SuperSplat vs Captures Studio Splat Editor for Cleaning a Scene

SuperSplat vs Captures Studio is not a fight between two cleanup tools. Both are free, both run in a browser tab, and both will let you select a cloud of floaters and delete it. The choice turns on what you need the splat to become once it is clean: a file you hand to someone, or a page a client opens.

That distinction decides how you spend the next hour, so it is worth settling before you pick a tool.

The short answer

Use SuperSplat when the job is the splat file itself: heavy cleanup, precise selection, colour work, and export to a format you control. Use the Captures Studio Splat Editor when the cleaned splat is going straight into a shared, guided experience with a link, hotspots and a camera path. If you do both, clean in whichever tool you prefer and publish where the audience is.

How we are comparing

Five criteria, stated up front so you can disagree with them.

• Cleanup depth. How many ways you can select and remove what should not be there.
• Where the splat comes from. Whether you arrive with a finished file or still need to make one.
• What you can do after cleaning. Presentation, annotation and sharing, not just export.
• Access and cost. Licence, browser requirements, and what you have to sign up for.
• Control over the output. Formats, self-hosting, and who holds the file.

Every claim about SuperSplat below comes from PlayCanvas's own 2026 documentation or from trade coverage dated September 2026. Claims about Captures Studio stay within what the product ships today.

SuperSplat, in short

SuperSplat is the editor PlayCanvas publishes for Gaussian splats. Per the PlayCanvas developer documentation, it is free to use, open source under the MIT licence, and runs entirely in the browser. The docs group its tools into selection and cleanup, transform, measure and align, managing splats, and colour and appearance, and describe its job as trimming floaters, cropping scenes and retouching colour. It can also build camera animations.

It had a significant rebuild this autumn. CG Channel reported on 11 September 2026 that SuperSplat Editor 3.0 moved the whole renderer to WebGPU, which cut memory use enough to load larger scenes, and added a sphere brush that selects splats by painting onto surfaces in 3D, plus colour grading applied to a single selection. A stochastic alpha render mode skips sorting for scenes with tens of millions of Gaussians.

What it demands is a modern browser. The docs state that the editor needs WebGPU: current Chrome or Edge, Safari 26 or later, or Firefox with WebGPU enabled. Without it, the editor shows a message at startup instead of loading. The docs also say a dedicated GPU helps with very large splats.

You bring the splat. SuperSplat does not reconstruct one from photos or video. Installed as an app, it opens .ply, .splat, .sog, .spz, .ksplat and .ssproj files, and nothing is uploaded until you choose to publish.

Captures Studio Splat Editor, in short

The Splat Editor at /editor is part of a single browser workflow that starts earlier. Photos, ordinary video, 360 footage or LiDAR go in, cloud processing runs for 10 to 120 minutes with no local GPU, and the finished scene opens in the editor. You can also open a splat you already have: the viewer reads .spz, .ply, .splat and .ksplat.

Cleanup there means cropping the working volume and trimming stray Gaussians, the same job described in the guide to removing floaters from a gaussian splat scene. The editor then goes further than the file. You place media and 3D objects in the scene, add hotspots carrying text, image, video and links, and record guided camera paths.

The scene ships as one link, an embed or a QR code, and opens on a phone, tablet, desktop or headset with no app. A scene can be scaled to real-world size from a known reference, and distances measured directly inside it. The tool is free.

What each editor does with a splat

"Not documented" means the PlayCanvas documentation does not describe the feature, not that it is absent.

Where SuperSplat wins

On cleanup depth, SuperSplat vs Captures Studio is not close. The documented tool groups, the 3D sphere brush and per-selection colour grading give you more ways to isolate and repair a messy splat than a crop-and-trim pass does. If a capture has stubborn clusters of floaters tangled into real geometry, or a lighting mismatch you want to grade out of one region, SuperSplat is the better instrument.

Scale is the second win. The WebGPU rebuild exists to load big scenes, and the stochastic alpha mode is aimed at tens of millions of Gaussians. For a very large splat on a machine with a good GPU, that matters.

Control over the output is the third. SuperSplat is open source under MIT, the installed app opens six file types including .sog and .ssproj, and the publishing docs describe File > Export > Viewer App, which produces a self-hostable HTML viewer. If your goal is a clean file you own, host yourself and never register for anything, that is a real advantage.

It is also the more transparent choice for anyone who wants to read the source or build on it.

Where Captures Studio wins

Everything after the cleanup is where Captures Studio takes the comparison. A cleaned splat on its own is a file. The Splat Editor treats it as the start of a presentation: a guided camera path walks the viewer where you want, hotspots explain what they are looking at, and media sits in the scene beside it. A client does not need to know what a .ply is. They open a link.

It also wins on the starting point. SuperSplat assumes a finished splat. If your source is a phone walkthrough, 360 footage or a scan, the same product that cleans it also makes it, so there is no hop between a trainer, a file manager and an editor. See video to 3D for how that input side works.

Sharing is simpler. One link, an embed or a QR code, opening on any device with no app. SuperSplat's documented route is superspl.at, which requires logging in with a PlayCanvas account to publish, or exporting a viewer you host yourself.

And measuring is built for the inspection case: scale to a known length in the capture, then read distances off the scene without returning to site.

Teams that need the viewer under their own brand can use the white-labelled editor and viewer on the enterprise side.

A cleanup order that works in either tool

The tool matters less than the sequence. Whichever editor you open, the same order saves time.

First, crop. Most floaters live outside the space anyone cares about: the sky above a roofline, the ground beyond the last few steps of the walk. Drawing a box around the real subject removes that whole category in seconds, before you touch a single splat by hand.

Second, orbit the scene from three or four angles before deleting anything. A stray cluster that looks isolated from the front often turns out to be attached to a wall when you swing round, and deleting it leaves a hole.

Third, work from large clusters to small ones. Big selections first, then the fine specks, because every deletion changes what the next one looks like against the background.

Fourth, check the result from the viewpoints a viewer will actually use. In a guided tour that is the camera path, so a speck behind the sofa that no path passes does not need an hour of your attention. In a loose file it is anywhere, which is where SuperSplat's finer selection earns its keep.

Last, save before you export. You will want to revisit the edit when the client asks for the second floor too.

SuperSplat vs Captures Studio: which to choose

• You have a splat that needs serious repair. Take SuperSplat. Its selection and colour tools are deeper, and you can hand back a file in the format of your choice.
• You are sending the result to a client, a buyer or a site team. Take the Splat Editor. Add the camera path and hotspots, publish a link, and skip the export step.
• You are starting from photos, video or 360 footage. Take Captures Studio, because the splat is made and cleaned in one place.
• You need to host everything yourself or read the code. Take SuperSplat, which is MIT-licensed and exports a self-hostable viewer.
• You do both. Heavy repair in SuperSplat, then bring the cleaned file into Splat Editor for the guided version. Both formats overlap, as laid out in the file formats explainer.

If you later want to compare two captures of the same place, Multi Splat aligns them and renders a timelapse.

FAQ

Is SuperSplat free?

Yes. The PlayCanvas documentation says SuperSplat Editor is free to use and open source under the MIT licence. Publishing to its gallery needs a PlayCanvas account, but editing and exporting a viewer do not depend on one.

What is a good SuperSplat alternative in the browser?

The Captures Studio Splat Editor at /editor is free and runs in the browser. It suits cases where the cleaned scene needs camera paths, hotspots and a shareable link, or where the splat has to be made from photos or video first.

Does SuperSplat work on every browser?

It needs WebGPU. The docs list current Chrome or Edge, Safari 26 or later, and Firefox with WebGPU enabled. On anything else the editor shows a message instead of loading.

Can I use both on one splat?

Yes. Clean in one and open the result in the other. Both read .ply, .splat, .spz and .ksplat, so the file moves across without conversion.

All trademarks belong to their respective owners. No affiliation, partnership or endorsement is implied.

SuperSplat is the sharper knife for a messy file. Captures Studio is the room the clean file gets shown in. The verdict in SuperSplat vs Captures Studio follows from where the splat is going.