Source-based 3D reconstructions of documented historical engagements, delivered as films, interactive 3D and augmented reality, for museums, memorials, defense education, guided tours, documentary and research.
Rebuilt around rediscovered NARA footage of the landing, with a 3D reconstruction of the LCA 861 approach and climb.
The tool rebuilds an engagement from the sources, then replays it in the mode that fits the use: an installation, a guided tour on the ground, a lecture or briefing, a documentary sequence, a researcher testing what could be seen from a given position at a given hour. The scene is the same in every case. What changes is how you look at it.
Each figure is a documented person or unit, moving as the record describes. Play, pause and rewind any moment of the action.
The visitor sets the scene down wherever they like, on a table or the floor, and moves around it.
The scene anchors to a printed marker, giving the same position every time it is set up.
The reconstruction is aligned onto an existing scale model or terrain table and brings it to life.
On a touchscreen, a kiosk or in a browser. No headset, no installation, nothing to learn first.
In a headset, standing inside the scene rather than above it.
The same scene rendered as film, for a documentary, a briefing, an exhibition screen or online.
Pegasus Bridge above is the fullest demonstration of the features. This one runs the same tool at two extremes of scale, from a single defended farm building to a trench system, with almost no narration: the reconstruction carries the account on its own.
Camerone 1863 and Gravenstafel
Taken to the location, the tool places the engagement on the terrain it was fought on, around the visitor. Positions, distances and lines of sight can be checked against the real relief.
Example: Omaha Beach, Charlie sector
The same reconstruction becomes the foundation for explaining an action on screen. The Pointe du Hoc film works from rediscovered NARA footage of the assault, then rebuilds the LCA 861 landing and the climb in 3D so the footage can be set back on the ground it was shot on.
Delivered as finished films, or as reconstruction sequences cut into an existing production.
Pointe du Hoc
Charlie Company on D-Day
Where the subject is a site rather than an engagement, the same research and modelling produce a building or landscape the visitor turns in their hands: drag to rotate, pinch to zoom, tap a numbered point to open what happened there.
Try it: drag the model, tap a point, or open it in AR on your phone
Tap the numbered points to explore the great keep, the entrance and its drawbridges, the Grand Bastion, the lordly residence and the lower courtyard. On a phone or tablet, place the castle in your own room in AR.
Timetravel aligns archival photographs and film with the present-day view, on site. The visitor holds the past up against the present and slides between the two, standing exactly where the camera stood.
It suits remembrance trails, guided tours and heritage sites where the past has left no visible trace.
Example: Bastogne, Foy
Terrain comes from public elevation data, checked against period aerial photography. Units and men are positioned from after-action reports, war diaries and rosters. Where the sources allow individual combatants to be identified, they are shown as individuals. Where they do not, the reconstruction stays at unit level and states as much.
Every reconstruction sets out explicitly which sources it rests on, from national archives to unit records.
Gaps in the record are flagged as gaps, never filled in artificially for the sake of the picture.
Distances and lines of sight hold to the scale and relief of the real ground.
Reconstructions, archival finds and on-site replays, published as they are built.
Live figures from YouTube
The channel is where the research surfaces first: rediscovered archival film, terrain rebuilt from elevation data, and engagements replayed on the ground they were fought on. The reconstruction of the assault on Pointe du Hoc, built around NARA footage that had gone unremarked, is the most watched piece on it.
Okinawa, 1945
The second most watched piece on the channel is not about Normandy at all. It sets the taking of Hacksaw Ridge against the film, and the audience it found reaches well beyond a single theatre of the war.
Exhibition films, interactive kiosks and AR experiences tied to the site's own story.
Documented engagements as teaching cases: the situation, the options, the decision, the ground.
On-site replays and Timetravel trails that make an unmarked landscape legible, in the guide's hands or the visitor's.
Reconstruction sequences built to broadcast standards, anchored in archival research.
The ground rebuilt as an instrument: what was visible, reachable or survivable from a given position, tested against the terrain rather than argued from a map.
Schools, universities and associations, where an engagement has to be understood by people seeing it for the first time.
JTech is Romain Junca, founder, based in Lyon, France. A single point of contact carries the work through from historical research to 3D reconstruction to AR development, from the first source to the finished experience.