Hi John,

in fact I use many many ways to blend. I use normal hugin automated blend,
I generate remapped images and put them as a layer in GIMP to use the
pieces I want, I guess you can imagine your way and test it. Testing will
give you the experience you are searching for.

Cheers,

Carlos E G Carvalho (Cartola)
http://cartola.org/360



2011/11/4 JohnPW <[email protected]>

> Ah yes. Maybe I gave too much info on the particular image and
> confused my question. It's probably much simpler than folks were
> probably thinking.
>
> I shouldn't have said "fixing the horizon manually," as I'm not really
> concerned about trying to make the picture look like it was taken in
> one go. I just want to make decisions on what is in the picture and
> how it is blended. I actually like the fact that the horizon is moving
> as it shows in a single image the dynamic nature of the situation in
> time and space.
>
> So to pose my problem more clearly, I should have simply said that I
> want to "adjust the image manually." I am interested in what methods
> people are using for making easy and efficient "hand adjustments." My
> particular interest is about how people choose to output the images
> for ease of registration and masking, and also what approach they take
> to doing that masking and adjustment.
>
> Do people use the individual remapped images and manually place them
> in a panorama sized image document?
> Do they do what I posed and output just two panos of alternating
> remapped images? (I thought this might be easier since all
> photographic information could be contained in just 2 equal sized
> panoramas.)
> Are alpha channels the way to go making the blends and masks?
> Is there some other better way?
> tricks tips etc.
>
> Thanks
> --John
>
> On Nov 4, 3:40 am, kfj <[email protected]> wrote:
> > 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
>
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