Real-Time 3D
360º interactive presentations

Real-Time 3D.

It’s an exciting evolution of how we interact with and experience online content.
Instead of just viewing flat and static web pages, web 3D enables us to immerse ourselves in three-dimensional worlds online, similar to video games or 3D movies.

Imagine browsing the internet, and instead of clicking on links to view text and images on a page, you could explore three-dimensional environments where you can interact with objects, people, and places in a much more realistic way.
Instead of merely looking at an image of a product, you could see it from all angles, even touch it or manipulate it as if you were in a physical store.

Your presentation comes to life. It’s as if you can walk inside your presentation and explore it from different angles, like you’re in a video game.

This is where the “interactive” part comes into play. With an interactive 3D presentation, you and your audience can interact with the content. You can click on objects to get more information, move within the environment to see different aspects, or even manipulate objects in real time.

A more immersive and exciting way to experience information and entertainment online. You might come across virtual museums, interactive presentations, digital marketing, 3D meetings with friends or colleagues, and much more.
Web 3D is transforming how we interact with information and with each other online, providing a much more engaging and thrilling experience.

How is it done?

To achieve this, special 3D design tools are used, allowing you to create three-dimensional models and animations. These tools can be 3D design software or specific online platforms for creating interactive presentations.

The result is a window that you’ll see on your screen (which can be easily added to any web page) that you can interact with by rotating, zooming in, zooming out, etc., 360º around the 3D object, providing the audience with a complete viewing experience.

The 3D model and its textures must be prepared to occupy the smallest digital space possible (weighing just a few MB). The more polygons a 3D mesh has, the larger the base file size and the slower it loads on the device you want to use it on, such as a mobile phone, for example.

It’s crucial to optimize the 3D mesh of the scanned object, using the minimum necessary polygons and the highest possible detail in textures, including color, relief, brightness, roughness, etc., as these define its visual accuracy.

Web 3D uses technologies like WebGL and WebXR to bring this experience to your web browser.
WebGL allows displaying 3D graphics directly in your browser, and WebXR enables online virtual and augmented reality, meaning you could explore these three-dimensional worlds using virtual reality glasses.

Take a look at our Real-Time 3D examples.

3D scanning for marketing and virtual catalogue.

A virtual catalogue is like a booklet or magazine, but in a digital version and on the Internet.
From the customer’s point of view, imagine that you have a lot of online stores and brands, and they all want to show you the products they sell. Instead of having a physical catalogue on paper delivered to your home, you can quickly access these catalogues from your computer, tablet, or phone.

In a virtual catalogue, the customer will find photos, interactive or static 3D models, and descriptions of many different products, such as clothing, shoes, electronics, toys, and more. They can browse through the pages and see what interests them. They can also click on the products to get more information or even buy them directly if they like.

The advantage of a virtual catalogue is that the customer can explore a wide variety of products from the comfort of their home. They don’t need to go to different physical stores to see what they have, as everything is organized online for easy viewing and sharing with whoever they want.

Furthermore, some virtual catalogues have interactive features, such as user comments, product reviews, or personalized recommendations based on previous searches or purchases. This can help make more informed decisions about what to buy. Social media and e-commerce platforms have also contributed to popularizing the use of virtual catalogues to display and sell products, leading to widespread adoption.

The virtual catalogue is a fundamental tool of digital marketing that allows companies to effectively promote and sell products online. Its strategic use alongside other digital marketing tactics contributes to enhancing the visibility, reach, and sales of the company in the digital environment.

Virtual catalogues can be integrated with other digital marketing tactics such as email campaigns, social media advertising, and SEO strategies (search engine optimization). This helps increase traffic and visibility of the virtual catalog, as well as boost online sales

3D scanning is also used to create virtual catalogues. It is a technology that allows creating three-dimensional digital models of physical objects in the real world. This technology can be used to scan products and convert them into 3D models that can then be incorporated into a virtual catalogue, allowing for a more interactive shopping experience.

By using 3D scanning, precise details of the products can be captured, enabling customers to view the items from different angles and have a closer experience to seeing them in person. This can be particularly useful in virtual catalogues for fashion, furniture, art, and other products that benefit from a more realistic and detailed representation.

The resulting 3D models from the scanning process, intended to provide a virtual catalogue, must have specific technical characteristics that allow for quick downloading from the Internet on any device and, at the same time, a high level of detail. Achieving these features is our daily challenge.

3D scanning can also be used to create models of people or clothing fitting models, helping customers see how a specific garment would look on their own body.

Currently, many companies worldwide use virtual catalogues. With the rise of e-commerce and widespread use of the Internet, they have become a very popular tool for displaying and selling products online. Companies from various sectors, including fashion, electronics, furniture, and food, have adopted their use as part of their marketing and sales strategy.

Some of the reasons why companies prefer virtual catalogues are:

Greater reach: Virtual catalogues allow reaching a global audience, as they can be accessible from anywhere with an internet connection.

Lower cost: Compared to printed catalogues, virtual catalogues are more cost-effective to produce and distribute.

Interactivity: Virtual catalogues can be interactive, meaning that customers can click on products, interact with them, obtain more information, view additional images, or even make direct purchases.

Easy updates: Virtual catalogues can be quickly updated to reflect changes in products or prices, ensuring that customers always see up-to-date information.

Measurement and analysis: With virtual catalogues, companies can collect data on customer behaviour, such as most visited pages or most viewed products, allowing them to improve their sales strategy.

Sustainability: Virtual catalogues are a more environmentally friendly option by reducing the use of paper and resources.

String marionette “Pompilio”

Museu de les Arts Escèniques de l’Institut del Teatre

Collection: Puppets

Type: Marionette

Author: Tozer, Harry Vernon, 1902-1999

Country: Catalonia

Date: 1937

Description:
Vertical control; 13 threads; 1 manipulator.
Clown face makeup.
Yellow wooden hat with blue band.
Dressed in a pink and white horizontal striped shirt, white quarry and blue bow tie around the neck.
Fuchsia trousers with suspenders, with a green patch on the right leg.
He wears suspenders.
White gloves and black shoes painted on the wood.

Height: 50 cm

Technique/Material: Braided linen suspension thread, head modeled in plastic wood, hands and body carved in wood, axis of joints in oil-painted brass wire.

Shows (Harry Vernon Tozer):
Pompilio a la barra fixa
Broma a la maroma
Pompilio damunt el bombo
De cap i de morros
El gandul i la gandula
El gran Ambrosi
Petra i Paula
Barraca de boxa
Papallones
Estació de servei
Forçut tossut
Segui qui pugui
Bugada colada

Harry Vernon Tozer (1902-1999) found.
He settled in Barcelona in 1925 where he became fascinated by the Catalan puppet and specialized in the marionette until he became a professor at the Theater Institute. Its fund, bequeathed in 1988, exceeds a hundred marionettes and also includes a theater with two bridges and several sets.

(Information: Museu de les Arts Escèniques de l’Institut del Teatre)

Technical characteristics of the 3D model:

3D model made with a high-resolution 3D scanner, textured with a photographic image.
The complexity in the 3D scanning of a piece like this, and of other marionettes, must be emphasized, maintaining its initial position throughout all the process.

Poligons: 50.000
Vertices: 24.980
Measures: 28,65 x 21,52 x 57,94cm (cordless)

Rendered with textures in PBR (Physically Based Rendering) format.

PBR are the initials of Physically Based Rendering. Such material, applied to the 3D model, shows the visual properties of the surface in a physically realistic way, so that realistic results are possible in all virtual lighting conditions.

String marionette “Bussejador” (Diver)

Museu de les Arts Escèniques de l’Institut del Teatre

Collection: Puppets

Type: Marionette

Author: Tozer, Harry Vernon, 1902-1999

Country: Catalonia

Date: 1955

Description: Vertical command; 10 threads; 1 manipulator
It wears a gray spacesuit, the bus helmet is created with a cork ball and a rubber balloon, the exterior is made of wood painted to imitate bronze. The long rubber tube that always accompanies the diving suit and is used to obtain air sticks out. The brown boots are painted on the wood. It wears wooden plumes at his waist and under his feet, and a gray wooden dagger in his right hand.

Height: 50 cm

Technique/Material: Braided linen suspension thread, cork head and rubber balloon.

Show: La Sireneta i el follet del mar (The little mermaid and the sea goblin), by Harry Vernon Tozer. Comedy.

Harry Vernon Tozer (1902-1999) found.
He settled in Barcelona in 1925 where he became fascinated by the Catalan puppet and specialized in the marionette until he became a professor at the Theater Institute. Its fund, bequeathed in 1988, exceeds a hundred marionettes and also includes a theater with two bridges and several sets.

(Information: Museu de les Arts Escèniques de l’Institut del Teatre)

Technical characteristics of the 3D model:

3D model made with a high-resolution 3D scanner, textured with a photographic image.
The complexity in the 3D scanning of a piece like this, and of other marionettes, must be emphasized, maintaining its initial position throughout all the process.

Poligons: 60.000
Vertices: 29.924
Measures: 27,56 x 21,45 x 51,42 cm (cordless and tubeless)

Rendered with textures in PBR (Physically Based Rendering) format.

PBR are the initials of Physically Based Rendering. Such material, applied to the 3D model, shows the visual properties of the surface in a physically realistic way, so that realistic results are possible in all virtual lighting conditions.

Glove puppet “Dona” (Woman)

Museu de les Arts Escèniques de l’Institut del Teatre

Catalan puppet

Authorship: Jaume Anglès i Pallejà (1857-1919)

Date: 1899

Description: Puppet sculpted in 1899. One of the first to have glass eyes. Entry date 1977.

Measures: 56x48x10 cm

Technique/Material: Wood

Show: Used in the tribute show to Jaume Anglès, in 1978.; “English Putchinellis, more than a hundred years of tradition 1873-1978”. Barcelona: Institut del Teatre, 1979.
Francisco Porras (Barcelona 1931 – Madrid 1998). “Puppets. Teatro Popular”. Madrid: Editora Nacional, 1981

Anglès Family Found:

The Anglès family is one of the important lineages of Catalan puppetry.
Jaume Anglès i Pallejà (1857-1919) was an image maker (he carved sculptures of saints for churches); at the root of this activity, his son Jaume Anglès i Vilaplana (1888-1945) started in the stage art of puppetry, around 1902 after having learned from the puppeteer Juli Pi. His son Jaume Anglès i Guzmán also continued the family business and then his two sons Jaume and Josep Anglès i Vergara.

(Information: Museu de les Arts Escèniques de l’Institut del Teatre)

Technical characteristics of the 3D model:

3D model made with a high-resolution 3D scanner, textured with a photographic image.

Poligons: 65.000
Vertices: 32.332
Measures: 39,49 x 26,74 x 57,37 cm

Rendered with textures in PBR (Physically Based Rendering) format.

PBR are the initials of Physically Based Rendering. Such material, applied to the 3D model, shows the visual properties of the surface in a physically realistic way, so that realistic results are possible in all virtual lighting conditions.

String marionette “La Mort” (Death)

Museu de les Arts Escèniques de l’Institut del Teatre

Collection: Puppets

Type: Marionette

Author: Tozer, Harry Vernon, 1902-1999

Date: 1946

Description: Vertical command puppet for a single manipulator, composed of eleven threads. It is a skeleton carrying a torn tunic over its shoulders and a scythe in its right hand.

Height: 50 cm

Technique/Material: Plaited linen suspension thread, head molded in plastic wood, hands and body carved in wood, axis of joints in oil-painted brass wire.

Show: Created by H.V. Tozer in 1949 is about a number of varieties in a single act called Its Last Dance or The Sad Waltz, with music by Jean Sibelius.

Harry Vernon Tozer (1902-1999) found.
He settled in Barcelona in 1925 where he became fascinated by the Catalan puppet and specialized in the marionette until he became a professor at the Theater Institute. Its fund, bequeathed in 1988, exceeds a hundred marionettes and also includes a theater with two bridges and several sets.

(Information: Museu de les Arts Escèniques de l’Institut del Teatre)

Technical characteristics of the 3D model:

3D model made with a high-resolution 3D scanner, textured with a photographic image.
The complexity in the 3D scanning of a piece like this, and of other marionettes, must be emphasized, maintaining its initial position throughout all the process.

Poligons: 84.398
Vertices: 41.329
Measures: 27,35 x 37,87 x 54,75cm (cordless and with scythe)

Rendered with textures in PBR (Physically Based Rendering) format.

PBR are the initials of Physically Based Rendering. Such material, applied to the 3D model, shows the visual properties of the surface in a physically realistic way, so that realistic results are possible in all virtual lighting conditions.

Vitrified ceramic jug from Puente del Arzobispo.

There was, some time ago, a brightly colored, vitrified ceramic jug with a friendly size, which one day arrived at a private house. There people placed it in the middle of a table, added water and a bouquet of red flowers.

It had – and still has – the characteristics typical of the ceramics of a specific place: emerald green color, floral pattern design and transparent vitrified throughout the piece.

This jug was made in the town of Puente del Arzobispo, which belongs to the community of Castilla-La Mancha, and which is a town that, among other things, stands out as a very important Spanish reference in pottery. There they use a pottery technique that dates back to the 16th century.

Due to its location, on the banks of the Tagus river, between Castilla-La Mancha and Extremadura, the potters find a lot of water – the river -, very good quality clay and fine sand. Also in the surroundings a lot of broom, heather and steppe to heat the ovens that bake the worked pieces.

The colors used in its decoration are oxides. Blue comes from cobalt, yellow from antimony, orange from iron, black from manganese and green from copper.

In 2019, the Pottery of Puente del Arzobispo was declared Intangible Cultural Heritage by UNESCO.

With regard to the 3D model scanned in Scan3D from the main jug, it is worth saying that it was not a very complicated piece to scan, although we did have to influence its texturing, basically the color capture and all the photographic details, for the reflection caused by the glazed texture of the original jug.

Technical characteristics of this 3D model:
Polygons: 15402
Vertices: 7701
4k texture maps, PBR format.

Once the 3D presentation starts, maximize
it to full screen to observe the 360º detail

3D digitization for reverse engineering.

With reverse engineering, like its name says, the usual and natural process is invested to reach the manufacture of a product.

“Reverse engineering” is a process by which engineers carefully disassemble an object or device to understand its internal workings without access to the original instruction manual. This approach is valuable for various applications, such as product improvement, understanding competitors, and identifying potential vulnerabilities in security devices. However, it is essential to remember that reverse engineering must be conducted in an ethical and legal manner.

In the reverse engineering process, special tools like 3D scanners are used to accurately capture the shape and structure of a physical object in the form of a three-dimensional point cloud. This point cloud represents the external surface of the object and contains detailed information about its geometry.

Once the 3D scanning is completed, reverse engineers use specialized software to process and convert this information into a comprehensive and detailed 3D model. This model can be used to understand the original design of the object, make modifications, conduct virtual tests, or manufacture replicas and new parts based on the scanned design.

3D scanning has revolutionized reverse engineering, providing a fast and precise way to obtain information about physical objects without resorting to more invasive and costly traditional methods such as manual measurement or disassembly. However, it is crucial to always respect intellectual property rights and applicable laws when using this technology.

At Scan3D, we use high-definition portable structured light scanners to achieve maximum precision. A structured light scanner is a device that projects a light pattern onto a surface and captures the resulting information to reconstruct a precise 3D image of that surface.

Some of the common file formats used in reverse engineering are:

3D scanning formats. When performing a 3D scan of a physical object, data is generated in different file formats, such as:

Point Cloud: Represents a collection of three-dimensional points describing the outer surface of the scanned object. Common formats include .PLY, .XYZ, .PTS, among others.

3D Mesh: A 3D surface formed by connected triangles. Popular formats are .STL, .OBJ, .PLY, among others.

Parametric surface data: Represents geometry in mathematical forms. They can be proprietary formats of specific software.

Parametric 3D modeling formats:

Once the 3D model has been obtained from scanning or reconstruction, it can be saved in different formats for further manipulation or manufacturing:

.STL (Stereolithography): Widely used format in 3D printing and additive manufacturing.

.STEP (Standard for the Exchange of Product Data): Exchange format for parametric modeling.

.IGES (Initial Graphics Exchange Specification): Neutral exchange format for 3D data.

.CAD (Proprietary format): Software-specific formats for CAD design, such as .SLDPRT (SolidWorks),

.IAM (Autodesk Inventor), .PRT (PTC Creo), etc.

Engineering and analysis data formats:

In addition to 3D models, reverse engineering can involve formats for other types of technical data:

.CSV (Comma-Separated Values): Text format that stores structured data, such as coordinates, measurements, etc.

.XML (eXtensible Markup Language): Text format that allows for hierarchical structuring and storing of data.

It is important to consider that certain formats may be more suitable for specific applications or software. When working on reverse engineering projects, it is essential to ensure that the file formats used are compatible with the tools and software employed in the process.

At Scan3D, we can help you achieve the results you need, with absolute confidentiality.

Scanned and textured sneaker, optimized for multimedia content.

Below you can see the 360º interactive presentation of a sneaker-type sports shoe (used for daily use). The polygon mesh and applied textures are optimized to compose a 3D mesh with all the details but without too many polygons, so that it can be rendered smoothly in any 3D editing software for making a video file.

These types of interactive presentations, such as the one below, can be easily added to any web page and are another element to consider for digital marketing as well.

Its technical data are:
Number of polygons: 110,172
Number of vertices: 55.056
Textures in PBR format, to offer a photorealistic presence from any application or software for 3D editing.

Once the 3D presentation starts, maximize
it to full screen to observe the 360º detail