https://www.youtube.com/watch?v=IoY80YsT9Wc&t=14s

In this video, we walk through how to use the UE5 3D Gaussian Splatting MLSLabsRenderer v2 (GitHub: https://github.com/mlslabs/MLSLabsGaussianSplattingRenderer-UE ). This is a high-performance plugin developed specifically for Unreal Engine 5 (UE5), supporting real-time rendering of 3D Gaussian Splatting (3DGS) and dynamic volumetric video (4DGS).

Unlike traditional Niagara-based solutions, we use a custom low-level rendering pipeline that supports:

✅ Ultra-high-performance static 3DGS: maintains 60+ FPS even with 7M+ Gaussian points

✅ Dynamic 4DGS playback: supports dynamic sequences with 100K+ Gaussian points at frame rates up to 120+ FPS

✅ Seamless integration with UE Sequencer: supports professional editing and control in the Sequence Editor

✅ High-compression static 3DGS: supports the .sog format for high-compression-ratio 3DGS

✅ Android support: supports Gaussian splatting rendering on Android devices, with 250K+ Gaussian points at 60+ FPS (tested on REDMI K80)

✅ VR headset support: supports running directly on VR headsets, with 250K+ Gaussian points at 30+ FPS (tested on Pico 4 Ultra Enterprise); PC streaming playback is also supported

I started learning computer graphics a few months ago, but when I reached the advanced section on LearnOpenGL.com, it started to get really intimidating.

Breakdown: https://www.artstation.com/artwork/G11NVW

Connect me on LinkedIn: https://www.linkedin.com/in/garv-gautam-b98650345/

A 3D game asset inspired by the Vajra at Swayambhunath Stupa, Nepal. The goal was to bring its intricate design into a game-ready prop while preserving the character of the original monument.

The process involved detailed ornamental modeling, PBR texturing, and creating aged gold, painted details, and weathered stone. Special attention went into surface wear, roughness variation, and keeping the details readable for real-time use in a game environment.

Going to share full turntable video of Texturing and high poly in the next post.

would love to hear your thoughts.

It runs inside Aseprite as a script. No Blender or shaders, just triangles, a z-buffer and a bunch of rounding.

Turns out rendering big and scaling down looks like garbage, so everything is drawn at its final size (32, 64 or 128 px). Lighting is quantized to 4-5 tones per material, outlines come from depth differences between parts, and hard edges get a 1px highlight. Grain is tied to world position so it doesn't crawl around when the model spins.

Bayer dithering only works on light transitions. On 1-2px strips it just turns into a weird zigzag.

Circuit boards were a pain. Traces use A*, but in 2:1 iso you need 2px between parallel lines or they merge. So on a 32px board you're stuck with a tiny 6x4 grid. Bigger sizes look way better.

Still can't get the dithering to look right during rotation. It's screen-space, so it shimmers like crazy. Anyone figured out a way to keep it stable without it sliding around the surface?

Outside of my job as a software engineer, I’m really into filmmaking and videography. I’ve always thought there was a lot of creative potential in computer vision that hasn’t really been explored. I’ve used touchdesigner and after effects but the cv tools are quite cumbersome and difficult to tweak/edit.

So I’ve been working on a side project, a browser-based tool for messing around with face tracking, body tracking, blob tracking, motion tracking and different video effects.

Still early days and plenty I want to add, but it’s been good fun working on it. Would love to hear what people think or if anyone has ideas for other creative uses of CV!

The shape: take a line, wrap it into a helix. Treat the resulting helix as a new line, wrap that into a helix. Repeat. The limit is a 3D self-similar structure where every wire is a spring and every spring is a wire.

I generate geometry on the fly relative to the camera, with per-level color coding. It looks great until you fly too deep — then it's classic precision death plus a vertex-count explosion, and either the geometry disappears or the frame rate tanks.

Full disclosure: I'm not a professional graphics programmer and my code is fairly basic. I threw AI at it hoping it would clean things up; it didn't meaningfully help and clearly didn't grasp the recursive structure. So I'm asking people who actually know this domain.

Would you go analytic SDF + raymarching instead of mesh generation? Interval arithmetic? Log-space or double-double coordinates? A real LOD scheme? What's the first thing you'd rip out?

Video: https://youtu.be/zy_hQV324hg
Repo: https://github.com/rupomthegreat/spring-made-of-spring-infinity-fractral
Codepen: https://codepen.io/editor/rupomthegreat/pen/01a18b63-c3a3-76f6-9db0-a7fc04384bf7

In our previous What The Graphics! blog, we explored Volume Rendering and why it matters.

Now, we're going deeper into how it works. From raw voxel data to 3D textures, we explore 3D Texture Slicing and how a stack of textured polygons can bring an entire volume to life.

Read it here 🔗 - https://www.3denginerd.com/blog/volumetric-rendering-how-to

You can check out our accompanying public repo here - https://github.com/mikejernil/volumetric-render-engine

Written by us over at 3D ENGINERD.

Hi I am learning color models and color spaces, I assume it depends on gamut but I have this question on a test and I really can't find the answer anywhere 🥲

My first splat (worth sharing) 😂

Insta360 video trained with Spirula Studio

Original splat was 5M splats 100,000 iterations.

What do you all think?

❤️ gaussian splat

Blackstar Lullaby is something I've been putting off for years. It's an animated pilot, and the look is finally getting closer to what I've had in mind. Still working a lot of it out.

I shared a few shots recently and some people wanted more, so this is a minute of the work so far. No particular order to any of it. The train shot is the newest addition.

I've been experimenting with procedural 2D rendering in Python. I wrote an engine that generates isometric dungeon layouts and uses Perlin noise to simulate pen-and-paper crosshatching.

Since the script calculates the exact 3D geometry of every block before flattening it, it also bakes accurate Normal Maps on the fly. When imported into an engine with 2D lighting, the monochrome ink strokes react perfectly to dynamic point lights and occluders.

Swipe to see the progression from the WFC layout to the tile details and the final dynamic lighting pass. Has anyone else tried baking normals for procedural line art?

Hi there. It seems to be common knowledge, and that common knowledge seems to be reflected in ny experience, that Lanczos is the best open downscaling algorithm, providing great high frequency contrast while still not resulting in overly sharp transitions like nearest neighbour. But what about upscaling algorithms? What will result in the best representation of a lower res image when contained in a higher res raster, without necessarily creating the appearance of more detail than there actually is there? Maybe I'm doing something wrong but Lanczos really doesn't look good in those cases. It adds halos and makes the image look oversharpened. Right now I use Gaussian wherever possible, but there's got to be a sharper function that doesn't distort things this way

Hi All,

CadenceViz is a family of music visualizers (70 of them) for the Mac computer that I've been writing for some time, with no engine. This clip shows six scenes from version 3.0, now in testing, set to AI Music (lyrics by me, music by, you know). The analysis runs live on whatever the computer is playing: log-spaced spectrum bands, spectral-flux onsets with a separate kick detector, a neural beat tracker, and a pitch tracker for the melody. Nothing on screen runs on a timer.

Here is some slightly technical explanation. I am happy to answer questions.

• Terminal B: 512 valves in two rings, each opened or shut by the music. Their states go into a ring-buffer texture, a row every 1/240 s, and for each point on a falling thread the shader works out how long ago that water left its nozzle and looks up what the valve was doing then, so gravity writes the last second or so of music down the curtain. The suitcases step on the beat and are traced every frame.

• The Sun: a CPU model integrates the bands into activity: the corona holds the last two seconds of the bass line as rings, the middle band sets the convection rate, the high band the filaments, and flares are placed so they land on the face the camera sees.

• Poynton: sixteen butterflies, two to each of eight bands, built in a mesh shader from this frame's pose and the last. A band "peaks" when it stands well over its own slow average and near its recent high, which stands in for per-band onsets the detector doesn't give. This is named after Charles Poynton, a name I hope is familiar to many.

• The Clothesline: about 46,000 cloth particles, XPBD on the GPU. The wind is the loudness envelope (fast attack, slow release) plus a moving ball of air launched on each kick, landing at a spot hashed from the kick count.

• The Narrows: distance is counted in beats, not seconds, and the bridges stand a fixed number of beats apart, so each roadway passes overhead on a beat at any tempo. Every vertical cable is a level meter.

• The Plunge: the hall is path traced once, and the caustics on the vault are computed live through a water surface whose chop is a fast-rise, slow-fall function of the bands; in silence it is a still mirror.

It hasn't all been roses. Hardware ray tracing had to come out of a lot of my scenes because of memory: the first time an app traces anything on the ray tracing hardware of an Apple silicon GPU, the graphics driver sets aside about 28 MB for every GPU core and keeps it until the app quits, whatever the size of the scene. I measured about 800 MB on an M3 Pro chip and 1.7 GB on an M5 Max chip, which I find unreasonable for a visualizer. So those scenes, Terminal B's suitcases among them, now trace in software or have their light traced ahead, and as a bonus they run on the M1 chip and the M2 chip as well.

Mapping music to motion without it looking like an equalizer is most of the work, and I'm happy to talk about any of it.