For creators · VR180 · side-by-side
What a VR clip has to be to sell on Lewdden, what you check in the thirty seconds before Rec, who the viewer is in each take — and how you look at your own scene in a headset before anyone pays. Read it from the sale backwards.
Start at the end: this is what Lewdden puts on sale, what the buyer sees, and what the encoder does with your file. Every decision on the set follows from it.
The format
A file in the wrong projection does not fail here — it just looks wrong in the headset, and the buyer blames you. We do not convert between projections.
Our quality ladder
Shoot the highest resolution your camera offers and upload well before you plan to publish — a big encode is not a stuck encode.
Required
A VR clip cannot go to review without a trailer, and the trailer becomes the free teaser in the headset — same encoding, same button. Fifteen to thirty seconds, shot at the same height and distance, so it is an honest sample. A buyer who has watched your work in their own headset is a different buyer from one looking at a thumbnail.
Trailer and thumbnail rules →
How buyers see it
Every VR card carries the VR badge and 8K / 6K / 4K; the clips page has a Format filter; fans with a headset find you in the hub, fans without one get the 360° preview. Nothing burned into the picture — a logo or text drawn once lands in one eye only.
How the hub works →The camera is the viewer's head. Six things are decided in the thirty seconds before the take, and none of them survives an edit — so they are a checklist, not a style question.
01
The lenses sit exactly where a real person's eyes would be. Standing: 1.60 m. Seated: 1.20 m. Lying: pillow height.
The danger: Too low and the viewer feels like a child for the whole clip; too high and they float. No edit repairs it.
02
Never tilted left or right. Check the camera's own level every time you move it.
The danger: Two degrees off makes a share of viewers dizzy and sick within a minute.
03
The two lenses act like two eyes and must stay side by side, horizontally — whatever the body of the camera is pointing at.
The danger: A vertical shot kills the 3D completely. The picture stays sharp; the depth quietly leaves.
04
There is no zoom in VR. To get closer, the camera moves. Keep performers between 40 cm and 1.5 m from the lenses.
The danger: Closer than 30 cm crosses the viewer's eyes and gives headaches. Past 3 m the depth is gone and it looks like flat video.
05
No handheld, no walking, no fast pans. The viewer is sitting still; a moving camera moves the whole room out from under them.
The rule: Lock it on the stand. If it truly must move: very slowly, in a straight line, on wheels or a slider.
06
When a performer looks into the lens, the viewer feels direct eye contact — the most powerful thing this format does.
The rule: Mark the floor with tape so everyone knows where to look. You cannot direct attention afterwards in VR.
The line through the lenses cuts the room in half. Everything in front of it is on screen — floor, ceiling, the corner with the bag. Everything behind it does not exist. One rule, and it is geometric.
In front of the line — on screen
A 180° camera sees the whole half-circle, floor to ceiling. Cover the full arc with something you are happy to have in the shot. A lamp in front of the line is part of the set — on purpose, or not at all.
In front of the line — on screen
The one thing that cannot hide: a slim monopod on a small base shows far less of itself than three splayed legs. Reaches 1.60 m, locks there, weighed down.
In front of the line — on screen
A mark sits in the middle of the scene for the rest of the take. Protector if your rig takes one; otherwise a distance band where nothing reaches it. Wash hands, then touch the camera.
Behind the line — never filmed
Soft, from behind the lens line or high above it aimed forward. A hard light off to one side blows out one eye and leaves the other clean — a smear in the headset your monitor never shows. Bounce off the wall or ceiling behind the camera.
Behind the line — never filmed
Presence comes from sound more than from resolution. Hide a recorder in the bedding or just behind the near edge of the shot, record thirty seconds of empty room for the joins, skip music.
Behind the line — never filmed
Towels, wipes, gloves, a second sheet, warm water, the spare card — within reach, invisible. Shoot clean to dirty and write the order down before anyone undresses: there is no way back without a full reset. The half of the room the camera cannot see is your working area — it can look like anything.
Whoever puts the headset on gets the camera's height and position for the whole take. Decide who that person is first; height, distance and framing follow from the row you pick.
The performer works to the lens the way they would work to a face; inside a metre a headset reads a person as present in a way no flat close-up does. Do not creep under 30 cm to intensify it — that is where it breaks.
The most comfortable position to watch for a long time and the easiest to shoot — the one height where a normal stand, a normal room and a performer standing or kneeling all agree.
The one people get wrong: turning the camera on its side to frame it better rotates the lens pair out of line with the viewer's eyes and the 3D collapses. The lenses stay level with a pair of eyes, whatever the camera body points at.
Height is what makes this land: from down here everything above reads at full scale, which no flat lens can fake. Watch the horizon — a camera this low shows tilt more than any other position.
The only setup where two or more performers read clearly, because everyone fits without anybody inside the near limit. Nobody looks at the lens. A breather between the close positions, and the establishing shot a scene of intimate takes never gets.
Moving the camera between rows inside one shot teleports the viewer. A different height is a different take; write height and distance down so two takes cut together later. Five to fifteen minutes on one setup reads as natural — a fast sequence reads as an assault.
One rule behind every pick: two lenses side by side, recording VR180 at 5760×2880 or more, 30 fps, from a stand. Prices are the makers' own shop prices from September 2026 — a guide, not a quote.
Our pick · under 1,000 €
RecommendedTwo Sony 1/1.5-inch sensors, 10-bit colour, 8K at 30 fps as finished VR180 3D — nothing to stitch — a 190° view, a big screen so you see what you shoot. And it streams 6K straight to our server over RTMP or SRT: camera and encoder in one box, no OBS needed for a live show. The only camera we found under 1,000 € that fills our top 8K rung and goes live on its own.
Spend less · about 800–900 $
Two Sony 1/2.3-inch sensors, 8K at 30 fps or 6K at 50 fps as finished VR180, RTMP over its network port, pocket-sized at about 300 g. Know before you buy: early units showed stair-step artefacts that firmware had to fix, and the picture stops about 160° vertically. Straight ahead — where a fan looks — it is fine; it is the smaller sensor and the rougher software of the two.
Cheapest way in · about 200–400 $
A USB camera for your computer, not one that records on its own: it plugs into OBS and delivers 3840×1920 side by side at 30 fps as fisheye. 1920 pixels per eye is our lowest rung — fine to try a live stream, too soft to sell recorded clips at VR prices. Start here only if you plan to upgrade.
Not a VR camera
It records everything around it — and all of it flat: one lens per direction, no pair, no depth. In a headset that is a wraparound poster. Coverage and stereo are different features, and only the second one is why anyone buys VR.
Not a VR camera
Spatial video is stereoscopic, but the lenses sit centimetres apart and see an ordinary field of view: a 3D window a metre wide, not a place to be. A real format — not this one.
Second camera
A flat camera behind the lens line is invisible to the VR one. Both sell here — and the hub shows your 2D clips to fans who open your page in a headset.
Less editing than you are used to — and one step that only exists here: your draft plays in your own headset before anyone pays for it.
Only here
In the VR hub your unpublished clips sit under their own Drafts tab, which only creators see. A draft or a clip still in review plays there in full, marked "Draft — only you can see this". Check height, tilt and distance there before anyone pays.
How the hub works →
Your room
Fans who open your page in the hub stand in your cabin — your poster on the wall, a short voice greeting, the light colour you chose. Three fields in Store Brand Setup, no file prep beyond a JPG and an MP3.
Cabin, requests and series →Longer than the flat equivalent. Presence takes a minute or two to settle, and once it has, people stay somewhere far longer than they watch something. Fifteen to forty minutes is ordinary; long unbroken takes are a feature, not something to apologise for.
No. The camera is locked off, so there is nothing to operate — start recording, walk into the scene, cut it afterwards. A remote or the camera app saves the walk in and out of frame.
Only if it is already 180° side-by-side stereo. Nothing turns a flat or a 360 video into VR180 — the second eye was never recorded.
Yes — the same camera, OBS or the camera's own RTMP, and the VR180 switch in your livestream settings. Viewers watch the live dome in the hub; the chat, tips and effects work there too.
Fans can order a personal voice greeting or a signed poster from inside the hub, and three of your clips can form a series with a trophy for fans who own all of them. Both are switched on in your store settings; the full guide has the fields.
Before your first upload, watch something in the headset your buyers use — it is the fastest way to learn what your own footage should feel like.
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