I wanted to see how far I could push the POP 4 on a much more difficult subject than my previous scans, so I picked this Ken Kaneki figure from Tokyo Ghoul.
The full figure is about 203 × 177 × 185 mm and turned out to be way more challenging than I initially expected because of the suspended pose, thin geometries, dark surfaces, and all the separated organic parts.
Instead of trying to brute-force everything in one scan, I ended up using completely different workflows depending on the specific part.
The main body was scanned using a marker frame with Global Marker mode. Since the frame is already mapped inside RevoScan, the tracking stayed extremely stable even while rotating the object multiple times. That made it much easier to capture the floating pose and all the small details around the clothing and limbs without constantly worrying about losing alignment.
The two Kagune parts and the base were scanned separately in multiple passes. They were honestly the most difficult part because of the thin curved geometry and all the open areas between the structures. I scanned each side separately and merged the point clouds afterward.
The head was the only part scanned differently, using Full Field mode on the turntable while keeping the scanner fixed on the articulated arm.
Everything was finally assembled inside MeshMixer after generating the meshes separately.
What surprised me the most was how manageable the whole process became once I stopped treating it like “one object” and instead approached it as multiple smaller scanning problems.
Also, no spray or surface treatment was used at any stage.
Curious how other people here approach scans like this. Do you usually separate the object into multiple workflows too, or try to keep everything inside one continuous scan?