Virtual Reality Filming

Virtual reality production in South Korea draws on one of the world's most advanced XR ecosystems. It is anchored by CJ ENM's virtual production spend, the volumetric capture studios in The DMC hub's Digital Media City, and Korean immersive pros such as AmazeVR and Sphere Korea. Our VR teams run pro 360 camera kits — Insta360 Titan, Kandao Obsidian, and RED-based custom rigs. Ambisonic microphone arrays back them up and capture sound from each direction.

We staff each project with directors who think in spheres, not frames. They guide viewer attention through staging, lighting, and spatial audio cues rather than the framing tools of classic cinematography. Crews work out of Seoul's The DMC hub and Paju studios. We secure locations across Gangnam, Hongdae, Bukchon Hanok Village, the volcanic landscapes of Jeju Island, and Busan's coastline well ahead of time.

Output is built for each major headset platform: Meta Quest, Apple Vision Pro, PlayStation VR, PC VR, and web-based 360 players. We make both monoscopic 360 for easy browser delivery and stereoscopic 3D 360. The 3D format gives the depth and presence that headset-only experiences need. Post-production covers stitching, stereoscopic alignment, VR-specific grading, head-tracked spatial audio mixing, and per-platform tuning. We time our work to Korea's K-content cash rebate windows, where global shoots qualify.

The team has shipped over a hundred VR projects. They range from corporate training simulations and tourism showcases for the Korea Tourism Org to entertainment experiences and cultural preservation pieces. Many were filmed inside historic palaces such as Gyeongbokgung and Changdeokgung, with permits and palace planning handled in-house.

Korea's seasons give VR projects strong visual variety, and our crews plan the calendar around them. We capture cherry blossoms along the Han River in spring, summer beach scenes at Busan's Haeundae and Gwangalli, autumn colour in Seoraksan and Bukhansan national parks, and winter views on Jeju Island. Outdoor rigs run on silent battery systems sized for the 220-volt grid, and we protect the multi-lens arrays with rain covers and heaters when the weather turns.

Permits and safety drive every public shoot, since the full 360 sphere leaves no off-camera space to hide crew or gear. We clear filming at palaces through the Korea Heritage Service and coordinate with the Seoul Film Commission and Busan Film Commission for street and landmark work, under a KOSHA-aligned on-set safety plan. After capture, our team backs up the data twice, then handles stitching, stereoscopic alignment, head-tracked spatial audio, and per-platform mastering before delivery.