— Directing Virtual Reality


Murch pins editing success to taking the viewer where she wants to go next when she wants to go there. The trick to editing in VR is finding the new rhythms, the new seamlessness.

I really enjoyed Brillhart’s take on VR editing being a transition between concentric circular worlds. The image she presented of this made me start thinking of tree rings and how they represent that movement through time, that experience of different worlds one after the other for the tree. When you go back to look at these rings, you can piece together the story of that tree, the journey it has experienced.

Unlike traditional editing, you are editing for multiple viewer paths through the experience. That is what is exciting to me about VR–give the viewer ownership of the experience. It’s your job as the editor (just like Murch) to really understand and anticipate what all of those potential paths are and aid the viewer on their journey along the path so that they don’t get lost. Aligning offsets for points of interest is a key method for creating match of attention cuts. However, you have to plan for all eventualities (make sure the cut works in all 360 degrees) to anticipate journeys you have not thought of.

The key will be to put yourself in the viewer’s seat. Really explore the world of your story. Where do you want to go? Where could someone else with different world experiences want to go?

I just wish there was a way to editing in a headset so that you can make changes as you watch the experience and feel things are off.


  1. Sarah Rothberg says: March 30, 20173:22 pm
  2. Sarah Rothberg says: March 30, 20173:27 pm

    Your description of the tree rings is so beautiful! And re: editing in headset — it is possible to preview in real time building in Unity — it would be nice if Premiere had that feature too! Only a matter of time, I would guess.

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