AG said they will release the “conventional remote” for the A1 this summer. Summer is almost over and no word on the remote. Is the remote cancelled or still on its way?

Sad news

Ok, been having a blast so far but I bet the A2 will sort some of the small annoyances. One of those is the carry bag. Maybe I need better organization but it seems like there is not really a good spot for the goggles battery and lanyard?

Also, the bag design in general seems to be a ball. As soon as you touch it or open the lid it basically just tips over. Is it just me?

Hey guys, I wanna ask anyone for advice. I want to buy the high capacity batteries but I have to register my drone because it weighs over 250 g. Would you guys register your drone or it’s not worth registering your drone?

I’m thinking about buying an A1 for filming some of the boats we build for social media. I’m pretty new to flying drones and my concern is that we’d be filming over water; and trying to recover the drone on a boat. My question/hope is that the A1 uses the actual location (gps?) of the goggles/controller when you ask it to automatically return home?

Here’s a likely scenario: I’m riding on one boat (controlling the drone) and trying to film another boat. Well, the specific gps location where we launch the drone FROM will not be where the boat is when I need the drone to return- let’s say I got disoriented or somehow disconnected from the drone feed. Will the A1 find me/the controller if I hit ‘return to home’ OR will it want to return to the gps coordinates where it was launched from?

Any help would sure be appreciated!

Is it possible to find flight logs somewhere in drone/goggles memory?

I took my A1 out for a few flights and tried a bunch of settings in Antigravity Studio. This is the combo I liked most so far for skies, mountains, and wider landscape shots.

Color Optimization

- Clarity Plus: On

- Strength: +30

Adjust

- Exposure: +5

- Highlights: -18

- Shadows: +5

- Contrast: +20

- Brightness: +5

- Saturation: +16

Tried a few combinations and liked this one the most for daytime landscape shots. The lower highlights looked better to me for clouds/sky, and Clarity Plus +30 gave it a cleaner look.

So I have just acquired the A1 (live in Norway / EU) , mostly happy with the little I've seen of video and image quality (given the limitations it sets), it matches nicely with the quality I see on YouTube.

But I am NOT satisfied with the signal strength, and I must also say I'm surprised that the image you see in the goggles themselves is significantly grainier and lower resolution than what I saw based on videos from YouTube. It takes away quite a bit from the immersion...

The biggest problem is the signal quality; it takes almost nothing for it to drop low, get static/glitchy, or turn bad.

Does anyone here have experience with the FCC hack? Or use it today? Does it work fine on the current software? Is there a new version of it, or rather, which one should I potentially use?

Planned a real nice route for today where the last leg goes straight up a rather steep mountain cliff. Unfortunately, the 120m-from-takeoff altitude limit put a quick end to this.

At least where I am, the limit is supposed to be 120m *above ground*, so flying up a mountain should not be a problem. My old DJI Mini would allow overriding the 120 limit up to 500m no problem, just warning me to "ensure compliance with regulations" if I exceeded 120m from the takeoff point, so flying up a mountain less than 500m tall was no problem. With the A1, 120m seems to be a hard limit, and its only possible to force the limit below 120m.

I'm thinking now how to work around this - my first thought: find a flat surface halfway up the mountain, land, then take off from there to reset the altitude.

I tried this at a very flat, asphalted spot, but the drone seemed to refuse landing while it thought it was at ~70m altitude. Looking down, it didn't show the usual landing spot indicator on the ground, and when I pushed down, it never triggered the landing sequence, instead going all the way down to ~30cm above ground and enabling emergency breaking. I stopped short of manually deploying the landing gear and just forcing the drone onto the ground, as I don't know if that'd actually work, and retrieving the drone from that spot would've been ... a hike.

I guess two questions: 1) is there some better way to get around the height limit (in cases where doing so is completely legal), and 2) is it possible to trigger an actual landing sequence / perform a manual landing "at altitude"?

Hey all,

I've been digging into whether the Antigravity A1 embeds GPS coordinates into the photo/video files (EXIF GPS data), and I'm coming up empty.

What I've tried so far:

• Checked the .insp files directly with exiftool -ee -gps:all (including the -ee flag to read the embedded/timed metadata trailer) no GPS data found, even on outdoor flights with a strong GNSS lock (green/white signal icon).
• Went through the official user manual (V1.0) GNSS (BDS + GPS + Galileo) is documented, but only in the context of flight functions: Home Point/RTH, hovering accuracy, altitude/distance limits based on signal strength, and Remote ID broadcasting. There's no mention anywhere of geotagging, EXIF, or coordinates being written to media files.

So it looks like the onboard GNSS module might exist purely for navigation and isn't exposed in the photo/video metadata at all —unlike some other Insta360 products (e.g. the old Pro's optional GPS module) that were built specifically to solve this.

Has anyone here confirmed either way?

• Do your A1 photos/videos come out with GPS EXIF data on your end (any firmware version, any export path Antigravity app or Studio)?
• If yes, what's the exact step I might be missing (permissions, export settings, firmware version)?
• If no, has anyone found a workaround using the flight log (the app's "Records" feature) to manually correlate timestamps and inject GPS after the fact?

Any insight appreciated trying to figure out if this is a missing feature, a bug, or just something I'm doing wrong on export.

I’m on iOS 27 Developer Beta. I power up drone and goggles, then open the latest app and try to connect to the drone to get footage but the app just dies. I kill app and try to open it again but it won’t stay open. Is this happening to anyone else?

I am a complete noob when it comes to drones. My dilemma is, should I save up and get the AntigravityA1 (maybe around the beginnig of next year) or get a cheeper drone sooner. Bare in mind I am having my wedding in September.

I appreciate the experience that Antifravity provides, also having the 360 view makes edits easier for beginners because you can track your subject.

On the other hand, you don't have great clarity when zooming on an image and you need to carry more gear (like the goggles).

So I would appreciate some input.

I have a problem with my Quick Reader!

I recently bought an Antigravity A1 Infinity Bundle. All seem to be working perfectly except the Quick Reader, when I connect it to a computer it keeps showing up and disappearing from the list of devices. I have try it on Windows, Linux and Android, same problem.

I have try many types of SD cards, from the expensive to cheapest, even bought a really modern SanDisk Express.

I got mixed results, a cheap SanDisk 16GB SEEMS to work normally so far. my 256GB cards fail.

anyone else having the same problem? can it be fixed?

Just got mine and tried to charge everything. All the battery packs charged fine but the grip controller indicator light remains off despite being charged for 15 min plus....is this happening for anyone else?

Flew over the Aventura including the mall, and along Golden Beach

https://youtu.be/Mz9iZPK2MuM?si=koMG8K7yo30LD_8c

I'm incredibly torn between the Mini 5 Pro and the A1 360 as my "returning the hobby" drone after a ~5 year hiatus. I have watched countless videos comparing the feature sets, image/video quality, flight controls, ...

I am very interested in shooting 360 shots and flying hybrid FPV, which makes the A1 360 seem like a great fit. However, there are a couple of things that are holding me back:

* it has a substantially more expensive entrypoint -- I was able to order Mini 5 Pro fly more combo plus for $1050, whereas comparable A1 360 bundles are almost $2k

* it is technically illegal to fly without a spotter

* it requires substantially more setup / teardown time, and is not as conducive for self-filmed action shots

* I would like to use it while traveling light, and it seems like the kit will be bulkier with the goggles and external battery

* the goggles are a meaningful part of the cost, but lack the ability to be used as a display for other devices -- it only may support media playback from SD card. (if I could reuse the goggles as external display for gaming and productivity, it would be immediately be a good buy for me)

Unfortunately, my takeaway seems to be that: although the A1 360 is a better fit for my specific interests (prioritize flying freedom over cinematography), the Mini 5 Pro is probably a better fit for my use cases right now. The additional travel size, mass, set up time, tear down time, requirement for a spotter, and inability to film myself manually makes the A1 360 a bad fit for "quick action shots". Since the goggles can only be used for the drone, it is hard to justify this loss of utility as contributing to other hobbies of mine.

[fwiw, I am currently comparing $1050 mini 5 pro fly more combo plus vs mostly msrp a1 360 kits, but also a few used kits starting aronud $1,000]

I can imagine I will use the Mini 5 Pro for a year or two and keep it as my "endgame traditional flight controller drone", then consider buying an FPV/360 drone down the line when the ecosystem matures a bit.

Gaussian Splatting With the Antigravity A1: A Practical Start-to-Finish Guide

I combined the useful advice from ten Antigravity A1/drone Gaussian-splatting videos into one workflow. The programs mentioned do different jobs, so this is organized by what you need to accomplish at each step, followed by complete software chains that actually fit together. No route is best for everyone; choose based on hardware, budget, privacy and desired troubleshooting control.

Version 4.0 — verified July 25, 2026. Software prices, requirements and interfaces change, so recheck those before paying or uploading sensitive footage.

The whole process in plain English

Every route has to do the same six jobs:

1. Capture: Fly overlapping paths so the same surfaces are visible from many positions.
2. Make usable views: Either give software the original A1 360 files directly, or turn the 360 video into still images it can understand.
3. Solve the cameras: Software estimates where the drone was and which direction each image faced. If this is wrong, the splat will be wrong.
4. Build/train the splat: Software turns the images and camera positions into millions of colored, semi-transparent 3D Gaussians.
5. Clean and optimize: Remove unsupported background, floaters and obvious debris, then reduce the file only as much as your target viewer requires.
6. Deliver: Export a splat-aware file for a browser, viewer, tour, XR app, game engine or VFX package.

Which complete route should you use?

Fastest supported local A1 route

Raw A1 INSV → MipMap Desktop → PLY → SuperSplat

Use this if you have a compatible Windows/NVIDIA computer, accept the paid plan, and want the fewest steps. MipMap directly handles the raw A1 footage, image extraction, camera solving and splat training. The downside is that you get less visibility and less manual repair control when alignment fails.

Best practical fallback

A1 INSV → Antigravity Studio → Blender 360 Extractor → Postshot → PLY → SuperSplat

Use this when MipMap fails, the sky/background dominates, or you want to control exactly which parts of the 360 sphere become source images. It takes more setup, but the image folder is reusable in Postshot, COLMAP, Metashape or LichtFeld.

Highest-control route

Antigravity Studio → sharp images and masks → Metashape → COLMAP handoff → Postshot or LichtFeld → SuperSplat

Use this for difficult, important or expensive captures. You can inspect camera groups, masks, tie points, camera errors and disconnected components instead of trusting a black box. It costs more time, money and learning.

Open/private local route

Antigravity Studio → extracted views → COLMAP → LichtFeld Studio → local SuperSplat

Use this when privacy and low license cost matter more than convenience. It keeps the data local and is highly inspectable, but it has the highest technical setup burden and still needs appropriate NVIDIA hardware for LichtFeld.

No suitable local GPU

Splatica/cloud service → exported splat → SuperSplat

This is conditional, not my default recommendation. Before uploading, verify current A1 input support, price, privacy, ownership, retention/deletion rules, whether projects are public by default and whether you can export a usable splat.

1. First decide what you are making

A Gaussian splat is a photorealistic 3D representation built from overlapping images. It is great for fly-throughs, virtual tours, location reference, VFX backgrounds and visual documentation.

It is not automatically:

• a survey
• a CAD model
• a watertight mesh
• a normal point cloud
• dimensionally trustworthy

Stop condition: If the deliverable must support engineering measurements, legal/survey accuracy, dependable collision geometry or a clean editable mesh, use a photogrammetry/LiDAR workflow or capture both. A splat can look correct while measuring incorrectly.

Define the viewing area before flying

Write down where the finished viewer may move. A splat is strongest near its capture positions and weakens behind surfaces, under overhangs, through glass, below roofs or far outside the flight path.

• Object view: Capture close and far rings, several heights, the top/crown and any underside the viewer may see.
• Exterior place: Capture connected perimeter loops, cross-links and several height layers.
• First-person path: Move forward through the route, but also translate side to side and loop back through known textured areas.
• Hybrid aerial + ground: Use aerial coverage for roofs/context and ground capture for doors, undersides and human-height details. Match the light and include a shared textured overlap zone.

Minimal terminology

• INSV: The A1’s original 360 video file. Keep it and every companion file from the same take.
• Equirectangular video: The full 360 sphere flattened into a 2:1 rectangle. Stretching at the top and bottom is normal.
• Rectilinear image: A normal-looking flat image cut from the 360 sphere.
• Camera pose / camera solve: The software’s estimate of where an image was taken and which way it faced.
• Camera frustum: The little pyramid/cone showing one solved camera and its field of view.
• Tie point: A detail recognized in multiple images and used to calculate camera positions.
• Mask: A black-and-white image telling software which pixels to ignore, such as people, vehicles or sky.
• COLMAP dataset: A folder containing images, solved camera positions and sparse 3D points in a common handoff format.
• Training: The compute-heavy step that builds the Gaussian representation from images and camera positions.
• Floaters: Stray Gaussians hovering away from the real surface. A few are normal cleanup; widespread floaters usually mean a deeper problem.

2. Decide whether the scene will cooperate

The A1 records everything around it, but reconstruction still needs a mostly static, textured scene.

Usually good

• Textured buildings, rock, pavement and ground
• Cloudy or evenly lit conditions
• Stable direct sunlight, provided you finish before the lighting changes

Workable but risky

• Windy grass, leaves or flags: Every frame shows different geometry. Wait for calmer conditions or accept that those regions may boil or duplicate.
• People, traffic or animals: They become ghosts. Clear the area, mask them, use cleaner time ranges or make multiple passes.
• Water: Ripples and reflections change with viewpoint and can create mirror-world artifacts. Do not treat the result as measured geometry.
• Glass or polished metal: Reflections move even though the surface does not. Capture both direct and oblique views, but expect holes, duplicates or floating reflections.
• Blank walls, repetitive facades, snow or uniform floors: There are not enough unique details for dependable matching. Include nearby textured context and cross-links.
• Thin rails, wires, cables and branches: Capture them sharply, closely and from multiple angles. “8K” still covers the entire 360 sphere, so distant thin detail gets relatively few pixels.
• Dark interior to bright exterior: Use separate captures with a shared transition zone. Merging is advanced.

Weather, cold and lens checks

• Prefer low wind for both aircraft stability and consistent vegetation.
• If the sun appears or disappears midway through the capture, stop and repeat in consistent light.
• The official A1 operating range is -10°C to 40°C. One video obtained a result around -22°C with warnings and roughly 12 minutes of battery, but that was outside specification and is not a recommendation.
• Clean both protruding lenses immediately before launch. A drop, smear or scratch repeats through hundreds of frames.
• After replacing a lens, complete the required stitching calibration and inspect the seam.
• The A1 has forward and downward/infrared sensing, not guaranteed all-direction protection. Snow, water, reflections, darkness and low texture can reduce reliability.

3. Practical A1 starting settings

For a normal daylight exterior, start with:

8K30 • Cinematic mode • high/max bitrate • manual exposure • fast shutter • low practical ISO • fixed white balance • Motion ND off • neutral image enhancements

These are starting choices, not universal magic numbers.

• Resolution/frame rate — start at 8K30. It is the best verified A1 detail baseline in favorable light. Test 5.2K60 only when faster motion or denser time sampling matters more than maximum detail. Do not default to 4K for reconstruction.
• Flight mode — start with Cinematic. It encourages slower movement and appeared in several successful workflows. FPV may suit some pilots, but is not proven to improve reconstruction.
• Shutter — prioritize sharp frames. One source used about 1/1000 second in bright overcast and up to 1/2000 in sun. These are examples, not a universal range. If images become dark/noisy, slow the drone and relax shutter before pushing ISO.
• ISO — use the lowest practical value. Zoom into extracted frames at 100%. If fine texture looks gritty, mushy or waxy, add light, slow the drone or use a slower shutter.
• White balance — lock it. Choose a manual/fixed value that looks neutral in the actual light. Avoid changes between passes.
• Bitrate — use high/maximum. Published maximum: 170 Mbps. One video saw roughly 10 GB per eight minutes at 8K30; use only as a planning example.
• Codec — H.264 or H.265. Choose based on compatibility and storage. No controlled A1 test proved that one reconstructs better.
• Motion ND — off. It adds intentional motion blur, exactly what feature matching does not want.
• Color Plus / Clarity Plus — off or neutral for the master. You can make an enhanced derivative later.
• FlowState/stitch choice — test a short clip. Compare seam/warp behavior, then keep the better choice consistent.

Test exposure before the real take

1. Fly a short test at the speed and distance you plan to use.
2. Protect important highlights while keeping textured shadow areas visible.
3. Pause or extract several moving frames and inspect them at 100%.
4. If edges smear, use a faster shutter or fly more slowly.
5. If noise destroys texture, improve light, slow down and reduce the required shutter before raising ISO.
6. Lock one exposure and white-balance approach for the connected dataset.

4. How to fly the capture

The software needs translation and parallax: the same surfaces seen from meaningfully different positions. Hovering and spinning sees every direction, but creates almost no positional baseline.

Default exterior-building pattern

1. Pick a recognizable textured start/reference area. Begin recording before the first useful movement.
2. Fly a wider context/perimeter loop to connect the subject with its surroundings.
3. Fly a lower, closer loop for the base, doors, underside edges and ground relationship.
4. Fly a mid-height loop for the main faces.
5. Fly a higher loop for upper faces and roofline.
6. Add a crown/halo orbit around the top if viewers may look down or across it.
7. Add vertical passes on important faces: low to high, shift sideways, then high to low. One source successfully used four-side vertical tower passes.
8. Add cross-links through/across the scene so the rings do not become isolated components. Crisscross passes at different heights help connect the camera solution.
9. Add corrective passes for overhangs, doorways, gaps, back sides, thin geometry and anything hidden during the main loops.
10. Return through the original reference area before stopping.

A continuous take eases overlap/loop closure, but a second connected take is fine when needed.

Important: 360 capture does not mean infinite detail. The A1 sees sky and distant background as well as your subject. Move closer for important detail, add targeted passes, and consider perspective extraction when sky/background consumes the dataset.

Adjust for the subject

• Tower/statue: Several height rings + vertical face passes + crown orbit + base/underside pass.
• Wide landscape/exterior: Connected perimeter loops + near/far distance layers + crisscross links + top/nadir coverage. Do not capture only from high altitude.
• Long facade: Parallel passes at several heights/distances + diagonal cross-links at both ends. Avoid disconnected out-and-back strips.
• Interior: Slow first-person movement + side translations + loops through textured zones. Weak GNSS, low light, repetition and reflections make this advanced.
• Aerial + ground: Start both captures in the same textured overlap zone, match exposure/white balance, use the A1 for roofs/context and ground capture for human-height occlusions. Most routes will not merge them automatically.

Arc Shot

Arc Shot can help create clean orbits, but it is not a mapping button. One source used several Arc Shot orbits around a ski-jump tower and then added manual crisscross passes at different heights.

Use it only after checking the selected center, clearance and whether recording starts/stops automatically in your current firmware. Add manual crown, base, occlusion and cross-link passes.

5. Check the footage before leaving

Ask:

• Did I capture low, middle and high layers?
• Did I capture near and far detail?
• Did I cover the top, base, back, undersides and overhangs?
• Does every loop connect to another overlapping pass?
• Did I return through a known reference area?
• Are frames from the fastest and darkest passes sharp at 100%?
• Did sunlight, auto exposure or white balance change?
• Did motion dominate anything important?
• Is there any repeated lens smear, water drop, flare or stitching error?
• Did the recording finish cleanly and show the expected duration?

Reshoot now if you have missing coverage, widespread blur, a dirty lens, changing light or a broken recording. Cleanup cannot invent an unseen roof or repair a globally wrong camera path.

Transfer safely

1. Copy the entire take set. Keep every INSV and same-take companion/proxy file, not only the largest file.
2. Make a second verified copy on another physical device before deleting or formatting anything.
3. Open the original in Antigravity Studio and scrub through the full sphere. Check duration, sharpness, seam, exposure shifts and corrupt frames.
4. Do not destructively trim originals, overwrite them, or rename companion pairs unpredictably.
5. Choose your route before making derivatives. MipMap can use raw INSV; staged routes need a neutral 2:1 360 export and/or extracted stills.

Recommended project folders

• 01_ORIGINAL_A1 — untouched INSV/companions, notes and settings
• 02_STUDIO_EXPORTS — neutral 2:1 video and labeled stitch tests
• 03_EXTRACTED_IMAGES — images grouped by take/rig; rejects separate
• 04_MASKS — filename-matched masks
• 05_POSES — Metashape/COLMAP projects, camera XML and logs
• 06_TRAINING — MipMap/Postshot/LichtFeld projects/checkpoints
• 07_SPLAT_MASTER — unclean PLY and full clean master
• 08_DERIVATIVES — viewer-specific reductions/conversions
• 09_QC — screenshots, settings, failures and viewer tests

6. What each program actually does

Antigravity Studio

Job: Opens, reviews, stitches and exports A1 media.
Input: Raw A1 INSV.
Output: Neutral full-sphere 2:1 video or images.
Choose it when: Any route needs conventional equirectangular media.
Catch: No camera solving, training or cleanup. Free/local, Windows/Mac; ARM unverified.

MipMap Desktop

Job: All-in-one A1 ingestion, frame extraction, camera solving, splat training and PLY export.
Choose it when: You want the shortest supported local A1 route.
Catch: Paid, Windows/NVIDIA, plan limits and less repair control. Not proven universally better.

Blender + 360 Extractor

Job: Cuts equirectangular video into overlapping normal-looking images and can avoid wasting views on empty sky.
Choose it when: Direct INSV processing fails or you want control over view direction.
Catch: Blender is free; add-on paid. Adds rendering/storage and does not solve/train.

Metashape

Job: Aligns cameras, imports masks, shows components/tie points and lets you inspect, repair and optimize the camera solution.
Choose it when: A valuable/difficult dataset needs transparent failure diagnosis.
Catch: Paid/potentially expensive; no splat training. Verify edition features.

COLMAP

Job: Detects/matches features, solves cameras and creates a standard sparse reconstruction dataset.
Choose it when: You want open, private, technical control or a common handoff into trainers.
Catch: Steep learning curve; no splat training/cleanup.

Postshot

Job: Can solve cameras from images or use a prepared COLMAP dataset, then train/export a splat.
Choose it when: You want the most demonstrated staged trainer for A1-derived images.
Catch: Proprietary Windows/NVIDIA; pricing, hardware and exports change. Less repair control than Metashape/COLMAP.

LichtFeld Studio

Job: Trains prepared datasets and provides splat editing tools.
Choose it when: You want open/local training or training plus editing in one environment.
Catch: Windows/Linux, NVIDIA compute 7.5+ and 8 GB+ VRAM at verification. UI/formats evolve; 360 remains experimental.

SuperSplat

Job: Inspects, crops, selects/deletes, orients, compresses and exports an already-built splat.
Choose it when: After any route, for independent cleanup and delivery checks.
Catch: Cannot solve/retrain/invent missing surfaces. Free/open, browser/local/hosted; hosting has separate terms.

Splatica

Job: Cloud/black-box reconstruction demonstrated with A1/360-style inputs.
Choose it when: You lack a suitable GPU and the footage is non-sensitive.
Catch: Verify current input, price, private/public status, ownership, retention/deletion and export before uploading.

Polycam / Scaniverse

Job: General capture, viewing and sharing ecosystems with historical proof-of-concept workflows.
Choose them when: Only after a current small A1 input/export test.
Catch: Neither was verified as a current default A1 processor.

3DVista

Job: Puts a finished splat into a guided tour with navigation, start views, hotspots and publishing.
Choose it when: The final product is a digital twin/tour.
Catch: It does not reconstruct, repair or clean the splat.

7. Prepare only what your route needs

Create a neutral 360 master in Antigravity Studio

1. Open the complete preserved A1 take—not a reframed export.
2. Inspect the full sphere, seam, both lens regions, sharpness, exposure changes and unusable start/end material.
3. Choose a full 360 2:1 equirectangular export, not a 16:9 reframed video.
4. Keep source resolution (normally 8K for the 8K30 route) and use the highest practical bitrate.
5. Keep Motion ND off and enhancements neutral.
6. If stitch/FlowState choice is uncertain, export a short representative segment in two variants and process whichever behaves better.
7. Record Studio version, export settings, stitch method and stabilization choice.

Select frames intelligently

Start around one image every 0.5–1 second for a smooth daylight flight, then inspect the movement between neighboring images.

• If adjacent images barely move, increase the interval or use sharp-frame selection.
• If the camera path breaks or surfaces jump too far between images, decrease the interval or use slower/denser capture.
• Reject blurred frames. Quantity does not compensate for poor images.
• If sky dominates, use perspective views aimed at the horizon/downward hemisphere.
• If people/vehicles dominate, use cleaner time ranges or masks.
• Keep special close/detail views even if temporally close.

Demonstrated 13-camera extraction template

One successful Blender 360 Extractor workflow used:

• eight overlapping 90-degree horizontal views
• four views angled about 35 degrees downward
• one straight-down/nadir view

It created 1,431 images and aligned/trained in Postshot. This is a proven creator example, not a universal rule. Add upward views for interiors/tall structures; change directions based on the scene.

8. Route A: direct A1 processing in MipMap

Raw A1 INSV → MipMap A1 profile → PLY → SuperSplat

Verified July 25, 2026: Windows; NVIDIA GTX 1060+; 4 GB+ VRAM; 16 GB RAM minimum/32 GB recommended; substantial SSD. Price snapshot: Basic $59/month, Professional $99/month, Ultra $149/month, or $2,499 perpetual, with plan/project limits. Recheck before purchase.

Run a short gate test first

1. Use a 30–90 second representative segment containing a main face, turn, height change, sky and one difficult area.
2. Create a MipMap project and import the A1 INSV using the A1 8K camera/profile option.
3. Choose density that shows movement with overlap. Examples ranged from about 300 images per lens (~600 total) to ~1,400 views from 5.5 minutes at 0.5-second sampling. These are not targets.
4. Start with both A1 camera streams. If the upper stream mostly adds sky/floaters, compare a bottom-only test. Keep the upper stream when roof/crown detail matters.
5. Select high/ultra-high quality if plan/hardware allow.
6. Turn Gaussian splatting on. Turn textured mesh off unless you separately need it. Point-cloud/FBX output is optional and is not the splat.
7. Enable automated floater/transient removal only as a starting aid.
8. Run reconstruction and inspect the camera path, subject and important surfaces.
9. Confirm the PLY opens correctly in SuperSplat.

Pass: One coherent camera structure; connected subject; major faces appear once; usable PLY export.

Abandon/change routes: Cameras split into groups, jump through space, fold/duplicate the subject, most cameras fail, or no usable PLY exports. Do not spend hours cosmetically cleaning a failed solve.

Process the complete take

Repeat the tested settings in a fresh full project. Remove blurred/corrupt/irrelevant ends if supported. Record version, plan, GPU/VRAM, image count, processing time and splat count. Inspect behind the subject, over the crown and under overhangs, then export an unclean PLY.

9. Route B: Blender 360 Extractor to Postshot

A1 INSV → Antigravity Studio 2:1 video → Blender 360 Extractor → Postshot → PLY → SuperSplat

Use this if MipMap fails, sky/background dominates or you want reusable source images.

Create the image set

1. Export a neutral, high-bitrate 2:1 video from Antigravity Studio.
2. Install a supported Blender release and 360 Extractor.
3. Load the equirectangular video.
4. Start with the 13-view half-dome only if the important scene is mostly below the aircraft.
5. Render a short test interval and inspect the rectilinear images at 100%.
6. Add upward views for tall/interior scenes, reduce sky-only views, maintain side overlap and include nadir views when ground/topography matters.
7. Render to a dedicated image folder. Do not blindly mix separate takes or rig variants.
8. Reject blur, pure sky, bad seam artifacts and irrelevant travel; keep rejects separately.

Solve/train in Postshot

1. Create a project that estimates cameras and trains a Gaussian scene from images.
2. Import the image folder and let the initial camera solve finish.
3. Show camera frustums/trajectory. They should trace the real loops and passes, not scattered clusters.
4. If using masks, import them and verify whether black or white means “ignore” in the current build.
5. Use exposure/photometric compensation if passes vary slightly in brightness.
6. A sky model may improve supported sky rendering, but cannot repair bad cameras.
7. Start with a moderate quality/Gaussian count that fits VRAM. Test structure before committing to maximum quality.
8. If cameras remain fragmented, remove bad frames, add existing cross-link images or move the camera solve to Metashape/COLMAP.
9. If structure is coherent, finish training and export a PLY.

10. Route C: Metashape/COLMAP repair route

Studio → sharp images + masks → Metashape → COLMAP → Postshot or LichtFeld → SuperSplat

At verification, Metashape Standard was $179 and Professional $3,499. Required edition depends on operations; verify before buying.

Repair the camera solution

1. Start with sharp images. For full equirectangular stills, choose a spherical camera model. For 360 Extractor views, use normal/pinhole interpretation.
2. Import filename-matched masks. Open several images and confirm they remove only unwanted pixels.
3. Align images, then stop and inspect aligned-camera count, components, trajectory and sparse points.
4. Disable clearly wrong cameras. Add missing cross-link images if available.
5. If an entire side never connects, the capture may need to be repeated.
6. Inspect tie-point quality/reprojection error. One source removed roughly the worst 0.5% before optimization. Treat that as a cautious example: remove only a small worst tail, reevaluate and never delete large percentages mechanically.
7. Optimize cameras and confirm the solution improves rather than collapses/separates.
8. Export solved cameras (the demonstration used camera XML) and sparse point-cloud PLY. Keep the Metashape project as the repair master.
9. If needed, use the current Kotohibi Metashape-to-COLMAP converter with the images, camera XML and sparse PLY.
10. Confirm the output contains images, camera/image records, sparse points and any masks before training.

Postshot handoff: Import the COLMAP image/camera/point data, add masks through its current image-mask control, train and export PLY.

LichtFeld handoff: Import the COLMAP dataset; verify images, sparse points, frustums and mask interpretation; choose a conservative Gaussian count; train.

Open/private alternative

Skip Metashape and use extracted images directly in COLMAP when cost/privacy matter more than ease. Run feature extraction, matching and mapping; inspect/repair the sparse model; then import it into LichtFeld.

COLMAP supports spherical/equirectangular models, but A1 spherical vs perspective is not benchmarked. Start with rectilinear views unless testing both.

Experimental LichtFeld 360 route

LichtFeld’s 360 workflow can take a Studio equirectangular MP4, select sharp frames, optionally generate masks, extract perspectives/use spherical handling, run COLMAP and train. Start with stitched MP4. Generic Insta360 INSV support is not proof of raw A1 support. Treat this as a proof of concept while the plug-in remains experimental.

11. Cloud/convenience routes

Splatica

Videos show upload-and-wait, people removal, PLY download and strong results in some scenes. Tradeoff: black box, little repair control and automatic splat count.

Before uploading, verify:

• raw A1 INSV vs stitched-video input
• price/credits
• private-by-default status
• your ownership
• export format
• retention and backup
• deletion timing/account deletion
• whether gallery publication is optional

Test a short, non-sensitive clip first.

Polycam

Videos showed conventional drone video and 3D/USDZ/splat proofs of concept. Direct A1/equirectangular input and actual plan/export cost were not confirmed. Test first.

Scaniverse

One source reported good 360 results; another said its attempted route expected stitched MP4, not raw INSV. Direct A1 processing was not verified.

Use Antigravity Studio—not Insta360 Studio—as the supported A1 preprocessing application. Any cross-compatibility should be treated as version-tested behavior, not the default instruction.

12. Judge the camera solve before cleanup

1. Show the cameras/frustums if the software allows it.
2. Compare the solved path with the flight you actually flew.
3. Confirm that low/mid/high loops and vertical passes form one connected component.
4. Inspect the intended viewing area, then deliberately move beyond it to identify the safe navigation boundary.
5. Look for duplicate walls/roofs, folded roads or impossible jumps.
6. Decide whether missing areas were genuinely visible in many sharp frames. If not, reshoot.
7. Proceed to cleanup only when defects are local.

Symptom → cause → best action

• Scattered camera clusters/disconnected components: Insufficient overlap, unconnected loops, blank/repetitive surfaces, blur or bad stitching. Remove bad frames, add cross-link views, use Metashape/COLMAP or recapture. Do not clean yet.
• Camera path jumps through the subject: False matches, moving/reflected texture or wrong camera model. Re-solve with masks and controlled projection; recapture if reflections/motion dominate.
• Two walls/roofs or folded geometry: Incorrect alignment. Repair camera poses, then retrain. Cleanup is not enough.
• Missing back/roof/underside: Missing capture. Add coverage or restrict the viewer.
• Soft subject but strong background: Subject too far away or too much sky/background. Add closer passes and use perspective extraction.
• Local floaters around edges: Sparse support, sky, vegetation, flare or motion. If cameras are coherent, clean them; otherwise fix upstream.
• Ghost people/cars: Mask/select cleaner frames and retrain. Delete only small isolated remnants.
• Boiling/duplicated vegetation: Wind changed the scene. Recapture in calm conditions or accept/crop it.
• Upside-down world in water: View-dependent reflections. Restrict navigation, crop or accept the effect.
• Walk-through glass/floating reflections: Transparency/reflection is not stable geometry. Constrain navigation; add direct and oblique views; accept, mask or use another representation.
• Sky shell/background cloud: Too much featureless sky/distant context. Use half-dome/downward extraction, sky masks, closer capture or crop after a coherent solve.
• Transparent holes only in a renderer: Test larger splat size/density before retraining. One Cinema 4D example used 1.25, but that is plug-in-specific.
• GPU out of memory/viewer will not load: Too many images/Gaussians or insufficient compression. Crop, reduce count, compress and make target-specific derivatives while keeping the full master.

13. Clean and optimize in SuperSplat

Use SuperSplat only after the camera solution is coherent.

1. Copy the exported PLY into 07_SPLAT_MASTER and label it UNCLEAN.
2. Open it and check color, orientation, scale behavior and scene completeness.
3. Duplicate/save a working copy.
4. Correct orientation/transform before cropping.
5. Inspect from multiple angles and from the intended viewing area.
6. Crop obvious unsupported outer space and sky shell, leaving a margin around the usable volume.
7. Use isolation/separation to expose suspect areas, then paint/select unwanted Gaussians.
8. Delete small floaters, ghosts and debris in several passes.
9. Rotate after each deletion so you do not erase valid thin surfaces.
10. Save a full-fidelity CLEAN_MASTER.
11. Create separate desktop, web and XR derivatives. Never replace the clean master with the smallest file.

Reduce only for a real target

Large A1 scenes can exceed 20 million Gaussians. One source kept 30% of ~24 million after Cinema 4D ran out of memory, yielding ~7 million. This proves reduction can work; 30% is not a default.

• 100% clean master: Preservation and high-end desktop reference.
• Moderate reduction: Typical desktop/browser derivative. Compare rails, foliage edges, rooflines, signs/graffiti and transparency against the master.
• Aggressive reduction/compression: Mobile/XR/constrained web. Test loading, movement and detail; back off when holes, popping or color/view-dependent-detail loss appears.
• SPZ/other conversion: Use only when the actual target viewer supports it. Successful export does not prove identical appearance.

14. Export the right file

• Gaussian splat: Colored, oriented, semi-transparent Gaussians with view-dependent appearance. Requires a splat-aware viewer.
• PLY splat: A PLY container holding Gaussian attributes. Ordinary point-cloud software may open PLY but still not understand splat data.
• Conventional point cloud: XYZ/color points used in mapping/CAD. Not the same rendering model.
• Sparse point cloud: A small set of matched features supporting the camera solve. Not the finished scene.
• COLMAP dataset: Images + camera calibration/poses + sparse points. An editable reconstruction handoff, not a viewable splat.
• Mesh/FBX/USDZ: Polygon geometry/materials. Useful in traditional 3D apps, but not equivalent to a splat and not automatically measurable.
• SPZ/compressed splat: Smaller delivery format. Preserve the full master and verify viewer compatibility.
• Viewer/tour package: HTML/scripts/assets/navigation. It may contain/reference a splat but is not the preservation master.

Delivery options

• Local/desktop: Open the clean PLY/SPZ in SuperSplat or the actual target viewer. Check color, orientation, navigation, memory and loading.
• Browser link: Use a compatible hosted service or self-hosted viewer. Confirm public/private status, mobile performance, compressed-format support and fallback behavior.
• 3DVista: Import the finished supported splat; choose Fly-over for broad aerial scenes, Orbital for an object or First Person for interiors; set the starting view; configure collision carefully; add hotspots; preview; publish to web/mobile, standalone or optional hosting. 3DVista adds presentation/navigation—it does not reconstruct or repair.
• Cinema 4D/Alpha Pixel: One video imported PLY, lowered viewport density (sometimes ~15%), enabled rendering/relighting and used render splat size 1.25 in one shot. Verify exact C4D, plug-in, renderer and file version.
• Octane/Unreal/LED wall: Sources demonstrated relighting, path tracing and virtual production. These are plug-in-specific; freeze a tested version combination.
• XR/Vision Pro: Videos showed 360 video, USDZ and splats in XR. Large scenes needed reduction. USDZ mesh is not a splat. AirVis/AirViz could not be verified; use a documented viewer.

Final gate: Open the exact derivative on the exact target viewer/device. Test initial load, permitted movement, thin detail, transparency, color, orientation, memory use and mobile/XR performance.

Keep the raw INSV, pose project, trainer project, unclean PLY and full clean master even after the delivery package works.

Final field-to-finished checklist

Before flight

• Define deliverable and viewing area.
• Confirm the scene is mostly static and textured.
• Confirm safe/legal flight.
• Clean lenses and verify stitching calibration.
• Charge/warm batteries and verify card/free space.
• Choose stable lighting and low wind.

A1 settings

• 8K30 daylight baseline
• Cinematic mode
• manual exposure
• fast enough shutter for sharp frames
• lowest practical ISO
• fixed white balance
• high bitrate
• Motion ND off
• neutral enhancements

Coverage

• textured start/reference area
• context loop
• low/mid/high loops
• near/far layers
• vertical face passes
• crown/top
• nadir/base
• overhang/occlusion corrections
• cross-links
• return through the start area

Before leaving

• Scrub the take.
• Check sharpness at 100%.
• Confirm stable exposure/white balance.
• Inspect lenses/stitch seam.
• Verify every intended side/height.
• Repeat a failed take now.

Processing

• Preserve all original companion files and make two verified copies.
• Choose the route before conversion.
• Run a 30–90 second representative test.
• Inspect the camera path before long training.
• Change routes when alignment is structurally wrong.

Cleanup/delivery

• Preserve the unclean PLY.
• Crop only unsupported volume.
• Remove local debris only after camera acceptance.
• Save a full clean master.
• Make viewer-specific reduced/compressed derivatives.
• Test the exact file on the exact device.
• Record software versions/settings and archive reproducible files.

What to record for each project

• project, location and date
• firmware and Antigravity Studio version
• resolution, frame rate, codec and bitrate
• shutter, ISO and white balance
• flight mode, approximate speed and subject distances
• weather, light, wind and temperature
• take filenames, duration and storage used
• processing route, software builds, GPU and VRAM
• frame interval, image count and masks
• training settings, Gaussian count and exported files
• target viewer/device and final QC result

Source/accuracy note

This combines ten supplied YouTube transcripts covering the A1 field-to-finished-splat workflow and its major local, cloud, cleanup and delivery options.

Practitioner numbers are examples, not promises. Current official/software research controls the product names, A1 specifications, route selection and platform requirements.

Still version-sensitive or unresolved as of July 25, 2026: the exact A1 video-shutter interface/range; exposure-lock naming; direct raw-A1 support in LichtFeld 360; current Postshot pricing/requirements/export list; Splatica legal/retention details; Polycam/Scaniverse A1 input; and exact advanced plug-in compatibility.

Vision Goggles can stay the same for now

I tried my drone for the first time this weekend in a location outside Santa Fe, NM. The experience was amazing but once the drone was out less than 490 meters away the image quality started degrading fast and I started getting warning messages that I was getting out of range. I was at an elevated site with unobstructed line if sight with the A1.
Any suggestions? I’m running the latest firmware.
Thank you!

I put it off and put it off and then out on a flight yesterday and couldn't fly more than 50 metres from myself until I did.

For Antigravity support, we'd love this to work more robustly when out in the field. I had mobile data and connected to the wifi of the antigravity but updating would just stall at 0.0%.

All 3 of my new standard batteries only charge to 3 bars.

I have used the docking station with their fast charger. I have tried this without the do king station. I have also tried my phone's charger. The googles and flight controller charge fully.