The Punisher: One Last Kill

The Punisher: One Last Kill is Marvel Television’s 2026 series following Frank Castle into one final, brutal confrontation with a powerful enemy. Dark, grounded, and intensely personal, the series pits Castle against a calculated adversary embedded deep within a modern criminal network, focusing on close-quarters action and the psychological cost of a life built on vengeance.

SCANable provided VFX photogrammetry and LiDAR set scanning for the production, including high-fidelity digital doubles for stunt integration, environment reconstruction and set extensions, and scan data supporting realistic destruction and lighting continuity — helping blend practical footage and VFX seamlessly to match the show’s gritty tone.

Prosthetics, makeup, and the state of the day

A performer is not a fixed subject. Over a shooting schedule the same actor appears with different hair, different wounds, different applied makeup, and different degrees of damage to whatever they are wearing.

Close-quarters action makes that variation load-bearing. If a digital double is going to cut against practical coverage of a bloodied, bruised character, it has to carry the same prosthetic build and the same makeup state, captured while that state exists. Prosthetic appliances have real thickness and their own edges; they are geometry, and photographing them from the front is not the same as measuring them.

Capturing a performer as they are on the day, rather than in a clean baseline pass, is what makes the double usable in the sequence it was built for.

Environments that have to break

Destruction work depends entirely on knowing what was there before.

A simulation needs the real dimensions of a wall, the real thickness of a door, the real spacing of the room the debris travels through. Fed approximate geometry, it produces debris that falls at the wrong rate through a volume that does not match the plate, and no amount of compositing recovers that.

LiDAR set scanning supplies the pre-destruction state at survey accuracy — including the parts of the set that are about to be destroyed practically and will not exist for a second take.

Lighting continuity across a dark show

Material shot in low key is unforgiving in a way brightly lit material is not. There is very little information in the frame, so the little that is there does most of the work.

Measured geometry is what allows a lighting artist to reproduce the practical lighting of a set in the digital version of it: the same surfaces at the same distances, taking the same falloff from the same source positions. Without that, matching a dark interior becomes trial and error against a moving target.

Stunt doubles and the hand-off

Point clouds are registered into one coordinate space and delivered alongside photographic reference. Character work goes out as digital doubles built after retopology, UV layout, and texturing, scaled and named to the receiving pipeline’s convention.

Our Mobile CyberSCAN™ Studios capture performers on location, so scans happen where the production is rather than where a facility is.

The rest of our television work is in the portfolio, with the full service list alongside it.