AR Production

Augmented reality production in Italy sits where one of the world's deepest cultural-heritage portfolios meets a fast-growing XR industry based in Milan and Turin. Our network draws on Italian AR pros for ARKit and ARCore builds, including Pulsar Studio, Brand Bigi and Rainbow XR. It also taps the Lumiq Studios virtual production team in Turin for hybrid LED-plus-AR shoots, and the development houses serving the Salone del Mobile and Milan Fashion Week activation circuit.

Heritage clients across Rome, Florence and Venice — including museum partners working under MiC and Soprintendenza commissions — often order AR layers for the Colosseum, the Uffizi, the Doge's Palace and the Pompei archaeological park. These rebuild frescoes, ancient streetscapes and architectural details that visitors trigger through WebAR and dedicated app experiences. Italian luxury brands and automotive marques — Gucci, Prada, Armani, Ferrari, Lamborghini and Pirelli — order their own AR pipelines for product launches, in-store experiences and the influencer activations that anchor the Italian fashion and motor calendar. Tourism boards across the Italian regions add a steady stream of location-based AR work for the Trulli of Alberobello, the Sassi of Matera and the cathedral interiors of Siena and Orvieto.

Our crews handle the full pipeline from concept and storyboarding through to delivery. Reference capture runs on Leica BLK360 LiDAR scanners and DSLR photogrammetry rigs for high-fidelity assets. Italian artists tied to the Cinecittà and Lumiq digital teams then handle 3D modelling, rigging and animation in Maya, Blender and ZBrush. Real-time builds run on Unity and Unreal Engine 5, with Spark AR and Lens Studio for social-platform filters. WebAR drives browser-based experiences that skip the app store and unlock instant scan-and-play access at retail and event sites.

We set up testing across iOS and Android devices and handle the IAP self-rules paperwork for branded campaigns. Our team also runs the Soprintendenza permitting needed when AR layers sit inside covered heritage sites or play against listed façades during Milan Fashion Week and Venice Biennale activations. Productions claiming the forty per cent Italian Tax Credit on qualifying spend route the AR development budget through DGCA accounting alongside the live-action unit, and our coordinators prepare the supporting records through completion and audit. Pilot programs built for retail clients and museum partners mostly roll out in phases across many Italian cities, so our team handles the in-region testing, the device fleet, and the operator training that on-site AR installations demand.

Reference capture often shares the day with a live-action unit, so we plan AR work into the wider shoot. Photogrammetry and LiDAR passes are scheduled around the camera unit. We agree lighting and access so a scan does not stall the set. On hybrid LED-plus-AR stages, our team syncs the virtual layer to camera tracking. We also work alongside the grip and lighting crews. For heritage sites in Rome, Florence and Venice we set scan windows around visitor hours and Soprintendenza access rules.

Performance is where an AR build either holds or breaks, so we optimise for the target device from the start. Assets are retopologised and texture budgets are set with care. A model that looks right on a high-end phone still runs smoothly on older hardware. We tune draw calls, lighting, and tracking for each platform. We then test the same experience across many iOS and Android devices. WebAR builds load fast over mobile data at a retail or event site. The aim is a steady frame rate on every screen.