Stitching photos NOT taken from a single point.  

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Stitching photos NOT taken from a single point.

by DavidGLyons » Wed Dec 31, 2008 3:07 am

Has anyone tried to use APP to stitch photos that have been taken from different points along an imaginary line parallel to the objective rather than rotating around the nodal entry point of the lens?

The first stitching software I ever used (came with my Canon camera) had an option specifically for this kind of stitching. I'm guessing that this isn't supported by APP (had a look at the tutorials) but I wondered if anybody had tried it or had any suggestions.

In case you are wondering why: I was hoping to reduce the curvature created by some of my interior panos. The Planar projection introduces unacceptable stretching when the photos are taken from a tripod, so that won't do.

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by DrSlony » Wed Dec 31, 2008 4:25 am

Yes, it's called an orthogonal projection and it isn't yet implemented in APP. Although, as a workaround, you can set the focal length of all your photos to 1000mm from here and then detect & stitch them. You can find more info if you search this forum for "orthogonal", discussed many times.

DavidGLyons wrote:I was hoping to reduce the curvature created by some of my interior panos.

Please post your images or screenshots here so we can take a look and give better advice.

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by digipano » Wed Dec 31, 2008 5:23 am

Well I tried a test once & its too hard to get good results when you move parallel to a flat building , but I also tried shooting once on 80 feet high tower moving around the periphery & that worked fine bcoz I shot moving in circles & the projection I choose was circular too.

For your interior pano keep the FOV under 120° that's the limit of (Planner) rectilinear projection after which image is badly stretched.

Canon's photostitch does have that option though I have never tried it.

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by Tim.Lewis » Wed Dec 31, 2008 5:35 am

Hi David

As you and digipano have mentioned, Canon's Photostitch software, which comes with many of their cameras and even camcorders does do this. It also has the advantage of being supplied in Windows and Mac versions.

It is not a patch on Autopano Pro for panoramas from the one point although it does do a much better job than Photoshop's Photo Merge, up to CS3 at least, which is the latest version I have. However I imagine it would still have quite a bit of difficulty with objects that were close to the camera.

I have used Photostitch in this mode for stitching large scans and air photos together and it does a very good job. As for how to do this in Autopano Pro, I defer to others more experienced.


Plus ça change, plus c'est la même chose.

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by Paul » Wed Dec 31, 2008 8:41 am

a article at great length about Photographing Long Scenes with Multi-Viewpoint Panoramas you find here:

Microsofts free ICE has also an option to handle this type of input

close, but no cigar ... ... ...

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by DrSlony » Wed Dec 31, 2008 11:00 am

Tim.Lewis: You can do the 1000mm focal length trick that I wrote about above for those kinds of photos and get great results. "Those kind" = flat photos where the camera moved perpendicular to the plane. Photographing a 3D scene is different. Using that trick, it is possible and it can be done and has been done to look good, but APP doesn't have a de facto orthogonal mode yet.

Paul wrote:Microsofts free ICE has also an option to handle this type of input"

Free as in "sell your soul to satan" free, its all in the fine print of the EULA.

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by GURL » Wed Dec 31, 2008 11:21 am

Besides having many different names (orthographic panorama - orthoscopic panorama - slit-scan panorama - strip panorama - multi-viewpoint panorama - multi-perspective panorama - pushbroom panorama) feasibility of orthopanos depends of the subject.

:) : a painting, a flat wall, one or several buildings where the photographer can stay at the same distance from the facade/facades (but then if roofs and chimneys are visible or if there are parked cars in between difficult to hide errors will necessarily happen...)

:( : any situation where objects located at different distance from the camera are visible from one shot to the next. An example is a crossroad when shooting a series of well aligned building facades.

Just look through the viewfinder while moving from one shooting location to the next : you will see why this is often a difficult, very difficult or impossible kind of panorama. Another useful example comes from viewing a landscape through the window of a moving train coach: foreground is moving fast while background don't moves.

Practice, trial and error, post-processing, multi-layers are the way to go.

DrSlony wrote:Free as in "sell your soul to Satan"

Anyway this academic/academic-like paper explains the matter better than any other I managed to read...
Last edited by GURL on Wed Dec 31, 2008 11:27 am, edited 1 time in total.

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