Compositing 3D Models Into Photographs Using Photoshop


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.

69 Comments

  1. Photoshop Training Channel January 28, 2015 at 9:10 am

    Subscribe + Like + Share + Comment = More Video Tutorials!

  2. Sharko sakotch January 28, 2015 at 10:14 am

    Very helpful,so many information and techniques. Thank you

  3. OORVOKKI January 28, 2015 at 10:59 am

    thank you very much for this great and useful video and all information,

  4. Jo Original YouTube January 28, 2015 at 5:43 pm

    Thanks! Great Tutorial. I learnt a few useful things and I'm going to use it soon in a composite I have in mind.

  5. cyberwasp461 January 28, 2015 at 8:10 pm

    when I import the Ferrari non of the separate objects are there, just the car. what am I missing. TY

  6. Bert Harmsma January 29, 2015 at 12:15 am

    Great tutorial. Thanks

  7. Robert Martinez January 29, 2015 at 1:57 am

    Awesome! Thanks.

  8. Al Moss Mossi January 29, 2015 at 8:30 am

    Great Tutorial,magnifico, grandee ,wonderful,magnificus.

  9. Richard Roberts January 29, 2015 at 5:50 pm

    Very cool what sort of render time did it take?

  10. Mario Duarte January 30, 2015 at 1:03 am

    Simplemente Genial…… Gracias…

  11. shanu khalifa February 2, 2015 at 10:12 am

    Cool

  12. clpscom February 5, 2015 at 9:15 pm

    Hi JR,
    Are you including the 3D model in your download? I have downloaded the 045-3d-model…zip file twice, and successfully unzipped the photo, but no model is present. Is there another link which I am missing? Thanks for any assistance you can provide.
    Chris

  13. clpscom February 5, 2015 at 9:45 pm

    Hi again JR,
    Please disregard my previous post. I did not look far enough into the tutorial. Thanks for all the kind sharing you provide.
    Chris

  14. coolkidsahib February 7, 2015 at 10:33 pm

    Wow! thanks a lot. this was my first composite in photoshop and I'm soo proud of it! Thanks again!!

  15. Dylan R February 9, 2015 at 2:22 pm

    Very informative tutorial…Thx a lot 

  16. Younes Saf February 12, 2015 at 11:51 am

    can this be done on PS cs6

  17. alain pilon March 4, 2015 at 3:55 am

    I think there is a color adjustment layer missing on the car, or is the IBL supposed to do the job?

  18. Pierre-Julien Godier March 16, 2015 at 7:52 pm

    Very useful – Thanks!

  19. Alexandre Moresque March 20, 2015 at 2:36 pm

    Awesome! Thanks.

  20. Freestyledancer March 25, 2015 at 3:22 pm

    this Video is very good!  😉

  21. Kaan dağerik April 19, 2015 at 6:53 am

    Thank you.

  22. Raymond St Paul May 12, 2015 at 2:20 am

    Question how do I export the 3D model with all its textures into another program such as the one software I'm using Hitfilmpro 3 [an upgrade of Hitfilm Ultimate 2] can you please explain step by step what I need to do?

  23. Hasinur Rahman May 29, 2015 at 7:08 am

    Just awesome 🙂

  24. Eddie - E11World July 28, 2015 at 10:17 pm

    I like this tutorial very much.
    I think to improve on the overall feel of this particular image, you could've used a car model that works better with that place/period of time and also play with sharpness a bit to get it to match closer to the background. That's what I would do to improve it slightly.

  25. Manish Kumar September 30, 2015 at 1:13 pm

    Hey..a lil prob
    When i clicked on IBL it is showing only two option.. New texture and load texture
    help me!!!!

  26. Gelloe November 15, 2015 at 1:47 am

    Photoshop tells me "Could not complete your request because it is not the right kind of document" please help! D:

  27. Iman soleimany zadeh November 17, 2015 at 1:46 pm

    tnx for this tUtOrial
    but
    i cant change the material of each section
    after the change … this change is apply for all object
    http://uupload.ir/files/gl0d_11.jpg

    i cant change a part of this car ….
    please help me "
    tnx

  28. Gbadamosi John November 26, 2015 at 1:26 pm

    very informative!

  29. Alpha Devil December 4, 2015 at 4:42 pm

    Very nice tutorial.After watching this tutorial i got inspired to make a mech creature.I started with http://www.turbosquid.com/FullPreview/Index.cfm/ID/637623
    and all was going well until i decided to add a machine gun to it. I got this model
    http://www.turbosquid.com/FullPreview/Index.cfm/ID/689921.the problem is both look different when rendered.Is there a way to copy the material from the first one onto the turret so that they look like they belong to one creature. would be wonderful if you can help.Thank you

  30. Wes Hardesky January 13, 2016 at 9:00 pm

    I do not have the paths tab in the panel with the 3D, layers, and channels tabs. Is there a way I can get it in settings? I also do not have the tools at the bottom left corner of the screen such as the pan tool and the other ones. Also the infinant light does not show.

  31. Wychwood Ave January 27, 2016 at 12:31 pm

    WOW! that was amazing. Had no idea PS could work with 3d images so well.

  32. Raymond Doetjes February 5, 2016 at 10:17 am

    Can you also reduce the specularity and reflections? Because this composite had only two issues that was that the car was too sharp and the reflections and spec were too bright. Other than that it really started to fit nicely

    It's nice to know PS can do this too though, especially for stills this is nice.

  33. Max camilion February 10, 2016 at 6:01 pm

    Thank you so much for this!!!

  34. Sonic Sinema February 27, 2016 at 2:23 am

    Can this be done in CS6?

  35. Hicham Bensalah March 29, 2016 at 6:49 pm

    Excellent tutorial. Well done & well explained. Very nice techniques.
    Thank you very much for your efforts.

  36. J.K. Anane April 22, 2016 at 3:44 pm

    This was an incredible tutorial!

  37. Alan Smith June 1, 2016 at 7:41 pm

    Excellent Tutorial
    Glad I started watching your vides….

  38. America let's get Healthy July 17, 2016 at 6:48 pm

    Thank you very much, great tutorial!

  39. Tristan Mullany July 23, 2016 at 2:04 pm

    When I import my ferrari_599gtb.obj it is black whereas yours in yellow.
    And then when I try to colour the object it does not colour.
    Even when I try my own project it’s black and cannot colour.
    Please help as this 3D looks awesome if only I can get it to work.

    I am using photoshop cc 215.5

  40. Mews Gta302 October 1, 2016 at 4:28 pm

    DUUUUDE THIS HELPD A LOT

  41. Keith Winter November 21, 2016 at 10:07 am

    Excellent tutorial. I learned a lot from this. Thank you for sharing.

  42. Richard Hall December 27, 2016 at 7:35 pm

    Great tutorial. Lots of info to absorb. Thanks.

  43. Richard SHORE January 23, 2017 at 10:09 pm

    Great tutorial. I've been watching lots of videos lately and this one is my fovorite. Why? The presentation is extremely well thought out. I might never go to the lengths that are used here. But the tutorial gives me lots to think about.

  44. robbie robinson March 27, 2017 at 2:55 am

    Hello my name is Robbie Robinson. And I am in Boise ,Idaho and today is March 26, 2017. I really have enjoyed watching this tutorial. I am also taking a 3-D sculpture class at Boise State University and we are using the 3-D software rhino. it is a bit complicated. But I use Photoshop every day so this 3-D program will be much easier for me to use. Thank you very much for this class. And I am signed up for your newsletter. Email [email protected] Thank you again

  45. LEGLOL April 4, 2017 at 9:35 pm

    cool

  46. Khalid Muhammed May 15, 2017 at 4:37 pm

    Thanks for this great tutorial.
    I've followed all your steps but for me it takes about 4 hours to render. I couldn't even make a change if I find something wrong for I'll have to start rendering all over again.
    Is there anything I could do.
    Thanks.

  47. Manan Chaudhari September 2, 2017 at 4:09 pm

    amazing work dude ! keep it ultra up

  48. Elen G October 22, 2017 at 7:13 pm

    Thank You very much for this tuto!

  49. Sharif Sircar November 9, 2017 at 7:54 pm

    Exactly what I needed to get familiar with a 3d environment, watched one of your videos about colour grading a year or so back and loved that too

  50. Vincenzo Platini December 14, 2017 at 3:00 pm

    Thank you so much for this fantastic tutorial!

  51. Cromwell and Company December 14, 2017 at 5:41 pm

    Could you please explain how do you import .3ds files in Photoshop without having the layers separated? I am trying to import a 3ds rendered piece of furniture into a room. (Virtually staging) but when I import the file by adding a 3d layer the bed and all of its components just float in the air separated and wont connect together. Could you please offer some advice on how to fix this issue? I would greatly appreciate it!

  52. Astro Kids February 23, 2018 at 6:27 am

    good but looks fake little bit

  53. Miguel Suarez March 28, 2018 at 5:29 pm

    Great Tut! Thanks!

  54. silent mountain April 1, 2018 at 5:37 pm

    pls more tutorial for 3d

  55. Rod Shelley April 2, 2018 at 5:19 am

    I enjoyed this a lot. Great info about the free models at T-Squid… didn't know they had free ones – thanks! I'll have to check it out. I've been on Archive 3D a lot, and of course DAZ as I use their 3D app as well as Poser Pro 2014. Love your channel!

  56. Chosen Idea April 5, 2018 at 4:06 pm

    A final step that helps a lot for evening scenes particularly is introducing a bit of noise into the 3d to match the noise in the background plate. Key artists will then often add a 50% grey solid layer over the whole image with noise on it, using an overlay blend mode and very low opacity. It helps unify everything a little.

  57. Boaz Yoffe April 21, 2018 at 8:46 pm

    Thank You Jesus wonderful TUT.

  58. James Seryak June 7, 2018 at 9:10 pm

    I really like your videos except this one. the Ferrari was not there in Ps assets. I used an Italian police car but when I move it the wheels stayed in place. Any clue? I specified the obj extension pues no trabajo.

  59. fayçal benallal June 12, 2018 at 2:27 am

    amazing your jobs congra man

  60. Mohammad Iqbal September 11, 2018 at 7:53 pm

    10:03 I don't have those lines and stuff so I cant scale :C can someone help me?

  61. xiaoshi zhang September 13, 2018 at 3:26 am

    Thank you so much, I learned a lot from this.

  62. Oriolys Ramirez September 30, 2018 at 4:26 pm

    oh God after watching plenty of videos im so glad I found this channell , just what I needed to enter to compositing, also do you have an email or how can i contact you to ask you for a tutorial , I can pay you.

  63. Christian Angelo Nilsén October 22, 2018 at 9:53 am

    So much cool stuff to do!!!

  64. Meadow Maker January 16, 2019 at 2:37 pm

    Since there are people in this scene who's eyes/heads can be seen then it's easier just to assume the horizon line is at their eye level assuming the camera was at eye level too.

  65. Dick Maas February 14, 2019 at 4:24 pm

    You didn't match the lenses of the 3D model and background. Why?

  66. مجسمات السيارات Car models June 1, 2019 at 5:39 pm

    i wondering if i can make the same result using Blender it will be hard

  67. KillerNoob June 14, 2019 at 12:32 am

    this was made before the release of Adobe Dimension lol

  68. KittyCat 820 June 17, 2019 at 4:46 pm

    dude very low quality

  69. Eric Noce Art and Gaming June 23, 2019 at 3:55 am

    All the options under my 3D menu are grayed out. How do I fix this?

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