Photoshop :: Best Way To Stack 2D And 3D In A Composite?
Oct 1, 2012
best way to stack 2d and 3d items together in the same document, and maximize the editibility...
I'm working on a digital room setting, and I have part of the room in 3d and part in 2d. So, for example, the walls, ceiling, floor, table, chairs and corner hutch are 3d, but the regular hutch and buffet server are in 2d.
- The table and chairs need to be in the foreground
- The regular hutch and server are behind the table and chairs
- The corner hutch needs to be behind all other pieces of furniture
So, you may be catching on by now to my little dilemna... I want all the 3D items to have the same lighting and reflect off one another, however, I need the 2d layers to somehow fit "inbetween" the 3d objects. The simple question is, how can this be done? Is there a way to mask the foreground 3D objects so that they appear to be in from of the 2D objects? My only current solution is this:
- Move the whole 3D layer (the scene layer) all the way to the back
- Make the final decision on the position of the table and chairs
- Hide all other meshes in the scene besides the table and chairs
- Render, so the edges are clean
- Load the newly rendered 3D layer as a selection (which loads the table and chairs only)
- Either create a new layer from the selection of the rendered 3D layer, or mask the 3D layer so that the table and chairs appear to be in the foreground
The method above means I can no longer edit/reposition/scale the 3D at all.
How do I do a composite snapshot using Photoshop CS5. I know it can be done in CS6 using Control + shift + alt + E. I am not having any luck using those shortcuts in CS5.
I'm trying to create a clone composite from a tutorial in a magazine using Photoshop CS. When I create the layer for each image, the tutorial says the layer box should be black whereas mine is white. I have tried various settings inclding the changing the two overlapping black/white squares on the left handside and cannot find any way to make the layer box black.
Once you create a composite layer at the top of your layer stack w. Option-click on "Merge Visible" in the Layer Panel Menu, is that new layer the only layer that now shows (represents) the image? For instance, if another adjustment layer is added below it, and the Background layer is the only image layer, will the effect of that adjustment be visible? Or do I need to delete the composite layer and create a new one to include the new adjustment layer?
The reason I ask has to do with an illustration (below) I came across from one of Mark Johnson's old NAPP tutorials (Total Control Glowing Montage). In his tutorial "Layer 1" was created as a composite layer of the Background Layer and "Levels 1" which had a Smart Filter applied to it. Then the two "Levels 1" copy layers were added last to fine-tune the effect of the Levels 1 adjustment. Notice they are BELOW the composite layer.
cs3 has started to print very green since i ticked a checkbox and now i cant find the box to change back. printing the same photo in other applications is fine so its not the printer but a photoshop setting.
which is the exact box that i changed from composite rgb to composite cmyk ( I remember that box on the right that said Text as black.
But where is this from? It says its from Adobe InDesign.
But I dont have In Design!
I have checked Adobe Bridge but there is no printing and colour part in there.
workflow problem when dealing with a composite, selection and background layer. My normal workflow is to start of in LR4, and if need be do an "edit in, CS6". I am relatively new to CS6, so bear with me.
I have some portraits I want to put different backgrounds on. I am using Matt Kloskowski's Layers book and Composites books written for CS5. I also have Martin Evening's book on CS6 and the workflow for doing a composite is pretty much the same. The catch is that none of them start off in LR with the original photo. They all describe the following basic workflow pattern:
1. Bring up the main photo in CS using "edit in CS6" 2. Change the photo from a background layer to a regular layer 3. Make a selection. 4. Make a layer mask 5. Refine the edge 6. open the background photo you want to place the selection in (steps 4 and 5 are sometimes reversed so you are refining the edge on the new background) 7. copy and paste the original photo onto the new background 8. Refine the edge if not already done 9. Save and exit back to LR with the composite
If I follow this procedure I run into a couple of problems:
1. My backgrounds are in a separate folder on my computer and not cataloged in LR. So, if I open them in photoshop and paste the original photo onto that image, LR will not know that I want to take the new composite back to the original folder along with the portrait. If I go to save the image, CS want to take the composite back to the folder on my computer where I got the background from. I tried playing around and tried renaming the composite similar to the naming convention I use for my photos in LR and then importing it into that folder after I have saved it in the background folder. This had some unintended consequences. First, I had trouble renaming the composite photo. For some reason Windows kept plugging in an old photo file name from one of my photos taken two years ago. After I discovered that I could work around it. But after the first composite finally got into LR, when I tried to do it again, the import button on the left side of my LR went dark and I couldn't import the second composite photo I was working on. This could have been a coincident and unconnected LR glitch, but I have never had that problem before.
So...I was thinking of modifying the workflow to the following:
1. Bring up the main photo in CS using "edit in CS6" 2. Change the photo from a background layer to a regular layer 3. Make a selection. 4. Make a layer mask 5. Refine the edge 6. open the background photo you want to place the selection in 7. copy and paste the new BACKGROUND onto the original photo 8. Move or make the new background layer THE "Background" layer 10. Refine the edge 11. Save and exit back to LR with the composite
I am envisioning this will ensure that my composite will wind up back in LR because it is still keeping track of the original photo which now has gotten the new background, regardless of what the file name of the new background was.
I'm moving pictures of people onto a backround of flowers and plants. I've used the magic wand and polygonal lasso to get the people on to the backround. That works fine, except the backround near the persons hair shows up as a halo or line around them or I see the backround between the starnds of hair.
How do I have the person show up on the backround without lines or the backround from where I moved the person from. I hope this makes sense., I'm using CS4
I am trying to find a tutorial about making a composite image of a skier flying through the air. I shot at 9 frames per second and want to show all of them on a single frame. Can anyone point me to somewhere that would help get me started on this kinda thing?
im new in .EPS format... i created an AD using photoshop and the magazine company wants me to save the file in DCS2 format @ 300 dpi (.EPS extension), with color composite
but when i save the file, it only gives me 72dpi resolution resolution option...
I need to make an 11x14 composite page for a school. I am shooting photos of all of the students and they want an 11x14 with the school name and all of the students faces in ovals . I would need about 200 ovals, one for each student.
I get the message "Generating Full Resolution Composite" when I try and save even a relatively average (500MB) file. The hard drive light is lit solid and after about 2-4min, it starts saving the image.
I have tried unchecking "Maximize Compatibility",
I have CS2 - is there a way in CS2 (or CS3) to stop the "Generating Full Resolution Composite" message? I don't care about preview icons/thumbnails at all.
I want to apply Burn to a flattened image, but without flattening. My image consists of several layers, and if I apply Burn to the image layer it doesn't work as well as when applied to the flattened image. But I don't want to flatten the image.
I have uploaded a test image here. It is a crop from a scanned Kodachrome using a Nikon Coolscan V ED which causes flare whenever highlights abut shadows. I can remove the flare fairly effectively on a flattened image with several Burn passes by using a brush size:75, Range: midtones, Exposure: 20%. But if I try it on the unflattened image layer, the results are not as good.
I'm using the 3D render engine vray, using its multimatte render element which assigns mattes of certain materials (or objects) in the scene to a channel: R, G, or B.
I'm curious about the best way to composite once I have this file rendered out. The simplest way I can think of is doing a color range selection on the matte channel's solid color, then using that selection to modify my image as necessary. But I have used After Effects to do this also, and there is a "channel select" effect that extracts the channel and converts it to an alpha mask in one step... makes me think there's a more elegant way in Photoshop as well.
I am trying to place/ import a .psd as a smart object into a composite and have Photoshop keep referenceing that same psd witout it creating a local tmp file.
so I'm working on a pretty complex image with alot of composites - models on a new backgrounds, new heads, arms, etc. I had to scale these elements down to fit the image and I used smart object b/c i had to go back and forth and get placement approval before moving on to the retouching. I still have to adjust the mask edges in the smart object PSB's but it is really annoying to go back and forth from the composite image to the PSB with layer mask. Is there a way to rasterize the PSB into the final image with the layer mask so I can better blend it? I tried dragging the PSB with layer mask over but of course it is too big (because i scaled the PSB down).
First, a slightly long winded explanation. Shooting the creative family Christmas card this year in a Mini-Cooper (original 60's one). Basically set my lighting up and then shot individual members in the car to post them together. The only snafu - my 20 month old son wasn't exactly cooperating, so the 'good' photograph I have of him is in the drivers seat, and I wanted to move him in between us.
There were a few difficulties here. First, the light changed between originally shooting my wife (windshield was clear), as skies were blue, and when I took the photo of myself nearly an hour later (cloudy skies cast a glare on the windshield. I had a black scrim set up to the side which worked, but wasn't able to knock it out all together. So i faded the clear windshield from my wife's side over to my side with the glare, but I feel that looks fairly natural (or at least good enough for the Christmas card).
The trick comes with my son - I cut him out from where he was at the drivers seat (had to do some shoddy work on his shirt where the steering wheel blocked him), and put him in between us. However, it looks like his coloring is off from what we are - and I can't quite seem to get it right. Color balance is definitely not my strong suit in PS.
I have a problem with this command : "Toggle composite and grayscale mask in Quick Mask mode"I know i have to press the tidle key " ~ " to activate it but i'm using an Azerty keyboard (belgium) and i have trouble with it.The only way i can use the tidle key on my keyboard is to press "Option + n" keys.
So in Photoshop, i load a channel selection, turn into "quick mask mode" and then press "Option + n", but nothing happens.If i try with "Command+Option+n", i open the window for a new document.I have tried ALL combination of keys but nothing worked.I have also tried to change the keyboard input to Britain, Usa, etc but it still doesn't work.
I'm using the english version of Photoshop CS6 (Subscription), and an Azerty Keyboard (Belgium) on a Mac Osx Snow leopard.How can i solve this problem ?
I'm doing macro photopgraphy and need to do a lot of focus stacking. I'm trying to determine the best way to stack images in PS, but there seems to be a lot of conflicting information out there. I've sucessfully stacked images using two different methods:
Way # 1
file -> scripts -> load files into stack edit->auto-align layers edit->auto-blend layers (stack images, seamless tones and colors)
I make GIFs as a hobby. But what happen was that 3 days ago, I opened my Photoshop CS5.1 Extended version 12.1 (x64) and did the usual thing.
I went to Scripts and to Load Files into Stacks. I loaded my files and pressed OK. So here's the funny part, usually, the pictures will load by itself and eveyrthing will be in order. But what happen was that the layers load to around 6 to 7 layers and everything just disappear. Literally disappear. Like I didn't even load anything. No canvas, no images, nothing. I thought it was a bug or something so I reinstalled my CS5 but the problem remains.
So I try with my CS6 Extended version 13.0 x64. (That I barely use because I'm still more comfortable with CS5.) And the same thing happens.
I decided to Google it and nothing comes up. I do not know whether is it my laptop or something went wrong somewhere. This has never happen before for the amount of time I have CS5.
I even change my scratch disc space. Last time it was on (C) with around 20GB space and nothing happens. So I changed it to my D drive and it has atleast 150GB space. I even tried closing every applications I have to test whether is it something related to my ram. But nothing happens. The problem remains.
Here's my system information:
Window 7 Ultimate Service Pack 1 Intel (R) Pentium (R) CPU B970 @ 2.30GHZ 6.00 GB Ram Running on 64-bit OS Graphics: Intel(R) HD Graphics Family
I have two photos that were taken at two different times during the day. Now the problem is, that these two photos do not equal 100% in their angle and therefore perspective. I wanted to know if there is a way to let photoshop put them on top of each other like it would do when creating a HDR, just without actually creating the HDR but do the "deghosting" and ideally also a geometric correction?
I am trying to stack a number of TIFF images. When I start the process, I cannot minimise the window or hot key into any other. I can get to other processes via the Start button but once up, they stay up unless I load something else on top of them. Left to itself, it can stay like this for several hours. It has got worse over time and the function has become unusable.I am using Photoshop CS5 64 bit. The computer runs Windows 7 64 bit SP1.
Intel Core i7 860 2.8 GHZ Processor 16 GB RAM ATI Radeon HD 5450
Task Manager says I am using 12% CPU and 28% RAM..The status alternates between 'running' and 'not responding'..I am not running any other applications.I am thinking that I do not have Photoshop set up properly.
Photoshop lets add multiple Smart Filters (SF) to the same Smart Object (SO), and define the blending mode of each SF separately.
Let's say I've a SO with two SF (Gaussian Blur and Median): it looks like they operate in stack, that is: the first filter (Gaussian Blur) is applied to the original SO, while the second (Median) is applied to the result of the first filter (i.e. the blurred SO). As a consequence, if you switch the order of the SF, the result changes. That's the way it is.
My question is as follows: is there a preference / setting hidden somewhere that would make the multiple Smart Filters of a single SO operate *not* in stack, but on the very same SO, letting the blending modes to do the blend? I doubt, but it's fair to ask.
