4D Gaussian Splatting

The performance was recorded on a volumetric stage using 48 cameras at once, each capturing the model from a different angle. The capture was output as a sequence of 3D frames, each describing the subject as a field of Gaussian splats: tiny data points that hold colour, opacity and position. Dazai Studio’s open-source 4DGS Converter compiled the sequence into a single 4D Gaussian splat, which was then brought into Unreal Engine with Dazai Studio’s SplatRenderer plugin and rendered through Sequencer. Because the data comes directly from the footage rather than a rebuilt mesh, fine detail, from strands of hair to the movement of a hem, carries through into the engine.

Inside Unreal Engine, the captured performance becomes something that can be directed again and again. Because it was recorded from every direction, the virtual camera can frame the model from any angle. The scene can be relit in real time, with the sun moved across the sky to shift the light from bright daylight to a warm sunset, and the world around her can be built into anything imaginable, from a sunlit mosaic seascape to a rain-soaked neon city. For fashion, a single capture session could become a runway in any location, a campaign set in a world that doesn’t physically exist, or content for gaming, virtual production and immersive experiences. One performance, any world.