Updates

Every release, and what changed.

LocalMesh ships often. Each entry below says what you can now do, or what stopped being wrong. Nothing here describes what was refactored.

56 releases 207 entries Currently 2.1.2 Updates arrive in the app

2.1.2

A small card moves when you take it by the middle.

What is fixed

The middle of a card moves it again On a small card the four corner grips met in the centre, so a click in the middle resized instead of moving. A grip never takes more than a quarter of the card now, whatever the zoom.

2.1.1

The targeting frame gets its corners back.

What is fixed

The corner marks sit on the corner again The previous release stretched them away from the angle they were meant to underline, and on a narrow frame one of them drifted into the middle of the picture.

2.1.0

The board stays smooth on heavy projects.

What is better

Zooming no longer shakes On a board full of images, the picture kept trembling for more than a second after your hand had stopped. It now settles in three tenths of a second, and the shake during the gesture is three times smaller.
A card corner is easier to grab Zoomed out, the corner you pull to resize had shrunk to a few pixels. It keeps a size you can aim at.
The light theme shows its buttons Top right, one of them disappeared under the cursor and the other could not be seen at all. The library also stops above the settings bar instead of sliding under it.

2.0.9

Exports really do open in Unreal now.

What is fixed

Every export button converts, not just one The previous release fixed the export under the viewer and missed the ones on the board and the home screen — the two people actually use. Those wrote the old file, and Unreal still refused it. All of them now write the standard form.
The window shows the version you actually have It read its number from a file the release did not update, so it announced 2.0.6 while running 2.0.7 and 2.0.8.

2.0.8

Your models open in Unreal.

What is fixed

Exported models now import everywhere Models were written with WebP textures behind a required glTF extension, and Unreal Engine, Maya and 3ds Max refused the whole file — geometry included. Exports are now written in the standard form, and models you already made are converted on their way out.

2.0.7

Heavy objects come out.

What is fixed

Very detailed objects no longer stall On an 8 GB graphics card, rebuilding a heavy shape could fill the card and run for hours with no way to cancel. The rebuild now fits itself to the card, and those objects come out in under a minute.

2.0.6

Houses keep their pillars.

What is fixed

The quad rebuild no longer drops parts of your object A subject made of separate shells — a pavilion with its roof, its pillars, its floor and its railings — kept only its largest piece, and everything else was quietly thrown away. What gets set aside is now weighed by surface rather than by triangle count, and anything more than a speck is fused into the object instead of being lost. An object rebuilt before this version needs one more rebuild.

2.0.5

New light in the viewer, and quads that are no longer hollow.

Light you can judge by

Six skies, from real photographs Each one is named for what it helps you see rather than for its file, because a light is chosen for a reason. The background can be shown or hidden, the object can be spun, and a material control weighs metal against roughness — on screen only: the exported file is never touched.

What is fixed

Rebuilt quads are no longer hollow Every mesh that came out of the quad rebuild had its faces turned inward. Here it looked solid, because our viewer draws both sides; in Blender, Unreal or the Windows 3D viewer you were looking straight through it. Each piece now takes its bearing from the original surface. An object rebuilt before this version needs one more rebuild.
The engine is asked to leave before it is forced Closing the window during a generation, or restarting the engine, killed it outright — and a graphics card interrupted in the middle of its work can take Windows down with it. The engine is now warned, given time to hand the card back, and forced only if it will not go.
The command rail waits until you are inside the object It followed the selection, so resting your eye on a card covered its picture with seven buttons, and on a narrow card it spilled over its neighbours. A card on the board is an image again: double-click to enter it, and the commands appear.

2.0.4

Nothing overwrites anything else any more.

What is fixed

A queue no longer produces the same object twice When several objects shared a name, generating them all at once sent them to the same place on disc — and they wrote over each other, the last one winning. Each generation now claims its own folder before anything starts.
A card no longer takes its neighbour's picture Every model's preview image was filed under the same name. Two objects landing in the same folder ended up showing the same picture, and you could not tell them apart on the board. Each preview now belongs to its own model.
Deleting a card no longer disturbs the rest of the queue Cancelling a generation left the folder it was going to create unclaimed, and everything queued behind it piled into that same folder. It cannot happen now.
Fixed seed no longer starts at zero Choosing a fixed seed without typing one pinned zero on every card you touched. It now draws a real seed and shows it to you.

2.0.3

Small interface improvements

What is fixed

A few rough edges, smoothed The corner handles on a drawing resize it again, the quad rebuild sits with the setting that drives it, and a small check mark that drew itself over button labels is gone.

2.0.2

Three fixes, from three of you.

What is fixed

LocalMesh gives your graphics card back On a large card it kept every model loaded and never let go — even when another program needed the room. It now tidies up as soon as the card fills, and cancelling a job frees it straight away.
Metal stops looking like glass An object with a few windows in it was treated as though the whole thing were made of glass, so the steel around them turned see-through. Only genuinely translucent objects are treated that way now.
Small fixes in the workspace The corner handles on a drawing resize it again, quad retopology can be started from the panel that sets it, and Extreme now says what it is: not out yet.
First installs no longer stop half-way One of the models needed a Windows privilege nobody has, and the download gave up without saying why. It no longer needs it.

2.0.0

Your meshes are now built straight from the photograph.

One step instead of three

The mesh comes from your photograph Shape, colour and material arrive together, from the picture itself. Nothing is rebuilt afterwards from a cloud of points.
Splats are their own thing now They are no longer a step on the way to a mesh, so asking for one is much quicker than it used to be.
Every mesh arrives more than a minute sooner The engine used to prepare a spare texture, in case the real one failed. It never failed, so it stopped. Same shape, same colours, same detail — just sooner.

Two questions that no longer exist

“Colour: photo or splat” is gone It only ever existed because the colour had to come from one of the two. Now it comes from the same place as the shape.
“Metal and roughness” is gone too The material is worked out along with everything else, so there is nothing left to choose.
The seed is yours Every result carries the number that produced it. Keep it to get the same object again, or change it when one comes out wrong.

The free trial is now two weeks

Fourteen days instead of seven The engine changed, and there is more to try. A week was no longer long enough to make up your mind.
Already trying LocalMesh? You have seven more days. Nothing to do and nothing to ask for — every trial started before today has already been extended, as though it had always lasted fourteen days.

What does not move

Your library stays exactly as it is Every board and every object you have already made opens and exports as before.
The models are swapped, in the right order The new engine is downloaded and checked first; only then are the files it replaces removed. If the download stops, nothing has been lost.

1.2.1

Minor interface adjustments.

Small things, made smoother

Pasted images no longer flash black
Cards settle into place instead of jumping
Scrolling the shortcuts no longer moves the board

1.2.0

Two clear steps to generate, and boards you can finally name.

Generating, without the guesswork

Scene or object, explained before you choose The question comes first now, with one sentence for each — a whole place, or a single object on black. No more picking the wrong one and finding out too late.
The tool is called Generate It is the only one that makes something, instead of placing something you already have.
The capsule no longer swells while it works A coloured border runs around it instead, in the shade of what you asked for.
It closes itself when your image lands You see the work finish, rather than a panel that simply vanishes.

Boards you can name

Renaming a board really renames it Its folder on disk follows, so your files stay where you expect to find them.
Two boards can no longer share a name You are told straight away, before anything is created.

A calmer interface

The tool panels finally match Drawing, stickers and generating share the same glass, the same edge, the same distance from the bar.
Stickers open where you are looking Centred like the others, and they arrive one after another.
No more flicker after a retouch Closing it leaves nothing behind.

1.1.0

An interface that answers, images that arrive gently.

A board that follows your hand

Your board sticks to the cursor The point you take hold of stays under the tip, from the start of the gesture to the end — and stops when you stop.
A project opens already framed At the right scale, from the very first frame drawn.
A steady picture, even on a modest graphics card Images and buttons no longer blink while you work.

Images that arrive gently

Every image appears blurred, then sharpens No more black squares while a project loads: you see the shape and the colours straight away, and the detail joins them.
Objects lift when you take them, and settle when you let go
A target's label is a handle Move a frame by taking hold of its name.
The foot of the screen is one continuous fade In light as in dark.

Full quality for your objects

Cut-outs are taken at your photograph's own resolution Whichever way you reached them — the pill, the menu, or generating everything at once.
Photographs from a phone arrive the right way up A phone records its picture the way its sensor sees it, and notes which way is up alongside. That note is now followed, so what you frame is what is extracted.
Previews keep their sharpness from one session to the next

Faster

Projects open twice as fast Preparing a photograph for the board went from 310 milliseconds to 149, for a file of the same weight.
Large photographs weigh far less on memory A board carrying twenty telephone photographs used to hold a gigabyte of decoded image. It now holds a sixteenth of that.

1.0.47

Small adjustments, everywhere your eye lands.

Details set straight

Explanations get room to breathe A tooltip holding a whole sentence used to fold itself into a narrow column, and folded worse the closer it sat to an edge. Sentences now lay out on a proper card, wherever they appear.
The stage and its stopwatch share one line In the pill under a working card, the seconds sat slightly above the words. Both now rest on the same line of writing, and every stage name opens on a capital, in all seven languages.
Light or dark, chosen from the home screen The switch sits beside the language, where the settings that concern you rather than your project belong.
No more grey Windows boxes The last labels rendered by the system, a card's name or the counters under an object, now wear the same glass as the rest.
A cleaner foot to your objects in light mode The dark veil that carries the counters over a photo is no longer painted in broad daylight: the ink is dark, it needs no shade behind it.
When the graphics card is full, it says so If another application is holding your card, a generation that takes fifteen seconds can take several minutes. Instead of a silent spinner, the memory gauge now lights up and tells you, and the working card carries the same sign.

1.0.46

The panels are gone. Everything happens on the board.

The side panels are gone

A card's settings live under the card The pill beneath your card turns over into a small workbench: attempts, density, fidelity, colour, quads — right where the object is, never in a column on the side. The board frames itself so everything stays readable, and gives you the view back when you close it.
The next step is always one click away Generate, convert, rebuild: the main gesture stays on the pill itself. The workbench holds the how, never the go.
A scene is its own inventory Target with one button — or a double-click on the scene. Your frames carry their own state on the image: dashed while they wait, celebrated the moment they are extracted. No list on the side.

One queue, and it obeys

Everything waiting, in one place Cards and targets share a single queue. The button top right shows what is running and what is waiting, and its register lets you drop anything from the queue with one click.
The graphics card is shared, not fought over Asking for an image while a splat is running used to make both crawl for as long as an hour on 8 GB cards. The image workshop now waits its turn, and cancelling a generation gives the memory back for real.
Breakdowns speak plainly No more raw driver stack under a card: if Windows resets the graphics driver or memory runs out, you get one sentence and what to do next.

The board comes alive

Every gesture tells its story The kinship thread weaves itself when a variant is born; a promoted inspiration flies to its place as a scene; deleted cards bow out in a cascade; a dropped image flies from the dialog to the board.
The card has weight Pick one up and it lifts; put it down and it settles. Threads light up when you pause on a card, and the light of the whole room cross-fades in one breath.
Tooltips in the language of the product The grey boxes of the operating system are gone: every button now answers in the product's own glass, translated, at the pace of your intent.

1.0.44

Light mode, and a wand that never destroys.

The wand

Edit any image without losing it A small wand on inspirations, scenes and image objects: six one-click presets and a free field. The variant is born next to the original, linked by its thread — nothing is ever destroyed.
Scenes change their hour Dawn, daylight, golden hour, night, rain or snow: the same street, the same signs, relit by the local image workshop in about twenty seconds.
Objects change their matter Brand new, worn, rusted, overgrown, snow-covered — or a plastic toy version. Rework the object before spending a splat on it.
Inspirations join the board Drop an image as pure inspiration: no actions, just the mood. One click births a scene copy of it, ready to target — the inspiration stays.

Day and night

Light mode The sun and moon button in the view island switches the whole product to a light theme — checked screen by screen, in both worlds.
Updates introduce themselves A new version now arrives as a card on a blurred veil, with its notes and a progress bar — no more banner across the top.

1.0.39

The board is the software now.

The board

One screen, from the photograph to the mesh A project is a board: your photographs, the objects you take from them, their splats and their meshes all stay side by side, where you put them. The panels of the old workspace are gone — what they did happens on the board, next to the thing it applies to.
A home that shows your work Projects with their previews, folders to arrange them, and Latest assets: everything the engine has ever made, all projects together, each with its export button. Nothing produced before this version is lost — it is all on that page.
Getting started, in six steps A page in the rail that shows the whole chain with real images rather than a manual: a photograph, an object taken from it, its splat, its mesh.
Keyboard shortcuts I for an image, P for a prompt, D to draw, F to fit the board to the window, Ctrl+A to select everything. Press ? anywhere for the full list.

Images

The photograph you never took Frame an object in a scene and the software recreates it alone, at a slight three-quarter angle, on black — keeping its colours, its materials and its wear, and correcting the compression that an oblique camera angle causes. That is the ideal input for a splat, and no real photograph gives it. Or write a sentence and it makes you something to start from.
It gives the memory back The image model rests after eight minutes without work and returns its video memory to the conversion engine, then wakes in five seconds when you ask again. Nothing sits on your graphics card between two images.

Fixes

Closing the window closes everything The two local servers used to survive a forced quit, holding several gigabytes of memory for nothing. They now stop with the window, whatever ends it.
Menus stay inside the window A context menu opened near an edge was cut off, and in some languages its last line could not be reached at all: it measured a size it assumed rather than the one it had.
Deleting a folder no longer takes one click It asks first, and says plainly that the projects inside stay on disk.

1.0.38

Twice as fast, with nothing given up.

Speed

A conversion that took four minutes now takes two On an 8 GB card — the most common one — every conversion was quietly running at half speed. One step sized its work for a large graphics card and filled yours to the brim; Windows then spilled the overflow into system memory, and everything crawled. It now sizes itself to the room it actually has. That step alone went from 44 seconds to 5.
The material models no longer keep you waiting Reading materials from your photograph needs two models that rest in memory between conversions. Waking them cost twenty seconds of disc reading, with everything else standing still. They now wake while the mesh is being built — the wait simply disappeared.
And nothing was traded away for it No setting lowered, no step skipped, no quality dialled back. Measured side by side on the same subjects, sharpness and contrast come out unchanged — two of these conversions differ from each other less than two runs of the old one already did.

1.0.37

The photograph now lands where it belongs.

Texture

Features stop drifting On some subjects the photograph was laid slightly crooked — an eye sliding onto a forehead, a mouth off its line. Two habits caused it: the viewpoint was moved for a gain too small to matter, and the fine alignment gave up too easily. Both are fixed, and nothing takes longer.
A little more of the object gets the real photograph Where the photograph sits right, it also reaches a little further around the object — a point or two more of the surface, instead of colour guessed from the splat.

1.0.36

The price in the app now tells the truth.

Licence

LocalMesh costs €39 — everywhere The buy buttons still said €49 from before the price drop; the checkout has been charging €39 all along. The app now says what you actually pay.

1.0.35

Four views no longer drown small graphics cards.

Performance

Multi-view conversions now fit an 8 GB card The material models used to pile up on the card across views, spilling into slow shared memory — a four-view conversion could crawl or die. Each model now steps aside as soon as it has spoken, on every view. Nothing changes on large cards.

1.0.34

The progress card, tidied.

Interface

No more dead space while models load Rows with nothing to say now step aside: the time left and the memory gauge only appear once they have something to show, and the status badge sits straight.

1.0.33

Your photo's colours, your photo's detail.

Texture

The mesh now carries your photo's true colours Deep blues stay deep, warm stone stays warm: the photo's full colour now reaches the mesh, while its lighting is still kept out — no baked shadows, no seams.
Quad rebuilds keep the texture sharp Rebuilding as quads used to melt the texture into large flat cells on light meshes. The bake now samples every texel, at every density.

Interface

A clearer progress card The current step is stated plainly and the time left is honest — and the video-memory readout became a quiet gauge that only speaks up when the card is full.

1.0.32

The photo lands right on full figures too.

Texture

Faces land right on busts and full-body subjects Yesterday's fix could miss a face that was slightly off when the rest of the body was already well placed — the large torso hid the small head. The engine now looks for any part of the subject that asks to move, however small next to the rest.

1.0.31

The photo lands where it belongs.

Texture

The projected photo now falls exactly on the shape On some subjects the projected photo drifted — an eye could land on the forehead. The photo is now gently bent onto the geometry before painting, and subjects that were already right stay untouched.

1.0.30

Your licence follows you to a new computer.

Licence

Release a computer yourself, from Settings Selling or retiring a machine? Release it from its own Settings and the seat is free at once — no e-mail, no waiting.
A dead computer stops holding your seat If a computer has not opened LocalMesh for a week, a new one takes its seat automatically — for the PC that died before you could release it.

1.0.29

Your licence line is now a door.

Licence

Manage your key from the home screen Click the licence line next to the version to enter a new key — no more digging through Settings, whatever state your licence is in.

1.0.28

Bought — and celebrated.

Licence

Confetti when your licence goes lifetime Enter a paid key and LocalMesh says thank you properly — confetti on frosted glass.
The home learns your new key instantly Changing the key in Settings now updates the home screen on the spot, and the trial banner has an 'Enter a new key' shortcut — no restart, no digging.

1.0.27

The countdown shows up right away.

Licence

Trial days appear the moment you activate The home screen only learned about your licence at the next launch — the trial countdown now appears immediately after entering your key.

1.0.26

One key, from checkout to unlock.

Licence

The key screen now takes the new keys Keys issued at checkout (LMESF- for the trial, LMESH- for the licence) now paste straight in. Beta keys retire: the closed beta is over.
The front door got the product's chrome Trial and purchase now wear the iridescent chrome of the logo, and the home screen shows your trial days or update window in a proper panel.
Updates now reach a locked screen The update banner used to hide behind the key screen — an expired trial could never reach the version that would let it buy. Fixed.

1.0.25

Try it free for a week.

Licence

A free 7-day trial, right on the key screen Two buttons now live where the key goes: start a free one-week trial, or buy the full licence — lifetime, a year of updates included, two machines. The key arrives by e-mail moments later.
The home screen counts what remains A trial shows its days. A paid licence shows the date its included updates run to — and past that date, your key keeps working.

1.0.24

Every note in your language.

Languages

The conversion notes now speak your language The engine's notes — what was filled, what the photo covered, what was set aside and why — were written in French whatever the window's language. All of them are now translated as they are displayed, including on everything already in your library.
The install screen and the models panel tell the true weight The installer promised 14 GB from an older era; the models panel counted the models but not the 6.5 GB Python runtime underneath. Both now say what your disk will actually carry.

1.0.23

Eight gigabytes is enough.

Performance

Mesh conversion now completes on 8 GB graphics cards The computation always fit in eight gigabytes — the allocator's leftovers did not. Between steps, smaller cards now sweep that cache: under a hard 7.3 GB ceiling the full conversion passes, at full quality, in the usual time. Larger cards keep their cache and change in nothing.
The first conversion of a session starts warm The material models used to load from disk in the middle of your first projection — about a minute of it. On machines with 24 GB of memory and a 16 GB card, they now wake in the background right after the engine starts.
Finer relief, read from your photo The model that reads surface orientation from your photo grew from 75 MB to 1.3 GB. Same speed to you; creases and folds land visibly firmer. Downloaded once, in the background.

Fixed

The app now says when the engine is stuck A silent engine used to freeze the home screen for as long as you cared to wait. The wait is now bounded at 45 seconds, a button offers to restart the engine, and the engine's last words are kept in a log file — so a problem report can finally say why.

1.0.22

Stone stops looking like tarnished metal.

Fixed

Marble, stone, wood and cloth keep their colour The material estimate was marking between 37% and 55% of every object as metal — marble and chrome alike — and a metallic surface loses its diffuse colour, so half of each mesh came out dull and blotchy. Measured on nine subjects of known material: the estimate never told them apart. It is no longer applied.
Shine is untouched Gloss comes from roughness, not from metal. Varnished wood, wet stone, satin and plastic reflect exactly as before. What is gone is true metal — a chrome object now reads as a very shiny grey.

1.0.21

The wait now says what it is waiting for.

Interface

You can see what is downloading, and what it unlocks. The first minutes were silent. The models arrive in the background, and anyone who pressed Generate straight away met a wait with no explanation and no end in sight. A line in the bottom bar now says it is happening; a click says how far along, and what each part makes possible. The buttons that are waiting say so themselves — Generate waits for the shape, building a mesh waits for the surface — so you always know whether to wait or to carry on. Downloaded once, kept for good.

Fixed

LocalMesh was telling you the wrong version of itself. The window, the settings and the problem reports all said 1.0.19 while you were running 1.0.20 — only the installer and the update server carried the right number. And a problem report showed a dash where the version belongs, which made the most useful line of a report the one line it never filled in.

Languages

Sizes and figures follow your language now. A Japanese window still measured in French — « 12,3 Go » — and 262 144 kept its French spacing in English. Further, the install screen, the update banner, the About text and the disk line had never been translated at all: they were written straight into the interface, where the translations could not reach them. 620 sentences, all eight languages, nothing left over.

1.0.20

Your side photographs are finally used.

Reference

The extra views never reached the mesh. They travelled with the splat's generation and nowhere else, so dropping your right, back and left photographs onto a subject that already existed and then building the mesh used the front one alone — silently, and against what the panel promises. They now go with every build, and the panel says so before you press it. Measured on a stone bust: photographic detail covering 71 % of the surface instead of 22 %.
A side photograph is laid onto the shape now, not just aimed at it. The splat is imagined from the front photograph alone, so its flanks are not the object's real flanks — measured, the front picture lands within 2 % of the geometry and the profiles within 6 to 7 %, which on a head is the distance between an ear and its ghost. No viewpoint can fix that, because the two shapes genuinely differ. Each side view is gently warped onto the geometry before it is painted: 7 % down to 2 % on the profiles it can read, and left alone, with the reason written in the details, on the ones it cannot.

Fixed

A mesh built from several views came out missing two of its five maps. Metallic and roughness were absent and the colour kept the light baked into it, because the step that separates them fell over the moment a second view arrived, into its own catch-all, in a note nobody reads. It could not happen with a single photograph — which is why it waited for the first multi-view build, one that had never been possible.

Materials

You can tell it there is no metal. Under the mesh options, beside where the colour comes from. On stone, plaster, clay or cloth the estimator sometimes reads a highlight as metal and returns it as a mirrored patch; this gives the whole object one even finish instead. A little faster, and the colour is freed of its baked light either way.

Interface

Everything speaks your language now, including the wait. The stages that scroll past while a mesh is building were in English for six of the eight languages, and the release notes in none of them. 581 sentences, all eight languages, nothing left over.

1.0.19

The photograph lands where it belongs, not almost.

Texture

The fine alignment could not reach far enough. After placing your photograph on the model, a last pass nudges it until the colours line up with the model's own. That pass searched a fixed box — up to five per cent of the object, no further. On three subjects out of four it ended up pressed against the edge of that box: it knew it should keep going and could not. It now walks as far as the picture asks, and turns slightly as well, because a degree or two of roll is exactly what is left when the framing is almost right. One armchair needed nine per cent; its colour match went from 0.26 to 0.54.
And it is no slower. A coarse sweep to find the right valley, then a walk downhill from there — 147 tries at most, against 152 before.

1.0.18

One stray calculation removed, and the loading screen has one line instead of two.

Fixed

A second, older band was still crossing the loading image. The new scanning line was drawn on top of an earlier one that had never been removed, so a wide diagonal wash travelled down the photograph alongside it. There is one line now.
Building a mesh no longer computes a centre of mass it throws away. Checking which way the surface faces asked the geometry library for the volume, which computes the centre of mass and the inertia tensor along the way — a quarter of a second each time, twice per conversion, for a plus or minus sign. Same answer to six decimal places, a fraction of the cost.

1.0.17

Dropping a photograph works, and the one you dropped is finally visible.

Reference

Dragging an image onto the window does something now. The window was catching the file itself and never passing it on, so nothing happened wherever you dropped it. It lands where you aim it.
One photograph, shown large, and Replace replaces. You could pile several in a field that uses exactly one, and Replace added to the stack instead of swapping. The tile is now the preview, the drop target and the replace button at once — and it is four times the size, because it is the piece everything else is judged against.
The side slots say which side they mean. Right and left are ambiguous the moment you think about them: the subject's right, or yours? Each slot now carries a small diagram — your subject seen from above, a notch marking its front, and the side in question lit up.

Flow

Try another splat, without losing this one. Two runs from the same photograph are not the same, and the good one is sometimes the second. The button now sits right under the splat you are judging, at the moment you are judging it, and what you already have stays in your library.
The scanning line during generation was redrawn. A thick blue bar crossed the photograph like a neon tube. Now a fine bright line, a soft cool halo, and everything it has not read yet stays in shadow.

1.0.16

Cards with 8 GB stop running out of room during a conversion.

Speed

The three models that read your photograph no longer pile up on the card. They run one after the other — surface direction, then materials, then the second opinion on glossy surfaces — but each stayed loaded once it had spoken. Together that is 7.75 GB, which on an 8 GB card leaves nothing for the mesh itself, and Windows starts using system memory instead: a conversion that took a minute takes three. Each one now steps aside as soon as it is done. Measured: peak use down from 10.8 GB to 5.9, same time, same result to the decimal.

1.0.15

Video memory stops creeping up when you convert several subjects.

Speed

The material models no longer camp on your graphics card between conversions. They were kept resident to save a second or two on the next conversion, and they hold 7.7 GB. So the second conversion started already three-quarters full and peaked at 20.8 GB where the work itself only needs 12 — enough to push a 16 GB card into system memory, where everything crawls. They now step aside between jobs and come back in a second and a half. Measured across three conversions in a row: peak down from 20.8 GB to 16.1, and no slower.

1.0.14

Converting the same subject twice stops repeating the same search.

Speed

Finding where your photograph was taken from is done once, not every time. Working out the camera angle that matches your reference takes around 24 seconds, and it was being redone on every single conversion of the same subject — trying another density, rebuilding the mesh, changing a setting. The answer cannot change: same splat, same photograph, same angle. It is now kept beside the splat and reused, and a fresh search only runs if you swap the reference photograph. Measured on one subject: 88 seconds down to 64.

Fixed

A handful of vertices had no surface direction at all. Where two faces sit back to back their directions cancel out exactly, and those vertices were written into the file with a zero-length normal — no defined shading, and nowhere for the detail map to sit. A few per hundred thousand, so barely visible, but never correct.

1.0.13

Metal looks like metal, and matte surfaces stop pretending.

Materials

What the photo sees about a material now reaches the whole object. Two things were losing it on the way. The material was being faded out according to how squarely the photo saw each surface — so a metal panel seen at an angle came out half metal, which is not how metal works. And everywhere the photo could not see, the whole object was filled with one average value: on something half metal and half wood that average is a flat grey belonging to neither. Surfaces the photo never saw now inherit from the nearest surface it did see, so the back of a metal panel is metal and the wooden part stays wood. Measured on a machine subject: metal went from 2% of the object to 28%, and average roughness from 0.80 to 0.52.
Extra views are read for material, not just for detail. When you give a subject its side and back photographs, each one is now asked what its surfaces are made of. Where two views disagree the one that saw the surface more squarely wins. It costs a few seconds and replaces guesswork with measurement over the whole object.

Library

Thumbnails stopped looking washed out. Contact shadows are deliberately taken out of the colour so the renderer can apply them itself — and the thumbnail renderer was never applying them. Every preview was flatter and paler than the material it was showing.

1.0.12

The metallic map was never actually being made. Now it is.

Materials

Metal finally reads as metal. The model that decides which parts of your photo are metal and how rough each surface is has been shipping since Beta 1.0 — and it was failing to start every single time, quietly, in a warning nobody sees. Every mesh you have made so far carries a metallic map that is uniformly black. From this version on it carries the real one, and a chrome rim or a brass fitting stops looking like painted plaster.
The second opinion on glossy surfaces works offline. It needed to reach the internet to start, even with every file already on your disk — so on a machine with no connection it simply did not run, and water and glazes came out matte with nothing to tell you why. It now loads entirely from your own drive, which is how it should always have been.

Diagnostics

Conversions now record how much video memory they used. They reported zero, always — which made a report about a slow conversion on a small card impossible to read. Each mesh now stores what the job took and how full the card got, the second number being the one that explains a slowdown: past about 95 per cent, Windows starts spilling to system memory and everything crawls.

1.0.11

LocalMesh is now Beta 1.0 — your meshes carry real materials.

New

Real metal, detected in your photo. A material reader looks at the reference photo and writes metallic and roughness pixel by pixel — a belt buckle comes out as metal, fur does not. The maps travel in the file, ready for any engine.
Real surface relief, read from the photo. The normal map now comes from a model that understands the picture — folds, slopes and bumps — instead of guessing “darker means deeper”.
Shiny things finally shine. A second material reader recognises liquids, glaze and varnish — red water in a well now comes out glossy. The two readers vote, so fur and stone stay matte.
Grainy blind spots get repainted. Zones the splat never saw properly are re-synthesized from their surroundings instead of staying as dirty grain.
Double the texture in one click. The Texture ×2 button sharpens the atlas to 4K for export. The original stays.

Design

See every map the file carries. The Maps button lays out colour, roughness, metallic, occlusion and normals — click one to inspect it full size.
One quiet menu for the viewing materials. Clay, porcelain, colour, roughness and normals live behind a single button, each with a line saying what it is for.
The light got better, and you got a dial. A new Gallery environment — tall windows in a dark room, the reflection that makes water and glaze sing — plus an intensity slider and finer shadow edges.

Engine

Small graphics cards keep their memory. The AI bricks unload after each conversion on 8 GB cards, so the next generation starts with room to breathe.
The app no longer gets stuck reading your library. No request to the engine had a time limit, so a single file held by an antivirus or a cloud sync could leave the start-up screen waiting forever — restarting worked, which is why it went unnoticed. Reads now give up after a while and try once more, and the library skips what it cannot open instead of abandoning everything.
Nine gigabytes of video memory were being held hostage. The maths library keeps every byte it has ever allocated, which starves the parts of the engine that allocate on their own — measured mid-conversion: 17.3 GB reserved for 8.3 GB actually in use. Handing the spare memory back takes five hundredths of a second and cut the occlusion pass from 30 seconds to 6. Small graphics cards gain the most.
The atlas seams are computed once, not five times. Every texture map — colour, normals, occlusion, albedo, materials — was recomputing the exact same seam-filling map from scratch. It is now worked out once and reused, pixel for pixel identical.
Building the mesh got a lot faster. Four steps were doing far more work than they needed: the roof test allocated three gigabytes to look at a sign, the sliver pass ran on the processor instead of the graphics card, the hole filling worked one slice at a time, and the piece sorter rebuilt the same search tree sixty times. All four now produce the exact same result — checked voxel by voxel — in about half the time.
The material models stop reloading every time. They were being read back from disk at every conversion — 22 seconds of pure waiting. They now rest in memory instead, and wake in 1.5 seconds. Video memory is freed exactly as before.
The time left stops going up. The progress bar was frozen inside long steps, so the estimate could only grow. It now moves within a step, and every step name is translated.
Report a problem, in two clicks. Describe what happened, see exactly which technical details go with it, and send. No more saving a file and remembering to attach it.
Downloads say where they are. A queued model now says “queued” instead of “not yet”, a running one shows how far it is, and a failed one shows why — with a Retry button that resumes where it stopped.
Every model, its green tick. The status bar shows a progress bar while the material models download, and Settings lists each model with a tick once it is on disk — no more guessing whether you have everything.
Models take a third less disk. IDArb and SuperMat are stored in half precision — the exact precision they already compute in. About 4 GB returned on every machine, existing installs clean themselves up on next launch.
Texture ×2 no longer scrambles the atlas. The upscaler was reassembling its internal tiles in the wrong order. If a doubled mesh came out broken, delete it and run Texture ×2 again.

0.9.7

Show the other sides, and the whole object comes out real.

New

Add the other sides of your subject. Three optional slots under the reference photo — right, back, left. Drop what you have; one photo still works exactly as before. The splat itself is always generated from the front photo alone, and the extra views go to work when you convert to a mesh.
The back of the object stops being a guess. The generator dims as it moves away from the photo that fed it — the back came out at a fifth of the front's brightness. Your views give that light back without touching the relief, then each one paints its own side. Measured on a stone bust: texture detail on the back multiplied by 2.5, and photographic detail covering 65 % of the object instead of 17 %.
Your views stay with the subject. They are filed in its folder, so rebuilding the mesh months later is still a four-view build — nothing to drop again. Adding views costs about 50 seconds, once per conversion.

0.9.6

Fur gets its colour back, and the photo lands where it looked.

Engine

Soft and translucent subjects get their true colours. Since translucent matter started counting for the surface, the colour transfer still let it barely vote — fur and glass came out pale and mottled. Colours now weigh gaussians the same way the surface does. Furry subjects come out warm and full; opaque subjects are unchanged, verified pixel for pixel on a bust and an eye.
The photo is anchored to what it actually saw. Projection used to align the photo with the mesh's outline — which fluffy ears and tails now inflate, so features slid sideways: a fox's eye landed on its cheek. The anchor is now the splat itself, the exact surface the photo shows. Faces land where they belong.

0.9.5

Conversions fit small graphics cards again.

Engine

Converting no longer overflows an 8 GB card. The generator stayed loaded during splat-to-mesh conversion — measured: 3.9 GB of generator plus 3.9 GB of opacity field is more than an 8 GB card, and Windows quietly spills to shared memory, turning a four-second stage into minutes. On cards under 12 GB the generator now steps aside during a conversion and reloads on the next generation. Nothing about the mesh changes — only the waiting.

0.9.4

The first quad rebuild works everywhere now.

Fixed

The first quad rebuild failed with HTTP 403. The quad tool is fetched once, on first use — and the download announced itself in a way our host's bot protection refuses. Machines that already had the tool never noticed, which is exactly why it slipped through. The fetch now identifies itself properly, and a failed download says what to do instead of showing a raw error.

0.9.3

Conversion time, explained and tuned.

Engine

The progress bar learns your machine. The estimate used to extrapolate from stage weights measured on a desktop — on a laptop it could announce 11 minutes for a 5-minute job. Each conversion now records how long its stages really took, and the next one paces its bar — and its estimate — on your hardware.
Clean subjects skip the new cleanup cost. The physical sheet-sorting pass runs only when there are stray pieces to judge, and never on more than the sixty largest — a subject that needs no cleaning pays nothing.
Every conversion writes down where its time went. Open a mesh's details: a chronology note lists each stage and its seconds, so a slow machine can tell us exactly which step hurts.

Fixed

A shape could refuse to appear with an HTTP 403 error. Two causes, both gone: Windows treats d:\ and D:\ as the same place and LocalMesh now does too, and a subject whose files were made before the library moved is found again at its new address instead of being refused. When a file truly cannot be served, the refusal now lands in the report the Report button collects.

0.9.2

The holes are gone — translucent matter finally counts.

Engine

Cratered meshes are fixed at the root. Car bodies, glass, anything translucent: the surface used to cave in wherever the subject's gaussians were see-through, because transparency made matter weigh less. It no longer does. Subjects that were riddled with holes now come out whole — opaque subjects are unchanged to the voxel.
Stray sheets and inner husks are removed by physics. Each piece of the surface is tested from both sides: outside on both means haze, inside on both means an invisible inner shell, one of each means the object. No thresholds to guess — a thin closed car body is boundary by construction.

Library

Every build now stays. Rebuilding a mesh or the quads used to overwrite the previous one on disk. Each build is now a file of its own: the light quads and the dense quads are two entries, side by side, each openable and deletable.
A subject tells its whole lineage. The stage chips count their builds (×3), the list under the card names them all with their age, and the rail acts on the build you are looking at — never silently on another.

Design

LocalMesh has a new face. A new mark — an iridescent tile — in the title bar, the window icon, the installer and the alt-tab switcher.
The home screen earns its keep. Your projects on the left, with their folder one click away and a guarded delete. These notes on the right, so a release never slips by unread.

Fixed

Coming back to a subject showed its old mesh. Rebuilds overwrite the same file, and the viewer trusted its cache. It no longer caches — what you see is what is on disk, always.
Rebuild as quads failed on shapes it used to handle. It was rebuilding from a re-extraction of the splat, whose surface is not watertight after decimation — the quad tool refuses it. It now rebuilds from the finished mesh itself, which also lands it the right way up: the upside-down quads came from the old route's coordinate frame.
Quads keep the subject's colour. Sampled from the mesh's texture, one colour per point — a preview, not a re-baked atlas, but the object stays recognisable instead of arriving bare. The .obj stays pure geometry for sculpting tools.
A failed build now says so, on screen. In red, with the reason. Failures used to be silent: the view kept the previous model and the feature looked like it did nothing.
Build the mesh again, and Rebuild the quads again, did nothing. Both read their source from whatever you were looking at. You ask to remake a mesh from the Mesh chip - so you are looking at the mesh, which has no splat to read - and the action returned in silence. It was only ever available in the one case where it was not needed. They now take their source from the subject.

0.9.0

LocalMesh now speaks eight languages.

New

Pick your language beside the window buttons. English, French, Spanish, Japanese, Korean, Simplified Chinese, Hindi and Arabic. Arabic lays the whole interface out from right to left. The first time you open LocalMesh it follows your system's language, if it speaks it.
The words are the ones your trade uses. Splat, mesh, quads and normals are written the way people who work in 3D actually say them in each language, rather than translated into something correct that nobody would recognise.

Fixed

A few labels were still in French. Maximise, Seed, Repair and Restore had never been translated out of the language this was written in.

0.8.1

Your licence, in Settings — and the notes you should have seen.

New

Your licence is now in Settings. It shows the name it is registered to and the key running this machine, and you can swap in a different key without reinstalling anything. The state is checked online each time you open the panel, because a key can have been moved to another machine since you last looked.

Fixed

This window did not appear for anyone coming from 0.7. It treated “no record of a previous version” as a fresh install and stayed quiet — which is every existing tester, on the one release that had things to tell them. It now asks whether the engine is already on your disk instead.

0.8.0

A new look, and the texture bug that drew lines on everything.

Engine

Photo projection no longer paints hidden surfaces. The occlusion test had its comparison the wrong way round and rejected nothing, so a shoulder behind a curtain of hair took the hair's pixels and an arm painted its own outline onto the torso. Those were the dark lines tracing every silhouette. Meshes made from a photo are visibly cleaner.
Silhouettes get a guard band. Within a pixel or two of a depth edge it is undecided which surface a texel belongs to, and being wrong there is exactly what draws a line. The photo is refused in that band.
Build a mesh without projecting the photo at all. Under the Mesh options, “Where the colour comes from”. Splat colour only is softer and even on every side, and can never smear a misplaced photograph across the model.

New

Build a stage again, with other settings. A finished stage used to be a dead chip - its button and its options vanished with it, so remaking a mesh meant deleting the subject and starting from the photograph. Every done stage now keeps a chevron. The old result moves to “older”, so you can compare the two.
Name your subjects. Hover a card in the library and click the pencil. The name is kept on disk, so it survives a restart.
Search the library. Above the list, once there is enough in it to be worth it.

Interface

The whole application is darker, and has depth. Panels float as rounded cards on true black instead of sitting flush against each other behind hard rules.
Glass over the render. The station rail and the view controls are smoked glass, and they refract what is behind them rather than merely blurring it.
Two materials, and no generic blue. Generate wears warm chrome, Export keeps the logo's own. Everything between them is quiet, which is what lets those two read at a glance.
The rail says where you are. Stages behind you are quiet, the one action you can take is the only lit thing, and a stage you cannot reach no longer offers a menu.
The view controls are grouped by what they do. Materials in one track, switches beside it, the scene at the end - instead of nine identical buttons in a row.

Fixed

The floating bars no longer break onto two rows. They were centred in a way that quietly halved the width they were allowed to use, so they wrapped on any window size.
The lighting panel opens where you can see it. It used to open downwards, off the bottom of the window.
Progress is written in English. A few engine stages were still showing their French names.