For those who don’t know the event: ICE.ART 3D Environment Conference 2026.I is a free online environment conference hosted by VRBN and delivered via GoTo Webinar. No lock in, no big fuss, just a very specific kind of nerd joy.

ICE.ART 3D Environment Conference 2026.I kicks off April 7, 2026, running 5:00 PM to 8:30 PM CEST as a live webinar on GoTo Webinar. Day I runs under the Physics Simulations banner, with an intro, two talks with Q and A, prizes, a panel discussion, and an open community chat. Registration is free of charge on the event site, so the only real cost is admitting you enjoy hearing other people talk about creativity, technology and physics. Bring a headset and a mildly disciplined browser tab situation.

Goran Pavles brings blockbuster sim scars to Ice.Art

Goran Pavles is a Visual Effects Supervisor at Stormborn VFX. He leads a team at Stormborn Studios, an Emmy and VES Award winning visual effects company based in Vancouver. He has over 15 years of experience in VFX and specializes in complex FX driven sequences for film and television, including 2012, Man of Steel, and 300: Rise of an Empire, plus series work on Yu Yu Hakusho, 5 Days at Memorial, and The Penguin. On the agenda, he is slated to present Artdirecting Physics Simulations for Hollywood Blockbusters, with Q and A.

André Thomas lives at the intersection of games and real sets

Prof. Dr André Thomas is Co-Head of the Immersive Realities Research Lab at Lucerne University of Applied Sciences and Arts. He founded Triseum in 2014, where he serves as CEO and leads the creation of award winning academic video games. He has more than 30 years in CGI production and has worked on video games, live action feature films, and commercials, including being Head of Graphics for EA SPORTS Football titles and contributing graphics for films including Men in Black, Con Air, Independence Day, Valiant, Ant Bully, and Tomorrow Never Dies. On the schedule image, he appears on Day II with Planning Physical Studios: Managing Business and Creativity.

Tobias Hauck bridges film instincts and GIS scale

Tobias Hauck is a Software Development Lead at the Esri Stuttgart Research and Development Center. His work focuses on Reality Mapping, turning imagery and laser scans into accurate large scale 3D meshes and Gaussian splats for GIS and digital twin workflows. He is with Esri since 2016, previously worked in feature film visual effects, and brings a passion for rendering, computer animation, and 3D environment creation. On the agenda , he is listed on Day II with Geospatial Gaussian Splats: Creating 3D Maps of Large Envrionments, with Q and A.

Come hang out, learn something, maybe win something

The agenda includes prizes and a panel discussion. By the way, the webinar puts attendees in listen-only mode (You are muted automatically). The invite is simple: register, block the evenings, and bring at least one question you have been saving for a day when someone else has to answer it.

Homepage: https://www.ice.art/
Registration: https://attendee.gotowebinar.com/register/96699203094794328

P.S: Afterwards, some or all of the talks will go online in full length on Youtube.

https://www.youtube.com/@ice_conference

The post Today: ICE.ART 2026.I kicks off on April 7 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Gaussian Splat Studio brings Gaussian splat point data into Cinema 4D as something you can actually work with, not just stare at. The tool is built to import, view, render, and export Gaussian splats directly inside the host app, while keeping viewport controls and render controls in their own lanes. That separation matters because splats tend to swing between two extremes: either they look great and crawl, or they move fast and look like a snow globe during an earthquake.

The core exchange format here is obviously PLY, the same file type commonly produced by mobile capture and processing services. The workflow shown starts with a real-world capture from a phone or camera, then a reconstruction step in a service such as Polycam, which outputs PLY splat data for the plugin to ingest. The result inside Cinema 4D is a splat object you can navigate around, tweak, and eventually render or export back out again.

Viewport control that admits splats can be ridiculous

Splat scenes vary wildly in scale and density. Different captures can come in at very different sizes (D’uh), so the plugin exposes world scale controls to get a scene into a sane range.

It also acknowledges the other common splat reality: point counts can be enormous. A referenced example uses 12 million points, and the plugin includes options meant to keep navigation responsive. One of the visible tactics is interactive splat reduction in the viewport, where quality deliberately drops while you navigate, then returns when you stop moving. The reduction can be turned off, but it exists specifically to keep the editor usable.

There is also a fast preview mode intended for heavy scenes, letting you switch to lighter display settings for camera setup, animation work, and general layout without changing the underlying splat source. The idea is simple: keep interaction smooth while you work, then restore full settings for final output.

Three looks, one splat

The plugin exposes multiple viewing and rendering looks for splat data. True Gaussian splat mode aims for a scan-faithful result. Point cloud mode is presented as both a stylized look and a faster way to iterate, with circular dot rendering as a deliberate aesthetic option. There is also a proxy geometry view described as a way to see what is happening under the hood, rather than a default look.

Alongside those modes, the plugin provides controls for splat size and for the minimum and maximum pixel radius of splats. The workflow frames these as practical dials for balancing detail versus fill. Smaller splats carry more detail, larger splats help fill larger areas. Push the balance too far and thin features can disappear or areas can open up into holes, so the controls exist to tune a capture into something that holds together under motion and framing changes.

A notey: not every PLY is oriented the same way. When a non-Gaussian splat PLY comes in on the wrong axis, the plugin includes a YZ flip option to correct orientation. That kind of messy reality is exactly what a production tool should deal with. If a format is technically correct but visually wrong, artists still have to ship.

Rendering paths and why the viewport can be the honest one

Gaussian Splat Studio supports rendering through the viewport as well as through Cinema 4D render modes, including Redshift and the Standard and Physical renderers.

The workflow shown treats the viewport render as a useful path for accuracy, while also outlining limitations. Native viewport rendering does not provide an alpha channel, so the tool includes an alpha mode that changes what the viewport output looks like. The result is not a perfectly white matte, and the explanation is that this is expected because semi-transparent values are part of how the splat output should composite more accurately. If a comp pipeline needs a harder matte, the suggestion is to adjust levels in the compositing step.

For Standard and Redshift rendering, the plugin builds what it needs in the background when you enable rendering, including generating a shader setup for the geometry it creates. Enabling rendering is off by default and is making the system a little slower while you work, so it is something you switch on when you actually need those render paths.

Relighting as a dial, not a fight

Splat captures often come with baked lighting characteristics. The workflow shown adds a relight blending control in the Redshift render appearance settings, letting the render transition between a fully luminescent look that preserves the captured lighting and a state that responds more to Redshift lights.

MoGraph-friendly splats are the real headline

Once a splat lives in Cinema 4D as something editable, it becomes available to the same ecosystem of tools artists already use to art direct motion graphics and look development. The plugin supports MoGraph-style controls through Effectors, Forces, and Fields, with a workflow that matches common object setups: select the splat object, add an effector or force, and it registers into the plugin’s control tabs. If you add tools out of order, the workflow shown notes you can drag them in manually.

This is the point where splats stop being a novelty and start being a production asset. If you can isolate, animate, and stylize parts of a capture with the same tools you use everywhere else, splats become another piece of the pipeline rather than a special-case import.

Export, cleanup, and downstream handoff

Gaussian Splat Studio supports exporting results back out as PLY, including exporting cleaned results and exporting as splat PLY.

If your pipeline depends on strict interchange, it is also worth remembering that PLY is a general container format used across different kinds of point data. The workflow explicitly differentiates between Gaussian splat files and regular splat files that can both be PLY, which is why orientation fixes and viewing modes exist in the first place. If you need a reference for the file format itself, the PLY format specification is hosted by Stanford.

Price and platform support

The price for Gaussian Splat Studio is $59.99. The product page lists compatibility for Cinema 4D versions 2024, 2025, and 2026, on Windows and Mac. As always, new tools and innovations should be tested before use in production, especially when they touch rendering, caching, and export handoffs that can ripple through an entire shot.

https://alphapixel.net/products/c4d-gaussian-splat-plugin/

The post Alpha Pixel adds Gaussian Splats to Cinema 4D first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Three evenings, three tracks, one calendar

The three track themes are set as Physics Simulations for Day I, Physical Sets and Stages for Day II, and Gaussian Splatting for Day III. Registration is free of charge, with sign-up routed through a GoTo Webinar registration page.

Each day is structured around an intro block, multiple presentation slots, a panel discussion, and a wrap-up. The agenda also includes a prize lottery segment and a communal chat slot to hang out after the formal outro. Some presentation slots are still to be determined, so full session titles and speaker names are not complete currently.

The topics

Day I carries the Physics Simulations theme. One listed session title for this day is “Artdirecting Physics Simulations for Hollywood Blockbusters,” with Goran Pavles from Stormborn Studios.

If your work lives in fx heavy shots, large-scale destruction, or the fine art of making a solver behave on a deadline, this day looks designed to scratch that itch while staying in the orbit of environment craft.

Day II is themed Physical Sets and Stages. Even without the speaker list, the track theme is clear: this is the part of the conference aimed at the reality-capture-to-digital handoff, the on-set-to-post handshake, and the practical constraints that keep virtual worlds grounded in physical ones.

Day III is themed Gaussian Splatting. One session is Geospatial Gaussian Splats: Reality Mapping in ArcGIS, with the speaker Tobias Hauck from an Esri R&D Centre in Stuttgart.

How to attend?

The event is delivered as a webinar series with three scheduled sessions. The attendee email for the event includes a unique join link or a webinar ID for joining. Audio can be taken through computer audio or by telephone as an alternative option (Follow the Event there if you want to make it an apparently enormous phone call, to give you some space from your coworkers, family, whatever. We are not judging).

Attend via Linkedin: https://www.linkedin.com/events/ice-art3denvironmentconference27437804320210702336

Register via GoTo Webinar: https://attendee.gotowebinar.com/register/96699203094794328

Join the Discord!

Pricing and availability

Registration is free of charge on the conference website. No paid ticket tiers, upgrades, or pricing options beyond that free registration statement. You will join via GoTo Webinar, and registration is open now. The event is positioned as the conference for anything related to creating 3D environments, plus there are prizes to win (including free Digital Production Subscriptions), which is the most elegant way to justify watching another talk when your to-do list starts to stare back. Save the dates, tell your favorite env nerd, and warm up your question asking fingers.

Register: https://www.ice.art/
Questions: conference@ice.art

The post Save the date: ICE.ART 2026.I is in two weeks first appeared on DIGITAL PRODUCTION and was written by Bela Beier.