The Scan Truck is a mobile 3D scanning studio that captures people, objects, equipment, and environments on location using photogrammetry, LiDAR, and blue-light laser scanning, then delivers production-ready 3D assets. We’ve completed 300+ film, TV, and game projects and serve entertainment, AI/synthetic data, government, robotics, museum, and brand clients.

We operate two mobile studios: our flagship truck based in Los Angeles and an East Coast expandable trailer headquartered in Albuquerque, New Mexico, together covering productions and programs nationwide. Both units are fully self-sufficient with onboard power, so we can scan at studios, labs, government facilities, and remote locations.

A 160-camera cross-polarized DSLR photogrammetry rig built into the truck, long-range LiDAR scanners for environments, a blue-light laser scanner accurate to 25 microns for objects and parts, photometric lighting for automated prop capture, and handheld photogrammetry for work in tight spaces.

Minutes. Once a person steps into the rig, positioning and capture take only a few minutes per scan. The 160 cameras fire simultaneously, so there’s no holding still through a long capture, and talent is typically in and out between setups without disrupting the shooting day.

Around 120 individual full-body scans in a single day. For hero facial capture, a dedicated FACS session can produce roughly 250 individual head scans, the expression libraries used to build film-quality digital doubles.

Raw scan data typically delivers within 2 working days depending on complexity. Hero-level finished assets that are fully retopologized, textured, and production-ready typically take 1 to 2 weeks depending on complexity and deliverable spec.

Cost depends on four things: how many subjects we’re capturing, which capture methods the job needs (photogrammetry, LiDAR, laser, or a combination), how far the data gets processed (raw scans vs. fully retopologized hero assets), and location/travel. A one-day talent scan is priced very differently from a multi-week facility digitization. Tell us what you need captured and we’ll quote it. Most quotes turn around within a business day.

Mostly just a place to park. Both mobile studios are self-sufficient, with onboard generators powering the full rig, lighting, and processing stations, so we don’t pull from your power or need stage space. For environment scanning we walk the site with handheld and tripod units.

Matte, fitted clothing with visible texture scans best: think denim, cotton, knits, and fabrics with weave or pattern. Avoid shiny or reflective materials (satin, sequins, patent leather, chrome hardware), transparent or lace layers, and large areas of featureless pure black, which absorb light and give the cameras nothing to reconstruct. Keep hair styled and controlled, since flyaways don’t reconstruct well, and remove glasses unless they’re part of the character. If the wardrobe IS the subject (costume scans), we light and capture around these challenges deliberately.

Photogrammetry reconstructs from what cameras can see, so surfaces that defeat cameras defeat the scan: mirrors and chrome, glass and transparent plastics, very glossy paint, wet surfaces, fine fur and wispy hair, and featureless single-color surfaces with no texture for the software to match between photos. Motion is the other enemy: the subject must be still for the instant of capture (our rig fires all 160 cameras simultaneously, which is how we scan people reliably). Difficult subjects usually aren’t impossible; they just need the right method or preparation.

Yes. That’s what the truck was built for. We park at your stage, backlot, or location, and talent cycles through between setups. We’ve scanned this way on Dune: Part Two, Superman, Avengers: Endgame, John Wick 3, and 300+ other productions.

Hero-level meshes and calibrated texture maps aligned to your VFX vendor’s spec, plus expression sets from FACS sessions, costume and prop scans, and LiDAR set data. Deliverables are prepared for retopology, rigging, and look-development workflows, or we handle retopology and texturing in-house.

Yes. Costumes capture on talent or forms with cross-polarized photogrammetry for accurate fabric detail; hero props and practical creature builds combine photogrammetry with 25-micron blue-light laser scanning. For Hulu’s Control Freak we dual-captured the practical monster and delivered a fully retopologized, rigged asset.

Yes: clean topology, LODs, PBR textures, and engine setup for Unreal and Unity. We scanned the full cast of The Quarry (2K) and delivered performance-ready characters, and our credits include FIFA 23 (EA Sports) and GTA with Dr. Dre.

Yes. Real-world scans are the ground-truth layer for synthetic data pipelines: we capture objects, people, materials, and environments, then deliver them as clean, simulation-ready assets used for synthetic data generation, object detection, segmentation, pose estimation, and robotics perception training.

Yes. We deliver assets with licensing cleared for ML training use, scoped to your project’s needs. Data provenance and rights are documented at delivery, which matters increasingly for teams building commercial models.

USD, glTF, FBX, and OBJ, with PBR materials and LODs, ready for NVIDIA Isaac Sim, Unreal, Unity, and custom simulation environments. We can match your pipeline’s naming, scale, and material conventions.

Yes. We are SAM.gov registered (CAGE 8KB18, UEI J7F2CB62LJA7), have completed a Phase II SBIR, and have performed on an OTA agreement. We work as a direct vendor, subcontractor, or technical partner on SBIR, STTR, OTA, and BAA opportunities.

Scan data can remain on client-controlled storage, with no cloud upload required. Our crew members are U.S. citizens, and we work within your site’s security and data-handling procedures.

Yes. We’ve digitized military equipment, weapons, and munitions, laser-scanned at 25-micron accuracy, for use in a VR training simulator. Our LiDAR and photogrammetry workflows support facility digital twins, training environments, and scan-to-simulation programs.

Photogrammetry reconstructs subjects from overlapping photographs, giving the best texture and color fidelity, ideal for people and organic surfaces. LiDAR measures large spaces with laser pulses, producing accurate point clouds of sets, buildings, and terrain. Blue-light (structured-light) laser scanning captures objects with the highest dimensional precision, down to 25 microns. Most projects combine methods: the right tool per subject, merged into one deliverable.

Whenever the subject defeats cameras. Our blue-light laser scanner projects its own structured light pattern onto the surface, so it doesn’t depend on surface texture or ambient lighting the way photogrammetry does. That makes it the right tool for machined metal parts, dark or single-color objects, reflective and glossy surfaces (with minimal prep), and fine mechanical detail, all captured at 25-micron accuracy. On many projects we combine both: laser scanning for exact geometry, photogrammetry for color and texture, merged into one asset.

Our blue-light laser scanner resolves detail to 25 microns (0.025 mm), precise enough for reverse engineering, part inspection, and CAD workflows. Photogrammetry accuracy depends on subject and setup but delivers hero-level geometric and texture detail for film and game assets.

Usually both. Raw high-poly source data preserves every captured detail for archival and future re-use. Optimized assets, retopologized, UV-mapped, and PBR-textured with LODs, are what rendering, real-time, and simulation pipelines actually consume. We deliver either or both, to spec.

FBX, OBJ, glTF, and USD as standard, plus point-cloud formats for LiDAR data and engine-ready packages for Unreal and Unity. Texture sets deliver as calibrated PBR maps at the resolution your pipeline requires.

Yes. We regularly deliver to VFX vendor specs, game studio conventions, and simulation platform requirements: naming, scale, topology standards, texture budgets, and LOD chains. Send the spec with your brief and assets arrive ready to drop in.