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HTS 1.5
Item no.: 3043400
Use Of shIfT
for perfect parallel vertical lines in
Use Of shIfT
the image, the camera needs to be
for perfect parallel vertical lines in
parallel to the subject. Tilting the
the image, the camera needs to be
whole camera would produce con-
parallel to the subject. Tilting the
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V
verging parallel lines. But by shifting
whole camera would produce con-
the lens parallel to the image plane,
verging parallel lines. But by shifting
you can raise or lower the view with-
the lens parallel to the image plane,
out tilting the camera. If the subject
you can raise or lower the view with-
is a building as in this example, the
out tilting the camera. If the subject
camera should be placed level.
is a building as in this example, the
camera should be placed level.
Camera positioned level. The roof of the building is outside the area
projected onto the sensor (HC28 + HTS).
Camera positioned level. The roof of the building is outside the area
projected onto the sensor (HC28 + HTS).
The complete camera tilted upwards to include the top of the
building results in converging vertical lines in the image.
The complete camera tilted upwards to include the top of the
building results in converging vertical lines in the image.
sTITChInG
The hTs 1.5 lends itself extremely well to automatic stitching
to create a panoramic image in super high quality. With most
sTITChInG
subjects it will be impossible to detect any dividing line between
The hTs 1.5 lends itself extremely well to automatic stitching
the separate images. The main reasons for this are:
to create a panoramic image in super high quality. With most
subjects it will be impossible to detect any dividing line between
• The lens is shifted sideways and therefore does not produce
the separate images. The main reasons for this are:
any distortion of the subject
• The lens is shifted sideways and therefore does not produce
• The DAC lens correction for distortion and vignetting ensures
any distortion of the subject
The camera positioned level again with an upward lens shift of
perfect images that can easily be stitched together
• The DAC lens correction for distortion and vignetting ensures
9 mm applied results in parallel verticals.
The camera positioned level again with an upward lens shift of
9 mm applied results in parallel verticals.
perfect images that can easily be stitched together
The resulting image can be created in any high-end stitching
The resulting image can be created in any high-end stitching
software, e.g. the "photomerge" function in adobe photoshop
software, e.g. the "photomerge" function in adobe photoshop
Cs3 or later.
Cs3 or later.
prOCedUre
prOCedUre
place the camera on a tripod and aim it at a subject. Then set
place the camera on a tripod and aim it at a subject. Then set
the hTs 1.5 in the normal position with no tilt or shift. rotate
the hTs 1.5 in the normal position with no tilt or shift. rotate
the hTs 1.5 with the controls facing up to allow for sideways
shift. Make the first exposure in the mid position. shift to both
the hTs 1.5 with the controls facing up to allow for sideways
end positions and make an exposure in each position. develop
shift. Make the first exposure in the mid position. shift to both
the three images with daC turned on. Import the images into the
end positions and make an exposure in each position. develop
stitching software and follow the instructions.
the three images with daC turned on. Import the images into the
stitching software and follow the instructions.
HCD28 and HTS 1.5 — The three images above were taken with shift and have been merged (horizontally) into one image using Adobe
Photoshop CS3 (Photomerge). Even at 100% it is almost impossible to see where the separate files have been stitched together.
HCD28 and HTS 1.5 – The three images above have been merged into one image using Adobe Photoshop CS3 "Photomerge".
l s
x e
HCD28 and HTS 1.5 – The three images above have been merged into one image using Adobe Photoshop CS3 "Photomerge".
l s
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2
Shift
– in practice
When the subject demands correct
reproduction without undue distortion,
shift can often be used to provide the
answer.
In addition, shift allows the opportunity
to produce tremendous panoramas that
are quick and easy to produce.
TILT and shIfT adapTer
TILT and shIfT adapTer
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The camera is levelled to pro-
g
n
h i
c
i t
s t
duce non-converging verticals
but the top of the building
falls outside the sensor area.
Tilting the camera upwards
TILT and shIfT adapTer
produces converging verticals
easily seen here at the edges.
TILT and shIfT adapTer
Levelling the camera again
In the case of adobe photoshop Cs3, use the following proce-
and shifting the lens upwards
dure:
allows the top of the building
• open the three images
to be projected onto the
In the case of adobe photoshop Cs3, use the following proce-
sensor.
• Go to menu: "File - Automate - Photomerge"
dure:
As the camera is level (that
• Click on "add open files" and check "interactive layout"
• open the three images
is, the sensor is in the same
vertical plane as the build-
• Go to menu: "File - Automate - Photomerge"
• Click OK
ing), the verticals do not
• Click on "add open files" and check "interactive layout"
• In the preview that appears you can choose to modify the
converge.
• Click OK
layout, but in most cases there will be no need for any manual
m
m
• In the preview that appears you can choose to modify the
8
1
m
m
8
1
interaction.
layout, but in most cases there will be no need for any manual
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interaction.
• Finally click OK and the final stiched image will be proc-
• Finally click OK and the final stiched image will be proc-
essed.
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essed.
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If the stitch is not perfect, you can modify the layer masks for
If the stitch is not perfect, you can modify the layer masks for
each layer.
each layer.
Even at 100% it is almost impossible to see any stitch lines.
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27
p i
M
9
9
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5
I I -
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3
H
:
z e
s i
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Even at 100% it is almost impossible to see any stitch lines.
p i
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—
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H
Shift - in practice
Shift – to solve problems
The perspective in an image is produced partially by the angle
of the camera (image/sensor plane) to the subject. Altering
the angle often solves one problem only to create another. The
example here illustrates a common situation.
When photographing a building, the location and lens availability
do not allow you to photograph the whole height. Levelling the
camera produces acceptable parallel verticals in the image but
does not include the top of the building.
Pointing the camera upwards (that is, changing the angle of the
image plane to the subject) to include the missing top section
now produces an unacceptable change in apparent perspective
(in this case, converging verticals).
That is where shift can provide the solution. Shift allows you
to move the lens while still maintaining the same angle of the
image plane to the subject which preserves the parallelism,
thereby solving the problem.
In practice, by the same principle, the lens can also be moved
in a sideways direction, by first rotating the HTS, to include sec-
tions to the left and right.
Shift – in use
For most architectural shots, room sets, interiors and indus-
trial work etc, it is normal to level the camera if the goal is to
reproduce verticals as non-converging and upright in the image.
Ensure both the shift and tilt movements are set at zero initially.
Shifting the lens does not alter the orientation of the plane of
focus as tilting does, neither does it alter the focus setting. Full
attention can consequently be paid to what is included in the
viewfinder once the initial settings have been decided on.
Horizontal stitching
a l
n t
o
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o r
H
18 mm
Final image size:
a g
m
i
a l
n
F i
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5/8
USER MANUALS
Shift – for stitching
Stitching is the practice of digitally merging several images
together seamlessly. By shifting the lens, the HTS 1.5 provides
the opportunity of altering the final image format by expanding
the width by 73% or height by 98% compared to the normal for-
mat. The great advantage over normal methods of re-orienting
the camera is that the perspective appears identical in all shots
as the lens and subject remain parallel to the image plane.
Subjects such as interiors, architectural and documentation
work all benefit by excluding perspective distortion that would
normally be obtained by moving the camera angle. In this way
you gain a highly accurate panorama effect from a standard
H3DII camera with standard lenses. Although the use of a
tripod facilitates this practice, first class results are easily ob-
tainable from hand held shots too. Naturally, exposure settings
should be kept identical, if possible, to avoid problems later on
when matching.
The post-production work on such images in the later versions
of Adobe Photoshop is fast, accurate and automatic enough to
be able to classify the process as normal procedure.
In practice the camera does not have to be level. Also, there is
no real need to make three individual captures (one centered,
and one either side) as normally the software will choose the
left and right images only if set on automatic in Photoshop.
Nevertheless, for critical use you might want to consider making
the three captures and then manually choose selected areas to
include in the final combination. See overleaf for an example of
stitching.
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Vertical stitching
18 mm
H3D II-50 — 99 Mpixels
H3D II-39 — 77 Mpixels
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Creative opportunities
Both tilt and shift can be used, singly or
together, to create creative solutions to
problems or to create creative alterna-
tives for a fresher approach.
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18 mm
18 mm
Final image size:
H3D II-50 — 87 Mpixels
H3D II-39 — 68 Mpixels
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HTS 1.5 – 3043400 – 2011 – v3
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