Creating a Background
all right. So our three D packages, for the most part, done. Now let's build the background around it kind of finish, finish the overall packaging. So it's going here, Get my a few more files to open here, So we're gonna make a background. So I like this background element here. I really I really just like the clouds and then the high altitude and really can't so So let's create a new document I've talked about. How I work is that I build elements in their own files like the three D element like this. In fact, before I do anything, let's save it. I always get in the habit of saving. We'll save to the desktop for now. So now I'm gonna create a new document to assemble all this in and put the final product together. So it's creating new document, and I'm doing in a vertical format almost like a poster. Let's go to 1500 wide by 2000 pixels. So I work small when I'm demo ing. If you were doing this, you know something? Quite. You have a question earlier. If I was gonna do this for a print ...
file or something, very high res. Obviously, I would do it much higher rents. But for the sake of speed and demonstration, I'm doing it. And this is the reason I'm doing it in a very, ah, smaller file. So with that now, I'm gonna take this background image, this dragon drop, drop it over, as is, and this goes back to something was talking about and the special effects class for compositing. When you are bringing design elements into an image, especially when there are large like this, before you scale it down, move it around, you might find that closing in on an image. You know, if you see the images, the whole you might think that looks cool, but moving it around and just kind of closing in on it might present a better composition. In fact, just moving this over a little bit. I think I like bat that better than the overall image there. So, in fact, if I put it in free transform and hit command zero, you can see how much images not being seen. So we're zeroing in on a very specific part of it. But this generally kind of goes along with the theme of it. You going here gets a little bit more darker. We're getting into the way upper atmosphere that it would be space nuts. We're not gonna do that. We're gonna do plane. That's it Isn't like regular altitude. A normal plane would be flying. Okay, so there's gonna be bad over. Funny how you can change the altitude just by shifting over a little, So that looks good. So now let's recent species here Now that I got that in place going to go over here to my three d object and I want to bring it into my working design here. Now when you drag and drop three D objects, Normally, when you drag and drop an image just a regular image in photo shop, you grab the image or the inside the canvas and just drag and drop it over. In the case of three D doesn't work that way because when you have the move tool selected, it automatically selects one of the three D tools. So I will make a three d change, not a position move. So in order to get this three d object over into my working layer, my working file grabbed the layer itself, the three dealer itself and drag it to the target document, and it's gonna drop it right in there. So now I'm going to minimize this. So now there is my product in position. Now, I'm gonna go in and get it in roughly the final position. I wanted to be in for the final image. I'm gonna go in here, and instead of moving the camera this time, I'm gonna move the product itself or the object itself. What? The camera to stay where it's at. So with the food bag element selected, I'm gonna use the widget. You know, when you hover over the front face of it, you see out highlights that front, the front face that's essentially letting you know that you're moving in on that specific access, but by clicking and dragging up, I'm moving it back in space. Seems like it's scaling it down, but it's in reality. It's moving further away from you. So to do that and I'm gonna give it a little bit of a turn here, Actually, no, I would do want to adjust the angle because the camera angles looking at it almost like if you kind of for lack of better word at eye level. I wanted to be a more lower angle. Like I'm looking up at a little bit more. I'm gonna grab current view, and then this kind of turn it up a little bit, you can see See the shadow and in this case, the ground plane shadow. I'm gonna keep in there. So I'm gonna turn this up a little bit. Until so if you go too far, you lose the shadow because what's happening is you're essentially going beneath the ground plane. In fact, just so you can see it visually, I'll go in here into the view menu, go to show and turn on ground plane. This is your visual aid for that ground was. So if I do that same move and drag it up, you'll see that eventually you go beneath the ground plane and now you no longer see the shadow. So that's why that's why that's happening. However, I do want to adjust that angle, but I want to go a little bit higher. I want to go to about here, but you'll notice my ground plane goes beyond that. So the way to get around that, or just that is using your photographer head here when you have current view selected. If you look in the properties panel, you you have a number of different camera settings here. Here, you can change the fuel of you in millimeter lenses. You're essentially changing a virtual lens on the object. You can also add depth of field and actually adjust where the focal point is on the on the object. But we're not needing depth of field in this case, but I do want to make this a little bit wider angle lens. So I'm actually gonna highlight this and drop this toe by 30. What that essentially does. It pushes the optic back in space, but now we have a wider angle lens. It affords me a more dramatic angle if I bring it closer. So now I can go at a much higher angle. Probably a little too high. In fact, that's probably too much. Let's go with more like 40. Here we go, push that back a little bit, even turn it just a little bit. But now what I also want to do is I want to have a reflection. I want, you know, the shadow cells and the fact that there is a surface there a little. But I do want to make a reflection there. Unfortunately, that is actually already built in. If you go into the environment property, go right down here to the ground plane settings. You notice this is where you can adjust that shadow. But you can also add reflections. So I'm gonna set the reflection to and then I want the reflection that kind of fade away as it gets further away from the objects. So that is what the roughness setting is going to do so that I'm gonna set at around 20 to start. So there you can see the reflection in place. Now, if I go ahead and turn off the ground plane, zoom in here. And if I go ahead and and if you want to save time, if there's a specific area of a three D object, you want to see how the render is gonna look and you don't want to spend waste time rendering the whole thing, just make a selection in that specific area. I lost the word there and then just go ahead and initiate the render. So in a three D menu go through render three D Lair. It's gonna go ahead and start rendering the element you can see better See how the reflections gonna look now it's going to start grainy. At first I had a lot of people asked me this. He's like my reader looks really grainy. That's how the render works. It makes passes in a sense, and each pass gets a little bit more refined with the graininess of it as it goes through there. So you can see that that Lett's looking too bad. So I'm going to escape to cancel the render and let's go in de selecting. Move on. Now I am in a adjust that camera lens just a little bit more so it's quick and easy. This is if I had shot it with the wrong lens in the real world, I would have had to go and change the lens reshoot and everything like that. So there's a lot of product photographers that are hating this technique. The front of my net. That's a product with Doctor. I showed him some stuff. He's just like, don't ever show me that again I'm a bit school, but it's gonna put me out of a job there. That positioning looks really good now. One thing I do notice is that black stroke around the text still a little too thick, and it's it's a good point to really demonstrate that you can still at this point, go in there and adjust all those things we've done even back to the beginning. I'm gonna go back in here into that layer style into that stroke was Drop it down to like maybe even addressed that shadow a little bit more close it save the chain is, and now it's updated on the product there. Now I can get continued a reposition it.