3D Mockup Studio कैसे इस्तेमाल करें

इस टूल के बारे में

Drop a packaging mesh — an OBJ with its MTL, a glTF or an FBX — and it is read off the main thread: the parts split by name, the model centred and grounded, the part with the dieline unwrap picked for the artwork and the rest given a role and a colour. Then drop the artwork. An Illustrator file or a PDF is read as a page: its layers are listed with the file's own visibility so the keyline's dimension lines, legend and title block stay off the carton, and the blank is cropped in the page's own millimetres. A TIF or a PNG is used whole. The raster lands on the unwrap through a mapping preset — the Tetra Pak TPA 500E PLH25 preset was measured off a real mesh, not derived from the keyline — and a nudge in offset, scale and a half turn covers a revised keyline.

The board is printed paperboard under a thin gloss: satin over a fibrous base with a roughness that varies, never the single value that reads as vinyl. Three studio environments, a key light you can move, a contact shadow that grounds the pack, ACES tonemapping so a saturated blue does not clip, and four saved shots. Exports run a slower, better path than the viewport: a still accumulated over many samples at 2048, 4096 or 8192 px with the source files and every setting written into the PNG, a transparent cut-out with its shadow as a separate layer, the flat proof of exactly what was applied, a turntable as video or a PNG sequence, a contact sheet, and an interactive HTML embed under 4 MB with a poster frame and a fallback for devices without WebGL. Nothing is uploaded.