Volumetric Capture

Here is the breakdown. We set up volumetric capture for projects in Austria — the recording of a performer or object as a fully three-dimensional digital asset that can be viewed from any angle and placed into VR, AR, game and virtual-production environments.

Here is how this works in practice. Volumetric capture uses an array of synchronised cameras surrounding the subject, processing the footage into a moving 3D model rather than a flat image. It is a tech, pipeline-heavy discipline: the capture stage, camera synchronisation, processing and the tuning of assets for a target sites all have to work together.

Our teams set up the capture volume, the tech crew and the post pipeline, drawing on Austria's media-technology resources and the studio base around Vienna.

Here is the short of it. Volumetric capture sits at the top edge of Austrian production. The country is well placed to support it. Vienna has a strong media-technology base. This includes the resources around Red Bull Media House and the city's growing virtual-production and VFX sector, and crews trained at the Filmakademie Wien increasingly work across real-time and immersive formats. Volumetric assets feed naturally into the LED-volume and virtual-production work emerging in Vienna's studios, letting captured performances be reused across VR, AR and game projects.

Here is the breakdown. Studio-based capture sits apart from the location and heritage constraints of live-action shooting. The work qualifies under the 30% ÖFI+ rebates. The FISA+ federal scheme, with regional funds such as Filmfonds Wien supporting media-technology production in Vienna. Crews work under the Austrian Kollektivvertrag collective agreements. Our team advises on structuring a volumetric project so the capture pipeline and the funding align.