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Thinking about what my workspace at the studio could become… Same room, different reality — generated with the newly rolled out World Labs’ Marble 1.1. Running real time in the browser with Spark. #WorldModels #GaussianSplatting #3DGS

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Hugues Bruyère

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10,677 просмотров • 4 месяцев назад •via X (Twitter)

#WorldModels#GaussianSplatting#3DGS
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The Ring (Montreal) — Dormant Memories series New alternate scene, and an iteration on the UX and flow. Starting from a volumetric capture of a real location in Montreal, reconstructed as 3D Gaussian Splats, I then used World Labs' Marble to generate alternate versions of that same space. Running in real time using spark. #GaussianSplatting #3DGS #pointcloud #sparkjs #threejs
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The Ring (Montreal) — Dormant Memories series New alternate scene, and an iteration on the UX and flow. Starting from a volumetric capture of a real location in Montreal, reconstructed as 3D Gaussian Splats, I then used World Labs' Marble to generate alternate versions of that same space. Running in real time using spark. #GaussianSplatting #3DGS #pointcloud #sparkjs #threejs

Hugues Bruyère

34,299 просмотров • 4 месяцев назад

Nature has reclaimed the space, and the dinosaurs are back from the dead. World manipulation using Marble from World Labs is amazing. Here, I used it on a capture of the Redpath Museum made with the PortalCam. #GaussianSplatting #3DGS #pointcloud #worldlabs #portalcam
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Nature has reclaimed the space, and the dinosaurs are back from the dead. World manipulation using Marble from World Labs is amazing. Here, I used it on a capture of the Redpath Museum made with the PortalCam. #GaussianSplatting #3DGS #pointcloud #worldlabs #portalcam

Hugues Bruyère

14,286 просмотров • 6 месяцев назад

Point cloud, 3D GS and portal mechanics to move between them, all in real time (Spark + #ThreeJS). Moving from point cloud to 3DGS changes the perception of the same space dramatically... the Westmount Greenhouse captured w/ the PortalCam. #3DGS #GaussianSplatting #PointCloud
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Point cloud, 3D GS and portal mechanics to move between them, all in real time (Spark + #ThreeJS). Moving from point cloud to 3DGS changes the perception of the same space dramatically... the Westmount Greenhouse captured w/ the PortalCam. #3DGS #GaussianSplatting #PointCloud

Hugues Bruyère

31,401 просмотров • 6 месяцев назад

Real human motion inside a generated world hits different ⚡️👀 We built a world with Marble by World Labs, reconstructed it into a 3D environment with Jawset Postshot, then dropped in multiple SMPL characters with motion from Meshcapade Me and ran it in Unreal Engine 🎮 No suits. No markers. Just real movement colliding with synthetic space 🧠 It feels wrong. That’s the point. #MarkerlessMocap #GaussianSplatting #DigitalHumans
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Real human motion inside a generated world hits different ⚡️👀 We built a world with Marble by World Labs, reconstructed it into a 3D environment with Jawset Postshot, then dropped in multiple SMPL characters with motion from Meshcapade Me and ran it in Unreal Engine 🎮 No suits. No markers. Just real movement colliding with synthetic space 🧠 It feels wrong. That’s the point. #MarkerlessMocap #GaussianSplatting #DigitalHumans

Meshcapade

10,182 просмотров • 7 месяцев назад

Dormant Memories — a gallery regrouping my recent experiments built from real-world captures, reconstructed as 3D Gaussian Splats, and in many cases manipulated using World Labs' Marble. Everything is built with Spark, the 3D Gaussian splat renderer released by World Labs. It runs in the browser and can be experienced across devices: desktop, mobile, and headsets like Apple Vision Pro and Quest 3. This work comes out of something I've been exploring for a few years now: capturing fragments of the world (places, objects, moments...) and turning them into spaces that can then be revisited, manipulated, and explored in real time. What particularly interests me here is the process of creating alternate versions of the same place; starting from something that physically exists and using it as a base to explore variations, instead of generating from scratch. These explorations are part of what we do at Dpt.... same tools, same curiosity, same collaborative energy that shape the studio's work on interactive and immersive experiences. Some of these experiments were featured as part of the Spark 2.0 release by World Labs. Their technical blog post is a must-read; link in the thread ↓ These are experiments. They aren't fully optimized, they aren't bug-free, and the UX has rough edges. The goal is to explore, test, and learn. #GaussianSplatting #3DGS #pointcloud #WorldModels #sparkjs #threejs
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Dormant Memories — a gallery regrouping my recent experiments built from real-world captures, reconstructed as 3D Gaussian Splats, and in many cases manipulated using World Labs' Marble. Everything is built with Spark, the 3D Gaussian splat renderer released by World Labs. It runs in the browser and can be experienced across devices: desktop, mobile, and headsets like Apple Vision Pro and Quest 3. This work comes out of something I've been exploring for a few years now: capturing fragments of the world (places, objects, moments...) and turning them into spaces that can then be revisited, manipulated, and explored in real time. What particularly interests me here is the process of creating alternate versions of the same place; starting from something that physically exists and using it as a base to explore variations, instead of generating from scratch. These explorations are part of what we do at Dpt.... same tools, same curiosity, same collaborative energy that shape the studio's work on interactive and immersive experiences. Some of these experiments were featured as part of the Spark 2.0 release by World Labs. Their technical blog post is a must-read; link in the thread ↓ These are experiments. They aren't fully optimized, they aren't bug-free, and the UX has rough edges. The goal is to explore, test, and learn. #GaussianSplatting #3DGS #pointcloud #WorldModels #sparkjs #threejs

Hugues Bruyère

12,408 просмотров • 3 месяцев назад

Big news! World Labs' Marble is officially compatible with NVIDIA Robotics' Isaac Sim. Instead of showcasing their highlight reel, our team at Lightwheel created a full environment from a 360 pano using Marble and showed you can train directly in sim. The only non-generated assets are the robot arms, coffee, and bowl. Everything else was generated with Marble. Not sure how to do this yourself? NVIDIA wrote a technical blog with full instructions. You will learn how to: 1. Export scenes from World Labs' Marble as Gaussian splats 2. Convert to USD using NVIDIA Omniverse NuRec 3. Import into NVIDIA Isaac Sim 4. Add a robot and run the simulation Read the guide ➡️ #WorldModels #Robotics
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Big news! World Labs' Marble is officially compatible with NVIDIA Robotics' Isaac Sim. Instead of showcasing their highlight reel, our team at Lightwheel created a full environment from a 360 pano using Marble and showed you can train directly in sim. The only non-generated assets are the robot arms, coffee, and bowl. Everything else was generated with Marble. Not sure how to do this yourself? NVIDIA wrote a technical blog with full instructions. You will learn how to: 1. Export scenes from World Labs' Marble as Gaussian splats 2. Convert to USD using NVIDIA Omniverse NuRec 3. Import into NVIDIA Isaac Sim 4. Add a robot and run the simulation Read the guide ➡️ #WorldModels #Robotics

Jonathan Stephens

13,783 просмотров • 8 месяцев назад

Millions of Gaussian splats, rendered directly in the browser. For ICARE, the creative team designed and iterated 7 worlds with Marble, then streamed them in real time using Spark 2.0 and Three.js Here's how the pipeline works ↓🧵
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Millions of Gaussian splats, rendered directly in the browser. For ICARE, the creative team designed and iterated 7 worlds with Marble, then streamed them in real time using Spark 2.0 and Three.js Here's how the pipeline works ↓🧵

World Labs

12,499 просмотров • 2 месяцев назад

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.
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Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

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