Hello humans.
I'm gonna show you a quick and dirty way
to put a picture on any surface
using Photoshop CC's Vanishing Point filter.
That'll take about...
I don't know how many minutes.
Anyway, then, if you stick around,
I'll add almost everything else you can do
with Vanishing Point, and there's quite a lot.
So let's get going.
I'm DocBadwrench
and thanks for joining me.
Let's evade life's casual cruelty for just a moment
and work with Vanishing Point.
I won't dwell on minutia
and I'll be moving pretty fast
so don't be afraid to Pause if you need to.
In the description for this video
you'll find a link to the exercise files.
Use those or follow along with your own images
or just watch.
So open up your files if you got 'em.
I have this high resolution image of a hallway
and then a painting I plan to stick on the wall.
Select the painting image from among the open files.
Now, copy it to the clipboard so you can paste it
within the Vanishing Point filter.
But there's a catch.
You can't just select a layer and copy it.
You need to select the pixels in the layer
by first Selecting All with CTRL+A.
Then, copy THAT to the clipboard with CTRL+C.
Now, click the tab for the open hallway image.
Here it is on a single layer.
If you were to enter the Vanishing Point filter
while you had this layer selected
then any work you did would be applied
directly to that layer.
This is Photoshop, so we're not doing that.
Create a new empty layer
but either clicking this button
or pressing Control Shift+N and name it "Fast".
Now, select the Filter menu and then select Vanishing Point
or press ALT CTRL+V.
And now slide the window edge in a bit
so you can still see the Layers panel.
You can clearly see that the empty layer is selected
so all your work will not affect the image below.
So here's the preview window.
Now, create your first plane.
Quick and dirty, remember?
Press C to activate the Create a Plane tool.
Now, draw out three separate planes.
Use the surrounding picture elements
as your plane guide.
Note that some planes will change color
depending how out-of-perspective they are.
In order for a plane surface
to be usable, it must be blue.
If your plane isn't blue,
you need to keep adjusting until it is.
Now, you should have three
somewhat acceptable perspective grids.
The more time you spend making the grids look square,
the better your artwork will look.
Now, CTRL+V to Paste the image
into Vanishing Point.
It will appear in the upper-left hand corner
of the preview window.
Once you click and drag the image,
it will snap into any angled surfaces
you move the mouse over.
Now, you can manipulate it with the Transform tool.
Press T to activate that.
With this, you can resize proportionally,
hold shift and drag.
Rotate and move.
Fit it into an area and then click on OK
and there you go.
You stuck a painting of my grand-pappy on that wall.
And since the pasting happened on an empty layer,
you can hide and unhide it
or apply effects and styles.
Good for you.
And that's the end of the quick and dirty lesson.
Beginner Cat.
But if you wanna dig really deep, then stick with me.
You'll know almost everything by the end of this.
Back in Photoshop, hide the "Fast" layer
with CTRL+comma, or clicking here
and create a new empty layer.
Name this one "Wall Cat",
then re-enter vanishing point.
Let me break down all the parts of this window.
First, here is the Preview window.
This is where all the work happens.
Next is the Tool Box, basically your primary
collection of tools.
This is the Options panel, which changes
based upon the tool you're using.
This tiny icon here is the menu.
This contains a stable of secondary tools
no less useful though they're tucked away.
Lastly, here are the zoom options,
which I'm pretty sure I've never actually used
because the keyboard shortcuts
are second nature at this point.
But it's there if you need it.
So that's the main interface.
Next, you're gonna delete those planes you placed
back when there was no regard for slop.
When you open Vanishing Point,
all those planes are selected by default.
Now press the Backspace key and they disappear.
Your Undo history works in here, by the way.
You can Undo, Step Backward, and Step Forward
from inside the filter
same as you're used to anywhere else in Photoshop.
Now, let's get acquainted
with your essential navigation tools.
For those who are new, you'll actually use these tools
throughout Photoshop,
so it's best to learn them now.
Press Z to activate Zoom tool
and then click to zoom in and ALT-click to zoom out.
Press H to activate the Hand tool.
This allows you to pan around an image.
Alternatively, while using any tool,
you can simply hold Space Bar
and then click and drag the mouse
to move around the image area.
Now that you've established a navigational foundation,
take another crack at those planes.
Press C to activate the Create a Plane tool.
Now, draw out a floor plane by setting points.
But where you rushed through it last time,
this time, take care to be more precise.
This is where the Zoom, Hand, and Backspace keys
are really gonna help out.
Align your plane along the primary hallway area
and map out a square using pillar protrusions
as a useful alignment tool.
Be precise, but don't try to manually fill
the whole hallway.
As with the floor, note how the plane changes
as you draw and adjust the points.
If you're working with an image with a lot of pixels,
it's helpful to adjust the grid size to be larger
so that it's easier to see the underlying picture.
Remember, your eyeballing for a grid size
that seems to match the grade and slopes and angles.
Now that you have your plane,
press V to activate the Edit Plane tool.
Now, go to this handle and drag it downward
to capture as much of the hallway as possible.
And if your edges don't line up perfectly
now that you've slid that out,
then click and drag the corners to get it just right.
It's important to establish a base plane
with as much precision as possible,
because it all make drawing out the remaining planes
that much easier.
So now that you have this nice, full hallway
length floor plane,
next, draw up the first wall plane here on the left side.
Activate the Create a Plane tool.
But instead of manually drawing out the next plane,
you're going to grab this handle
and slide your point out.
Now you have a second plane aligned with the left wall.
It's possible that when you slide out your second plane
that it doesn't quite match the angles of your image.
That's okay, because you can adjust the points
on this new plane, though you're now unable
to adjust any points connected with your original plane
or you may just delete that plane
and readjust the base plane.
Also, you can use the angle value in the options
to adjust the plane this way.
This kind of manual control can be quite useful.
Now, build out the remaining planes,
pulling on those handles
to sweep over the angles in your scene.
Do the other wall, then the ceiling.
Finally, drag down this handle
to include the doors at the end of the hallway.
Then extend your planes where necessary
to comprise the entire length of the hallway.
And that's it.
With your hallway built,
you'll now Paste as you did before.
Once again, the picture is in the upper left hand corner
and the moment you drag it away,
it snaps into place in the perspective grid.
Depending on the peculiarities of your grid,
you might have a huge painting like I do.
Enter Transform mode and reduce the size.
Hold Shift as you drag the corners
to constrain the proportions.
Now, drag the painting around.
As you drag, notice that it moves over the sharp angles,
thanks to your detailed plane building.
This is something that's only possible
when your planes are properly connected,
unlike those in the earlier instructions.
As evidence of this, notice when you drag the picture
over THIS spot
it doesn't hug the corner like the others.
That's because this plane isn't actually connected
to the adjoining plane.
It just ends here.
Now, before you commit all of this,
make sure the artwork you pasted
is in the size and position you desire.
Once again, activate Transform mode
and now you can put the final touches
on the size of the painting.
Remember to hold Shift as you drag.
At the Options, note that you can flip and flop the artwork
if that's needed.
Now, click OK and commit both the perspective grid
and the pasted picture.
Something to remember about anything you paste this way,
no matter what it was, like an image,
text field or smart object,
Vanishing Point smooshes it
into a single flattened bitmap.
No exceptions.
Anyway, outside Vanishing Point,
you now have the painting on a separate layer
that you can apply effects to
or other blending options.
So visit the menu then select Layer,
Layer Style, then Drop Shadow.
Check that out.
Thanks to your Vanishing Point work,
Photoshop already knows
what direction the shadow should face.
So all you have to do is make
any additional adjustments you want,
such as reducing the distance of the shadow, and there.
Then the picture rests nicely on the wall.
Viola!
Hallway's sufficiently classed up.
Reflect upon your success for exactly one second.
Now, let's review.
To recap, the Tool Box so far,
this is the Create a Plane tool.
It's how your draw out your planes.
The Edit plane tool lets you manipulate said planes.
This is your Hand tool
that lets your pan around.
And the Zoom tool allows you to zoom in and out.
Next, you learned about Transform tool,
which only becomes active
after there's a suitable thing to transform.
And now we're gonna keep going.
Back in Photoshop,
hide the "Wall Cat" layer, create yet another new layer,
name this one "Marquee"
and then re-enter the Vanishing Point filter.
Now it's time to learn about the remaining tools
as well as the secondary menu.
First, there's the Marquee tool.
Press M to activate it.
This allows you to make rectangular selections,
but perspective adjusted along your planes.
Then you can duplicate the contents of the marquee
or replace the marquee with pixels
from elsewhere in the image.
Relevant to this tool are two types of key presses
you might not be familiar with.
When you duplicate, you'll ALT-drag
from inside the marquee.
This means you'll hold the ALT key down
then click and drag the mouse.
When you replace, you'll CTRL-drag
from inside the marquee.
Like the last, just hold the CTRL key
then click and drag the mouse.
So duplicate something.
Draw a box around this leftmost wall light.
Now, place the pointer inside the marquee area
and ALT-drag to the left.
You've now duplicated that light onto the empty layer.
Now, replace the light on the other side.
using the same marquee tool,
you're going to draw a square around the right wall light.
Now, place the pointer inside the marquee area
and CTRL-drag to the right.
This will replace the contents of the marquee
with nearby pixels.
As you can see, the replacement pixels
don't exactly meld with the surrounding area.
But you can fix that.
So Undo and now go to the Options menu
and change Heal from Off to On.
And now, again, CTRL-drag and...
Well, that's not right.
Wait a minute.
That behaved like the ALT-drag.
(laughs) I knew this task would fail
and I had you do it anyway.
I hope you've learned something from this.
No, actually, I did this to illustrate
something tricky about this tool.
When using the marquee's default replace functionality,
your action must immediately follow
the creation of the marquee.
As you saw when you Undo to try this again,
the function fails.
But if you wanna have really good control
over a Marquee replacement,
you need to use this tool differently.
So step backward a few times
until the Marquee selection disappears.
Confirm that Heal is On, then draw out the Marquee again.
Now, change the Move Mode from Destination to Source.
Now, you don't even need to hold a modifier key down.
You can just click and drag around
until you find the best pixel sampling you can.
And because you turned Heal On,
the replaced contents blend better
with the surrounding area.
Incidentally, you might have noticed the Luminance option
within the Heal drop down.
When you opt for that form of healing,
Photoshop tries to match your pixels
with the apparent lighting of the scene.
And now, the last Marquee option you need to know about
is Opacity, and this should be familiar to most of you.
You turn the Opacity down to 50%,
execute something and note that the pixels
are half as intense.
Now, press OK again and commit the changes
to the filter and the layer.
Now, hide the "Marquee" layer
and create yet another layer.
Go ahead and name this one "Stamp".
And with the layer selected, reenter vanishing point.
Now, the Stamp tool lets you paint an area
with the pixels from another area.
For instance, I don't like the shifty look of this light.
Get rid of it for me.
Press S to activate the Stamp tool.
Now, place your mouse pointer over the large area
of the empty wall next to it.
Now, ALT-click on it.
The area is now stored in memory.
As with any brush, use the bracket keys
to increase or decrease the size of the stamp.
And adjust the Hardness to add or remove opacity
from the outer edges.
For this exercise, turn hardness up to 90.
Now, paint over the light fixture.
Note that you can see where Photoshop is sampling from,
and the moment you release the mouse button, boom!
Photoshop has replaced and healed the area pretty darn well.
If you're not happy with the results, refine this further.
Also, this works best for smooth areas.
As discernible objects and shapes
will display odd artifacting, unwanted visual noise
more often than not.
The next two tools are sort of a package deal.
The Eyedropper Tool is used to select
a single pixel's color.
Press I to activate it,
then click on this color here.
That color is now used by the Brush tool.
Press B to activate that
so that you can paint with it onto any plane.
This is a very precise tool
that requires some painting expertise to use well.
Modify your Brush settings by typing directly
into the value fields.
Diameter 500, Hardness 30, Opacity 80,
and Heal is already set to On.
Now, click, hold, and paint over this area
with large strokes.
Now, if you zoom in and then step backward,
you can see the difference.
We blend it away, much of the stucco.
Don't be afraid to experiment either.
And don't forget that you can make modifications
to the layer after the fact and gain even more options.
Lastly, you can also manually set the color of the brush
with the color picker found at the far right
of the Brush options.
The Measure tool lets you measure and define distances
in an image.
To understand this tool, let's dive in.
Press R to activate it.
Immediately, planes and their grids appear in green
as your pointer crosses over each plane.
Now, click and drag the width of this hallway
from wall to wall as shown.
You can manually adjust the points of this line
if you didn't get it right when you first dragged it out.
An alternative method for selecting a distance
is by double-clicking on a plane's edge.
Do that for the floor plane's vertical length.
Double-click here.
Photoshop automatically places a measurement
to the whole length of the hallway.
Note that there are properties for each ruler.
Photoshop's taken a hilariously bad guess
at how long the hall is.
Fortunately, you can steer it closer to reality.
Click on the ruler for the hall's width.
Change the value to 10 feet or 3 meters.
Photoshop will automatically change any other rulers
so that they conform with your measurement.
This is particularly useful
when you're working with pictures of any place
where you can get exact measurements.
Or you can just guess like we did.
And to make this even more useful,
click the box for Link Measurements to Grid.
This adjusts the grid to the new measurements you've created
and feels a bit more proper, in my experience
though I cannot tell you exactly how.
But why would you care about any of this?
Well, if you're working in Photoshop's 3D mode,
it can be quite helpful
as your scene would likely fit the proportions
of other elements set to the same scale.
But another reason is that you can pass this information
to other applications via file exporting.
We're gonna learn about that stuff right now.
Click on OK.
You know the drill.
Hide the "Stamp" layer and create a new layer.
Name this one "Menu".
And with that layer selected, reenter Vanishing Point.
Now, to examine this tiny, unassuming little box
that's simply called The Menu.
First, you have two standard toggles.
One for showing and hiding the grids,
the other is for showing and hiding any rulers.
The next three are all about sending data
back to the main Photoshop environment.
Render Grids to Photoshop
will take your entire perspective grid
and flatten it on to the active Photoshop layer.
Click that.
See?
Now, Undo and return to Vanishing Point.
Render Measurements to Photoshop does the same thing
but for any measurement rulers you drew out.
Now, click that.
Now, Undo and return to Vanishing Point.
Last in the set of three is Render 3D Layer to Photoshop.
It takes all those planes and measurement information
and creates a scene on a 3D layer in Photoshop.
After you select that, press OK.
Now, Photoshop prompts you to create a new 3D scene.
All of the values are pre-populated
with the information you created
and measured in the image.
So as you can see, we now have a 3D hallway
that could be manipulated
if you're conversant in that editing mode.
That is way outside the scope of this video though.
So hide that layer.
Select the "Menu" layer
and reenter Vanishing Point.
Now, the next set of three is also about
rendering 3D layers,
but this time, to other programs
that make use of that info.
You don't need to execute this.
Just know that it will allow you to export a file.
DXF is a standard set by Autocad
and 3DS is a standard set by AutoDesk.
Finally, VPE is particular to Photoshop
and interacts specifically with After Effects.
I'll export this to demonstrate later.
Hang around after the acknowledgements
if you wanna see what that's all about.
Important note about generating any 3D data,
in order for any of this to work,
you need to have one big perspective grid
with multiple connected planes.
If you have more than one continuously connected
perspective grid
the 3D data will be an unusable mess.
The last two menu functions here are grayed out.
Why is that?
Because you aren't using an editing tool.
Once you activate the Marquee, Stamp or Brush tools,
then those two will become highlighted
and you can toggle each.
By default, both are turned on.
There's a very easy way to understand what these do.
First, select your Brush tool.
Now, hold down the right bracket key for a second
if your brush isn't already max size.
Now, remember how textures and brushes
were wrapped through corners like this?
Well, when you turn off Allow Multi-Surface Operations,
it's not possible to crossover the neighboring plane.
Brushes, stamps, and any pasted textures
are stopped at the edge.
And if you'd like something to continue
unnaturally past that edge,
then also turn off Clip Operations to Surface Edges.
Now, you can see the brush weirdly extending
past the border.
And that, my friends, is that.
I hope you've enjoyed some learning.
That hallway picture is by Binyamin Mellish
and can be found at Pexels.
My thanks to the kind souls of the Adobe Forums
as well as Luminous Works,
the Seattle-based training facility.
For those of you who use After Effects,
I'll explain how to use Vanishing Point
export files right now.
Open up After Effects.
Select File, Import, Vanishing Point.
You'll see that you have a single composition
and a folder containing a bunch of textures.
Double click and open up the composition.
Congratulations!
You have a hallway suitable
for a mid-1950s comic book villain.
For whatever reason, when you open up these files,
the 3D orientation is always screwy.
Still, you can clearly see that there are five textures
comprising all of the interior walls
and the distant doorway.
Each of the planes comprising those surfaces
are parented.
So all you need to do is modify the parent layer.
You're gonna twirl down the parent layer
then twirl down Transform.
Now, find the Z Rotation and start fussing
with the degree value until you align the hallway
with the apparent ground plane.
It's definitely finicky
and I'm not gonna worry about being exact.
Now, with your current time indicator set to zero,
create a position key frame.
Now, drag the indicator over to five or six seconds
and add another key frame.
Now, click on the Z field and type like -10,000.
Actually, -15,000.
Now, go ahead and preview the animation.
Pretty cool, considering how little work you did.
Now, as you approach the end of the hallway,
there are many fewer pixels informing the textures,
so if you wanted to, you could open those textures
in Photoshop and add detail by hand.
So there you have it, humans.
Just about everything there is to know
about Vanishing Point.
If you still have any questions,
leave 'em in the comments.
Also, like and subscribe because we're all shills.
Until the next time.
Always remember,
birth is a curse and existence is a prison.
It sure is, Michael.
It sure is.
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