Xangle Camera Server

Splice Boys achieved a world-first by producing a commercial entirely with 3D Gaussian Splats and a custom-built light field array. This innovative approach transformed traditional volumetric capture, typically confined to controlled studio environments, by integrating it into a fast-paced commercial production. The team customized each volumetric rig to meet the specific demands of diverse scenes and locations, adapting camera array layouts, lensing, rigging, and movement logistics while adhering to a tight schedule. This method allowed every scene to become an editable volumetric 3D asset, providing directors and editors unprecedented control to reframe shots and animate cameras in post-production. These versatile assets are also deployable across virtual production, XR, mixed reality, interactive web, and other spatial platforms.

“Behind the Scenes” of the world’s first commercial made end-to-end using 3D Gaussian Splats and a custom-built light field array. A process like volumetric capture is traditionally staged in clinical environments labs or controlled studios and often used to create digital humans. We turned that model on its head and brought it into the fast-paced, unpredictable world of TVC production. Without compromise, we customised each volumetric rig to suit the unique demands of every scene and location, adapting to on-set challenges as they came. That meant rethinking everything: the layout and lensing of the camera array, the physical logistics of rigging, and movement constraints all while staying on track with a demanding commercial shoot schedule. This custom configuration of multiple synchronised cameras captured the light field of each scene from a wide range of angles, allowing the data to be processed using 3D Gaussian Splatting (3DGS) a cutting-edge method for representing complex environments with photorealistic fidelity. In our project, this meant every scene became a volumetric 3D asset, editable in post not just in 2D, but in full 3D space. We were able to reframe shots, animate cameras, and build the commercial volumetrically after the shoot, giving directors and editors a new level of control and creative freedom. But it doesn’t stop there. These assets are no longer limited to traditional flat-screen storytelling. They are now deployable across Virtual Production, XR, Mixed Reality, interactive web, and emerging spatial platforms. BTS shot by @jacksonbentleyvisuals pleasure working with the team at @publicisworldwide on this one @judejoh @ryandpetie @thatleegriffin @rocketman15@marylgraham79@vickilee4@lucyhickswhite Produced By @the_producers Dir: @oly_altavilla Splice Boys Team. @tombrandon @richard_kendall_dop @gaobohan @alexstrati VFX: @renbry2 Check production credits with amazing crew here: https://www.instagram.com/reel/DKJXTKizGXu/?igsh=dGRnbTkwNHdwZGww #virtualproduction #volumetriccapture #photogrammetry #cinematography #bullettime #tvc #cameramayhem #gaussiansplatting".

Xangle Camera Server

Splice Boys create the first commercial using 3D Gaussian Splats and custom light field array