Having (for instance) a mountain range on one side of the scene and a valley on the other will significantly unbalance the shot. "Balancing" the planet shape is a major part of composing these shots. This means a tree off in the distance will look relatively undistorted, but one a few meters from the camera will be massively warped. ![]() Apparent angular size of objects and their relative angle from directly below the camera determines how distorted they will appear. For tiny planets, the distortion is lowest directly below the camera, and increases to infinite directly above. Getting a feeling for how the distortion works takes some time. If you have only rotated as suggested, the horizon of the original scene should form a perfect circle, and a 1:1 aspect ratio crop will be align the planet to the middle of the image. Once you are satisfied with the composition, hit Next.Ĭrop out the image to remove significant distortion above the horizon (and to keep the file size sensible). The image should have formed something that resembles a tiny planet, and I would recommend only rotating the image using the mouse as this will significantly simplify Cropping for the purposes of maintaining symmetry. This tells you that the tool was able to find and stitch together enough information.Ĭhange the projection to Stereographic, then set the Orientation to: Check the readout at below the stitching window, it should read Spans 360 degree Horizontally and 180 degree Vertically. The program should have selected a projection (usually Spherical). Once you’ve got shots in all directions, open Microsoft Image Composite Editor and drop all the files into the program.Ĭheck the Camera Motion is set to AutoDetect, and hit Next. Now repeat this but pitch up above the horizon and get shots up to Zenith. Repeat this until the camera is pointing straight down to Nadir, and get the final shots. Once this is done, change the pitch of the camera down by around 30 to 40 degrees (or about 1/5th of the vertical FOV of your camera), and take another set of photos rotating the yaw between each shot until all directions are covered, ensuring there is some overlap in each photo between rotation. On a 90 degree FOV, I aim for about 6 to 8 shots to fully rotate the yaw through 360 degrees. Take photos of the horizon, rotating the camera yaw on each shot, but overlap the images slightly. It’s possible to use an Orbit camera if the orbit is fairly tight, but noticeable camera movement will cause the stitching routine to malfunction. Once you’ve found a spot, don’t move from here. ![]() The camera needs to be placed in a fixed location, like it’s on a tripod or stationary drone.
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