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Panorama shot planner

How many frames a panorama needs for your lens, sensor, orientation, overlap and sweep, and how many degrees to turn between each one.

All tools
36 × 24 mm
Camera orientation
30%
360 is a full circle.
0 is a single row.
Total frames
1414 per row × 1 row
Angle of view per frame
37.8° × 54.4°Wide × tall
Turn between frames
25.7°At most 26.5° for 30% overlap; the even spread gives 32%
Frames per row
14Full circle, no repeated frame
Tilt between rows
—A single row covers the height
14 frames, 25.7 degrees apart, each 37.8 degrees wide1234567891011121314
Looking down on the camera at the centre. Each wedge is one frame; overlap shows darker, and neighbouring wedges alternate in length. A full circle starts at the top; a shorter sweep is centred on it.

How it works

The method behind the numbers.

A panorama is a row of overlapping frames that a stitching program joins. The planner works out how wide each frame sees, how far to turn between frames, and how many frames cover the sweep you want.

angle of view = 2 × atan(d ÷ 2f) step = angle of view × (1 − overlap) frames (360°) = ⌈360 ÷ step⌉ frames (less) = 1 + ⌈(coverage − angle of view) ÷ step⌉

d is the sensor side along the sweep (the long side in landscape) and f the focal length. A full circle closes on itself, so it needs no extra frame. A shorter sweep needs the first frame too, which is the 1 in the second formula. The turn shown is the step spread evenly over whole frames, so the real overlap is at least what you asked for.

  • Around 25 to 30% overlap is a common starting point for stitching. Go higher for wide lenses, which distort at the edges, and for scenes with little detail.
  • Shooting vertical frames (portrait) gives more height for the same width of sweep, at the cost of more frames.
  • Angle of view assumes focus at infinity. Rotate around the lens's entrance pupil (often loosely called the nodal point) to keep parallax down in scenes with foreground objects. A tripod head with a rail helps.
  • Lock exposure, white balance and focus so every frame matches, and shoot raw if you can.
  • Extra rows tilt the camera up or down by the vertical turn, which also stretches the stitched result at the poles. Treat rows as a rough count for a large, curved image.
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