For us, here at Visualskies, innovation isn’t a buzzword, it’s a guiding principle. We’ve recently funded Anil Bas, a research fellow at Bournemouth University, whose expertise in 3D imaging technology is opening up exciting new directions. Our partnership is helping drive advances in Gaussian Splatting, an AI-powered technique at the forefront of 3D object capture.

So, what sets Gaussian Splatting apart? Compared to traditional photogrammetry, it offers a new level of rendering fidelity. Unlike traditional photogrammetry, Gaussian Splatting offers a leap in detail and realism, making it particularly effective for capturing intricate features like hair, foliage, or reflections, that were previously challenging to reconstruct with detail. Even better, we’re now able to deploy Gaussian Splatting across all our capture methods, whether we’re scanning with our aerial drone rigs or our high-precision CyberRig systems. For VFX, heritage preservation, and virtual production, these breakthroughs aren’t just technical milestones; they’re practical solutions with real-world impact.

Gaussian Splatting is increasingly allowing us to digitise urban environments for the AEC industries in ways that were previously prohibitive with traditional scanning methodologies. We’re seeing Architecture, Engineering and Construction (AEC) companies benefit from advanced design, reporting and visualisation tools available through Gaussian Splatting surveys, as the data is lighter and therefore easier to use as well as more cost effective to process.

We’re also excited to be joined by Leoni Latham, a Master’s student from the University of Bristol, who’s exploring how AI is reshaping the TV and film landscape. Her research goes beyond the technical; she’s previously completed research into testing audience responses to AI-driven content, providing valuable insights for studios and creatives looking to navigate the path through the emergent AI environment.

Set in the medieval era, Bones of Yew is a testament to what’s possible when AI and historical research intersect. The production team leveraged AI as a creative time machine, using it to achieve a level of historical accuracy that would be impossible with traditional methods alone. Their process was rigorously cross-referenced with Longbow Heritage, ensuring every detail was rooted in authentic medieval research.

For consistency and realism, @silverbacktarzan Matthew Lewis was volumetrically scanned at our Battersea studio, outfitted in costumes from the National Theatre archive. This not only elevated the film’s visual authenticity but also reinforced the ongoing need for real-world assets and skilled performers in an increasingly digital industry.

The scale of production reflected our belief in collaboration: a 16-strong team, including two dedicated archery trainers, worked behind the scenes to ensure every shot resonated with realism and historical credibility.

For the latest updates, behind-the-scenes insights, and a deeper dive into the world of visual effects and 3D scanning, we invite you to connect with us on our social media platforms. Follow us and be part of our community where we regularly share our experiences, challenges, and triumphs in the ever-evolving realm of film and VFX production. Don’t miss out on the opportunity to see how technology and creativity come together to create cinematic magic.

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