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.