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Hey, welcome back to another very exciting tutorial here at the PhotoshopTrainingChannel.com.
My name is Jesus Ramirez and you can find me on Twitter @JRfromPTC.
In today's tutorial, I'm going to show you how you can use Photoshop CC's 3D features
to take a 3D model and composite it into a photograph. This video will teach you how
you can work with 3D models and adjustment layers to create realistic compositions. We're
going to use a stock image and this 3D model to create the composition. And I'm going to
show you several resources that Adobe recommends, where you can download 3D models.
We're going to start the tutorial by finding the right perspective to place the 3D model.
Then, I'll show you how to apply materials to various pieces of geometry and how to set
IBLsóImage Based Lights, to help illuminate the scene and create reflections. We'll then
use Adjustment Layers to adjust the Brightness and Color of the 3D model. And, also, to create
the headlights to further enhance the image. After watching this tutorial, you will be
equipped with the knowledge to import 3D models into Photoshop and composite them into your
own photographs. As you can see with this image, I incorporated a 3D model into a daytime
photograph of the street. And in this image, we used a previous tutorialóThe Cinematic
Color Gradient Tutorial. And I added a car to one of the parking spaces.
This is the same 3D model in all images and the only difference is the lighting that we
applied to the image and the different adjustment layers that we're going to set. So, by the
time you finish watching this tutorial, you should be able to take any 3D model and apply
it to a scene and make it look realistic. If you want to follow along, download the
background image from my website PhotoshopTrainingChannel.com. Before we get started with the tutorial, I
want to show you the different resources that Adobe provides, so you can work with 3D in
Photoshop. If you go into the 3D Menu, you can choose Get More Content, and that's going
to bring up a website on Photoshop.com that shows you downloadable 3D content. Things
that you can download include 3D models and meshes, materials, actions and scripts, stages,
and image based lights.
Today, we're going to be working with models and meshes. There are seven different websites
that Adobe recommends for you to use to find 3D models. The one we're going to use today
is Turbosquid. Turbosquid has a section that allows you to search for 3D models that will
work with Adobe Photoshop, or you can also use one of the different five categories to
find your 3D model. For today, we're going to use "Vehicles" and Turbosquid is going
to show you a different page of 3D models that you can buy. Some of these can be quite
expensive. For example, this taxi cab here is $350.00, but it has a lot of details. So,
it may be worth the price, depending on your project. With this tutorial, we're just going
to use a free one. If you enter the Custom Price Range, you can type in 0 (zero) and
hit Apply, and Turbosquid is going to show you all their 3D models in the vehicles category
that are free. Most of these, probably, won't be as detailed as the ones that you pay for,
like the taxicab, but they're great for learning how to use 3D in Photoshop.
The 3D model that we're going to use today is the Ferrari 599gtb 2006. You're going to
have to create an account if you don't have one, so create an account with Turbosquid,
then you can click on the Download button. You're going to go to the Downloads page in
your account and a lot of these 3D models have different formats. For example, this
one has 3ds Max, Cinema 4D, Lightwave and OBJ. Photoshop can open a lot of 3D files,
but it can't open all of them. And one of the files that it can open is an OBJ file;
this file here. So, when you download this 3D object, click on the OBJ file to download.
Back in Photoshop; make sure that you have the starter file. This file is available for
download on my website PhotoshopTrainingChannel.com. You can look in the 3D category for this tutorial
and let me show you where that is on my website PhotoshopTrainingChannel.com. You can click
on 3D and it's going to show you all the different 3D tutorials that I have created and find
the post for this video, and you can download it there. Also, while you're in my website,
feel free to sign up for my free newsletter, and I'll send you a new email notification
every time I put up a new tutorial. And, every Monday morning I will send you a tip of the
day roundup of the previous week's Tip of the Day. I publish a Photoshop Tip of the
Day. As you can see, it's quite popular. And, if you missed any one of those, I'll send
a recap every Monday morning.
But, anyway, back to the tutorial. After you downloaded the 3D file into your computer,
click on the 3D Menu and then click on New 3D Layer from File. When you download the
file, you're going to have a zipped file, but you can extract that, and then, click
on the obj file and then, press Open. And that's going to bring in the 3D file into
Photoshop. Then, Photoshop is going to ask you what units of measurements you want to
useóinches, centimeters, millimeters or pixels. Pixels is going to be fine. I'm already in
the 3D workspace, but if you're not, Photoshop is going to ask you if you want to use a 3D
workspace and you can press OK. So, this is our 3D model. If you have the Move Tool selected,
you're going to see all the different 3D Tools, like the tools to move the scene or 3D object
up here, down here, or the top view here.
If I have another tool selected, like the Marquee Tool, you won't see any of that, but
once I click on the Move Tool, you will. So the first thing we have to do is to make sure
that this car matches the perspective of the scene. And if you've seen any of my previous
videos, where I talked about perspective, or the presentation I gave at the headquarters
at Adobe, you'll know that one of the most important things is finding the horizon line.
The horizon line is simply where the sky meets the ground plane. Here, on the layers panel,
I'm going to disable the 3D object, just so we can see the background. So we need to find
out where the sky meets the ground plane in this image. Simply, to find the horizon line,
you need to look up the converging lines in your image, and see the point where they converge,
and that will be your horizon line. So, I can click on the line tool, make sure that
I have Path selected and click on one of the converging lines, which, in this case, could
be the sidewalk; make that line there, and then, maybe, use this side of the sidewalk
and place that there. So this is the point where the horizon line is, and I'm already
going to let you know, this is, probably, not 100% accurate but itís close enough and
that's what we need to worry about. We need to be close enough.
So we're going to say that this horizontal line is the horizon line. If I draw another
line to show you it's not 100% perfect, you'll see. See where this line meets? It meets here.
So, it's not 100% perfect, and I know it wasn't because I wasn't perfect when drawing the
lines, but it's going to be close enough for our purposes. What I'm going to do now is
I'm going to Click and Drag a guide down, and this is going to indicate where the horizon
line is. If you don't have the rulers active, you can press Ctrl R, Command R on the Mac,
and then, Click and Drag to make the guide. I'm going to click on the Paths panel, have
one of the work paths that I created and I'm going to delete them because I don't need
them. They were just visual aids to help me determine where the horizon line was. I'm
going to click on the Layers Panel, again. I'm going to enable the 3D Layer. I'm going
to press V in the keyboard to bring up the 3D Tools and one thing I wanted to show you
is these lines in the bottom of this grid, that's our ground plane, and there's a guide
somewhere here. Where is the horizon line in the 3D seen? Well, Photoshop gives up a
visual representation of that. It's this gray line running across here. That's our horizon
line. So this line needs to match the guide in order to have things in perspective. I
can use the tools, here, in the bottom left, for example, the Orbit Tool, to move the camera
around. I'm not necessarily moving the car. The car is in the same place. I'm just moving
the camera around.
So what I need to do first is match those two lines. I can get them close enough, like
here, and then, use the coordinates to make a match. By the way, when you click on coordinates,
make sure that you actually have the camera selected, and to make sure you have the camera
selected, click off to the side here, somewhere, and make sure there's a yellow line going
across the frame of the window here, and then, click on coordinates, and then, you can use
the mouse wheel and scroll to move that up or down on the X axis. If you don't have a
mouse wheel, you can use the arrow keys on the keyboard. And when you get those into
place, now you have a car in the right perspective. Now, we have to work on other things like
scale and placing the car, but that's easier now that we have the car in perspective. If
you press Enter or Return, it's going to accept the changes, and, now, I can use the Pan Tool
to move the car up or down. If this were a flying car, that car is still in perspective.
So, it's very important to get that horizon line right. What I have to do now is match
the ground plane to the ground plane on the image that we're working with, and I think
this is going to match the ground plane right about that height.
I'm going to click on the car now. When I click on the car, you're going to get these
different tools, and I'm going to rotate it a little bit, then I'll talk about what they
do, and the reason I'm going to rotate it is that you can see the icons better. So we
get this blue, green, and red handles. And each of those handles has three other different
handles that do three different things. The one on the very top that looks like an arrow
moves the object in that direction. The arc directly below that, if you click and drag
it, rotates the object in that direction. The cube below that scales the object on that
axis. I'm going to undo those changes by pressing Ctrl Alt Z several times. The cube here, in
the middle, scales uniformly, so scales in all the axis keeps it constraint. So, I'm
just going to scale that up to about the right scale, so, somewhere around there. Then, I'm
going to click on the X axis and rotate it, maybe, here, and maybe move it along, push
it back a little bit in the Z axis and push it to the left a little bit on the Y axis.
So, maybe, something like that. And you can play around with the scale, rotation, and
movement, and find a spot that works for you. We're just going to leave it here, for now.
And the beauty about 3D is you can always come back and make any adjustments. Maybe,
you can rotate it later if you want to.
So now that I have my car set, I can double click on the 3D layer and I can work on different
areas. For example, I can click on the Infinite Light. The Infinite Light lights the scene,
so I can click on this handle, here, and move the light around. So, where is the light coming
from in this particular scene? If you look, there's not too many hints within the image
where our light is coming from. So, my guess is that the light is probably coming from
the top right, I would say; maybe there's like a lamp post or something here. Maybe,
I'll just leave my light here, where I get a little bit of a shadow coming there. And,
by the way, the shadows that are casted on to this scene are casted on to the 3D plane.
You got to make sure that your object is sitting on the actual plane. I scaled the objects
uniformly on all axes at the same time, so I know that the 3D object is not sitting on
the ground plane. So, to make it sit on the ground plane, I can go into 3D, Move Object
to Ground Plane, and notice how that moved up. I get a bigger shadow now, that's because
the car is now sitting on the ground.
Just so you can see what we have going, I'm going to press M on the keyboard to bring
up the Marquee Tool, and I'm going to make the Selection around the car, click on the
Render button and Photoshop is going to create a Render of what the car looks like now with
the current settings applied. I'm not going to let this render all the way through just
because it's going to take too long. To stop a render, you can press Esc on the keyboard
and I'm going to disable the selection. I'm going to press Ctrl D, Command D on the Mac,
and I want you to remember that keyboard shortcut. Ctrl D or Command D on the Mac, because I'm
going to be using that a lot, and I'm not going to keep repeating it, so just remember
that. If you see a Selection, and then, you see it disappear, that's because I pressed
Ctrl D, Command D on the Mac.
So this is what the car is looking like so far. Obviously, it looks very fake, but we're
going to work on that to try to make that a little more realistic. And we're going to
start out by working with the actual 3D model. I'm going to click on the Move Tool. If I
click on the 3D model once, it selects the entire 3D model. If I click on it a second
time, I can, now, select each individual part of the 3D model. If I click on the windshield,
you noticed how this section gets selected, which is titled windows, and this is all determined
by the person who originally created the 3D. So, depending on what 3D model you have, there's
different things you can select, and they will have a different name. If I click on
the body of the car, this will select the car body. So that's where we're going to work
with next. We're going to give this car a color. I want this car to be red. So if I
click on Diffuse, which is going to be the color applied to that section of the 3D Mesh,
and I'm going to select red, then I'm going to press OK. Our car is now red. If I press
M on the keyboard, make a small selection, click on Render, you'll see that the car is
now red, it's no longer gray, and, obviously, as displayed here, on the preview.
But what I'm going to do now is I'm going to work with the light a little bit. If you
noticed, there's a shadow here, it's very soft, and you can see soft shadows all over
the image, but the shadow in our car is very harsh, so we're going to soften that up. I'm
going to click on Infinite Light. Under Shadow, I'm going to soften that up. I'm going to
bring that all the way up to like 90%. Then I can make a selection, here, on the bottom,
where the shadow is, and click on Render and see what that looks like. The shadow is still
there. It's not as hard as it used to be, but there's still a problem. If I make a bigger
render, I could probably explain it a little bit better. The car is too bright, and we're
in a night scene, and the problem is that the Infinite Light is casting way too much
light. So, what we need to do is we need to bring the intensity of that light down. Right
now it's set to 90%. I'm going to bring that way down, maybe, we'll see what 13% looks
like.
I still have my selection. I'm going to Render that and we'll see the result. And one of
the things you got to keep in mind is when you're working with 3D, you're going to be
doing this a lot. You're going to make an adjustment. You're going to make a selection,
render it out and see what that looks like, and then, from there, you can make another
adjustment or move on to the next area. And, I think, this is going to work for now. The
shadow is still soft. It's barely noticeable. That's what I want. And, there's not a lot
of light, here, which is good because it's night scene. What we're going to work on now
is creating the reflections on the car. They're going to make it look like the car is actually
on the street. To do so, we're going to need to work with the Image Based Light. I'm going
to go into Edit Texture to edit the Image Based Light. This, right now, was giving the
reflections on the car. Obviously, this is not going to reflect the buildings. To do
so, I got to go back into our start file, click on Layers. I'm going to click on this
icon, here, to collapse the 3D layer so we can keep things clutter free, and you can
see what I'm about to do.
I'm going to click on the background layer, and then, I'm going to right click on it,
and I'm going to duplicate the layer. I want to duplicate the layer into the Image Based
Light, right here, Default IBL, then I'm going to press OK. If I go back into the Image Based
Light, you'll see that the layer was copied over to the Image Based Light, but it's too
big, but we can make the canvass larger by clicking on the Crop Tool, and clicking and
dragging to make it as big as the image we brought in. I'm going to press Ctrl E, Command
E on the Mac to merge those layers, because we don't need the one below it. I could have
also deleted it. Either or works fine. I'm going to click on the X and it's going to
ask me if I want to save. Yes, I do want to save. I'm going to press OK. And now, the
Image Based Light is applied to the car. You can't really see it. So what I'm going to
do is I'm going to press V to bring my 3D options, and click on the 3D layer. I'm going
to double click on it. I'm going to click on car body. And what I'm going to do is I'm
going to increase the reflection on the car body to about 35%. Now, you can see some of
the buildings being reflected on the body of the car.
I'm also going to click on the windshield to select the Windows Mesh and I'm going to
increase the reflection, maybe, to about 90%, and you can see some of the buildings being
reflected on to the window. If I had 3D model with an interior, meaning that the modeler
modeled the seats, maybe, a driver inside of there, then I would probably bring the
Opacity down just so we can see inside of the car. But, if I bring the Opacity down
in this car, there's nothing inside, so it's definitely going to look fake, so I'm just
going to increase the reflection really high and just work with what we have. I'm going
to do a quick render now, just so you could see what applying the Image Based Light to
the 3D model does. And I don't need to render it all the way. I'm just going to press escape
now. And, you can see here that the windshield in the car is reflecting the buildings around
it now.
We can control those reflections by clicking on Environment, clicking on the Move Tool,
and using this orb and rotate it, to decide what's going to be reflected around the car.
So you can just find whatever spot you think will work. And I'm trying to get a little
bit of the sky and a little bit of the buildings in the windshield. That's what I'm looking
for. It's sort of like this area because I see some buildings here on the right, and
sky, and buildings here on the left. So, maybe, something like that. Then, I'm going to click
on the Marquee Tool and do a quick render just so we could see what we have. So I'm
going to press Esc to stop the render and things are looking pretty good. I still think
the 3D model is too bright. This time it's because of the Image Based Light, not the
Infinite Light, so I'm going to bring the Intensity down on the Image Based Light, maybe,
about 25%, and I can do a render just to see what that looks like. And I can already tell
this is much better. The car actually looks like it belongs in this scene now more, so
I'm just going to keep that there. Now, I'm going to apply materials to the rims and the
headlights, so I'm going to click on the Move Tool, click on the car twice, click on the
headlights, and this is actually called glass.
I'm going to bring the Opacity down, just because I want to show you there's some detail
inside of there. See that? So, those are the headlights and I'm going to click on Diffuse,
which is the Color, make them like gray, and I'm going to add some Illumination. I'm just
going to brighten it up, maybe, this color gray. And I'm going to make a selection around
the lights. And I'm going to render it. I'm going to leave the lights like that. I could
keep playing around with the Diffuse and the Illumination to make them seem brighter, but
I'm going to use Lens Flare to create the lights, and then, I'm going to add a layer
with light beams, so this is going to be good enough for now. One thing you want to do when
you're working in 3D is save often, so I'm going to save now. I'm going to press Ctrl
S and to save this psd file because anytime we're working with Photoshop, especially with
3D, you want to save often. Now that we don't need the guide that shows us the horizon line,
I'm going to disable it, so I'm going to press Ctrl ; (semicolon) to get rid of that. I'm
going to press on the V key to access the 3D Tools because I have the 3D object selected.
And, now, I'm going to work on the rims of the car. I'm going to click on the rims, here,
and it's called Rim Glossy, and I'm just increase the reflection all the way up, just because
I think the rims will be really reflective, and, maybe, increase the shine as well. I'm
going to press M, make a selection around the rims, and do a render just to see what
the outcome of my changes were. And I can already tell that's going to work, so I'm
just going to press Esc. And, I went a little fast in making those adjustments, and you
probably didn't catch the exact numbers that I used, but that's okay. You don't need to
look exactly at the same settings that I used because things will be different on your screen.
You, probably, didn't set the Image Based Light in the same spot that I did. You, probably,
didn't set the 3D model on the same exact spot that I did. So, there's a lot of variables.
So keep that in mind. You don't have to apply the same exact settings that I have. Instead,
look at the techniques and try to apply them yourself to your own composition.
What I'm going to do now is I'm going to render this out just a little bit more, actually,
so we can work off of it, and we're going to use the Tools on Photoshop to take this
image further. If you look at the left hand corner, here, at the bottom, it says time
remaining 8:16, thatís 8 minutes and 16 seconds, so I'm going to pause the video, let it render
all the way out or we can work with a full render when we use the other tools. Okay,
now, that my image is rendered, we can continue working with this and we're going to use adjustment
layers and several other techniques to make this a more realistic composition. I'm going
to click on the Layers panel and the first thing I'm going to do is I'm going to create
a Black and White Adjustment Layer, and this is a trick that I like using.
Whenever I create compositions, I like to create a Black and White Adjustment Layer
at the very top and see the Luminance values of the two images match. In this case, the
background and the car, and the car seems a little too light compared to the rest of
the scene. So what I'm going to do is I'm going to create a Curves Adjustment Layer
right above the car and I'm going to Clip to it. You can make the Clipping Mask by pressing
Ctrl Alt G, Command Option G on the Mac, or you can hover in-between the two layers while
holding Alt, Option on the Mac, and clicking to create that clip. Then, I'm going to change
the Blend Mode to Luminosity because I only want to affect the luminance values of the
car layer. I think two things need to happen. I think that the car needs to be a little
bit darker and it needs a little more contrast. So I'm going to start out by using a preset,
and I'm going to use the Medium Contrast Preset. And, notice the difference. This is before
and after. So, the car looks like it fits a little bit more, now, that I made it darker
and created some Contrast. I can adjust the points to make it match just a bit better,
and, maybe, something like that. So, I think that the darkest parts of the car match the
darkest parts of the background, and the lightest parts of the car match the lightest parts
of the background. And that's what makes it seem like it belongs in that scene. So this
is before and this is after.
If we disable the Black and White Adjustment Layer, we see the result Color before and
after. It might be a little too saturated. I'm not sure yet. We're going to keep working
with it, and if we need to desaturate the car later on, we will. I know we have the
shadow that we created using the ground plane and the infinite light, but we still need
some contact shadows, the shadows that are directly below the area such in the ground.
So I'm going to click on the background layer, add one layer, and I'm going to call it contact
shadow. I'm going to press B on the keyboard to bring up the Brush Tool and use the bracket
keys to make it larger. I have black as my foreground color, and I can paint in those
contact shadows right below the tires. And then I can bring the Opacity down by clicking
and dragging on the word Opacity, and, maybe, leave them around 76%. I'm going to Zoom Out.
So, that's before and after. It just makes it just a little bit more realistic, and what
I'm going to do is I'm going to create one more layer and I'm just going to darken up
the shadows underneath the car just a little bit, and bring the Opacity down, again, to
zero. And then, just bring it up until I find an Opacity that I like, so at about 60 to
70%. And I'm just going to call this "undercar shadow."
What I'm going to do now is work on the light beams for the headlights. So I'm going to
click above the Curves layer and I'm going to fill this layer with black by holding Alt
and Backspace, Option and Backspace on the Mac, and that fills the foreground color,
which in this case is black. I'm going to disable the layer, press V on the keyboard
and open up the Info panel. The Info panel is here. If you don't have it there, you can
go into Window and click on Info. Notice that as I move through the Info panel, the X and
Y coordinates of the canvass show up. If I hover over the light, here, you'll see that
the X coordinate is 562, and the Y coordinate is 463. So you have to remember those numbersó562
and 463. Then, I'm going to enable the layer, go into Filter, Render, Lens Flare. And if
I hold Alt, Option on the Mac, and click anywhere inside that square, you get the precise flare
center and you can input those numbersó562 and 463óand press OK. And you can choose
105mm Prime, and Brightness of about 55% is good, then press OK. And Photoshop automatically
places that Lens Flare in exactly that spot. You can switch the Blend Mode to Screen, and
you see it's right on top of that headlight. To save some time, I'm just going to duplicate
this layer by holding Alt, clicking and dragging, and placing it directly on top of the other
headlight, maybe, using the arrow keys in the keyboard to place it better.
What you should do, instead, is just use the precise Flare to create another Lens Flare,
but we don't have the time for that. I'm going to paint with black, just on this green glare,
there, just to get rid of it. We only need one. I'm going to put these two layers into
a group, so I'm going to hold Shift and click on both. Press Ctrl G, Command G on the Mac,
to put it into a group, and I'm going to call it "Lens Flares," just so I know what they
are. I'm going to bring the Opacity down to, maybe, about 69-70% and I'm going to create
the beams that are going to come out of that car. I'm going to create an Exposure Adjustment
Layer above the Curves Layer, so I'm going to click on Curves, and create an Exposure
Adjustment Layer. Then, I'm going to increase the Exposure to about 230.
I have a Layer Mask but I want to add a Vector Mask now, so I'm going to click on the Layer
Mask icon. I'm going to click on the Layer Mask, right click on it, and click on Delete
Layer Mask. So, now, I only have the Vector Mask. And the Vector Mask allows us to use
the Pen Tool to create a Mask. I'm going to click on the Pen Tool. Click above the beam
and make my beams using the Pen Tool, like so. And I'll show you why I'm doing this in
a moment. So, now, we have our beams. Then, with our Vector Mask selected, I can click
on Feather and Feather those beams. What that does is it creates a soft edge and makes the
beams a little more realistic. The reason I use a Vector Mask is because we can use
the Direct Selection Tool and click on these points, and adjust the beams as we see fit.
So it's a lot easier than controlling the beams if I would have painted white on a Layer
Mask. We can spend a whole lot of time adjusting these beams to make them more realistic, but
just for the sake of time, we'll just call this good for now.
I, also, want to add some highlights on the ground that these beams are creating. So,
right below the Exposure Adjustment Layer, I'm going to add another layer and I'm going
to paint with whiteójust a dot. I'm going to press Ctrl T to Transform, hold Alt, Option
on the Mac, Scale that out, like so, press Enter. Then, I'm going to set the Blend Mode
to Overlay. I'm going to press Ctrl J to duplicate that layer, and I'm going to press Ctrl T,
again, and I'm going to bring that in a little bit. So, now, I have two layers, and they're
both set to Overlay. I'm going to select them both by holding Shift, and then, with the
Move Tool selected, I'm going to press Alt, Click and Drag, and move that over to the
right side to create another highlight for this beam. So, now, we have two highlights
on the ground for the light beams. Then, I'm going to press Enter.
I'm going to select all four layers by holding Shift and clicking on the bottom one and the
top one, pressing Ctrl G, and I'm just going to call this "ground highlight." So, now,
we have these highlights on the ground. You can play around with the Opacity if you want
to, in case you don't want those highlights to be so strong. So, probably, about 50 to
60% is a good number to have in this case. And what I'm going to do now is I'm going
to apply another light to the back of the car because, maybe, the car stopped and they're
pushing on the brakes, so we need some brake lights in the back. So, I'm going to click
below the 3D layer, which is the Ferrari layer, and add a new layer. This time I'm going to
choose red for my foreground color, and I'm just going to make a dot, like so. Then I'm
going to press T to Transform, right click on it, Ctrl click on the Mac, click on Perspective
and drag one of the edges and to use sort of match the perspective of the ground. Then,
press Enter. Press V to move, Click and Drag this right behind the car, wherever you think
that light would be, and set the Blend Mode to Linear Dodge. That's kind of what that
looks like there, but I don't want it to be completely visible. And you can play around
with the scale of it to make it more realistic and sort of play around and move it around,
and place it in an area that you think the light would be if there was a brake light
shining light behind the car. So, maybe, something like that. And I'm just going to call this
layer "brake light."
So now that we made all these adjustments, one of the things that I'm not too happy with
is these flares, here. So, maybe, I can bring the Opacity of the light beams down a little
bit; maybe there, because I want some of that detail in the light to show. And, actually,
maybe, I do need a Layer Mask. So I'm going to add a Layer Mask and I'm just going to
paint with black inside of there, and, maybe, fade it a little bit to bring that down, and
click on here, and fade it, as well. You could play around with the Fade and find a spot
that you like, so, maybe, something like that.
What I'm going to do now is I'm just going to bring everything together and I'm going
to add a Color Lookup Adjustment Layer and select the Teal and Orange Adjustment. And
that might be too strong, so what I'm going to do is I'm going to bring the Opacity down
to zero and drag it up till I find a darkness that I'm happy with; so, maybe, at about 50%.
And, I like the darkness of it, but I'm not too happy with the color, so I'm going to
press Ctrl J, Command J on the Mac, to Duplicate that layer. But this time, I'm going to set
the Blend Mode to Color, only to add more of those colors. So if I bring it down to
zero, you see where that is, and I can add more of that teal, and more of that orange
to this image, but, maybe, not too much; maybe, we'll leave it at 29%, which is close enough
to 30%. So that's the before and after. It's just a subtle change but it just makes things
seem a little bit darker.
Now, something you may want to do, depending on how your car is looking. I don't think
I needed too much for this image, but sometimes, the car is too saturated and I created a Hue/Saturation
Adjustment Layer that is also clipped to the car, and I'm just going to bring it down just
a little tiny bit, and before and after is just a very subtle change, but I think it
helps the image. At this point, you can go back and just make adjustments into areas
that you think need the adjustments, just to make your car seem a little more realistic.
At this point, all you want to do is look at your image and try to see what's working
and what's not, and make tweaks and adjustments to the different layers that need work. Or,
you can even add new ones if you need to. As you saw in the introduction, you can use
this technique for almost any 3D model or image. Of course, every image will have its
own problems, but by learning the specifics I just showed you, you should be able to overcome
them with just a little work and creativity.
And that's it for this tutorial. As always, I hope that you enjoyed it and that you learned
something new. If you have any comments or questions, please leave them down below. If
you haven't already, subscribe to my YouTube channel and my newsletter. And if you enjoyed
this video, don't forget to hit the Like button and share it with a friend. Thanks for watching
and I'll talk to you again, soon.