ArgentoTwins
Drawings in, simulation assets out
Turns schematics, reference photographs and sewing patterns into triangulated FBX masters at real-world scale — with LODs, collision, lightmap UVs and Unreal material conventions already applied, against a budget the asset class sets.
The expensive part of a digital twin is the model
A twin programme stalls on art. Someone has a general arrangement drawing, a handful of photographs and a deadline, and the gap between those and a correctly scaled, correctly budgeted asset is weeks of modelling. ArgentoTwins closes that gap and hands the result straight to the model library the rest of our platforms already read.
Right size, by construction
Output follows one binding standard: FBX master, one unit to one centimetre, +Z up. You give the real height; the geometry is built to it. Scale is not something a modeller remembers to apply afterwards.
From a drawing, exactly
Orthographic sheets are split into views, read for layout and holes, and solved as an exact boolean visual hull — crisp edges, true through-holes, volumes tested against known answers rather than eyeballed.
From photographs, on your GPU
Reference photographs drive a local image-to-3D generator. Measured on a single desktop card: about ten seconds of diffusion and well under a minute per job end to end, with weights cached.
Budgets per asset class
Hero, spacecraft, structure and the rest each carry triangle counts, texture sizes, material slot limits, collision shape and Nanite settings. A finished job is reported against its class budget, not against a hope.
Finished, not just modelled
Weighted normals, triangulation, unique UVs with padded islands, a separate lightmap channel, LOD1–3, convex collision, baked ambient occlusion, DirectX-green normals and a packed ORM map — with a material slot named to the engine's convention.
A manifest travels with it
Every master is written with a schema-validated sidecar recording what it is, how it was made, its budget compliance and its material contract — so provenance is part of the asset rather than a note in someone's inbox.
Controlled work never leaves the machine
Some of the quality paths use a commercial image model to paint reference views. Those are optional, and a job marked controlled refuses them outright rather than quietly falling back.
On that path the geometry generator and the texturing method both run on the local GPU and make no external calls. The inputs you supply — drawings, photographs, dimensions — stay on the workstation, and so does everything derived from them.
For programmes where a general arrangement drawing is itself the sensitive item, that distinction is the whole procurement question, so it is enforced in the job rather than left to an operator's discipline.
Masters enter one library, and Hyperion Aegis, Hyperion Securitas, the simulation and the storefront all read from it.
One library, four consumers
The reason the unit convention is not negotiable
Hyperion Aegis
Spacecraft at true scale on the globe and in Unreal.
Hyperion Securitas
Assets and sites rendered on the operational picture.
The simulation
Equipment and environments at engine scale.
The storefront
Web preview, AR at real size, and a print file.
Status
Producing Unreal-ready masters today. The drawing path, the photograph path, the budget system, cleanup, LODs, collision, texturing and the manifest are all built and tested, and the output follows the same model standard the rest of our platforms read. Centimetre units and the up axis are round-trip tested through Blender and Unreal.
It runs today as an operator tool driving a local GPU, one job at a time; the hosted service around it — queued dispatch, authentication and automatic publication into the art pipeline — is being built now. Bring us a drawing and we will show you the asset it produces.
Bring us a drawing
If you have general arrangement drawings or reference photographs and need them as simulation assets at real-world scale, that is the problem this was built for.
CAGE: 9M1W1 | UEI: FG59XKRYKCW7 | SDVOSB / VOSB