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 radiosity doesnt seem to translate to the splats, am I right?

Thanks

I’m fascinated by the aesthetic of this technique. I remember early versions that were completely glitched out and presented 3d clouds of noise and fragments to traverse through. I’m curious if you have any thoughts about creatively ‘abusing’ this tech? Perhaps misaligning things somehow or using some wrong inputs.

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?

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?

Really cool work!

Can such plugin be possible for Davinci Resolve, to have merge of scene captured from two iPhones with spatial data, into 3D scene? With M4 that shouldn’t be problem?

Hi David, have you looked into alternatives to 3DGS like https://meshsplatting.github.io/ that promise better results and faster training?

Great work! I’d love to see a proper BTS or case study.

From the article:

>Evercoast deployed a 56 camera RGB-D array

Do you know which depth cameras they used?

Random question, since I see your username is green.

How did you find out this was posted here?

Also, great work!

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