I’m an FPV pilot and forward-looking content creator from China, currently exploring the exciting intersection ofslow-motion and immersive VR content.
As you may know, achieving a65mm interpupillary distance (IPD)between two lenses is essential for natural and comfortable stereoscopic VR viewing. I’m curious if Pixboom has anyplans to reduce the physical width of individual camera unitsto make it feasible to build dual-camera rigs that match this requirement. If the cameras could fit within that constraint, it would open up tremendous potential in the field ofslow-motion VR, which I believe will play a big role in the future of immersive storytelling.
In addition, I’d like to ask:
Does the Pixboom system support precise synchronization between two or more cameras?Accurate sync is absolutely critical in stereoscopic VR to avoid visual discomfort and to ensure spatial coherence.
If these two aspects—compact size for VR IPDandhigh-quality sync capabilities—are on your roadmap, it would mean a lot to creators like myself who are building toward the future of immersive content.
Thank you for your engaging discussion! I’m curious if you have had any experience with Canon’s VR workflow, particularly using dual fisheye lenses combined with Canon cameras? Alternatively, have you explored Blackmagic’s VR equipment?
Thank you for your response and for raising those great questions!
Regarding Canon’s dual fisheye system — unfortunately, I’ve found the image clarity to be quite underwhelming. In my experience, it’s not suitable for producing high-quality immersive content. On the other hand, Blackmagic’s Immersive camera seems like the only viable path forward when it comes to achieving professional-grade image quality in VR.
That said, when it comes to immersive storytelling,high-frame-rate slow-motion captureis absolutely essential. At the current state of technology, unless your team develops a4096x4096 square-format sensor, true immersive VR (with wide-angle stereoscopic views) will remain out of reach.
Instead, themost realistic and cinematic optionright now is to captureflat 3D content— meaning two synchronized rectangular frames shot simultaneously from different perspectives. This approach sacrifices field of view, but it’s currently theonly viable high-frame-rate cinema-quality method. It’s a tradeoff — one that entirely depends onprecise frame synchronizationand aphysically correct IPD (inter-pupillary distance)between the cameras.
Immersive content is undoubtedly the future — but before that future fully arrives, using systems like Pixboom Spark to create high-frame-rateflat 3Dcontent could play a vital transitional role. That’s the direction I’m currently exploring in my own projects here in China.
If your team is interested in experimenting with this kind of VR production workflow, I’d be happy to help test FPV-based content using your system — provided that proper IPD and sync mechanisms are in place. Without those two things, the result would likely be visually uncomfortable and unusable.