LOCAL AMBASSADOR TRAINING
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- Jeffry Montgomery
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1 LOCAL AMBASSADOR TRAINING GENERAL DESCRIPTION The Local Ambassador will take panoramas inside shops, restaurants and other businesses to create an online/interactive tour of the establishment. This guide will cover: I. Equipment and Equipment Setup II. How to take An EveryScape panorama III. Tour planning IV. Client interaction CAMERA EQUIPMENT 1) Canon XS Camera Body (6 Megapixel or higher) 2) Sigma 8mm Fisheye 3) Nodal Ninja 3 MKII Package 4) Wireless Camera Remote or Wire Trigger 5) A Sturdy Tripod 6) Lens cleaner CAMERA SETTINGS 1) Camera Settings a. Quality : Large/Fine (JPEG) b. Red-eye: Off c. Shoot w/o card: Off d. AEB: 2 Stop bracketing e. Picture Style: Standard f. Auto rotate: On 2) Camera Body: a. Dial mode should be set to Manual b. Flash should be off c. Focus should be set to Manual (Auto-focus off). d. Drive mode set to continuous shooting. Holding down shutter release should fire 3 consecutive shots. 3) Sigma Lens 8mm: Focus on the Sigma Lens should be set to 3 ft or 1 meter (Using electrical tape to hold the focus in place is recommended)
2 NODAL NINJA MOUNT ASSEMBLY 1) Secure lower rail to your tripod. Then attach the lower rail assembly and the upper rail assembly. Shorter arm of upper rail assembly should face rotator 2) Attach Camera Mounting Plate to Camera body. It should be perpendicular to the camera body and parallel to the lens. 3) Attach the camera mounting plate & camera to the upper rail with the knob and secure tightly. 4) IMPORTANT: When taking off the lens make sure to take BOTH the front cap and the front cap adapter from the fisheye before shooting.
3 NODAL NINJA MOUNT CALIBRATION The point of calibration is to set your camera to a position where it rotates around a single Nodal Point. If your mount is calibrated your panorama will stitch correctly without seams caused by parallax. 1) Adjust vertical rail so that Center of the View finder lines up with Pivot point of the rotator knob 2) Line up front rim of lens with the pivot point of the rotator knob 3) Insert Rail stops to mark calibration for future use
4 PART II: HOW TO TAKE AN EVERYSCAPE PANORAMA Note: This tutorial was created using the Canon XS and Sigma 8mm Fisheye lens. Apply any appropriate adjustments to a different camera. Your camera should be set to automatic 2 stop bracketing. WHAT MAKES A GOOD PANORAMA? An ideal panorama has both accurate color and no loss of information-- nothing in the image blown out or lacking in shadow detail. In post processing the images are automatically stitched and then hand tone-mapped by the EveryScape studio. It is the Local Ambassador s job to get the best raw materials for the Studio to work with. HOW MANY SHOTS DO I NEED TO TAKE FOR ONE PANORAMA? 24 shots for 1 white balance. 6 shots in 4 directions 48 shots for 2 white balances. 12 shots in 4 directions To create one set of panorama images 4 shots are taken at 90 degree intervals rotated clockwise. But because of exposure bracketing and White balance bracketing you may take as many as 48 shots for one panorama. This may sound intimidating at first but your camera does a lot of the bracketing work automatically. With the correct exposure bracketing settings it takes 3 different exposures with one button push. With exposure bracketing you will take 24 shots (6 per direction). The number of shots doubles to 48 shots (12 shots per direction) if you need two white balances.
5 EXAMPLE: 24 IMAGES FOR 1 WHITE BALANCE EXAMPLE: 48 IMAGES FOR 2 WHITE BALANCES
6 HOW DO I INITIALLY SET UP MY CAMERA, MOUNT AND TRIPOD? TRIPOD HEIGHT The ideal tripod height is roughly 5 4. REFLECTIVE SURFACES AND SHADOWS Avoid being in mirrors, windows or any reflective surfaces by using your wireless camera remote. Also be conscious of your cast shadows and make your shadow as small as possible by ducking behind the tripod. PANORAMIC MOUNT IS LEVEL Center the bubble in the level indicator located on the mount to ensure your camera is level. AIM CAMERA UPWARDS Adjust the camera angle to about 11 degrees (pointing slightly upward) to help stitching at the apex of the panorama. HOW DO I DETERMINE WHICH WHITE BALANCES TO USE? On location you need to determine whether you need to shoot the panorama with 1 or 2 white balance settings and to determine the correct white balance settings. With this technique you can use the presets that are in your camera. Most of the time for interiors and occasionally for exteriors you will take 2 white balances. The problem with using just one setting is an interior with incandescent lighting will look too blue with the Sunny day setting, and the exterior will look too orange with the Incandescent setting. More often than not you will run into an interior with large windows or an outdoor with clear view of an interior. If you are unsure take two white balances. HOW DO I DETERMINE THE INITIAL SHUTTER SPEED, F-STOP, AND ISO? 1) Point your camera at the brightest spot in the room. The Exposure Level Indicator (ELI) can help you determine that. 2) Set your ISO as low as possible 3) Set your camera shutter speed to 1/15 s. 4) Adjust your F-stop so that the Exposure Level Mark (red) is 2 full stops from the Standard Exposure Index (center) in the lighter direction. 5) If the Exposure Level Mark cannot reach the 2 stop offset from the Standard Exposure Index. Incrementally lengthen the shutter speed and/or increase the ISO.
7 6 SHOT EXPOSURE BRACKETING FOR EACH DIRECTION The reason we set the first shot this way with this 2 stop offset is because of the exposure bracketing method. With automatic exposure bracketing your camera will continuously take 3 shots. They will be set at Standard, Decreased, and Increased exposure. FIRST SET OF EXPOSURES: If you shoot at a shutter speed of 1/15s with your automatic 2 stop bracketing your camera will capture at shutter speeds of: 1/15s, 1/60s, 1/4s Shutter Speed Order of Shot Manual or Auto Exposure Relative to First Shot 1/4000 1/3000 1/2000 1/1500 1/1000 1/750 1/500 1/350 1/250 1/180 1/125 1/90 1/60 Second Shot Automatically shot Decreased 1/45 1/30 1/20 1/15 First Shot Manually Set Standard 1/10 1/8 1/6 1/4 Third Shot Automatically shot Increased 1/3 1/2 1
8 SECOND SET OF EXPOSURES: You ultimately want 6 exposures per direction. After taking your first three shots, you need to manually set your fourth shot. Your camera will automatically take the 5 th and 6 th shot. To get the widest range of exposures with no overlapping you would need to set the fourth shot manually at a shutter speed of 1/1000s. Notice in the list below the wide range and even spacing between the shutter speeds. Shutter Speed Order of Shot Manual or Auto Exposure Relative to First Shot 1/4000 Fifth Shot Automatically shot Decreased 1/3000 1/2000 1/1500 1/1000 Fourth Shot Manually Set Standard 1/750 1/500 1/350 1/250 Sixth Shot Automatically shot Increased 1/180 1/125 1/90 1/60 Second Shot Automatically shot Decreased 1/45 1/30 1/20 1/15 First Shot Manually Set Standard 1/10 1/8 1/6 1/4 Third Shot Automatically shot Increased 1/3 1/2 1 SHUTTER SPEED PAIRINGS CHART: Memorize these Shutter speed pairings to quickly set your 4 th shot. Shutter Speeds for First Shot Use Exposure Level Indicator to determine first shot 1/4 s 1/250 s 1/6 s 1/ 350 s 1/ 8 s 1/ 500 s 1/ 10 s 1/750 s 1/ 15 s 1/1000 s Shutter Speeds for Fourth Shot Manually Set based on initial shot
9 NOTE: YOUR SHUTTER SPEED SHOULD NOT BE FASTER THAN 1/15 FOR YOUR FIRST SHOT. If you shoot 1/15s for your first shot you will need to manually set your second shot to 1/1000s. If your shutter speed is faster than 1/1000s for your manually set fourth shot, your fifth (most underexposed) shot will be 1/4000s. Many cameras will not shoot any faster than 1/4000s and your range of exposures will be not be evenly spaced. The 1/15s and 1/1000s pairing work well for well lit locations but for dimmer light settings you may need to use the slower shutter speed pairings. Refer to the shutter speed chart (page 8). OVERVIEW OF 48 SHOT PROCESS (TWO WHITE BALANCES) Initial setup: - Set tripod height to Make sure the camera mount is level. - Fisheye Lens should be clean Let s imagine you need to shoot a panorama in a well-lit indoor setting with indoor incandescent lighting and natural light shining through large windows. You determine you need to shoot 2 White Balances because of 2 different light source types (Natural Light and Incandescent Light). Then you estimate that 1/15s and 1/1000s shutter speed pairings are a good starting point. 1) Look through your viewer finder and find the BRIGHTEST part of the room. 2) Set your ISO as low as possible depending on the light setting. (The higher the ISO the grainier the images) 3) Set your White Balance to Natural Light setting. 4) Set your camera s shutter speed to 1/15s 5) Lightly press the shutter button so that the Exposure Level Indicator appears. 6) Adjust your F-stop so that the Exposure Level Mark (red) is 2 full stops OVEREXPOSED the Standard Exposure Index (center) in the lighter direction. NOTE: If the Exposure Level Mark cannot reach the 2 stop offset from the Standard Exposure Index. Incrementally lengthen the shutter speed and/or increase the ISO. 7) Shoot your first three shots: 1/15 s (First Shot Manually set) 1/60 s (Second Shot Auto) 1/4 s (Third Shot Auto) 8) Next manually set your fourth shot to the Shutter Speed of 1/1000s: 1/1000 s (Fourth Shot Manually Set) 1/4000 s (Fifth Shot Auto) 1/250 s (Sixth Shot Auto)
10 OVERVIEW OF 48 SHOT PROCESS (CONT ) 9) Change the cameras white balance from Natural Light setting to Incandescent. 10) Shoot another 6 shots by repeating steps 6 and 7 with the Incandescent white balance. NOTE: Now all the shots for one direction are complete. 11) Rotate your camera mount clockwise exactly 90 degrees and change your white balance back to Natural Light. 12) Repeat steps 8-12 until ALL 4 directions are shot. NOTE: Once set your F-Stop and ISO are the same for all 4 directions. You are alternating between white balances and shutter speeds. ARTISTIC CONSIDERATIONS PEOPLE IN THE SHOTS Staff posing for pictures adds a feeling of hospitality to pictures. When possible ask staff to smile and pose for the pictures when possible. Ask your on-site business contact to help keep moving patrons out of the pictures. If it is too difficult to keep patrons out of the shots, try to photograph them when they are not moving too much. LIGHTING CONDITIONS Have staff turn on all available lights or open shades to allow more light into the space. UNSIGHTLY OBJECTS HIDDEN Encourage the staff to hide any unsightly objects/debris which create a negative perception of the business. LIMIT MOVEMENT You will most likely have to deal with moving cars and people in your shots. Moving objects create a Ghosting effect in the panoramas. Time your shots so there is little to no movement in your pictures. Make sure your tripod, panoramic mount and camera don t move throughout the shoot. Reshoot the panorama if your equipment moves while capturing images.
11 PART III: TOUR PLANNING ON SITE: Here are some onsite variables that may affect your shot placements. 1) Businesses Selling points" (Client Input) 2) Number of shots and connections between shots 3) Obstructions SHOT PLACEMENT & CONNECTIVITY SINGLE PANORAMA: For a single panorama you don t have to worry about connecting to other panoramas but there are still other factors to consider: Clearest view of key aspects and selling points of the business No obstructions in front of the camera CONNECTING MULTIPLE PANORAMAS: Do a walk-through of the business and determine the essential shot locations. Also think about connections between panoramas. The connecting movies between panoramas are called morphs. Where you take a shot determines whether the morph provides a natural transitional experience or not. A clear Line of sight makes for the ideal morph experience. WHAT IS LINE OF SIGHT? Line of sight is an imaginary straight line drawn from the center of the panorama or node (you are currently standing in) to an adjacent node. If the path is not clear of large obstructions then the quality of the morph movie will be affected. It is easy to establish a line of sight between just two nodes but sometimes a node will connect to 4 or more nodes! So stand in the spot where you have the clearest line of sight to all connecting nodes. For connections between doorways, try to keep a line of sight perpendicular and centered to the doorway. Before shooting an area determine whether it is better served with the doors open or closed. Once you make your choice stick to it for the entire area.
12 PART IV: CLIENT INTERACTIONS Besides being a photographer for EveryScape you are an ambassador for our brand. DEFINITION OF A BRAND AMBASSADOR Brand Ambassadors are the face and voice of the brand, everything they touch, the brand is touching. Brand Ambassadors form the public image of brands and are the people companies use to deliver their message to the public. As a Local Ambassador you get the unique opportunity to meet and greet local businesses face-to-face. While on the job, do your best to put your best foot forward for yourself and the EveryScape brand. Review the following guidelines: REQUIRED: Arrived appropriately dressed (business casual) for all photo-shoots Be accommodating and friendly to all staff and patrons of a business Politely ask the business contact or business manager help you with the photo-shoot o Hide unsightly objects o Have Employees pose for the shots o Crowd Control so that patrons don t walk in front of your shot After the shoot, thank your business contact for their time and remind the client that they will be contacted via when tour is live (within 3 weeks).
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