{"slug":"100mp-panorama-6hours","title":"修图6小时的1亿像素全景大片长什么样？前后期过程来了！","author":"Thomas看看世界","date":"2022-08-07","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495881&idx=1&sn=1112ce4096b17cc5cde3d11712010cad&chksm=eb820eaddcf587bbe3b25f9363daf5f2ab890e0db4475887ff66d37feb66bfb4e3922f756255&scene=21#wechat_redirect","blocks":[{"t":"p","x":"7张广角照片接片合并成一张1亿像素大片？","b":false,"xe":"Merging 7 wide-angle frames into a single 100-megapixel masterpiece?"},{"t":"p","x":"6个小时的后期修图都做了哪些操作？","b":false,"xe":"What operations were done across 6 hours of post-processing?"},{"t":"p","x":"接片变形矫正、加深减淡、亮度蒙版这些技术如何使用？","b":false,"xe":"How are techniques like panorama distortion correction, dodging & burning, and luminosity masks used?"},{"t":"img","f":"img-01","w":1080,"h":586},{"t":"p","x":"在今天的摄影教程中，我会打开工作psb文件，与大家分享这张格陵兰岛峡湾无人区照片的前后期思路。","b":false,"xe":"In today's photography tutorial, I'll open the working .psb file and share the capture and post-processing ideas behind this photo of Greenland's uninhabited fjord region."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV12U4y1k7kG","bpic":"bili-1","bt":"修图6小时的1亿像素全景大片长什么样？前后期过程来了！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 打开了这张格陵兰岛峡湾接片大片的 PSB 工作文件，把 6 个小时的精修过程浓缩成一条可复现的流程——从乌云缝里预判红光、7 张竖拍接片，到 Camera Raw 的基础调色、PS 里的变形矫正与加深减淡，再到人物融合与最终压暗。适合先看图记住框架，再到视频里听细节。","xe":"This is the fully illustrated companion to the video above: Thomas opens the PSB working file of his Greenland fjord panorama and condenses six hours of retouching into a repeatable workflow — reading a gap in the clouds for red light, a 7-frame vertical stitch, base grading in Camera Raw, transform correction and dodge & burn in Photoshop, subject blending, and the final darkening. Skim the frames for the framework, then dive into the video for the details.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"先看成片。乌云压城、峡湾尽头的雪山被落日红光点亮，一块两人高的岩石上立着一个渺小的人——下面按拍摄、Raw 调色、PS 精修三大段逐一拆解。","xe":"Start with the final image: storm clouds pressing down, sunlit red peaks at the end of the fjord, and a tiny figure on a two-person-tall rock. The breakdown below follows three stages — shooting, Raw grading, and Photoshop refinement.","b":false},{"t":"h","x":"01 现场拍摄：乌云缝里抢五分钟红光","xe":"01 In the Field: Five Minutes of Red Light Through a Cloud Gap"},{"t":"p","x":"2017 年在格陵兰岛峡湾无人区，Thomas 和朋友坐船在入河口登陆扎营。当天下午乌云很厚，但远处天空留着一条缝——他们据此判断，太阳落到缝隙时会出现大概五到十分钟的日落红光，于是提前爬上山头找机位（视频 0:30 处）。","xe":"In 2017 in an uninhabited Greenland fjord, Thomas and his friend landed by boat at the river mouth and set up camp. Thick clouds covered the sky that afternoon, but a gap remained on the horizon — from this they predicted five to ten minutes of sunset red light when the sun slid into it, and climbed the hill early to scout a vantage point (at 0:30 in the video).","b":false},{"t":"p","x":"前景选在一块突出的岩石平台：石头有两人高，质感立体，是拍「人与自然宏大对话」的理想舞台。趁红云还没来，先把三脚架架好、设置间隔拍摄，自己站上去拍人物素材——因为真正红光只有五分钟，届时再拍人会手忙脚乱，而人物受天光影响较小，完全可以提前拍（视频 1:19 与 1:47 处）。","xe":"The foreground is a protruding rock platform: a two-person-tall boulder with rich texture, an ideal stage for the \"grand dialogue between man and nature.\" Before the red clouds arrived, he set the tripod with an interval timer and photographed himself standing there — real red light would last only five minutes, far too hectic to pose in, and since the figure depends little on skylight it could be shot in advance (at 1:19 and 1:47 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"红云真正出现时，立刻把相机竖起来连拍，一共 7 张覆盖整个场景。参数是 ISO400、f/6.3、1/60 秒（视频 2:20 处）——光变化太快，根本没时间用快门线慢慢按，ISO400 保证足够的快门速度手持连拍。这就是标题里那张「1 亿像素大片」的全部原材料。","xe":"When the red clouds finally appeared, he turned the camera vertical and fired a burst of 7 frames covering the whole scene, at ISO 400, f/6.3, 1/60 s (at 2:20 in the video). The light was shifting too fast for a cable release, so ISO 400 secured a hand-holdable shutter speed. These seven frames are the entire raw material of the \"100-megapixel\" panorama in the title.","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 Camera Raw：接片合成与基础调色","xe":"02 Camera Raw: Stitching and Base Grading"},{"t":"p","x":"7 张照片在 Camera Raw 里全选后合成全景接片（视频 2:38 处，具体操作可以看以前的接片教程）。合成之后做基础调整：基本面板里先恢复高光细节避免过曝，再提升阴影和黑色，然后把去除薄雾和清晰度大幅拉高——整体质感就是这一步起来的（视频 2:50 处）。","xe":"All seven frames are selected in Camera Raw and merged into a panorama (at 2:38 in the video; the stitching basics were covered in an earlier tutorial). The base adjustments follow: recover highlight detail to kill clipping, lift shadows and blacks, then push Dehaze and Clarity way up — that is where the overall texture comes from (at 2:50 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"曲线整体压暗奠定暗调，细节保持默认。分离色调（新版叫「颜色分级」）是氛围关键：阴影加冷色、高光加暖色，冷暖分离的同时，中间自然会形成一条紫红色过渡——对日出日落题材尤其好看（视频 3:12 处）。光学面板勾上删除色差。","xe":"A global Curves darkening sets the moody base while detail stays at defaults. Split toning (\"Color Grading\" in newer versions) builds the atmosphere: cool shadows, warm highlights — and between them a natural magenta transition appears, which flatters sunrise and sunset scenes especially well (at 3:12 in the video). In the Optics panel, remove chromatic aberration gets checked.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"校准面板是 Thomas 风光调色的保留项目：蓝原色饱和度提升 70，全画面色彩幅度整体放大，状态舒服不过分（视频 3:36 处）。然后进入蒙版——有没有蒙版是天差地别的：石头区域提亮，天空压暗；对付厚乌云要用天空上的渐变滤镜叠加去除薄雾，有的再减一点曝光，乌云压层的感觉就出来了（视频 4:00 处）。","xe":"The Calibration panel is a staple of Thomas's landscape grading: blue primary saturation up to +70 amplifies the color of the whole frame while staying comfortable, never garish (at 3:36 in the video). Then come masks, which make a world of difference: brighten the rock, darken the sky; for the heavy clouds, a linear gradient over the sky stacked with Dehaze — sometimes minus a bit of exposure — creates that storm-pressing-down feeling (at 4:00 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"03 PS 变形矫正：把匆忙的接片拉横平竖直","xe":"03 Transform Correction: Straightening a Hurried Stitch"},{"t":"p","x":"进入 PS 后第一步是变形矫正。红光窗口里拍得太匆忙，接片结果有些歪斜——但这不是问题，Ctrl+T 自由变换就能矫正，尤其把左侧往里拉一下，让接片显得横平竖直（视频 4:40 处）。","xe":"The first Photoshop step is transform correction. Shooting in a rush during the red-light window left the stitch slightly skewed — easily fixed with Ctrl+T free transform, especially pulling the left side in so the panorama reads level and square (at 4:40 in the video).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"更隐蔽的问题是接片透视：左侧的山被压缩挤在一起，画面不平衡。处理办法是直接水平拉开，把山「撑」回应有的体量；局部因广角接片形变而挤压的区域也同样重新撑开。矫正之后，构图的横平竖直与左右均衡才真正成立（视频 5:02 处）。","xe":"A subtler problem is stitch perspective: the mountains on the left got squeezed together, unbalancing the frame. The fix is to stretch them back horizontally, restoring the mountains' true bulk; locally warped wide-angle areas get the same treatment. Only after this does the composition truly read level and balanced (at 5:02 in the video).","b":false},{"t":"h","x":"04 加深减淡与人物融合","xe":"04 Dodge & Burn and Blending In the Figure"},{"t":"p","x":"加深减淡是本片最关键的一步。新建柔光混合模式的图层，用白色画笔直接提亮人物将要站立的位置——相当于给人在环境里打了一盏聚光灯（视频 5:33 处）。这个柔光图层再结合亮度蒙版限制：雪被提得更白，下方河谷也亮了一些，观众能看清峡湾里那条河（视频 5:47 处）。","xe":"Dodge & burn is the pivotal step of this edit. On a new Soft Light layer, a white brush brightens where the figure will stand — effectively a spotlight on the person within the scene (at 5:33 in the video). That soft-light layer is then restricted with a luminosity mask: the snow turns whiter and the river valley below lifts slightly, so viewers can read the river running through the fjord (at 5:47 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"人物是现场实拍的素材，选区选出后放进画面，透视和大小天然成立、几乎不用调整（视频 6:04 处）。接着用曲线把人微微压暗，与现场环境光吻合；衣服原本是暗蓝色，为了让人物与被红光照亮的山峰呼应，用色相/饱和度直接调成同一色系的橙红色，再做饱和度压暗——人就此融入环境，与雪山呼应对视（视频 6:39 处）。","xe":"The figure was shot on site: once selected and placed, its perspective and scale fall naturally into place with almost no adjustment (at 6:04 in the video). A gentle Curves darkening matches the person to the ambient light; the jacket, originally dark blue, is shifted with Hue/Saturation into the same orange-red family as the sunlit peaks, then slightly desaturated — the figure now belongs to the scene, answering the mountains (at 6:39 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 精雕细琢：滤镜、大文件与最终压暗","xe":"05 Refinement: Filters, Huge Files, and the Final Darkening"},{"t":"p","x":"接下来是层层叠加的精细处理：Nik 的 Color Efex Pro 里用专业对比度和偏光镜等滤镜进一步提升清晰度，再做一轮冷暖分离——中间调加蓝、高光加暖；色彩用可选颜色微调，让黄色更偏红、饱和更足（视频 7:07 处）。然后又是一波加深减淡：原来细节稀少的岩石，处理后立体感立刻出来，石头更加突出，画面层次和细节大幅丰富（视频 7:34 处）。","xe":"Then come layers of fine processing: in Nik's Color Efex Pro, Pro Contrast and Polarization filters push clarity further, followed by another cool-warm pass — blues into the midtones, warmth into the highlights; Selective Color nudges yellows redder and richer (at 7:07 in the video). Another round of dodge & burn gives the featureless rock real dimension — boulders pop and the frame gains layers of detail (at 7:34 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"氛围收尾：Camera Raw 滤镜里用渐变加暗角；再新建柔光图层，用吸管吸取画面里自然的橙色直接涂刷，把红光的渲染感微微加强，色彩平衡再补一点暖（视频 8:00 处）。此时接片完成度约八九千万像素，几十个图层和智能对象堆成一个巨大的 PSB，连 XPS17 都吃不消——于是盖印出一个新图层、另建新文件，内存立刻释放，后续调整在这个轻量新 PSB 里继续：Camera Raw 滤镜周边压暗、饱和度稍稍降低偏蓝、加对比、曲线再压暗（视频 8:46 处）。","xe":"Atmospheric finishing: a gradient vignette in the Camera Raw filter; then a new Soft Light layer where an eyedropper picks a natural orange from the scene and brushes it on, gently reinforcing the red glow, with Color Balance adding a touch more warmth (at 8:00 in the video). At this point the stitch runs eighty-to-ninety megapixels, and dozens of layers and smart objects pile into a PSB so heavy even an XPS 17 chokes — so everything is stamped into one layer in a fresh document, freeing memory instantly; the remaining moves happen in this lighter PSB: edge vignetting in Camera Raw, slightly lower and bluer saturation, added contrast, and a final Curves darkening (at 8:46 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"Thomas 强调每一步的调整幅度都很小——一张精修大片需要慢慢雕琢，而且最好隔几天再回看。第一版成片他自己就觉得亮了一点，没能体现乌云压城的气势，于是又整体压暗了一档，才是最终效果（视频 9:16 处）。","xe":"Thomas stresses that every step moves only a little — a finely retouched image demands slow carving, and it helps to step away for a few days and look again. He found his first version too bright to convey the storm's oppressive weight, so he darkened the whole frame one more stop for the final result (at 9:16 in the video).","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 乌云天先找天缝预判 5-10 分钟红光窗口：红云前先架好三脚架拍人物素材，红云来时竖拍 7 张接片（ISO400、f/6.3、1/60 秒）；2. Camera Raw 一条龙——合成接片、恢复高光、去除薄雾与清晰度提质感、分离色调阴影加冷高光加暖、蓝原色饱和度 +70、蒙版压天空出乌云压层；3. PS 里 Ctrl+T 矫正接片歪斜并把被压缩的山拉开，柔光图层 + 亮度蒙版加深减淡，实拍人物压暗、换橙红色融入环境；4. 精修靠小步多次：滤镜逐层叠加，大文件盖印重建释放内存，隔几天回看再压暗一档。","xe":"1. In overcast weather, read the cloud gap and predict a 5-10 minute red-light window: set up and shoot the figure before it arrives, then fire 7 vertical frames for the stitch (ISO 400, f/6.3, 1/60 s); 2. A Camera Raw pipeline — merge the panorama, recover highlights, Dehaze and Clarity for texture, split-toned cool shadows and warm highlights, blue primary at +70, masked sky darkening for the pressing clouds; 3. In Photoshop, Ctrl+T the stitch straight and stretch compressed mountains, dodge & burn on Soft Light layers with luminosity masks, darken the on-site figure and shift it to orange-red so it belongs; 4. Refinement is many small steps: stacked filters, a stamped lighter file to free memory, and one more stop of darkening after a few days away.","b":false}],"titleEn":"What Does a 100MP Panorama That Took 6 Hours to Edit Look Like?"}