Nicolas Mimault

Back @fatamorganafestival 2025! I was able to present for the first time, on a large cliff, a contemplative art installation that I have been working on for several months. My work focuses on laser lenses that generate infinite diffractions thanks to patterns and colors that evolve in a progressive and random manner. I will soon have the opportunity to give you more details about this project, for which I am currently unable to choose a name ⚡ 🎥 @h.nouneyes #mapping #lasershow #lightart #vjing

Retour sur la collaboration entre le festival @beton_lehavre et le collectif @vrtx_light qui a réalisé la scénographie du concert @fipradio 360 à l'église Saint Joseph. Un événement unique dans un cadre exceptionnel, où la lumière et les lasers ont sublimé l'édifice brutaliste et la musique de @superpoze_ En récompense, une magnifique captation d'une heure tout en douceur, réalisée par @celidjah et @emiledarvesblanc et disponible sur @france.tv Team Vortex : @nicomimault & @gabriellefrom51 Direction artistique : @antoine_mollet_ Direction technique : @leondinow Direction de projet : @brobrooooooo , @fantin_ Direction de production: @manon_something Images : @mickaelliblin & @jb.gagnere 🌀

How to Create a Video Game with Gaussian Splatting I recently bought an Insta360 camera and decided to recreate the Père Lachaise Cemetery in 3D. Here's the workflow I used: -Export the 360 footage frames at 5fps. -Use a script to convert the footage into planar images (panorama to planar projection _ GitHub Maxviper) -Align the cameras in Reality Capture to save time. -Import everything into Postshot to generate the Gaussians (pay attention to the splat count!). -Import the Gaussian data into Unreal Engine (I’m using XD3VGS). -Add visual effects and lighting. -Refine your design #GameDevelopment #GaussianSplatting #RealityCapture #Photogrammetry #360Camera @insta360

Port-Blanc, Penvénan, the Rocher du Voleur. A coastal cliff reconstructed with Gaussian Splatting. The algorithm keeps what the camera walked close to: rock, path, grass. The sea dissolves. Too much movement, too much distance. Looking toward the water from the edge of the scene, the sea becomes particles. Walking through the reconstruction reveals its limits. 1 — Traveling through the reconstructed scene 2 — Gaussian Splatting training | PostShot 3 — 360° capture extract | Insta360 X4 4 — Scene capture — coastal rocks, Rocher du Voleur 5 — Scene capture — rocks & sea 6 — Radiance field frontier — lateral view 7 — Radiance field — top view, abstract 9 — Abstract capture — sea surface 10 — Radiance field — low angle, rock & horizon 11 — Abstract capture — from “underwater” Training Method: Gaussian Splatting (PostShot) Images: 1,020 Aligned: 785 (RealityCapture) Splats: 1.6M Capture duration: 4:47 min 360 POV frames: 277 Location: Port-Blanc, Penvénan, Côtes-d’Armor, Bretagne Interaction #gaussiansplatting #3dgs #unrealengine #touchdesigner #gamedev @unrealengine @touchdesigner @epicgames ​​​​​​​​​​​​​​​​

Finally spring! Walking the coastal path above Port-Blanc, Insta360 X4 in hand, a 360° capture reconstructed into a navigable 3D scene using Gaussian Splatting, rendered in real time inside a game engine. As the avatar moves through the scene, it reveals the structure of the reconstruction, splats as space pixels: the raw material of the archive. The horizon cannot be captured. Too far, the distance becomes noise. Gaussian Splatting keeps what the camera walked close to: rock, path, grass. The sea dissolves. Training method: Gaussian Splatting (PostShot) Images: 1,020 Aligned: 785 (RealityCapture) Splats: 1.6M Capture duration: 4:47 min 360 POV frames: 277 Location: Port-Blanc, Penvénan, Côtes-d'Armor, Bretagne Interaction Player: Unreal Engine Particle forces: TouchDesigner: MIDI > OSC #gamedev #unrealengine #gaussiansplatting #3dgs #touchdesigner @unrealengine @touchdesigner @epicgames

Two ways of inhabiting this mountain reconstructed space. Switching between third-person and first-person inside another Gaussian Splatting reproduction. Part of an ongoing research on how navigation transforms our relationship to reconstructed spaces and memory. Interaction Player interaction: Unreal Engine — XV3DGS plugin Particle system forces configurable via TouchDesigner — MIDI to OSC Training Method: Gaussian Splatting (PostShot) Images: 745 Splats: 1.7M Iterations: 148k Camera: Insta360 X4 Projection: equirectangular Capture duration: 1:33 min Location: Orcières Merlette, Hautes-Alpes, French Alps Music: Amon Tobin — Yasawas #gaussiansplatting #3dgs #unrealengine #touchdesigner #gamedev @unrealengine @epicgames @touchdesigner

Ghost-like traces in the reconstructed scene. Skiers moving ahead on the trail create artifacts that reveal the limits of what the algorithm can reconstruct from a moving elements in the dataset. Single-path capture on skis, camera swung left to right on a pole, a gesture to broaden the viewpoint. This pendular motion introduces lateral variation into the dataset, but also instability inherent to the device: motion blur, rapid angle changes, partial reconstruction of the surroundings. 1 — Training timelapse × 20 | Gaussian Splatting (PostShot) — 48k iterations 2 — Traveling through the reconstructed scene | SuperSplat Render 3 — Ghost artifacts — skiers ahead on the trail | viewpoint-dependent reconstruction 4 — Raw 360° capture extract | Insta360 X4, equirectangular, swing motion 5 — Distant valley — reconstruction instability | out of focus 6 — Radiance field frontier — lateral view 7 — Radiance field — top view, abstract capture Training Method: Gaussian Splatting (PostShot) Images: 962 Splats: 1.6M Iterations: 48k Alignment: RealityCapture — 898 aligned images Processing Post-clean: none Capture Camera: Insta360 X4 Projection: equirectangular Capture duration: 2:00 min Location: Orcières Merlette, Hautes-Alpes, French Alps #gaussiansplatting #3dgs #unrealengine #radiancefield #skiing #frenchalps #touchdesigner #volumetriccapture

As the avatar moves through the scene, it reveals the very structure of the archive: splats scatter at its passage, exposing the unstable and constructed nature of volumetric reconstruction, like a memory we struggle to hold onto. Skiing through an open mountain landscape, camera swung left to right on a pole, the reconstruction captures only what a single moving path can see. Training Method: Gaussian Splatting (PostShot) Images: 962 Splats: 1.6M Iterations: 48k Alignment: RealityCapture (898 aligned images) Processing Post-clean: none Capture Camera: Insta360 X4 Projection: equirectangular Capture duration: 2:00 min Location: Orcières Merlette, Hautes-Alpes, French Alps Interaction Player interaction: Unreal Engine Particle system forces controlled via TouchDesigner: MIDI > OSC Music: John Lemke — Vessel #gamedev #unrealengine #gaussiansplatting #3dgs #touchdesigner @unrealengine @touchdesigner @epicgames

A real place reconstructed with particles using Gaussian Splatting. Running destabilizes the landscape, while walking allows it to recombine. A small interactive experiment to reflect on our relationship with environments. The setup explores a simple idea: our gestures transform the environments we inhabit. Through interaction, it invites reflection on how we co-inhabit the world. - Interaction Unreal Engine 5.3 TouchDesigner Training Method: Gaussian Splatting (PostShot) Images: 483 Splats: 1.9M Iterations: 35.1k Alignment: RealityCapture (373 aligned images) Processing Post-clean: none Capture Camera: Insta360 X4 Projection: equirectangular Capture duration: 1 min Frame extraction: 1 fps Location: M'Hamid El Ghizlane, Morocco — Gateway to the Sahara #gamedev #unrealengine #gaussiansplatting #3dgs #touchdesigner @unrealengine @touchdesigner @epicgames

Out of frame. Gaussian Splatting reconstructs a place from a calculated viewpoint. Outside the intended zone, another structure appears: a field of particles arranged to simulate depth and parallax. What the algorithm fails to represent reveals how it works. music: Ryuichi Sakamoto - "disintegration" (from "async") #gaussiansplatting #3DGS #gamedev #unrealengine #touchdesigner @epicgames @unrealengine @touchdesigner

Drifting through a reconstructed Kasbah alley. As the camera moves, the space deforms and begins to reveal its underlying structure. Part of an ongoing research on navigable real-world reconstructions. Music: Morning – Alva Noto & Ryuichi Sakamoto #3dgs #gaussiansplatting

Kasbah Oulad Othmane — Drâa Valley | Morocco For this render, the capture was limited to a single back-and-forth path within a narrow Kasbah alley. This highlights reconstruction instabilities, revealing viewpoint-dependent artifacts, including an unintended self-reconstruction, where my head becomes embedded in the scene geometry depending on camera position. 1 — Traveling environment (Unreal Engine) 2 — Gaussian Splatting training (PostShot) Images: 597 | Splats: 2.0M | Iterations: 60k | Images aligned: 572 (RealityCapture) 3 — PostShot capture Post-clean: none 4 — Radiance field frontier 5 — Accidental autoportrait (Raw dataset image) 6 — Abstract capture Top view | Out of field of interest 7 — Capture Insta360 X4 | Projection: equirectangular | Capture duration: 1:06 min | Outdoor / desert 8 — Abstract capture Bottom view