我们的工作，是把物理世界里正在消逝的"相"，转化为数据流中持续盈满的"形"。
Our work is to transform what is fading in the physical world into what is accumulating in data.
WaxingForm（盈形科技）围绕文化数字化、数字叙事与工具开发工作。我们关心的不是把现实世界“复制”进电脑，而是让正在消逝的器物、空间、纹样与记忆，获得可以继续保存、重建、使用和讲述的数字形态。
从扫描与摄影测量、三维重建和拓扑整理，到实时渲染、动态视觉、资产封装与自研桌面工具，我们尝试让同一份文化材料在数字孪生、游戏、影像与离线档案之间连续流动，而不是在每一种媒介里重新开始。
“Waxing”意味着正在盈满，而不是已经完成；“Form”则是那些被保留下来的结构、形态与表达。我们想做的，是给尚未圆满、却值得继续生长的东西一个长期存在的数字形态。
WaxingForm works across cultural digitization, digital storytelling, and tool development. We are not interested in simply copying the physical world into a computer. We build digital forms in which objects, spaces, patterns, and memories can continue to be preserved, reconstructed, used, and retold.
From scanning, photogrammetry, 3D reconstruction and topology, to real-time rendering, motion design, asset packaging and in-house desktop tools, we aim to keep the same cultural material continuous across digital twins, games, moving image, and offline archives instead of rebuilding it from scratch for every medium.
“Waxing” means becoming fuller, not being finished. “Form” is the structure and expression that remains. Our work gives unfinished but meaningful things a digital form in which they can continue to grow.
扫描、摄影测量与三维重建，把物理对象转化为可持续使用的数字资产。
Scanning, photogrammetry and 3D reconstruction turn physical objects into durable digital assets.
拓扑、材质、格式与封装不是收尾，而是决定数字资产能否被真正复用。
Topology, materials, formats and packaging determine whether a digital asset can actually be reused.
数字孪生、实时引擎与影像只是媒介；最终要留下的，是可以被理解和感受到的文化经验。
Digital twins, real-time engines and moving image are media; the goal is a cultural experience that can be understood and felt.
把南洋文化遗产从“被观看的对象”，转化为可以持续重建、研究与再叙事的数字资产。
项目围绕新加坡及马来西亚峇峇娘惹文化展开，通过扫描、摄影测量、拓扑重建、材质与光照建立三维数字孪生，并为后续展示与跨媒介叙事保留可复用的资产基础。
Turning Nanyang cultural heritage from something merely observed into digital assets that can be reconstructed, studied, and retold.
Centered on Peranakan heritage in Singapore and Malaysia, the project uses scanning, photogrammetry, retopology, materials and lighting to build reusable 3D digital twins for exhibition and transmedia storytelling.
如果记忆会被重构，那么玩家找回的究竟是过去，还是一个愿意相信的版本？
《往昔》以记忆失落为核心机制。玩家在空荡宅邸中通过旧物逐步拼回叙事，但每一次“恢复”也可能同时制造新的偏差。环境、光照与物件不是背景，而是叙事本身的一部分。
If memory is reconstructed, are we recovering the past—or merely a version we are willing to believe?
The Past uses memory loss as a narrative mechanic. The player reconstructs a story through objects found in an empty mansion, while every recovery may introduce a new distortion. Environment, light and objects become part of the narrative itself.
让数字展项不止“有文件”，而是拥有清晰、可验证、可离线交付的资产结构。
VAB 将 .glb 等展项资产整理为 .vein 离线归档，通过标准化头部、资产区块、隐私哈希与数字签名完成统一封装，并保留人类可读的版本标识，降低重复打包与交付过程中的混乱。
Giving digital exhibits more than files: a clear, verifiable, offline-deliverable asset structure.
VAB packages exhibit assets such as .glb files into .vein offline archives using a standardized header, asset blocks, privacy hashes and digital signatures, while keeping human-readable version identifiers for practical delivery and version control.
从扫描与摄影测量结果进入 Blender，完成模型整理、重拓扑、UV、材质、灯光与面向实时使用的资产优化。
Scanning and photogrammetry data move into Blender for cleanup, retopology, UVs, materials, lighting and optimization for real-time use.
UE5 Lumen 负责实时空间与光照叙事，After Effects 负责动态视觉、镜头合成与最终画面整理，让资产进入可体验的媒介。
UE5 Lumen handles real-time space and lighting, while After Effects supports motion design, compositing and final image polish.
Fusion 360 用于结构设计、公差与可制造性评估，使数字设计不仅能被观看，也能继续进入原型、加工与硬件实现。
Fusion 360 supports structural design, tolerance work and manufacturability assessment, bridging digital design with prototyping and fabrication.
基于 .NET 10、C# 与 WPF 自研桌面工具，把数字展项整理为结构化离线归档，并通过哈希与数字签名保留完整性验证能力。
In-house desktop tooling built with .NET 10, C# and WPF turns digital exhibits into structured offline archives with hash and signature-based integrity checks.
ChatGPT、Kimi 与 Meshy 被放进具体生产环节，用于代码辅助、文本与本地化、方案推演和部分三维资产生成；AI 是工作流的一部分，而不是项目本身。
ChatGPT, Kimi and Meshy are used inside specific production steps for code assistance, writing, localization, design reasoning and selected 3D generation tasks. AI is part of the workflow, not the project itself.
满月适合许愿，新月适合许愿，弦月适合记录——记录那些尚未圆满但正在发生的东西。
这里有三类声音：开发日志、文化笔记、备考杂记。
Full moons are for wishes. New moons are for wishes. Crescent moons are for logging—recording what is not yet complete but already in motion.
Three frequencies here: dev logs, field notes, test-prep fragments.