A GPU engine for performing with 3D Gaussian splat captures.
Scroll to explore · H hides the interface, S the splats, P the particles
A GPU engine for performing with 3D Gaussian splat captures.
Scroll to explore · H hides the interface, S the splats, P the particles
02 / Effects
Every effect is three things: WHERE it acts, WHAT it does, WHEN it fires. The where is a mask over what your scan already measures. 142 kinds in twelve families, and the pointer is a where of its own.
Where it acts · channel mask
Displacement
Combine
Pointer field · centred on your cursor
Spring · how the capture recovers
03 / The Composer
One node graph makes both halves of the program. Six primitive families and 21 math ops wire into a sink: send it to Displace and it moves splats as an effect, send it to Force and it drives particles instead. Every shipped effect and every shipped force is a graph you can open.
The same graph, ending in a different sink
04 / Modulation
Drive it from time or from music: an LFO, or a band of your own audio. A link never overwrites your value. The cap below stays exactly where you set it while the driver rides on top of it, so you can keep editing a parameter that is already moving. Rates are in beat divisions, so a driver on Quarter stays on Quarter whatever the tempo does.
Source
Shape
Rate · beat division
Polarity
The link · target and depth
The linked parameter · your value stays put, the marker is the driver
05 / Point mode
Every splat becomes a solid object instead of a translucent smear. Five shapes, blended by whatever you choose to blend them with, and what you set here follows you through the rest of the site.
Shape
Mix
Morph
Form
06 / Procedural shapes
Wire a graph into the position sink and a splat stops being where the scan put it. One expression, driven by the splat index, places every one of them. Bring the mix up and the room becomes geometry that was never captured, still masked, still displaced, still yours to push around.
Where every splat sits
Shape
07 / Particles
A second medium in the same room, emitted out of the scan's own geometry and carrying its colour. Sixty parameters in the program; here is one from each part of it. Press S to hide the splats and see the field on its own.
Emission
Look
Motion
Smoke · the same particles as a medium
Flow
08 / Particle forces
A force is placed in the scene with a real radius: outside it, nothing happens at all. Sixty-five kinds in the program, built in the same node graph the effects are, so a shipped force opens into the graph it is made of.
Swirl
09 / Particle lighting
A capture arrives with the room's own light baked into every splat, and no normals to shade with. So a lamp adds light rather than replacing it: point or cone, with a real range and a soft rim, placed in the scene.
Cone
Rotation
10 / Splat lighting
A scan carries the light it was captured in, so adding more only reads as a tint. Relight goes the other way: darken everything to a detailed night, then let your lights reveal each splat back to the colour it really is.
Night floor
The light doing the revealing
11 / Colour and post
The last thing that happens to every pixel. Splats, particles, light and every effect all arrive here and get graded, which is why the grade is part of how a look is made rather than a coat of paint at the end.
Grade · after the tonemap, in display space
Tint
Sharpen · before the tonemap, or it reads as crunch
Post cannot read depth, so Fog thickens toward the edges of frame rather than with distance. Atmosphere, not a depth cue.
12 / Timeline
Every parameter on this page is an automation target. Point a lane at any of them, drag its keys, and it answers to the sheet instead of the scroll. Time is in beats, so a shape set to one bar stays one bar whatever the tempo does.
Each lane drives a target · pick any parameter on the page
Selected key · drag any key on the sheet
13 / Perform
Everything before this is one control at a time, which is how you learn an instrument and not how you play one. Three macros move a dozen parameters between them, four slots recall a whole look, and it all keeps running once you scroll away.
Slots · press to recall, hold to store
On the night
Getting it out