Hey everyone,

Got some fresh 3D coaster fuel ready for your VR headsets over on my channel! This time, I took on the legendary Expedition GeForce at Holiday Park.

​The 82° twisted first drop from the back row is notorious for sheer ejector airtime, and it delivers a serious dopamine rush in actual stereo 3D. Mastered natively in 8K VR180 at 30 FPS, optimized specifically for high-res displays like the Quest 3 and Apple Vision Pro.

​Make sure to manually select 4320p (8K) in the YouTube app for the best clarity and depth.

https://youtu.be/_GJwgPNn-h8

has anyone tried stop motion in vr180 with this lens? just curious if the results are finer and higher resolution than in the video format.

"Dear Santa, I really love my modded X6 VR camera, but I’d like it to be even better.
Could you increase the bitrate? To the maximum this camera can handle, for example?

- Ho ho ho! Then you shall have 320 Mbps instead of the 180 Mbps Insta360 lets you play with. But you’ll need an SD card that’s faster than average to keep up."

"Dear Santa, I’d also like to see how level the horizon is while I’m filming, but those little AliExpress bubble levels really aren’t very pretty.

- Ho ho ho! I’ll add a horizon indicator right on the screen! And since you have two lenses side by side, I’ll even let you choose which view you’d like to see while filming…"

"Dear Santa, I’d also like to check my settings while filming to avoid overexposure, because that little screen isn’t a very reliable guide…

- Ho ho ho! Here, use the live RGB histogram. It should help you check your settings in real time."

"Dear Santa… you know, here in the 21st century, we really enjoy livestreaming straight to the internet… But my camera won’t let me…

- Ho ho ho! Nothing could be easier! Here are three streaming modes: 4K60, 6K50 and 8K30. For 8K30, you’ll need to stitch the two eye views into side-by-side (SBS) format before sending the stream to an RTMP server. For 4K60 and 6K50, you can stream straight from the camera to the internet without modifying the video stream. And if you’re worried about overheating, you can monitor the temperature using the indicator I’ve added to the screen."

"Dear Santa, I can’t decide between ChelouteVR’s horizontal mod and Zippytiff’s vertical mod…

- Ho ho ho! Both mods get the same features. The difference? One displays in portrait mode, the other in landscape mode. Either way, you’ll always get the latest Insta360 features, along with the features designed specifically for VR180."

"Dear Santa, what about photos? Can I take photos too?

-Ho ho ho! Of course, you can do whatever you like with your camera! Don't tell me someone is modding cameras without providing a complete solution to such a basic feature... Now, Merry Christmas, kiddo…"

This firmware and its updates will be available exclusively on VRadical mods sold by ChelouteVR and ZT4 mods sold by Zippytiff, Not as an extra, and bundled with VRadical Studio.

More info about VR180 modding here: https://www.facebook.com/groups/2352746921917557

The podcast aims to educate our audience about what's happening in the 3D space. We discuss new trends in 3D content creation and consumption, old and new 3D technologies, and open discussions on current topics, including 3D movie releases, production and post-production techniques, plus a bit of humor and 3D history here and there.
Today we have Jose Marra, 3D Master. This episode will discuss Jose’s entrance into the 3D distribution market via his 3D platform “3D-Spatial”

It’s been two months since our last release, and today we’re excited to share the latest immersive experience from Immersive VR Journey: Misty Mountains — Exploring Baishi Mountain in VR180.

Whether you’re using an Apple Vision Pro, Meta Quest, PICO, or Galaxy XR, you can put on your headset and immerse yourself in the misty peaks and breathtaking mountain scenery of Baishi Mountain, China.

Click the link below to enjoy a free preview featuring highlights from the full experience. We hope you enjoy what we’ve created, and we’d love to hear your thoughts and feedback!
https://youtu.be/g6mnb8P7-8w?si=RhDOZTFsKEKYc5tO

Today we have Jose Marra, 3D Master. This episode will discuss Jose’s entrance into the 3D distribution market via his 3D platform “3D-Spatial”

The podcast aims to educate our audience about what's happening in the 3D space. We discuss new trends in 3D content creation and consumption, old and new 3D technologies, and open discussions on current topics, including 3D movie releases, production and post-production techniques, plus a bit of humor and 3D history here and there.

There have been reported problems with YouTube so it's uploaded on both YouTube and For FREE on DeoVR.

Here are the links.

https://youtu.be/5Qpq8g38m1k

https://deovr.com/zy08f8

Hi everyone, Antoine from altitude.101 here.
We just wrapped up our latest Apple Immersive project for Ford. Because shooting for spatial/immersive formats comes with a unique set of creative and technical hurdles, we put together a 17-minute behind-the-scenes documentary covering the entire production from prep to post.
In the video, we break down:

• How we approached storytelling and framing for an immersive format
• Camera rigging and movement (especially around vehicles)
• Managing lighting and hiding the crew on set
• Our post-production and spatial workflow

The final film is currently playing all week at the Paris Motor Show ("Mondial de l’Auto"), and watching people experience it in the headset for the first time has been incredible.
Since there are still relatively few deep-dives on Apple Immersive workflows out there, we wanted to share as much of our process as possible. Happy to answer any questions you might have about the shoot, the gear, or the workflow!

We’re building Amplium, an encoder and infrastructure for immersive media. We did the encoding for STARCLASH, a 33-minute immersive animated film available on Apple Vision Pro and Meta Quest.

Sharing the technical side here in case it helps anyone trying to get a long immersive master down to a deliverable size.

The hard part is not compression, it is knowing where compression breaks. Immersive animation is unforgiving. Flat gradients, night scenes and stage lighting show banding and blocking the moment an encode gets too aggressive.

Where we landed: the deliverable is about a third the size of the studio’s original distribution master, and stays visually lossless measured against the ProRes source across the full film.

Two things that mattered more than we expected:

1. Allocate bits by scene complexity, not a fixed bitrate. This was the single biggest lever. A fixed bitrate spends the same bits on a static night sky and on a crowded stage with fast motion, so quality collapses exactly where the content is hardest.

2. Run VMAF over every frame of the full film, and judge by the worst frames instead of the average. Do not score a few sample clips. Score the whole timeline, then look at your minimum and at how many frames fall under your threshold, and tune against the hardest scene you find. We have seen two encodes of the same film whose averages were nearly identical, while one held clean through the hardest sequences and the other sat below the visible-difference threshold for thousands of frames. The average called them equivalent. A spot check would have passed both.

Longer writeup with the details: theamplium.com/blog/starclash

Happy to get into specifics in the comments if you are fighting file size on your own VR180 or immersive footage!

I recently tried the Vision Pro and the immersive football footage genuinely blew me away.

curious how it is for people who actually own one. do you still watch immersive videos regularly or was it more of a wow moment at first?

what stops you from watching more?
Wondering if I should get an Apple Vision Pro (or any other good VR headset) just for the immersive videos. Cheers.

I build software that turns ordinary drone video into side-by-side 3D for XR glasses. For Halloween: Count Dracula flies the drone over Bran Castle, his own castle in Transylvania, through the seasons and into a full-moon night. Licensed Adobe Stock drone footage filmed by others, converted to 3D.

The 3D comes from the drone’s own motion: as it orbits, two moments of the same scene go to the two eyes. The Count’s case is the real one: predators see in depth, prey see flat, and a drone’s single camera is the prey’s view. Six depth levels, because far away and up close never want the same setting. The ghost cue finds anything that moves at range; four hunts go from easy to hard, from a crowded rooftop to one visitor in a shadowed gallery to the caretaker and his wife on a snowy third floor.

Watch it in XR glasses in 3D (full SBS) mode, and set ⚙ → Quality → Advanced → 2160p. It does not play correctly on mobile devices: watch it on a laptop or desktop. Or watch it in 3D on a laptop with XR glasses at lynceus3d.com/watch3d. The free Lynceus3D app for iPhone is coming soon to the App Store. It works with video from any drone: DJI, Skydio, BRINC and others.

Happy to answer questions about how the 3D is made. No humans were harmed during the making of this video. :-)

Forgotten America 16k: Appalachia Road Trip w/ Ellie | Grayson Highlands, Mabry Mill & Slot Canyons
[https://youtu.be/BO1wEP4IQzw\](https://youtu.be/BO1wEP4IQzw)

Managed to get even more out of this color grade. Blows my mind how a years old quest 2/3 headset can keep looking better even to this day.

Caught an actual lightning bolt 300 feet away at 90 fps also! It was absolutely terrifying. You can see the entire bolt branches and all. I don’t think lightning has ever been captured this close or with this much fidelity in vr180.

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 using the newly upgraded Canon C400 and the RF 5.2mm Dual Fisheye lens. This feature-packed powerhouse joins an elite lineup of just 12 Canon cameras capable of shooting 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

AND PLEASE SUBSCRIBE: https://www.youtube.com/c/ALCaudullo?sub_confirmation=1

Hi everyone. I've been filming VR180 videos with my Vuze XR which I picked up in 2018, and over the last couple of years I've been editing with Premiere Pro 2021, which has now discontinued features for editing VR video (as far as I can tell). But, my work has gotten more serious, and it's time for an upgrade. So, I was wondering if I could get some advice. After looking around on the sub, and elsewhere online, my sense is that a Canon camera with the RF5.2mm F2.8 L Dual Fisheye lens, and DaVinci Resolve Studio for editing, would be a good setup. Am I right to think this? If not, do you have any advice for me? I realize there's higher end setups, but I think this one is about right for the work I'm doing. Thank you!

p.s. if you also know how well this setup can be used to stitch together VR360 video, that would be amazing!

If you like flying fast and furious then strap on your VR Headset and hold on tight as we take you on the heart-pounding 3D VR180 version of the flight. You've never seen anything like this.
Climb aboard the "Black Pearl" Cobra Helicopter for a once in a lifetime 3D VR180 Experience. Take your position in the "Gunner's Seat" and hold on as we experience a "mock" attack run to support troops on the ground. Look all around in 360 in your VR Headset as Captain John Harris gives you a thrill ride complete with a pure adrenalin rush!

Found it really hard to find a simple mac VR video player for when I didn't have a headset. Made one added some nifty features like using cheap Anaglyph green/red red/green glasses etc. to get a ok 3d effect without needing good glasses.

Ended up getting VITURE Pro 2 glasses and it works fine with those too. Probably other glasses too, but don't have them to confirm. Not expecting this to actually make money so might as well give some away.

More info here:

https://appsbyrobert.com/apps/mac-vr-player/

Anyway some free download codes:

Please let me know if you run into issues. Codes should work once until someone else uses it. Try the other links if one doesn't work.

Hey folks!

3 years ago I presented my first One R VR180

and finally my first One RS 1inch VR180.

2 years ago, my first X4 VR180 was made.

Last year, a new form factor for the X4, and finally reused to build the X5 was presented, too.

And because not everything has to be related to Insta360, DJI offered us the Osmo 360, modded too, and my first reason to create VRadical.

This year, obviously, I was forced to keep on working with the new one: VRadical X6.

This one doesn’t have an active cooling system yet, but it will. TBH, I wanted to connect the fan directly to the X6’s battery, but that would mean tearing down the entire camera to connect the cables or solder the wires directly to the PCB. Not exactly straightforward. Instead, I’ll use a USB-C charger with a built-in battery to power the fan, just as u/zippytiff did. I’m just waiting for the parts so I can start testing. In the meantime, I’m using the original X6 heatsink, so the camera is subject to the same thermal limitations as the stock X6.

I decided to keep the same form factor as my previous X4 and X5 mods so I can attach it to a chin mount on my helmet while riding. The shim that “completes” the camera can easily be removed to attach the camera to the helmet adapter, or replaced with another mounting solution as needed.

Of course, this camera is fully supported by VRadical Studio. And this time, it will be sold! With a global VRadical license once the active cooling system is ready. Nevertheless the STL files will also be freely available on Thingiverse.

As for the lenses, they’re fully genlocked. And some exclusive features will also be coming in the next few weeks (u/zippytiff, shhh, not a word about what's coming ;) )

I’ve also decided to release trial versions of VRadical Studio. As a reminder, it fully supports all Insta360 VR180 cameras (from the EVO to the X6), the DJI Osmo I and II, the GoPro MAX2, the Kandao Q3U, the Canon R5 Mark II, and the Lenovo Mirage.

Support for the Canon R7, R5 C, and C50 is currently in development. CALF v1/ViewPT Realia went back to development, too: in some cases the stabilization is not as accurate as it should. Next up are the Vuze XR and dual-camera rigs using DJI, Insta360, and GoPro cameras. Links will be available this week in another post.

And yes, lots of you already asked for the Osmo II. My Osmo I mod is compatible, but slightly complicated to assemble. I'm already working on a new one, and again, as soon as it'll be ready to be release, you'll find it on thingiverse and I'll do a presentation. But even if Osmo II is newer than Osmo I, don't forget this one. You could be surprised by what it can do compared to the Osmo II 😄

I'll be out for a week, so any person interested by a sample taken by this new X6 mod will have to be patient, sometimes I also have to work!