**CC-Attribution-NonCommercial**

Based on a scan of a replica of the "Mayflower" ship, processed by @spogna and available [here](https://skfb.ly/6u8T6).

Like in the [Mosquito in Amber](https://skfb.ly/6xWCO), most of my attention was spent on normal maps, roughness and refraction settings to try to make this model as realistic as possible.

I actually had to create a secondary internal surface for the bottle, and also relied on clear coat options for the glass material in order to try to give the model a feeling of thickness. 

To try to get the opacity right, I used refraction on the outer layer (normals offset checked), and alpha-blending on the inner one.

All of the modeling was done with Blender, but the critical part for the model aesthetics relies on Sketchfab materials and post-processing.

<br>
>
> Another ship in a bottle
> 
> Has got no place to sail
> 
> To see the waves getting darker every hour
> 
> The stars have lost their power
> 
> In the sky
> 

<br>
**Beck**, *Ship in a bottle*.

Ship in a bottle

For our first ever Sketchfab 3D Editor Challenge, we’re interested in what a difference 3D settings make to how a model looks in the Sketchfab viewer. We’re supplying you with a model that needs a little help to really shine, and we want you to make it pop, using only the settings available via the 3D Settings button. Lighting! Materials! Post-processing! Annotations! Use as much or as little as you want, doing your best to hit the settings sweet spot. **Submission deadline: Monday, December 10th**. [read the contest details here](https://blog.sketchfab.com/sketchfab-3d-editor-challenge-littlest-tokyo), and all contest entries here: [3dEditorChallenge](https://sketchfab.com/tags/3deditorchallenge)

*Original model '[Littlest Tokyo](https://sketchfab.com/models/94b24a60dc1b48248de50bf087c0f042)' by Glenatron, published under a Creative Commons Attribution license.*

Sketchfab 3D Editor Challenge: Littlest Tokyo

![](https://steamcdn-a.akamaihd.net/steam/apps/416940/header.jpg?t=1504213968)

An experiment for the [Haunted House challenge](https://blog.sketchfab.com/sketchfab-freeform-challenge-haunted-house/), based on a poster for the horror movie "the Cabin in the Woods".

Each piece of wall was extracted from nice 3D scans (mainly from @shapespeare ([this station](https://skfb.ly/KNz9)), @johngreenstone ([this cabin](https://skfb.ly/6yYDR) and [that one](https://skfb.ly/6yXRs)) and @Mario_Wallner ([prehistoric house](https://skfb.ly/6qJ6w))) and "normalized" to squares before being baked to a simple geometry for the house. The roof-part also comes from the prehistoric house scan.

But [this crow](https://skfb.ly/MJyr) from @cmp_innovation_studio is the real MVP...

The background image was made in GIMP, and lots of post-processing filters helped in giving the final look. This model was made to be a WIP, but I deleted some elements in the process, therefore making it "final"...

Make sure to turn on HD textures

The cabin in the spooks #Haunted2018Challenge

Question to participants/Sketchfab staff: I couldn't find anywhere in the rules that I can't do it, but I noticed no other participants use it - Am I allowed to have a custom background? Or does it count as post-processing? 

Eeey, I participated in the challenge :D It was quite fun to make. I thought of this idea that what if Athena in her fury, wanted Arachne to suffer as much as possible and instead of instantly transforming her into a spider, took her sweet time and tortured Arachne by slowly corrupting her entire body and turning it into something hideous. 

I tried to go for a bit different palette ( fantasy exotic-like spiders) than what you would expect from the usual spiders, to see how that would turn out. It was really fun! 

Based on "[Arachne, Weaver of the Gods](https://sketchfab.com/3d-models/arachne-weaver-of-the-gods-7f8c248a52744e47b08900659e59a413)" by [toomanydemons](https://sketchfab.com/toomanydemons), licensed under CC Attribution.

MythCreature Round 2: Arachne

My final entry for the statues texturing challenge organized by Sketchfab and SMK on the theme of gender representation in classical sculpture. 
Based on "[Venus de Milo (Aphrodite of Milos))](https://skfb.ly/VOvX)" by [SMK – National Gallery of Denmark](https://sketchfab.com/smkmuseum), licensed under CC Attribution”

**My interpretation**

I tried to infuse this model with the theme of the sea, thinking of this statue as an old ship figurehead.

Burnt and torn apart during fierce marine battles, it was then meticulously repaired by the ship's captain, who replaced the damaged parts with inclusions of aquamarine, and finalized his craft with seals of gold. 

I love to imagine the captain as a very masculine yet paradoxical man, a bearded giant letting his deepest emotions, hidden to its pairs, appear through his delicate work.

Textured in blender by cautiously mixing PBR textures, then baked to the unmodified challenge's model. Post-processing and lighting were kept simple to emphasize the texturing work.

A captain's pride

## Scanning
The motorcycle was scanned in IR-mode on the Rigil using 1.5mm resolution and feature tracking without connection to a PC. The picture of the bike misleads about the lighting conditions (modern smartphone witchery be thanked): the place was too dim for texture tracking and in these cases better results can be achieved by only using feature tracking. For scanning itself I didn't do any preparations like scan spray and focused on the both sides by using the saddle as the connection for switching sides.  
While scanning the Rigil held a constant 20 FPS (if texture tracking would be also enabled for hybrid tracking FPS will be lower). Scanning itself took roughly 5min.

## Post-Processing
Post processing was done on my workstation and included generation of the point cloud and subsequent meshing in recommended settings. Since it came out to 15M triangles I reduced it to 4M so the scan could be uploaded to Sketchfab.

Honda Motorcycle - Einscan Rigil IR Scan

## Scanning
The front was scanned in IR mode for large parts at 1mm resolution with hybrid tracking (texture and geometry). The environment was less than ideal for scanning: Harsh sunlight from the side with a crystal clear sky so no scattered light for better conditions. Also the paint was recently waxed and freshly cleaned...  
For the scan itself I slowly moved around the car trying to capture all crevices, only tracking problems were encountered on the center of the hood (no features and no texture).

## Post-Processing
Only point cloud generation and meshing at recommended settings. Scan was later reduced and aligned to the coordinate system in Quicksurface.

BMW E34 Front - Einscan Rigil IR mode

## Scanning
The scan was created in large IR-mode with automatic exposure and geometry tracking. I started from the front and slowly moved around the part while keeping an eye on having enough overlap for tracking (rotating the scanner to reach in to the crevices works quite well to circumvent obstructions due to limited line of sight). While scanning the framereate was roughly 10 FPS with some highs to 15 and lows to 6 FPS (NIR mode still needs an update I guess, currently no marker scannign supported).

## Post-Processing
For post processing I fused the scan at 1mm and and meshed it it with default settings. For alignment I used the untegrated tooling in Creality Scan (basically rotating the part until alignment is right). The figurine then was printed from PLA to create a minature version.

Angel Figurine (Tombstone) - Creality Sermoon P1

## Scanning
The scan took place in two steps: First the top of the lawn mower and then the bottom. For both scans I didn't use any scan spray or similar, just took the scanner and started scanning at 1mm resolution. Since then markerless laser scanning made quite some progress, especially in wired mode where scan speed was increased from 20 FPS to 60 FPS with the latest update. Hopefully this will also transfer to wireless mode in the future. 

## Post-Processing
Processing just consisted of generating the point cloud when finishing the single scans, aligning the scans to each other (I used manual feature alignment since the overlap was quite minimal) and then I meshed the scan with default settings. Only divergence from default was using the semi watertight setting since it delivers a more closed model without too much "artistic freedom" to close holes. The scan was then reduced and aligned in Quicksurface.

Lawnmower - Einstar Rockit (markerless laser)

**Car: **Opel Corsa 2023 Facelift

## Scanning
The scan was created in large IR-mode with automatic exposure and geometry tracking. I didn't capture any texture but still enabled the texture fill light to have a better feeling of what I scanned (was already dark outside). The whole scan took roughly 2:30 min and was finished when all parts reached the quality indiator (would be nice if the resolution in IR mode could be preset to have the qualitiy indicator represent this setting like in laser mode).

## Post-Processing
After scanning I transferred the scan project wired to my PC and only needed to press one button (fuse at default settings). Creality Scan already produces a mesh when performing the fusion so no additional meshing needed. The mesh was then exported and I used Quicksurface to reduce and orient the scan to the coordinate system.

Opel Corsa Spare Tire Area - Creality Sermoon P1

## Scanning
One single scan with the Trackit was taken, this also is the reason for the missing part on the left bottom since a cupboard prevented line of sight between the tracker and hand piece. To reach the target resolution roughly 13k frames were scanned which comes out to 4min of scanning at 53 framer per second average.

## Post-Processing
I focused on the top part of the scan and used 0.4mm for fusion and meshing without any hole filling. The third image shows the raw captured data with the whole door. Alignment was done in Quicksurface as well as some slight reduction in polygon count to enable Sketchfab upload.

Wrought Iron Oven Door - Revopoint Trackit

## Scanning
Scanning was done at 2mm target resolution and no scan spray was used. I was to lazy to calibrate the Trackit so some of the surface quality defects may be accountable to this problem. Tracking quality was indicated as poor so time to calibrate. Scan was performed in three parts (could have been two but the first placement of the tracker was suboptimal) and each scan consists of paint brush movements until full data quality was reached.

## Post-Processing
Processing work was minimal by first fusing at 1mm (software even recommended 0.75mm) and then aligning the partial scans to one whole scan. Meshing was done at recommended settings and alignment to the coordinate system with Quicksurface.

Tiled Stove - Revopoint Trackit

## Scanning
Scanning was done in sPC connected mode (WiFi, with latest update 120FPS speed) at a moderate high point distance of 0.15mm (can go up/down to 0.05mm but at 0.15mm it already resulted in a 20M triangle file...) until target quality was reached. Keep an eye on ideal scan distance since it reduces with increasing point distance. When you are too far away scanning will be drastically slower compared to when you're in the ideal distance. 

## Post-Processing
When finishing the single scans it already creates a point cloud so I only had to align using automatic feature alignment (after deleting all unnecessary data from around the object). Afterwards I used Quicksurface to align the scan to the coordinate system and reduce the triangle count to a manageable 4M triangles.

Wax Statue Virgin Mary - Einscan Rigil

## Scanning
Scanning was done in PC connected mode (WiFi, with latest update 120FPS speed) at a moderate high point distance of 0.15mm (can go up/down to 0.05mm but at 0.15mm it already resulted in a 20M triangle file...) until target quality was reached.
I placed the casting on bed of marker cards and geometries so I can also capture the sides of the casting which I also use for aligning the two scans I created (top and bottom). The scan itself was performed with both cross and parallel line mode taking roughly 5min for scanning. No scan spray was used for scanning.

## Post-Processing
When finishing the single scans it already creates a point cloud so I only had to align using automatic feature alignment (after deleting all unnecessary data from around the object). Afterwards I used Quicksurface to align the scan to the coordinate system and reduce the triangle count to a manageable 4M triangles.

Wax Casting Traditional Scene - Einscan Rigil

## Scanning
The motorcycle was scanned in markerless alser mode on the Rigil using 1mm resolution and feature tracking without connection to a PC. For scanning itself I didn't do any preparations like scan spray and focused on the both sides with one scan per side whilst ensuring enough overlap for easy alignment in later steps.  
While scanning the Rigil held roughly 20 FPS. Scanning itself took roughly 5 to 10min per side, so a a bit longer than in IR mode (was using 1.5mm there though). 

## Post-Processing
Post processing was done on my workstation and included generation of the point clouds, automatic feature alignment and subsequent meshing in recommended settings. Quicksurface was used for alignment to the coordinate system and reduction of the point cloud size. Since it came out quite large I reduced it to 4M so the scan could be uploaded to Sketchfab.

BMW Motorcycle - Einscan Rigil Markerless Laser

## Scanning
Three scans were done, all in the same setting: Owl placed on turntable with markers around it, marker tracking used and exposure set to ensure no under- or overexposure. All scans were taken until full data quality was reached.  
Scans:
- 0.2mm IR small mode (highest resolution selectable), texture capture enabled
- 0.1mm laser mode, texture capture enabled
- 0.05mm laser mode (high detail capture of the face area, whole bird in 0.05 would result in unusable large scan)

## Post-Processing
No special post-processing was done, only meshing at default settings within Exstar Hub and performing texture optimization.

Wooden Owl Laser 0.1mm - Einstar Rockit

## Scanning
Scanning was done in standalone mode at highest resolution (0.2mm, PC connected can be higher) and until target quality was reached. I placed the casting on bed of marker cards and geometries so I can also capture the sides of the casting. The scan itself was performed with all three laser modes taking roughly 5min for scanning. No scan spray was used for scanning.

## Post-Processing
I imported the scan project to my PC over USB and then fused the scan at default settings (0.2mm). Afterwards I used Quicksurface to align the scan to the coordinate system.

Wax Casting of Woman - Creality Sermoon P1

## Scanning
Scanning was done in PC connected mode (WiFi, with latest update 120FPS speed) at a moderate high point distance of 0.15mm (can go up/down to 0.05mm but at 0.15mm it already resulted in a 15M triangle file...) until target quality was reached. Keep an eye on ideal scan distance since it reduces with increasing point distance.
I placed the statue on bed of marker cards and geometries so I can also capture the sides of the statue which I also use for aligning the two scans I created (top and bottom). The scan itself was performed with both cross and parallel line mode taking roughly 5min for scanning. No scan spray was used for scanning.

## Post-Processing
When finishing the single scans it already creates a point cloud so I only had to align using automatic feature alignment (after deleting all unnecessary data from around the object). Afterwards I used Quicksurface to align the scan to the coordinate system and reduce the triangle count to a manageable 4M triangles.

Wood Statue Boy with Dog - Einscan Rigil

## Scanning
For scanning I placed the shell on a bed of marker cards and geometries securing it with blue tack against rolling (which actually caused problems...). The scan itself was created in standalone mode with marker tracking and 0.2mm resolution in laser mode. It tool roughly 7min to reach full data quality on the front side. I also captured the back side but supposedly the blue tack deformed which resulted in the scan being unusable... Next time I wull try clay.

## Post-Processing
When finishing the single scans it already creates a point cloud so I only had to mesh it in recommended settings (semi-watertight). Afterwards I used Quicksurface to align the scan to the coordinate system and reduce the triangle count to a manageable 4M triangles.

Trench Art from WW1 - Einscan Rigil

## Scanning
The scans were captured with wireless connection to my workstation to capture the data faster (~80FPS over WiFi).  
For the laser scan marker tracking was used. The scan bench was placed on a turntable with marker geometries placed around it to allow scanning from shallower angles (as seen in last picture). The resolution was set to 0.1mm and exposure was adjusted so the white print wasn't overexposed. For laser mode I used a combination of cross, parallel and single line mode, changing them can be done by double pressing the scan start button on the scanner.   

## Post-Processing
For both scans processing was done using the recommended settings within CrealityScan. This is basically only Fusion since it already generates a mesh at this step which can directly be exported.  
After exporting the meshes I used Quicksurface to align the meshes to the coordinate system and each other.

Scan Bench - Creality Sermoon P1 Laser

## Scanning
The scans were captured with wireless connection to my workstation to capture the data faster (with latest update laser mode now reaches 120FPS over WiFi, not bad at all).  
For the laser scan marker tracking was used. The scan bench was placed on a turntable with marker geometries placed around it to allow scanning from shallower angles (as seen in last picture). The resolution was set to 0.1mm and exposure was adjusted so the white print wasn't overexposed. For laser mode I used a combination of parallel and cross line laser mode, changing them by using the scanners touch screen while scanning.   

## Post-Processing
For all three scans precessing was done using the recommended settings within ExScan Rigil. This includes point cloud generation and meshing.  
After exporting the meshes I used Quicksurface to align the meshes to the coordinate system and each other. The laser scans had to be reduced to allow upload to Sketchfab.

Scan Bench - Einscan Rigil Laser

Wax Casting of Figure - Creality Sermoon P1

Wooden Owl Laser 0.05mm - Einstar Rockit

## Scanning
The scans were captured with wireless connection to my workstation to capture the data faster (with latest update laser mode now reaches 120FPS over WiFi, not bad at all).  
For IR mode I chose large mode at 0.5mm resolution and marker tracking as well as small mode at 0.2mm resolution with marker tracking. Normally I don't use small mode much since I mainly use markerless laser scanning for parts where I would use it normally. My sweet spot for IR mode is somewhere between 0.5mm and 3mm.

## Post-Processing
For all three scans precessing was done using the recommended settings within ExScan Rigil. This includes point cloud generation and meshing.  
After exporting the meshes I used Quicksurface to align the meshes to the coordinate system and each other. The laser scans had to be reduced to allow upload to Sketchfab (just under 4M triangles will result in a 100MB ply when exporting from Quicksurface).

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