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Lol. Def not for 5 year olds but it's about exactly what I needed How about this: Take a lot of pictures of a scene from different angles, do some crazy math, and then you can later pretend to zoom and pan the camera around however you want
sure, but does that explanation really help anyone. Imo it might scare people off actually diving into things, the math isn't too crazy.
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The technology is impressive, but the end result… Weapons-grade brainrot. I’m curious what other artists end up making with it.
I really disagree with the label brainrot. Brainrot is low-quality garbage with no artistic merit, and very little thought behind its creation, which does nothing but make you briefly pause while scrolling, before scrolling away with no lasting impression being done to your mind (besides increased boredom and inability to focus). This is clearly an artistic statement, whether you like the art or not. A ton of thought…
A good example are those Subway Surfers split screen videos, where someone is babbling about nothing in one frame, but the visuals in the other keep people watching.
Another example is AI-narrated “news” on YouTube. Nobody would normally listen to an AI voice read AI slop, but if there are some extreme video clips quickly switching every few seconds, people don’t immediately click away.
Brain rot shreds the attention span and uses all kinds of psychological tricks to keep people engaged. In the Helicopter video, every second is packed with visual information, not to contribute to the narrative but to capture attention. The backgrounds are full of details. The camera never stops moving. The subjects depicted are even attention grabbing: police lights, dancing people, guns, car crashes, flamethrowers! Hey, does that guy have pink curlers in his hair?
It’s not that I don’t like it (I kinda do), but a media diet of that kind of content is bad for the brain.
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Y'all did such a good job with this. It captivated HN and was the top post for the entire day, and will probably last for much of tomorrow. If you don't know already, you need to leverage this. HN is one of the biggest channels of engineers and venture capitalists on the internet. It's almost pure signal (minus some grumpy engineer grumblings - we're a grouchy lot sometimes). Post your contract info here. You might g…
What do you think about the sparse voxel approach, shouldn't it be more compute efficient than computing zillions of ellipsoids? My understanding of CGI prolly is t0o shallow but I wonder why it hasn't caught on much..
The most expensive part of Gaussian splatting is depth sorting.
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Gaussian splatting is a way to record 3-dimensional video. You capture a scene from many angles simultaneously and then combine all of those into a single representation. Ideally, that representation is good enough that you can then, post-production, simulate camera angles you didn't originally record. For example, the camera orbits around the performers in this music video are difficult to imagine in real space. Eve…
Are meshes not used instead of gaussian splats only due to robustness reasons? I.e., if there were a piece of software that could reliably turn a colored point cloud into a textured mesh, would that be preferable?
BTW I believe there is software that can turn point clouds into textured meshes reliably; multiple techniques even, depending on what your goals are.
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There's a ton of fun tricks you can perform with Gaussian splatting! You're right that you can intentionally under-construct your scenes. These can create a dream-like effect. It's also possible to stylize your Gaussian splats to produce NPR effects. Check out David Lisser's amazing work: https://davidlisser.co.uk/Surface-Tension . Additionally, you can intentionally introduce view-dependent ghosting artifacts. In ot…
Y'all did such a good job with this. It captivated HN and was the top post for the entire day, and will probably last for much of tomorrow. If you don't know already, you need to leverage this. HN is one of the biggest channels of engineers and venture capitalists on the internet. It's almost pure signal (minus some grumpy engineer grumblings - we're a grouchy lot sometimes). Post your contract info here. You might g…
Second, it's very motivating to read this! My background is in video game development (only recently transitioning to VFX). My dream is to make a Gaussian splatting content creation and game development platform with social elements. One of the most exciting aspects of Gaussian splatting is that it democratizes high quality content acquisition. Let's make casual and micro games based on the world around us and share those with our friends and communities.
Hi, I'm David Rhodes, Co-founder of CG Nomads, developer of GSOPs (Gaussian Splatting Operators) for SideFX Houdini. GSOPs was used in combination with OTOY OctaneRender to produce this music video. If you're interested in the technology and its capabilities, learn more at https://www.cgnomads.com/ or AMA. Try GSOPs yourself: https://github.com/cgnomads/GSOPs (example content included).
I remember splatting being introduced as a way to capture real life scenes, but one of the links you have provided in this discusson seems to have used a traditional polygon mesh scene as training input for the splat model. How common is this and why would one do it that way over e.g. vertex shader effects that give the mesh a splatty aesthetic?
It's also possible to splat from textured meshes directly, see: https://github.com/electronicarts/mesh2splat. This approach yields high quality, PBR compatible splats, but is not quite as efficient as a traditional training workflow. This approach will likely become mainstream in third party render engines, moving forward.
Why do this? 1. Consistent, streamlined visuals across a massive ecosystem, including content creation tools, the web, and XR headsets. 2. High fidelity, compressed visuals. With SOGs compression, splats are going to become the dominant 3D representation on the web (see https://superspl.at). 3. E-commerce (product visualizations, tours, real-estate, etc.) 4. Virtual production (replace green screens with giant LED walls). 5. View-dependent effects without (traditional) shaders or lighting
It's not just about the aesthetic, it's also about interoperability, ease of use, and the entire ecosystem.
Hi, I'm David Rhodes, Co-founder of CG Nomads, developer of GSOPs (Gaussian Splatting Operators) for SideFX Houdini. GSOPs was used in combination with OTOY OctaneRender to produce this music video. If you're interested in the technology and its capabilities, learn more at https://www.cgnomads.com/ or AMA. Try GSOPs yourself: https://github.com/cgnomads/GSOPs (example content included).
I've been mesmerized by the visusals of Gaussian splatting for a while now, congratulations for your great work! Do you have some benchmarks about what is the geometric precision of these reproductions?
Geometric analysis for Gaussian splatting is a bit like comparing apples and oranges. Gaussian splats are not really discrete geometry, and their power lies in overlapping semi-transparent blobs. In other words, their benefit is as a radiance field and not as a surface representation.
However, assuming good camera alignment and real world scale enforced at the capture and alignment steps, the splats should match real world units quite closely (mm to cm accuracy). See: https://www.xgrids.com/intl?page=geomatics.
Hi, I'm David Rhodes, Co-founder of CG Nomads, developer of GSOPs (Gaussian Splatting Operators) for SideFX Houdini. GSOPs was used in combination with OTOY OctaneRender to produce this music video. If you're interested in the technology and its capabilities, learn more at https://www.cgnomads.com/ or AMA. Try GSOPs yourself: https://github.com/cgnomads/GSOPs (example content included).
nice work. I can see that relighting is still a work in progress, as the virtual spot lights tends to look flat and fake. I understand that you are just making brighter splats that fall inside the spotlight cone and darker the ones behind lots of splats. Do you know if there are plans for gaussian splats to capture unlit albedo, roughness and metalness? So we can relight in a more realistic manner? Also, environment…
There are many ways to relight Gaussian splats. However, the highest quality results are currently coming from raytracing/path tracing render engines (such as Octane and VRay), with 2D diffusion models in second place. Relighting with GSOPs nodes does not yield as high quality, but can be baked into the model and exported elsewhere. This is the only approach that stores the relit information in the original splat scene.
That said, you are correct that in order to relight more accurately, we need material properties encoded in the splats as well. I believe this will come sooner than later with inverse rendering and material decomposition, or technology like Beeble Switchlight (https://beeble.ai). This data can ultimately be predicted from multiple views and trained into the splats.
"Also, environment radiosity doesnt seem to translate to the splats, am I right?"
Splats do not have their own radiosity in that sense, but if you have a virtual environment, its radiosity can be translated to the splats.
Hi, I'm David Rhodes, Co-founder of CG Nomads, developer of GSOPs (Gaussian Splatting Operators) for SideFX Houdini. GSOPs was used in combination with OTOY OctaneRender to produce this music video. If you're interested in the technology and its capabilities, learn more at https://www.cgnomads.com/ or AMA. Try GSOPs yourself: https://github.com/cgnomads/GSOPs (example content included).
Take the money and never admit to selling this shit. Why would you ever willingly associate your name with this?