- Okay, let's get the camera attached to the tripod
so we're getting ready to shoot.
Now, Ron, you're gonna help me through some of the things
to think of here.
We've already established that we want to get the camera
into sort of a vertical portrait position.
Now, most people would do it this way.
They attach it to their tripod and then your head
usually has sort of a notch on the side here
that you can just loosen this and sort of flop that
into one of those notches but what's wrong here?
- Well I don't like that because now the lens
is even farther away from our rotation point as it is
when it's in the other position.
- So, while this is fine if you're on a budget
and you were shooting portraits and you just wanted
to convert your tripod into portrait mode,
it doesn't really work for panoramic shooting
because this is a huge distance.
I mean, let's just lock this down and take a swing here.
As that moves around there,
that's gonna be problematic right?
I mean, we just have huge differences between the camera
position and lens position.
- [Ron] That's right, we're trying to keep the lens
right above this place where it's rotating.
- Alright well we could take that back to center
and just release this and on this type of camera
we've attached a dedicated L bracket
which basically gives you two Arca-Swiss plates here
and there's different brands out there
but these points allow us to easily turn the camera,
drop that into the head, and so better right?
- [Ron] That's improved it, now our lens
is still not rotating quite over the center point,
the rotation point over the tripod but it's closer.
- And if we were doing something like shooting mountain
ranges or shooting the great outdoors,
not a lot of architectural details,
you could probably get by with this if you had to, right?
- [Ron] Right, what we're getting at
is that we're going to have what's called parallax
if we have our camera set like this.
Now, parallax if you haven heard of that before
here's a really great simple demonstration of that
and that's to just hold up a finger in front of you,
go ahead and do it I'm the one on camera looking silly
and I want everyone out there to do that
and just rotate back and forth.
If you look at your finger during that time
you'll see that the background changes
in relation to your finger.
Well that's parallax and if we do that when we're shooting
overlapping images then just like your finger
and whatever is in the background for you doesn't line up,
it won't line up in our images either.
- If you're dealing with things like maybe street tiles,
cobblestones, diagonal lines, streets, roads, grids,
architectural details, you can have a panoramic photo
that won't stitch or just looks kinda weird.
- [Ron] And you mentioned taking photos of something
like a mountain range, things that are very far away
from your camera, if that's the case, parallax really won't
be an issue and you can get away with doing
what we're doing here.
- But there is a way to compensate for that
and that is to get the camera shifted back a little bit.
So we're going to explore some other rigs in depth
but let's do this simply.
I'll take this off for a moment
and essentially we're gonna use a rail in this case
and I'm just getting it a little further away.
So this has it's own bubble level on it here
making it pretty easy to actually level this
and I'll attach that to the tripod head
and this is just a small simple plate
so I can move the camera forward and back
and why do we need that ability to slide?
- Well now what we're going to be able to do is
move the camera back which positions the lens directly
over the rotation axis of the tripod.
- So I'll just open that up and drop it in
and now it's relatively in the right position.
Now we're gonna explore the exact process in just a moment
but more or less, describe what we've done here.
- [Ron] We've already improved our situation again
because now it's the lens that's over the rotation axis
rather than the camera and we'll go ahead and show you
next how to get that setting exactly right.
- [Bald Man] Alright well we've walked you through some
of the essentials here, let's break down all
of these pieces of equipment in greater detail
and show you specifically how to compensate
for the no parallax concept.