Volumetric Capture

Here is how this works in practice. We deliver volumetric capture, recording a performance or subject from many synchronised cameras at once to produce a fully three-dimensional digital asset that can be viewed from any angle and placed into VR, AR and game environments. Volumetric capture is a precise, calibration-heavy discipline: our crews run multi-camera capture arrays, manage the synchronisation and the big data throughput, and handle the processing that turns the footage into an usable volumetric asset. The work is studio-based.

Here is the short of it. This suits Iceland well — a controlled Reykjavík capture space removes the country's cold and fast-changing weather as a variable from a process that demands stability and steady lighting. We set up volumetric capture with the wider production and with the teams building the immersive environments the assets will inhabit, often Icelandic landscape environments captured separately on location.

We run capture in the capital facilities and bring in extra volumetric capture systems and pros from the UK and mainland Europe for larger projects, integrating the captured assets into the production's immersive pipeline.

Here is the breakdown. Iceland supports volumetric capture as a studio discipline paired with a country that is itself top immersive source material. Reykjavík, the world's northernmost capital, anchors the studio and capture base, and the country runs on close to 100 per cent renewable electricity from geothermal and hydroelectric power. This cleanly supplies the power a multi-camera volumetric array consumes.

Here is what that looks like on the ground. While volumetric capture itself is controlled studio work, the assets it produces are frequently placed into virtual environments built from the country's real landscapes — the glaciers, lava fields and geothermal terrain of a subarctic island on the Mid-Atlantic Ridge. English is near-universally spoken and ATA carnets cover short-term gear import. Eligible spend on Icelandic crew, capture space and gear can count toward the production reimbursement of 25 per cent, rising to 35 per cent for qualifying larger projects and series meeting spend and length criteria, administered by Film in the country.