A recce costs a day of everyone's time.
A location shortlist is decided by people who are rarely in the same place. The director, the production designer, the DoP, the gaffer, the 1st AD and the location manager all need to understand a space before the production commits to it, and photographs do not carry scale, sightlines or the awkward pillar in the middle of the room.
So everyone travels. Several options, several departments, several days. Then the tech recce finds the thing the photographs never showed, and the schedule absorbs it.
Explore. Measure. Shortlist. Share.
One capture, and the location stops being a folder of photographs.
Explore
Walk the location from anywhere, at any hour, as many times as you like. Dollhouse view shows the whole building at once, so the shape of a space reads instantly.
Measure
Take dimensions straight from the twin. Ceiling heights for the rig, door widths for the kit, clear spans for the set build, distances for track and camera moves. The grip can size rigging before the day rather than on it.
Shortlist
Cut a longlist down before anyone travels. Departments review the same record independently and arrive at a recce with questions rather than first impressions.
Share
One link, sent to everyone. No file sizes, no app, no version confusion, and it works on a phone in the back of a car.
What productions actually do with it
Recce fewer, decide faster
Travel to the two locations worth seeing instead of the eight on the list.
Plan the shoot, not just the look
Block scenes, plan camera positions and check sightlines against the real geometry before the day.
Brief every department at once
Art, camera, lighting, grip, sound and the AD team all work from one spatial record instead of a shared drive of photographs.
Answer questions without going back
The twin stays available through prep. Nobody needs a second visit to settle a measurement.
Market the location
For location libraries, agencies and owners who hire out: a twin lets a production shortlist your space without you arranging an access visit.
Prove condition, before and after
A dated 3D record of the location as you found it, and as you left it.
Prove what you found. Prove what you left.
Locations get dressed, rigged, walked through and struck, often at pace. A capture before the unit moves in and another after the strike gives both the production and the owner the same dated, measurable record of what was there. It is the same evidence we produce for dilapidations, applied to a building that has to be handed back in a fortnight rather than at the end of a lease.
Send us the location.
Tell us the address, roughly how big it is and when the production needs it. We will come back with a fixed quote and a realistic timescale.