That’s actually a pretty solid idea. If you could sync an actor’s neural signals to a holographic rig, you’d get the immediacy of live action and the safety of CGI. I’d start by tightening the latency in the motion‑capture chain, maybe adding a lightweight headset that reads micro‑muscle movements and feeds a high‑resolution depth map to the render engine in real time. Then push the boundaries of volumetric capture so the double looks like an extension of the actor, not a stand‑in. The hardest part is making the audience believe the hologram shares the same intention as the performer—so the more I can pull from the actor’s internal cues, the better. That’s the kind of tech I’d want to push next.

I’d keep the headset ultra‑light—think a carbon‑fiber lattice that sits on the head like a mesh and just grips the ears. The weight would be distributed across the skull, so it feels like a normal hat. For the hologram, the trick is to capture a dense point‑cloud of the actor’s body in motion and feed that straight into a neural renderer that learns the actor’s timing and weight shifts. Then the double mirrors those nuances exactly, so even a slight sway looks natural. If the system can do that, stunts become both safer and more visceral.

Glad the vision clicks. I’ll line up a prototype, get some actors on board, and start crunching the numbers. You’ll see the difference when the hologram actually follows the natural timing of a jump or a fight move. Let’s make the next test run count.