Creating Realistic Lighting Using IBL
Lesson 5 from: Commercial 3D Composites in Adobe Photoshop CCCorey Barker
Creating Realistic Lighting Using IBL
Lesson 5 from: Commercial 3D Composites in Adobe Photoshop CCCorey Barker
Lessons
Class Introduction
01:02 2Create a 3D Product Composite from Adobe Stock
01:56 3Adjusting Your 3D Image
04:50 4Adding 2D Images to 3D Image
05:08 5Creating Realistic Lighting Using IBL
04:59 6Creating a Text Layer
07:20 7Creating a Background
08:50 8Final Details & Rendering Your Image
15:05Lesson Info
Creating Realistic Lighting Using IBL
for the moment. I'm going to close this document. Uh, go in here before I add the text. I just want to go in here and I want to adjust the lighting because right now there's no lighting really on the object except with what was sitting by the phone. You see, it's just a flat finish on it. I wanted to be a nice, glossy finish, like you would expect to see this kind of packaging. So to do that, to go into my environment, we're gonna do that using an IBL or image based light Aziz seen me use before. So gonna go in here into the environment property and there is the IBL at the very top. Now, the default ibl is just simply a gray background with a bunch of white dots on it. Now, the reason we don't see it on the bag right now is that the reflection is set to zero. So if again, if I go into that food bag element here in the three d panel select Food bag Matt, which is food bag material going to like that and then you go in here to the reflection and shine, I'm gonna bring the shine up to abo...
ut 60 65%. And the reflection I'm gonna put at around 50%. So are between 40 50% like now. By doing that right away, you can see the IBL is now reflected on the surface of that object. However, I do not like that IBL. It's my least favorite that default one because it's a gray and white image. It tends to wash out the the product or the three d object because it's putting this kind of light glare on it. So let's go and customize that I be else. I'm going to re select the environment Property and then right in here in that I b l word and go in here and just create a brand new IBL texture. And as I have said, this does not have to be a huge file. I rarely and make my I. Biel's bigger than by 1500 doesn't need to be any bigger than that. You're just a lot of overkill on just taxing on your processor. So I think in fact, this this one I'm just gonna go and make 1000 my even if It's a high res printed file. You probably could add a little bit more by maybe making it 4000. But you're not gonna get much better than that beyond that. So don't don't kill yourself with a huge, huge file now. But when I created that document, it all but obviously automatically filled it with white. I have the new document fills up the white, and that's why it blew out the detail of the product. So now let's go back in there and then choose that it, texture. Now we're back in that document. Now the first thing to do is make the background black by simply pressing commander control. I inverts the white to black now, in my usual way. I'm just getting out of a talk about this is you can use any image as an I B. L. A photo. If this was gonna be a product you were gonna place in a scene, then you can actually take the background shot, apply that as an IBL and just move it around, help blend the scene, and it does it by casting the color on it and then putting the lighting on it everything like that. It's like a describe What's before is it? Think of it as a sphere around your three D object, a translucent sphere like a bubble that has an image wrapped on it, and this light passes through it. It cast that image onto your object. And depending on how much reflectivity you've applied to, it can have a glassy look. A glossy look are very soft reflection. You can determine that any way you want. So here, in this case, I'm gonna go ahead and take a simple elliptical selection and just kind of put it off to the side here a little bit. And just as I've done before, I've done a lot of different ideals with different shapes and, um, different varying tones or varying levels of grey and stuff like that. But I've discovered that this really works A lot of the time, is just making a simple overrule oval selection and putting a Grady int inside of it. Just a simple white to transparent, radiant. So it presents sharp edges and it's got some nice faded edges as well. And when I close this and save the changes, you're going to see that once you have the environment selected, I think when he remove us around now look how realistic the lighting is. So now it looks like it's kind of like a soft box that has been shining on the products and you can actually control it. This is what's great about this is if this was a real product shoot and I'm doing it on a table, I would have to fidget with the lights and then get them just right and then take the shot. May or may not like it. They have to go back and do it all over again and change the lighting all over again. But now this is something we talk about is that now I'm essentially designing as I'm doing the photo shoot so I can go in here to smooth light around and I could even move the product around. I can change my angle of view on the product, maybe have it sitting like that, and then go in here and adjust the lighting accordingly. However, I wanted to be whatever delight directional light might be coming from
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Lael
Valuable for going deeper into using 3D tools, the course had a great amount of info on using the 3D tool panels & manipulating lighting, modeling materials, merging elements together in 3D space, creating your own lighting & materials as well as trouble-shooting tips. Really helped me feel less intimidated as a newcomer to 3D.