{"slug":"local-filters-summary","title":"超好用的后期工具！Lightroom/ACR局部调整滤镜总结与实战应用","author":"Thomas看看世界","date":"2020-02-16","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490200&idx=1&sn=e416237ba81e34dee8473dbff94721d7&chksm=eb81e4fcdcf66deadecb71aedf991f7a71581d11972b37711a8c81583690097f25c3be25928a&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"局部调整是摄影后期的核心思路。一张照片中，天空、草木、河流等等不同的物体和区域，他们的色彩和明暗可能需要单独调整。","b":false,"xe":"Local adjustment is the core idea of photo post-processing. In a single photo, different objects and regions — sky, vegetation, rivers — may need their color and brightness adjusted separately."},{"t":"p","x":"在Lightroom（LR）和Adobe Camera Raw（ACR）这两个软件中，都有渐变滤镜、径向滤镜和调整画笔三个局部调整工具。","b":false,"xe":"Both Lightroom (LR) and Adobe Camera Raw (ACR) offer three local adjustment tools: the Graduated Filter, the Radial Filter and the Adjustment Brush."},{"t":"img","f":"img-02","w":1067,"h":1600},{"t":"p","x":"今天的教程，托马斯会以上面一张照片为例，和大家总结这三种工具的区别和用法。","b":false,"xe":"In today's tutorial, using the photo above as an example, Thomas summarizes the differences and usage of these three tools."},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1u7411n7t1","bpic":"bili-1","bt":"Lightroom/ACR核心工具教程：三大局部调整滤镜总结与实战应用"},{"t":"p","x":"这一篇是上面视频的完整图文整理。渐变滤镜、径向滤镜、调整画笔是 Lightroom 和 Adobe Camera Raw 里使用频率最高的三个局部调整工具，Thomas 用一张河谷雪山的照片把它们的作用范围、关键参数和实战套路一次讲透，还演示了自动蒙版这个「神器」。本文按视频顺序整理，所有操作都配了关键帧截图。","b":false,"xe":"This is the fully illustrated companion to the video above. The Graduated Filter, Radial Filter and Adjustment Brush are the three most-used local adjustment tools in Lightroom and Adobe Camera Raw; using a river-valley photo beneath snow peaks, Thomas covers their scope, key parameters and practical routines in one pass — including the Auto Mask gem. This article follows the video's order, with keyframe screenshots for every move."},{"t":"h","x":"01 三个工具的区别只在作用范围","xe":"01 One Difference: the Area They Affect"},{"t":"p","x":"三个工具选中任何一个，右侧都会出现同一组滑块——色温、色调、曝光、对比度、高光阴影等等，也就是说它们能做的调整完全一样，唯一的区别是作用范围（视频 0:54 处）。演示有个妙招：把曝光暂时拉到 -4，滤镜的作用范围就一目了然。渐变滤镜拉出来是一根实线加一根虚线：实线以上 100% 受作用，虚线以下 0%，两线之间是过渡带——和前期挂在镜头前的渐变镜原理一模一样（视频 1:07 处）。所以它适合处理画面上、下、左、右的长条形区域，比如压暗天空。","b":false,"xe":"Pick any of the three tools and the same set of sliders appears on the right — color temperature, tint, exposure, contrast, highlights, shadows — meaning they can make identical adjustments, differing only in the area they affect (at 0:54 in the video). A neat demo trick: pull Exposure to -4 and the tool's scope becomes obvious. Drag out a Graduated Filter and you get a solid line plus a dashed line: 100% effect above the solid line, 0% below the dashed one, with a transition band between — exactly like a physical graduated filter on the lens (at 1:07 in the video). It suits long-strip regions — top, bottom, left, right — such as darkening a sky."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"02 径向滤镜与调整画笔","xe":"02 The Radial Filter and the Adjustment Brush"},{"t":"p","x":"要处理画面中央的区域，轮到径向滤镜：它是一个圆形或椭圆形，中心 100% 起作用、向边缘羽化过渡（视频 2:15 处）。羽化值是最关键的滑块——羽化为 0 时它会作用出一个生硬的怪圆，一般至少保持在 50，过渡生硬时就加到 100（视频 2:41 处）。它还有一个「内部/外部」开关：选外部再压曝光，就是一个现成的暗角工具（视频 3:16 处）。径向滤镜的短板也很明显：形状只能是圆形椭圆，选择不够精确。","b":false,"xe":"For the center of the frame, reach for the Radial Filter: a circle or ellipse that acts at 100% in the core and feathers outward (at 2:15 in the video). Feather is the key slider — at 0 it stamps a harsh, odd-looking circle; keep it at 50 or higher, and push toward 100 whenever the transition feels hard (at 2:41 in the video). It also has an Inside/Outside switch: choose Outside and reduce exposure, and you have a ready-made vignette tool (at 3:16 in the video). Its weakness is just as clear: the shape is always round or elliptical, so selections lack precision."},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"这时就轮到调整画笔上场：它可以非常精细地涂抹任意形状，而且大小、羽化、流动、浓度四个参数都可以调（视频 3:48 处）。羽化为 0 时笔刷边缘非常生硬，Thomas 一般把羽化固定在 100（视频 4:22 处）。流动和浓度都在控制笔画的强度，但机制不同：流动会叠加——第一笔 20%，再刷回去变 40%，不断叠加；浓度则是封顶——浓度为 10% 时随便怎么画，作用强度都不会超过 10%（视频 4:58 处）。所以他的习惯配置是浓度 100%、流动 20-50%，既有过渡又能刷到位。","b":false,"xe":"That's when the Adjustment Brush takes the stage: it paints any shape with fine precision, and four parameters — Size, Feather, Flow, Density — are all adjustable (at 3:48 in the video). Feather 0 gives a hard, unpleasant edge, so Thomas keeps Feather pinned at 100 (at 4:22 in the video). Flow and Density both govern stroke strength, but differently: Flow accumulates — a first stroke at 20% becomes 40% when you brush back over it, stacking indefinitely; Density caps — at 10% Density, no matter how much you scrub, the effect never exceeds 10% (at 4:58 in the video). Hence his habitual setup: Density 100%, Flow 20-50% — smooth buildup that still reaches full strength."},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 自动蒙版：画笔的点睛开关","xe":"03 Auto Mask: the Brush's Secret Weapon"},{"t":"p","x":"画笔下方还有一个非常重要的滑块——自动蒙版（视频 5:45 处）。不勾选时它就是一支普通的圆形笔刷，作用范围完全跟着笔画走；勾选之后，笔刷会变成内外两个圈：内圈取样它所处的色彩和结构，外圈在探测到色彩或结构断层（也就是物体边缘）时自动截住作用范围（视频 5:58 处）。视频里的效果对比非常直观：不勾自动蒙版，一刷整个河岸连同岸上的东西全被影响；勾上之后，笔刷几乎只作用于河流中央青绿色的水面，岸上几乎不受影响——对于河流这类边缘复杂的物体，识别又快又准（视频 6:36 处）。","b":false,"xe":"Below the brush sits a crucial switch — Auto Mask (at 5:45 in the video). Off, it's a plain round brush whose reach follows your stroke; on, the cursor becomes two concentric circles: the inner one samples the color and structure beneath it, and the outer one halts the effect at detected color or structure breaks — object edges (at 5:58 in the video). The video's comparison is striking: without Auto Mask one stroke floods the bank and everything on it; with it, the brush acts almost only on the teal water mid-river and barely touches the banks — fast, accurate recognition for complex-edged subjects like rivers (at 6:36 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"04 实战：多个渐变滤镜压暗天空","xe":"04 Hands-On: Darkening the Sky with Multiple Grads"},{"t":"p","x":"进入这张河谷照片的实战（视频 7:29 处）。第一步压暗天空，Thomas 的要点是：每个滤镜的幅度宁小勿大——一个渐变滤镜直接减 0.5 挡曝光会一眼看穿，他一般减 0.25，然后多拉几次，而且每次的范围、角度都不一样：天上一道、斜着再来一道；因为光从右侧来，左侧再补一道，前景也适当压暗做渐变。多个小幅渐变滤镜叠加之后，过渡自然舒服得多（视频 8:18 处）。","b":false,"xe":"Now the hands-on edit of this river-valley frame (at 7:29 in the video). Step one is darkening the sky, and Thomas's rule is: keep each filter's strength small — a single -0.5 EV grad is instantly spotted, so he uses about -0.25 and pulls several, each with a different span and angle: one across the sky, one tilted, another on the left since the light comes from the right, plus a gentle one over the foreground. Stacked small grads blend far more naturally (at 8:18 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"两个管理技巧值得记住（视频 8:36 处）：新建滤镜会默认继承上一个滤镜的参数，想全部归零不必一个一个清，用面板底部的重置按钮即可一次性归零；把鼠标移到照片上（关闭叠加显示），就能看到没有控制线条干扰的真实效果；想对比前后，点「清除全部」看原图，再 Ctrl+Z 恢复，反复切换即可（视频 9:13 处）。另外，点击某根滤镜线就进入「编辑」模式，可以继续改它的范围和数值；在空白处点一下或选「新建」，则会复制出一个一模一样的新滤镜（视频 9:58 处）。","b":false,"xe":"Two management tricks are worth remembering (at 8:36 in the video): a new filter inherits the previous one's settings, and instead of zeroing sliders one by one, the panel's reset button clears them all at once; hover over the photo with overlays hidden to judge the true effect without control lines; and for before/after, hit Clear All to see the original, Ctrl+Z to restore, toggling as needed (at 9:13 in the video). Also, clicking a filter's line switches to Edit mode for further tweaks to its span and values; clicking empty space or choosing New duplicates an identical filter (at 9:58 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 实战：用滤镜渲染一束光线","xe":"05 Hands-On: Rendering a Beam of Light"},{"t":"p","x":"第二步做光线：阳光从右侧来，就在右侧拉一个渐变滤镜，加色温、加色调、加一点曝光和阴影，甚至减一点清晰度——被光照亮的区域总带点雾气般的柔化感（视频 10:17 处）。拉出来就有一道暖光射进画面；再用同样小幅度（曝光 0.2 左右）的参数不断叠加、变化范围，一道比一道更大的光，过渡非常舒服（视频 10:47 处）。最后再用径向滤镜在画面中部拉几个椭圆形的暖光区域。之前之后对比，整个画面已经有了一种光线肆意的感觉（视频 11:27 处）。","b":false,"xe":"Step two renders light: the sun comes from the right, so pull a grad there and raise color temperature, tint, a touch of exposure and shadows — even reduce Clarity slightly, since sunlit areas carry that misty softness (at 10:17 in the video). Immediately a warm beam enters the frame; keep stacking small doses (about 0.2 EV) over growing, varying spans — each glow a little larger, the transitions beautifully smooth (at 10:47 in the video). Finish with a few elliptical Radial Filters of warm light through the middle. Before and after, the frame now feels awash with wandering light (at 11:27 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"06 实战：画笔精修一条青色河流","xe":"06 Hands-On: Refining a Teal River with the Brush"},{"t":"p","x":"第三步精修画面中间的河流（视频 11:34 处）。一定要先勾上自动蒙版，这样涂抹到边缘时它会自动识别河流与河堤的交界——河流是青色的，河堤是绿色且细节杂乱，识别起来非常轻松。把河流大幅提亮：直接加曝光容易过头，改成提升高光更自然，因为高光只对河流本身原来的亮部起作用（视频 13:58 处）；再加一点蓝色、绿色让河水偏青，最后加饱和度，一条青蓝色的河流就立体起来了。","b":false,"xe":"Step three refines the river at the center (at 11:34 in the video). Always tick Auto Mask first, so the brush automatically respects the riverbank boundary as you paint — the water is teal while the banks are green and texturally messy, and Auto Mask separates them with ease. Brighten the river substantially: raw exposure easily overshoots, so lift Highlights instead — they act on the water's existing brightness for a more natural result (at 13:58 in the video); then add a little blue and green to cool the water toward teal, finish with saturation, and the river gains real dimension."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"涂过界的地方用「清除」模式擦掉即可（视频 12:24 处）；看不出哪些区域被调整时，勾选蒙版显示——红色标出的是未被作用的区域（旧版本相反，标的是作用区域），颜色可以自选，红色因为画面中少见最常用。开着蒙版一眼就能看出哪里涂过界、哪里漏涂（视频 13:00 处）。有个细节：河流中间的石头会被自动蒙版识别成独立物体，先临时关掉自动蒙版把石头和水流一起勾进来，再重新打开继续精修（视频 13:34 处）。","b":false,"xe":"Over-painted spots get erased with the Erase mode (at 12:24 in the video); when you can't tell what's been adjusted, enable the mask display — red marks the untouched areas (older versions showed the opposite, marking affected areas), and the color is customizable, red being the usual choice since it rarely appears in photos. With the mask on, misses and over-reaches show at a glance (at 13:00 in the video). One detail: boulders mid-river are recognized as separate objects by Auto Mask, so temporarily switch it off to include the rocks with the water, then switch it back on to keep refining (at 13:34 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"收个尾：画面底部还有「范围遮罩」——颜色、明亮度、深度三种范围遮罩可以进一步约束滤镜的作用对象，这部分 Thomas 在以前的教程里有详细讲解，公众号文章的阅读原文或 B 站评论区有链接。三个工具的分工最后再划一遍重点：渐变滤镜管画面边缘的长条形区域（天空、大海、角落），径向滤镜管画面中央的椭圆形区域，调整画笔配自动蒙管任意形状的精确选择（视频 14:32 处）。","b":false,"xe":"To wrap up: at the bottom sits Range Mask — Color, Luminance and Depth range masks can further constrain what a filter affects; Thomas covers those in earlier tutorials, linked in the WeChat article or the Bilibili comments. One last pass over the division of labor: Graduated Filters for long strips along the edges (sky, sea, corners), Radial Filters for elliptical zones in the middle, and the Adjustment Brush with Auto Mask for precise shapes of any kind (at 14:32 in the video)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 渐变滤镜、径向滤镜、调整画笔的能力相同，区别只在作用范围：边缘长条形、中央椭圆形、任意手绘形状；2. 记住两组关键参数：径向滤镜羽化至少 50，调整画笔浓度 100% 加流动 20-50%，流动叠加、浓度封顶；3. 自动蒙版让画笔自动识别物体边缘，是精修河流、树木等复杂边缘的利器；4. 实战心法：每个滤镜小幅调整、多次叠加、变化范围，配合蒙版显示检查过界，前后用清除全部与 Ctrl+Z 对比。","xe":"1. The three tools share identical capabilities and differ only in scope: long strips along the edges, elliptical zones in the middle, any hand-painted shape; 2. Remember two parameter sets: Radial Feather at 50+, and Adjustment Brush Density 100% with Flow 20-50% — Flow stacks, Density caps; 3. Auto Mask lets the brush detect object edges, the go-to for refining rivers, trees and other complex outlines; 4. Field wisdom: small adjustments per filter, stacked repeatedly over varying spans, checked with the mask display and compared via Clear All plus Ctrl+Z."},{"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":"A Super Useful Post Tool: LR/ACR Local Adjustment Filters — Summary and Practice"}