{"slug":"train-window-post-guide","title":"火车车窗风景大片如何后期？摄影时竟有这么多注意事项！","author":"Thomas看看世界","date":"2021-08-01","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247493656&idx=1&sn=5b0eee9a8e607bbb81090ffc6c337c5c&chksm=eb82167cdcf59f6aab975584dacecedd7cc6792b16cd83b334c2d8089d7f7b3a88802e3e6e6b&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"#火车看中国# 是我从去年开始拍摄和发起的一个系列，旨在通过火车车窗，去呈现当下中国的独特风景。","b":false,"xe":"#China by Train# is a series I started shooting and launched last year, aiming to present the unique landscapes of today's China through train windows."},{"t":"img","f":"img-02","w":1080,"h":987},{"t":"p","x":"在《火车车窗风景大片如何拍？#火车看中国#摄影师详细教学来啦！》一文中，Thomas和大家分享了车窗照前期拍摄的一些技巧。","b":false,"xe":"In the article 'How to Shoot Stunning Train Window Scenes? Detailed Tutorial from the #China by Train# Photographer!', Thomas shared techniques for the capture side of window photography."},{"t":"p","x":"今天的视频教程，Thomas就会和大家详细的分享和演示后期的处理步骤，虽然后期处理的技术并不复杂，但要完成自然的合成，其实对拍摄素材的一致性要求是非常高的。","b":false,"xe":"In today's video tutorial, Thomas demonstrates the post-processing steps in detail. Although the techniques are not complicated, achieving a natural blend actually demands very high consistency in the captured material."},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1Dg41177jy","bpic":"bili-1","bt":"火车车窗风景大片如何后期？摄影时竟有这么多注意事项！#火车看中国#"},{"t":"p","x":"这一篇是上面视频的图文整理。《火车看中国》后期教学的完整版：Thomas 先回答了三个大家最关心的创作问题——这样拍还真实吗、为什么要合成、随便找素材合成行不行——再讲解车窗内外景合成的前期要求，最后完整演示了 PS 里的抠图、色彩统一与明暗处理，全程配有关键帧截图。","xe":"This is the fully illustrated companion to the video above — the complete post-processing class of the \"Seeing China from the Train\" series. Thomas first answers three burning questions (is it still real? why composite? can I just grab random materials?), then the shooting requirements that make a believable blend possible, and finally walks through the masking, color unification and brightness logic in Photoshop — with keyframe screenshots throughout.","b":false},{"t":"p","x":"先看总结页。视频 11:20 处的这张要点卡概括了整个后期合成的方法：快速选择加套索抠图、色彩统一、符合外亮内暗的明暗关系，以及进阶的通道抠图技术——下文按此逐一展开。","xe":"Start with the summary card. The slide at 11:20 in the video captures the whole method: quick selection plus lasso for masking, unified color, the inside-darker-outside-brighter luminance logic, and the advanced channel masking saved for later — each unpacked below.","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"h","x":"01 三个先导问题：真实、合成与三国演义","xe":"01 Three Questions: Reality, Compositing and the Three Kingdoms"},{"t":"p","x":"第一个问题：这样拍出来的照片还是真实的吗？（视频 0:27 处）Thomas 的回答是分清「看见的真实」与「内核的真实」——看见的并不一定真实，比如 BBC、CNN 对中国的报道，原始素材也许没处理，但经过剪辑、无中生有和断章取义呈现出来的并非真实的中国。他的项目追求的是内核的真实：调色与内外景合成只是手段，呈现的是当下中国人的生活状态、窗外真实存在的风景与基建（0:31-1:30 处）。","xe":"Question one: are such photos still real? (at 0:27 in the video) Thomas draws the line between \"seen reality\" and \"essential reality\" — what we see is not necessarily real. BBC and CNN reports on China, say, may use untouched raw footage, yet through editing, fabrication and quoting out of context they present something untrue. His project pursues essential reality: grading and compositing are just means; what is presented — people's lives, the real scenery and infrastructure outside the window — genuinely exists (at 0:31-1:30 in the video).","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"第二个问题：为什么车窗内外要分开拍摄再合成？（视频 1:31 处）直接一拍，要同时解决景深、快门速度和玻璃反光这些相互矛盾的问题；分开拍摄在技术上能得到更好的画质。更重要的是艺术层面：行李箱与窗外修路工人这两张「单看都差点意思」的照片，合并之后产生了故事上的联想、互动甚至隐喻——这就打开了创作上的翅膀（2:14-2:57 处）。","xe":"Question two: why shoot inside and outside separately and blend? (at 1:31 in the video) A single shot must juggle depth of field, shutter speed and glass reflections that fight each other; splitting them yields far better quality. More importantly it opens artistic doors: the suitcase photo and the track worker outside are each unremarkable alone, but merged they spark associations, interaction, even metaphor — wings for creation (at 2:14-2:57 in the video).","b":false},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"第三个问题：随便网上找一张风景素材和一个车窗素材合成，意义一样吗？（视频 2:58 处）Thomas 用三部书作比：《三国志》完全记述史实，纪实但艺术性与传播性弱；天马行空的穿越修仙小说全凭想象，对现实的反映最弱；而《三国演义》七分实三分虚——基于史实的艺术创作，才最脍炙人口、让人对历史留下印象。《火车看中国》要追求的，正是三国演义式的、基于现实的艺术创作（3:22-5:13 处）。","xe":"Question three: is it the same to grab any landscape off the internet and merge it with a window frame? (at 2:58 in the video) Thomas reaches for three books: Records of the Three Kingdoms is pure chronicle — factual but artistically flat; a time-travel cultivation novel is pure imagination, furthest from reality; while Romance of the Three Kingdoms is \"seven parts fact, three parts fiction\" — art built on truth, the one everyone remembers. Seeing China from the Train aims at exactly that Romance-style creation grounded in reality (at 3:22-5:13 in the video).","b":false},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"02 合成的前期要求：焦段、透视、光线、线路","xe":"02 Pre-Requirements: Focal Length, Perspective, Light, Route"},{"t":"p","x":"微博上不少朋友的合成一看就很假，问题多出在前期（视频 5:23 处）。Thomas 的项目最重要的一直是车窗外的外景（7:13 处）——车厢里「火车上的中国人」已有摄影大师拍过更好的题材。他通常先抓拍外景：比如遇到一个特别好的瞬间，先记下它的焦段（42 毫米）和自己相对车窗的侧角，再针对性地去拍内景（6:49-7:48 处）。","xe":"Many composites on Weibo look instantly fake because the raw shots never matched (at 5:23 in the video). In Thomas's project the exterior beyond the window always comes first (at 7:13) — inside the carriage, \"Chinese on the Train\" has already been mastered by a great photographer. He snaps the exterior first: on a striking moment he notes the focal length (42mm) and his sideways angle to the window, then shoots the interior to match (at 6:49-7:48 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"要求一：相似焦段——长焦配长焦、广角配广角，透视不一样怎么合都假。要求二：相似透视——水平线位置、俯仰角、侧偏角要大概一致（视频 5:41-6:02 处）。比如外景是 45 毫米水平拍摄的，内景也要 41 毫米左右、同样水平；外景 18 毫米往下俯拍，内景也找 18 毫米俯拍的；建筑正面与侧面的比例在两张里要一致，合并后看起来才像一张拍的（7:50-10:04 处）。","xe":"Rule one: matching focal length — telephoto with telephoto, wide with wide; mismatched perspective never blends. Rule two: matching perspective — horizon height, pitch and yaw should roughly agree (at 5:41-6:02 in the video). A 45mm level exterior pairs with a 41mm level interior; an 18mm downward-tilted exterior needs an 18mm tilted interior; the ratio of a building's front to its side face must agree across both frames — only then do they read as one exposure (at 7:50-10:04 in the video).","b":false},{"t":"img","f":"v08","w":768,"h":480},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"要求三：相似的光线角度（视频 10:06 处）。比如抓拍的内景里，人物身上有从一侧射进来的光——那是侧逆光，车窗外的太阳大概就在那个方向；那么外景也要选侧逆光的照片，人物背后投影的方向要相似，合成后才不违和。一句话：针对外景的焦段、水平线、俯仰角与光线，去找合适的内景（10:11-11:19 处）。要求四：同一线路真实拍摄——不同线路的车厢装饰可能完全不同，成都局的内饰配郑州的外景，资深火车迷一眼就能看穿（6:18-6:47 处）。","xe":"Rule three: matching light angle (at 10:06 in the video). If the interior figure is lit from one side — side backlight — the sun outside must sit in that direction; so pick an exterior with the same side backlight and similar shadow directions behind the figure, or the blend will jar. In short: hunt an interior to match the exterior's focal length, horizon, pitch and light (at 10:11-11:19 in the video). Rule four: shoot for real on the same line — carriages differ across railway bureaus; pair a Chengdu-bureau interior with a Zhengzhou exterior and any train fanatic will spot it instantly (at 6:18-6:47 in the video).","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"h","x":"03 后期实操：抠图、色彩统一与明暗关系","xe":"03 In Photoshop: Masking, Color and Brightness"},{"t":"p","x":"演示案例是那张经典的作品（视频 11:53 处）。合成技术并不复杂：快速选择工具加套索就能完成抠图，再做好色彩统一和明暗关系（11:20 处）。第一步在 Camera Raw 里完成：原片用 ISO800、1/50 秒抓拍，欠曝明显，先把曝光恢复正常，白平衡调成稍稍偏暖——因为车厢内也是偏暖的白平衡，两边的色彩要先统一（11:56-12:37 处）。","xe":"The demo case is that classic work (at 11:53 in the video). The technique is not complicated: quick selection plus lasso handles the masking; color and luminance do the rest (at 11:20). Step one happens in Camera Raw: the raw exterior, grabbed at ISO 800 and 1/50 s, is clearly underexposed — restore the exposure, then warm the white balance slightly, since the carriage interior is also warm-toned; unify the two sides' color first (at 11:56-12:37 in the video).","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"进入 PS 后，把外景拖到内景文档里，内景图层放在上面（视频 12:39 处）。用快速选择工具很快就能选中窗户；车窗上的小字保留——增加真实感，挡风景太多的大字不要；选区边缘用多边形套索修改，按住 Alt 是减选、Shift 是加选；污渍可以先去除，或者用进阶的通道抠图处理（12:57-14:00 处）。","xe":"In Photoshop, drag the exterior into the interior document and keep the interior layer on top (at 12:39 in the video). The quick selection tool grabs the window in seconds; keep the window's small printed characters for authenticity, drop the large ones that block too much scenery; refine edges with the polygonal lasso — Alt subtracts, Shift adds; stains can be removed first, or handled later with advanced channel masking (at 12:57-14:00 in the video).","b":false},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"选区建立蒙版并反向，显示出背景，再把外景调整到合适的位置——对齐两张照片的地平线，决定画面里要不要保留某个人物（视频 14:02-14:44 处）。细节收尾：抠图太生硬就做适当羽化；快速选择容易留下白边，用缩小后的黑色画笔涂掉，按住 Shift 还能自动拉出直线（14:46-15:38 处）。色彩进一步统一：新建空白图层，按 Alt 变成剪贴蒙版，混合模式改为「颜色」，吸取蓝天的颜色、不透明度降到 10%，把内景中偏黄得不合理的地方涂回协调的颜色（15:41-16:09 处）。","xe":"Create a mask from the selection, invert it to reveal the background, then position the exterior — aligning the two horizons and deciding whether to keep a stray figure (at 14:02-14:44 in the video). Finishing: feather the mask if the cutout feels harsh; quick selection often leaves white fringes — paint them away with a small black brush, holding Shift for straight lines (at 14:46-15:38 in the video). For color: add a blank layer, Alt-click to clip it, set the blend mode to Color, sample the blue sky, drop opacity to 10%, and paint over any unreasonably yellow patches of the interior (at 15:41-16:09 in the video).","b":false},{"t":"img","f":"v13","w":768,"h":480},{"t":"p","x":"最容易被忽视的一点：车窗外必须比车窗内亮（视频 16:13 处）。很多朋友的合成里外景太暗，看起来不像玻璃、倒像一块显示屏。解决办法非常简单——在外景图层上建一条曲线，把中间调提亮，画面立刻舒服很多。因为玻璃外是光源、更亮，玻璃内更暗，这才符合人眼的现实（16:19-17:08 处）。融入窗上文字的通道抠图进阶技术，会在未来的教程中分享（17:16 处）。","xe":"The most overlooked rule: outside the window must be brighter than inside (at 16:13 in the video). In many composites the exterior is so dark it reads as a display screen rather than glass. The fix is trivial — add a Curves layer on the exterior and lift the midtones; the image instantly relaxes. Glass is brighter on the light side and darker inside, as the human eye expects (at 16:19-17:08 in the video). The advanced channel masking that blends the lettering into the glass will come in a future tutorial (at 17:16 in the video).","b":false},{"t":"img","f":"v14","w":768,"h":480},{"t":"quote","x":"1. 合成的真实性分两层——画面内容要真实存在（内核的真实），透视光线要符合规律（合成的真实）；2. 前期决定成败：相似焦段、相似透视、相似光线角度、同一线路真实拍摄，四者缺一不可；3. 先拍好外景，再根据外景的焦段、水平线与光线针对性拍摄内景；4. 后期三步走——快速选择加套索抠图、剪贴蒙版统一色彩、外亮内暗的曲线提亮。","xe":"1. Believability has two layers — the content must genuinely exist (essential reality), and the perspective and light must obey physics (compositing reality); 2. The raw shots decide everything: matching focal length, matching perspective, matching light angle, and same-line real shooting — all four or it fails; 3. Nail the exterior first, then shoot the interior to match its focal length, horizon and light; 4. Post is three moves — quick selection plus lasso for the mask, clipped layers to unify color, and a Curves lift that keeps the outside brighter than the inside."},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-03","w":960,"h":600},{"t":"img","f":"img-04","w":960,"h":600},{"t":"img","f":"img-05","w":960,"h":600},{"t":"img","f":"img-06","w":960,"h":600},{"t":"img","f":"img-07","w":960,"h":600},{"t":"img","f":"img-08","w":960,"h":600},{"t":"img","f":"img-09","w":960,"h":600},{"t":"img","f":"img-10","w":1080,"h":720},{"t":"img","f":"img-11","w":1080,"h":720},{"t":"img","f":"img-12","w":1080,"h":720},{"t":"img","f":"img-13","w":1080,"h":720},{"t":"img","f":"img-14","w":1080,"h":720},{"t":"img","f":"img-15","w":1080,"h":720},{"t":"img","f":"img-16","w":1080,"h":720},{"t":"img","f":"img-17","w":1080,"h":720},{"t":"img","f":"img-18","w":1080,"h":720},{"t":"img","f":"img-19","w":1080,"h":720},{"t":"p","x":"另外 #火车看中国# 也将是一个大型的互联网开源众创摄影项目，欢迎大家在学习相关思路技术后，也在自己的旅途中进行拍摄尝试，并在 #火车看中国# 标签下踊跃投稿哦~","b":false,"xe":"In addition, #China by Train# is a large open-source crowdsourced photography project. After learning the ideas and techniques, you're welcome to try shooting on your own journeys and submit under the #China by Train# tag!"},{"t":"p","x":"主要征稿平台：","b":false,"xe":"Main submission platforms:"},{"t":"p","x":"微博 #火车看中国#","b":false,"xe":"Weibo #China by Train#"},{"t":"p","x":"快手 #火车看中国#","b":false,"xe":"Kuaishou #China by Train#"},{"t":"p","x":"Bilibili #火车看中国#","b":false,"xe":"Bilibili #China by Train#"},{"t":"p","x":"图虫 #火车看中国#","b":false,"xe":"Tuchong #China by Train#"},{"t":"p","x":"征稿要求：窗外景色是在中国境内火车（高铁、动车、普通列车、轻轨、地铁等）上实际拍摄的。若成片带有车窗内景，内景所表现的车次车型应符合外景所在线路的实际运行情况。","b":false,"xe":"Submission requirements: the view outside the window must be actually shot on a train within China (high-speed rail, EMU, regular train, light rail, subway, etc.). If the final image includes the train interior, the depicted train type should match the actual operation of the line where the exterior was shot."}],"titleEn":"How to Post-Process Train Window Masterpieces: So Many Things to Watch While Shooting"}