And Video Stitch (along with PTGUI) has a better way to find control points and stitch.
#Autopano video legacy pro#
In very broad terms, I think Autopano Video Pro is easier to learn and has some great features like smart iso, and the ability to key frame masking, etc. For the purposes of this article, when I speak about AVP, I'm talking about the package with Autopano Giga and same for Video-Stitch with PTGUI. Kolor's best program is called Autopano Giga and Video Stitch uses PTGUI, so do your homework and be prepared before you make your purchase.
#Autopano video legacy software#
The good news is you can't really go wrong, they're both great programs! If you're a 360 video professional, you might want to consider getting both and you'll understand why after you read this post.Īlso, it's important to note that while you can stitch video in both of these programs without further software, MOST people use other software to do the real stitching work. Although at around $600 for the AutoPano Video Pro software, it’s not the cheapest.In this article I will talk about the differences between Kolor's Autopano Video Pro (AVP) and Video-Stitch (VS). There are, of course, other ways to create tiny planets, but using Premiere Pro offers up many options that mobile apps simply can’t provide. That will depend on your personal tastes, the type of footage you’re working with, as well as how closely some objects are to the camera in relation to the rest of the environment. From here, it’s a case of experimenting to see what gives you something you like. That’s pretty much all there is to creating the tiny planet. This allows you to create smooth transitions from a regular camera angle to tiny planet and back again. These allow you to set various settings that go from one value to another gradually throughout the clip. One of the major benefits of using application like Premiere Pro is that you can set keyframes. otherwise, you’re probably going to end up looking at a tunnel. You’ll also want to adjust the pitch of your camera to -90° to make it point straight down, too. Higher numbers will send the lens really wide going from one side of the sky to the other, creating your tiny planet. Lower numbers will simulate a more traditional camera lens. The field of view at which you start and stop is going to depend on what you like the look of. That’s the field of view in the GoPro VR Reframe plugin. Once you’ve figured out a way which best hides it for you, though, you only really need to change one parameter. If you’re having blending issues trying to mask out your tripod, suction cup mount, or whatever else the camera’s sitting on, you can always just cover it with a logo. Exporting this out to Photoshop allows Justin to create an image overlay which hides this from view in the final footage. Justin points it toward the suction cup mount that’s holding the rig to his car. With the GoPro VR Horizon, you can adjust what you see at the centre of the frame. The first thing to do, though, is to load your footage up into Premiere Pro. This tutorial uses the GoPro VR plugins, which come with AutoPano Video Pro, for Adobe Premiere Pro. Specifically, decent editing applications.
But the desktop does offer advantages for all 360 shooters. While it’s difficult to keep up with the detail of six stitched 4K cameras, 360° cameras are starting to close the gap. The GoPro Omni practically forces the use of a desktop system for editing. The only real advantage offered with the GoPro Omni system is increased resolution. This is actually the third part of a series, but this process can be adapted to virtually any 360° camera. Plus, he’s already covered that in a previous video. It’s also not that interesting to people using a regular 360° camera, either. He doesn’t go over how all this lot stitches together, because it goes beyond the scope of this video. Justin uses the GoPro Omni, GoPro’s rig consisting of half a dozen GoPro Hero 4 Black cameras.