Understanding file requirements before you start creating saves significant time. Artivive has specific requirements for each type of asset.

Trigger images: JPG or PNG. The longer dimension must be between 380 and 8,000 pixels. A high-resolution scan or export of your artwork works well — aim for at least 1,500 pixels on the longer side for reliable tracking.

Video layers: MP4, GIF, and MOV are all supported. The maximum file size per video is 100MB. You can have up to three unique video layers per project. Video files are compressed upon upload, so the final file served to viewers will be smaller than what you upload.

Image layers: JPG and PNG. For non-video layers combined (all images, 3D objects, and other non-video assets), the total must stay under 3MB on a Pro plan or 5MB on a Pro Plus plan. The trigger image itself does not count toward this limit.

3D objects: glTF and GLB are the recommended formats. OBJ and FBX also work. Files can be uploaded as a ZIP archive if they include separate texture files. The size limit is the same as for image layers: 3MB on Pro, 5MB on Pro Plus.

Audio: Standard audio files for sound layers. Audio can also be embedded in video files or in 3D objects.

A note on compression: Because all files are compressed on upload (except already-compressed 3D objects), you do not need to aggressively compress your source files before uploading. Upload quality originals and let the editor handle the optimisation.

Video is the most common and impactful layer type in Artivive. A well-crafted video layer can transform a static artwork into something genuinely magical. Getting the details right makes the difference.

Length: Keep videos under 45 seconds. This is not a technical limit — it is a usability principle. To view an AR experience, a viewer must hold their device up and point it at the artwork. After about 45 seconds, this becomes physically tiring and the experience shifts from enjoyment to endurance. For looping ambient animations, shorter is almost always better.

Transparency: One of Artivive's most powerful video features is transparent video. You can shoot or render a video against a green screen or solid color background, then use the color-picker tool to key out that colour. The result is a video that appears to float against the physical artwork rather than playing inside a rectangular frame. This creates a much more immersive AR effect. You can also upload a GIF with transparency already applied.

Sound settings: If your video has audio and you are creating an experience for an exhibition or public space, consider enabling the headphones-only mode via the headphone button in the layer settings. This ensures the audio only plays if the viewer is using headphones — avoiding disruption to other visitors. If sound is part of the experience, leave this off and let it play through the device speaker.

Format advice: MP4 with H.264 encoding works consistently across devices. Avoid obscure codecs. If your video looks fine on your computer but fails to play in the editor, re-export it as a standard MP4.

Adding 3D objects to an AR experience creates a depth and dimensionality that flat video cannot match. A 3D model can be rotated, scaled, and animated — and in AR, it appears to exist in real physical space in front of the viewer.

Recommended format: GLB (binary glTF) is the best format for Artivive. It embeds all textures and materials into a single file, which means nothing gets lost in upload and the file stays well under the size limit. glTF (non-binary) also works but requires textures to be included in a ZIP archive.

OBJ and FBX are supported as fallbacks, but they are older formats with more compatibility quirks. If you have a choice, export as GLB.

Working in Blender: If you create or edit 3D models in Blender, export directly to glTF from Blender's built-in exporter. Choose Binary format to create a GLB file. Enable the Compression option to keep the file small. If your model has an animation, enable the Animation export option to include it.

Reducing file size: The most common challenge with 3D objects is keeping them under the file size limit. In Blender, use the Decimate modifier on your mesh to reduce polygon count — this maintains the general shape while dramatically reducing file size. You can also compress texture images in Photoshop or equivalent before embedding them. Flat color materials defined in Blender use no texture space at all, which is the most file-efficient approach.

Animated 3D models: 3D objects can include their own animation cycles (like a character walking or an object spinning). Upload them in a ZIP archive with all associated files. In the Timeline and Sequences features (Module 4 and 5), you can also trigger specific animations from a 3D model at defined moments.

Particle effects add dynamic, atmospheric motion to an AR experience — things like sparks, embers, smoke trails, falling leaves, dust clouds, or abstract floating elements. They are particularly effective for creating mood and atmosphere around a physical artwork without overwhelming it.

Adding a particle layer: In the editor, add a new layer and select the Particle Effect type. You will see a set of pre-made templates — fire, smoke, sparkle, and others — as well as a library of preloaded effect images. You can also upload your own image to use as the particle shape (for example, a custom logo, a petal, or a symbol relevant to your artwork).

Customising particle behavior: Each particle layer has a set of controls that define how particles move and appear:

• Speed — how fast particles travel
• Direction — which way particles move (up, outward from center, random, etc.)
• Size — the scale of individual particles
• Density — how many particles appear at once
• Spread — how wide the emission area is

Experiment with these settings while watching the preview. Subtle, slow particle effects often work better with fine art — they add atmosphere without distracting from the work itself. High-density, fast effects are better suited to dynamic, energetic compositions.

Particle effects are CPU-intensive on mobile devices. If you layer multiple particle effects on top of each other, test on a mid-range device to make sure the experience still runs smoothly.

Standard audio layers in Artivive play at constant volume regardless of where the viewer is standing or how they hold their device. Spatial audio changes this — it creates a sense that sound is coming from a specific point in physical space, with volume that responds to the viewer's proximity and position.

The 3D Sound toggle in the layer settings unlocks two spatial audio modes, each with different behavior:

Logarithmic mode simulates the natural way sound behaves in physical space. Volume increases as you get closer, decreases as you move away. Crucially, the sound is never fully silent — even from a distance, you hear a faint presence. As the viewer moves into the inner sphere (the defined proximity zone), the audio reaches full volume.

Linear mode defines a hard boundary. Inside the outer sphere, volume scales linearly with distance. Outside the sphere, the sound is completely silent. This is useful when you want a sound to be clearly associated with a specific artwork — a viewer standing in front of a neighboring piece should hear nothing from yours.

Both modes allow you to adjust the size of the inner and outer spheres directly in the editor. Larger spheres mean the audio activates from further away. Smaller spheres create a more intimate experience.

When to use spatial audio: Spatial audio is most effective in multi-artwork exhibitions where multiple AR pieces exist in the same physical space. It prevents audio from one artwork from bleeding into another's experience. For single-artwork experiences, standard audio is usually sufficient.