白天场景与夜晚场景的转换：城市透视图制作
Day to Night: All Pshop Philly Edition

由专筑网李韧，曹逸希编译

这是我在网站上发布的第三张图片，只运用PS来将白天的视图制作成夜晚的效果图，我制作的第一个非渲染夜间透视图是在很久之前刚创建这个网站的时候，后来我所运用的方法有了一些变化，但整体概念还是不变。在本次的教程中，我将每个步骤都表达出来，并且都附有简短的说明，这些都有助于对于操作的理解，从中你们可以清楚地看到图像的变化过程。

This will be the third image that I have posted on this site that goes from a daytime base rendering to a full on night rendering using only Photoshop. The first ever No Render Night Tutorial I created came at the very beginning of this website a long time ago. Since then, the technique has shifted slightly but the concept remains the same. This updated workflow can be seen in my Day to Night image break down and explains certain key moves such as darkening the base image that will help make sense of some of the steps shown below. While the breakdown below is brief, I hope it still paints a picture of how this image evolved and the transformation that took place.


1、SU模型

SU模型仍然以白天场景来渲染，太阳高度角不变。

1. Sketchup Model
The Sketchup model is unchanged from the daytime rendering. The sun even remained in the same location.


2、V-Ray基础渲染

上图便是VR白天渲染效果图。相比起原来在PS当中创建阴影，此次我选择直接通过VR渲染阴影效果。

2. V-Ray Base Rendering
Above is the original V-Ray base rendering used in daytime rendering. Instead of spending time Photoshopping out the shadow lines, I rerendered with softer shadows seen below.

为了呈现柔和的阴影效果，我通过V-Ray编辑了太阳的选项。其他模型以及灯光设置都保持不变。

In order to get the soft shadow, I changed one setting which was increasing the size of the sun in the V-Ray option editor. Everything else remains unchanged in the model and light settings.


3、将画面调暗

这一步非常简单，但作用强大，除了天空之后，把整个图像涂上蓝色，在图层混合模式中设置为“正片叠底”。这样，整个画面就能呈现出前景与背景的不同层次效果。

3. Darken the Image
As dramatic of a change as this is, this step is pretty simple. Paint the entire image blue except for the sky, and set the layer blend mode to “Multiply”. After that, I dropped in a new night sky, and painted in some haze to help separate the background from the foreground.


4、肌理

这一步同样很简单，因为只需要从白天的图像中拖出了材质肌理，将其覆盖于图面上合适的位置，并且给地面添加了一些暖色的阴影。

4. Textures
This step took little time because I simply dragged over the textures from my daytime images and dropped them into place. I also warmed the floor just a hint.


5、内部

我在画面中增添了一些白天的场景中所使用的室内肌理，同时，在地面上制作一些反射效果。

5. Interiors
This step also went fast since I was also able to carry over the interior textures used in the daytime scene. However, I did need to paint in some floor reflections.


6、增添光感

添加光感这一步骤花费了我许多时间，主要通过不同的技术和改变图层混合模式来完成。如果后期有时间我可以单独为这一步骤制作一个教程。

6. Lights, Lots of Lights
This is the step where I spent much of my time experimenting with lighting options. Everything is painted in using different techniques and layer blend modes. This could make a good tutorial in the future if I can somehow find the time…


7、添加人物

在画面中添加人物，让图像变得更加具有动态感。而在这种夜间场景中，人物的肤色会变得较暗，此时则需要添加一些高光。

7. Entourage
Entourage was added towards the end of the process to add narrative and give movement to the image. For this type of lighting scenario, the people were darkened to almost a silhouette, with highlights added as needed.


8、调色

最后，我将画面上的蓝色色调压低了一些，并且还增加了一些暖色效果，从而将二者形成对比，提升画面的活跃度。

8. Color Adjustments
At the end, I brought back some blue tones to contrast the spots of warm light. I also used some warm color overlays to punch up areas to help activate them.

在本次教程中我添加了许多图像说明，甚至还有一个空中场景。

Just a few more images planned for this project including a grand aerial shot. Stay tuned….


出处：本文译自visualizingarchitecture.com/，转载请注明出处。