: ∞ :
p a n o p t I c o n ∞ is
an entirely different way of looking at things. Especially panoramas.
an entirely different way of looking at things. Especially panoramas.
to Infinity and Beyond [ 360º ]
[The possibilities are endless]
It's not a Bug, It's the Future >
Gives you control >
Thinks outside the cylinder >
Is Philosophical >
[The possibilities are endless]
It's not a Bug, It's the Future >
Gives you control >
Thinks outside the cylinder >
Is Philosophical >
slice of life trifecta - pizza delivered at the plaza, three times, pronto
As I experimented with Panoramas, I quickly realized that when I
pushed the AI past its limits, I could cause it to hallucinate.
And record the trip, deliver surreal results as it tried to cope with TMI.
Literally, a digital melt-down.
And I quickly realized the flawed photos were far more interesting than perfection.
Once I discovered the machine was fallible, but still willing to try,
I started messing with it even more, pushing it harder.
I wanted to break it, make it deliver unexpected images of things that couldn't be accurate.
Why is there an (arbitrary) 360-degree limit for a panorama? Because always?
And so the auto-stitch software is still focused on the Cylindrical/Spherical
single-axis problem-solving - and correcting and adjusting the image
assuming it was shot following the Axis Rules of steady, level rotation.
Bend the rules and you end up with bent pictures.
pushed the AI past its limits, I could cause it to hallucinate.
And record the trip, deliver surreal results as it tried to cope with TMI.
Literally, a digital melt-down.
And I quickly realized the flawed photos were far more interesting than perfection.
Once I discovered the machine was fallible, but still willing to try,
I started messing with it even more, pushing it harder.
I wanted to break it, make it deliver unexpected images of things that couldn't be accurate.
Why is there an (arbitrary) 360-degree limit for a panorama? Because always?
And so the auto-stitch software is still focused on the Cylindrical/Spherical
single-axis problem-solving - and correcting and adjusting the image
assuming it was shot following the Axis Rules of steady, level rotation.
Bend the rules and you end up with bent pictures.
|
|
I liked the surprise results and appreciated the jagged evidence of the software's limitations.
I embrace the random mistakes; I want them to happen. The software is my assistant an
unwitting collaborator. The more I play around, the more I'm sucked in.
I embrace the random mistakes; I want them to happen. The software is my assistant an
unwitting collaborator. The more I play around, the more I'm sucked in.
The Really Big Idea
Eventually, I realized that while the panorama code was conveniently making tons of complicated decisions for me, the software wasn't necessarily making the same choices I'd have made.
What if I could be the boss of the process, the Deicder, able to tweak the joinery algorithms before - and again, after the fact?
What if I could crack the software open and bend the “stitching algorithms” to my will?
That thought was the grain of sand that eventually became the pearl; P A N O P T I C O N.
Eventually, I realized that while the panorama code was conveniently making tons of complicated decisions for me, the software wasn't necessarily making the same choices I'd have made.
What if I could be the boss of the process, the Deicder, able to tweak the joinery algorithms before - and again, after the fact?
What if I could crack the software open and bend the “stitching algorithms” to my will?
That thought was the grain of sand that eventually became the pearl; P A N O P T I C O N.
P A N O P T I C O N is AI Image Joinery software that puts the user in complete control
Like “Adjust Color” apps give you control over the Hue, Saturation, Exposure etc. of an image,
P A N O P T I C O N gives you manual oversight of all the pertinent image-joinery parameters.
Like the Lytro light field camera records all the possible data and gives you control
over the depth of field, focal length, exposure, and aperture parameters after the shot has been taken,
P A N O P T I C O N gives you the ability to manipulate the complete photo-data-set as you wish.
Start with the raw data and produce infinite variations.
You can also specify shutter speed and other settings before taking the panorama.
P A N O P T I C O N gives you manual oversight of all the pertinent image-joinery parameters.
Like the Lytro light field camera records all the possible data and gives you control
over the depth of field, focal length, exposure, and aperture parameters after the shot has been taken,
P A N O P T I C O N gives you the ability to manipulate the complete photo-data-set as you wish.
Start with the raw data and produce infinite variations.
You can also specify shutter speed and other settings before taking the panorama.
P A N O P T I C O N gives you a collection of Sliders and Maximum/Minimum settings
that allow you to control all aspects of each photo-slice; slice width, overlap amount, angle, etc.
plus, control of the over-all mashup parameters, how it’s selecting the slice-points,
how it determines which parts of the total footage get “prioritized.”
For convenience you have the ability to leave some or all of the settings on Auto as desired.
The interface would be a mash-up of Photo and Video editor tools.
that allow you to control all aspects of each photo-slice; slice width, overlap amount, angle, etc.
plus, control of the over-all mashup parameters, how it’s selecting the slice-points,
how it determines which parts of the total footage get “prioritized.”
For convenience you have the ability to leave some or all of the settings on Auto as desired.
The interface would be a mash-up of Photo and Video editor tools.
Each image is linked to two other images, one on either side – scroll through and adjust.
Select a sequence of frames and apply the same tweak to all.
With P A N O P T I C O N you can to tweak as many aspects as possible.
(Project starts with learning how the panorama code works now, what all of the variable factors are.)
It also gives you the capability to adjust the light-level during the exposure(s).
Select a sequence of frames and apply the same tweak to all.
With P A N O P T I C O N you can to tweak as many aspects as possible.
(Project starts with learning how the panorama code works now, what all of the variable factors are.)
It also gives you the capability to adjust the light-level during the exposure(s).
If it's not a 360, is it still a panorama?
The first Panorama camera was patented in 1843, back when the daguerreotype was cutting edge.
Yet today's digital panorama is still stuck in the past, caught in a loop, stuck in a circular rut.
P A N O P T I C O N thinks outside the cylinder.
The first Panorama camera was patented in 1843, back when the daguerreotype was cutting edge.
Yet today's digital panorama is still stuck in the past, caught in a loop, stuck in a circular rut.
P A N O P T I C O N thinks outside the cylinder.
An old-fashioned panorama ends arbitrarily.
But there's no reason stop recording at 360º?
A circle is finite, ends where it started.
And there's no reason you have to shoot a panorama while turning in a circle.
Except for respecting tradition I guess.
More like a film than a photo, P A N O P T I C O N goes on and on.
With P A N O P T I C O N, you can keep recording a linear image for as long as you have the memory available.
But there's no reason stop recording at 360º?
A circle is finite, ends where it started.
And there's no reason you have to shoot a panorama while turning in a circle.
Except for respecting tradition I guess.
More like a film than a photo, P A N O P T I C O N goes on and on.
With P A N O P T I C O N, you can keep recording a linear image for as long as you have the memory available.
When filming with P A N O P T I C O N, the software lets you save RAW files for each/all of the slices
– at the widest slice possible and at highest resolution possible.
Images are sent wirelessly to laptop or external drive – avoiding limitations of phone memory.
(Current stitching software discards all the unused data once the final image has been calculated.)
– at the widest slice possible and at highest resolution possible.
Images are sent wirelessly to laptop or external drive – avoiding limitations of phone memory.
(Current stitching software discards all the unused data once the final image has been calculated.)
I conceived P A N O P T I C O N as a new tool for visual artists. Mostly.
Give people continuous wireless recording free of the 360º constraint and see how far it can go.
Photo-Stories, Still-Movies, image-only DIY, Inventory Control, Wordless Recipes...
I can't wait to see what will the world find to do with this.
Give people continuous wireless recording free of the 360º constraint and see how far it can go.
Photo-Stories, Still-Movies, image-only DIY, Inventory Control, Wordless Recipes...
I can't wait to see what will the world find to do with this.
But I've got art in my heart here.
This all started because I want control over the panoramic-image-taking-process.
That's why I want to make P A N O P T I C O N a real business venture,
one that produces this revolutionary image processing software.
This all started because I want control over the panoramic-image-taking-process.
That's why I want to make P A N O P T I C O N a real business venture,
one that produces this revolutionary image processing software.
But wait there's more!
P A N O P T I C O N has other potential applications.
Instead of processing consecutive photo-slivers, I would feed consecutive movie frames
(or every 3rd frame), as the data the software stitches into a panorama.
Each frame = one of the vertical strips P A N O P T I C O N joins.
How many frames are meshed determines the width of the final "panoramic" image.
A sequence where the camera is in motion works best
- because a static camera doesn't "look around" enough.
A cut would still render as a cut, but the overall resulting panorama would be one long scroll,
and go on for as long as the movie had frames.
Printing one long image would not be practical of course,
but 1-foot wide sections, stacked sequentially and collected in an album
would let you experience a movie in an entirely new way.
You could also input every 5th frame - from 2 videos, alternating between them,
producing a linear image that was a mash-up of 2 videos.
Then apply a lenticular lens that aligns with the panorama "strip-width".
P A N O P T I C O N has other potential applications.
Instead of processing consecutive photo-slivers, I would feed consecutive movie frames
(or every 3rd frame), as the data the software stitches into a panorama.
Each frame = one of the vertical strips P A N O P T I C O N joins.
How many frames are meshed determines the width of the final "panoramic" image.
A sequence where the camera is in motion works best
- because a static camera doesn't "look around" enough.
A cut would still render as a cut, but the overall resulting panorama would be one long scroll,
and go on for as long as the movie had frames.
Printing one long image would not be practical of course,
but 1-foot wide sections, stacked sequentially and collected in an album
would let you experience a movie in an entirely new way.
You could also input every 5th frame - from 2 videos, alternating between them,
producing a linear image that was a mash-up of 2 videos.
Then apply a lenticular lens that aligns with the panorama "strip-width".
u n t i l l t h e e n d o f t i m e
Even a quick search returns plenty of image-stitching programs out there. Of course there would be. It would take a while to do proper due diligence. But P A N O P T I C O N is unique in a number of ways.
P A N O P T I C O N is different because the other image stitching programs use images shot before - and assemble them all after-the-fact.
The user needs to have taken a series of "regular" (or wide-angle shots) and inputs the .jpgs (or whatever format) for manipulation.
A Panopticon image starts with the image data as captured during a panorama exposure, more akin to a sequence of movie film or video frames than individual jpgs.
P A N O P T I C O N is a CAMERA application that lives on your phone and lets you adjust settings before you take the shot - and then again afterwards, to let you "re-stich" the images with different settings for different results.
P A N O P T I C O N is different because you can adjust more of the stitching parameters after the shot – and run the raw data though on Auto Stitch, as many ways/times as desired. Panopticon provides the advantages of manual control/maximum adjustability combined with the convenience of auto-stitching.
P A N O P T I C O N takes a different approach. The existing programs still revolve around a cylindrical or spherical model. Their narrow purpose is image-stitching a series of images taken in a circle to produce either a classic wide-format 2-D panorama or an immersive 3-D/VR image.
P A N O P T I C O N does NOT (necessarily) produce a PANORAMIC IMAGE - it has no set start/stop points, nor an axis preference. It can continue to collect image data - and apply an initial auto-stitch on the fly – for as long as you have memory available. Therefore the final output is not limited to a single strip of 360 degrees rendered flat – but can scroll on indefinitely.
P A N O P T I C O N is different because it records big image slices at full resolution.
It delivers a final 2-D auto-stitched image (based on your preliminary settings),
but that "final image" is merely a suggestion, one of a near-infinite number of possible final images.
Because you can always access all the original full image data-set,
you can (re)adjust the stitching parameters and run the auto-stitch again and again.
And then you can go back in and adjust the end results "frame by frame."
P A N O P T I C O N is different because it transmits the complete data wirelessly from phone or tablet - to a laptop or external drive.
P A N O P T I C O N is different because it transmits the complete data wirelessly from a tiny lens-bluetooth-battery unit.
P A N O P T I C O N is different because
• it offers control over more aspects of the sticking process
• it offers more automated "filters"
• More than just an "after-effects program"
- it gives you controls that optimize image before shooting
- plus control over more of the image parameters
- highest resolution files sent wirelessly to laptop or external drive
A P A N O P T I C O N image is composed more like a video than a photograph.
- It is NOT a traditional cylindrical/360-degree view transformed into a wide-format 2-D image.
- The shot begins with WYSIWYG displayed on the phone-screen - and stops recording whenever you decide.
It's a linear record, as we experience time, and can theoretically be as long as your external hard drive can remember.
The lens can move in whichever/whatever axis as you desire
("Don't tell me to "Move Up" or "Move Down" or "Slow Down"– I'm the Director of this Motion Picture.")
P A N O P T I C O N - no longer tethered to the old-school self-centered outward-facing 360 loop,
a Panopticon image can be created with free-ranging, unrestricted camera movements.
• NOTE: I don't think my earlier ideas about using movie frames as source images have been executed (yet)
– but I think they could be easily achieved with the current software available.
[Another Side Project perhaps, but not something patentable]
P A N O P T I C O N is different because the other image stitching programs use images shot before - and assemble them all after-the-fact.
The user needs to have taken a series of "regular" (or wide-angle shots) and inputs the .jpgs (or whatever format) for manipulation.
A Panopticon image starts with the image data as captured during a panorama exposure, more akin to a sequence of movie film or video frames than individual jpgs.
P A N O P T I C O N is a CAMERA application that lives on your phone and lets you adjust settings before you take the shot - and then again afterwards, to let you "re-stich" the images with different settings for different results.
P A N O P T I C O N is different because you can adjust more of the stitching parameters after the shot – and run the raw data though on Auto Stitch, as many ways/times as desired. Panopticon provides the advantages of manual control/maximum adjustability combined with the convenience of auto-stitching.
P A N O P T I C O N takes a different approach. The existing programs still revolve around a cylindrical or spherical model. Their narrow purpose is image-stitching a series of images taken in a circle to produce either a classic wide-format 2-D panorama or an immersive 3-D/VR image.
P A N O P T I C O N does NOT (necessarily) produce a PANORAMIC IMAGE - it has no set start/stop points, nor an axis preference. It can continue to collect image data - and apply an initial auto-stitch on the fly – for as long as you have memory available. Therefore the final output is not limited to a single strip of 360 degrees rendered flat – but can scroll on indefinitely.
P A N O P T I C O N is different because it records big image slices at full resolution.
It delivers a final 2-D auto-stitched image (based on your preliminary settings),
but that "final image" is merely a suggestion, one of a near-infinite number of possible final images.
Because you can always access all the original full image data-set,
you can (re)adjust the stitching parameters and run the auto-stitch again and again.
And then you can go back in and adjust the end results "frame by frame."
P A N O P T I C O N is different because it transmits the complete data wirelessly from phone or tablet - to a laptop or external drive.
P A N O P T I C O N is different because it transmits the complete data wirelessly from a tiny lens-bluetooth-battery unit.
P A N O P T I C O N is different because
• it offers control over more aspects of the sticking process
• it offers more automated "filters"
• More than just an "after-effects program"
- it gives you controls that optimize image before shooting
- plus control over more of the image parameters
- highest resolution files sent wirelessly to laptop or external drive
A P A N O P T I C O N image is composed more like a video than a photograph.
- It is NOT a traditional cylindrical/360-degree view transformed into a wide-format 2-D image.
- The shot begins with WYSIWYG displayed on the phone-screen - and stops recording whenever you decide.
It's a linear record, as we experience time, and can theoretically be as long as your external hard drive can remember.
The lens can move in whichever/whatever axis as you desire
("Don't tell me to "Move Up" or "Move Down" or "Slow Down"– I'm the Director of this Motion Picture.")
P A N O P T I C O N - no longer tethered to the old-school self-centered outward-facing 360 loop,
a Panopticon image can be created with free-ranging, unrestricted camera movements.
• NOTE: I don't think my earlier ideas about using movie frames as source images have been executed (yet)
– but I think they could be easily achieved with the current software available.
[Another Side Project perhaps, but not something patentable]
P A N O P T I C O N is different because
words
|
P A N O P T I C O N is Philosophical P A N O P T I C O N is Digital Cubism |
|
P A N O P T I C O N is the Big Picture
There is the theory of the Möbius - a twist in the fabric of space, when time becomes a loop... time becomes a loop... becomes a loop...
P A N O P T I C O N is digital photography developed in a bath of lysergic acid
P A N O P T I C O N is abstract
|
Twist and shout.
Francis Bacon is one of my favorite painters. I still like a normal 360-degree panorama. I still take "regular" pictures. But I I like to be surprised. |
p a n o n o p t i c o n - infinite, frameless, sequential/linear recording and 2-D rendering
I was standing by the stream bed and started taking this picture
as the truck entered the screen from the very far left,
panning to the right, tracking with the truck until the camera stopped filming.
Next the AI displays a flopped truck headed in the opposite direction, in the wrong lane
– then shows the cab and the rear as it exits right.
as the truck entered the screen from the very far left,
panning to the right, tracking with the truck until the camera stopped filming.
Next the AI displays a flopped truck headed in the opposite direction, in the wrong lane
– then shows the cab and the rear as it exits right.
And similarly here, a pan from left to right starting with the bus approaching, I kept turning and pivoted as the bus passed by me.
The computer took the information that it had of the front of the bus - but flipped it so it could show me the bus going in both directions at once.
The computer took the information that it had of the front of the bus - but flipped it so it could show me the bus going in both directions at once.
