A dive into Dynamic Gaussian Splatting

What does all this mean? Well, put simply, it might be the future of stop-motion animation! The team and I demonstrated that you can shoot a stop-motion puppet in a small room with multiple cameras and then bring it into Unreal Engine, re-light it and position it in 3D space in real-time. I envision this being used in conjunction with scanned set pieces, allowing studios to keep complex camera moves in a stop-motion hybrid rather than moving to 3D or compositing. It also enables stop-motion productions with huge sets and epic locations to be created in small spaces, making it accessible to those who can’t afford massive studio spaces.

So, here’s more about the process and how I came to work with Co-star and the National Film and Television School to create this short film. Co-star was seeking individuals with experience in Gaussian Splatting (a type of 3D scanning) and stop-motion animation. They were testing how to combine multiple scans to create an animation.

They reached out to me, and I pitched a few ideas for the project. My focus was on tactility. We didn’t have a large budget to develop a deep story, but we were testing this new technology. I was particularly interested in capturing the tactile nature of stop-motion, emphasising natural textures that 3D animation often struggles to replicate.

After pitching a few ideas, we settled on Ulysses, the snail explorer. He had the perfect combination of slimy, textured, and human like qualities. He was a little traveller on his way to his cosy home.

The technology had never been tested before, so we encountered several challenges. Johnny Johnson, the tech lead, tested various cameras in different sizes to find a balance between depth of field and size. The GoPro ultimately met these requirements, and an old toy train rail from eBay provided the necessary mobility for the entire setup.

The next technical challenge arose from the scans themselves. They were massive files that required significant processing power. A powerful PC was used to render and work on the scans. The most time-consuming aspect was positioning the scans within 3D space. Unfortunately, they lacked stable coordinates, causing them to spawn in various orientations and sizes. To address this issue for future use, we propose placing QR codes on the base of the model and developing a matching program. This is evident in the animation, where Ulysses jitters around, particularly when seated at the end of the film.

We were also fortunate enough to be invited to SXSW London 2025 to present a talk titled “Gaussian Splatting: The Next Big Thing in 3D Capture?” Sharing this short film and engaging with such a talented audience was a highlight of the year.

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