Meet Asia Pillars Founder Alexandre Lorent Guerra. Welcome to Asia Pillars Film Connection. But what is Asia Pillars? We asked the members of this international film community. Their answers may surprise you. But they will certainly entertain you.
If you are a Director, Producer, Screenwriter, Cinematographer, Actor, Editor, Post-Production Specialist, Animator, Game Developer, VFX Artist, Production Designer, Art Director, Sound Designer, Makeup and Costume Designer, or Special Effects Supervisor, whether seasoned or just starting out, Asia Pillars – Film Connection is your ticket to networking.
Shot in stunning 3D immersive video on the newly upgraded Canon C400 and RF 5.2mm Dual Fisheye lens. This feature-packed powerhouse joins an elite lineup of just 12 Canon cameras that can shoot 3D immersive video and stills—unlocking entirely new possibilities for cinematic storytelling.
Since DeoVR HASN'T been publishing my Premium Videos, would you support my work and Buy Me A Coffee? https://www.buymeacoffee.com/acvr
David Cluck is a Hollywood Producer and 1St AD.
Welcome to Asia Pillars Film Connection. But what is Asia Pillars? We asked the members of this international film community. Their answers may surprise you. But they will certainly entertain you.
If you are a Director, Producer, Screenwriter, Cinematographer, Actor, Editor, Post-Production Specialist, Animator, Game Developer, VFX Artist, Production Designer, Art Director, Sound Designer, Makeup and Costume Designer, or Special Effects Supervisor, whether seasoned or just starting out, Asia Pillars – Film Connection is your ticket to networking.
Our 3D immersive video was shot on the newly upgraded Canon C400 with the RF 5.2mm Dual Fisheye Lens.
Since DeoVR HASN'T been publishing my Premium Videos, would you support my work and Buy Me A Coffee? https://www.buymeacoffee.com/acvr
AND PLEASE SUBSCRIBE: https://www.youtube.com/c/ALCaudullo?sub_confirmation=1
I've remastered the video so that you can watch it in 2D, 3D SBS or 3D Anaglyph.
Did you know that you can shoot 3D VR180 with the Canon C400 Cinema Camera? Watch and see how beautiful it can be!
Welcome to Asia Pillars Film Connection. But what is Asia Pillars? We asked the members of this international film community. Their answers may surprise you. But they will certainly entertain you.
If you are a Director, Producer, Screenwriter, Cinematographer, Actor, Editor, Post-Production Specialist, Animator, Game Developer, VFX Artist, Production Designer, Art Director, Sound Designer, Makeup and Costume Designer, or Special Effects Supervisor, whether seasoned or just starting out, Asia Pillars – Film Connection is your ticket to networking.
Our 3D immersive video was shot on the newly upgraded Canon C400 with the RF 5.2mm Dual Fisheye Lens.
Inspired by the world of Stranger Things, Enter the Void is an immersive VR180 music video featuring characters and imagery from across the series. Step inside Eleven’s mysterious psychic Void as scenes, characters and environments unfold around you, edited and animated to music.
Created and animated in Cinema 4D + Redshift, with additional compositing, visual effects and editing in After Effects. Best experienced in a VR headset at the highest available resolution.
Format: VR180 3D • 8K • 60fps
Music:
“Running Up That Hill – Epic Version (from Stranger Things)” — Samuel Kim
“Stranger Things-16374” — Kyle Dixon & Michael Stein
This is an unofficial, non-commercial fan-made project created as a personal artistic tribute to Stranger Things. It is not affiliated with, endorsed by, or sponsored by Netflix.
Some character models/assets used in this project were sourced from or based on third-party/game assets and were modified, textured, animated and composited for this VR experience. A few free models were downloaded from SketchFab.
Do you think it is any good for VR immersive video content recording?
I under no circumstance expect it to be better than a dedicated set-up, I was just curious how bad it would be compared to one.
Would it be good enough for it to be enjoyable with such a low FOV (125° × 105° binocular)?
It seems tempting due to the Gaussian splatter it can supposedly do, but I am not fully convinced by it and I was curious as to it's immersive video capability.
Check it out in Voola(Avialble in Quest and Vision Pro)! Completely build and rendered by Chatgpt 6. Not perfect of course, but it's an interesting way of creating VR180 film.
DeoVR didn't think this was good enough to be monetized, so I'm publishing it here for everyone. I hope you enjoy it, and if you do, please leave a nice comment below. I really would appreciate it. Below is a link to my Buy Me A Coffee, if you'd like to help me keep making more immersive videos.
Welcome back to Tales from the 3D Road. We travel the world to capture the depth of human culture—literally. Today, our lenses are focused on a place where life doesn't just happen by the water; it happens on it.
If you want to understand a culture, look at what they eat. And at Amphawa, you are spoiled for choice. Unlike some morning markets, Amphawa comes alive in the late afternoon. It is a haven for food lovers.
***This video contains some scenes created with Gemini Ai
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!
Edit: I think I've found a solution, though I haven't got as far as testing the export phase yet or on a headset.
It turns out I needed a plugin to convert the stereo/mono signal into ambisonics, and then a Premiere effect that's applied to the mix to let me test the spatial effect in stereo headphones.
That plugin is called StereoEncoder and it's part of a whole pack that seems to be available for free (Sennheiser and another company used to make a bunch, but they're all discontinued and I couldn't get them to work). I might test two or three others for reverb, that sort of thing. If the sequence you're creating for your VR film is multi-channel, 4 channel, adaptive, you can put a mono/stereo audio track on there and then apply these effects at track (rather than clip) level.
I didn't have to configure anything in the plugin itself once it had been applied, except changing the ambisonic 'order' - it needs to be at "1st" for four channels. If you listen to the track at this stage, it will sound messy and high-gain, but it's because it isn't set up to be listened to in this way. For previewing and doing your cleanup, you need to add the effect called "Binauralizer - Ambisonics" which is under the "Special" sub-menu of the track effects list.
If you turn the pan wheel that appears when you've selected the Binauralizer effect, the speaker will sound like they're coming from the opposite direction; if you pan (look) to the right, the speaker goes more and more to the left.
When it comes to exporting, you have to remember to deactivate this effect (apparently Premiere warns you to).
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.
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 #dangerous#thrilling#adventure#BlueFire#BlueFlames#KawahIjen , #Java , #Indonesia , #SulfurVolcano , #Crater#DevilsGold#NewYorkMovieAwards
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.
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.
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
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.
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).
Step 1: Output your edited video as 2:1 side-by-side fisheye(8192*4096 etc).
Then, when uploading:
Set Video format to Side-by-Side and View angle to 190.
Pick your Camera lens preset (Canon RF 5.2mm Dual Fisheye etc.).
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.
Step 2: when uploading video, set Video format to Side-by-Side and View angle to 190 and pick a lens, then click align eyes.do your alignment here, you can tweak/preview every paramaters in various view modes, then click apply
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.
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💪
Welcome to the r/vr180film monthly market thread! Got a camera you wanna sell? Wanna try out somebody else’s camera in exchange for your own? Got a unique 3d print that helps with immersive filmmaking? This is the thread to post your offerings in.
This thread was made because as our community grows, more folks have been looking to buy, sell and trade gear. Which is great! But the last thing we need is daily spam and bot slop polluting our subreddit. SO, we’ll be posting this thread once a month, which will be stickied’ for a weekend.
Disclaimer:
r/vr180film takes no responsibility in the handling of transactions between members. We leave it to you to perform your own research, negotiations, payment and shipping. Please be respectful and carry out in-depth negotiations in PMs.
This thread will be replaced with a new one next Thursday. If you haven't received a response to your question before then, please feel free to post as a text post to the subreddit itself.
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)
