{"slug":"faroe-teal-grading-2hours","title":"青色调法罗风光大片如何调色？2小时精修思路分享！","author":"Thomas看看世界","date":"2024-01-28","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499093&idx=1&sn=30ad1598bb0231305b5a13cc4b0c0dcc&chksm=eb820331dcf58a27372e3bc396b2a2e6671b138c3bee659bc8d0f5a5c94eb3719c68fcba8db1&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今天的摄影后期教程中，Thomas会和大家分享一张法罗群岛青绿色调风光大片的后期处理思路。","b":false,"xe":"In today's post-processing tutorial, Thomas shares the workflow behind a teal-toned landscape masterpiece from the Faroe Islands."},{"t":"img","f":"img-01","w":1080,"h":807},{"t":"p","x":"如何塑造照片的光线感？照片中植被色彩如何统一？如何给人物衣服换颜色？","b":false,"xe":"How do you shape the sense of light in a photo? How do you unify the colors of vegetation? How do you change the color of a person's clothing?"},{"t":"p","x":"这些都是今天会和大家分享的调色技巧。","b":false,"xe":"These are the grading techniques I'll share today."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1tk4y1S71v","bpic":"bili-1","bt":"法罗群岛青色调大片如何调色？大屏显示器精修风光照片细节！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。这张法罗群岛的青绿色调大片很多人在手机上刷到过，但小屏完全撑不起它的震撼——Thomas 打开了 Photoshop 里二三十个图层的工作文件，把塑造光线、人造雾霭、植被色彩统一、人物换色这些精修步骤逐一演示。全文配视频关键帧截图，适合先看图记住流程，再到视频里看大图细节。","xe":"This is the fully illustrated companion to the video above. Many people have scrolled past this teal-toned Faroe Islands shot on a phone, but no small screen carries its impact — Thomas opens the twenty-to-thirty-layer working file and demonstrates step by step how the light was shaped, artificial haze added, vegetation colors unified, and the subject's jacket recolored. Skim the frames for the workflow, then watch the video for the fine detail.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"先看这张照片的看点：无人机长焦故意把人拍得很小——与身后的海蚀拱门和悬崖相比，人类非常渺小（视频 0:36 处）。画面里还有彩蛋：翻涌的波浪、左上角飞过的海鸥。这种身临其境的细节张力，只有在大尺寸显示器上看大图才能体会——这也是 Thomas 坚持打印和大屏修图的原因（视频 0:15-1:04 处）。","xe":"First, what makes the photo: shot on a drone with a telephoto lens, the person is deliberately tiny — dwarfed by the sea arch and cliffs behind (at 0:36 in the video). There are hidden details too: rolling waves, a gull crossing the upper-left corner. That immersive tension only reads on a large display — precisely why Thomas insists on printing and big-screen editing (at 0:15-1:04 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 清理画面：去紫边与移除路人","xe":"01 Cleaning Up: Killing Purple Fringes and Removing People"},{"t":"p","x":"工作文件最底层是以智能对象置入的 RAW 文件。第一步处理的是阴影里紫紫的东西——逆光拍摄时经常出现的紫边，用色相/饱和度图层把洋红的饱和度降低即可（视频 1:44 处）。","xe":"The bottom of the stack is the RAW file placed as a Smart Object. First fix: the purple cast in the shadows — the fringing that backlit shots often produce — removed with a Hue/Saturation layer by dropping magenta saturation (at 1:44 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"拍摄时崖顶其实有不少人：有埋头飞无人机的 Thomas 本人、拍无人机的伙伴、穿黄衣服站在门洞位置的同伴。Thomas 用仿制图章和内容识别填充把其他人全部移除，只留下拱门中间那一个人——一个人在拱门中间与自然对话（视频 1:51-2:13 处）。","xe":"The clifftop was actually crowded that day: Thomas flying the drone, a companion filming him, and a friend in yellow standing in the doorway of the arch. With the clone stamp and content-aware fill, everyone else disappears, leaving exactly one figure — a lone person in the arch, in dialogue with nature (at 1:51-2:13 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"02 Camera Raw：去薄雾与高光加青","xe":"02 Camera Raw: Dehaze and Cyan Highlights"},{"t":"p","x":"接下来在 Camera Raw 滤镜里演示分离色调。去除薄雾可以多来一点——画面立刻多了冷暖对比、整体更清晰，再补一些纹理（视频 2:25 处）；HSL 里把黄色明亮度提亮，岩壁的高光亮起来会更有层次（视频 2:35 处）；曲线或曝光工具稍稍再提一点点。","xe":"Then the split-toning demo inside the Camera Raw filter. Dehaze can go fairly strong — cool-warm contrast appears at once and the frame sharpens up, with some Texture added (at 2:25 in the video); in HSL, yellow luminance lifts so the cliff walls' highlights gain layers (at 2:35 in the video); a nudge of Curves or exposure brightens things a touch more.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"非常关键的一步是给高光加青色：原来的光线甚至有点偏暖偏紫，加之后就有了青色的冷调。青色不能加太多——太多了就有点动画片的浓艳感——这里微加色相 180 左右的青，再把饱和度稍稍降低一点带上效果即可（视频 2:51-3:14 处）。","xe":"The pivotal move: cyan into the highlights. The light here leaned warm, even purple; after the shift it takes on that cool cyan. Restraint matters — too much reads like a cartoon — so a whisper of hue-180 cyan, with saturation eased back slightly, is all it takes (at 2:51-3:14 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 光线塑造：指向性、雾霭与压暗","xe":"03 Shaping Light: Direction, Haze, and Darkening"},{"t":"p","x":"Nik Collection 的「变亮变暗中心点」是 Thomas 的常用滤镜：把周边压暗、光线聚到中心。原图的光线感觉不到方向，而这一步之后明显右边暗、左边亮——画面立刻有了光线的指向性（视频 3:20-3:37 处）。","xe":"Nik Collection's Darken/Lighten Center is a Thomas staple: darken the edges, gather light toward the center. The original gives no sense of directional light; after this move the right side clearly darkens while the left brightens — the frame suddenly has a direction of light (at 3:20-3:37 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"然后新建一个光感图层：用渐变工具、前景色选白色，在画面上拉一道渐变——不改成柔光或叠加，保留正常混合模式，让高光带一点雾蒙蒙的效果，只把不透明度稍稍降低，光和雾的感觉就来了（视频 3:40-4:11 处）。右侧同样加一道类似滤镜，让远处更朦胧，前后分层更有效果。","xe":"Then a light-haze layer: with the Gradient tool and white as the foreground color, drag a gradient across the frame — but keep the blend mode Normal instead of Soft Light or Overlay, so the highlights carry a foggy bloom; just lower the opacity a little and the sense of light and mist arrives (at 3:40-4:11 in the video). A similar gradient on the right keeps the distance hazier, strengthening the foreground-background separation.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"有亮就要有暗。整张照片需要明暗对比：用亮度蒙版选出画面中的暗部再压暗，这样压暗不会影响很亮的区域，对比度得以保持（视频 4:32-4:50 处）。","xe":"Where there is light there must be dark. The photo needs that contrast: a luminosity mask selects the shadows first, then darkening is applied — so the bright zones stay untouched and the contrast holds (at 4:32-4:50 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 立体感与主体突出","xe":"04 Depth and Making the Subject Pop"},{"t":"p","x":"接下来是立体感的塑造：新建空白图层，混合模式改叠加，先用蒙版把拱门石头选出来，再用白色画笔在石头上刷出光线的层次——这就是后期的人造光。原片石头没什么层次、不够立体，特别是边缘的高光进一步提亮后，岩石立刻有了体积（视频 4:51-5:19 处）。","xe":"Next, sculpting depth: a new blank layer set to Overlay, a mask isolating the arch rock, and a white brush painting light onto the stone — this is artificial light built in post. The raw rock was flat and lifeless; with the edges' highlights lifted further, the cliff suddenly has volume (at 4:51-5:19 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"涂植物时把画笔换成略微淡一点的黄色（植物用黄色是安全的），不透明度 5% 左右，把原来较亮的区域刷得更亮、边缘也刷出来——刷出界是难免的，所以要用蒙版把范围限制住（视频 5:26-5:59 处）。随后 Nik Collection 的专业对比度进一步强化清晰度，Camera Raw 里再去一次薄雾。","xe":"For the vegetation the brush takes a slightly pale yellow (safe for plants) at around 5% opacity, brightening the naturally brighter patches and the edges — spillover is inevitable, hence the mask to constrain the strokes (at 5:26-5:59 in the video). Nik's Pro Contrast then sharpens clarity further, and one more pass of Dehaze in Camera Raw deepens the atmosphere.","b":false},{"t":"p","x":"人物的处理很讲究：人本身很黑，就要用径向滤镜把他背后的海水提亮——背后亮起来，人就显得更明显（视频 6:09 处）；蓝色的海水则用可选颜色工具选蓝色、减黑色直接提亮；中间调也用曲线提亮，蒙版只作用于中间这一块区域（视频 6:23-6:41 处）。","xe":"The figure is handled with care: the person is very dark, so a radial filter brightens the sea behind him — once the background lifts, the figure stands out (at 6:09 in the video); the blue water brightens directly with Selective Color — blue channel, minus black; the midtones lift with a Curves layer whose mask confines the effect to the central region (at 6:23-6:41 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 色彩统一与点睛换色","xe":"05 Unifying Color and the Finishing Recolor"},{"t":"p","x":"二次构图用 Ctrl+T 直接把右上角拉出去，画面看起来更居中（视频 6:42 处）。然后是精修里非常重要的一步——色彩统一。人像要统一肤色，植物也一样：现在植被里有黄的、有很青的绿，大自然虽是这样，看起来却不够舒服。","xe":"Recropping is a direct Ctrl+T, pulling the upper-right corner out so the composition centers better (at 6:42 in the video). Then comes a step critical to fine retouching — color unification. Portraits unify skin tones; plants need the same: the vegetation mixes yellows with very cyan greens — natural, but not comfortable to look at.","b":false},{"t":"p","x":"统一的办法是「双向奔赴」：黄色里加青、减洋红（即加绿），把黄色调绿；绿色里也加一些绿色，同时加黄色——黄往绿偏、绿往黄偏，两者互相靠近（视频 7:14-7:34 处）。随后再微调：黄色里加一点黄色，让太偏青的黄色回到自然的黄绿色——大自然中的植物一般是黄绿色而不是青绿色。处理后整片植被从平淡变得生气勃勃（视频 7:36-7:58 处）。","xe":"The unification is a mutual convergence: into the yellows add cyan and remove magenta (i.e., add green), turning yellow toward green; into the greens add green and some yellow as well — yellow drifts toward green, green toward yellow (at 7:14-7:34 in the video). A final tweak returns over-cyan yellows to a natural yellow-green — plants in nature are yellow-green, not teal. The whole hillside goes from flat to thriving (at 7:36-7:58 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"草地局部再强化：进一步提亮、加一些黄色。此时人物的衣服和草地同为黄绿色、很和谐，但 Thomas 想让人更突出——于是新建一个颜色混合模式的图层，用大红色直接把衣服从黄色刷成红色。这一步会改变像素，所以放在最后操作（视频 8:02-8:40 处）。真正的最后一步是变形：让左右两侧山崖显得更水平、视觉效果更好。","xe":"The grass gets local reinforcement — more brightness, more yellow. By now the jacket matches the hillside in yellow-green, harmonious but too quiet; Thomas wants the figure to pop, so a Color blend-mode layer paints the jacket from yellow to bold red. Since this alters pixels, it stays until the end (at 8:02-8:40 in the video). The true final step is a transform leveling the cliffs on both sides for better balance.","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"Thomas 最后提醒：这张照片里的人和海鸟，在小图里可能都看不到，但看到大图的那一刻是非常震撼的——好的风光精修，值得在大屏上被认真观看（视频 8:45 处）。","xe":"Thomas closes with a reminder: on a small thumbnail you may never spot the person or the gull in this frame — but at full size, it is breathtaking. A finely retouched landscape deserves to be seen properly, on a big screen (at 8:45 in the video).","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 先做减法：色相/饱和度降洋红去逆光紫边，仿制图章与内容识别清除路人，只留拱门中的一个人与自然对话；2. 光线三件套——Camera Raw 去薄雾加纹理、高光微加色相 180 的青并压一点饱和，Nik 变亮变暗中心点制造光线指向性；3. 亮暗要成对：白色渐变造雾霭分层，亮度蒙版选暗部压暗保对比，叠加图层加蒙版给石头刷人造光，径向滤镜提亮人物背后的海水；4. 精修靠统一：黄色加青减洋红、绿色加黄，两色双向奔赴成黄绿色系，最后用颜色模式图层把衣服刷成红色点睛。","xe":"1. Subtract first: Hue/Saturation drops magenta to kill backlight fringes, clone stamp and content-aware fill sweep away every figure but the one in the arch; 2. The light kit — Dehaze and Texture in Camera Raw, a whisper of hue-180 cyan into the highlights with saturation eased back, and Nik's Darken/Lighten Center to give the light a direction; 3. Pair every bright with a dark: a white gradient for layered haze, luminosity-masked darkening that preserves contrast, Overlay layers with masks to paint manmade light on the rock, and a radial filter lifting the sea behind the figure; 4. Refinement is unification — cyan and magenta shifts bring yellow and green together into a yellow-green family, and a Color blend-mode layer paints the jacket red as the final accent.","b":false}],"titleEn":"How to Grade a Teal Faroe Landscape: A 2-Hour Fine-Tuning Walkthrough"}