![]() For example, you normally can’t employ lighting because the lights would be visible in the shot. Even audiences can get confused and wonder whether they are missing out on what the director really wants them to see. It’s hard for the director to force the audience to look at a specific direction. One of the challenges of shooting in 360 is that it requires an entirely different shooting technique. Second, it’s much easier to shoot, especially for narratives. Although it doesn’t provide a 360 view, heatmaps show that many people tend to look only in the forward direction of a 360 video. A photo or video in 3D 180 looks very immersive in a VR headset, more so than a 2D 360, in my opinion. VR180 is a 3D 180-degree format for photos and videos. The key feature of Vuze XR is that it can convert from a 360 camera to a VR180 camera. What is VR180 and why is it so interesting? Vuze XR in VR180 mode It’s not the first such camera, but unlike other hybrid VR180 cameras such as the Kandao Qoocam, this one has a 5.7K resolution, and will cost just $439, making it much more affordable than other 360 cameras the GoPro Fusion ($699, 5K) or Garmin Virb 360 ($799, 5.7K). The Vuze XR is a new 360 camera that converts into a VR180 camera (XR stands for Cross Reality). Here is an in-depth review of the Vuze XR, with a comparison against other popular VR180 and 360 cameras: Updated: Septem(complete specs, sample videos, price, availability) ![]() Updated: Decem( stabilization demo video) Updated: Ma(detailed review and comparison) Updated: Ma– sample videos and photos added See all of Eric’s VR videos over at Oculus Media Studio.What is VR180 and why is it so interesting? “Save” to a playlist to find the video in YouTube VR.“Save to VR” to watch in Oculus VR headsets.Vuze XR clips processed before April 16, 2019, will be very uncomfortable to view in headset–it’s worth re-processing any old clips you might have.Ĭheck out the video in a VR headset, if you have one: ![]() The Vuze XR used to have this issue, but Humaneyes solved the problem by forcing a per-clip calibration in Vuze XR Studio (April 16, 2019). In order to render the labels without depth conflicts in the Insta360 EVO footage, I had to place them 2 degrees closer than I did in the video from the Z CAM K1 Pro and Vuze XR. This could be easily solved by Insta360 by doing a per-scene calibration by default during processing (not done in this example). As a result, I find footage from the Insta360 EVO to be less comfortable in headset. Note that the Insta360 EVO processes by default with disparity at infinity (meaning that infinity looks like it’s close to the camera). All clips put on a 5120×2560 sequence in Adobe Premiere Pro, and exported as h.264 at VBR 2-pass 50-65 Mbps. Default processing was used in OEM apps by each manufacturer. Firmware and desktop studio apps were up to date as of late April, 2019. Spatial audio recorded using a Zoom H3-VR. ![]() Original footage from Z CAM K1 Pro, Humaneyes Vuze XR, and Insta360 EVO cameras. I would only expect extremely high-end cameras to be able to capture it effectively, and the results would be almost impossible to distribute due to compression and bandwidth constraints. This is an extremely difficult scene for digital cameras to represent at high quality–there is a ton of detail, and many elements are in constant motion. Shot at Andy Goldsworthy’s Wood Line in San Francisco. Starring Bryson Voirin and Zoey the Adventure Cat.
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