Welcome to The Fox Lab
This is where I post my cool scans, projects, and whatever I happen to be working on next. Driven by custom automation, motion control rigs, and optics, this is a playground for digitising the physical world and pushing 3D printing to its absolute limits. No rules, no corporate boundaries—just a casual log of experimental captures and physical creations that look incredible
This video is a look inside my studio and the scanning process behind Hagglethorn Hollow: Evermaze.
What you're seeing isn't a simple 3D scanner sitting on a desk.
The entire system is built around a custom motion-control rig weighing well over half a ton.
That mass isn't there to look impressive—it exists to eliminate even the smallest vibrations.
When you're capturing details measured in microns, tiny movements matter.
Instead of moving the sculpture, the rig moves around it on custom-built rails while I control every axis from the workstation.
Combined with an automated turntable, I can capture hundreds of perfectly repeatable photographs from exactly the right positions.
The lighting is just as important as the cameras. 34 individually controlled cross-polarized light array eliminates specular reflections, allowing the cameras to capture only true diffuse colour.
The result is clean, consistent data that's ideal for reconstructing both geometry and texture.
Depending on the size of the sculpt, a finished scan can range from around 100 million to well over 1 billion polygons.
On this project I scanned more than 200 individual sculptures, refining a workflow that delivers consistent, repeatable results whether I'm scanning a tiny doorway or an entire building.
Working with Johnny Fraser-Allen on Hagglethorn Hollow: Evermaze has been an incredible opportunity to combine traditional craftsmanship with modern technology.
The goal isn't simply to make a digital copy.
It's to preserve Johnny's sculpting style as faithfully as possible—every tool stroke, every carved edge and every tiny imperfection that gives the piece its character.
The scanner isn't there to improve the sculpture or reinterpret it. It's there to capture it exactly as it exists.
The raw scans contain an extraordinary amount of information, During testing I was even able to reproduce a sculptor's fingerprint in a resin print.
Tiny scratches, microscopic dust particles which look like small rocks on closeup, and even the occasional strand of cobweb become part of the digital archive.
From there, the work isn't about changing the sculpt—it's about making it practical. The master scan is carefully reduced to a polygon count that people can realistically download or open on regular computer, and print while preserving as much of the original geometry as possible.
The limit is no longer the scan itself, but the physical resolution of resin printing.
Every reduction is made with one goal in mind: to lose as little of Johnny's original work as possible, so the final print still carries the same character, texture and feel as the sculpture sitting on the workbench.
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