Create a 3D Character Photoshop CC Tutorial

hey everybody welcome into this Adobe Photoshop tutorial brought to you as always by Tut vidcom if you're new around here my name is Nathaniel Dodson today we're gonna take a look at creating this 3d character just I don't know cool plunging through space effect here in Photoshop using Adobe fuse if you're not familiar with fuse we'll play with that a little bit if you do enjoy this tutorial make sure you subscribe to my channel and turn those notifications on because subscribing doesn't really do much of anything anymore but notifications still do let's jump into Photoshop now and check this thing out okay so the first thing we're going to do is open up Adobe fuse and this is it FUS effuse if you've got Creative Cloud you can download fuse I believe it's completely free just a quick interlude here if you're not interested in following along with the fuse part of this tutorial you can use the link down in the description of this video and download I've got this 3d character that we're about to create available as a free download here's what you do download it and you're gonna download the zip file just unzip it and then you're gonna have the Tut fit space model folder open it you have all these textures all this different stuff this is really what you want right here Tut fit space model dot o ABI J drag it and drop it in your Photoshop document and just commit say okay that's great and you'll see the character is going to be imported right into Photoshop if however you're interested in building the character in fuse stick around in the tutorial and we will get creating this character right now and here while we wait for fuse to open it's basically an app to create simple 3d characters that can easily be animated or used in Photoshop or all sorts of different things we're gonna quickly throw together just a female just because the body type if kind of is gonna fit with what we're doing a little bit better so we'll go female female fit a for the torso I'm just clicking on them right over here and give you as a second to do its thing female fit a again for the legs and now we've got just the head body legs and then female fit a for the arms and there we have what we have all of that we can go to customize which is like you know how long or short or fat or thin and all that stuff you want everything to be I think she's fine just the way she is we're gonna go over to clothing and what I want to use are I'm just looking for something with a lot of stuff on it something like this tactical response jacket sale the little pockets and stuff because essentially we wanted to look like a spaceman or in her case a space woman you're not gonna be able to tell whether she's male or female by the time we're done with this so I just want all those gizmos and things that are on the tactical response vest let's go to the bottoms here and there's a lot of interesting stuff will probably go tactical response here as well because again there's just a lot of stuff there's the weapon holster the knee pads there's a lot of stuff going on shoes the firefighter boots are interesting but they're a little big and bulky they look like waiters or something so I think I'm gonna go with some of these tactical boots a or B probably will work fine we can hit the little loop deloo cursor here and we can spin her around just to see you can see not too big not too small they look just right so I think that's good let's go to hair the hair is not gonna matter all that much I'll just see if there's like a ponytail there it is let's go alpha ponytail that's probably fine for her it doesn't need to be anything fancy the Hat on the other hand we are gonna look for this is kind of cool in the ops Corps helmet it's got the little microphone that she can speak in just maybe we'll go with that that's interesting and we'll see if we can find something that looks like a face mask here with eyewear the goggles beers we probably don't need to give her a beard down here under masks there we go gas masks dual canister I love it and if we want to take it a step further we can go up to eyewear and throw maybe not the safety glasses well the safety glasses aren't bad but probably the full-fledged goggles would be what you would wear if you're floating through outer space and last but not least down here in gloves we're gonna skip mustaches and beards because number one she's a lady number two can't see it underneath all of this mask stuff I'll just go with the Tactical Response again the gloves that look like they have the most going on on them you can see she doesn't match that's totally fine because we're not gonna see any of these colors or anything and you'll see exactly why in a little bit what I'll do here is I will save her to my Cece library and I'll call her whatever I want again safe use model I can say spaceman or space woman there we go something like that and I would save it probably to my images library it depends on the libraries you have set up you would just hit save and you'll have a little loading bar that shows up but I've already saved her and I've got a version over over in Photoshop now speaking of Photoshop here we are and I'm going to create a new document I just bumped fuse to the background there for a second we're gonna create a brand new document 1920 by 1080 resolution 72 you can kind of stick with everything default will adjust what we need to as we need to appear under the libraries panel if you don't have this you can go window libraries here I'm in my images library remember we chose to save our model to the images library by the way once you save it it'll automatically sync up with Photoshop I'm gonna close graphics I'm gonna open models I've got two models there's fuse a model this is the one that we just created I didn't end up naming her space woman I'll just drag and drop her right here into my document and there she is remember I said we would do something to basically make her UB and we're gonna get rid of all the detail we're gonna do it here by hitting the little eyeball and shutting off all of our textures see that now it's just like a plasticy looking character I'm gonna hit the little arrow key to just bump that up and hide it now I want to select my workspaces and go to the 3d workspace because we want to open both our 3d panel and also a 3d properties panel here really just the properties panel that has to do with 3d objects first thing we'll do here is select our model so this is it gloves skeleton is what it's called we're gonna select the gloves skeleton and we have all of these different poses to choose from so she doesn't have to be doing this T pose now you can define these poses you can hit the little the cogwheel options menu and choose not just animations and poses just poses we don't want any animation here we just want the poses and one of the things I did was I hit the little flyout menu and I chose large thumbnail as well I believe the default is small either large or small list either way the pose that I'm looking for I believe it's this one here let me see floating legs bent arms and legs spread mat maybe it's not that I'm looking for one that's sort of falling so this one on toes back arch that might be a little extreme this one here is kind of interesting floating bent forward looking for one I believe it's called floating legs bent floating back arched I'm gonna type into this floating and all the different floating poses show up so what's this one here there we go floating legs bent I think we'll try clicking that one and you'll see everything changes it doesn't have to be perfect it just has to be kind of interesting enough that it would work if it was somebody kind of flying through outer space you can see really kind of any of these will probably work depending on how you end up working with them and stylizing them I'm just go with something that I think is gonna look decent for us alright so I'm gonna zoom in on this a little bit and you can see right now our material it's really high of really low quality excuse me the edges are very jagged I'm ignoring that for a second because we haven't rendered anything but that all of the materials look really like wet gooey almost wet plastic shiny so what I'm gonna do to get rid of some of that reflectiveness that that's sort of slickness is I'm gonna select a body mat here you can see it's underneath my gloves skeleton or within gloves skeleton select body mat hold down shift and select gloves mat so we're selecting all those materials and I'm gonna set the shine here to zero you're gonna see it's gonna make things really bright and reflection from 4% to 0% then I am going to set the specular Ness or the probably specular highlights or specular color as photoshop it's telling me we're gonna set this here to the red we're gonna set the the red let's try 25 a low red count the green will bump a little green in there at about 65 and then we'll mainly influence blue so we're just giving this a specular color of this bluish color I'll hit OK it still does not at all look impressive don't worry about that we're gonna clean this up in just a second I'm gonna zoom out just a little bit so we can kind of see everything again I am going to choose my environment here so these are all the elements in our 3d scene here our actual model the camera position the light the scene as a whole and in the environment so here in the environment we're gonna shut off the IBL the image base to light if we leave that turned on when we render this out it's gonna come out much brighter than we expect it to be that's not what I want to do here for this particular project so we're shutting off the IBL and now let's begin playing with the light because part of the reason this is so blown out is because we're just flooding a ton of light right into the front of our object so let's start with infinite light number one and you can see this almost imagine this is the Sun and this straight bar pointing into it is sort of where the light is pointing right so if I move the light over this way you can see it as if it is as if it's coming from the top-right corner of our scene I'm gonna select here the intensity up in the properties panel I'm gonna bump it back to 100 I'm gonna select the color because we want to give this kind of a cyan color so I'm gonna say we're gonna get rid of all the red in and then we're gonna reduce some of the green and the blue we're gonna reduce a little bit of that as well so it's gonna be this very very bright blue color and then I'm gonna select a little coordinates icon so we can position the light a little bit better and I'm gonna position this the X negative 165 degrees the Y is going to be 45 degrees and the Z is going to be 165 degrees non-negative and there we go it might take a second just update for you negative 165 for the X 45 for the Y 165 straight up for the Z and you can see it's as if the light is coming from up here in the top right corner just like so one light however is not enough it is a nice moody looking version of what we have we want it to be even more interesting so down here at the bottom of the 3d panel I'm gonna hit the little light bulb icon and choose a note a new and a second infinite light you're gonna see this new light is just blasting straight into our subject we're gonna make sure you have that infinite light selected we're gonna go to first the light properties intensity is already 100% that's great but I'm gonna select the color we're gonna change this we're gonna make this more of a hot pink color so this is gonna need a lot of red will set red to like 220 245 excuse me to 255 is the max in that color Channel and then for the blue will set its like 175 so it's kind of this you know heavily red influenced hot pink color we'll hit OK and we'll go to the coordinates here and this one we want the light to look like it's kind of coming from the bottom-left ish area so for the X I'm gonna say hey 145 for you negative 45 on the Y and then a negative 145 for the Z so you can see the pink is sort of lighting up the left side of our model whereas the blue is lighting up the right side of our model and now that we have the lights we're gonna rotate our model move them kind of into position how we want them to be so I'm going to zoom out just a little bit we're gonna select our model the gloves skeleton object here and now the coordinates that appear in the properties panel have to do with our model all I'm really gonna change is the y-axis I just want to tilt our space person over toward the left a little bit so I'm gonna go negative 45 voila just like that and the beauty of the 3d object is the 3d element is going to interact with those lights that we establish see the blue light is still outlining the right side the pink light is still outlining the left perfectly we got this heavy shadow on the front just covering up any extra details that might just be too much for us one thing that I do want to do I want to get rid of the shadow I don't want there to be any shadows so for infinite light number one we're gonna come up here to the light properties and we're gonna uncheck shadow that's gonna get rid of the main shadow and then just to be consistent here in infinite light too I'm also gonna shut off the shadow one of the things that's going to do is open up you can see some of the front of the space person's body as well but mainly I just want to get rid of that that floor shadow and I kind of like the way it is one last thing I'll do is here now that I've selected scene I will also get rid of the shadows here I'm gonna uncheck shadows for the scene it's just gonna loosen up some of the shadows in our object as things stand alright so I'm gonna go back to layers on where edged accidentally selected something there and I have my 3d layer what I want to do is duplicate my 3d layer by hitting command or control J and then I'm gonna shut off the original 3d layer because that's that's just what we were working from if we need to get back and change something we can do that I want to render this current 3d layer so I'm gonna zoom in on it a little bit here what I'm gonna do is command or control click the layer thumbnail because I want to select as little as possible so Photoshop renders this as quickly as possible and now that I have this selection I'm gonna go select modify I'm gonna expand the selection just a little bit maybe by 20 pixels that's great just to make sure all of my 3d object is encompassed within this now before we go and start rendering a couple things up here under Photoshop preferences 3d you can set a raytrace high quality threshold the higher this is the longer it's gonna take to render but something like 6 is gonna render you a really nice result for most things you'll do and it'll be pretty quickly like for my computer this render will probably take about 2 minutes so I'm gonna go 3d I'm gonna say render this 3d layer and we wait and there we have it render is finished I can go select deselect and before we do anything with this 3d layer I'm gonna right click on it and choose to rasterize the 3d this is part of the reason that I do but while not even part of the reason this is the reason that I duplicated the original 3d layer because essentially if we want to change this now we need to go back to the original 3d this might as well be a flat piece of artwork we can position it wherever we want I am going to go edit a free transform actually I'm gonna right click on this and choose to convert it to a smart object in case I want to scale it up a little bit and then we'll go edit free transform hold down alt or option and the shift key and we'll just scale down a little bit to get our little character here in the middle of our scene I should probably keep it zoomed out a little bit and then I'll hit command or ctrl a to select all grab the move tool I'm probably just quickly align it to the center of everything select deselect to get rid of our selection all right so let's quickly drop our background behind our space person and then we'll start building everything out I'm gonna go back to my original workspace here because I want my libraries open again because I have a stock photo that I got from Adobe stock I'm gonna drag this in and drop it in my document I'll move it up here and just hold down shift and drag it out and something like that it does not at all have to be perfect but you can you can make it as perfect or not as you want commit that change and we're gonna drag this down beneath our 3d model in fact I'll rename this 3d model just so we know background layer here I will delete because we don't need that anymore and for our Adobe stock here we don't need it really connected to the cloud I'm gonna right click and I'll choose embed linked image of wallah and I'm gonna duplicate it command or control J now what I want to do is blur this quite severely I'm gonna shut off the top and nebula here and I'm going to work with the bottom one filter blur let's try blurring this like a hundred pixels and see what it looks like so we'll go 100 pixels look at this interesting conundrum we have here really really bad banding all over the image it looks really bad it would look horrible as a finished effect here's what we can bat it we're gonna temporarily go image mode 16 VIX bits per channel and we will apply the blur in 16-bit mode filter blur Gaussian blur this just gives photoshop about 20 times as much data to work with and look at how much more smooth that blur is there is absolutely no banding we'll hit OK now there is still some transparency to see the checkered pattern will combat that by going commander control J a couple times just until it's solid and then hit command or control e well we might need to select all those layers and go commander control e to merge them together in our layers so now we have this beautiful blurred background I do want to still have some of this star eNOS on top of it so I'm gonna select this top star layer and just reduce the opacity to like 20% just to give us some of that space texture let's darken up the background and decrease the contrast in it as well by adding a curves adjustment layer here I'm going to collapse my adjustments panel let's double click on this curve I'm gonna just boost the black point way up and drop the white point way down it really doesn't matter something about that will work fine and then here in the layers panel select blend mode and choose multiply and then we'll set this to an opacity of around 50% we may come back to this later and realize we want to brighten it up a little bit but you can see we're just getting this flat darkening effect to the background of our image here I will also create a new layer and I'm gonna call this tight grain or something like that and then I'm gonna go edit fill and I'm gonna choose to fill this with 50% gray for my contents drop down menu hit OK we're gonna make sure that our back foreground and background colors here we want them to be black and white you know what actually we're gonna do a different type of green we're gonna go filter and choose Camera Raw filter we're gonna use our camera raw grain here on this gray layer come over here and hit the effects tab and we're gonna just add some grain and maybe I'll make it a little bit bigger because I can should I decrease maybe I'll increase the roughness a little bit as well hit OK and if we zoom in a little bit we can really get a good look at the grain I'm gonna set this to the soft light blend mode you can see it's adding a whole lot of grain back there to the background a bit too much so we'll just reduce the opacity to about 35% quick before and after just gives us some nice texture to work with back there all right what we now need to do is start adding the streaks that are coming off of our space model to collapse my properties panel just to get it out of the way and we're gonna select our 3d model layer and in order to do this we're gonna create a new layer for each bit of streaking that we're doing so I am going to go ahead and hit the new layer icon and I'm gonna grab my brush tool I'm gonna zoom in a little bit and we're gonna be using of the brush tool with I'm gonna right click here a large soft edged brush 500 pixels may be a little excessive let's try 100 100 might be more like it yeah I think 100 will work for us one thing we do need to do is we need to go image mode and set it back to 8 bits per channel because of one of the filter that we're going to be using it's not there in 16-bit mode I'll begin with the pink so I'm gonna sample just the really hot pink color off of the left side of a space man's body and just click to add a couple dabs of the pink there in the middle of our document and then I'm going to grab my rectangular marquee tool drag a big selection over the pink it doesn't have to be exact thing at all just roughly around it then we'll go filter stylize and choose wind now here from wind I'm going blast and from the right you can do blasts and from the left if you want I'm doing from the right hit okay and then we'll hit command or control F to repeat that filter a couple times and then we'll hit command or control J to bring up free transform hold down shift and rotate our little piece of artwork upward commit that change and then hit command or ctrl D to deselect alright so the idea here is we're going to add this to the arm as though it's shooting out at the top of the arm but it really needs to be on a bit of an angle I think so I'm gonna hit commander ctrl T again hold down your command or control key and you can do what's called skewing to this artwork so I'm gonna skew this until it looks to be about the proper angle that one would expect if it were to be coming up out of our space person's arm here so we'll just skew skew skew skew skew what we may need to do I'm gonna cancel these changes commander ctrl T we may need to just stretch this out so just hold down shift stretch this out to make all of our little wave lengths a little bit taller and then let's try to go ahead and do our skewing this way we still have some length coming out of the arm there we go something like that I think will work real nice for us all right so we'll commit the change what I'm doing is I'm intentionally overshooting the hand don't worry it's taking a second to just commit this change I'm intentionally overshooting the hand with this line effect because we're gonna mask this into place in just a second of course we have all the overflow of the pink beneath the arm we're gonna clean that up as well I'm going to use the rectangular marquee tool and I'm gonna select a big selection right where I want this stuff to cut off it can really be a perfectly straight line cuz see how sharp and cutting all of the rest of the effect is it's perfect now we want to make all of the pinkish purple e residue that's within this selection disappear so we're going to add a new mask but we're going to hold down the alt or option key while clicking to add the new mask and you can see it fills that selection we created with black therefore creating a clean cut in our piece of artwork now in order to get all this stuff cleaned up beneath the arm really cleanly well we can command or control click on our 3d model layer make sure that we still have our mask selected up here for our little streaky line bit and we'll go select will inverse the selections now we've selected all the area outside of the body we're protecting all the stuff in here grab the brush tool still that large soft edged brush and we'll flip so we're painting with black you know what I'm gonna use my square bracket keys make it a little bit smaller and then just paint with black all over this just beneath the arm and the selection is going to allow us to be perfect there along the bottom edge of our model we can then go in and freeform it if we want clean up the fingers a little bit clean up down here a little bit and do whatever you want in terms of making it look just the way you want it to look and there we've added the first piece of that effect and what I'm gonna do now is I'm just speeding the video up and I'm adding maybe two or three more pink streaks like this and then also two or three blue streaks as well it's real fast and easy but instead of watching me do it for the next 20 minutes you can just pause the video and take a look at how I do it and try to follow along as best you are able I am creating each of these new streaky effects on their own layer so I have a mask for each sort of piece of streaks if you will so we're gonna create maybe eight new layers total or something like that here and I think that's about good but you can spend as much or as little time playing with this as possible you can see we added all these additional layers here I'm gonna select them all command or control J group them up and I'm just gonna call this like streaks or 8-bit streaks or you name it whatever you like point is it's as if the body is beginning the defragment in almost that 8-bit really broken staggered streaky style I even erased like parts of the the streakiness here in between the elements of the vest just to make it look like they're wrapping around and really interacting with the clothing I could have done it down here as well with all this stuff here on the side of the pant leg but you know we've got what we've got so far well let's zoom out a touch here and I'm gonna shift a select not only the streaks group but also the 3d model and use the hotkey command option a thats Control Alt key on the PC to merge those selected layers up to a new layer now I'm going to go edit free transform and we're gonna hold down shift and just rotate this whole mess to the left like that commit the change and we're gonna go filter we're gonna use that same wind filter we're gonna go stylize wind I'm gonna hit OK and maybe I'll apply this by hitting command or control F command or ctrl F just a couple times like that I'm gonna hit command or ctrl T hold down shift rotate it back into place so you can see it's now covering up everything that we just did and to blend this in a little bit I will go use the blend mode to lighten and then I'll double click on the layer or you can go layer layer style blending options and here we can use our blend if sliders so we can focus on all the darker parts of the underlying layer just pull those through this artwork that we see so you can see just before and after we're just helping blend all those new streaks into the artwork as well so there's with none of the new streaks there's with new streaks added it just adds another whole layer of dimension to what we're doing now we want to add some almost like sparkly dotted type atmospheric elements around this once more we're going to take this we're gonna shift to select all three of our layers merge them up to a new layer command option either ctrl alt T on the PC also again we'll go commander ctrl T and we'll rotate him sideward just hold down the shift key and rotate it around commit the change we're gonna add a bunch of the wind filter again so filter wind and then commander ctrl F a few times and then we'll hit command or ctrl T again rotate back into place we just did this right but not quite because now we're gonna go filter blur and we're gonna choose a motion blur and I'll probably motion blur yeah about 200 pixels straight up and down 90 degree angle there you go hit okay and I'm gonna set this to the layer blending mode of dissolve so that's giving me all these nice like very harsh non blended sparkly effects and then if we reduce the opacity to like 40% it doesn't make it more transparent it just takes away some of the sparkly nuts so it's a really cool effect when you work with opacity and the dissolve blend mode now there's a little bit too much the sparkle enos in front of our model so we are going to create a mask we're gonna command or control click on the matte on the model excuse me we we're gonna call this layer sparkles or something like that and this layer here we'll call double streaks but here on the sparkles layer we're gonna add a layer mask we'll go layer layer mask we're gonna say hide the selection so basically create a layer mask and fill our selection with black now we don't want to make all the sparkle enos just straight-up disappear on top of our model so I'm gonna make sure we select the mask and then we'll go image adjustments levels and we'll just boost the black point so we're gonna say hey whatever is black and make it like really really dark gray see I just boosted it a little bit see we're just getting a few sparkly things above our model that looks perfect and I'll hit OK one thing that's kind of bugging me is the fingers look like they're hanging out in the middle of no man's land I'm gonna go back to the streaks this is our very first streak we created select the mask for it grab the brush tool maybe make the brush too a little bigger and I'm gonna go in there and just try to blend it together just a little bit more so it looks a little more realistic and those little dots they're gonna do a nice job of helping us just make sure it looks blended at least a little bit more blended and then it did just a second ago now before we go further I'm gonna zoom out I'm looking at the background I see like some almost reddish colors here I want to try to make the color of the background a little bit more uniform now that we kind of have our space model in place so above the nebula the space layer let's create a new layer and let's call this color I'm gonna set it to the blend mode of color which is gonna allow whatever color I paint on this layer it's going to colorize the layer underneath I'm gonna just work with a large brush here I'm just using my square bracket keys to make the brush huge or small or whatever and then I'm just gonna sample the pinks and blues that I have so I'll say like hey let's add some pink over here Ryan maybe we'll add a little pink up here just make things interesting maybe a little bit more down here and we'll sample the blue we want to make sure we make that red area much more blue same thing over here we'll make this blue maybe add a little blue I don't really like the blue in the corner maybe a little blue up here and now that we have all this color see all the color blobbed into the color layer it's a little bit too harsh so we'll go filter blur Gaussian blur maybe about 200 pixels is good we'll hit OK and then we can reduce the opacity a little bit just to sort of start blending things back together it's gonna bring back a little of the original color but it's still covering things up nicely for us and just helping pull the whole scene together a little bit more all right let's go up above all of this here and I'm gonna create another noise or grain layer so I'm gonna get rid of the brush tool cuz it's giant and obnoxious and in the way new layer let's name it noise let's again go edit fill 50% gray you got it I got it we've all got it I want to set my foreground and background color to black and white so hit the letter D and then we'll go filter noise add noise we're not gonna use the camera roll noise here I want this fine very digital looking noise let's go about ten percent not six hundred and ten percent ten percent it is Gaussian the distribution and monochromatic that's important monochromatic you know what actually the colorful might actually look interesting let's try the colorful I haven't tried this yet let's try it we're gonna go with the colorful noise see all those different colors and we'll set this to the blend mode of soft light just because of the nature of what we're doing this very futuristic glitchy almost looking effect it might be interesting and will reduce the opacity here now let's try about forty percent alright so now that we have this we're gonna sharpen this up a little bit so we're gonna merge all of our layers to a new layer command shift option e that is gonna be ctrl shift alt e' on the pc and i'm gonna convert this layer to black and white so ctrl shift or command shift you and i'm gonna duplicate this layer command or control J a lot of little hotkeys there alright so the top layer we're gonna call high-pass one and the bottom layer we're gonna call high-pass you guessed it - so high-pass one is gonna be more of a fine sharpening we're gonna apply to our character we'll go filter other high pass and I'll probably go not with ten pixels but more like two maybe one and a half I think two will be fine and we'll set this to the blend mode soft light select high-pass - we will go filter other high pass and here we're going to do yeah about ten pixels just a giant ridiculous amount of mid-tone clarity punch and set this to soft light kind of destroying our effect so we're going to reduce the opacity to like thirty five percent and for our high-pass one layer we will also reduce the opacity to about thirty five percent so there's before the two high pass layers there's after the two high pass layers it just gives a little kiss of pizzazz and zip to some of those highlights it really can just help set off the piece of artwork with which you are working okay time to apply the first sort of global color treatment okay I feel like I'm zooming in and out all all day here we're gonna open up our adjustments panel and apply a selective color adjustment I'm gonna just collapse my adjustments panel a little bit all right here I'm gonna work with the whites first and I'm gonna say hey just pump a bunch of cyan into the whites and also get rid of a bit of the yellow therefore adding blue to the highlights or the very White's as well we're gonna go to the blacks here I'm gonna push more cyan into the blacks this is by the way it's primarily gonna target to just the darkest areas of our 3d model here for magenta I'm gonna say yeah give me a little magenta in those shadows plus ten for that let's reduce yellow therefore pushing some blue into the shadows and then I really want to fade the shadows so let's go negative 15 in the blacks you can see it gives me this really strongly faded effect if it's too faded if you think it's too faded that's fine just to make it negative 10 or negative 7 or whatever you think looks good for you I want to keep it at this because I'm gonna add a couple of there layers and I think it'll pull everything together for me I'm gonna also add a channel mixer I'm gonna set this to monochrome which is gonna make everything black and white that's fine and then I'm gonna set it to the blend mode of multiply which is really gonna darken things up for us but then I'm gonna reduce the opacity to 35 percent so there's before there's after just darken things up flattening things out a little bit I'm also gonna add a color balance adjustment layer here I'm gonna go right to the shadows first I am gonna bump some red into the shadows maybe about +10 and then I'm gonna bump some cyan into those shadows as well or not cyan magenta I'm sorry I'm looking at the I'm looking at the color line above it but I'm talking about the one below it and then here in the highlights tone region I'm gonna push a bunch of cyan into the highlights made about negative 75 or so and then maybe you know what let's try pushing a little blue in there as well I'm not gonna touch magenta or green so there's before color balance there's after it's also infusing a little contrast if we shut off preserve luminosity it'll take a little bit of the contrast away I'm not sure what I like more I might leave it with the contrast but hey it's up to you let's try adding a curves adjustment layer here we're gonna set the curves adjustment layer to the luminosity blend mode it's a great way to affect in images brightness without increasing the contrast or saturation of the colors in it so maybe what I'll do is I'll just I'll pull the black point up a little bit here and I don't know if I want to own a dark in the image maybe I'll try darkening it and pushing a little brightness into the highlights something like that before and after the curves I kind of like it it adds more to our faded effect and then maybe let's try adding a color lookup table here I'm gonna go with this is gonna sound crazy I'm gonna go with the drop blues color lookup table which is gonna make everything very gray but what I'm gonna do is here I'm gonna select the mask and I will go elliptical marquee and I'm gonna create a mom maybe not even a huge elliptical marquee over the center object just something like that and then go select a modify feather and we'll feather this I don't know 300 pixels something like that it's gonna say look it's such a huge feather you're not gonna be able to even see your selection that's fine and on this color lookup table I'm gonna hit command or control I which should fill that area with black but you can see it's so subtle 300 300 pixels for our selection is too much so I'm gonna go select deselect even though we can't see the selection it was there let's create another selection and maybe this time we'll go select the modify feather and try like 100 so there we go that's a little bit more like it select that mask we have black as our foreground color we can hit option delete that's alt backspace on the PC and that will fill that area with black maybe I'll do that a couple more times just to really intensify the effect commander ctrl D to deselect now that's a little bit too noticeable right the difference between the incredibly saturated blue and then all the sudden we have basically gray out here so what I'll do is I'll pull that same trick that I did before I will select this mask you don't actually I'm not gonna lift the blacks I'm simply gonna blur this a little bit filter blur Gaussian blur and maybe not 200 pixels but maybe like 85 something like that hit OK and then I'm gonna reduce the opacity of this drop blues LUT to just help blend it together drop up to about 50% you can see there's before there's after we're just taking some of the stings some of the the heaviness if you will out of the Blues and also making our little dude floating through space mmm just absolutely the focal point of what we have going on here and the last thing I might want to do totally op you know we can just play around with it see what it looks like let's merge all this stuff to a new layer command shift option a that's ctrl shift alt e' I'm gonna name this layer glitch we're gonna double click on the layer and we're gonna shut off the blue channel so just red and green channels that's great and then what we might try to do is go like filter distort wave and we'll try to give this a little just a little glitchy looking effect we'll go with like three generators a wavelength of 10 and 35 minimum maximum is great amplitude 15 and 50 perfect and a scale of 5 percent versus 1% perfect I'm using the square type as well I'll hit OK and you can see we've got this little glitchy effect we've added kind of interesting as a standalone effect maybe something where we want to duplicate up this mask here so I'll select that mask hold down alt or option drag it and drop it on the layer and it just gets rid of some of the glitchyness on top of our character but preserves the glitchyness out here in the rest of this layer kind of cool I don't know you have a lot of options at this point for what you want or what you could do but the point is we've gone from really just our single 3d model created with Adobe fuse imported into Photoshop and we've created this cool I don't know dragging particle II glitchy effects in Photoshop rather quickly yeah well there you have it we created that effect if you got this far in the video and you made your very own version of this I would love to see it uploaded to Instagram if you could and tag me in the image so I press into the image tag mean they're not just in the caption because the caption stuff it like disappears after a little while so I don't see all that stuff but if you tagged me in the image I can check it out I can show you some love I love seeing what you guys create so that'd be SuperDuper SuperDuper cool so for playing around fuse and bringing 3d objects into Photoshop and posing them and messing with the colors and all those wind effects and everything else we did in this tutorial eighties and gentlemen that's it get it got it good nathaniel Dodson cut vidcom I'll catch you in the next one and before you go make sure you subscribe to my channel for more great tutorials every a-also by my course it helps us do what we do and this channel is supported by viewers just like you you can also just click the thumbnail and watch another video from this channel see you next time guys 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Channel: tutvid

Views: 330,694

Keywords: photoshop tutorial, photoshop, 3d photoshop tutorial, photoshop cc, 3d, 3d in photoshop, how to, photoshop 3d tutorial, photoshop tutorials, how to make 3d in photoshop, photoshop cc tutorial, how to create 3d text in photoshop, use 3d photoshop, adobe photoshop tutorial, adobe photoshop cc, 3d design, 3d modeling, 3d objects, create 3d, make 3d, 3d basic, creative cloud, 3d character photohop, tutvid, nathaniel dodson, FEAT

Id: CeXSnRbjO_c

Length: 35min 42sec (2142 seconds)

Published: Mon Jan 07 2019