Arc Eye CEO Christian Cicerone walked us through the company's new modular mobile capture rig at NAB, a battery-powered alternative to the company's large dome scanner that breaks into three pieces and flat-packs for travel. Each stand carries six cameras and six lights on 80/20 aluminum extrusion rails, and multiple stands arrange in a circle for full-body or head scans while streaming wirelessly in real time.
We covered Arc Eye's network-connected scanning workflow at NAB 2025, when the company was still anchored to its fixed dome system. The new rig pushes that same workflow into a portable form factor.
Why the Dome Was Limiting
The original Arc Eye scanner is a large, fixed dome, which works well in a controlled studio but is impractical to ship or set up on location.
According to Cicerone, the new modular stand was designed to collapse small enough to fit through a standard man door and break into three pieces for transport. That makes the system viable for productions that need to scan talent on set rather than fly performers to a dedicated studio.
Modular Stand Configuration
Each stand mounts six cameras and six lights on 80/20 aluminum extrusion, and the camera-to-light ratio is fully reconfigurable depending on the job.
Body or group scans. 10 to 16 stands arranged in a circle.
Head scans. 3 to 8 stands with the seated subject's head at the center curve.
Per-stand mix. Configurable from three cameras with twelve lights up to all-camera setups.
Cicerone said the smallest practical face-scan kit is three stands plus three V-mount batteries, which a single operator can roll in and have running in 10 to 15 minutes.
Battery Power and Sync
Power and sync run through Arc Eye's Wolf Power Sync unit, which uses 6-pin Molex cables to deliver both the sync signal and power to the cameras and lights from a V-mount battery.
Combo cables are also available, pairing the power and sync line with a network connection on a single run. The wireless path uses Wi-Fi back to a MacBook Air for live view and capture, and an optional 10 gigabit wired connection from the laptop to the rig handles the fastest data offload when the production can run cable.
Two Rigs, One Sync Backbone
The mobile setup Cicerone demoed, the Wolf One rig, runs on battery with either wireless or wired control, while a second rig is hardwired only and built around full 10Gb throughput. Both rigs share the same Power Sync module and cabling, so cameras swap between them without rewiring.
The Wolf One was demoed with Sony Alpha 9 III bodies, which use a global shutter and shoot up to 100 to 120 fps. Cicerone described capturing roughly 30 seconds of 6K RAW burst frames at 30 fps as the basis for what he called 4D capture, where the subject is recorded across time rather than a single frozen instant.
Global Shutter vs 61MP Stills
Both rigs can be populated with either the Sony 9 III for moving subjects or a 61 MP rolling-shutter body when the priority is highest-resolution stills.
According to Cicerone, the global-shutter cameras suit moving subjects and 4D moments, while the 61MP rolling-shutter option is the choice when the team wants the densest possible still scan. He framed the 61MP path as a setup well-suited to feeding 4D Gaussian splatting pipelines.
Live Capture Workflow
With the rig connected to a MacBook Air over Wi-Fi, frames stream into the Arc Eye capture app for real-time review during the shoot.
That live view lets the operator confirm coverage before the talent leaves the volume, which is the same workflow Arc Eye built for the dome system, now running off battery in a footprint a single van can carry.
