MCGS-SLAM

A Multi-Camera SLAM Framework Using Gaussian Splatting for High-Fidelity Mapping

Anonymous Author
Code and data [Available Upon Acceptance]

SLAM System Pipeline

Our method performs real-time SLAM by fusing synchronized inputs from a multi-camera rig into a unified 3D Gaussian map. It first selects keyframes and estimates depth and normal maps for each camera, then jointly optimizes poses and depths via multi-camera bundle adjustment and scale-consistent depth alignment. Refined keyframes are fused into a dense Gaussian map using differentiable rasterization, interleaved with densification and pruning. An optional offline stage further refines camera trajectories and map quality. The system supports RGB inputs, enabling accurate tracking and photorealistic reconstruction.

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Analysis of Single-Camera and Multi-Camera System

This experiment on the Waymo Open Dataset (Real World) demonstrates the effectiveness of our Multi-Camera Gaussian Splatting SLAM system. We evaluate the 3D mapping performance using three individual cameras, Front, Front-Left, and Front-Right, and compare these single-camera reconstructions against the Multi-Camera SLAM results.

The comparison highlights that the Multi-Camera SLAM leverages complementary viewpoints, providing more complete and geometrically consistent 3D reconstructions. In contrast, single-camera setups are prone to occlusions and limited fields of view, resulting in incomplete or distorted geometry. Our approach effectively fuses information from all three perspectives, achieving superior scene coverage and depth accuracy.

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Mallu Reshma Sex -

Here’s a write-up on — suitable for an article, blog, or presentation intro. Malayalam Cinema and Kerala Culture: A Mirror to God’s Own Country Malayalam cinema, often hailed as one of India’s most nuanced and realistic film industries, is not merely a regional entertainment medium. It is a living, breathing archive of Kerala’s cultural soul. From the misty highlands of Wayanad to the backwaters of Alappuzha, and from the vibrant pooram festivals to the intricate rhythms of Theyyam , Malayalam films have consistently drawn from, and contributed to, the unique cultural landscape of the state. 1. Land, Language, and Lived Realism Unlike many mainstream Indian film industries that lean heavily into spectacle, Malayalam cinema is celebrated for its authenticity . This stems directly from Kerala’s culture — one that values literacy, political awareness, and critical thinking. Films by Adoor Gopalakrishnan ( Elippathayam ), John Abraham ( Amma Ariyan ), and Shaji N. Karun ( Vanaprastham ) explore feudal decay, caste oppression, and artistic identity, rooted deeply in Kerala’s socio-political history. Even contemporary blockbusters like Kumbalangi Nights or Maheshinte Prathikaaram thrive on small-town Kerala life — its humour, dialects, and everyday struggles. 2. Festivals, Rituals, and Visual Poetry Kerala’s rich ritualistic culture — Kathakali , Mohiniyattam , Theyyam , Kalaripayattu — frequently finds its way into Malayalam cinema, not as decoration, but as narrative drivers. In Vanaprastham , Kathakali becomes a metaphor for a lower-caste artist’s quest for identity. In Ore Kadal and Parava , the local rhythms of coastal and northern Kerala shape the storytelling. Films like Varathan use the claustrophobic beauty of plantation bungalows and local superstitions to build psychological tension. 3. Food, Family, and the Everyday No portrayal of Kerala culture is complete without its food — and Malayalam cinema captures it with loving detail. The sadya on a plantain leaf, the evening chaya (tea) and parippu vada , the karimeen pollichathu — these are not props but emotional anchors. Similarly, the matrilineal joint family system ( tharavadu ) and its slow disintegration is a recurring theme, from classic films like Nirmalyam to modern hits like Kayyoppu . 4. Social Change and Progressive Roots Kerala’s high social development indices — land reforms, public health, education, and gender equity — are echoed in Malayalam cinema’s long history of progressive storytelling. Films like Chemmeen (1965, based on a novel by Thakazhi Sivasankara Pillai) explored caste and sea-folk taboos. Perumazhakkalam tackled communal harmony. More recently, The Great Indian Kitchen sparked statewide conversations about gender roles and domestic labour — a film that felt so culturally precise it moved beyond art into activism. 5. The New Wave: Global Yet Rooted The contemporary “New Wave” Malayalam cinema — directors like Lijo Jose Pellissery ( Ee.Ma.Yau , Jallikattu ), Dileesh Pothan ( Thondimuthalum Driksakshiyum ), and Mahesh Narayanan ( Malik ) — continues this tradition. They use genre conventions (horror, thriller, black comedy) but anchor them firmly in Kerala’s landscape, dialect, and social fabric. Ee.Ma.Yau , for instance, is a dark comedy about death rituals in a coastal Catholic-Malayali community — something only a culture-deep cinema could produce. Conclusion Malayalam cinema is not an escape from reality — it is a deepening of it. It speaks the language of Kerala’s rivers, its politics, its rice fields, its art forms, and its quiet rebellions. For anyone seeking to understand Kerala beyond the tourist brochures of houseboats and ayurveda, Malayalam cinema offers the truest map: one drawn in frames of light, shadow, and unflinching honesty.

Analysis of Single-Camera and Multi-Camera SLAM (Tracking)

In this section, we benchmark tracking accuracy across eight driving sequences from the Waymo dataset (Real World). MCGS-SLAM achieves the lowest average ATE, significantly outperforming single-camera methods.
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We further evaluate tracking on four sequences from the Oxford Spires dataset (Real World). MCGS-SLAM consistently yields the best performance, demonstrating robust trajectory estimation in large-scale outdoor environments.
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