For those who do not know the tool, RealityScan is Epic’s photogrammetry application for reconstructing 3D assets, scenes, and datasets from photographs and scans. It is used in areas such as VFX, game development, visualization, heritage capture, and geospatial workflows. RealityScan 2.1, the previous major release, added broader automation options, support for SLAM data, and other workflow extensions, so 2.1.1 reads very much like the expected follow-up pass: less about headline features, more about making interchange and export behave properly when real projects get involved.

RealityScan 2.1.1 is now available, and while this is not the kind of release that arrives with fireworks and a new category of buzzword, it does address several parts of the workflow that tend to matter once scans actually have to leave the application and survive contact with the rest of production.

The most relevant improvements are in the COLMAP pipeline. RealityScan 2.1.1 now exports either to a flat folder structure or to the standard COLMAP directory layout, supports both binary and ASCII export, improves mask export behavior, and filters low-accuracy points automatically during export. On import, Epic has added support for the FULL_OPENCV camera model, which should make it easier to bring in a wider range of calibration data without extra cleanup elsewhere in the chain.

Mask handling is one of the more useful practical changes here. The exporter now supports AI-generated masks, and users can choose whether to keep the .mask.ext suffix when exporting into the standard COLMAP directory structure. Epic also lists fixes for cases where selected mask layers failed to export, along with corrections for quality degradation when exporting COLMAP data based on original distorted images. That is the sort of update that sounds small in a changelog and rather less small when it breaks a handoff.

Another addition is the new “RealityScan XMPs with Image List” export in the Registration exports. This makes it possible to export XMPs corresponding either to the original distorted images or to undistorted images, and to choose between the “local:1 Euclidean” and “Grid plane” coordinate systems. At the same time, Epic has removed the separate Image list export from the Alignment tab, because the same function already existed in Registration export. Exported image lists now use the .imagelist extension, which can be reused when importing inputs or input selections back into RealityScan.

There are also smaller but welcome naming and consistency changes. Texture layer names now respect the specified name, including when selecting layers for texturing. Epic also removed some extra information from those names, including 16-bit and HDR prefixes, and adjusted numbering. On the command line side, importColmap becomes loadColmap, importBundler becomes loadBundler, and importFlightLog becomes importTrajectory. Not glamorous, but coherent. That alone can save someone a mildly irritating half-hour that could be spent watching cat videos.

The fixed-issues section is long, and in this case that is probably good news. Epic lists corrections for an incorrect “model is already colorized” warning on certain LiDAR models, ignored intrinsic parameters during flight log imports, EXR import issues, misplaced imported masks, raster artifacts in depth and mask exports, black mask exports in some cases, crashes related to LOD export settings and long computations, scene transformations being incorrectly retained after COLMAP and Bundler imports, and support for importing PLY files generated by the CGAL library. There are also multiple fixes for export behavior in cameras, orthographic projections, LAS classifications, contour export, and Nira upload handling.

Epic Games documentation for RealityScan 2.1.1

RealityScan 2.1.1 adds better COLMAP support and new XMP export options

RealityScan 2.1.1 is a maintenance release, but a practical one. Epic updates COLMAP exchange, adds new XMP with image list export options, cleans up mask export, and fixes a long list of editor, alignment, and CLI issues.

06.04.2026

Epic Games updates RealityScan: 2.1 out

pic’s RealityScan 2.1 brings LiDAR & SLAM import, server automation tools and improved UV and rendering support.

27.11.2025

RealityScan Mobile 1.8 with Tools for On-the-Go Scanning

Version 1.8 of RealityScan Mobile introduces three capture modes (including AR Guidance), mesh clean-up tools, focus peaking, capture timer and watertight mesh output: ideal for everybody capturing on-the-go.

21.11.2025

RealityScan 2.0: Epic Gives RealityCapture a New Name and New Tricks

Epic overhauls RealityCapture into RealityScan 2.0, complete with AI masking, LiDAR fusion, and a mobile-first workflow focus.

17.06.2025

RealityScan 1.5.3 Update Eases 3D Scans with Better Processing for iOS

Epic’s RealityScan update brings flexible processing, smoother workflows, and better support for iPad Pro and image uploads.

07.11.2024

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The post RealityScan 2.1.1 adds better COLMAP support and new XMP export options first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

KIRI Engine has released Scatter, a free object scattering add on for Blender. The plugin provides three placement modes that cover manual layout, procedural distribution using Geometry Nodes, and physics based scattering driven by Blender’s rigid body system. The developer positions the release as a response to the cost barrier of existing advanced scattering tools. According to KIRI Engine, many established add ons come with significant price tags, so for Blender artists who either lack budget for commercial plugins or are early in their learning curve.

Three modes, three workflows

Scatter provides three distinct placement modes. Each addresses a specific production scenario rather than attempting to unify all behaviours into a single opaque system.

The Click mode is described as a point and shoot workflow. It enables manual placement of individual assets directly in the viewport. This mode targets hero assets and composition critical elements where precise positioning, orientation and visual balance matter more than procedural coverage. For layout artists and lookdev teams, this is effectively a structured alternative to duplicating and transforming objects by hand.

Simple Scatter applies a non destructive Geometry Nodes modifier to a target mesh or curve. The distribution is procedural and remains editable. This is intended for large scale coverage tasks such as scattering vegetation across terrain, debris across floors, or objects along splines. Because it relies on Geometry Nodes, the behaviour integrates with Blender’s native node based instancing system. Geometry Nodes in Blender provide procedural control over point distribution, instancing and attribute driven variation. Scatter builds on that system rather than replacing it.

Physics Scatter uses Blender’s Rigid Body physics engine to drop objects into a scene and allow gravity and collision to determine their resting state. This mode is aimed at natural stacking scenarios such as rock piles, filled containers, cluttered surfaces or loosely arranged props. Instead of manually tuning offsets and rotations, users simulate gravity driven interaction.

Interactive physics control

Within Physics Scatter, an Interactive Mode enables real time direction of falling objects during playback. Users can activate Wind and Vortex force fields and toggle gravity while the simulation runs.

In Blender, force fields such as Wind and Vortex influence rigid body objects during simulation. Wind applies directional force. Vortex applies rotational force around an axis. Gravity toggles affect global downward acceleration. Scatter exposes these controls to allow artists to shape the outcome of object drops during simulation rather than relying solely on preconfigured settings. This provides a degree of art direction over what would otherwise be purely physics driven motion. It remains dependent on Blender’s rigid body solver and its constraints.

Non destructive procedural coverage

The Simple Scatter mode applies a Geometry Nodes modifier to the target object. Geometry Nodes in Blender are non-destructive by design, meaning that the underlying mesh remains unchanged and the node tree can be edited at any time. Scatter leverages this behaviour for environmental coverage. Because the modifier is attached to meshes or curves, distribution can follow surfaces or paths. Typical use cases include grass over terrain, debris on architectural floors or repeated assets along splines.

Manual placement without friction

The Click mode targets precision tasks. It is intended for placing hero assets with full compositional control. This mode likely reduces repetitive transform operations by integrating placement into a structured toolset.

Asset ecosystem integration

At launch, KIRI Engine provides one free KIRI Asset Pack alongside the add on. Additional packs may be developed if there is sufficient user interest. Scatter includes a preview gallery and loader for KIRI Asset Packs. The add on is designed not only as a placement tool but also as an entry point into KIRI’s asset ecosystem. The company frames this as a way to manage asset packs more easily.

Free, but not feature vague

Scatter is explicitly described as free. There is no mention of subscription requirements, feature gating or trial limitations in the provided documentation. The stated motivation for releasing a free tool is to give Blender users access to scattering functionality without additional cost. This is presented as a response to the price of advanced third party tools.

Positioning against native tools

Blender already includes native instancing via Geometry Nodes and particle systems, as well as rigid body physics for dynamic interactions. Scatter does not replace these systems. Instead, it packages them into a dedicated add on with predefined workflows for common scattering tasks.

As always, new tools and innovations should be tested before use in production. At present, the facts are straightforward. Scatter is free. It relies on Blender’s Geometry Nodes and rigid body physics. It includes integration with a KIRI Asset Pack gallery. That clarity is refreshing. Teh rest is up to production testing.

// https://www.kiriengine.app/blender-addon/scatter-by-kiri-engine

The post KIRI Engine releases free Scatter for Blender first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Epic Games has released version 2.1 of its desktop 3D-scanning software RealityScan. The update introduces expanded LiDAR workflows, automation interfaces for production pipelines, and several image-processing and export improvements.

LiDAR, SLAM and classified point clouds

RealityScan 2.1 now supports importing SLAM (Simultaneous Localisation and Mapping) data, including trajectories, images and point clouds from drones or handheld scanners. SLAM captures can be merged with standard photogrammetry or laser scans, improving reconstructions in large or complex environments. The release adds support for classified point clouds in LAS/LAZ formats using ASPRS classification tags. Users can include or exclude specific classes, such as vegetation or vehicles, when generating meshes, a workflow particularly useful for urban or environmental captures. These additions extend RealityScan beyond photogrammetry into hybrid LiDAR and image-based scanning.

Automation and server integration

Version 2.1 places strong emphasis on automation. A new command-line interface (CLI) provides batch commands for import, reconstruction, and export tasks. It replaces the older reporting system with a template-based data extraction tool that can generate structured outputs for tracking and review. RealityScan can now be remotely controlled through REST and gRPC APIs, allowing studios to run automated or farm-based scanning operations. Sample Python scripts are included to demonstrate integration. For headless setups, a Linux-compatible CLI build is provided. It operates through a bundled Wine environment and can process alignments, meshing, texturing and exports without a GUI, supporting scalable production farms.

Workflow and quality improvements

UV unwrapping has been revised with a coloured checker map that visualises distortion, adjusted thresholds for large-triangle removal, and a default-enabled texture defragmentation chart to maintain clean UV layouts. Rendering now includes a “render-camera view” that reuses the original capture camera positions. Artists can match or remove lens distortion and export surface normals in world or camera space. Export formats have been expanded with OpenCV registration files, XMP metadata for distorted and undistorted imagery, and improved COLMAP export that retains native distortion parameters.

Licensing, hardware and availability

RealityScan remains free for individuals or studios earning under US $1 million per year. A commercial licence costs US $1,250 annually. The software supports Windows 8 and later or Windows Server 2008 +. A Linux CLI build targets Ubuntu 24.04 and Fedora 39 via Wine. Because RealityScan’s reconstruction relies on CUDA acceleration, an NVIDIA GPU is required.

RealityScan Mobile 1.8

In parallel, Epic Games released RealityScan Mobile 1.8 for iOS and Android. The update adds AR-guided capture, object-mode background removal, focus peaking, mesh clean-up tools, a capture-interval timer, and an optional watertight mesh export for 3D printing. It remains free and targets rapid on-site asset capture for integration into RealityScan desktop or Unreal Engine pipelines.

Conclusion

RealityScan 2.1 advances Epic’s scanning suite into a hybrid LiDAR and photogrammetry toolset, pairing automation with precision UV and export control. The update strengthens its role as a practical choice for VFX, game, and visualisation workflows. As always, test stability and compatibility before deploying the new release in production.

The post Epic Games updates RealityScan: 2.1 out first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The mobile version of the photogrammetry app RealityScan Mobile 1.8 by Epic Games has been updated to version 1.8 for both iOS and Android. The official release notes detail several new features, fixes and known issues.

What’s new: Capture modes and tools

RealityScan 1.8 introduces three shooting modes designed for different use cases. AR Guidance mode employs augmented reality overlays to display a live point-cloud and photo positions, showing where more images are needed for complete coverage. Object Mode adds advanced camera controls and automatic background removal, allowing users to rotate or move the object for a full capture. Standard Mode offers the same controls without background removal, suitable for scanning objects within their original environment.

A new interactive view cube enables rotation from any angle and switching to predefined orthographic views. Mesh Clean Up tools now allow users to select and delete unwanted parts of a generated mesh using lasso or rectangle selection. The addition of focus peaking overlays highlights areas that are sharply focused, improving capture quality in-camera.

Version 1.8 also introduces a capture interval timer, enabling automatic photo capture at regular intervals — a practical addition for turntable or tripod setups. The new watertight mesh option allows users to choose between generating sealed, 3D-printable meshes or non-watertight ones that may preserve more surface detail when masking has not been used. Continuous light mode gives control over the phone’s flashlight, allowing it to remain steadily on for low-light environments instead of flashing intermittently.

Practical relevance for production users

For professionals in postproduction, VFX, realtime graphics, or game development, the new features significantly improve mobile photogrammetry workflows. AR Guidance reduces coverage errors by providing live feedback during scanning. Object Mode’s background removal results in cleaner object isolation, an advantage when creating assets for VFX or realtime engines. Focus peaking and the interval timer support more consistent capture, particularly for stationary or rotating subjects.

The option to choose between watertight and non-watertight mesh output provides flexibility depending on end use, whether for 3D printing or game-ready asset creation. On-device mesh clean-up tools reduce early cleanup effort before exporting to desktop software. Overall, the update moves RealityScan closer to a professional capture companion for on-site or field asset collection.

Fixes, known issues and considerations

RealityScan 1.8 resolves several bugs across both iOS and Android platforms. On Android, it fixes poor image quality and large HEIF file sizes when scanning in AR mode, as well as issues with photo orientation on certain devices such as the ASUS ROG 6D Ultimate. On iOS, the update corrects missing flash indicators, projects stuck in “Processing” status, user sign-outs during scanning, and problems with sharing scans to Sketchfab when minimising the app.

Several issues remain unresolved. On Android, reprocessed models may appear cropped. On iOS, newly processed projects can still get stuck in “Processing”, the top-to-back view transition remains unsmooth, and differences persist between RAW and JPEG image outputs. Clean installs can sometimes result in a black camera view until the app is restarted.

Before deploying this release in any professional environment, users are advised to test performance and output on their specific devices and within their pipeline to confirm reliability and image consistency.

The post RealityScan Mobile 1.8 with Tools for On-the-Go Scanning first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

With its second major release, Atlux λ 2 from Vinzi upgrades Unreal Engine from a lighting and rendering sandbox to something more unexpected: a fully simulated 3D scanning studio. The plugin, previously known as MetaShoot, already recreated physical photography stages within Unreal. Now, its new Capture tab extends this idea to the world of 3D data acquisition. Artists can distribute virtual DSLR cameras around a subject using the Camera Volume, tweak focal length, aperture, and shutter speed, and generate synthetic scan data without leaving the engine.

That data can be exported as standard PLY point clouds or COLMAP datasets, complete with camera positions, ready for reconstruction or use in Gaussian Splatting workflows. In effect, Atlux λ 2 allows Unreal scenes to feed directly into neural or point-based renderers—turning virtual scenes into training data or splat clouds.

Lighting: modernised for Lumen

The original Atlux lights were tuned for Unreal Engine 4’s raytracer. Version 2 retunes everything for Lumen, Unreal’s realtime global illumination system. Point and Directional light types have been added, Spotlight behaviour refined, and new presets included for standard studio setups.

A new procedural gobo system projects colour and shadow patterns across surfaces or acts as a softbox diffuser. The system remains parametric, letting artists adjust projection density, sharpness, and tint directly in the viewport.

Props, particles, and calibration

Atlux λ 2 also expands the library of assets available inside its Prop tab. New podiums, curtains, and cyclorama-style backgrounds can be dropped in with a click. Environmental effects such as light trails, particle bursts, fog, and god rays simulate studio atmosphere or help block out cinematic moods.

For technical accuracy, Vinzi adds reference materials and calibration props: chrome and grey balls, Macbeth-style colour charts, and surface decals such as fingerprints or scratches for realism checks.

Cameras and animation

Camera motion receives a complete overhaul via the new Action tab. Beyond static turntables and rail rigs, the update introduces floating, breathing, and handheld motions—useful for emulating product demo or cinematic coverage. Object animation presets now include oscillation and platform rotations, making it easier to preview assets dynamically without separate sequencer setups.

Stylisation and colour management

The Post-Process tab offers a surprising detour into non-photorealistic rendering. New materials simulate hatching, blueprints, oil painting, or even LEGO-style mosaic looks. While arguably niche, these presets demonstrate Atlux’s procedural layering system. Colour workflow has also matured. Artists can now load custom LUTs in .cube format, and use OCIO configuration directly from the plugin. This aligns Atlux with modern VFX colour management pipelines, especially for teams delivering look-dev stills or promotional imagery.

Randomisation and stability

Version 2 replaces the former AI Randomizer with Afflatus, a fully controllable randomisation engine. It can vary lights, props, or cameras individually, making batch renders or creative explorations more predictable. Vinzi has also addressed long-standing stability issues, notably a crash that occurred when cancelling renders mid-process. The UI has been reorganised and cleaned up, reflecting Atlux’s shift from experimental plugin to mature production tool.

Pricing and compatibility

Atlux λ 2 supports Unreal Engine 5.4 and later, running exclusively on Windows. It’s a free update for existing licence holders. A new perpetual licence costs $495 for individuals, while subscription users now pay $59.50 per month. Studios above $5 million annual revenue pay $990.50 or $109.50 per month.

Why a virtual scanner makes sense

Atlux’s decision to simulate photogrammetry inside Unreal feels both logical and overdue. Real-world 3D scanning is constrained by lighting, calibration, and physical capture limits. Unreal’s virtual environment removes all of these.

Because Atlux generates PLY or COLMAP data from synthetic cameras, users can prototype real scanning setups virtually—testing camera count, exposure, or spacing before investing in physical rigs. This also means Unreal can now output the same kind of data that Gaussian Splatting software ingests.

For visual effects, this unites two previously separate domains: engine-driven rendering and point-based reconstruction. Artists working on virtual production stages or motion-capture shoots could simulate scans of props or performers within their live Unreal environments, immediately feeding that synthetic data into splatting workflows or neural rendering experiments.

The result is a hybrid form of asset creation – half DCC, half dataset generation – without needing to step outside the engine.

The Gaussian bridge

Gaussian Splatting relies on point-based representations with density and colour information. Until now, these were usually reconstructed from photogrammetry or radiance field capture. Atlux’s virtual scan export removes the dependency on real footage: it produces consistent, noise-free data that can serve as either training material or direct renderable geometry.

It’s a small technical leap with large implications. For game cinematics, motion capture pre-visualisation, or virtual set planning, Gaussian splats generated in-engine would integrate seamlessly with existing Unreal lighting and compositing systems. Scene layout, lighting, and reconstruction could all occur within a single runtime context.

It raises a simple question: why did no one integrate a virtual scanner sooner? The pieces like Unreal, COLMAP, splat renderers, have existed for years. Atlux is simply the first to package them coherently inside the engine.

Practical caveats

Synthetic scanning does have limits. The generated data mirrors only what exists in the scene: no micro-surface irregularities, no photographic noise. For production pipelines requiring physical accuracy, real scans will still dominate.

Domain bias also matters. Gaussian reconstruction tools trained on real images may respond differently to perfect, noise-free synthetic data. Colour, specularity, and occlusion gaps might require deliberate simulation of imperfections to ensure realism.

Performance remains a concern. Simulating tens or hundreds of high-resolution cameras for each capture can tax GPU memory and I/O bandwidth. Unreal users will need to balance fidelity against throughput, especially when batch-generating scans.

A maturing plugin ecosystem

With Atlux λ 2, Vinzi seems to position Unreal less as a render target and more as a production laboratory—a controllable environment for both image generation and 3D data experimentation. It mirrors a broader shift in the industry: tools that blur the boundaries between DCC, realtime, and machine-learning workflows. As engines mature, the distinction between rendering, scanning, and simulation narrows.

Artists and technical directors should, as always, test the plugin in context before committing to production use. But Atlux λ 2’s ability to create synthetic scans directly inside Unreal marks a thoughtful and technically literate step toward unified virtual production pipelines.

Atlux Official Website

Atlux λ for Unreal 5.4 – Medium Announcement

The post Atlux λ 2 brings 3D scanning inside Unreal first appeared on DIGITAL PRODUCTION and was written by Bela Beier.