[HN Gopher] Gaussian Splatting - A$AP Rocky "Helicopter" music v...
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Gaussian Splatting - A$AP Rocky "Helicopter" music video
https://www.youtube.com/watch?v=g1-46Nu3HxQ
Author : ChrisArchitect
Score : 331 points
Date : 2026-01-18 17:40 UTC (5 hours ago)
(HTM) web link (radiancefields.com)
(TXT) w3m dump (radiancefields.com)
| nodra wrote:
| Never did I think I would ever see anything close to related to
| A$AP on HN. I love this place.
| keiferski wrote:
| Hah, for the past day, I've been trying to somehow submit the
| Helicopter music video / album as a whole to HN. Glad someone
| figured out the angle was Gaussian.
| stickfigure wrote:
| Is he wearing... hair curlers?
| nodra wrote:
| That's what one does when they want some fiyah curls.
| wahnfrieden wrote:
| And nearly a Carti post at the top of HN
| rw_panic0_0 wrote:
| I'm taking the opportunity to FWAEH in here
| portly wrote:
| What do you mean?
| wahnfrieden wrote:
| Helicopter had a Carti feature that was pulled but leaked,
| and a promo photoshoot with the two of them for it.
| joshcsimmons wrote:
| Why is that "cool" or desirable?
| amazingman wrote:
| Because expertise, love, and care cut across all human
| endeavor, and noticing those things across domains can be a
| life affirming kind of shared experience.
| shikshake wrote:
| Perfect comment, but it's very funny to me that you even
| needed to say it. Some folks on here talk like moon people
| who have never met humans before.
| nodra wrote:
| Desirable because it's a rare culture + tooling combo. I'm
| into both and HN is one of the few places I would see them
| come together. So yeah, "cool"
| callbacked wrote:
| yeah that had me do a double take lol
| daveofiveo wrote:
| Direct link to the music video:
| https://www.youtube.com/watch?v=g1-46Nu3HxQ
| dang wrote:
| Good idea - we'll put that link in the toptext as well. Thanks!
| roughly wrote:
| Be sure to watch the video itself* - it's really a great piece of
| work. The energy is frenetic and it's got this beautiful balance
| of surrealism from the effects and groundedness from the human
| performances.
|
| * (Mute it if you don't like the music, just like the rest of us
| will if you complain about the music)
| filoleg wrote:
| Similarly, the music video for Taylor Swif[0] (another track by
| A$AP Rocky) is just as surrealistic and weird in the best way
| possible, but with an eastern european flavor of it (which is
| obviously intentional and makes sense, given the filming
| location and being very on-the-nose with the theme).
|
| 0. https://youtu.be/5URefVYaJrA
| roughly wrote:
| Holy shit that's great. I need to check a few more of his
| videos.
| superjan wrote:
| Watch the video to the very end: the final splat is not a
| gaussian one.
| yieldcrv wrote:
| so basically despite the higher resource requirements like 10TB
| of data for 30 minutes of footage, the compositing is so much
| faster and more flexible and those resources can be deleted or
| moved to long term storage in the cloud very quickly and the
| project can move on
|
| fascinating
|
| I wouldn't have normally read this and watched the video, but my
| Claude sessions were already executing a plan
|
| the tl;dr is that all the actors were scanned in a 3D point cloud
| system and then "NeRF"'d which means to extrapolate any missing
| data about their transposed 3D model
|
| this was then more easily placed into the video than trying to
| compose and place 2D actors layer by layer
| andybak wrote:
| > and then "NeRF"'d which means to extrapolate any missing data
| about their transposed 3D model
|
| Not sure if it's you or the original article but that's a
| slightly misleading summary of NeRFs.
| yieldcrv wrote:
| I'm all for the better summary
| darhodester wrote:
| Gaussian splatting is not NeRF (neural radiance field), but it
| is a type of radiance field, and supports novel view synthesis.
| The difference is in an explicit point cloud representation
| (Gaussian splatting), versus a process that needs to be
| inferred by a neural network.
| rjh29 wrote:
| To be honest it looks like it was rendered in an old version of
| Unreal Engine. That may be an intentional choice - I wonder how
| realistic guassian splatting can look? Can you redo lights,
| shadows, remove or move parts of the scene, while preserving the
| original fidelity and realism?
|
| The way TV/movie production is going (record 100s of hours of
| footage from multiple angles and edit it all in post) I wonder if
| this is the end state. Gaussian splatting for the humans and
| green screens for the rest?
| moi2388 wrote:
| Yes, they talk about this in the article and that's exactly
| what they did.
| rjh29 wrote:
| It wasn't clear to me how much this was intentional vs. being
| the limits of the technology at the moment.
| darhodester wrote:
| The aesthetic here is at least partially an intentional choice
| to lean into the artifacts produced by Gaussian splatting,
| particularly dynamic (4DGS) splatting. There is temporal
| inconsistency when capturing performances like this, which are
| exacerbated by relighting.
|
| That said, the technology is rapidly advancing and this type of
| volumetric capture is definitely sticking around.
|
| The quality can also be really good, especially for static
| environments: https://www.linkedin.com/posts/christoph-
| schindelar-79515351....
| F7F7F7 wrote:
| Knowing what I know about the artist in this video this was
| probably more about the novelty of the technology and the
| creative freedom it offers rather than it is budget.
| TeMPOraL wrote:
| For me it felt more like higher detail version of Teardown, the
| voxel-based 3d demolition game. Sure it's splats and not
| voxels, but the camera and the lighting give this strong voxel
| game vibe.
| clint wrote:
| Several of ASAP's video have a lo-fi retro vibe, or specific
| effects such as simulating stuff like a mpeg a/v corruption,
| check out A$AP Mob - Yamborghini High
| (https://www.youtube.com/watch?v=tt7gP_IW-1w)
| michaelrubloff wrote:
| We will be able to have imax level 3D technically today if you
| feed it the correct data
| noman-land wrote:
| Really amazing video. Unfortunately this article is like 60% over
| my head. Regardless, I actually love reading jargon-filled
| statements like this that are totally normal to the initiated but
| are completely inscrutable to outsiders. "That
| data was then brought into Houdini, where the post production
| team used CG Nomads GSOPs for manipulation and sequencing, and
| OTOY's OctaneRender for final rendering. Thanks to this
| combination, the production team was also able to relight the
| splats."
| darhodester wrote:
| Hi, I'm one of the creators of GSOPs for SideFX Houdini.
|
| The gist is that Gaussian splats can replicate reality quite
| effectively with many 3D ellipsoids (stored as a type of point
| cloud). Houdini is software that excels at manipulating vast
| numbers of points, and renderers (such as Octane) can now
| leverage this type of data to integrate with traditional
| computer graphics primitives, lights, and techniques.
| suzzer99 wrote:
| Can you put "Gaussing splats" in some kind of real world
| metaphor so I can understand what it means? Either that or
| explain why "Gaussian" and why "splat".
|
| I am vaguely aware of stuff like Gaussian blur on Photoshop.
| But I never really knew what it does.
| darhodester wrote:
| Sure!
|
| Gaussian splatting is a bit like photogrammetry. That is,
| you can record video or take photos of an object or
| environment from many angles and reproduce it in 3D.
| Gaussians have the capability to "fade" their opacity based
| on a Gaussian distribution. This allows them to blend
| together in a seamless fashion.
|
| The splatting process is achieved by using gradient descent
| from each camera/image pair to optimize these ellipsoids
| (Gaussians) such that the reproduce the original inputs as
| closely as possible. Given enough imagery and sufficient
| camera alignment, performed using Structure from Motion,
| you can faithfully reproduce the entire space.
|
| Read more here:
| https://towardsdatascience.com/a-comprehensive-overview-
| of-g....
| shwaj wrote:
| How can you expect someone to tailor a custom explanation,
| when they don't know your level of mathematical
| understanding, or even your level of curiosity. You don't
| know what a Gaussian blur does; do you know what a Gaussian
| is? How deeply do you want to understand?
|
| If you're curious start with the Wikipedia article and use
| an LLM to help you understand the parts that don't make
| sense. Or just ask the LLM to provide a summary at the
| desired level of detail.
| F7F7F7 wrote:
| There's a Corridor Digital video being shared that
| explains it perfectly. With very little math.
|
| https://youtube.com/watch?v=cetf0qTZ04Y
| joshvm wrote:
| > I am vaguely aware of stuff like Gaussian blur on
| Photoshop. But I never really knew what it does.
|
| Blurring is a convolution or filter operation. You take a
| small patch of image (5x5 pixels) and you convolve it with
| another fixed matrix, called a kernel. Convolution says
| multiply element-wise and sum. You replace the center pixel
| with the result.
|
| https://en.wikipedia.org/wiki/Box_blur is the simplest
| kernel - all ones, and divide by the kernel size. Every
| pixel becomes the average of itself and its neighbors,
| which looks blurry. Gaussian blur is calculated in an
| identical way, but the matrix elements follow the "height"
| of a 2D Gaussian with some amplitude. It results in a bit
| more smoothing as farther pixels have less influence.
| Bigger the kernel, more blurrier the result.There are a lot
| of these basic operations:
|
| https://en.wikipedia.org/wiki/Kernel_(image_processing)
|
| If you see "Gaussian", it implies the distribution is used
| somewhere in the process, but splatting and image kernels
| are very different operations.
|
| For what it's worth I don't think the Wikipedia article on
| Gaussian Blur is particularly accessible.
| pants2 wrote:
| Corridor has done some great stuff with Gaussian Splats, I
| recommend this video for a primer!
|
| https://youtube.com/watch?v=cetf0qTZ04Y
| appplication wrote:
| Reminds me of Kurtwood Smith's piping sales pitch in The
| Patriot
| michaelrubloff wrote:
| My bad! I am the author. Gaussian splatting allows you to take
| a series of normal 2D images or a video and reconstruct very
| lifelike 3D from it. It's a type of radiance field, like NeRFs
| or voxel based methods like Plenoxels!
| pleurotus wrote:
| Super cool to read but can someone eli5 what Gaussian splatting
| is (and/or radiance fields?) specifically to how the article
| talks about it finally being "mature enough"? What's changed that
| this is now possible?
| rkuykendall-com wrote:
| I found this VFX breakdown of the recent Superman movie to have
| a great explanation of what it is and what it makes possible:
| https://youtu.be/eyAVWH61R8E?t=232
|
| tl;dr eli5: Instead of capturing spots of color as they would
| appear to a camera, they capture spots of color and where they
| exist in the world. By combining multiple cameras doing this,
| you can make a 3D works from footage that you can then zoom a
| virtual camera round.
| michaelrubloff wrote:
| I also spoke to the vfx team from Superman on how they
| achieved the reconstructions! (I'm also the author for the
| Helicopter article here).
|
| https://radiancefields.com/gaussian-splatting-in-superman
| djeastm wrote:
| For the ELI5, Gaussian splatting represents the scene as
| millions of tiny, blurry colored blobs in 3D space and renders
| by quickly "splatting" them onto the screen, making it much
| faster than computing an image by querying a neural net model
| like radiance fields.
|
| I'm not up on how things have changed recently
| tel wrote:
| 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. Even if you
| could pull it off using robotic motion control arms, it would
| require that the entire choreography is fixed in place before
| filming. This video clearly takes advantage of being able to
| direct whatever camera motion the artist wanted in the 3d
| virtual space of the final composed scene.
|
| To do this, the representation needs to estimate the radiance
| field, i.e. the amount and color of light visible at every
| point in your 3d volume, viewed from every angle. It's not
| possible to do this at high resolution by breaking that space
| up into voxels, those scale badly, O(n^3). You could attempt to
| guess at some mesh geometry and paint textures on to it
| compatible with the camera views, but that's difficult to
| automate.
|
| Gaussian splatting estimates these radiance fields by assuming
| that the radiance is build from millions of fuzzy, colored
| balls positioned, stretched, and rotated in space. These are
| the Gaussian splats.
|
| Once you have that representation, constructing a novel camera
| angle is as simple as positioning and angling your virtual
| camera and then recording the colors and positions of all the
| splats that are visible.
|
| It turns out that this approach is pretty amenable to
| techniques similar to modern deep learning. You basically train
| the positions/shapes/rotations of the splats via gradient
| descent. It's mostly been explored in research labs but lately
| production-oriented tools have been built for popular 3d motion
| graphics tools like Houdini, making it more available.
| cubefox wrote:
| > Gaussian splatting is a way to record 3-dimensional video.
|
| I would say it's a 3D photo, not a 3D video. But there are
| already extensions to dynamic scenes with movement.
| poly2it wrote:
| See 4D splatting.
| dmarcos wrote:
| It's a point cloud where each point is a semitransparent blob
| that can have a view dependent color: color changes depending
| on direction you look at them. Allowing to capture reflections,
| iridescence...
|
| You generate the point clouds from multiple images of a scene
| or an object and some machine learning magic
| meindnoch wrote:
| 1. Create a point cloud from a scene (either via lidar, or via
| photogrammetry from multiple images)
|
| 2. Replace each point of the point cloud with a fuzzy
| ellipsoid, that has a bunch of parameters for its position +
| size + orientation + view-dependent color (via spherical
| harmonics up to some low order)
|
| 3. If you render these ellipsoids using a differentiable
| renderer, then you can subtract the resulting image from the
| ground truth (i.e. your original photos), and calculate the
| partial derivatives of the error with respect to each of the
| millions of ellipsoid parameters that you fed into the
| renderer.
|
| 4. Now you can run gradient descent using the differentiable
| renderer, which makes your fuzzy ellipsoids converge to
| something closely reproducing the ground truth images (from
| multiple angles).
|
| 5. Since the ellipsoids started at the 3D point cloud's
| positions, the 3D structure of the scene will likely be
| preserved during gradient descent, thus the resulting scene
| will support novel camera angles with plausible-looking
| results.
| klondike_klive wrote:
| You... you must have been quite some 5 year old.
| SchemaLoad wrote:
| Some things would be literally impossible to properly
| explain to a 5 year old.
| perfmode wrote:
| math is magic wow
| krackers wrote:
| https://aras-p.info/blog/2023/09/05/Gaussian-Splatting-is-pr...
| and for a visual demo of the result
| https://antimatter15.com/splat/
| londons_explore wrote:
| Pretty sure most of this could be filmed with a camera drone and
| preprogrammed flight path...
|
| Did the Gaussian splatting actually make it any cheaper?
| Especially considering that it needed 50+ fixed camera angles to
| splat properly, and extensive post-processing work both
| computationally and human labour, a camera drone just seems
| easier.
| echelon wrote:
| It's fucking cool. That's why.
|
| This tech is moving along at breakneck pace and now we're all
| talking about it. A drone video wouldn't have done that.
| ThouYS wrote:
| it gives you flexibility, options
| larsmaxfield wrote:
| Flying a camera drone with such proximity and acceleration
| would be a safety nightmare.
| nebezb wrote:
| If it was achievable, cheaper, and of equal quality then it
| would have been done that way. Surely it would've been done
| that way a long time ago too. Drone paths have been around a
| lot longer than this technology.
|
| There's no proof of your claim and this video is proof of the
| opposite.
| ex-aws-dude wrote:
| I think you're missing the point
|
| Volumetric capture like this allows you to decide on the camera
| angles in post-production
| darhodester wrote:
| A drone path would not allow for such seamless transitions,
| never mind the planning required to nail all that choreography,
| effects, etc.
|
| This approach is 100% flexible, and I'm sure at least part of
| the magic came from the process of play and experimentation in
| post.
| hamburglar wrote:
| > Pretty sure most of this could be filmed with a camera drone
| and preprogrammed flight path
|
| This is a "Dropbox is just ftp and rsync" level comment.
| There's a shot in there where Rocky is sitting on top of the
| spinning blades of a helicopter and the camera smoothly
| transitions from flying around the room to solidly rotating
| along with the blades, so it's fixed relative to rocky. Not
| only would programming a camera drone to follow this path be
| extremely difficult (and wouldn't look as good), but just
| setting up the stunt would be cost prohibitive.
|
| This is just one example of the hundreds you could come up
| with.
| mlyle wrote:
| Drones and 2d compositing could do a lot. They would excel in
| some areas used in the video, require far more resources than
| this technique in others, and be completely infeasible on a
| few.
|
| They would look much better in a very "familiar" way. They
| would have much less of the glitch and dynamic aesthetic that
| makes this so novel.
| F7F7F7 wrote:
| This might be the first time I'm stumbling on Dunning Kruger on
| HN, no offense.
| drdirk wrote:
| Can somebody explain to me what was actually scanned? Only the
| actors doing movements like push ups, or whole scenes / rooms?
| MuffinFlavored wrote:
| How did Rhianna look him in the eyes and say "yes babe, good
| album, release it, this is what the people wanted after 7 years,
| it is pleasing to listen to and enjoyable"?
| larsmaxfield wrote:
| I prefer when artists make music they intrinsically want to
| make -- not what others want them to make.
| b00ty4breakfast wrote:
| the real question is how much of the art is their own and how
| much is outside expectations and their reactions to it.
|
| And it's not always giving in to those voices, sometimes it's
| going in the opposite direction specifically to subvert those
| voices and expectations even if that ends up going against
| your initial instincts as an artist.
|
| With someone like A$AP Rocky, there is a lot of money on the
| line wrt the record execs but even small indie artists
| playing to only a hundred people a night have to contend with
| audience expectation and how that can exert an influence on
| their creativity.
| perfmode wrote:
| It seems the numerous leaks and trials took their toll.
|
| I don't disagree with you--I felt "Tailor Swif," "DMB," and
| "Both Eyes Closed" were all stronger than the tracks that made
| it onto this album.
|
| But sometimes you've gotta ship the project in the state it's
| in and move on with your life.
|
| Maybe now he can move forward and start working on something
| new. And perhaps that project will be stronger.
| weakfish wrote:
| Because it was awesome. But also, leaks probably.
| delbronski wrote:
| Im sure it was more like, "hey babe, can I get a few millions
| to go in the studio and experiment/make some art?" And then she
| was like, "yeah go for it! Make some weird shit."
|
| If I was in his position I'd probably be doing the same. Why
| bother with another top hit that pleases the masses.
| sneak wrote:
| > _One recurring reaction to the video has been confusion.
| Viewers assume the imagery is AI-generated. According to
| Evercoast, that couldn't be further from the truth. Every stunt,
| every swing, every fall was physically performed and captured in
| real space. What makes it feel synthetic is the freedom
| volumetric capture affords._
|
| No, it's simply the framerate.
| moribvndvs wrote:
| In another setting, it looks like ass, but lo-fi, glitchy shit is
| perfectly compatible with hip-hop aesthetic. Good track though.
| henshao wrote:
| I think in 2026 it's hard to make a video look this "bad"
| without it being a clear aesthetic choice, so not sure you
| could find this video in another setting.
| ungreased0675 wrote:
| The technology is impressive, but the end result... Weapons-
| grade brainrot.
|
| I'm curious what other artists end up making with it.
| F7F7F7 wrote:
| The article said it was by design...
| darhodester wrote:
| 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).
| sbierwagen wrote:
| From the article:
|
| >Evercoast deployed a 56 camera RGB-D array
|
| Do you know which depth cameras they used?
| brcmthrowaway wrote:
| Kinect Azure
| darhodester wrote:
| I was not involved in the capture process with Evercoast, but
| I may have heard somewhere they used RealSense cameras.
|
| I recommend asking https://www.linkedin.com/in/benschwartzxr/
| for accuracy.
| darhodester wrote:
| Aha: https://www.red.com/stories/evercoast-komodo-rig
|
| So likely RealSense D455.
| secretsatan wrote:
| Couldn't you just use iphone pros for this? I developed an
| app specifically for photogrammetry capture using AR and the
| depth sensor as it seemed like a cheap alternative.
|
| EDIT: I realize a phone is not on the same level as a red
| camera, but i just saw iphones as a massively cheaper option
| to alternatives in the field i worked in.
| F7F7F7 wrote:
| ASAP Rocky has a fervent fanbase who's been anticipating
| this album. So I'm assuming that whatever record label he's
| signed to gave him the budget.
|
| And when I think back to another iconic hip hop (iconic
| that genre) video where they used practical effects and
| military helicopters chasing speedboats in the waters off
| of Santa Monica...I bet they had change to spear.
| fastasucan wrote:
| Why would they go for the cheapest option?
| secretsatan wrote:
| It was more the point that technology is much cheaper.
| The company i worked for had completely missed it while
| trying to develop in house solutions.
| darhodester wrote:
| I think it's because they already had proven capture
| hardware, harvest, and processing workflows.
|
| But yes, you can easily use iPhones for this now.
| secretsatan wrote:
| Looks great by the way, i was wondering if there's a file
| format for volumetric video captures
| numpad0 wrote:
| A single camera only captures the side of the object facing
| the camera. Knowing how far away that camera facing side of
| a Rubik's Cube help if you were making educated
| guesses(novel view synthesis), but it won't _solve_ the
| problem of actually photographing the backside.
|
| There are usually six sides on a cube, which means you need
| minimum six iPhone around an object to capture all sides of
| it to be able to then freely move around it. You might as
| well seek open-source alternatives than relying on Apple
| surprise boxes for that.
|
| In cases where your subject would be static, such as it
| being a building, then you can wave around a single iPhone
| for the same effect for a result comparable to more
| expensive rigs, of course.
| bininunez wrote:
| We (Evercoast) used 56 RealSense D455s. Our software can run
| with any camera input, from depth cameras to machine vision
| to cinema REDs. But for this, RealSense did the job. The
| higher end the camera, the more expensive and time consuming
| everything is. We have a cloud platform to scale rendering,
| but it's still overall more costly (time and money) to use
| high res. We've worked hard to make even low res data look
| awesome. And if you look at the aesthetic of the video (90s
| MTV), we didn't need 4K/6K/8K renders.
| moralestapia wrote:
| Random question, since I see your username is green.
|
| How did you find out this was posted here?
|
| Also, great work!
| darhodester wrote:
| My friend and colleague shared a link with me. Pretty cool to
| see this trending here. I'm very passionate about Gaussian
| splatting and developing tools for creatives.
|
| And thank you!
| dostick wrote:
| 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?
| darhodester wrote:
| Yes: https://irrealix.com/plugin/gaussian-splatting-davinci-
| resol...
|
| (I'm not the author.)
|
| You can train your own splats using Brush or OpenSplat
| jeffgreco wrote:
| Great work! I'd love to see a proper BTS or case study.
| darhodester wrote:
| I do believe a BTS is being developed.
| henjodottech wrote:
| 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.
| narrator wrote:
| This reminds me about how Soulja Boy just used a cracked copy of
| Fruity Loops and a cheap microphone and recorded all his songs
| that made him millions.[1] Edit: Ok this was a big team of VFX
| producers who did this. Still, prices are coming down
| dramatically in general, but yeah that idea is a bit of an
| underfit to this case.
|
| [1] https://www.youtube.com/watch?v=f1rjhVe59ek
| comradesmith wrote:
| I really don't see the connection. A$AP isn't a noob
| enneff wrote:
| You might consider why this article which has nothing to do
| with AI as you know it (except for the machine learning aspects
| of Gaussian splatting), and was produced by a huge team of vfx
| professionals, has made you think about AI democratising
| culture (despite the fact that music videos and films have been
| cheap to make for decades). Don't just look for opportunities
| to discuss your favourite talking points.
| narrator wrote:
| Fair point actually. touche.
| jtolmar wrote:
| Dang, it's been cool watching gaussian splats go from tech demo
| to real workflow.
| darhodester wrote:
| For sure!
| weinzierl wrote:
| _" The team also used Blender heavily for layout and previs,
| converting splat sequences into lightweight proxy caches for
| scene planning."_
| badcryptobitch wrote:
| Both of my worlds are colliding with this article. I love reading
| about how deeply technical products/artifacts get used in art.
| KevinMS wrote:
| aren't music videos supposed to have music?
| hahahahhaah wrote:
| it does, it just doesn't have video
| lawgimenez wrote:
| A$AP Rocky's music videos has been always great.
| diffuse_l wrote:
| Too bad, but I managed to watch about 30 seconds of the video
| before getting motion sickness.
|
| Seems like a really cool technology, though.
|
| I wonder if anyone else got the same response, or it's just me.
| lwhi wrote:
| I loved the video. Didn't get the motion sickness myself.
| darhodester wrote:
| My wife said the same thing, but it gets better after the
| intro.
| squidsoup wrote:
| Tangential, but I've been exploring gaussian splatting as a
| photographic/artistic medium for a while, and love the
| expressionistic quality of the model output when deprived of
| data.
|
| https://bayardrandel.com/gaussographs/
| darhodester wrote:
| Cool aesthetic!
| kroaton wrote:
| Loving this; great work! Do you talk about the process anywhere
| in more depth?
| squidsoup wrote:
| Thanks! I'm using the KIRI Engine in Blender to render splats
| from my photos (https://github.com/Kiri-Innovation/3dgs-
| render-blender-addon) and then process the image as I would
| my photography in Lightroom. There are lots of different
| photogrammetry tools for generating plys (the point cloud)
| like PolyCam (https://poly.cam).
| Footprint0521 wrote:
| They really said it's capturing everything when A$AP Rocky's
| Gaussian splatted mouth in that video be looking worse than AI
| generated video lol
| periodjet wrote:
| The end result is really interesting. As others have pointed out,
| it looks sort of like it was rendered by an early 2000s game
| engine. There's a cohesiveness to the art direction that you just
| can't get from green screens and the like. In service of some of
| the worst music made by human brains, but still really cool tech.
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