AI IN THE VOLUME
Paprocki says. The latest version is 5.2. “But it’s moving fast.” Last year, Veles used 3D model Marble to generate Gaussian splats from a text prompt. It was believed to be a world first. Veles had used the technique with Unreal Engine and Veles’ virtual production stage to create a pop video for Polish singer Naczzos. Now the studio has begun to phase Unreal Engine out of its pipeline. “If you build a scene in Unreal, you need the entire pipeline – modelling, texturing, lighting, optimisation,” says Paprocki. “That’s extremely expensive. Compared to prompting a model and placing it directly into the scene, it’s a completely different scale.” NEW HYBRID WORKFLOW Convincing clients to invest in full Unreal pipelines is becoming more and more difficult when AI alternatives are so readily accessible.
A DIFFERENT TUNE Veles’ virtual production stage was employed to create a music video for Naczzos (left and above)
“Sometimes the director doesn’t even want a full 3D scene,” explains Rozwadowski. “They just want a plate, a background image or simple animation. That can be AI-generated very easily.” Rather than replacing existing methods outright, Veles see the future as a hybrid of both physical and virtual elements. In the foreground will be real sets and actors, but in the midground
will be traditional 3D environments (eg Unreal Engine) and AI-generated Gaussian splat backdrops. “If you want interaction, use real sets or 3D,” Paprocki says. “If you want cheap, flexible backgrounds with parallax, use Gaussian splatting. The approach is still evolving – but it represents a practical bridge between established and emerging technologies.”
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