Normal Edit Mode

The base mode for adjusting the item as a whole. It is the first button in the top-bar mode switch and the mode the editor starts in. The right sidebar shows the Transform · Color · Short-form · Dimension · Measurement · Draw · Effect · Camera · Rendering · Placement · Animation · Record · AI · Lighting tabs in that order, and the timeline appears at the bottom. The sections below follow the same order.

Work on individual points (deleting, brushing, deforming) lives in the → Splat Edit Mode chapter.

Transform tab

Changes the position, rotation and scale of the selected target — the splat you clicked in the viewport, or the object picked in the left outliner (a placed item, a mesh, and so on). Use it to sit the item on the floor or square up the front.

There are three ways to do it, and they stay in sync.

• Transform tab — type values numerically, for exact angles or sizes
• Left floating toolbar — pick the select · move · rotate · scale tool and a gizmo appears in the viewport for dragging with the mouse
• Shortcuts — Q select · W move · E rotate · R scale switch the gizmo directly without the toolbar

Color tab (C)

Color grading. Every adjustment is live.

Basic grading

Brightness, contrast, saturation, temperature, highlights/shadows and other basic sliders.

Pro mode

Precision grading on a linear pipeline — exposure, tint, dehaze, tone roll-off. Especially good at recovering blown-out, washed-white materials.

LUT & curves

• Upload a 3D LUT (.cube) for film looks. The preview strip (top = reference, bottom = LUT applied) shows its character before you commit
• Curves — RGB and per-channel tone curves

Photo color matching

Automatically matches the 3D's colors to a real photo. You pair a point on the photo with the same point in the viewport to create reference pairs that say "this part should be this color"; the tool then computes the color transform that best satisfies all pairs and applies it.

1. Add Photos — upload one or more photos of the real item and pick the one to use from the thumbnails
2. Click a point on the photo — click where you want to take the color from on the large photo. While the mouse is over the photo a crosshair follows it and a zoomed preview with the color value appears right below the photo; use that to land precisely (mouse only). Each click adds a pair
3. Pick render point — press Pick render point on that pair, then click the same spot in the viewport. The pair now shows the photo color and the render color side by side
4. Repeat steps 2–3 for every area whose color differs. Covering highlights, shadows and the main colors evenly gives the most accurate result. Delete a bad pair, or Clear to start over
5. Apply Color Match — computes the transform from the pairs and applies it immediately. Below it, Applied / RMSE / Max / N appear: RMSE and Max are the remaining color error across the pairs (0–255) and N is the number of pairs used. If the error is large, add more pairs or remove wrong ones and apply again

The result is stored as the 3D LUT in the color settings, so uploading another .cube file in the LUT section afterwards replaces the match. After applying, the render colors of the pairs are cleared; pick the viewport again and apply to refine on top of the current result.

Lighting or background that differs a lot from the photo throws the match off. Rotate the viewport to an angle similar to the photo and pick the same areas. Keeping the photo beside the 3D with the image viewer and split view makes spots easier to find → Image Viewer chapter.

If only one area is off-color, grade just that selection with the Color tab in Splat edit mode instead of a global adjustment.

Short-form tab (D)

Registers a 3D short-form (vertical video or image) attached to the viewer. Choose the content type, upload the file and description, then drag the glowing icon to set where the short-form appears inside the viewer. The "3D short-form click" conversion in statistics comes from this feature.

Dimension tab

Sets the item's real-world size (width · height · depth) and the ruler shown in the viewer. A dimension wraps the item as a box; you can keep several, each with a name and visibility. AR uses these values for real-world scale and statistics count the "size measurement" conversion from them, so check them against the physical item before publishing. Added dimensions also appear under the Dimensions group in the left outliner.

Measurement tab

A tool for measuring the distance between two points you pick in the viewport. Where the Dimension tab defines the size of the whole item, the Measurement tab measures partial spans such as a handle length or the gap between legs. And one more thing — once you register reference distances here, visitors can measure lengths themselves in the published viewer.

Why reference distances are needed

Splat coordinates have no unit. Nobody knows how many centimeters the distance between two points on screen (the WebGL distance) really is, so you must supply at least one reference — "this span is actually 30 cm" — before anything else can be converted.

• Each reference yields a ratio of real distance ÷ WebGL distance, and the average ratio (m / GL) across all references is shown at the top of the tab
• Every measurement from then on becomes WebGL distance × average ratio

Registering reference distances

1. Turn on the Measurement toggle at the top of the tab. While it is off, the viewer shows no measurement feature
2. Press Add, then double-click the first point in the viewport and double-click the second. The WebGL distance between them is recorded automatically
3. Enter the span's real distance and unit (cm · m · in · ft · km) — the value you measured on the physical item
4. For accuracy, register 2–3 references along different directions and lengths. Each reference shows the measured value converted with the average ratio and its error rate against the real distance: 1% or less is fine, up to 10% deserves a look, and anything above that was probably picked wrong — delete it and pick again

Precision tools for placing measurement points:

• Auto snap — points near horizontal/vertical or near an X/Y/Z axis snap magnetically to exact alignment. Shift+double-click places without snapping, and holding Shift while dragging an endpoint disables snapping too
• Nudge — select an endpoint and use the arrow keys to move 1px at a time (Shift+arrows = 10px)

How visitors measure in the viewer

When the Measurement toggle is on and at least one valid reference exists, the published viewer shows a ruler-shaped measure button in its button area after you save.

• Turning it on prompts "double-click to pick the first point"; after double-clicking two points, the length between them is shown in the unit you entered for the references
• Endpoints can be selected and moved, and the second point snaps into line when it is nearly horizontal or vertical to the first. On PC, hold Shift while double-clicking or dragging to place without snapping
• Pressing the button again clears the measurement and turns the feature off
• Sessions where a visitor turns on the measure button are counted as the "size measurement ON/OFF" interaction in statistics → Statistics › Conversion analysis chapter

Reference distances are never shown in the viewer. Visitors only see the measure button and their own result. To always display the item's overall size, use the ruler in the Dimension tab.

Draw tab (U)

Draw lines with a pen in 3D space to leave annotations or highlights. Strokes are anchored in 3D coordinates, so they stay in place as you orbit, and once saved they appear in the published viewer as well. Dragging in the viewport draws only while the Draw tab is open; switch to another tab and dragging goes back to camera control.

• Stroke style — 16 styles: solid · dotted · dashed · outline · marker · neon · ink pen · pencil · brush · airbrush · spray · crayon · chalk · charcoal · calligraphy · watercolor
• Stroke color · size · opacity — pick a color from the palette and set width and transparency
• Smooth — reduces hand jitter for cleaner lines. Higher values are smoother but flatten fine detail
• Each stroke is listed under Drawing strokes in the left outliner. Select one there to show/hide it or remove it with Delete; Shift+U clears everything
• Shortcuts — U toggle drawing · Shift+P pen tool · Shift+U clear drawing

Use it for marks that should stay in the viewer, such as arrows for item explanations, highlights, or notes on capture defects. For temporary notes, just clear them before saving.

Effect tab

Adds particle and light effects to the scene. An effect is an object with a position, so you can move it after placing it, and once saved it plays in the published viewer too.

• Choose an effect type and press Add Effect; one appears above the item. Select it in the Effects group of the left outliner or in the viewport to edit its values, and move it with the transform tool (W)
• Common values — color · intensity · size · speed
• Per-type values
  • Sparkle — density · twinkle. Highlights for jewelry and metal items
  • Wind — turbulence. Streaming particles that give a sense of direction
  • Glow Ring — pulse · thickness. A glowing ring under the item
  • Volumetric Fog — layers · noise · swirl. Atmosphere for space items
  • Light Beam — length · radius · flicker. Light falling from above
  • Fireflies — count · drift · twinkle. Slowly floating light particles
  • Embers — count · rise · spread. Sparks rising upward
• Several effects can be stacked, but each one costs viewer performance; if many visitors are on mobile, keep it to one or two

Camera tab (M)

Defines how the camera behaves in the published viewer: the view visitors see first, the camera type, and how close, far, up and down they can move.

The moment you open this tab, the viewport camera moves under exactly these limits, so you feel what visitors will feel. Switch to another tab and the editor automatically frees the camera for convenient work (orbit style, no zoom or angle limits); open the Camera tab again and the limits come back.

Camera type

• Object — an orbit camera that rotates freely around the item. The default for inspecting product detail
• Space — a top-down view for moving around a 3D space. For checking indoor and outdoor layouts
• First-person — walk through the space yourself: WASD to move, mouse to look. For immersive space experiences
• Walk + Jump — a walk-focused camera: WASD to move, Space to jump, mouse to look around. For exhibition halls and interiors
• Presentation — rotates the object smoothly within a limited range. For item introductions and demos

Initial camera position · Initial target position

The first view visitors get when the viewer opens: the camera position (X·Y·Z) and the target it looks at (X·Y·Z). Rather than typing numbers, frame the view you want in the viewport and press Apply current view to camera in the Current view attributes panel that appears when the tab opens. That panel also shows the current distance, azimuth, polar angle and field of view.

Target after interaction

With Move target after first interaction on, the orbit center jumps to the specified position the moment a visitor first operates the camera. Use it to open with a wide establishing shot and rotate around the item once interaction starts. Transition duration (ms) sets the speed; 0 moves instantly. Applies to Object and Space cameras only.

Camera movement limits

The range visitors can move in with the Object, Space and Presentation cameras. Not shown for First-person and Walk.

• Maximum zoom in · Maximum zoom out — the closest the camera can get to the target and the farthest it can go. A smaller zoom-in value allows closer, a larger zoom-out value allows farther
• Upper angle limit · Lower angle limit — how far the camera can tilt up and down. A larger upper limit lets visitors look down from higher up; a smaller lower limit lets them look up from lower down. Tighten the lower limit to stop the camera from dipping below the floor and exposing the underside

Lens

• Field of view — the camera's angle of view. Smaller values look like a telephoto lens with little distortion; larger values are wide-angle, showing more but stretching the edges. Items usually look most natural with a low value
• Near plane — nothing closer than this distance is drawn. It is where clipping starts when the camera pushes into the item, and it also serves as the stopping distance for camera colliders

Controller settings

• Pan speed — sensitivity when panning with right-drag or a two-finger drag
• Movement speed — walking speed with WASD in the First-person and Walk cameras

These camera values are the same settings exposed under Camera in Style edit mode. Changing them in either place updates both, and they reach the published viewer once you save.

Rendering tab

• LOD — distance-based detail. The base/detail ratio ties into the LOD label feature in splat editing
• Opacity accumulation cap (beta) — enable when overly transparent training lets the back side bleed through. Adjust the threshold (when accumulation stops) and thickness (how far behind the surface to draw)
• Anti-aliasing, resolution scale and other view quality settings. If the editor feels slow, lower the resolution scale first

Placement tab

Places other saved items into this scene — a table next to a chair, a bag and shoes in one shot, or color variants of the same item lined up side by side. The arrangement is saved and rendered together in the published viewer. Available for saved account items only.

Bringing in an item

1. Press Select item to place to open your library list. Search and sort by newest or oldest. Only items whose version is compatible with the current item are listed
2. Pick an item and it is added to the scene; its thumbnail and title appear under Currently placed items in the tab. You can add several
3. Remove one with Remove placement in the list, or select it in the left outliner and delete it there

Editing a placed item

The Splats group in the left outliner lists the main item and each placed item separately. Select the target in the outliner or the viewport, and adjustments in other tabs apply to that item only.

• Transform tab — position, rotation and scale of the selected placed item, also via the left floating toolbar's gizmo or W E R
• Color tab — color grading for the selected placed item alone. Useful for matching the tone of an item captured under different lighting to the main item
• Show/hide — the eye icon in the outliner. Hidden items are hidden in the viewer as well
• Each placed item's transform and grading are stored with this scene only; the original item is not changed

While you move, rotate or scale a placed item, depth sorting between splats is paused for performance, so overlapping areas may look swapped or see-through. Finish the adjustment and return to the select tool (`Q`) and everything sorts correctly again. It is not a rendering fault, so carry on.

Join splats

Merges placed items with the main item into a single splat. Select the main item together with the placed items to merge in the outliner (Ctrl/Cmd+click), then press Join splats at the top of the outliner.

• The merged result becomes the new main splat and the merged placements disappear from the list. From then on it behaves as one item, so you can edit all of it point by point in Splat edit mode
• Merged items can no longer be moved individually, so finalize positions first. To go back, use Ctrl+Z before saving, or restore a previous version with the version button in Splat edit mode after saving
• Requirements — the main item must be part of the selection, every item must be in 4.0 or 4.01 format and the same version. Items with shape keys (shape animation) cannot be joined. If the requirements are not met the button is disabled and the tooltip explains why
• Joining happens in the browser, so save to keep the result

Animation tab (N)

Manages shape keys (shape animation). Save the current shape as the basis shape, upload deformed files to add shape keys, set each key's weight and insert keyframes into the timeline. If there are placed items or deleted splats you must save first, and items with shape keys can't use LOD labels.

For everything about the timeline — creating camera keyframes, interpolation, playback and recording → Timeline and Animation chapter.

Record tab (O)

Records the viewport as a video file. The camera motion comes from one of two sources: a ready-made preset rotation gives you an item spin video without any timeline work, while Custom records the keyframes you built in Timeline and Animation.

Presets

The camera moves automatically from the current view. The video length follows the video length in the encoding settings below.

• Default Rotation — a standard one-turn turntable spin
• Wave Rotation — spins while gently bobbing up and down
• Orbit Up · Orbit Down — spins while the viewpoint gradually rises or descends
• Zoom In · Zoom Out — spins while gradually closing in or pulling away
• Spiral Rotation — winds upward, changing height and distance together
• Swing Rotation — sways left and right instead of a full turn. Good for items where the front matters
• Custom — plays the timeline and records exactly what is on screen. With keyframes, that camera move is recorded; with an empty timeline, whatever you do in the viewport by hand during the recording is captured as is. Use it for hand-guided videos that show specific parts

Encoding settings

• Frame rate (fps) — 5 to 60 in steps of 5. 30 for social media, 60 for silky spins
• Video length (seconds) — 1 to 60. Preset rotations are timed to complete one cycle within it. Custom ignores this value and records up to the timeline's END time. The default end is 30 seconds, so shrink the timeline's end range first if you want a short clip
• Video format — chosen automatically from what the browser supports (MP4 first, WebM otherwise). It cannot be picked manually; Chrome and Edge usually produce MP4

Resolution settings

• Current Size — the viewport as it is now
• HD (1280×720) · Full HD (1920×1080) · 4K (3840×2160)
• Custom Size — type a width and height. Vertical short-form (e.g. 1080×1920) is made here
• The chosen size is shown below the settings as "Recording size: width × height pixels". High resolutions and frame rates can drop frames depending on the device, so try 4K with a short length first

Recording and download

1. Set the preset, encoding and resolution, then press Start Recording
2. After a short warm-up countdown the recording begins and the button reads Recording. Leave the viewport alone while it runs
3. When it finishes, the result appears in the Preview area. Play it to check, then Download the file
4. Not happy? Change the settings and record again. The previous video is replaced by the new one

For Custom, the recording length is set by the timeline's END time, not by the Record tab. Even with an empty timeline, an end time of 30 seconds records 30 seconds, so set the end value to the length you want before recording → Timeline and Animation.

Recordings are not saved with the item — only the downloaded file remains, so be sure to download it. For a vertical video to play inside the viewer, upload it in the Short-form tab (D).

AI tab

Uses the 3D scene currently in the viewport as the input image and lets AI produce styled product-page imagery. Frame the item at the angle you want, describe the background, props and mood in words, and you get an image with the item placed in that scene. Available for saved account items only; generation consumes credits (EvoCredit).

Basic flow

1. Set the item's angle and size in the viewport. What you see is exactly what the AI receives
2. (Optional) Mark your intent on the view with Sketch → see the Sketch section below
3. Write the scene you want in the Prompt. E.g. "on a wooden table in warm afternoon light, a blurred café window in the background"
4. Choose the aspect ratio (16:9 · 9:16 · 1:1) and sample count (1–4), and attach a reference image if needed
5. Press Generate Image. The job is queued on the server and its status in the gallery moves from waiting → processing → done. You can keep working in the editor meanwhile

Sketch — marking intent on the view

A way to communicate in pictures what is hard to put into words. You can mark positions and regions such as an area to remove or where a prop should go, or draw the thing itself — the shape or placement you want. Draw the outline of a plant pot next to the item and write "small plant pot" as the color meaning, and the result shows a pot right there. Turn on the Sketch toggle to draw over the viewport.

• Pen (Shift+P) · Eraser · Clear (Shift+U, removes everything) with small · medium · large brushes
• Seven colors (red · green · blue · yellow · magenta · cyan · white). Each color can carry a color meaning: write "area to remove" for red and "where the plant goes" for green, and the AI is told "the red line means area to remove", and so on
• At generation time the AI receives the clean view without the sketch as the source and, if you drew anything, the sketched view as an extra reference. The lines themselves don't end up in the result — only the intent does
• Sketches are AI input only and are not saved with the item. For drawings that should stay in the viewer, use the Draw tab

Writing a good prompt

• Be concrete in this order: scene (where the item sits) · lighting (time of day, light source) · mood (tone, style) · camera (front, 45°, close-up). Results are most consistent that way
• The item's shape and color come from the view, so you don't need to describe them. Focus on the background and surroundings
• Reference images are style guides. Upload a photo with the look you want, or pick one from the gallery, and the colors and composition follow it
• Content that violates policy shows a notice instead of a result; change the prompt or image and try again

Gallery

Results generated for this item accumulate, newest first. Each result offers:

• Download — save as an image file. With several samples, page through with previous · next
• Edit — write an edit prompt on top of the result ("brighter background", "make the table marble") and regenerate
• Retry — run a failed job again with the same settings
• Delete — remove the result
• Double-click a result card's prompt to edit the text; it saves automatically when you click away

Video mode (generating motion video from a first and last frame, or expanding a result image into video) shows buttons on screen but is still in preparation and does not run yet.

Lighting tab

Adds lights that illuminate the item. The light from the capture is already baked into the splat colors, so lights added here are for emphasis and mood on top of it: lifting a dark side a little, a spot from above for a stage feel, or colored light to shift the tone. Lights affect both splats and meshes, and once saved the published viewer renders the same lighting.

Enabling and adding

• Turn on Enable lighting at the top of the tab to activate the settings below. Turning it off keeps the light list but removes the effect, which makes before/after comparison easy
• Pick a type under Add light. A scene holds up to 5 lights, shown as "n / 5 lights"
• Each light has a Remove button, and lights can also be selected, shown/hidden and deleted from the Lighting group in the left outliner

Light types

• Directional — parallel light from one direction, like the sun. Only the direction matters, not the position. Defaults to straight down. For overall shading
• Point — a bulb-like light spreading in every direction from one spot, with a position and falloff distance. Place it beside the item to brighten one side
• Spot — a cone of light from one spot, with position · direction · angle · penumbra · falloff distance. For lighting a specific area like a stage light
• Ambient — directionless light that brightens the whole scene evenly. For raising the base brightness when shadows are too dark. Default intensity 0.3

Per-light settings

• Color · Intensity — common to all lights. Intensity 1.0 is the default; changing the color makes a colored light (warm yellow, cool blue, …)
• Direction (directional · spot) — an X · Y · Z vector. Rotating the helper in the viewport is easier than typing
• Position (point · spot) — X · Y · Z coordinates
• Falloff distance (point · spot) — the distance at which the light drops to half intensity. Lower it to keep only the area near the light bright
• Angle · Penumbra (spot) — how wide the cone is and how softly its edge fades

Placing with viewport helpers

With Show helpers on, each light appears as a shape in the viewport. Drag a helper and a point light's position, or a directional/spot light's direction (and position) from its rotation, updates immediately. Moving lights while watching which surfaces they hit is faster than typing numbers. Helpers are working aids only and are not shown in the viewer.

Lights also cast shadows onto companion meshes made in Mesh edit mode. For performance, shadows are granted to only one non-ambient light, so add the light that should cast shadows first.

Environment lighting (HDRI)

The Environment Lighting (IBL) card at the bottom of the Lighting tab sets the ambient light surrounding the scene. Where the lights above shine from a specific direction, the environment provides soft light from every side and the scenery that shows up in reflections. Both the metallic and glossy reflections of splat materials (→ Splat edit mode › Material tab) and the lighting of companion meshes use this environment. It is used for light and reflections only and never appears as a background.

• Default studio — lightweight neutral lighting with no extra download. This is what you get when no HDRI is chosen
• Built-in HDRIs — brown studio · Christmas studio · hard light · small studio. Click one to apply it immediately
• Upload HDRI — 2:1 equirectangular .hdr / .exr, up to 2048×1024. Save the scene first to enable uploads. An uploaded file can be replaced or reset
• Environment intensity — the strength of environment light and reflections. 1 is neutral exposure; at 0 the environment light disappears entirely, so material points with no lights turn black. A splat with materials is shaded as base color × (environment intensity × environment irradiance + lights), so scene lights and the environment add up in the same place
• Environment rotation — spins the environment horizontally, changing the direction of the bright areas seen in reflections

The environment is a scene setting, so it also affects companion-mesh lighting in scenes without materials. If you have not made a material, the default studio is fine.

Env Map switch — apply to splat (material)

Above the environment card sits an Env Map switch styled like Add Light. It is the same switch as On/Off in Splat edit mode › Material tab and decides whether the splat responds to light direction and environment lighting. Lights and environment lighting are computed as directional light only on splat points that have a surface normal and a material; points without a material receive just a rough brightness and tint from lights and no environment lighting at all.

• Off — the HDRI settings below collapse. The splat shows its original colors, and companion meshes keep using the existing environment
• On, before setup — only the Generate collider + project normals + apply default material button at the top is active and the HDRI settings are dimmed. Pressing it runs generate collider auto mesh → project normals from nearest faces → apply the default matte material to points without one in sequence, showing the stage and progress on the button. An existing collider is reused, and points that already have a material are left untouched
• Below the button, Collider normals n / total and Material assigned n / total both being non-zero means setup is complete. With a material but no normals, shading uses a camera-facing approximation and reflections will not follow the surface, so project normals in that case too
• On, after setup — the HDRI settings become active and the top button changes to Regenerate collider + re-project normals. Press it after heavily editing or moving the splat, when the normals have gone stale, to rebuild the auto mesh and reassign normals
• Material types such as metal or plastic, roughness, and per-region brushing are done in → Splat edit mode › Material tab. Splat materials are still an experimental feature, so results can vary from item to item

Collider auto-mesh generation can fail or take long on large scenes. If it fails, lower the resolution and other settings in Splat edit mode › Collider tab and generate again.