Scans and Reality

While AI is an incredible engine to do things, it needs a good base. Something to work with. It happens with data, with text (I appreciate it as an editor, I hate it as a pure writer) and with images. This reality is what is generating so much friction with copyright and illustrators (and they are right): AI needs a strong reference, otherwise it generates crap.

We are strong believers in live production. Nothing gives you as many options, and nothing is as easy to give feedback on, as professionals capturing reality. It is not even close!

As with many other things, hybrid seems to be the way. AI is turning our editor into a cyborg, but then he needs to rewatch and make the cut in the right place. Taste matters.

But precision too.

One of the key parts of advertising is the product itself. This is why we dedicate time, and often pay important amounts, to photographers capturing only the product. And its beauty.

This will continue being there.

But for some product shoots, and to make any CGI work easier, we believe having digital twins can be a real advantage.

What is a digital twin? A 3D copy of the real product, captured from the object itself. Not modelled from scratch, not guessed by AI. The exact shape, down to under a millimetre, and its real materials, so it can be relit in any scene. Once you have it, the product can go into CGI, retouching, e-commerce or AR, as many times as you need, without shooting it again. More: https://www.allsides.tech/resources/allsides-3d-digital-twin-factory

Where we use it most: in post We don't scan to replace the shoot. We scan so that, on some occasions, we can add the product in post-production:

• the sample wasn't ready on the shoot day,

• a new colourway arrives after the shoot,

• the product needs to look perfect in a shot where it couldn't (logo, stitching, reflections),

• one shot needs a product we never had on set. The film keeps its live, real feel. The product is exact.

Some numbers

• Once a product is scanned, the same 3D file can be reused for every variant and every later job, with no reshoot.

• adidas, with its content studio NUREG, was one of the first to use these scanners (when ALLSIDES was still called Covision Media), and scans thousands of products a year with them for its website, apps and virtual try-on (NVIDIA blog).

• Gunner Kennels added 3D and AR to its product pages: order conversion +40%, returns −5% (Shopify case study).

• The 3D product visualization market is estimated at roughly $1–4B in 2025, growing 10–27% a year depending on the report.

How it works with FALCA

1. You send us the products.

2. We scan them with ALLSIDES technology.

3. We organize and store your 3D library.

4. If you want, we use them: adding the product in post, CGI, retouching, social content.

5. Every scan comes with a small social clip of the process (it is really cool).

If you have any further questions, write to us!