Can’t seem to get something to synth right? Curious about what lens is best? Ask your fellow Photosynthers here.
Here's a synth I just finished shooting:
The bulk of the shots have at least 60% overlap with the next shot during the walking sequences, and when I walked around an object, I tried to make small enough moves to have lots of overlap there, too. But for some reason all MANNER of oddball geometries came out in the point cloud. Despite being shot from a tripod with the camera leveled, some of the shot orientations in the synth show all manner of oblique angles.
Any pointers? I'll be in there again on Monday, and can re-shoot it another way if that's what it would take.
P.S. It's pretty crummy as-is. I doubt I'll leave this one up long.
I think you should'nt worry about distorsion, colour or light; photosynth is very good for stitching and correcting light and perspective. but if you could had 20 more pics ...
Any particular location or orientation you'd put the additional pictures? For instance, when moving around the grating pedestal, would you have put more positions in there? Or do you think it would work better to include more shots in transitions?
Thanks for the feedback.
I don't really see where the second clump of photos fits in. You need more photos tying the window behind the contraption to the rest of the scene.
Here's another way to think of making something synth better:
1) Take a panorama of the whole scene standing from one spot, holding the camera at arm's length. Overlap the photos by 2/3rds so that any point is in 3 photos.
2) Add closeups of the details you want to hilight by using a telephoto or walking straight from this point to the object.
3) Add objects to the synth by taking about 30 photos per complete rotation. Every photo should be pointed at some common point inside the object and all photos should be taken at the same distance from that point.
Thanks for those tips, madeeds. I think it's the transitions and the orbits of the objects in the room that fell short, as you said. I'm actually at that location today, but we're using one of the instruments in the room to take data, so we can't turn on the room lights. I'll have to wait about a week before I get another crack at re-shooting that sequence.
I'm curious about #1, though: Any particular reason to shoot the pano at arm's length rather than on a tripod, rotating the camera about the lens's nodal point?
Thanks again for the feedback. It'll be a do-over.
From what I understand, the only real reason to shoot at arms length is that you addition paralax that way for stuff that's close enough. If you move the tripod around (at least 3 locations that can see each other), then I don't think it makes a difference.