Catch Reality
Catch Reality
London-based 360° music video production and immersive concert films. Multi-camera 360° and VR capture, AI-augmented immersive work, and delivery for Meta Quest, Apple Vision Pro and Apple Immersive Video.
We've been making music videos and concert films for twenty years, and immersive 360° music work for the last ten. Based in London, our credits include Aphex Twin, Gary Barlow, Eli & Fur and Rudimental, alongside agency and platform partners including NTS Radio, Beatport and Be-Hookd. We move comfortably between named-artist commissions and experimental pieces that push at what an immersive music experience can be. As AI-generated music becomes a defining force in the industry, the case for immersively-captured live performance only gets stronger — and 360° production is one of the most powerful ways to anchor music in the room it actually came from.
Live multi-camera capture of full performances using 360° cameras on stage, front of house and in motion, blended with traditional 2D coverage and cut into immersive concert films. Delivered for VR headsets, YouTube 360°, Meta Horizon and any headset showcase. For venues, festivals, tour productions, agents and artists. Cameras used include the Insta360 Titan and Insta360 Pro 2 — both available for self-shoot hire if you'd prefer to capture in-house.
Studio or location music video production with 360° as the primary frame — performance captured immersively, with scenes extended into AI-generated worlds where the brief calls for it. For artists, labels and music supervisors.
Existing performance work — classical, opera, contemporary dance, experimental — re-visualised through AI-augmented 360° environments that put the viewer inside the music. For classical and opera houses, dance and theatre companies, festival commissions.
180° stereoscopic capture mixed with spatial audio, delivered in Apple Immersive Video format for Vision Pro alongside standard 180° and 360° versions for other headsets. Ideal for staged performance where the area behind the camera isn't part of the shot. For labels with Vision Pro strategies and artists pitching to Apple.
Three case studies — full-performance 360° capture, studio VR commission, and a no-audience location shoot. The 360° videos embedded below are deliberately downsampled for fast in-browser playback on phones and laptops; the original masters are delivered at significantly higher resolution and bitrate for VR headset and immersive distribution. On mobile, tap the fullscreen button in the player for the best experience. On any device, pinch or scroll to zoom in and out.
A full-performance 360° concert film for NTS Radio, in collaboration with longtime Aphex Twin collaborator Weirdcore.
The live tour stage centres on a six-sided cube of projections suspended above the performer; the 360° concept mirrored that geometry, placing the viewer at the centre of a cube whose faces were mapped from multiple 360° and 2D angles, including an aerial 2D camera on a zip line over the festival audience.
We used an Insta360 Titan centre stage, an Insta360 Pro 2 side stage and another Insta360 Pro 2 front of house. Audio was spatially mixed so that audience sound rises when the viewer turns toward the crowd and the clean stage mix dominates when they face the performer.
The hour-long full-performance experience released on the NTS Radio YouTube channel a week after the show and reached 350,000 views.
A studio-based VR commission for an agency partnership with a major headset manufacturer.
Shot alongside a 2D production crew, with multiple 360° cameras on set and an Insta360 Pro 2 as hero camera, mounted on a remote-control vehicle tracing a semi-circular arc across the front of the stage. Captured at 8K 60fps monoscopic and delivered at 4K for headset playback.
A live 360° performance shoot in a Kent woodland, staged to match the title of the duo's Found in the Wild album.
Built as a private filming-only performance with full lighting and stage design, no audience. The hero camera was an Insta360 Pro 2 suspended from a zip line moving backwards and forwards across the stage, with additional Pro 2 units placed front of house and behind the performers for coverage. Filmed alongside a parallel 2D crew for combined immersive and standard delivery.
Recording artists · record labels and management · music supervisors · music venues and festivals · classical and opera houses · contemporary dance and theatre companies · music documentary producers · brand experience teams commissioning music content.
A typical project runs in six stages.
A short call to discuss the audience, delivery format (VR, mobile, headset showcase, Apple Immersive Video), the venue or location, and the camera plan — how many 360° units, where they sit, how they're rigged, and how 360° capture integrates with any 2D crew already on the project.
We review references from the artist or comparable work, plan any additional media going into the experience (existing 2D footage, stills, animations, AI-generated elements), build a production schedule, and liaise with venue, sound, lighting and partner crews. Health and safety assessment included.
Multi-camera 360° shoot, often combined with parallel 2D coverage. 360° cameras typically record onto multiple media formats simultaneously, so DIT data handling is part of every shoot day. For VR-bound projects we'll usually bring a headset on set so the client and key stakeholders can preview material in-format during the day.
Footage is stitched, synchronised, and cut to a rough edit, sent for client review and feedback before finalising.
Where the project includes spatial audio, we partner with dedicated spatial audio specialists for both on-shoot capture and post mixing — synced precisely to the 360° image so the audio maps to the visual field. Where AI-generated environments or extensions are part of the brief, those are developed in close feedback rounds with the client.
The locked edit is encoded for every required format: 8K and 11K monoscopic, 8K stereoscopic, 4K and below for mobile and desktop, plus VR-headset-ready files for YouTube 360°, Meta Horizon, Apple Immersive Video and MP4 social cuts. If you're showcasing in your own headsets, we'll advise on getting the best playback performance from them.
360° production has a few constraints that don't apply to standard video. Cameras need to be physically close to the action to keep image quality high, which means placement during live performances has to be planned carefully — both for the shot and for sightlines from the audience. The kit itself is newer and less standardised than 2D equipment, so we plan contingencies aggressively. We discuss all of this openly during scoping.
Traditional music video production captures a single framed perspective for the viewer. 360° music video production uses multiple immersive cameras to capture the full sphere of the performance, letting the viewer choose where to look on a headset, in a phone, or on desktop. The two approaches are often combined — a 360° layer added alongside a standard music video shoot — and the resulting immersive cut can be distributed via YouTube 360°, Meta Quest, Apple Vision Pro, and other VR platforms.
They overlap, but the terms aren't identical. A 360° concert film is captured with spherical 360° cameras and viewed in headsets or 360° players. An immersive concert film is a broader category that includes 360°, 180° stereoscopic (Apple Immersive Video for Vision Pro), spatial-audio mixes, and any format designed to put the viewer inside the performance rather than watching it from outside. We produce both, and most of our concert films include elements of each.
Budgets vary widely. A full immersive 360° production typically starts around £2,000 and scales up to £10,000 or more depending on the number of cameras, the rigging complexity, the post-production scope, and whether spatial audio or AI augmentation is involved. 360° is often commissioned as a layer alongside a more traditional music video shoot, which can change the budget shape considerably. We'll quote properly after a scoping call.
A minimum of one week of pre-production before the shoot, and at least a week of post-production after capture, with longer timelines for projects involving spatial audio or AI-generated environments. We'll give you a realistic schedule once the brief is clear.
We deliver in a range of resolutions and formats depending on the use case: 8K monoscopic is the most common, with options for 11K monoscopic and 8K stereoscopic for premium VR delivery, 4K and below for mobile and desktop, and dedicated 180° stereoscopic versions for Quest and Apple Immersive Video. Output covers VR headsets, YouTube 360°, Meta Quest, Apple Vision Pro and standard 2D platforms.
Yes. Immersive experiences are often richer when they combine multiple types of media — 2D footage, stills, animation, archival material — alongside the 360° capture. Existing content you'd like to include is welcome and frequently improves the final piece.
Yes. We make experimental 360° immersive content where the entire visual is an AI-generated interpretation of the music. Where possible, though, we like to anchor the experience with at least some live element — performance, location, voice — because it gives the AI work a centre of gravity that pure generation can struggle to find on its own.
This is an evolving area. Under current UK and US law, content generated purely by AI typically isn't separately copyrightable because it lacks human authorship. However, the assembled final work — combining live capture, creative direction, editing, audio, and AI-generated elements into a single piece — is a creative work authored by us, and ownership of the final delivered piece transfers to the commissioning body under our standard production agreement. For projects where rights are particularly important (broadcast, theatrical release, large-scale streaming licensing), we recommend clients also take specialist IP legal advice.
Spatial audio is a specialism in its own right, so we partner with dedicated spatial audio studios and freelancers rather than handling it in-house. If spatial audio is part of your project we'll bring a dedicated specialist to the shoot for capture and to post for mixing — synced precisely to the 360° image so the soundscape maps to where the viewer is looking. You're also welcome to bring your own audio team if you have an existing relationship.
Apple Immersive Video uses a 180° stereoscopic field rather than full 360°. In some ways this is easier than 360° production — particularly for staged performances where the area behind the camera (audience, crew, technical setup) isn't part of the shot or can't be filmed for privacy reasons. We can deliver in 180° stereoscopic format ready for Apple Immersive Video, alongside 360° versions for other headsets and platforms.
Catch Reality is led by Ian Burke. Before founding Promo Video in 2005, I worked as a professional musician and music producer and trained in film music composition — a foundation that's shaped how I've approached every music project since. From 2016, as 360° cameras and consumer VR headsets became viable, I shifted significant attention into immersive music work: experimenting with what a music video or live performance becomes when the viewer steps inside the frame.
That work has run from underground clubs to NTS Radio collaborations, with artists including Aphex Twin, Gary Barlow, Eli & Fur and Rudimental. As AI-generated music becomes a defining force in the industry, I believe it's more important than ever to capture live performance immersively — to keep music rooted in the place and moment it was actually made.
Book a 20-minute scoping call and we'll talk through length, format, budget and approach.
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