360° Video Production

Here is how this works in practice. Our 360-degree video crews across Australia work the full immersive-capture spec: Insta360 Titan and Pro 2 for 11K stereoscopic feature and broadcast work, Kandao Obsidian Pro, ZCam V1 Pro, and the newest Insta360 X4 and One RS 1-inch 360 for ENG, branded content, and tourism storytelling.

Here is the short of it. Sydney crews specialise in heritage capture at Sydney Opera House (UNESCO 2007. Jørn Utzon, opened 1973), Sydney Harbour Bridge, Bondi and Manly beaches, The Rocks, and the Royal Botanic Garden, while Gold Coast and Cairns teams cover Great Barrier Reef (UNESCO 1981 — world's largest coral reef system) and Daintree (oldest tropical rainforest at 180 million years) experiential pieces.

Here is the breakdown. Outback 360 work. Uluru-Kata Tjuta (UNESCO 1987 — Anangu sacred site), Kakadu (UNESCO 1981), Tasmanian Wilderness (UNESCO 1982), Blue Mountains (UNESCO 2000) — anchors tourism, museum, and brand-experience deliverables, scheduled tightly to the May-September dry window in the Red Centre.

Here is what that looks like on the ground. Australia's tourism and broadcast ecosystem supports a deep 360 pipeline. Tourism Australia, Destination NSW, Visit Victoria, Tourism and Events Queensland, and Tourism Western Australia all commission immersive capture for VR/AR experiences and YouTube/Meta 360 channels.

Here is how the picture comes together. We set up Producer Offset 30% and PDV Offset 30% forms through Screen Australia, ACMA wireless licensing for talent mics and downlink, CASA RPA permits where 360 drones are used (Insta360 Sphere on DJI Mavic 3 or DJI Inspire 3 with reflective bowls), Aboriginal Land Council and AIATSIS consultation for sacred-site capture which is non-negotiable at Uluru and Kakadu, and GBRMPA permits for any reef-environment shoot. Cross-border post in Sydney, Melbourne, and adjacent Wellington/Auckland NZ (3-hour flight) keeps stitching, stabilisation, and ambisonic audio post within Asia-Pacific time zones.