is a substance S tension that dimension will recognize and then we download it. You'll be in a folder. And then you can go back to Dimension and chose to a sculpture or a 2D image, and then go to file, import and plays material selection, right? Just like what we did before, can just download the material. And then you appear on your 3D objects, and then you can adjust the parameters in dimension as well. Also, another thing I want to talk about is HDR image. So we talk a lot about image-based lighting. If you go to environment camera here, consider, this is the image by regatta environment light. This is a 316 image that's generated by dimension. It is not really accurate in terms of the real world because it's a duplicate of the front image to the bag. But if you go to the folder here, you can important real hitch dewars into environment and enlighten from there, from ESR, HDR image. So how do you do that? There are quite a number of websites that allow you to download professionally taken photographs or 360 environment, not just an image, but 32-bit image. And you can use those images that you would like your sins as well. And these are all physically accurate. So send you guys the link to it that you can download for free and you can use them for your projects as well. And if you prefer to do studio lighting, there are also applications for you do it in the software. So let me know if you guys are interested to know more of our history, our lighting, because I'm a big fan of it. And I can do next series of tutors focusing on hysteria or lighting. Let's get back to our rendering. Another, we've done our lighting setup, our lights were tried to adjust, lights to measure background. We've learned how to met perspective in dimension. So before we set out for rendering, just want to show you some things that needed to know North. So this resolution is great. But when you set up for rendering, it might take a lot of time. So click on the settings on the right corner. The first thing I want you guys to do to set up to 300 dpi so we can use it for print and also the canvas size. So right now is 2400 pixels width. I'm going to do is to set up the constraints proportions and just render it out as 800 ways and align. It will have a proportionate scale to the height as well. And I'm going to hit people canvas so that when we reduce the size of the render Bastille, keeping the aspect ratio is same. So now that we've set up the canvas size resolution, now let's go to the render tab. Select the file name that you want to export as. Make sure it's on high. Psd Photoshop 16-bit. Choose the titrated, I wanted to say 12. And then he rendered. When it's done rendering, just go to the bottom right corner and click and it in Photoshop. So as I mean, layers in Photoshop, we have a background image and we have a rendered image reduce noise, and we'll surprise got the mask players and also the dev channel that if we want to use it, is there for us. We have a quite accurate representation of the living scenarios that the refraction look really, really good. We have the backlight and exposure looks very close to the background image. So I'm going to do next is to introduce a little bit of depth, a few 2d over an image, and then add the noise to simulate like ISO 400 fem green. So first thing phase I will go to that information and mixture. I going to exposure and make sure it's on top of the channel in exposure. And just kinda bring down my camera. And they go to channels, Gautama blue channel, right-click to vk channel and click depth. And you go back RGB channel and go back to layers. Or next I'm going to turn off the visibility of my dev channel. And what we're gonna do next is to group my background image and my random image as a row, group. And press ought to be kept the group. And then in this group, I'm going to do is to collapse it, to mushed it somewhere, much group, and then rename it to By no image. Great. So the next thing I want to introduce a z depth onto the image. Somebody's going to go to filter blur and click on Lens Blur and blend probe or choose the Dev Channel and emptiness semi-truck a point to the face. And just to make sure it works on image, I'm going to increase the radius just to double check it. Yep, to focus on phase happening bird out. And what I love about the dev channel, it is not just on the image itself, is affecting the background image as well. So it looks more cohesive. So next thing I'm going to do is to reduce the radius to ten. Still a little bit too much, just going to go to a. And I'm going to reset my focal point is to make sure it works. And I got to turn on and off the preview mode just to make sure that the effect is also on my background and spawn. Some going to reduce it to about five. And our changing the shape of my iris to triangle and click. Okay. So now let's compare the medical rock layers and the final image with the depth of field applied to perfect. So the next thing before we wrap it up, I want to press on DL2 roar, group, Empress shifts and breath out to duplicate them. Right? So now that we have the raw copy and a final image copy, and I'm just gonna right-click on it. And much layers. So now I call this final image copy that we use to introduce a slight film grain to simulate sort of like a film, ISO 400 film grain, because without that it looks too clean and sometimes we refer that as we look to computer generated. So what I'm gonna do on the final image copy, I'm just going to put a filter. Noise. And noise. As you can see immediately, you can see the result. The noise makes it easier for the eye to register. So I'm going to press one or 1.5. That looks good to me. Click OK. So that's it. This has been a really fun exercise for us. We've learned how to introduce a background image in two dimension with learn how to integrate lighting in a 3D scene so that we can adjust the lights to get it better. With the background. We have learned how to compare reflections and introduce roughness to make it slightly blurry. And we've introduce a slight deaf fulfill and film Green to polish up to do a final grade post-World or final presentation. Thank you all so much for your time and I look forward to seeing you guys in our next lesson. 6. Day 4 - Mock-up Presentation Techniques: Hi everyone, welcome back to our class. So today what we're going to learn is to present our Randy's, which it did in the last three sessions into Photoshop mockup templates. So these are some of the examples which I did using templates. So let's get started. In the download folder, you will see a mock-up renders folder. These are examples of the presentation images that I've done. You can have a look. And in a renders images folder, These are the renders that we've done for the past three sessions. And if you click on an blast, this will link you to the website that you can download. A lot, a lot of brain mock-ups. So let's get started. The first template I'm gonna use has got an iPad, iPhone, and Apple Watch for us to include how renders in there. So when you look at the folder structures and they're all very similar in all the various templates. Is that when you open them up in my look complex, but look for the one with the Smart Objects layers, right? So for example, you could add to display. If you double-click on it, it will ask you to pull your artwork on there, put a file open, and look for the three or any other renders that yet done. Open them up. And the next thing we need to do is to include the images into the iPad screen. So how do we do that? First of all, we need to do double-click on iPad Air, smart content layer. And secondly, look for image that you want to include. So for example, include this sculpture. All I need to do, just click on it and drag it to this layer and oppressed controlled t. To transform delays. I can even include a background black layer. So it looks more cohesive. And if that's cut out, I can just premium this way as well. Click control S to save what you have done. And then when you go back to the main page, you can see them. They measure B here. I want it to be more towards the center, the image, so I can go back to the content itself. Interest shifted a little when I do any changes. And you do Control S or save it in your update in the main view. So if you observe closely, there's like a lens blur around the iPad. So what we need to do now is look at the content layer folder, the smart, smart filters, and one of his Copland gallery. So double-click on it. You can see that then now into the blood gallery filters, then you can use to manipulate it around. So for example, if I wanted to be focused here, the rest of the barry, I can say focus on the phase. And I can also control how much blurry it is in the image. Likewise, for the other blur filter as well. If you save a movie around, can control the effects on the iPad. Once you like what you've done, just click OK. Have Purusha was saved effects onto the file. Let's look at the iPhone. So I'm gonna go to iPhone and click on the content layer. And I'm going to go look for image Taiwan. Include OK, this one, drag and drop on today. Control t. To transform. It's going to premiere in the middle. And tr. And remember to control S to save it. Go back to your main page and you can see now it's appearing on iPhone screen. So this is a great way to present our work. And also you can use images as screen savers for your gadgets. If you want to rearrange the conversation, can go back to the content layer, control T and say, I wanna make it larger. And remember any changes that you've made. Meshes saved, why you've done Control S, and you'll be saved in your final presentation. Proud. Lastly, let's look at the Apple watch. I'm gonna go to Apple Watch, click on a content layer. I'm gonna choose a sculpture in there. Save it. Go back to my main screen. They can see now it's reflected there as well. So this is how easy it is to add a custom images into mock-up templates and present ideas to clients, to teachers. So next time when you need to do is to save the PSD file. Also save as a PNG so you can share with your friends and colleagues and clients. Now for the second example, I'm going to use two of my renders to put up into this image has a presentation double-click from an image, content image. And all I need to do to choose an image I want to put in and drag and drop into the Layer. Press Control T to transform. And I can just framing. And remember to say bit Control S. So next step is to include an image on one. Duplicate my image, content layer coated image I want to include in there. Just like in concavity transform in desert whitespace or I need to do is to add a new layer and then view it to the foreground. Black color. Control S to save. And now there'll be all in the presentation comment. Well, so congratulations everyone disrupts up how entire cause of using dimension to set up our 3D renders presented in Photoshop. And we've learned how to quickly scan the models, apply lighting and textures, and how to present it to clients and teachers and your friends. So please send your renders and your artwork to project diary and also semi suggestions. What do you all want to learn in the future series? And I can setup cost tutors for that as well. So again, thank you all for your patience and time. And I look forward to seeing you guys again in our next causes.