the wider you go, the more extreme gets the "rectilinear wide angle effect" (sorry don't know how to describe it, just look at some pictures with a 14mm on a full frame).Īlso the wider you go (when you choose rectilinear projection), the more have the images on the edge of the stitched image to be stretched. Poor results in what way? (concerning the rectilinear projection)Īnd of course a rectilinear projection doesn't work with a 180° angle of view. My gut feeling is that while programs like PTGui, AutoPano Pro and the PhotoMerge script in Photoshop CS6 (although not in earlier versions of Photoshop) have gotten very good at handling parallax errors, for best results minimizing how much interpolation the stitching program must do to correct for parallax errors is a better way to work yielding fewer problems that have to corrected by hand later.īut if the final panoramic will be reproduced at a small size and/or the differences in the near/far relationships in the photo approach zero those kinds of errors may not matter. That to me is more of a pain than just buying a rotating clamp and a slide. While you could adjust the position of the camera forward or backward to keep it aligned with the rotational axis of a base rotator you'd have to change that position anytime to maintain parallax correction you used a different tilt angle to maintain alignment. I have kept it simple and am only considered pitch (for/aft) tilt angle and not also roll (lateral) tilt angles. I have attempted a drawing to show why the geometry of using a rotating clamp on the head's camera platform works better. When we relax our No-Parallax Point (NPP) requirement, everything becomes much harder to understand, and to stitch. When the camera is used in portrait orientation, the vertical FOV is often sufficient enough to avoid the need for a heavier, more complex, multi-row pano assembly. It will not prevent a curved path of image tiles relative to a horizon when we tilt the clamp plane to a non-leveled angle, but straight lines (including the horizon) will remain straight (not level, but straight) when a rectilinear projection is used for rectilinear lenses and the correct Pitch value is set in the stitching software. With that done correctly, we can happily rotate around the camera's Yaw axis, without introducing any parallax, and stitching will be easy, even with difficult subject patterns. The best way to achieve this, is with a rotating clamp positioned directly under the optical axis (no lateral offset), and a fore/aft sliding bar to move the entrance pupil of the lens directly above the rotating clamp. That requires a lateral shift (only if the tripod socket is not aligned with the optical axis), and a fore/aft 'nodal' or rather No-Parallax Point shift, usually backwards (the amount varies with lens focal length, and perhaps a bit with focus distance). In the single row pano case, we need to make sure that the camera's Yaw axis and the optical axis (Roll axis) intersect at the entrance pupil position.
To avoid entrance pupil parallax for single row panoramas (whether tilted up, down, or on its side plays no role) we need to satisfy 2 alignments for the intersection of orthogonal rotational axes at the same time in a single point, and for multiple-row panoramas that would require alignment of 3 rotational axes in a single intersection point.
#Autopano pro remove nadir software#
Some subject matter may be somewhat forgiving and with proper software blending we may cover up some shortcomings, but the best chance of success comes with proper technique. Actually doing it helps when that goal is kept in mind. It creates problems to envision the consequences for a lot of people, until they understand/embrace the concept of avoiding parallax as the technical goal.
Hard to explain, but easy to see once you try it out." Then even if you tilt the camera down or up with the ballhead, the axis of rotation remains horizontal. However, if you use a leveling base combined with a ballhead with built in panning base (not a panning clamp), then you can level the base of the ballhead with the leveling base and then pan left right on a perfectly horizontal axis using the ballhead's panning base. If you tilted downward the inverse is true, edges of the photo curve up. If you use a panning clamp (like RRS's) and tilted the camera upward the arc of the pan would curve downward the farther off center you got. For example, a pano looking downward into a canyon or pano looking slightly upward at mountains. "The reason to use a leveling base for shooting stitched panos would be if you wanted to create a pano where the camera was not pointed directly at the horizon (level).