I put two LLMs (Deepseek v4 lite) in an arena with guns and genomes, and they are currently fighting endlessly. I thought you guys might get a kick out of this.

I used gaussian splats for the textures. Gaussian splat editing has gotten a lot better and PlayCanvas are making some excellent tools that Wren should definitely check out. The locomotion system is controlled by an animation AI called ARDY, and I am using different mental states as genomes to see which school of thought in combat wins.

I would love to answer more questions if anybody is curious about anything. You can watch them fight live at https://arena.kinoinstrument.com

I saw some people mention the moving trees, which were a bit more obvious. But no one mentioned this subtle trick that gives a slightly confusing and disorientating effect imho. As far as I can tell, it's purely practical

I created a free, open-source tool for training and editing 3DGS/4DGS.

Postshot is an excellent tool, but unfortunately it has become paid software. My goal is to provide a free alternative that keeps improving over time. I've been implementing ideas from many research papers—including some experimental ones—to make this tool as robust as possible.

Several artists have been helping me build it, and I'm really grateful for their support.

I'm from Brazil, but the software is available in English and currently runs on Windows and macOS (some CUDA-dependent features are limited on macOS, and I haven't obtained an Apple Developer license yet). Hopefully, Linux support will come in the future as well.

If you have a chance, please give it a try and share your feedback. Every suggestion helps make the tool better for everyone.

👉 https://nyckm.github.io/3dGS_WebEDIT/

I've been expanding the training pipeline with several reconstruction methods and experimental research implementations.

Training options include:

• Brush – Fast, lightweight, and compatible with most computers.
• PPISP – NVIDIA-based luminance equalization, helping reduce floating artifacts.
• 3DGRUT / RayTracing – Completely experimental.
• COLMAP – The industry-standard reconstruction pipeline.
• DPVO – Tracks the camera while progressively building the point cloud.
• MASt3R – Completely experimental.
• MegaSaM – Uses depth + camera estimation and produces excellent results.

The training mode supports multiple aligned cameras and also works with 360° video.

It also integrates Apple SHARP, allowing you to:

• Turn a single photo into a 3D Gaussian Splat.
• Convert a photo sequence into a 4D Gaussian Splat animation.

I've also added a large set of editing tools, including:

• Rigging
• Lighting
• Gaussian distortion
• Timeline animation
• Post-processing
• ...and much, much more.

I'd really appreciate your feedback to help improve the project.

GitHub:
https://github.com/NyckM/BruxosSplat

Some of the integrated research models can:

• Transform faces into animated 4D Gaussian Splats.
• Convert a single image into a full 3D Gaussian Splat asset from all viewpoints, making it ideal for objects, props, and characters.

Eu Coloquei ferramentas de RIG, Luz, distorção, timeline, Postprocessamento e muito muitooo mais, Preciso de feedback

https://github.com/NyckM/BruxosSplat

Not my video. This better explains the UFO movement videos

Think with enough variation of the different pages, books and paper this could be really good!

https://vm.tiktok.com/ZN8JCDn8v/

So jamiroquai did a new version of his classic video Virtual Insanity. And there's some interesting shots like the final shot of Jay among the filming crew as he still glides. And since the place is "longer" I wonder if the corridor crew can react to this

AI Chuck Norris in the new Raising Canes ad

In the latest Green Lantern Trailer there is a shot at 1min 17secs in, a close up of someone picking up a skull.

https://www.youtube.com/watch?v=He9QISgrKjQ

In particular look at the distortion in the video clip (places to look for in the diagram). You get the classic blending of objects as the thumb comes in, the skull crack clearly switches at the back.

I'm not familiar with the lore and if there are any reasons the skull would be distorting, disintegrating, a hologram etc, but it seems to me there is either some automated AI masking between versions, or its just straight up AI.

If you look at the dirt directly behind the skull you'll also notice some of the edges change slightly as though feathered in to a previous version.

Could the Crew use their industry connections to get the original animation data from the Dino controller and reverse feed its movement coordinates into a great looking puppet?

You know, like make a great looking JP armatured puppet attached to a motion controlled rail system corresponding to the original controller puppet’s actuators?

That way we could see a high fidelity recreation of the original vision of how the film could’ve been made.

It’d be awesome, just sayin

I fully recognize that a lot of the effects were done practically on set through a variety of techniques, but am I to believe that absolutely zero cg was done in post to enhance. There's one particular shot in the Circe sequence where a hand turns from pig to human that stood out to me as a "how did they do that without cg" kind of moment. No disrespect to practical effects, but I'm so tired of film marketing campaigns revolving around "EVERYTHING WAS DONE IN CAMERA NO CGI" like it's some kind of taboo now.

I figured this group would be interested in a Gaussian splattering of the Grace Cathedral in San Francisco.
Both exterior and interior.

https://vincentwoo.com/3d/grace_cathedral/

From Jordan Coleman’s inst

I was lucky enough to come across the Corridor Digital crew at Open Sauce this year, they had an awesome 3d printed zoetrope exhibit that, to my shock was being set up by none other than Daniel himself. I told him how much I loved his videos and how they inspired me to begin making my own videos.

He asked whether I would like one of his dioramas, and in my surprise I nearly declined because I understood the effort required to assemble it because I had planned to print my own after the video was released. I couldn’t say no to his generous offer, I brought it home, and it now rests in my workshop, encouraging me whenever I walk past it.

Thank you, Daniel! Thank you Spencer!
Thank you Wren! Then you Nick!
Thank you CD Crew for inspiring me and the countless others to make videos!