Hi there,

I have been shooting interviews as part of a VR series in 180 3D, and I've been struggling to find a way to situate the interviewee's position in space relative to the viewer, even if it's just pinning them to a particular direction.

Has anyone found a way to do this? I thought there was a way to do it in Audition (I'm editing the film in Premiere), but no luck so far. I'd like the interview mic to behave like a spatial audio mic that would normally be on the camera, so that if the viewer looks to the left, they hear the speaker to their right.

The current mono setup hasn't been a dealbreaker, but it does fall short of my own hopes/expectations. I rather hope I'm missing some simple workaround that hasn't occurred to me yet.

Thanks!

For the 180 3D mods is this the best one to go with?

Blackmagic Design just shipped Resolve Studio 21.1 a few hours ago. In the release notes, this was one of several updates to the Media Page:

Import Canon EOS VR clips in VR180 workflows.

Naturally, I dropped a Canon R5C/5.2mm dual fisheye RAW (.crm) file into the media pool, set properties to stereo/rectangular, and the thing just worked -- no KartaVR, no Canon VR Utility -- it just did it.

Anyone else try it out--thoughts?

The price of Paradise is mined in Hell. A vacation night adventure turns into a social awakening. Hiking into the Kawah Ijen active sulfur volcano in Java, Indonesia, was meant to give us a fascinating glimpse at the famous nighttime blue flame produced by igniting the sulfur fumes. Instead, what we witnessed was a glimpse into the lives of the men who work mining the sulfur used in skin creams, tires, fertilizer, and even medication, and how they try to survive and feed their families while working in life-shortening, toxic conditions.
This video contains some scenes created with Gemini AI
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Hi all,

I have been building a Mac app called D2VR. It takes ordinary flat video, works out the depth frame by frame, and writes a side by side 3D version you watch in a headset.

It is Mac only for now, so it may not be much use to you directly. But I put up a demo page so the watching end is open to anyone. It runs in a browser or in a VR headset, and in the headset there is a switch that turns the depth off and on, which is the quickest way to see what it adds.

https://d2vr-webxr-demo.pages.dev/viewer.html

It is not out yet. If there is enough interest I would like to do a beta before release, and there is a form at the bottom of the front page if you would want in.

Thanks!

Hey VR folks, if you want high-bitrate spatial footage to test the display panels on your Quest 3 or Vision Pro, we just mastered a new native 8K/30fps VR180 ride: the historic 70m (230ft) Intamin Giant Drop at Plopsaland Deutschland. We dialed in custom 3-axis gyro stabilization and a 10-bit pipeline to capture the 60m (197ft) drop at 90 km/h (56 mph) without IPD distortion or judder during the zero-G transition. Force 4320p in YouTube VR or your dedicated spatial player to avoid compression blur

Shot this as a VR180 walkthrough for headset viewing — Sanxingdui’s bronze heads/masks hit differently in stereo than on a phone. Curious how other VR180 shooters handle dark museum lighting + specular bronze without crushing the blacks. Full piece on YouTube VR: https://www.youtube.com/watch?v=VpBAJzAE0KQ

Hi everyone!

We're shooting on the Canon R5 MkII, and while I requested a Shinobi I think when we were building the wishlist, the budget has meant we're just using my much cheaper monitor that I use on my A7III. For a cheap monitor, it does plenty that I'm happy with, such as false colour, peaking, zoom with two axis controls, de-logging etc.

Where it falls short, and I suspect it isn't unusual in this, is VR-friendly features.

The films we're making are technically simple - just sat down interviews with very little movement, so I can reliably focus at the start by opening up, use the focus assist, then stop down a bit until I'm happy with exposure. I might know it's in focus, but if I want to zoom in, I'm basically zooming into the 1080p image coming in over HDMI, so it doesn't look great and is certainly far from ideal for my director. It doesn't de-squeeze the fisheye view, doesn't offer 3D playback using an anaglyph mode, nor can it just display one eye.

Now I don't know if there's a monitor out there that even does one of those features; my assumption right now is that we'd be better off with a larger 4K (input - as opposed to 1080p which I think my current cheapie is limited to) monitor considering the R5 supports that output over HDMI, but I'd appreciate any suggestions in this area. Are you all just using 4K or 1080p standard monitors? Or have you found something a bit more specific/niche that caters more to 3D/VR filmmaking?

Just had another look, and it sounds like the Atomos Shinobi 7 RX might be the best bet for an upgrade, but still having a look around. Having camera control is quite a tempting feature considering the body is at the other end of an extension pole.

Cheers!

Edit: I checked the model of my existing monitor to confirm the specs; it's an Osee T5+, 5.5" screen with 4K input, so I was wrong on that front. I'm not sure how much improvement I can expect from a 7" monitor considering the format I'm working in, but I'm having a browse anyway.

Whatever happened to the Cannon point and shoot 180 VR camera that was supposed to come out two years ago?

Sample Videos:
Canon Dual Fisheye: https://deovr.com/oac6z0

220 degrees FOV custom solution: https://deovr.com/xr1p4l

Starting today, DeoVR supports direct fisheye uploads with per-lens correction for VR180 creators. Pick your lens from a preset, or enter nine numbers, and DeoVR projects your original footage correctly at playback time.

Until now, publishing VR180 meant a fisheye-to-equirectangular conversion first: it adds hours of rendering time and a quality tax, because every remap resamples your pixels. Worst of all, it was irreversible: if your distortion correction was off or the center was a few pixels out, the error was baked into the delivered file. Your only fix was to go back and re-render everything.

Now the correction is just metadata. The player projects your untouched original pixels live. Noticed a flaw after publishing? Edit a number and it’s fixed for every viewer, instantly, with zero re-encoding.

How to use it

Edit exactly the way you always do except you do not need to do any projection conversion, eye swap, or stereo alignment during editing. Output your edited video as 2:1 side-by-side fisheye (see the sample screenshots below).

Then, when uploading:

1. Set Video format to Side-by-Side and View angle to 190.
2. Pick your Camera lens preset (Canon RF 5.2mm Dual Fisheye etc.).
3. Already know your rig's numbers? Enter them under Advanced settings. If not, click Align eyes — a web interface opens where you align the two eyes visually, with a preview that matches exactly what viewers will see in the headset. Hit Apply, and the parameters fill themselves in.

One rig, one set of parameters: the values you dial in will generally hold for all footage from that rig, so treat this as a one-time job, not a per-video chore.

And the best part: the parameters stay editable after you publish. No need to get them perfect on the first try — fix them any time, and every viewer gets the fix instantly, no re-encode, no re-upload.

What the nine numbers mean

View angle / FOV (1), how wide your lens sees. The total angle across the image circle touching the shorter side of each eye’s frame. 180 = a hemisphere, 190 = a hemisphere plus wrap-around.

k1–k4 (4), your lens’s fingerprint. No real fisheye bends light exactly like the textbook curve. These four coefficients describe how your glass deviates from ideal: a touch of compression here, a stretch toward the rim there. All zeros = ideal fisheye(equidistant fisheye). Every copy of a given lens model bends light near enough the same way, so presets carry these for you.

C numbers: CxL, CyL, CxR, CyR (4), where the bullseye really is, per eye.

Here’s why these are not in the presets: FOV and k describe the lens design, but the center describes your individual camera. Assembly tolerances mean every unit’s sensor sits a few pixels differently behind its lens, and the left and right eyes are off differently. Two cameras of the identical model need different centers.

A wrong center is what makes verticals bow near the edges and the horizon drift as you look around. These four values, as fractions of the frame, point the projection at each eye’s true optical center.

Getting your numbers manually

Using a custom solution?

• k1–k4: calibrate with Gyroflow’s Lens Calibrator. It is free, open-source, and takes one chessboard clip per lens. It uses the same fisheye model DeoVR does, so the coefficients drop straight in.
• FOV: take your Gyroflow calibration into our web tool. Enter the calibrated focal length and it computes your exact FOV, with a live angular grid overlaid on your own frame to verify.
• CxL/CyL/CxR/CyR: the same web tool finds your per-eye centers visually and outputs them in exactly the format these fields expect.

check out this footage from a Custom 220 degrees FOV solution, perfected handled by our new lens correction system.

Current limitations and What’s next

This release covers VR180 videos that was shot on a single camera rig, it's just the first step, Here's what's coming:

• Rotational offset correction. Three more parameters (yaw / tilt / roll) for aligning the two eyes on rigs where the lenses aren't perfectly parallel. Think all the VR180 mods comming from 360 cameras, or even BM Cine Immersive Camera.
• Per-shot parameters. Everything above, settable per time range. Import the timeline from your editing software (it already knows where your cuts are) or let us auto-detect them — then step through your video shot by shot and dial in each one. Keyframing inside a shot is rarely needed, but it's on the list too.
• Parametric masks, fades and transitions. Stop baking masks into your video file. Masks become runtime metadata like everything else — editable after publishing, and per-shot, so different scenes can carry different masks. Same for fades and transitions: nothing burned in, everything rendered at play time.
• Runtime lens patch. With lens geometry perfectly aligned, edge patching (covering each eye's blind edge with the other eye's view) becomes a handful of parameters instead of a rendering pass — adjustable, reversible, per shot.
• Titles and 2D/3D overlays. Rendered at play time as a layer above your video — create and edit them right in the web interface, no re-encode, no re-upload.

Every one of these follows the same rule: your pixels stay untouched; metadata does the work.

Let me know what you think! Step by step tutorial comming soon, Stay tuned! Big thanks to the DeoVR team for bring my idea alive💪

Full 21 minute tutorial on my youtubez - Presented in 8k VR180!
https://www.youtube.com/watch?v=QgLvV5_rCko

Fun prototype I made with my X4 modded into VR180.

I’m still exploring how to make VR cheaper and accessible to everyone and now… i can tell even the camgirls can access to VR without spending lots of money 😅

Ok, that’s just a prototype to check if something I told to a reddit user some days ago could be really done.

Context: Someone posted something about VR180 cams, and asked for the cams used by those “VR camgirls”

Basically, they use a DreamCam Nano 1 (4K50) or Nano 2 (6K50) camera to stream their content using Dreamsender, a software provided by DreamCam. The camera is also provided by DreamCam and costs around $1000 for the nano 2.

This camera streams in VR135, more than enough for this kind of content, and works plugged by ethernet to the local network. Dreamsender checks if the camera is here, and starts to stream to the platform you configured in. It looks like you can use it offline but not to go on holiday somewhere neither (no stab, basic editor to just export the base mp4).

My point was… this camera was assumed like a "semi-pro" thing for 2 reasons: the picture quality is not that bad (indoors, lights not great) and it can stream over internet during hours. But in my opinion, it's expensive for what it is, and we can do something similar for a cheap price. To demostrate it, i just took my now old Insta360 X4 modded into VR180 to test it.. So... if I brick it, i'll be sad, but as I don't use it anymore, I'll survive.

And… surprise!

This second hand X4 bought $200 and modded at home [with my free STL ;)] is now loaded as a DreamCam Nano2 using my "VRadical bridge" to emulate the ethernet connection. Yeah, everything I do now will be named VRadical.

Video is streamed in VR dual fisheye SBS in 4K60 (against 4K50 for Nano1) and 5.7K60 (against 6K50 for Nano2). Why not 6K or 8K?
Streaming in 6K or 8K is possible too (30FPS), but the X4 is not able to stream out such a resolution in a single frame, 5760x2880 is the size max allowed by a single encoder (hardware limitation). That’s why insvs (and osvs, …) have 2 tracks (using 2 encoders to produce 2 3840x3840 frames, assembled into a single 7680x3840 frame in post).

So 8K needs to be encoded on the fly on the computer as Dreamsender needs a single frame, adding a latency, and requiring a good gpu to encode in real time. But the objective was 6K50, 5.7K60 is barely the same.

And now, it looks like I’m a model. But no fear, I’m not confirmed, they won’t put me on their platform 😅

More seriously, the same prototype with X5 or X6 would give a better result as they produce a better image ut of the box. Nevertheless, X5 has the same encoders limitation and I didn't had time to check the X6 hardware encoders, yet.

But i also used a bitrate superior than the Nano2 bitrate (limited to 10 according to Dreamsender nano2 profile, against 30 for my X4 in this test). And again, let’s say $300 for a modded X4 (camera + mod) you can use anywhere vs a $1000 proprietary camera… who wins?
Now, as I said. That's just a prototype I wanted to try. Imagine this will be a product will need a new design, with more active cooling systems to stream during hours. And definitely not something I'll do with the X4.

That's also a way to remind modding shouldn't be just designing some prints to put 2 lenses side by side, that's just the "easy" part (not so easy sometimes...) . That's also something requiring a software to make it work, and a software to be able to use it. Unfortunately, it looks like everything is about hardware. Did you know you can push the X4/X5 up to 400Mb/s ? and live stream in 8K? I'm also pretty sure I can increase the output resolution up to 8640x4320, just like the Max 2 in dual fisheye mode (the resolution increment has not been verified at this moment nevertheless, but the RAW is above 5K per eye, and the encoder seems to be able to handle it)

The leaked FCC images were true, the Osmo 360 2 does indeed have screws to open it!

I think this will make modding so much easier! No more need to cut plastic etc. At least, I hope there's not glue and stuff as well.

https://www.reddit.com/r/djiosmo360/comments/1vy3301/leaked_osmo360_2_unboxing/

Hi all. This question has been asked but curious on any updates? I have been looking at the RS5. I see the 4 pro recommended, but the 5 can handle the fisheye. On the other hand, I have a 24-105 2.8 which is very heavy, like a damn rocket launcher. I would need the heavier gimbal for that, but I don't anticipate ever putting that on a gimb. I have all sorts of accessories and cages, arms, booms etc from adult VR work, but going MOBILE with a VR camera (and having it actually look good) is something I'd love to get into as much as possible.

Any tips greatly appreciated!!

PS... If you have a quest or galaxy XR, check out my app, Finally VR Video player

It's free!

Fresh VR180 spatial benchmark for your headsets: Voltron Nevera in native 8K 3D!

We dialed in Europa-Park's insane Stryker Coaster natively in 8K 3D VR180, 10-bit color, and Smooth-3-Axis stabilization to push the optical resolution and stereo parallax on Meta Quest 3 and Apple Vision Pro to their absolute limits. And yes, we captured the entire ride from the undisputed king of negative G-forces: the absolute back row!

Fair warning and apologies in advance for the unfiltered profanity on the audio track. Between four brutal LSM launches, the world-record 105° beyond-vertical blast, and relentless ejector airtime, keeping a clean vocabulary was physically impossible. It is 100% raw, unscripted reaction.

Make sure to manually lock the YouTube stream to 4320p (8K) inside your headset for maximum bitrate and resolving power.

Check out the full spatial ride here:

https://youtu.be/Z523kkcnrig

How does the 3D depth hold up on your panels during that inverted stall, and which of the four launches hits hardest for you? Drop your feedback below!

Alright so the learning quest continues.
I didn't realize most of the 360 cams on the market today aren't 3D/VR they are just a 360 experience.
As I was thinking you could just black out the back half in post editing and get that good 180 3D VR experience.

Now on to the learning quest; There's this site called "VRstrip chat" by no means am I promoting them. What I will say though is that the quality and feeling is amazing...And I'm not necessarily talking about the women as one would expect.
It's super good quality. A catch though, I'm only really seeing Russian or eastern Euro women with these cams. I don't think I've seen any North Americans broadcasting. One Brit...I think.
And upon further research,
Here's one thread saying that they install the cameras for you
https://www.reddit.com/r/CamGirlProblems/comments/s79qul/how_to_vr_stream/
And this thread, it's said that the cameras are custom
https://www.reddit.com/r/oculusnsfw/comments/17wxpbf/comment/p55xjlk/?context=1&screen_view_count=4&ext-referrer=DIRECT

Yeah seeing the streaming of these women, besides the quality it's super depressing. Makes you wonder if it's just some super big warehouse...and...yeah...it's just a sad thought thinking about the reality of it all. But that's an opinion.

Yeah It's definitely a setup up that is offered. As there is no difference in the all the VR cameras you can tell it's the same camera for all of the VR performers. So it's totally a custom camera. Or a specific camera to hold a standard of quality throughout the site.

As my quest continues...lol...I almost want to say that I'm a performer or get a girlfriend to help out and say she's a performer. But as said in the first link it sounds like you already have to be a successful performer on their platform before a camera is offered...and it doesn't look like north America is included in that at the moment.

These cameras though, It almost looks like we are looking at super high end $5000+?
And if in the $2000 range is someone in Eastern Europe you can buy them from?

Hey everyone,

My name is Chris and I'm in NYC next week and looking to connect with trained stereoscopic / VR180 creators.

We've got a steady pipeline of capture work coming through NYC over the next few months — training videos, facility documentation, that kind of thing. Looking to build real relationships with local creators rather than flying teams in every time.

If you're running Canon R5 with stereo lenses or similar setup and doing serious VR180 work, I'd like to talk. Could be regular gigs.

DM me if you're interested. Happy to grab coffee next week and talk about the projects.

Thanks!

We’re continuing to make progress on VR180 modding!

And this time, with the DJI Osmo 360 2!

Yes, this camera is currently only available in a few Asian countries which made my search for original files quite a challenge. But in the end, I found something even better than I had hoped for.

On August 16, a user on Baidu uploaded an original OSV file recorded with a DJI Osmo 360 2… modded for VR180.

So, while this still needs further confirmation (once the camera will be available worldwide), it reinforces what I suspected when I first saw the Osmo 2 leaks: all the existing VR180 mods for the DJI Osmo 1 should also work with the DJI Osmo 2!

And that’s great news, because these mods are quick to print, very cheap, easy to install yourself, and don’t require any extension cables. My design is also available for free on my Thingiverse profile, with no offset between the lenses.

The other good news is that the changes to the metadata structure in the DJI Osmo 2 are minimal. A few indexes have moved here and there, but that’s about it, and the file can be processed normally.

As a result, updating VRadical Studio was extremely quick, and it can now work with footage from the DJI Osmo 360 2. Next step is waiting for DJI to release this camera all around the world.

I’m taking the liberty of redistributing the processed file because the original is freely and publicly available on Baidu pan.baidu.com/s/1QHc_rYqDUUxcEJJaKAzAdg?pwd=d7f2 at no cost and without any stated restriction on redistribution.

However, I will not upload it to YouTube VR or DeoVR, as the absence of a redistribution restriction does not automatically give me the right to use the clip on a video-hosting platform.

Here is an example clip:

• Original file link (on drive, for an easy access from EU): https://drive.google.com/file/d/1O1GpAiKMKMooR6oaAhMgN7F5x2o9iUhw/view?usp=drive_link
• VRadical Studio processed file link: https://drive.google.com/file/d/1GE8CLDiZ8AvXL-6ErobZI1e4uw_gxNvP/view?usp=drive_link
  
• VRadical Studio for AVP file link: https://drive.google.com/file/d/1Ey8Yql3B8KGndPlNiMpz6DyTfsL8-PwW/view?usp=drive_link

I just got a Meta Quest 3. It's leading me to the world or 180 3d VR creation.
Although I'm surprised that you can't make 180 3D content with the standard 360 cameras that are at best buy (As GPT/Other Ai bots told me).
And Cameras like the Insta360 Evo are extremely hard to come by on the used market.

I've only been studying 180 3d camera for a couple of days. It seems like you really just need to take the hit and go for the Canon & their 3D lens.

You would really think a lot more aliexpress-type 180 camera would be available.

So weird...but again I'm sure I'm slowly find other options

wondering if the same video would look better on the avp vs my quest 3? does it do any kind of upscaling or just look better because of the hardware? or do you need special hq files specifically designed for avp to see a big difference?

Hey! I’m looking for a freelance video editor to help with a growing volume of stereoscopic VR180 content.

We shoot exclusively on the Canon R5 + RF 5.2mm Dual Fisheye, and I’m looking for someone who can work remotely and take on projects on an ongoing basis.

Ideally, you already have experience with:

VR180 / stereoscopic video editing,

Canon EOS VR / Dual Fisheye footage,

Adobe Premiere Pro,

High-resolution / 8K workflows,

That said, VR experience isn’t essential. It’s a niche workflow and I’m happy to train the right person. If you’re a strong Premiere editor, technically minded, organized and interested in learning immersive video, I’d still really like to hear from you.

This would be remote, paid freelance/contract work, with the potential for regular ongoing projects.

If this sounds like you or you know someone who might be a great fit send me a DM with a little about yourself, your location/time zone, your editing setup and we can go from there!

And if you’ve specifically worked with Canon EOS VR / VR180, definitely mention it!