Georges Méliès, a former illusionist and filmmaker, unveiled a new dimension in cinema: the magic of postproduction. With homemade resources and a lot of imagination, he marveled and captivated the audience and let them see impossible things.

VR postproduction is currently in a very similar situation as these beginnings of the Méliès, and the tools we have, both for recording and for postproduction, are inherited from the seventh art, whose needs differ widely from VR technology.

Even so, we have to get the best result possible using our ingenuity and inventiveness to achieve an impeccable result.

Software developers seem to be focused on finding their niche in the world of VR and all compete for their piece of the pie, creating quite rudimentary solutions with many problems and very little versatility of both use and personalization.

We need to clean the canvas and ask ourselves the most basic things: is equirectangular the most correct way to work? Should we use flat editing software? How do we achieve an intuitive tool in a 360-degree environment? Etc.

Using old basic software with plugins to adapt it as best as possible to new needs won’t be enough when VR becomes a stable format and requires higher quality than the current one.

It’s clear that there’s a wide range of possibilities for innovation, because when technology is so attractive and unexplored, no bet is bold enough, everything will be welcome, and R & D will be at the same level as content creation. No one knows what kind of software will be the best indicated, we might have a slight idea, but what is sure is that it will be very interesting to see it in the front row.


– Nacho Navarro –