{"slug":"location-scouting-methodology","title":"这些壮观的风光大片机位是如何发现的？探索踩点方法论来啦！","author":"Thomas看看世界","date":"2022-09-25","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247496192&idx=1&sn=028b3b4a0b7a409cbf995a11dbca0c58&chksm=eb820c64dcf58572fe2eb67cb6c31849e45f888bcdf6f7c5029d7659691934c86d4ab53f103d&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在我自己的风光作品中，经常都会利用现场层次和场景特点进行构图，营造出复杂而且震撼的画面。","b":false,"xe":"In my own landscape works, I often compose using the layers and characteristics of the scene to create complex and stunning images."},{"t":"p","x":"不过这些壮观的风光大片机位是如何发现的呢？","b":false,"xe":"But how are the spots for these spectacular landscape shots discovered?"},{"t":"p","x":"今天我就会分享一下探索和踩点的方法论~","b":false,"xe":"Today I'll share my methodology for exploration and location scouting."},{"t":"img","f":"img-01","w":1080,"h":644},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Eg411e7mN","bpic":"bili-1","bt":"壮观的风光大片机位是如何发现的？以在原神须弥探索为例~"},{"t":"p","x":"这一篇是上面视频的图文整理。 Thomas 的风光作品常以复杂而震撼的层次感著称，而这些机位是如何发现的？这支视频他以原神 3.0 新出的须弥雨林地图为例，完整演示了自己的探索踩点方法论。文章配有视频关键帧截图，方法同样适用于现实世界的户外踩点。","xe":"This is the illustrated companion to the video above. Thomas's landscapes are known for their complex, striking sense of depth — but how does he find those vantage points? In this video, using the new Sumeru rainforest map from Genshin Impact 3.0, he demonstrates his full location-scouting methodology. Keyframe screenshots are included, and the method applies equally to real-world outdoor scouting."},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 层次感的来源：前中远景","xe":"01 Where Depth Comes From: Foreground, Middleground, Background"},{"t":"p","x":"Thomas 的大场景风光照片，一般分为前景、中景和远景三个层次（视频 0:48 处）。以视频开头这张照片为例：前景是枯枝，中景是河流与满山遍野的秋色，远景则是天空和雪山。当前、中、远景中有两个甚至三个都十分漂亮、有特色时，整张照片前中后都非常丰富，自然显得壮阔而有层次。","xe":"Thomas's grand landscape photos usually break into three layers: foreground, middleground and background (at 0:48 in the video). Take the photo that opens the video: a bare branch in the foreground, the river and hillsides of autumn color in the middleground, sky and snow mountains in the background. When two or even three of the layers are beautiful and distinctive on their own, the whole frame becomes rich from front to back — grand and layered."},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"实地探索时，可以按一个反向的顺序来踩点：先找远景，再找中景，最后缩小范围找前景（视频 1:34 处）。比如拍摄一座知名雪山：雪山本身很有名气，作为远景自然就确定了；河流在地图上有标注，很快就能发现；到了现场再寻找枯枝这样的合适前景，一张层次丰富的构图就诞生了。","xe":"When scouting on location, reverse the order: find the background first, then the middleground, and finally narrow the range to hunt for a foreground (at 1:34 in the video). Take a famous snow mountain: the mountain's fame settles the background; the river is marked on the map and quickly found; on site you look for a fitting foreground like a bare branch — and a richly layered composition is born."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 演示：在原神须弥练一遍","xe":"02 The Demo: a Round of Scouting in Sumeru"},{"t":"p","x":"接下来 Thomas 用开放世界游戏做了一场推演（视频 2:14 处）。来到原神 3.0 新出的须弥雨林地图，先随便找一个点四处观察环境：左边这座山峰，山形和城市都比较平淡，做远景马马虎虎；而中间那棵非常大的树——一座建在树上的城市须弥城——非常有特色，是很好的远景素材。","xe":"Thomas then runs the method through an open-world game (at 2:14 in the video). Arriving in the new Sumeru rainforest map from Genshin Impact 3.0, he picks a random spot and looks around: the peak to the left is rather plain in both shape and its town, mediocre as a background; but the huge tree in the middle — the city of Sumeru built atop it — is full of character, a fine background candidate."},{"t":"img","f":"v14","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"确定远景后，就在地图上找中景（视频 3:14 处）：有一条河流延伸向须弥城，可以作中景；附近的山谷也有可取之处；而这一片生长着巨大发光植物的区域，平整又有层次，是非常好的中景选择——地图上它叫无郁稠林，正好与须弥城连成一条直线。","xe":"With the background settled, he hunts the map for middlegrounds (at 3:14 in the video): a river runs toward Sumeru city — a good middleground; the nearby valley has merits too; and this area of giant glowing plants, flat and layered, is an excellent option — on the map it is called the Avidya Forest, and it happens to line up in a straight line with Sumeru city."},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"远景和中景在地图上分析完毕、连成一线之后，前景的搜索范围就基本确定了（视频 3:57 处）：Thomas 把目标圈在两者连线途经的一片山坡上，那里可能找到合适的前景，来配合地图和现场已经确认的远景与中景。","xe":"Once background and middleground are analyzed on the map and connected with a line, the foreground search range is basically fixed (at 3:57 in the video): Thomas circles a hillside along that line, where a suitable foreground might be found to complete the pairing already confirmed for background and middleground."},{"t":"img","f":"v08","w":852,"h":480},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"03 实地：爬高机位与构图取舍","xe":"03 On Site: Climbing Higher and Weighing the Frame"},{"t":"p","x":"到现场实地探索后，Thomas 发现预想中的中景和远景搭配起来确实不错，前景除了草还有一些花可以入画（视频 4:27 处）。但当前机位有个问题：站得太低。于是他爬到了一个更高的山坡上。","xe":"On site, the imagined middleground and background do pair up nicely, and besides grass there are flowers that can serve as the foreground (at 4:27 in the video). One problem with the current spot: it stands too low. So Thomas climbs to a higher hillside."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"占得高，望得远（视频 4:53 处）：在更高的机位上，前景是找到的小花，中间是发光的植被和瀑布，远景是地图上选定的须弥城大树以及更远处的山峰——这个高点机位明显比刚才好了很多，层次一下子就出来了。","xe":"Stand high, see far (at 4:53 in the video): from the higher vantage, small flowers fill the foreground, glowing vegetation and waterfalls the middle, and the Sumeru city tree chosen on the map — with more distant peaks — the background. This higher position is clearly much better, and the layers emerge at once."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"最后是构图取舍（视频 5:19 处）：机位稍稍高一点，中景会呈现得更多；机位低一点，前景更突出，但中景会被遮挡得比较多。所以这样的场景，机位可以适当高一些。整个流程就是方法论的一次完整落地：先找远景，再在地图或现场寻找河流、大标志物、大片草原或森林这样的中景，把远景和中景连成一线、缩小搜索范围，最后专心寻找花朵、树枝、有特别纹理的石头和水面等前景——踩点和探索机位的效率因此大大提高。","xe":"Finally, weighing the frame (at 5:19 in the video): a slightly higher camera brings more middleground into view; a lower one emphasizes the foreground but hides much of the middleground — so in scenes like this, keep the camera moderately high. The whole process lands the methodology end to end: background first, then middlegrounds on the map or on site — rivers, big landmarks, grasslands, forests — connect background and middleground with a line to shrink the search area, and finally hunt for foregrounds such as flowers, branches, distinctively textured stones and water. Scouting efficiency rises enormously."},{"t":"img","f":"v12","w":852,"h":480},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 壮阔感来自层次：大场景风光一般由前景、中景、远景构成，其中两层以上足够出色，画面自然丰富；2. 踩点用逆向顺序：先定远景，再找中景（河流、标志物、草原、森林），最后缩小范围找前景；3. 地图与连线是效率工具：让远景和中景连成一线，前景搜索范围立刻明确；4. 到现场先验证搭配，再调整机位高低——机位稍高中景更多，机位低前景突出但中景易被遮挡。","xe":"1. Grandeur comes from layers: grand landscapes are built on foreground, middleground and background — two or more outstanding layers make the frame rich; 2. Scout in reverse: fix the background first, then middlegrounds (rivers, landmarks, grasslands, forests), and finally narrow the range for a foreground; 3. Map and line are efficiency tools: connect background and middleground, and the foreground search area becomes obvious; 4. On site, verify the pairing first, then adjust camera height — higher brings more middleground, lower highlights the foreground but hides the middle."}],"titleEn":"How Were Those Spectacular Photo Spots Found? The Location Scouting Methodology"}