Product Marketing Manager | Advocate for 3D Innovation and Creative Storytelling

columbus ohio
@OTOY Octane 2026 also provides access to Gaussian Splat AOVs These AOVs break out the splat asset directly from your 3D scene - which can be great for compositing, but also just look really cool solo'd independent from the shading and background while still retaining the tint recoloring.
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Blender has become an incredibly powerful and important part of the 3D ecosystem. Moving forward its role only gets bigger as the tools and workflows continue to evolve. Watch @JulesUrbach of @OTOY present The Future of Rendering at #BCON26, exploring where rendering is headed and how Blender continues to empower artists building what comes next. 🔥 piped.video/NDElCcv60r8
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Circuitry 1.0 for Cinema 4D drops tomorrow 🤘 Surfaces, splines, images - turn any source into a unique and procedural circuit board build. It's pretty rad!
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All procedural in seconds!
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Who’s ready for NBA to kick off - one month and I can’t wait!
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Working on a procedural little plugin for C4D called Circuitry - Use splines, geometry, cloners, voronoi, or even Images with alpha or luminance to define shapes for chip boards + circuitry and components. It will support standard, Redshift, and Octane preset shaders and has a lot of fun little features like various type connectors etc. There have been times where I just wanted cool circuitry elements for renders that are quite tedious to model. This gives you full procedural control to turn anything you want into a nice hero chip and make something cool! Let me know what you think?
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Testing some of the shader presets - these are Octane but they look the same in RS
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3DGS is powerful, but it has one obvious limitation: it’s static. So I pushed the same workflow into 4DGS. For this test, I took an animated lion walk cycle with 251 frames and over 4 million hairs, then rendered it from 20 camera views in @Blender + Cycles using @rendernetwork That produced a 5,020 frame dataset, ran across 4 parallel jobs with dozens of concurrent frames rendering and finished in about 8 hours. On my local 5090 workstation, that same workload would have taken roughly 288 hours!!! From there, I trained 251 splats (one PLY per frame) with Postshot CLI, at a little over 4 minutes per frame. The result is a near real-time 4DGS lion asset that I can duplicate 100x, offset for staggered motion, and even relight in @OTOY OctaneRender. 🔥 What makes this even more exciting is that everything just worked - and now that the sequence has been rendered on Render Network, the full 251-PLY sequence is hashed and persistent through Render Networks Differential Upload feature. That means anytime I want to use this asset again in a new 3D scene, the data is already live on Render Network. Uploading the 4GB sequence is completely bypassed during scene upload and job submission. That’s a huge win - not just for converting a heavy animated asset into something modular and real-time, but for making it reusable, fast to deploy, and practical across future render workflows in both Cycles and Octane for ANYONE who uses this same splat sequence within their scene. 3D to splat conversion keeps getting cooler.
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5,020 @Blender Cycles frames → 8 hours → $40 → 1 persistent 4DGS asset I can reuse again and again. That’s a pretty wild trade. 🤘 @rendernetwork
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This short is made with AI, but the extended process is what really caught my attention. @ATOM_VISUAL rapidly prototyped the hero asset using Midjourney, used Tripo to create a 3D model with separated parts, refined and added detail in ZBrush, split the asset for 3D printing, then finished the physical prop with some really nice airbrushing at full scale. There’s a lot to appreciate in that workflow. The 3D asset gives you something concrete to art direct from multiple angles. The physical prop gives the actors something real to interact with and helps drive the live-action sequences. And instead of stopping at reference sheets and generating every shot, the process moves back and forth between neural tools, 3D, fabrication, practical production, and filmmaking. That’s the part I love seeing. Use generation where it accelerates the idea, then step into traditional production whenever you need more control, specificity, or something tangible. Some very cool Indiana Jones vibes, but even cooler process. Would love to see more work built this way! (nice little punk rock anthem into the mix too)
We turned an AI-generated skull into a real, life-size prop for our short film, “The Skull Of Midas” From the first images to a painted 3D print b based on a @tripoai generated model, here’s how we brought it into the physical world. 🧵
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There’s a lot of thoughtfulness and intent put into this. I can sit back and enjoy it without once caring whether it’s AI or not. It’s engineered extremely well, creatively directed, and clearly made with intention. Visual storytelling isn’t just about how something is made. It’s about what you’re making, and the thought you put behind it.
DuckTales premiered 39 years ago today. I loved that show. Not for the gold. For the idea that adventure meant going somewhere wild with people you love. It was Indiana Jones for kids. Nobody's making the movie, so I made the trailer. Sound on. 🦆
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Really looking forward to this one. See you in NYC next week! 🙌🙌
Spenser Dickerson speaker for Render Network at Motion Plus Design New York 2026🙏🤩! rendernetwork.com/ Motion Plus Design New York 2026 The Roulette Theatre - Saturday, September 26th - 1pm > 8pm motion-plus-design.com/event… + ticketing in our bio #motiondesign #motiongraphics #motiondesigners #motion #graphicdesign #graphisme #motionart #motiondesignartist #3D #motionvideo #motiondesigncommunity #digitalanimation #vision #digitalart #3ddesign #digitalsculpting #motionographer #render
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Amazing stuff here @yetipictures @TonyZagoraios 🔥🔥🔥 excited to see everyone at MPD NYC 🙌
Thank you so much to the amazing and talented @TonyZagoraios 🫶🏼 for this trailer. Motion Plus Design is coming soon ! Book your tickets now ! (Iink in bio)
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With everything pushing toward faster throughput, I’ve been exploring Gaussian Splats as a real-time exchange format for heavy 3D assets. For this test: 3 Big Cat assets, 900 renders, 90 minutes. I used the @rendernetwork API to push the datasets directly from @Blender then reconstructed each asset as a high-fidelity 3DGS. The result is a fraction of the original overhead, while retaining an incredible amount of visual detail. I can drop these cats into new 3D scenes, run them directly on web and mobile, or bring them back into @OTOY Octane for real-time performance, relighting and final rendering. Heavy 3D assets → Rendered datasets → 3DGS → Real-time anywhere. Check out the Big Cats in real-time: Tiger superspl.at/scene/38aaca57 Jaguar superspl.at/scene/8d4f692f Lion superspl.at/scene/c31f2335
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This is super cool - using geodesic splatting along a surface to create seamless texturing 🤯
「Heat Kernel Textures(HKTex)」 🔹UVマッピング不要の3Dテクスチャ表現 🔹3DGSに着想を得たHeat Kernelで表面を直接表現 🔹UVの無駄な領域・継ぎ目・歪みを解消 3Dテクスチャの作り方そのものを見直す新手法。ECCV 2026 Best Paper受賞、情報元はリプ欄。
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This is impressive - reframing your shot, exploring new angles - HUGE unlock for creators and filmmakers imo
Introducing H3 Max Camera Controls, the world's fastest 3D video model. Turn a single viewpoint into a navigable 3D scene in less than 3 seconds. Set the horizontal and vertical camera angle in degrees, and H3 Max Camera Controls moves through the scene while preserving geometry, position, and materials across perspectives. Fast enough to control the camera in real time.
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CineCity Studios in Chicago has some crazy cool art - so here is a gaussian splat file of one that everyone can enjoy! dropbox.com/scl/fi/pepfhyv1a…
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Amazing workflow and amazing results 🔥🔥🔥
One performance. 150 digital doubles. One MacBook Pro. For MCK’s music video “OM=T,” Fustic. built and rendered the entire 4D Gaussian Splat sequence with Cinema 4D + Octane on a MacBook Pro with M5 Max. Go behind the scenes to learn more: medium.com/@octanerender/150…
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