{"slug":"acr-lr-color-workflow-summary","title":"终于弄清不同调色工具的用法啦！ACR/LR色彩后期全流程总结","author":"Thomas看看世界","date":"2019-09-15","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247489478&idx=1&sn=44658e4f16d496d9ea355a8d3f1de26a&chksm=eb81e9a2dcf660b48b46e091724787c1b0572b5976afe9f3af18e1bde97d16ebd972a089d6a3&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"后期调色的工具有很多，每种工具都有自己的适用范围。","b":false,"xe":"There are many post-processing color grading tools, each with its own applicable range."},{"t":"p","x":"在今天的教程中，托马斯会按照 确认基调、色彩搭配、局部微调 这三大后期调色步骤，将Lightroom和Adobe Camera Raw中的调色工具全部总结和梳理一遍。","b":false,"xe":"In today's tutorial, following the three big grading steps — establishing the base tone, color matching, and local fine-tuning — Thomas summarizes and organizes all the grading tools in Lightroom and Adobe Camera Raw."},{"t":"p","x":"学完之后，相信大家就能掌握 白平衡色温、色调、饱和度、自然饱和度、相机校准面板、分离色调、色彩曲线、HSL工具、径向滤镜、渐变滤镜、调整画笔等等Camera Raw中的色彩处理工具的用法和区别啦。","b":false,"xe":"After this, you'll understand the usage and differences of Camera Raw's color tools: white balance temperature, tint, saturation, vibrance, the Camera Calibration panel, split toning, color curves, HSL, radial filters, graduated filters, the adjustment brush and more."},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1rJ411A7GA","bpic":"bili-1","bt":"后期调色流程总结，包含Lightroom/ACR所有调色工具用法解析"},{"t":"p","x":"这一篇是上面视频的完整图文整理。ACR 和 Lightroom 里的调色工具十几种，很多朋友的困惑不是「不会用某个滑块」，而是不知道先动哪一个、每个工具管哪一段。Thomas 在这期教程里给出了一个总纲：确认基调、色彩搭配、局部微调三大步，再把所有调色工具逐一挂到对应的步骤上。下文按这个骨架整理，配视频截图和时刻索引。","xe":"This is the fully illustrated companion to the video above. ACR and Lightroom offer a dozen-plus grading tools, and most people's confusion is not how a slider works but which one to touch first, and which stage each tool belongs to. In this tutorial Thomas gives the master outline — three big steps: set the base tone, do the color matching, then fine-tune locally — and hangs every grading tool on that skeleton. The chapters below keep the video's screenshots and timestamps.","b":false},{"t":"p","x":"先看全片的总路线图（视频 12:03 处的总结卡）：第一步确认基调，只动白平衡和饱和度；第二步色彩搭配，用校准、分离色调/曲线、HSL 三组工具；第三步局部微调，交给画笔、径向滤镜、渐变滤镜。记住这张图，下面的细节各归其位。","xe":"First, the route map of the whole video (the summary card at 12:03): step one, set the base tone — only white balance and saturation; step two, color matching — calibration, split toning/curves, and HSL; step three, local fine-tuning — the brush, radial filter and graduated filter. Keep this map in mind and every detail below falls into place.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 确认基调：白平衡先行，饱和度殿后","xe":"01 Set the Base Tone: White Balance First, Then Saturation"},{"t":"p","x":"调色的第一步为什么必须是白平衡？Thomas 用一张雪中小屋的照片做了反证（视频 1:35 处）：白平衡不准时，在 HSL 里狂拉黄色饱和度，画面里黄色的衣服几乎没反应；把白平衡校准之后再拉同一个滑块，黄色立刻鲜艳。基调不准，后面所有调色都在错误的地基上打转——所以后期的第一步，永远是先校白平衡。","xe":"Why must white balance come first? Thomas proves it with a snowy cabin photo (1:35 in the video): with an off white balance, cranking yellow saturation in HSL barely moves the yellow jacket in frame; after correcting the white balance, the same slider makes it bloom instantly. If the base tone is wrong, every later move circles on a faulty foundation — so calibrating white balance is always step one.","b":false},{"t":"p","x":"校准白平衡有三条路（视频 2:17 处）：一是手动拖色温、色调滑块——色温左移变蓝、右移变黄，色调左移偏绿、右移偏品红，凭眼力把画面里的中性色摆正；二是先试「自动」，大部分情况都相当准；三是白平衡吸管工具——画面里有确定是白色或中性灰的物体时，点它一下即可校准，比如这张图里那件其实应该是白色的衣服（视频 2:56 处）。","xe":"There are three routes to correct white balance (2:17 in the video): drag the temperature and tint sliders by eye — temperature left goes bluer, right more yellow; tint left greener, right more magenta — until the neutrals look right; try 'Auto' first, which is quite accurate most of the time; or use the White Balance Selector tool — when the frame contains something you know is white or neutral gray, one click on it recalibrates everything, like the jacket here that really should be white (2:56 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"基调的另一半是饱和度，而自然饱和度通常应该优先于饱和度（视频 3:28 处）：饱和度对所有颜色一视同仁，一拉就容易过火，照片里的泥土马上假得厉害；自然饱和度优先提升原来不够饱和的颜色，对已经艳到快溢出的皮肤和土黄则手下留情。所以 Thomas 的习惯是自然饱和度拉到五六十都安全，全局微调时才用饱和度补一刀。","xe":"The other half of the base tone is saturation, and vibrance should usually come before saturation (3:28 in the video): plain saturation treats all colors equally and tips into excess fast — the soil in the photo turns obviously fake; vibrance boosts the least-saturated colors first and goes easy on skin and earthy yellows that are already near clipping. Thomas's habit: +50-60 of vibrance is still safe, and only fine-tune globally with saturation afterwards.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"02 相机校准面板：把杂色拧成互补色","xe":"02 Camera Calibration: Turn Chaos into Complementary Colors"},{"t":"p","x":"基调定了，开始色彩搭配。Thomas 最常用的第一个工具是相机校准面板（视频 4:42 处）：原理很复杂，但只需记住一条——移动原色色相时，画面里的众多颜色会向两个方向集中，拧成一对互补色。比如蓝原色色相往左移，整张照片变成青橙对比（视频 5:17 处）；往右移则变成绿紫对比（视频 5:51 处）；绿原色左移是黄蓝对比（视频 5:56 处）。色相数变少、颜色变统一，对去除画面杂色极其有用。","xe":"With the base tone set, color matching begins. Thomas's first tool of choice is the Camera Calibration panel (4:42 in the video): the theory is complex, but one rule suffices — moving a primary's hue converges the image's many colors into a pair of complements. Blue primary left, and the whole photo resolves into a teal-orange contrast (5:17 in the video); right, it becomes green-purple (5:51 in the video); green primary left gives yellow-blue (5:56 in the video). Fewer hues, more unified color — excellent for cleaning up visual clutter.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"具体每张照片怎么移？不用背参数，左右拖动滑块看效果即可（视频 6:18 处）：这张峡谷枯树，蓝原色左移后水面的青色更透；绿原色右移不舒服、左移则整体更柔和；红原色左移黄得发假，右移反而不错。三根滑块各试两个方向，色彩搭配的方向感就出来了。","xe":"How far to move them on any given photo? No numbers to memorize — just drag each slider both ways and watch (6:18 in the video): in this canyon-with-bare-tree frame, blue primary left made the water's teal cleaner; green primary right felt off while left felt softer overall; red primary left faked the yellows, right looked better. Two directions per slider, and the direction of your color scheme reveals itself.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"三原色的饱和度里，红和绿很少动，动得最多的是蓝原色饱和度（视频 7:00 处）：提升它时，蓝、青、紫的饱和度大涨，而暖色只被非常柔和地带起来。想让地景色彩提升得自然，就升蓝原色饱和度——冷色被强化、暖色悄悄跟上的效果，比直接拉饱和度自然得多。","xe":"Of the three primaries' saturation sliders, red and green are rarely touched — blue primary saturation gets all the use (7:00 in the video): raising it pumps blue, cyan and purple strongly while the warm colors are lifted only gently. When you want the landscape's colors to bloom naturally, raise blue primary saturation — cools strengthen while warms quietly follow, far more organic than dragging plain saturation.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"03 分离色调、曲线与 HSL：按明度上色","xe":"03 Split Toning, Curves and HSL: Color by Luminance Zone"},{"t":"p","x":"校准之后，是对画面不同亮度区域分别上色——工具是分离色调或曲线，选哪个全凭习惯（视频 7:54 处）。分离色调的用法很直接：高光选一个橙色并提升饱和度，高光区就统一加入了橙调（视频 8:02 处）；阴影再补一点点蓝色形成对比，切记不要太多（视频 8:27 处）。它本质上是给某个明度区域增加色彩，顺带统一了那个区域的色调。","xe":"After calibration comes coloring the luminance zones separately — the tools are Split Toning or Curves, purely a matter of habit (7:54 in the video). Split Toning is direct: pick orange for the highlights and raise its saturation, and the bright zones take on a unified orange cast (8:02 in the video); add a touch of blue to the shadows for contrast, but just a touch (8:27 in the video). Its essence is adding color to a luminance zone — and unifying that zone's tone along the way.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"同样的效果曲线工具也能一模一样地完成（视频 8:39 处）：高光加红、阴影不加红甚至补点青，等价于高光橙阴影蓝；想高光偏黄就把蓝通道在高光处下压，想阴影偏蓝就把蓝通道在阴影处抬升；再让中间调整体偏一点紫（视频 9:19 处）。曲线的好处是明度区间的控制更精细，代价是上手门槛略高。","xe":"The same effect can be replicated exactly with curves (8:39 in the video): add red in the highlights and none — or a little cyan — in the shadows, mirroring orange highlights and blue shadows; lower the blue channel in the highlights for a warmer tint, raise it in the shadows for blue; then drift the midtones slightly purple (9:19 in the video). Curves buy finer control of luminance ranges at the cost of a steeper learning curve.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"色彩搭配最后也是最直白的工具是 HSL（视频 9:43 处）：红橙黄绿青蓝紫品红八种颜色，各自的色相、饱和度、明度都能单独动。比如这张图想让青色的水面更亮，就把蓝色和青色的明度一起提升、再加点饱和度（视频 10:04 处）。至此，校准、分离色调/曲线、HSL 三组工具合力，一张照片的橙色蓝色搭配就成型了。","xe":"The last and most straightforward matching tool is HSL (9:43 in the video): eight colors — red, orange, yellow, green, cyan, blue, purple, magenta — each with its own hue, saturation and luminance. To make the cyan water brighter here, lift the luminance of both blue and cyan and add a bit of saturation (10:04 in the video). With calibration, split toning/curves and HSL working together, an orange-blue scheme for the photo takes shape.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"04 局部微调：渐变、径向与画笔","xe":"04 Local Fine-Tuning: Graduated, Radial and the Brush"},{"t":"p","x":"全局色彩定了，剩下的是局部。画面下方的土质色彩太饱和，就新建一个渐变滤镜拉住地面，在里面稍稍降低饱和度（视频 10:49 处）；想给画面加光线，就新建一个径向滤镜框住山体，把色调、饱和度、色温都往暖处推——天边瞬间红光弥漫，一种傍晚光线的效果就做出来了（视频 11:06 处，演示略夸张，实际酌情收着用）。","xe":"With the global palette settled, only locals remain. The soil at the bottom is oversaturated: create a graduated filter over the ground and ease its saturation down (10:49 in the video). To add light, drop a radial filter around the mountain and push its tint, saturation and temperature warm — the horizon floods with red glow in an instant, and an evening-light effect is born (11:06 in the video; the demo exaggerates on purpose — rein it in for real work).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"再小的地方就交给画笔：前景那根树枝太亮、饱和度太高，用画笔沿着树枝涂一层，降低亮度和饱和度即可（视频 11:27 处）。渐变管一大片、径向管一个区域、画笔管具体某处——局部微调的精度从粗到细，这就是 ACR 调色流程的最后一步。","xe":"For smaller spots there is the brush: the bare branch in the foreground is too bright and too saturated, so paint along it and pull down brightness and saturation (11:27 in the video). The graduated filter handles whole swaths, the radial filter an area, the brush a specific spot — precision from coarse to fine, and that is the final step of the ACR color workflow.","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 调色三步走：确认基调（白平衡+饱和度）、色彩搭配（校准+分离色调/曲线+HSL）、局部微调（渐变+径向+画笔），顺序不可乱；2. 白平衡不准，一切后期调色都在错误地基上打转，校准三法：手动滑块、自动、吸管点中性灰；3. 饱和度优先用自然饱和度，它提灰不提艳，防溢出；4. 相机校准面板移动原色色相会把全片颜色拧成互补色，蓝原色左移即青橙，蓝原色饱和度则是柔和提升地景色彩的捷径。","xe":"1. Grade in three steps: set the base tone (white balance + saturation), do the color matching (calibration + split toning/curves + HSL), then fine-tune locally (graduated + radial + brush) — never out of order; 2. With an inaccurate white balance every later move circles on a faulty foundation — fix it via manual sliders, Auto, or clicking a neutral gray with the selector; 3. Prefer vibrance over saturation: it lifts the dull, spares the vivid, and prevents clipping; 4. Moving primary hues in Camera Calibration converges the whole image into complementary pairs — blue primary left gives teal-orange, and blue primary saturation is the shortcut to gently rich landscape colors."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel & photography tips"}],"titleEn":"Finally Clear on All the Color Tools! A Full ACR/LR Color Workflow Summary"}