On 4 Nov., 06:07, JohnPW <[email protected]> wrote: > I have some images I recently took handheld on a small yacht sailing > in San Francisco Bay. I had to put all the control points on > stationary parts of the boat since anything else was in constant > motion. It has made me want to do more hand blending and masking to > make the (very mismatched) horizon less jarring and to fix a few > things on the boat that moved. I was considering how best to do it.
Forgive my slightly off-topic reply, but here it is anyway: When I was a student, I attempted a project to analyze some (real- world, messy, processed...) animal feed raw materials by way of an image analysis system. This was in the eighties: I had a (nice :-) video microscope and a 512X512 monochrome frame grabber in an AT compatible computer. I showed the images I was working on to the prof who was reading computer vision at my uni. He looked at them and told me my problem was 'ill-posed'. I was a bit miffed at the time, but as my project proceeded I had no choice but eventually to come to the same conclusion. If the scene isn't static, you'll have a very hard time 'stitching' it together: it's like trying to make a garment from wrongly-cut pieces of material. I'd say the problem is ill-posed. What you need isn't a panorama stitcher but an optical system that captures all the moving bits in one go. Yet I'm curious to hear a few good tips on fixing the horizon 'manually', even though I usually manage to get the horizon right, sacrificing precision elsewhere in the stitch. Kay -- 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 [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/hugin-ptx
