Wrapping label around cylinder

Hi everyone,
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.
Isn't there any easier solution ? If not, how to solve the size problem ? Why is the 3D cylinder provided by Photoshop so enormous ?

Open the texture and resize and reposition the element as needed.

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CS5 - Wrap label around a cylinder (like wine label or pop can)

[This is not a Windows-specific question, I hate to exclude Mac users from this answer, but there is no platform-neutral forum here]
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)?
A couple of quick searches have surprisingly turned up no tutorials on the subject. Has what was once such a simple technique become so technical and obscure?
Can someone point me to a tutorial (written or video), or provide a list of steps here on this forum?
Thanks!

SG... wrote:
Are you saying the work on Refine Edge which is new in CS5 needs re-re-architecting? ;-)
Heh, I sure am. Not that it isn't on its way. The Refine Edge in CS4 showed us where Photoshop was heading in terms of broadening its selection maniuplation toolset (ah, I remember the days of alpha channels + blur + levels + maximize / minimize). But we saw the (almost) disappearance of Extract Filter. Then its most powerful algorithm reappered in Refine Edge in CS5 and it was a Good Thing. Decontaminate Color alone is worth its weight in gold - that's a nifty little algorithm that saves us all time with the paintbrush manually un-pre-multiplying sub-pixel content.
But it still needs work - notably, it is one of the few tools yet that still feel "outside" the standard application workflow. It's its own dialog box (not a palette) and it's a one-shot, destructive effect. I appreciate that you can output to a separate layer, AND make your settings default. It still feels like it's stuck in a pre Smart Filters era.
Please note that I'm not complaining here, just pointing out that it can still get better, and mask manipulations (from my perspective, and that's only one, as the Photoshop userbase is one of the most diverse out there) are core functionality, whereas 3D is arguably not. Or let me put it this way: lots of apps do 3D, and most of them do it better than PS. But no other apps do selections better than PS and that's a fact. Play to your strengths is all I'm saying.
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.
3D is a wonderful world full of really cool technical details that merge the artistic with physics. Photoshop has bitten off only one branch of that, namely shaders, but that is in itself a vast subject. The amount of background knowledge you need to have under your belt is vast - what's the difference between diffuse and ambient colour? what's a specular highlight, and how do you control glossiness? what's a "normal"? hell - what's a "lightsource", and what are their different modes?
I just covered the basics of 3D using repousse and height mapping the other day in a class of twenty-odd 20-30 year olds: I spent 2.5 hours with the students (we had a lot of fun mind you) and didn't even get to texturing at all. Not a single mention of maps, colour or anything. There's too much other material to cover - navigation, object-level vs mesh-level manipulations (ask me my opinion on the usability of your implementation of that feature some time, you'll have another page to read!), then TSR, then lightsources, camera views, ground planes, raytracing, merge 3D layers (you'll have to explain the logic behind having separate 3D "scenes" co-existing within the same document some time).
Bottom line: adding 3D to Photoshop seems like you've put a tiny little door in the bottom of the vast, vast world of Photoimaging. When you open that door and look through you discover that there's this other huge huge world of 3D modeling just on the other side. In order to make ANY use of the 3D features, such as they are now (as opposed to the previous incarnations - including Vanishing Point, which had some very interesting potential) you now have to jump into that world and start to get your bearings.
I think the GPU is causing more headaches then the 4GB RAM, but that's only a quick assessment. Have you had much luck finding newer drivers?
You are almost certainly right. I need to get back to Chris on another thread and let him know that my drivers WERE, in fact, embarassingly out of date. Updating them didn't solve all my problems, but a few have gone away thankfully. I have yet to push the limits of 3D on my personal box again, but will certainly circle back with you if I notice some improvement.
Thanks Steve, always a pleasure talking about this stuff. I am about as passionnate a guy about Photoshop as you'll meet, but because I spend 90% of my time in industry using Photoshop as a production and creative tool (I only teach 1 day a week these days), you'll probably find I'm quite conservative. Heck, much of our agency is still running the full CS3 - there just hasn't been enough compelling reasons to upgrade across the entire organization yet.

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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Message was edited by: Old Toad

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OT

Wrapping label around cylinder

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