{"slug":"wukong-style-grading","title":"黑神话风格仿色！阴雨天照片这么调色真好看！","author":"Thomas看看世界","date":"2024-08-25","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247500364&idx=1&sn=96ee46b1416d23b70f5a5e6991551f8f&chksm=eb823c28dcf5b53edaaf3298e1a24bec1d63bd3b1e1f6d1d6ad4de4b5c9856f17400d1505c7e&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今天的摄影教程中，Thomas会模仿《黑神话悟空》游戏前几关的雨景影调与色调风格，教大家如何用阴雨天的平淡照片，调出暗调魔法般的质感和色彩。","b":false,"xe":"In today's tutorial, Thomas imitates the rainy-scene tones of the early chapters of the game \"Black Myth: Wukong,\" teaching you how to turn a flat, rainy-day photo into something with a dark, magical texture and palette."},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"img","f":"img-02","w":1080,"h":486},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Ax4y1x7uG","bpic":"bili-1","bt":"黑神话雨景风格仿色！阴天照片这么调色真好看！"},{"t":"p","x":"这一篇是上面视频的图文整理。《黑神话：悟空》前几关的雨中森林让无数人印象深刻——阴郁、湿润、青蓝色的低饱和影调。Thomas 在这期教程里模仿这种色调，把阴雨天拍到的平淡照片，调出黑暗画风的游戏感。主案例是在江西望仙谷用 Mavic 3 Pro 无人机拍摄的照片，整个流程分三步：调影调、调色彩、局部塑造。","xe":"This article is the illustrated companion to the video above: the rainy forests of Black Myth: Wukong left a deep impression on everyone — gloomy, damp, in low-saturation cyan-blue tones. In this tutorial Thomas imitates that grade, turning plain overcast photos into something with the game's dark atmosphere. The main example was shot with a Mavic 3 Pro over Wangxian Valley in Jiangxi, in three steps: tone, color, and local shaping.","b":false},{"t":"p","x":"先看效果。下面是主案例的前后对比——一张阴天里平淡发灰的航拍，最终变成了青蓝暗调、雾气弥漫的「游戏画面」（视频 0:01-0:05 处）。","xe":"Start with the result. Here is the before-and-after of the main example — a flat, gray aerial photo on an overcast day, transformed into a moody, mist-shrouded cyan-blue frame that looks straight out of a game (at 0:01-0:05).","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"这个思路对各种阴雨天的素材都适用。视频里还演示了两个案例：一张是以中式门框为前景框构图的照片，一张是阴天的球场湖泊航拍——调完后都拥有了同样的暗调雨雾氛围（视频 0:05-0:10 处）。","xe":"The approach works for all kinds of overcast material. The video demos two more examples: a photo framed through a Chinese gateway, and an aerial of a lakeside golf course on a gray day — after grading, both take on the same dark, rainy atmosphere (at 0:05-0:10).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"调色的参考，正是游戏里那些雨中森林的美术设定（视频 0:18 处）：整体青蓝、明暗反差大、暗部氛围浓、雾气若隐若现。下面逐步拆解。","xe":"The reference is the game's art itself — rainy forests in cyan-blue, with strong contrast, heavy shadows and lingering mist (at 0:18). Let's break it down step by step.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"01 影调：压高光，托黑场","xe":"01 Tone: Tame Highlights, Lift the Blacks"},{"t":"p","x":"第一步调影调（视频 0:53 处）。这种阴雨场景有个核心依据：除非有阳光，天空不会比地景亮很多，更不会接近过曝——所以先把高光直接压下来；随后恢复一些阴影和黑色色阶，把暗部细节找回来；白色色阶可以提升，配合适当提升整体对比度，把照片的骨架立起来。","xe":"Step one is tone (at 0:53). The key logic of overcast scenes: unless the sun is out, the sky is never much brighter than the land, let alone near blowout — so pull the highlights down first; then recover shadows and blacks to bring back detail in the dark; lift the whites, and add some overall contrast to give the photo its skeleton.","b":false},{"t":"p","x":"接着简单拉一个晕影（视频 1:31 处）：把画面周边压暗，中点往中间移，中间画质适当提亮一点点。然后建一条曲线——曲线的核心是把黑场微微托起，再把整体明暗度稍稍压下来，但亮部不能压太多，要把亮部恢复回去。到这里，整张照片的明暗就基本调到位了。","xe":"Next, add a simple vignette (at 1:31): darken the edges, move the midpoint toward the center, and lift the middle just a touch. Then build a curve — the key is to raise the black point slightly, pull overall brightness down a little, but not let the highlights sink; restore the highlights back up. At this point the tonal structure is basically set.","b":false},{"t":"h","x":"02 色彩：青蓝与低饱和","xe":"02 Color: Cyan-Blue and Low Saturation"},{"t":"p","x":"第二步调色彩（视频 2:12 处）。整个照片要偏青蓝色，所以色温、色调都减一点，让它整体往青蓝偏；另一个核心动作是大幅降低饱和度，先让全片「冷静」下来，再做局部微调。","xe":"Step two is color (at 2:12). The whole photo must lean cyan-blue, so nudge both color temperature and tint downward; the other key move is cutting saturation significantly — let the whole image calm down first, then fine-tune locally.","b":false},{"t":"p","x":"局部微调进 HSL 工具（视频 2:40 处）。色相上：红色（山门的牌匾等）稍稍往紫偏；橙色不动；黄色适当偏橙；绿色不要太绿，偏黄一点更好；蓝色保持不动；紫色稍稍偏蓝；洋红色偏红一些。","xe":"For local fine-tuning, enter the HSL tool (at 2:40). Hue: shift red slightly toward purple (it affects the temple gate's plaques); leave orange alone; push yellow a bit toward orange; take the green off pure green toward yellow; keep blue unchanged; move purple slightly toward blue; and magenta a touch toward red.","b":false},{"t":"p","x":"明度上 Thomas 习惯先调明度再调饱和度（视频 3:14 处）：红色和橙色影响的建筑要压暗，让它更和谐；黄色也影响很多建筑，同样压下来；绿色影响植被，把层次提起来；蓝色则大幅提升明度——虽然天空会跟着变亮，但没关系，稍后局部很容易压回去。提亮蓝色的真正目的是那些屋顶：它们有蓝色的反光，一提亮立刻质感十足。蓝色明度提起来后饱和度会降低，要恢复一些；橙色等暖色的饱和度则要大大降低，整体才会更有感觉。","xe":"For luminance, Thomas adjusts it before saturation (at 3:14): darken the buildings ruled by red and orange so they sit more harmoniously; yellow affects many buildings too, so pull it down; green governs vegetation — lift it for layered foliage; and boost blue's luminance strongly — the sky will brighten with it, but that's fine, local masks will pin it back later. The real reason to lift blue is the rooftops: with their blue reflections brightened, they gain instant texture. Raising blue's luminance lowers its saturation, so restore some; and cut the saturation of warm tones like orange hard, for that overall mood.","b":false},{"t":"p","x":"还有画龙点睛的一步（视频 4:43 处）：给画面高光增加色彩。在高光里加入色相 200 左右的青蓝色，饱和度加一点——整个照片立刻就有了那种雾蒙蒙的氛围感。","xe":"Then comes the finishing touch (at 4:43): add color into the highlights. Put a cyan-blue with a hue around 200 into the highlights, with a touch of saturation — and the whole photo instantly gains that misty, moody atmosphere.","b":false},{"t":"h","x":"03 局部塑造：50 多个蒙版的秘密","xe":"03 Local Shaping: The Secret of 50-Plus Masks"},{"t":"p","x":"这张照片的核心其实是局部调整（视频 5:06 处）。Thomas 当年发出修图截图时，很多人被 50 多个蒙版吓到了，但掌握熟练后并不复杂。开始前先裁图：裁成 3:2 的比例，天空适当多裁掉一些，再把下面的灯裁掉（视频 5:19 处）。","xe":"The heart of this photo is local adjustment (at 5:06). When Thomas posted his editing screenshot, many were scared off by the 50-plus masks — but once you're fluent, it's not that complex. First crop: 3:2, trimming extra sky and cutting the lamp at the bottom (at 5:19).","b":false},{"t":"p","x":"第一步用高光工具提亮高光（视频 5:39 处）：把建筑的质感提起来，同时适当增加纹理和清晰度——建筑的质感立刻出来了，但不要一次弄太多，再配合径向渐变处理屋顶，让瓦房的质感突出、又不过分突出周边的叶子（视频 6:01 处）。很快 Thomas 就建了七个蒙版——不要被蒙版数量吓到，很多都是相同功能的重复操作。","xe":"First, lift the highlights with the highlights tool (at 5:39): bring out the buildings' texture while adding some texture and clarity — the architecture gains presence instantly. Don't overdo it in one go; combine with radial gradients on the rooftops so the tiled roofs stand out without exaggerating the surrounding leaves (at 6:01). Soon Thomas had seven masks — don't be frightened by the number; many are repeats of the same function.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"蒙版建完还要往回压（视频 7:25 处）：天空上部的高光压回去一点；后面的水太亮，稍稍压下；某栋建筑的受光面太亮、水边的岩石不需要这么亮、一块建筑过亮——都分别用蒙版压一压。Thomas 调色始终遵循「少量多次」的原则：每个区域单独调整、分很多次进行，不要一次把曝光提太多，否则会显得突兀（视频 8:24 处）。","xe":"After building masks, push some areas back down (at 7:25): recover a little highlight in the upper sky; the water behind is too bright — ease it; a building's lit face is too hot, the rocks by the water too bright, another block overexposed — each gets its own mask. Thomas follows a 'less, but more often' rule: adjust each region separately, in many small steps, never lifting exposure too much at once or it looks abrupt (at 8:24).","b":false},{"t":"p","x":"树木也要有质感（视频 8:48 处）：提升它的白色色阶和一些曝光，把树的亮面做出来——但不加纹理和清晰度，否则树会显得过于锐利。注意渐变千万不要拉到天空，天空本来就是高光区域，一拉就过曝了。然后用线性渐变对画面四周降曝光（视频 9:52 处），在画面中营造大量暗部——有了暗部，后面的提亮才会「亮」得出来。","xe":"The trees need texture too (at 8:48): raise their whites and a bit of exposure to model the lit side — but skip texture and clarity, or the trees turn too sharp. Be careful never to drag the gradient into the sky; the sky is already a highlight zone and will blow out. Then use linear gradients to lower exposure around the frame (at 9:52), creating plenty of darkness — with shadows in place, the later highlights will truly shine.","b":false},{"t":"p","x":"最后是提亮（视频 10:20 处）：用径向渐变直接加曝光，第一个约加 0.2，感觉不够再来一个加 0.4 的；非常核心的是在加曝光的同时去除薄雾——减去 10 的去除薄雾，让远山呈现出雾蒙蒙、豁然开朗的感觉，制造画面中的亮部。到这里，照片就已经有黑神话那种阴雨天的蓝色调、明暗反差和暗调质感了。","xe":"Finally, brighten (at 10:20): use radial gradients to add exposure — about +0.2 on the first, another +0.4 where needed; and crucially, while adding exposure, pull Dehaze to -10, giving the distant mountains that misty, suddenly-open feeling and building the bright side of the frame. Now the photo carries Black Myth's rainy blue tone, its contrast and dark texture.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 前后对比","xe":"04 Before and After"},{"t":"p","x":"最后看整体的前后对比（视频 11:26 处）：从一张平淡发灰的阴天航拍，到青蓝暗调、雾气弥漫、明暗分明的「黑神话」式画面。Thomas 之前调的版本明暗对比还要更明显一些。","xe":"A final before-and-after (at 11:26): from a flat gray overcast aerial to a Black Myth-style frame — cyan-blue, dark and moody, with clear light and shadow. Thomas's earlier version of this grade pushes the contrast even further.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"quote","x":"1. 影调三步：压高光、恢复阴影与黑色、提白色与对比度，再用晕影和曲线托起黑场；2. 色彩定调：色温色调往青蓝偏，大幅降饱和，再用 HSL 分色微调——暖色压暗降饱和，蓝色提亮出质感；3. 高光加入青蓝色（色相约 200），雾蒙蒙的氛围感立刻出来；4. 局部少量多次：每个区域单独调、分多次调，先造暗部再提亮，去除薄雾 -10 制造雨雾远山。","xe":"1. Tone in three moves: pull highlights, recover shadows and blacks, lift whites and contrast, then a vignette and a curve to raise the black point; 2. Set the palette: shift temperature and tint toward cyan-blue, cut saturation hard, then fine-tune with HSL — darken and desaturate warm tones, brighten blue for texture; 3. Add cyan-blue into the highlights (hue around 200) and the misty atmosphere appears at once; 4. Locally, less but more often: adjust each region separately in small steps, build shadows before brightening, and use Dehaze -10 for misty distant mountains."}],"titleEn":"Black Myth-Style Color Grading: Making Rainy-Day Photos Look Amazing"}