The thread: Fitted, not assumed — page 5
A refocused panorama is six lenses
Refocus between the frames of a room panorama and each frame is its own camera: its pupil carried forward by its own extension, its picture made at its own principal distance. The best fixed pivot then leaves 12.9 arcminutes along the worst seam, and a head that slides the camera back as the lens extends leaves 2.82 — the lens's walk alone. The pivot's share is first order and worth a tracking head indoors. But a stitcher that reads all six frames with one focal length misregisters by up to 270 arcminutes, which is the larger mistake by ninety times.
Measuring from one pictureA wrong model shows at its own level
Give a single-view measurement the wrong length and the error stays in the length. Give it the wrong model — a slope where it assumed level ground, a horizon five pixels out, a focal length off the barrel — and the error lands on the level that model belongs to and on every level above it, never below. That is a diagnostic. Two equal things at different depths catch a wrong plane; two equal things at right angles catch a wrong shape; marks read to 0.4 px see a slope of 0.38°. A wrong length, alone, nothing in one picture can see.
Mirrors that are not camerasTwo wide pairs are most of a symmetry
A facade with a symmetric frame and an asymmetric middle is still its own stereo pair. Two pairs whose halves stand wide apart find the symmetry plane to 0.40° with marks read to 0.4 px; twelve pairs find it to 0.26°; two narrow pairs only to 1.35°. The middle that pairs with nothing comes back too, to 0.8 per cent, carried along its rays to the wall the pairs have fixed. The risk is not too little symmetry but a false pair — and a window set wider than its partner is one the standard test cannot see.
Through water and glassA calibration through glass reports a prism
Give a calibration that knows nothing of a 2° wedge in front of the lens the two decentring terms every standard model carries, and it takes three-quarters of the swirl the wedge leaves, moves the principal point further rather than less, and reports a lens decentred by about 0.013 — a lens that does not exist. Give it thin-prism terms instead and it takes more — nine-tenths at twenty-five degrees off the axis, almost all of it nearer — and reports what the glass is: a prism. Either way the residual that announced the glass goes quiet, out to 41° and 46° off the axis instead of 22°.
Through water and glassA water surface's height trades against its index
Three eyes that must find the water's surface as well as its index find the two along a valley: a surface assumed higher bends every ray sooner, and an index assumed weaker makes up for it. From one stick at a quarter pixel the index is known to ±0.14 and the surface to ±48 mm, and the fits do worse than that promises — they slide down the valley, and the metre-long stick comes back 881 mm. A second stick eight metres out narrows the valley to ±7.6 mm. Holding water's own index at 1.333 closes it: the surface to ±23 mm, the stick to 994.
The real instrumentA closer pose sharpens one coefficient and not the pair
Photograph a calibration target tilted four ways at several distances, and the two radial coefficients of the lens stay locked together near a correlation of −0.97. A target further off adds nothing at all. Bringing it closer sharpens the first coefficient by about a half, then stops, and pushes the pair closer together. What moves the correlation furthest is being told each pose's distance.
Constructing a viewThe proportion is the assumption
Read the proportions of a rectangle out of a photograph of it and the answer is a function of where the centre of the picture is assumed to be. Sweeping that assumption across the horizon takes one drawn quadrilateral from one part in fourteen to slightly wider than square, every reconstruction a genuine rectangle, and only a fiftieth of the sweep within five per cent of the truth.
Light and mirrorsThe residual has a shape
A flat-floor map mispredicts a shadow by millimetres on any floor that is not flat, and the number everybody quotes is the worst one. Tune a dish, a ridge and a step until all three mispredict by exactly 25.0 millimetres and the scalar can no longer tell them apart — by construction. The signed residual around the ring still can. The second harmonic of it reads 0.09%, 2.79% and 19.37%, a factor of two hundred across three floors the headline number calls identical.
What each system gave upA stepped hand passes for a tiring one on a short strip
A painter who steps dividers from each row to the next leaves an error that accumulates — a walk from the edge begun at, with no fatigue in it. The fit of habit and creep takes about four-fifths of that walk before any reading of the scatter starts, because a walk is slow and so are the two numbers. What is left names the starting edge nearly as well as fatigue does, and on a six-bay strip it cannot say which of the two mechanisms left it: the verdict needs twenty-four bays on one strip, or sixteen six-bay strips by one hand.
The real instrumentOne focus stopped down is as sharp as six in a deep room
Refocusing a room panorama frame by frame costs a seam of 12.9 arcminutes on a fixed head. One focus stopped down costs none of that, and at f/40 holds half a metre to four metres to 5.27 arcminutes — sharper than the fixed head's seam, blunter than a tracking head's 2.82. But the comparison flatters refocusing: the frame on the table also holds the wall behind it, so it cannot be held sharper than 5.27 however it is focused. Counted properly, one focus on a plain head comes within 2.4 per cent of the geared one, and pays for it in light.
Measuring from one pictureA plumb wall tells a slope from a horizon, faintly
A sloping ground and a misplaced horizon fail the ground's depth test alike. A wall standing plumb beside the ground separates them in kind: a slope leaves the wall's test at 1e-16, and a horizon moves it. But it moves it a tenth as far as it moves the ground's — 0.20 per cent for a horizon five pixels out, against 2.11 — so a pair of windows a metre wide cannot see the difference, and a whole facade six metres wide can tell a one-degree slope from its matching horizon 95 times in a hundred. A wall running straight away from the camera sees nothing at all.
Mirrors that are not camerasThe wall convicts a pair set too wide
A window set wider than its partner's reflection keeps every joining line on the mirror's point, so the one test a symmetric photograph was known to carry cannot see it. The wall the other pairs fix can: it says where the partner should be seen, and a window set ten centimetres too wide misses by 6.0 pixels. With marks read to 0.4 px it convicts a 3-centimetre offset eight or nine times in ten and a 5-centimetre one every time. What no single photograph can see is a move along the camera's own ray to the window.
Through water and glassTurning the glass tells the window from the lens
A calibration done through a two-degree wedge of glass reports a lens decentred by about 1e-2 that does not exist, and hides the glass inside it. Calibrate twice with the glass turned between, and the glass's part turns while the lens's stays: a half turn finds a real lens decentring of 2.2e-3 to 5.2e-4 with readings to 0.4 px, where one calibration was 1.0e-2 out. Three calibrations spread evenly round the turn do better, because the loop the glass traces is not a circle. What never separates is the radial coefficient, which has no direction for a turn to carry.
Drawn confidentlyA steady creep draws the rule's bow
The arc reading was built to find the constant-ratio rule by the shape its pavements bow the diagonal. A correct pavement painted by a hand that lets each transversal gap grow 4.5 per cent on the last bows it the same way — to 0.31 pixels, a cosine of 0.9994 — on eight braccia, and 1.5 per cent is enough on twenty-two. The arc reading measures how much a pavement's tiles lengthen, not what lengthened them, and against its counterfeit it is a coin. The rule's own definition still tells them apart: its gaps' logarithms are straight, a correct pavement's bend. Read to half a pixel, that names the rule on eight braccia 94 times in a hundred.
Constructing a viewThe quadrilateral no rectangle casts
The relation that reads a camera out of a drawn rectangle has a minus sign in it, and the minus sign is a refusal: two vanishing points on the same side of the assumed centre give the square root of a positive number, and no camera makes that quadrilateral out of a rectangle. Watching the refusal arrive shows what it is worth — one corner has to travel most of the picture's width before it fires.
Where to standThe eye that reaches the most
A higher eye buys the faces occlusion was hiding and loses design off the far end of the object, so "the best eye" is not a question with an answer until somebody says which of the two they are paying for. On three objects the answer is as high as possible; on a corridor with a doorway in it the two quantities cross and the best height is two and a bit metres.
Surfaces that are not flatThree conditions, and three prices
A matched picture needs the seat, the horizontal scale and the vertical law all at once. Each is broken alone here with the other two held, and all three turn out to be linear in the mismatch — the unforgiving case, with no margin at all. The vertical law costs a third of an arcminute on a television and eighty-four on a dome, because it is the difference between an angle and its tangent and that difference is cubic in the picture's vertical field.
What each system gave upA stepped hand's walk is in the creeps it was given
Fit each strip of a picture alone and a stepping hand's walk vanishes into a creep of that strip's own. Fit the picture once, with one habit and one creep for the hand, and the walks come back as a disagreement between strips that their small residuals cannot explain. Read against a line set once, eight six-bay strips name the hand ninety-five times in a hundred; the residuals of the same strips name it eighty-six, and needed sixteen strips for what the creeps do in eight.
Many pictures at onceThe bundle keeps the needles turned, if the wall has three rows
Six cameras in two groups at sixty degrees either side of a wall measured its flatness four and a half times better than six on a narrow arc, with their poses known. Found from the same pictures in one bundle adjustment, they still do: thirty-nine marks cost them three per cent. Ten marks in two rows cost them seventy-eight, and the wall's likeliest error becomes a twist — but a third row of marks takes most of that back, and fifteen marks in three rows beat fifty in two.
Mirrors that are not camerasA false pair is named by its neighbours, not by itself
Read against the rest of a symmetric facade, a pair whose right half has moved six centimetres is explained exactly by two stories: the right half moved, or the left half moved the mirror way from a pair standing six centimetres over. Predicted from left to right and from right to left, the pair gives one residual twice. What names the half is a mark that shares a line with it — the window's upper corner names a move across ninety-three times in a hundred at two centimetres — and what the readings recover is the move as the camera sees it, blind along its ray.
Drawn confidentlyA panel's pavements convict the creep one pavement hides
One crept pavement bows its diagonal exactly as the constant-ratio rule does. A whole interior has several — a floor, a step, a table's inlay, a loggia's coffers — and the rule bows each by the same share of its own bow, where one steady creep bows a twelve-braccio pavement 1.72 times as much and a four-braccio step 0.62 times: four pavements painted to a pixel name the rule against it every time. A creep tuned pavement by pavement to counterfeit every bow is caught instead by the gaps, whose curvature has one sign on every correct pavement: four pavements name the rule ninety times in a hundred at a pixel, eight pavements ninety-seven.
Measuring from one pictureA facade's corners see the horizon its widths could not
Read by its level widths, a six-metre facade saw a misplaced horizon only when it was 11.5 pixels out. Read by its two corners — the same wall's plumb edges — it sees 4.2, as well as the ground does, and four posts beside it bring that to 2.4. The corners' vanishing point is nearly six thousand pixels below the picture, but what the lines measure is its reciprocal, and in pixels of horizon their precision does not change from a camera pitched two degrees down to one pitched eight.
Through water and glassA straight stick tests the index only across the sight
Told that each stick is straight, three eyes fitting a water surface's height and its index still slide down the valley between them — when the stick leans away from them. A wrong index carries such a stick into another straight stick, off its line by 0.016 mm and 116 mm short. Turned to lean across the line of sight, the same wrong index bows it by 2.2 mm, and the straight-line fit's slide falls from 0.058 to nothing. A tape on the stick, read only to ±50 mm, stops the slide outright.
What a machine computesHalving a picture moves its centre by a quarter of a pixel
Multiply a principal point by the scale of a resize and it comes out wrong by (s − 1)/2 of a new pixel, at any point and for every reduction. At a pyramid's fourth level that is nearly half a pixel, turning a recovered pose by half a degree. The picture, asked, reports the true map.