My updated 3DGS workflow: from multi-camera capture to final 9:16 / 16:9 export
Over the past few weeks, I’ve rebuilt my entire 3D Gaussian Splatting workflow, especially the post-production stage. The biggest improvement came from switching away from Postshot’s 2D PNG workflow in Premiere and instead importing my splats directly into After Effects with a real 3D camera. This gives me far more control over movement, composition, depth, and timing.
Because my After Effects master composition is 3840 × 3840 px, I can easily link it to two Premiere sequences for clean 16:9 and 9:16 exports without rebuilding anything.
Working directly in AE also lets me manipulate the splats in true 3D (via Irrealix), instead of being limited to 2D exports in Premiere.
Below is my complete pipeline: capture, prep, reconstruction, animation, and export.
My Current End-to-End Workflow
1. Capture
XangleCS – Trigger & Transfer
Multi-camera USB trigger system (200 cameras on this one!)
Raw files download
Datasets review
2. Pre-processing
Lightroom – Color, Tone & Denoise
Basic color grading
AI noise reduction
Topaz Photo AI – Upscale / Enhance
I sometimes do a 1x upscale before reconstruction
Skipped this step for this dataset
3. Camera Calibration & 3D Reconstruction
RealityScan (or RealityCapture) - Camera Calibration
Postshot – 3DGS Training
Train Gaussian Splats (splat3 model)
Export .ply file
4. Animation & Rendering
After Effects - 3D Import (Irrealix plugin)
Import splats as true 3D objects
Add AE’s native 3D camera for precise movement
Use various Boris FX
Work in a square 3840×3840 master comp for universal output
5. Editing & Delivery
Premiere – Aspect Ratio Versions
Import the AE comp twice (Dynamic Link)
Sequence #1: 16:9 export
Sequence #2: 9:16 export
Add sound design (SFX), music
Export in ProRes or h.264 depending on platform
Vertical and horizontal versions, both in 4k
With Hugo Balek at the Xangle Studio.
