Virtual Reality.

Most brands that ask us for VR have already watched a competitor's headset experience and thought, we should have one of those. The honest problem underneath is harder. A 360 film that makes people queasy, an experience nobody can run without you in the room, or a £40k build that lived on one stand for two days and then sat on a hard drive. We make immersive VR and 360 content that earns its budget because it was planned around where it will actually be watched, who will press play, and what you need them to feel by the end. It is produced from our studios on London's Southbank, by a team that runs live broadcast every week, so the kit and the calm are already in the building.

What it actually is

Immersive content covers two related things, and people often blur them. The first is 360 video, real footage captured so the viewer can look anywhere, watched in a headset, on a phone that responds to tilt, or in a web player you drag around. The second is computer-built VR, a space the viewer can move through and interact with rather than just look at. Most briefs land somewhere on that line. A product walkthrough, a venue or property tour, a training scenario, an event experience, a recruitment piece that puts someone on the factory floor before they apply. We help you decide which one your goal needs, because the cheaper, faster option is sometimes the right one and we would rather tell you that early than sell you the expensive build.

How we deliver it

We start with a pre-production call about the destination, not the technology. Where does this get played, on what hardware, with or without a person guiding it, and how long do you realistically have someone's attention. That single conversation kills more bad ideas than any kit ever will. For 360 capture we shoot on rigs designed to stitch cleanly, plan camera positions so the seams hide and nobody feels seasick, and keep the crew out of the shot, which is its own discipline when the camera sees everything. For built environments we model the space, set the interactions, and test on the actual headset the audience will hold rather than a developer's high-end machine. Our green-screen virtual studio comes in when you want a presenter or a brand world dropped into the immersive scene, composited live or in the edit. Throughout, we keep the file sizes and formats matched to the player, so the thing that looked perfect in the studio still runs on a tablet at a busy stand.

What you get

• A pre-production plan tied to where the content plays and who presses start, agreed before we shoot a frame
• 360 capture shot to stitch cleanly, with camera positions chosen to avoid the seasick effect
• Optional built, interactive VR for walkthroughs, training scenarios and tours
• Green-screen compositing when you want a presenter or brand environment inside the immersive scene
• Files exported and tested for the exact headset, phone or web player the audience will use
• A version plan, so one shoot can yield a headset cut, a phone-tilt version and a flat social edit
• A short handover so your team can run the experience on a stand without us standing next to it

Where it earns its place

Immersive content pays off when looking is the message. A property or venue that has to be felt to be understood. A piece of plant or a factory floor a buyer cannot easily visit. A training scenario that is dangerous, expensive or slow to stage for real, run safely in a headset instead. An event stand that needs a reason for people to stop, queue and remember you afterwards. A recruitment film that shows the job from the inside rather than describing it. In each of these, a flat video would have to tell the viewer what it is like, and immersive content lets them find out for themselves, which is the part they actually repeat to a colleague.

Why it beats the obvious alternative

The obvious alternative is to brief an agency that has never run a live broadcast, take a quote built around the build cost, and hope it plays on the day. The risk you are carrying there is the one nobody quotes for. The headset experience that crashes mid-demo with a queue watching, the 360 film that makes a third of viewers take the headset off, the deliverable that needs a developer on speed dial every time the stand reboots. We are a broadcast and live-streaming company first, so the reflex to test on real hardware, build in a fallback and hand over something your own staff can run is already how we work. You are not paying for a flashy proof of concept that quietly becomes your problem after launch. You are paying for something that survives contact with a real audience on a real day.

Common questions

How much does a VR or 360 project cost

It depends almost entirely on which of the two you need. A 360 video shoot is closer to a normal film budget and scales with shoot days and edit complexity. A built, interactive VR experience costs more because it is software as much as footage. The fastest way to a real number is a short call where we pin down the destination and the interactivity, because that is what moves the price, not the headline idea. We would rather scope it honestly than send a guess.

Will it make people feel sick

That fear is fair, because a lot of early 360 content did exactly that. Motion sickness in VR mostly comes from careless camera movement, bad stitching and the wrong frame rate, all of which are production choices, not facts of the format. We plan camera positions to stay stable, stitch cleanly and export at the right settings, and we test on the headset your audience will use before you ever stand behind it at an event.

Do viewers need an expensive headset

No. Plenty of effective 360 content is watched on a phone that responds to tilt, or in a web player the viewer drags around with a mouse, with no headset at all. Headsets earn their place for high-impact moments like an event stand or a showcase. We help you match the format to the audience you actually have, rather than assuming everyone owns the latest hardware.

Can you put our presenter inside the experience

Yes. That is what the green-screen virtual studio is for. We can shoot a host or spokesperson on the green-screen floor and composite them into the immersive scene or a built brand environment, either live for a stream or in the edit for a polished piece. It is a common way to keep a familiar human face in an otherwise computer-built world.

If any of this is on your roadmap, the easiest first step is a short conversation or a walk around the Southbank studio floor, no commitment attached. Bring the goal and the place it needs to play, and we will tell you plainly whether immersive content is the right call, which of the two routes fits, and roughly what it takes to do it well. Sometimes the answer is a simpler format, and we will say so.