Fallout S2

Fallout Season 2 premiered in December 2025 on Prime Video, sending Lucy and the Ghoul deeper into the Mojave Wasteland toward New Vegas. Picking up after Season 1’s cliffhanger, the season follows Lucy (Ella Purnell) and the Ghoul (Walton Goggins) as they pursue Hank (Kyle MacLachlan), who flees in Power Armor toward the iconic city. It introduces beloved game elements like Deathclaws and major factions such as Caesar’s Legion, along with a mysterious new role for Macaulay Culkin. Returning VFX supervisor Jay Worth led a global effort spanning more than 3,200 visual effects shots, with studios including Framestore and RISE FX bringing creatures, vertibirds, and Wasteland environments to life.

SCANable provided 3D scanning and aerial photogrammetry for the production, capturing performers, sets, and locations as high-resolution scan data. Our work helped ground the season’s post-apocalyptic environments, digital doubles, and set extensions in real-world detail.

Where terrestrial scanning stops

A tripod-mounted scanner sees a location from human height. That is the correct instrument for a room, a street, or a standing set — and the wrong one for a landscape.

Wasteland environments are landscape problems. The relevant geometry is measured in hundreds of meters, it has no interior, and the shots looking at it are frequently airborne. Ground-based capture would take days and still miss everything above the treeline.

Aerial photogrammetry covers that ground. A flight plan with consistent overlap produces a reconstruction of the whole terrain — elevation, surfaces, and the actual shape of the land, in one pass.

Two instruments on the same show

The value is not that aerial capture replaces terrestrial scanning. It is that both were available on the same production, delivering into the same coordinate space.

A season with more than three thousand visual effects shots distributed across multiple large facilities needs its environment data to agree with itself. Terrain captured from the air, sets captured from the ground, and performers captured in the array all have to assemble in a single shot without anyone rescaling anything.

Coordinating that at capture time is far cheaper than reconciling it in post.

Grounding an invented world in a real one

A post-apocalyptic setting is a real place with things removed, added, and ruined. That is not a shortcut — it is why the genre works. Audiences read decay against a foundation they recognize.

Digital environment work built on measured terrain inherits that recognizability. The proportions are right because they were measured, the light behaves correctly because the surfaces are where they actually are, and a camera can move through the space without the illusion breaking.

Where an environment needs photographic fidelity rather than pure geometry, Gaussian splatting captures appearance in a way traditional meshes cannot.

Digital doubles in an environment that is mostly CG

When a large share of what surrounds a performer is rendered, the performer themselves becomes the element the audience uses to judge whether the shot is real.

That raises the bar on digital doubles rather than lowering it. Our Mobile CyberSCAN™ Studios capture performers on location, in the wardrobe and makeup the episode calls for, with every camera firing simultaneously so there is no drift to repair — the technique described in detail on our cyberscanning page.

Delivery across a global vendor pool

A season spanning multiple international facilities cannot ship raw capture. Assets go through retopology, texturing, and render-ready builds first, arriving scaled, oriented, and named to the show’s convention.

The set and location scanning data ships the same way — registered, cleaned, and ready to build against.

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