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Not quite the same - never seemed to match the 28mm wide-angle.Maria Fernanda Lauret, Contrast’s post-production lead, in the office.Įditors go through a LOT of technical issues during the post production phase of 360 and virtual reality films.

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Plus the partly exposed rolls in the cameras.Ĭameras stolen - moved to Canon. Plus some filters and stuff and the cases. I also lost three Olympus Zuiko prime lenses. Even if you are right there will be resentment. You have to be careful about accusations. But they got taken, and I have an idea who might have done it but I canņt say anything, because it is only a guess. The elegant simplicity of the OM2 which was some how lost with the later consumer cameras like the OM40. The compact size, so popular in the seventies. Iņve got a 200mm f4 for telephoto work, but its a bit too bulky to carry around.Īh, the OM system - its designer. I also carry a 50mm f1.8 lens and I intend to acquire a 2x converter. I typically used two OM bodies, one carries a medium telephoto (135mm) and has 400 ASA film, the other has a 28mm wide-angle and has 100ASA film. In addition it may be necessary to do some further editing work to remove artifacts such as tripod legs. Once the stitched image is created, it can be further edited as part of the conventional digital photography workflow. We use a server with eight cores and 8 Gb of memory because it is quite demanding of computing resources. The stitching process can be quite time-consuming. There are quite a number of programs available for image stitching, some of them free. We use a program called AutoPano Pro because it automates a lot of the workflow in identifying and building the individual panoramas from a large group of photographs. This takes a number of overlapping images and by applying various correlation functions is able to reconstruct the entire scene. Having captured the images, they need to be post-processed using stitching software. Finally you need to take a shot pointing straight up (zenith) and one pointing straight down (nadir) to complete the sphere. The outer of these scans do not need to have quite as many frames, but it is more trouble to try to remember the correct number than just to keep it the same.

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To give a full 360 degree horizontal by 180 degree vertical field of view we need to do two more scans above and below the horizon.

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This gives enough overlap between each frame for the stitching software to be able to do its work later in the process. With the lens set to 17mm and the camera orientated on its side, we can scan through 360 degrees in 12 frames. With the APS-C sensor of the 350D this is about equivalent to a 24mm wide-angle lens on a 35mm film camera.

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In order to get a 360 degree panorama without an excessive number of frames we use a wide-angle lens such as the Canon 17-40mm L series lens, set at the wide 17mm setting. It doesnņt need to be a particularly expensive one - we are currently using a fairly old EOS 350D which was one of the first of the 'pro-sumer' DSLRs. The camera body is a Canon EOS digital SLR camera. When set up correctly, the camera body will swing in an arc around the front of the lens. This is an eloborate piece of metalwork that allows the camera to move around the nodal point, which is usually close to the front element of the lens. For this reason we are using a special Manfrotto 303SPH panoramic head. In addition you need a special tripod head that allows the camera to be positioned in the mount so that it rotates around the nodal point, both vertically and horizontally. You might think that mounting a camera on a tripod would allow the camera to be panned and tilted while keeping this constant, but the location of the tripod mount is more to do with the mechanical design of the camera, whereas the nodal point is a property of the lens.įor this reason a sturdy tripod, while necessary, is not sufficient. If this point moves as the camera rotates, the perspective of the scene changes, and the result is that the view of the same area of the picture will vary between different frames. The precise position of the nodal point, or entrance pupil, is what defines the perspective view. Here is a run down of the equipment we are using for creating panoramic or 'extreme wide-angle' photographs.įirst, it is essential to have a way of moving the camera around the nodal point of the lens. Picturematic Home Galleries Articles Catalogue About Contact ☰ Panoramic Photography