Thanks.
Moving vehicle is not compulsory. It can be done while walking. On Tue, May 31, 2011 at 5:10 PM, Yuval Levy <goo...@levy.ch> wrote: > On May 31, 2011 02:18:47 AM Emad ud din Btt wrote: > > Yes, I am talking about using a telephoto lens and shooting a linear > > panorama from different spots. > > I have not got to a similar project after a first proof of concept due to > lack > of time. [0] might be useful information for you. > > > > I am talking about using telephoto compression to make surfaces flat. > > The only difference between tele and wide/fish lens will be image > resolution > and the quantity of manual fiddling. > > > > objects physically not on one same plane. > > Unless you can physically remove them you will have to work around them > with > carefully thought (or selected) shooting perspectives and patient masking. > > > > I want to shoot a long linear panorama of a historical road from a > moving > car. > > Have you considered using or simulating a line-scan camera? > > If you take enough continuous shoots you can cut one-pixel wide stripes > from > the middle of each shot and align them side by side. No stitching. > Requires > a trigger based on the covered distance and a reasonably fast rig; or a > constant driving speed at fixed fps (e.g. HD camcorder). > > If you want to go the stitching way, you need to think of every > protruding/intruding element and how it affects/overlaps the theoretical > plane > you're shooting against. Not something you can do in real-time out of a > moving vehicle. > > If the moving vehicle is a must, I would say *film* (or shoot continuously > at > the maximum fps that your rig can do) and select/mask. > > I would forego the vehicle. Walk and let your eye call the shots (pun > intended). Visualize in your mind the flat surface (roll of paper - it > does > not have to be straight as the road can take curves) identify intrusions > and > protrusions and visualize the potential seam lines around them. When in > doubt, shoot one or two extra perspectives and select when working on the > stitch. > > The choice of focal length is a trade-off between the required target > resolution and the quantity of manual work you want to put in this. The > longer the lens, the more work you will have - because of the quantity of > shots, but also because of the reduced leeway in positioning the seam line. > > Consider also using multiple focal distances, i.e. do a first backdrop with > a > fisheye and then use the tele lens only to capture those subjects for which > you need the extra resolution. > > Good luck > Yuv > > [0] <http://panospace.wordpress.com/2010/09/19/linear-panoramas-mosaic- > tutorial/<http://panospace.wordpress.com/2010/09/19/linear-panoramas-mosaic-tutorial/> > > > -- *Emaad* www.flickr.com/emaad -- You received this message because you are subscribed to the Google Groups "Hugin and other free panoramic software" group. A list of frequently asked questions is available at: http://wiki.panotools.org/Hugin_FAQ To post to this group, send email to hugin-ptx@googlegroups.com To unsubscribe from this group, send email to hugin-ptx+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/hugin-ptx
