QuickTime VR Demystified provides information on
creating QTVR panoramas without all the fancy
hardware other folks would like you to think you
need. The idea is to help you think outside the
lines and make unique use of the QTVR tools of
creation on a shoestring budget.
The basic photographic equipment needed to
create QuickTime VR panoramas is covered. Both
indoor and outdoor equipment is covered with an
emphasis on outdoor panoramas as they are the
simplest to create.
Photographic accessories such as L-brackets and
panheads are covered. Detailed construction plans
are given, from how to create custom brackets from
basic tools and supplies, to the creation of a pan
head made from a compass and a bubble level.
The first category of QuickTime VR software is
content authoring. The software and computing
hardware required to create panoramas for QuickTime
VR is described. The second category of software
behind QuickTime VR is the QTVR 2.0 application
programming interface. The QTVR 2.0 API is
described by way of code examples showing novel
playback engines which have localized sound
playback, unique user interfaces for multinode
panorama navigation, and more.
Following the examples in the QuickTime VR
manuals, and talking to "professionals", one might
think it is a requirement to have a $2000 Nikon N90
with a $1500 15mm Nikon lens sitting atop a $600
tripod with an $800 click-stop pan head to even
begin to think about creating QTVR content. This is
not in fact the case, and here you will learn
Comparisons between mathematical purity, the
analog real world, and how the QTVR tools help to
merge the two help to simplify QTVR content
creation. Common questions are answered and
conventional wisdom is challenged. A broad range of
information is presented ranging from the
differences between inside and outside panorama
creation, to dealing with dark banding and
vignetting inside your panorama, to choosing the
right camera for the right situation.
Compare and contrast examples of each medium are
presented along with examples of a low quality
video still camera, a medium quality digital
camera, and several traditional 35mm cameras.
Issues over release medium (CD, internet, and
print), reviews of several digital cameras, and
examples of how different lenses affect the field
of view of a panorama are also discussed.
Presented are project runthroughs with examples
of the results along with tips and techniques of
underwater panorama creation, adding signature
lines to your panoramas, and getting your images to
dewarp correctly. Issues and examples relating to
the number of exposures required for a panorama as
well as the panorama size and quality settings are