The Out-Laws

The Out-Laws is a 2023 Netflix crime comedy starring Adam DeVine and Pierce Brosnan, about a bank manager who suspects his in-laws robbed his bank. Directed by Tyler Spindel, written by Evan Turner and Ben Zazove, and produced by Adam Sandler, DeVine, and Allen Covert, the film follows a bank manager whose bank is robbed during his wedding week — by criminals he very strongly suspects are his future in-laws. Ellen Barkin, Nina Dobrev, Michael Rooker, Poorna Jagannathan, Julie Hagerty, Richard Kind, Lil Rel Howery, and Blake Anderson co-star. Netflix released the film on July 7, 2023.

SCANable was responsible for scanning characters, vehicles, locations, and props, along with aerial photogrammetry — 3D scanning coverage that supported the film’s visual effects.

Vehicles and the surfaces that fight a scanner

A car is one of the least cooperative subjects in this discipline. Chrome reflects the room instead of itself. Glass is transparent to most measurement methods. Gloss paint throws specular highlights that move with the observer.

Handling those surfaces is a technique problem, not an equipment problem. Cross-polarized photography suppresses the specular component so the underlying colour can be recorded cleanly, and controlled capture positions keep reflections from being baked into geometry that should be smooth.

The payoff is a vehicle asset that can be relit for any shot. A car captured with its reflections locked into the texture only looks correct in the lighting it was captured under, which is almost never the lighting the shot requires.

Hero props the plot depends on

In a heist comedy, certain objects carry narrative weight. The audience looks directly at them, often in close-up and often more than once.

Those objects are the ones most likely to be duplicated, destroyed, thrown, or handled in a way no practical version can survive — and therefore the ones most likely to need a digital counterpart.

Capturing the practical article gives that counterpart an exact match rather than a plausible one. The advantage is not just visual: a measured prop can be scaled correctly against the actor holding it, which is the detail that most often gives a CG object away.

Locations you get one window in

Banks, hotels, and working exteriors are borrowed, not built. Access is negotiated, limited, and rarely repeatable.

That reality shapes how capture is planned. Coverage has to be complete on the first attempt, because there is no coming back to fill a gap, and the scanning crew has to work without slowing the unit that is paying for the location.

Ground and aerial capture together close that gap in a single visit — the interiors and street level from tripod positions, the roof surfaces and surrounding structures from the air. Set and location scanning and digital doubles of the cast come out of the same trip.

Further film scanning work is worth a look, as is the full service list.