Wrapping vector label around a photographed bottle

I've designed a label for a soda bottle and now want to wrap it around a photograph of a bottle. I actually mocked up the label and conducted a photoshoot, but now that I'm looking at it, the colors just don't match (see examples below) - which is why I want to utilize the vector label and slap it over the photograph.
Since I've gone ahead and mocked up the bottle with the printed wrapper adhered to it, I want the positioning of the vector label to match up to the photographed label as closely as possible - because you can't get any better perspective than reality. The bottle was shot as dead on to center as possible, there is only an inkling of a vertical bulge.
This is the screenshot of the entire vector label that was printed and used on the photograph above. The label overlaps itself by only a several militers for gluing.
So how do I go about wrapping this vector around the photographed bottle in order for it to match?
I've already tried freestyling with Transform > Warp in PS - but its painstakingly hit or miss. I thought about mapping the vector label around a 3D cylinder of the same diamter of the photographed bottle and placing it over the bottle in PS. Any other suggestions?
In the future, would taping a grid onto my bottle then photographing and aligning a digital version of the same grid & label be the best workflow? Such as shown in this tutorial
Thanks!

Hi,
In the Layers panel of the 3D layer, you can revel the layer effects (which also has 3D texture maps) by clicking on the triangle at the right. From here, double clicking the name of the texture will open it. Alternatively, you can open the various texture maps inside the 3D panel, by first choosing the material to edit then navigating into the pop-up menus of the properties area.
I see that I actually scaled your artwork beyond the bounds of the cylinder edges to quickly get the artwork centrally placed. It would be better to start with your AI artwork placed into a new document and generate a Cylinder from that layer.
Once you get that created, place it into your image document and using the 3D camera, change the zoom level to affect the perspective (I over zoomed to 300 mm) while at the same time walking the camera back to keep it in frame. Once you have the perspective looking close, use the 3D axis widget with the cylindar mesh selcted, to constrain scale the cylinder to fit your image.
Hopefully this helps. It would be much better to see an animated walk thru but I'm not really setup for that at the moment.
regards,
steve

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I came across this thread http://forums.adobe.com/message/2982117 explaining how to wrap a label around a cylinder. However when I try myself, I obtain an enormous 3D cylinder with my label glued on it and once I reduce the size of the cylinder to the desired size, my label is minuscule. Additionally, it takes me ages to rotate/scale the cylinder in the right way.
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In Photoshop CS3 and earlier, taking a layer, such as a label for a wine bottle or jar, wrapping it around a 3D cylinder and compositing it to an image (of the actual jar or bottle) was almost trivially easy.
Unfortunately, with the advanced 3D tools available in CS4+, the simplicity of the Wrap > Cylinder option seems to have been lost.
Wrapping a complex texture around a cylinder (full coverage, top to bottom) is possible, but how about wrapping a label (especially one that has a die-cut ie: not full coverage)?
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SG... wrote:
Are you saying the work on Refine Edge which is new in CS5 needs re-re-architecting? ;-)
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I'm interested in this combination above. You don't feel the additional 3D features in Ps is a good fit, and yet you're being proactive to address demand from students. What are their specific use cases, if any? Do they resist your guidance to try other shoes if the ones Ps provides don't fit? What points do your students raise for why they want/need to use Ps for 3D instead of developing a tool kit that includes full 3D modeling applications?
You're right, my comment warrants clarification. The demand from students is not for 3D functionality per se. The demand for students is that you teach them the latest and the greatest (regardless of what industry actually expects out of a graduate's skillset), because they saw it on Adobe TV, or they read about it in some product review. I spend 24 hours of class time on colour correction (and that's scratching the surface), but about 5 minutes on Content Aware Fill. And I wouldn't even touch it if it weren't for the inevitable savvy student that pipes up in class when I talk about the Clone Tool and says "but isn't that replaced by Content Aware Fill?". So you have to touch on it.
One of the strange new realities of teaching Photoshop post PS5.5 is telling students "just because it's in the menu doesn't mean you should use it." This was first true with things like magnetic lasso, or art history brush, or the spot healing brush tool (though very specific cases can be made for each of them - I'm aware of that) and the tradition now continues on with Content Aware Fill / Scale, Mini-Bridge (though I'm sure this is just a personal opinion, and a good case can be made for it in your workflow on a very fast computer), and IMO, 3D.
So I don't necessarily see a contradiction. Students who are fairly new to the industry are hungry for the "cool factor" (not to mention the "easy way out"), and it's a constant balancing act designing curriculum that emphasizes best practices, while still covering all the bells and whistles (with the appropriate cautionary tales). If I were still teaching Advanced Photoshop to PS pros and they were clamoring for more 3D, that would be a whole other story. I'll admit that I may be out of the loop there, though, which is why I am still eager to hear from you who you think the target demographic that wants true 3D in Photoshop is.
When I was teaching to pros, they were mostly pro Photographers (think Yuri Dojc) or Architects. I can certainly see the latter being curious about 3D in Photoshop, but those that are technical enough are now all versed in the Autodesk suite, so they would be doing texture generation and compositing in PS at most. Photographers are much less likely to be even remotely interested in 3D within Photoshop, but that's probably not the audience you were building it in for anyway.
Do you feel your advanced experience with SoftImage, 3DS, Maya is helpful to understand Ps's 3D features or does it get in the way? IOW, what benefits and hindrances do you note when trying to apply previous learning to the Ps 3D feature set? Or is it hard to answer at this point because you've been blocked due to crashing and performance issues?
Without a shadow of a doubt, my background was essential to being able to pick this up in PS without the manual. I think I would feel completely lost if I didn't have 10+ years of 3D modeling, texturing and animation behind me (note that I don't consider myself a pro in 3D - just an experienced amateur). Possibly even WITH the manual.
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