Straight answers.

About 60 seconds door to door — that covers a hero scan plus a backup safety scan. The capture itself is 1/60th of a second, so nothing is asked of the performer: no held pose, no held breath, no repeat takes. Their time belongs to their character, not to our equipment.

150+ synchronized cameras and 40+ programmable strobes per studio. For a static scan every camera and strobe fires in one instant instead of sweeping across several, which is what makes single-frame capture possible. OLAT passes instead fire the lights one at a time.

1.4 seconds for a full pass. Every lighting direction is captured and separated in that window, which gives your lighting team a relightable asset instead of one baked lighting condition.

About 15 minutes from arrival to capture-ready — on a stage, on location, or in a parking lot. The studio travels to production, not the other way around.

No. Raw frames are available and reviewable the moment they are shot, and the rigs refire back to back. There is no offload gap, so a scan fits inside a lighting setup instead of needing a slot of its own.

No. The studio is configured for all three at once — 60+ of the cameras are dedicated to the head, so a head scan is not a different setup. A motorized lift raises talent into position in seconds. Nobody waits on a technician stacking apple boxes, and no performer stands on an unstable platform.

Usually not. Because we are mobile and set up in about 15 minutes, most productions fold scanning into a day that is already on the schedule — no travel days, no flights, and no per diem for cast.

A 3D scan is a single instant — one frame of geometry and texture. 4D capture is performance over time: the same volumetric capture repeated across a sequence, so motion and deformation are captured, not simulated after the fact.

One Light At A Time. Each light source is captured separately so the subject can be relit later in any environment, instead of arriving with a fixed lighting condition already baked into the texture.

A separate modular array built in house for volumetric and machine-learning capture, including 4D Gaussian splatting. It is a distinct system from the Mobile CyberSCAN™ Studios, which handle static scanning and OLAT.

Yes. If the cameras are not genlocked, each one is sampling a slightly different moment, and any reconstruction of a moving subject inherits that error. Every array we build is genlocked for that reason.

We build the camera arrays — the Mobile CyberSCAN™ Studios and the C.A.L.V.I.N.N.™ modular rigs are designed, built, owned, and crewed by us, because nothing off the shelf fired the way set work needs. Those arrays are what we scan actors and props with, in 3D and 4D. Other jobs call for other instruments: LiDAR for sets and environments, structured light for props, drones for locations. Those come from the leaders in each field and run through our own workflow and pipeline.

That depends on the pipeline you are handing it to — we scope deliverables with your VFX vendor before the shoot so the data lands in a form your team can use on day one, not after a conversion pass.

We are US-based with people and equipment across six cities — Los Angeles, Las Vegas, New York, New Jersey, Atlanta, and Houston — and we travel to wherever production is shooting.

Either. The studios are built to be trucked in and stood up wherever the day is happening: a sound stage, a practical location, a backlot, or a parking lot.

Yes. Almost everything we shoot is under NDA — unreleased titles, talent likenesses, and production designs. We work under production NDAs as standard practice and treat likeness data accordingly.

We do. The fleet is owned and crewed by us, not subcontracted, so the people who built the rigs are the people running them on your set.

As early as you have a cast list. Earlier bookings give us the widest choice of dates and let us fold the scan into a day you were already shooting, but we regularly work to short notice — ask us even if the date is close.

It depends on scope: how many performers, what passes you need, where you are shooting, and what the deliverable has to be. Send us the shoot dates and the cast count and we will quote it.

In many states, yes — scanning services performed in-state can qualify as production spend. We maintain a state-by-state incentive reference on this site, and we can position a capture day to sit inside the qualifying window.