Looking for:
Error: File not found - pdfFiller. |
Top Free Adobe Premiere Pro Tutorial PDF Downloads - FilterGrade
Adobe premiere pro cs3 bible pdf free. ~*PDF $^EPub[READ] Adobe Premiere Pro CS3 Bible FOR ANY DEVICE
Adobe premiere pro cs3 bible pdf free -
Delete template? Are you sure you want to delete your template? Cancel Delete. Cancel Overwrite Save. Terms of service. Privacy policy. Cookie policy. Change language. Made with love in Switzerland. Main languages. They go through the process from that perspective. Which means there is a bit of bumbling around, and referencing other good tutorials. This is a very human approach that opens the door to plenty of other lessons.
Your email address will not be published. FilterGrade is a digital marketplace for creators. Read more. Is Your Photography Business Overspending?
July 9, at AM. Mike says:. Joshua says:. July 16, at AM. July 26, at AM. Hague Njiki says:. August 12, at PM. Herry says:. August 24, at PM. August 25, at AM.
Asif islam Sahed says:. This is identical to the effect caused by dragging your object back and forth. Click and drag up and down over the chair.
Unlike the Drag command, this slides your object forward and backward along the Z plane, giving the object the illusion of becoming larger or smaller. By selecting the Scaling tool, you can click and drag across your object to make it bigger or smaller.
As you change the size of your 3D object by using the Scale tool, the proportions of the object are automatically maintained. By holding down the Ctrl key while you click and drag, you can adjust the object nonproportionally by making it taller or shorter. If you hold the Shift key down, you can make your object wider or narrower. Interestingly enough, the Scale tool is an exception to the guidelines established for the 3D object view earlier. If you change the view of your object while you are scaling it, the Ctrl key still makes the object taller or shorter and the Shift key makes the object wider or narrower.
From the View drop-down menu, choose Back. This gives you a better view of the changes you make than the default view does. Click the Scale button in the Transformation toolbar.
Your selection icon changes to the Scale tool. Click and drag up and down over the chair to make it bigger and smaller. The proportions are automatically maintained. Hold down the Ctrl key as you click and drag over the chair.
The chair becomes taller and thinner or shorter and stouter. Hold down the Shift key as you click and drag over the chair. You can now change just the width of the chair. Hold down the Ctrl key as you drag up over your object. Notice that you have changed the height of the chair from the top view see Figure 2. Click the Cancel Transformations button in the Transformations toolbar to exit and return your object to its original size.
Because you can always change the height or the width of a 3D object no matter the view, you can use the views to change the proportions of your object in the way that is visually easiest.
The Scaling tool also has a drop-down menu beside it that allows you to change the position orientation, and scale of your object numerically by typing in values for X, Y, and Z as shown in Figure 2. This is usually a better way to scale your object disproportionately. Once you have highlighted the number in any one of the areas, you can type in a new number or you can use your mouse to increase or decrease the number. You can also change these values inside the window by clicking and dragging across the letter that applies to the value you would like to change.
These movements are very similar to moving the object, allowing you to view your object from any angle. A few subtle differences let you know you are working with the camera and moving the camera rather than the object. When you manipulate the object, the camera and the lights are stationary, and the object is moving. Therefore, the light changes on the object as it turns and rotates.
When you move the camera rather than the light, however, both the object and the light are stationary, so the light stays constant on the 3D object. For example, as you orbit the camera left by clicking and dragging to the left of your object, your object appears to rotate to the right. Panning and walking the camera moves the camera around the object, as if you were rolling it across the floor. Orbiting with the camera Unlike moving a 3D object by rotating it, orbiting the camera moves the camera around your object.
As you orbit the camera, it is oriented toward the central XY point on the object and continues to stay the same distance from that point. Open Flashlight. Click Edit the 3D Camera. Any changes you make with this option selected will be made to the position and orientation of the camera rather than the object. Click the Orbit button on the Transformation toolbar. Your selection tool changes to the Orbit tool.
Click and drag back and forth over the flashlight to move the camera along the X plane or up and down to move it along the Y plane. You can constrain the rotation to either the Yaxis or the X-axis by holding the Shift key down as you drag in the appropriate direction see Figure 2.
NOTE 6. Click the check mark in the Transformation toolbar to accept your transformations. Rolling the camera Rolling the camera is just like rolling an object. You can roll the camera from side to side around its Z-axis by using the Roll tool in the camera Transformation toolbar: For this exercise, use the Flashlight. Click the Roll button on the Transformation toolbar. Your selection tool changes to the Roll tool.
Click and drag the mouse back and forth across the flashlight to orbit the camera see Figure 2. Panning the camera Panning the camera moves the camera up and down or back and forth on its XY plane, moving the object accordingly in the view of the camera. You can pan the camera by clicking the Pan tool in the Camera Transformation toolbar.
Click the Pan button on the Transformation toolbar. Your selection tool changes to the Pan tool. Click and drag the mouse across the street sign to pan the camera. Instead of moving the object back and forth in space, you are going to walk the camera closer or farther away from your object.
You can walk with your camera using the Walk tool in the Camera Transformation toolbar. Click the Walk button on the Transformation toolbar.
Your selection tool changes to the Walk tool. Click and drag the mouse across the street sign to walk with the camera. As you drag back and forth, you see the same effect as panning back and forth with the camera, but as you drag up and down, the camera moves closer or farther away from the street sign see Figure 2.
You can zoom in on a 3D object by using the Zoom tool in the Camera Transformation toolbar. Click the Zoom button on the Transformation toolbar. Your selection tool changes to the Zoom tool. Click and drag your mouse across the street sign to zoom in and out. Changing the view The drop-down menu by the Zoom tool allows you to change the position of the camera numerically, just as you could change the position of your object numerically.
You can also adjust the field of view and the Orthographic view from this menu as seen in Figure 2. Field of view You can change the field of view by degrees horizontal, degrees vertical, or by changing the size of the lens of your camera. This allows you to change the view to match a photographic background that was shot with a specific lens.
Orthographic view The Orthographic view is just a fancy way of setting the scale of the object in proportion to the surrounding 3D space. The bigger the fraction in this setting, the larger the object will be in your view.
The lights by default are those that were set originally on the 3D object when it was created. You can see how the light works as you move either your object or your camera, and how these options can change the look of your 3D object dramatically. For this exercise, use the Flashlight. Click the Light and Appearance settings button to open the dialog box.
Click the Light Settings drop-down menu to view the different lights that can be applied to your 3D model see Figure 2. Try a few of the light settings out on the flashlight to see what kind of effect they have. End by setting the Primary Color lights; this makes it very easy to see how the different movements of the object and the camera affect the flashlight.
Click the Rotate tool from the Transformation toolbar and rotate the flashlight. Click the Orbit tool and orbit the camera around the flashlight. It is much easier to see all three colors of light this way, because they stay stationary on the flashlight as you orbit see Figure 2.
You are now able to manipulate a 3D object or a 3D camera within a 3D workspace. You have also discovered: n How to manipulate a 3D object n How to position a 3D camera n How to set the lights in a 3D scene The next chapter explains how to make changes to the texture of your 3D object. You will learn how to open the texture of a 3D model, and from there you can use any of the powerful Photoshop editing tools to make changes to it. You can use your improved texture on your object in Photoshop, or you can replace the original texture in your 3D file.
You will also learn how to convert a 3D model into a Smart Object to place a filter or style on it and how to add a fill or adjustment layer to it.
Finally, you will learn how to use all of these tools and more to create image composites combining 3D models, images, and your own Photoshop paint. Because the texture of a 3D object is ported into Photoshop as a JPEG, the entire Photoshop environment is open to make changes to that texture.
The scope of demonstrating every possible application of Photoshop is much too large for just one chapter, or even one book although the 1,page Photoshop CS3 Bible gives it a good go , so I am just going to focus on a few fun examples of what can be accomplished.
These are great examples, because the textures supplied with these models are very basic and could use some spice. Color correction consists of changing the color levels and balances of the texture image.
Changing the colors of a 3D texture There are several ways to change the colors of the texture placed on your 3D model. The option you choose depends largely on both the complexity of the original texture and what you want to accomplish. You can also use a color fill to fill the texture file completely with a solid color. You can also select sections of color using the Quick Select tool and fill those using the Paint Bucket.
You can replace a color in your texture by following these steps: For this exercise, use the Car. Open Car. From the Layers palette, double-click the car sublayer to open the JPG file that consists of the texture of the car. From this dialog box, you can use the Eyedropper to select the color you want to replace. Click the eyedropper and select the red color of the car.
Double-click the color swatch in the Replacement area of the dialog box to open the color selection tools as shown in Figure 3. Choose a new color from the selection palette or use the Eyedropper to select any color showing on the screen. Click OK to close the color selector. Click OK in the Replace Color dialog box to close and apply the changes. Save your JPG file. The changes are reflected immediately on the 3D model see Figure 3. Use the 3D transformation tools to move your 3D object and look at the texture changes.
To return the object to its original setting, click the Home button on the Transformation palette or cancel the transformations. Changing the levels, the color curves, or the hue and saturation of the texture file are the three most common. You can use each method in succession as shown in the following example.
Color changes using these tools can be subtle or dramatic. The examples shown in Figure 3. You can color correct the texture of a 3D object in the following ways: For this exercise, use the Lamp. Open Lamp. From the Layers palette, double-click the lamp sublayer to open the JPG file that consists of the texture of the lamp.
Change the RGB color levels individually or collectively, or use any of the advanced options to tweak the look of your color levels. Click OK to exit the Levels dialog box. Again, many custom choices here can really change the outcome of your color. Click OK to exit the Curves dialog box. If you recognize how the JPEG is mapped to your 3D object, you can add details such as images, paint, or text to your object to make it more realistic or to personalize it.
Knowing how the texture is mapped to the object is important to successfully changing it. Some textures are tiled on an object, making any changes you make to it repeat on the object as seen on the model of the 3D wall in Figure 3. The 3D model of the photo album supplied by Photoshop on the other hand not only has a nonrepeating texture, but also gives you a template to work with see Figure 3.
I will show you how you can change the look of the photo album by adding your own images, paint, and text. As you add multiple pictures to your document, they are given their own layer, making it easier to adjust or move them as you work. Be sure and make any edits and changes to the image itself before you add it to a texture JPEG.
TIP Rotate the photo album so that you can better see the changes you make to it. This flat image will make up the background of the changes you make to the photo album. Browse to the image you want to place and double-click to open it. Using the Adobe trademark symbols as guides, size and place your image.
Click the check mark to accept the placement. Repeat Steps 3 through 6 until you have placed enough pictures or images to fill the album. Select the Background layer in the Layers palette. Save the changes made to the JPG file. The model immediately reflects the changes see Figure 3. It will automatically be saved as a PSD file. The images in the last example made the photo album more interesting but left it flat. Of course, you can do many things with the drawing tools in Photoshop, although I am only showing you a simple example.
You can add dimension to the photo album by air brushing around the photos. In the Layers palette, click Create New Layer to give your painting its own layer. NOTE 3. Click the paint brush icon in the Tools Palette. Click the Brush Palette icon to expand the Brush palette see Figure 3.
Choose your brush and size. I used a pixel dry brush. Close the Brush palette by clicking on the directional arrows in the right-hand corner. Brush around the edges of the pictures you added to the album to give them dimension. Click the Brush Palette icon to expand the Brush palette.
Choose the Flowing Stars brush. You can find this brush by hovering your cursor over the different brush thumbnails, the name of the brush will appear. Close the Brush palette. Add stars to your image. Save the changes made to the JPEG. The model immediately reflects the changes made see Figure 3.
Adding text to a 3D texture Mapped text on a 3D model is so much more interesting than text on a 2D image. It takes on the dimensions of the 3D object. Adding text to the 3D texture is one more way that you can create the look you want with your 3D model: 1. Click the Text icon in the Toolbox. Your cursor changes to the Text tool. Click the spot in your image where you want to place the text and type the desired text.
Highlight the text by clicking and dragging over the top of it. Use the Text toolbar at the top of the Photoshop work area to make desired changes to your text, such as font and size.
Click the Move tool to reposition your text. The 3D model will immediately reflects those changes see Figure 3. You can do so many more things as you add images, paint, or text to improve the look of the photo album. The images can be cropped, cleaned, or even made into cutouts.
Painting and drawing can be taken to a much higher level of detail. Special effects can be applied to all the elements you added to give them a drop shadow or an inner glow to add depth. All of the tools in Photoshop are at your disposal as you work to improve the textures of your 3D models.
You can add filters to the texture to enhance or create a realistic texture, to create a glow, and to add depth to an otherwise flat and featureless texture. The changes that can be made with the filters in Photoshop are endless. As with most of what you do in Photoshop, using the filters is very much an art. Everyone has his or her own individual style. The following are only examples of what is possible.
Creating a Tiffany Lamp The model of the lamp that you changed the color of earlier has a very dull and flat floral pattern on the shade. There are many different ways to jazz it up. I am going to show you how you can change it to a stained-glass lamp very easily using the filters in Photoshop.
Open lamp. Use the sliders to determine the cell size, border thickness, and light intensity. In the example the cell size is set to 35, the border thickness is set to 10, and the light intensity to 1. Accept the changes by clicking OK. Save your JPG file and look at the changes made to the lamp. The stained glass looks flat and unrealistic. The first will reapply the Filter that was last applied.
The second is the one you want — it will open the Filter Gallery so that you can apply a new Filter. Click Artistic and choose Plastic Wrap from the drop-down menu. Use the sliders to give the stained glass highlight and contour.
This allows you to add an additional effect without closing the Filter Gallery. Choose the Brush Strokes menu and choose Ink Outlines to give the edges of the glass a darker outline.
Go ahead and move the sliders to change the settings. Click OK to accept the changes. Save the JPG file and look at the lamp again see Figure 3.
It looks much better. Your lamp probably looks quite a bit different from the examples shown here. That goes to show how much variety there is in using the Filter Gallery. Giving a car a facelift The car model that came in the Photoshop bonus content reminds me of those plastic toy cars that are just a hollow shell. The color is flat, and the headlights look like flat gray paint.
In this section, you learn several different techniques that improve the look of the car. All of the black imagery of the car is the original look of the 3D model, without any texture added to it. To map texture to the wheels or the windshield, a 3D modeling program must be used.
After that, Photoshop can be used to improve the texture. You can improve the look of the headlights by following these steps: For this exercise, use the Car. Open the file Car. From the Layers palette, double-click the car sublayer named to open the JPG file that consists of the texture of the car. Click the Quick Selection tool in the Toolbox. Your cursor changes to the Quick Selection brush tip. Select the gray areas that resemble headlights on the car texture.
From the Artistic menu, choose Film Grain. Set the sliders to these levels: Grain 10, Highlight Area 16, and Intensity 4. Open the Stylize menu and choose Glowing Edges. Click OK. Deselect the headlights. Use the Quick Selection tool to select the parking lights. Repeat Steps 5 through 12, but this time set the sliders yourself.
The settings will be different from the main lights if you want the lights to remain orange. Big improvement! Save the improved 3D car. Place it in a folder that will be easy for you to remember and access. The file will be a PSD file. Changing the light settings on the car to Day Lights will make it easier to see how the changes to the texture affect the car.
TIP Glossing up the paint The paint job on the car lacks luster and dimension. You can improve it by using the right filters. For this exercise, use the Car.
From the Layers Palette, double-click the car sublayer to open the JPG file that consists of the texture of the car. Click the Quick Selection tool in the Tools palette. You can also use the Magic Wand tool very successfully here. Select all the red areas of the car. Double-check to make sure you have the smaller areas, such as the inside of the zeros. Set the sliders to your preference. The film grain adds a texture that deepens the paint color and gives it variance so that subsequent filters will have more effect.
Click OK to accept the filter and close the Filter Gallery. Set the sliders for Radius and Threshold a little over halfway until the white stripe on the car begins to reflect into the red paint.
Click OK to accept the changes and close the Surface Blur dialog box. From the Artistic menu, choose Plastic Wrap. Set the sliders to give the numbers and the headlights some depth. Click OK to accept the changes and close the Filter Gallery. You can also make changes to your texture by adding a layer style or a fill or adjustment layer. These techniques are covered thoroughly as they apply to 3D objects in Chapters 4 and 5. You can create your own texture by replacing the texture layer with a pattern or texture that you have created yourself.
Generating patterns Photoshop has a tool that allows you to generate a pattern based on a selection in any image you can bring into Photoshop. You can have a lot of fun with this feature; the patterns you can create are limitless. You can create a pattern by following these very simple steps: 1. Open any image file in Photoshop. Use the Selection Tool to choose a section of the image from which to create a pattern, as shown in Figure 3.
Click Generate. A pattern appears in the window see Figure 3. You can play around with the settings and click Generate Again as many times as you want until you find a pattern you like. You can also use the Tile History window shown in Figure 3. Click OK to close the Pattern Maker. Your image changes to your chosen pattern. You can now apply the pattern as a texture to a 3D object by replacing the existing texture with the pattern. Creating a texture You can create a texture from scratch to add to a 3D object.
The options are unlimited, so I will show you just one example. You can create a faux wood texture using the following technique: 1. Open a new blank document in Photoshop.
Pick a color a little darker than you want your wood to look for the foreground color. Set the Variance to 13 and the Strength to 3. These settings can be higher depending on how small you want the texture of your wood to look. This example uses a large grain. Add just enough noise to make the fibers look dirty, about 14 percent. Click the Turbulence tool in the Liquefy toolbox. Using different brush sizes and careful strokes, warp various areas in the wood grain to make it look more realistic.
Click the Twirl Clockwise tool in the Liquefy toolbox. Using different brush sizes to create a few random knots in your wood. TIP If you want to rectify a mistake, you can click the Reconstruct tool. Drag it over any area to change it back to the original texture. Click OK to return the liquefy result to your document see Figure 3. Saving the changes to a PSD file protects your original 3D files from corruption. If you are changing the texture of your 3D object so that you can use it in a composite within Photoshop, saving the object as a PSD works just fine.
You might want to make the changes to the original file as well, so that you can use the enhanced object in a 3D scene or animation. You can do this, not by saving the texture, but by replacing the original texture.
You can replace the texture by using the 3D Layers palette as shown in the following technique. From the Sketch menu, choose Bas Relief.
Have fun setting the sliders to whatever changes look good to you. Feel free to make any other changes. Click OK to close the Filter Gallery. Save the JPG file to apply the changes to the 3D file. Close the JPG file. You also learned how to open and apply changes to the texture of a 3D object. I covered the following topics: n Editing the colors of a 3D object n Adding images, paint, or text to a 3D texture n Changing the texture of a 3D object using the Filter Gallery n Creating textures and fills from scratch n Making permanent changes to the texture in the original 3D file In the next chapter, you learn how to use layer styles to apply special effects directly to a 3D object.
Not so. Smart Filters are new to Photoshop CS3, and they are one of the more exciting changes. It becomes a Smart Filter when it is added to your object on a separate sublayer. This gives you the capability to edit it, move it, or discard it at will without having to go back in your step history or change any of the other filters or effects you may have added to your object. Adding layers to a 3D object to change its look only changes the object in Photoshop. These changes were meant for 3D files for use in a Photoshop image or composite.
Adding filters to a file has always been a tricky trial-and-error process that can be time consuming and frustrating.
Smart Filters take a time-consuming process that almost seems like work, and turn it into play. As you add Smart Filters, each filter has its own sublayer underneath the object layer. You can view the image with the filter, or turn the view of the filter off, so that you can see the image without the effect. This is especially helpful when you add more than one filter because you can see exactly how the filters affect each other.
You can even swap the filters around, changing the order in which they are applied to an object. Because each filter is contained in its own layer, you can also adjust the filter after the fact. By clicking the button on the right side of the filter layer, you can adjust the blending effect.
You can also right-click the filter layer and choose Edit the Filter from the pop-up menu to adjust the original settings of the applied filter. Before you can add Smart Filters to any file, you need to turn that file into a Smart Object, and 3D files are no exception.
After opening a 3D file, the Filter menu is almost entirely grayed out. You can convert to Smart Filters. This option enables you to use all the other filters. In order to add Smart Filters to a file, you must turn that object into a Smart Object. From here, you can choose the Filter Gallery and make visual changes to your 3D object. In the Filter Gallery, you can apply more than one filter before exiting by adding subsequent filter layers. These layers have many of the same properties as the Smart Layers placed on the 3D object.
You can click each one to change the properties of that filter, or you can drag them up and down to change the order in which they are applied. Once you exit the Filter Gallery, you see that the filter you applied has been added as a Smart Filter sublayer in the Layers palette. You can apply any of the available filters in this way, with each appearing in its own layer. Once the filters are applied, you can really work with them to change the way they affect the 3D object.
My robot has three filters applied: a Filter Gallery effect that consists of two filters, a twirl effect, and a noise filter see Figure 4. To see the robot without the Filter Gallery effect, I can simply click the Visibility button on the filter layer. As the eye disappears, so does the view of the effects applied by the Filter Gallery see Figure 4. Making Changes to the Smart Layers By looking at the differences in the robot, you can see the Add Noise filter has diffused most of the changes made by the Filter Gallery.
You can adjust the settings of any of the layers by doubleclicking that layer. You will encounter a dialog box that lets you know that Smart Filters stacked on top of this filter will not preview while this filter is being edited. This simply means that you will not see any of the other Smart Filters that you may have added after the one you are editing.
Click OK and the original filter settings dialog box opens, and allows you to make changes to the original filter settings. You can also change the look of the filter layer by changing the Blend mode of the layer. Doubleclick the Edit Blending Options button that appears on the right side of the filter layer. This displays the Blending Options dialog box, where you can choose from a list of several different modes that change the way the filter is applied see Figure 4.
You can also rearrange the order in which the filters are applied to the 3D object by simply dragging and dropping them into a different order. This can change the look of your object because each filter affects the filters that were added before it, but not the filters that were added after. For example, the Fresco filter adds a smooth, blended appearance to the colors of the robot.
See Figure 4. When it is added first, the other filters that are added on top, such as Add Noise, diffuse the fresco effect, breaking it up and giving the robot added texture. When the Fresco filter is added last, the filters added in the Filter Gallery, which include a dark crosshatch, are a factor in the elements of the Fresco, and it becomes dark as well as smooth.
Not at all. Double-click the thumbnail of the original layer. A window opens, reminding you to save any changes you make. These changes will then be reflected in the original 3D file. Wait a minute. Not anymore. You are now opening the layer that contains the 3D information of the original 3D file. A new window opens that looks a lot like the original file did before you changed it to a Smart Filter. In this file, you can double-click the object thumbnail in the Layers palette to open the 3D Transform options bar, or double-click the texture layer to open it and make changes.
Comments
Post a Comment