I want to put this corvette in that parking garage.
What kind of tips can I have to make this look REAL.
When I paste the car in the garage it obviously doesnt match SIZE wise.
Can I just change the size of the car without affecting the background?
How about shadowing?
Is there now a standard procedure to create a sloping driveway in Revit ??
View 3 Replies View Relatedbest 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.
View 1 Replies View RelatedI'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.
View 2 Replies View RelatedOnce 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.
How do I do a composite snapshot using Photoshop CS5. I know it can be done using CS6, but am not having any luck using Control + shift + alt + E?
View 1 Replies View Relatedcs3 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.
Anyone seen this in photoshop before?
I would like to create an image made of several gif ones,
How can i do it?
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?
View 1 Replies View Relatedim 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...
do i need adobe illustrator to do this?
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.
way to do this? Layers? Masks?
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.
View 4 Replies View RelatedI 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.
View 2 Replies View Relatedso 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).
View 31 Replies View RelatedFirst, 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 ?
Does VideoStudio X5 or VideoStudio X5 Ultimate has blending modes & composite modes?
View 9 Replies View RelatedI am running Autodesk Inventor Professional 2010. I use FEA a lot on steel and aluminum structures but was wondering if Inventor is capable of doing FEA on composite structures. I personally want to estimate the strength of some carbon fiber tubing but wasn't sure whether or not I would be getting good data from it. I know that composites don't yield and was wondering how or if that will affect anything. Also, if you can do an FEA on a composite, any solid website to get material properties from?
View 3 Replies View RelatedI have a question concernig a wrong result of computed volume.
EG surface with all EG points H=100.00m
FG surfase, created by FL-Square 100x100m H=101.00m, added to FG surface as breakline.
The Result-Fill=9149.59???
Why not 100x100x1=10 000???
P.S. EG points at above example were around 80, randomly spread at area say 150x150m
When I deleted 76 and moved remainig 4 at the corners of the square, the result is OK 10 000cu.m
I have been asked to quote on a group composite photo of 115 graduating students for a school in my rural area.
I have search the web for a template that will allow me to choose the number of individual photo for the composite and then allow me to insert each student's photo, the year and perhaps a school crest.
I can only find this software that is compatible with Adobe or Elements and I now use Corel Paint Shop Pro Photo X2...and it does everything I need for my small business.
I am somewhat new to graphic design and have a coreldraw design that needs to go to print. The company's Pre-Press Mgr sent me this message:
the background is made up of a million separate layers that each contain a clipping mask and an image. The file size is huge due to the sheer number of these layers and may have trouble trapping and imaging. The bulk of these layers and images could all be combined in to one composite background image to reduce the file size, trapping issues and imaging issues. You do not want to include vector elements that you want to remain sharp, but for the soft background effects it should be one composite image.
Does this mean to take the layers that make up the background and "Group" them and/or convert to curves?
I created a Surface and pasted multiple Drefed Surfaces into that blank Surface. There was a small gap between each Surface. In the composite Surface those gaps still exist. I can insert points between the Surfaces or add lines. But that would be thousands of edits. Is there a way to stitch all the pasted Surfaces together?
I'm working in 2014.
I have an object with a UV map on tiles U0_v0 and U1_V0. I have assigned a standard material to the object, the material has a composite map in its Diffuse Color slot. The composite map has 2 bitmaps in layers 1 and 2, each set on a different tile.
In every viewport only layer 1 is displayed correctly (with Smooth + Highlights shading) while Layer 2 is displayed as if with Flat Shading (swapping the bitmaps confirms that layer 1 always gets priority). Here is an example:
I will add that it renders correctly and this is a viewport thing, in any case I have tried changing the direct 3d settings in the display drivers window (preferences settings > viewport tab) and nothing so far has worked.
I've also tried hardware shading in individual viewports, nothing.I then tried installing different drivers but that did not work either. I'm using an fx quadro with the latest nvidia drivers on windows 7 x64 by the way.
I'm starting to get into video compositing a bit and I was wondering what your opinions are on the best program to use - 3ds Max or After Effects? Basically I'm shooting some live footage, solving for the camera motion in PFTrack, and I want to composite 3D objects/effects into my scene. Of course all of my modeling and animating will have to be done in Max, but which is the better program to use for actually Compositing it all together? Is it better to import the camera track into Max, set up the whole scene with lighting and cameras and everything, set the environment background as the original footage, and render it all in one shot? Or is it better to just render the models as an image sequence in Max (with alpha channel) and actually put the layers together in After Effects?
So far I've done a few test shots in 3ds Max alone, but it seems like most people prefer to composite in After Effects. What are the advantages/ disadvantages to each? It would be great to hear from people who have actually done this before.
Why is there no composite grayscale printing option in Illustrator? I see it in Acrobat and Indesign. There are times we need to print grayscale composites to check layout and content.
Besides converting all colors to grayscale, I see no way to simply print grayscale out of Illustrator. Am I missing something?