I shoot raw and use Lightroom to organize and develop the pictures. So before starting a shoot, make sure the cams are going to generate different file names. And a third: if you wind up with a left image and a right image having the same file name and nearly the same time stamp, Lightroom will obstinately refuse to import the second one, on the grounds that it is a “duplicate”. Another: mark your cameras and lenses so that you always pair them the same, and always mount the same camera on the left. One special one for stereo: put objects close to the camera in the middle of a view, so they will not be cut by stitching seams. To minimize the support footprint I “overhang” the cameras a little - pupils slightly in front of the rotation axis - and use an offset pano head for multi-row.Īpart from “center the lens pupil”, all the usual panographic considerations apply. To avoid the need for nadir patch shots I shoot from a pole with a small swivel foot (and a big level to help me keep it vertical) or from a tiny tripod with a long neck. Usually I take 6 views around, rarely more than 12, both rows the same number. With the diagonal fisheye I shoot two rows tilted up and down 15-20 degrees. With the circular fisheye I shoot a single row with the camera tilted up about 5 deg. I recommend centered but actually use both. The vertical rotation axis can be directly under one lens pupil, to ensure one easy 2D stitch, or halfway between the pupils, to minimize the maximum parallax error. For single-row I just put the bar on top of a Nodal Nonja R20 mini-head. When the cameras are level, the pano head arm points straight down. For multi-row work I attach the bar to the top arm of a pano head with a right angle bracket, positioned so that the lens pupils are in line with the vertical pivot axis of the pano head. Lens rings with Arca feet and a horizontal bar work better than schemes involving the cameras’ tripod sockets. The cameras must be mounted rigidly side by side in portrait orientation, with lens pupils no more than 85mm apart - 65mm is ideal. Their wired release ports are connected to an isolator box that lets a single RF remote trigger both cameras. I use Sony APS-C format cameras with Samyang 7.5mm (circular fisheye) or 8mm (diagonal fisheye) lenses. The first requisite is a matched pair of small cameras with 180 degree fisheye lenses, and a means to trigger their shutters simultaneaously. PT3D works by converting a preliminary PTGui project into a final stitch project that better aligns and fits the images. It is very like the 2D process I have used for a decade, with stereo pairs of photos in place of single ones, and uses familiar tools: Lightroom, PTGui, krpano, Pano2Vr, Photoshop, plus my own stereo stitching helper, PT3D. ![]() ![]() What follows is a brief, expert-level tutorial on the workflow I currently use. We already have the tools to make stereoscopic panoramas at a reasonable cost in time and effort, and these tools are only going to get better. In a few more years, as the VR industry matures, I expect stereo 3D to become part of the skill set of most working VR photographers. ![]() Oculus 360Photos and the closely related Facebook 360 Photos service could easily become major publication platforms in future. Oculus 360Photos, while not now an easily accessible publishing platform, offers high quality display of local stereo images on Gear VR and Rift. Gala360 publishes photographic tours direct to VR devices such as Gear VR, Google DayDream, Rift and Vive, and fully supports stereo images. All VR displays on 360Cities support stereo images. It now has image sets that can be browsed in VR without removing the headset. has supported VR viewing on mobile devices for some time. Today it is a specialty that has been mastered by dozens of panoramic photographers, who are able to show their work not only as self-published tours built with krpano or Pano2VR, but also on at least 3 mainstream services. Three years ago, stereoscopic 360 photography was a curiosity.
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