The Studio

The Studio is a comedy series from Seth Rogen and Evan Goldberg, produced by Lionsgate Television, which premiered in March 2025. Created by Rogen, Goldberg, Peter Huyck, Alex Gregory, and Frida Perez, the series stars Rogen alongside Catherine O’Hara, Kathryn Hahn, Ike Barinholtz, and Chase Sui Wonders, debuting with its first two episodes on March 26, 2025.

SCANable performed a variety of 3D scanning in support of the show’s visual effects, including CyberSCAN™ capture of cast members, terrestrial LiDAR scanning, and vehicle and prop scanning.

Vehicles are the least cooperative subject on a call sheet

A car is chrome, glass, and gloss paint — three surfaces that behave badly for optical capture. Chrome shows the room instead of itself. Glass transmits rather than reflects. Clear coat throws a moving highlight that shifts with every camera position.

The answer is method rather than equipment. Coverage is planned so that hostile surfaces are described from many angles, the reflective story is separated from the geometric one, and the panel shapes are recovered from the parts of the body that behave predictably.

Done properly, vehicle capture produces geometry a VFX team can rebuild, replace, or damage digitally, with proportions that match the picture car exactly.

Episode two and episode nine have to agree

Episodic work punishes inconsistency in a way features do not. A car, a prop, or a performer’s double may appear in episode two and again in episode nine, shot months apart, cut by different editors, and finished by different artists.

If those appearances derive from a single measured asset, they agree automatically. If they are rebuilt each time from reference photographs, they drift — slightly different proportions, slightly different scale, slightly different surface.

Building the library once, at capture, is the cheapest version of continuity a production can buy.

The set gets struck; the data does not

Stages turn over. A location gets handed back. Set dressing is dispersed, and the picture car goes back to the vendor it was rented from.

Everything measured while those things existed remains available afterward at full fidelity. Everything not measured has to be reconstructed later from stills, memory, and whatever the camera happened to see.

That asymmetry is the entire argument for scanning during production rather than after it. A point cloud captured in an afternoon answers questions that arrive in post six months later, when there is nothing left to go back and measure. Our set and location scanning exists to make that record while it is still possible to make it.

Scanning around a comedy schedule

Half-hour comedy moves fast. Cast are rarely free for long, and stages are rarely idle.

Mobile CyberSCAN Studios are built for that constraint — the array travels to the production, capture takes minutes rather than a session, and the performer goes back to set. Data is processed off-site and delivered after retopology, texturing, and render-ready builds.

See more series and television work.