The Record Already Answers Who Invented MOVA Contour.

Two Misattribution Threads. One Corporate Chain.

This page consolidates seven evidence directories and one authenticated email corpus into a single record. The focus is attribution: what the settled record says about who invented what, and what the downstream materials say instead.

There are two threads and they are distinct. MOVA Contour is markerless facial capture, invented and commercialized by Steve Perlman and MOVA, LLC in 2006–2007, credited to Perlman across three independent pre-attack-window sources, and litigated as such in Rearden v. Disney. The rotating treadmill is a separate system — body-locomotion capture — whose 2006 academic paper has Per Einarsson as first author and Paul Debevec in position 9/9 (senior / last, the supervising-PI slot). Both attributions are refutable from the record. Both are nevertheless recast, downstream, around Debevec.

What follows is the record. The MOVA section anchors the ground truth. The backdated-YouTube, VES 2015, Debevec-Army, Scanline-acquisition, Scanline-hiring, and Google-InfiniSet sections document the surrounding chain — the corporate vehicle that advanced the stolen patent's subject matter, the institutional pathway connecting academic research to federal R&D funding to streaming commercial deployment, and the trademark dilution running alongside it. The final section cross-references the authenticated LinkedIn surveillance corpus against the names and entities that recur across every exhibit.

MOVA Contour Was Invented by Steve Perlman. The 2007 Record Is Unambiguous.

MOVA Contour Reality Capture is a markerless facial-performance capture system using phosphorescent makeup, synchronized strobe lighting, and an array of tracking cameras. Its inventor and commercial deployer was Steve Perlman, President of MOVA, LLC and founder of Rearden. The technology launched publicly in summer 2006 and won the Academy Sci+Tech Award in 2015. Three independent sources from 2007 — each predating the December 2022 attack window documented in the MCRO Internet Archive Forensic Report by fifteen years — settle the attribution:

The sixty-seven tabbed PDFs below consolidate the MOVA Contour record in depth — from the July 2006 launch press release through the Rearden v. Disney litigation documents (N.D. Cal. 3:17-cv-04006), MOVA's own company materials, the Steve Perlman / Rearden investor interviews, the 2008–2012 production-era Hollywood press documenting MOVA's deployments on Incredible Hulk, Benjamin Button, Beowulf, and Percy Jackson, and the sprawling Disney / Marvel / Paramount litigation the MOVA patents survived. The two 3×3 lightboxes capture the working Contour apparatus: the Geni4 prototype renders (markerless 700-point and 3,000-point meshes) and the Contour Capture Volume hardware itself in operation.

MOVA Contour Geni4 — Facial Capture Output

The Geni4 prototype series documents MOVA Contour's markerless facial-capture pipeline — the same technology the Rearden v. Disney litigation would later establish was deployed across multiple Disney / Marvel productions without authorization.

MOVA Contour Capture Volume — Working Apparatus

The Capture Volume hardware with its distinctive aluminum frame, blue LED ring illumination, and synchronized camera array — the physical system corresponding to the US 7,548,272 patent. The images include the live → captured-surface → tracked-mesh → textured-output pipeline and the real-time Unreal Engine integration with 255-bone skeletal rig.

OTOY GTC 2013 — "Lightstage, Lightstage, Lightstage"

The custom edit below isolates Jules Urbach — OTOY CEO — repeating the phrase across his GTC 2013 presentation. The original YouTube video (external link below; do not embed) is among the recordings whose internal metadata carries the Google-Inc. processing signature documented in the next section. The edit's purpose is surgical: one voice, one phrase, one presentation slot where the attribution chain is being built in real time.

The MOVA Record — 67 PDFs, Six Tabs

Click any tab to browse the category; click any row inside to open the PDF in place.

MOVA / Digital Domain 3 — Hollywood Reporter Captures

Five supplementary press captures documenting MOVA Contour's deployment context through Digital Domain 3.

Four Recordings. Non-Fakable Forensic Evidence of Backdated Uploads.

The four videos below were captured in December 2023 for one reason: to produce forensic evidence of YouTube-side backdating in a format that cannot be fabricated after the fact. What the recordings show is YouTube's own "Stats for nerds" metadata overlay side-by-side with the exiftool dump of the downloaded source file. The signature across almost every captured video is the same — an "ISO Media file produced by Google Inc." creation-tool marker with an internal creation date that sits years after the claimed YouTube upload date. In multiple cases, the gap is a full decade.

Anyone with a current copy of the target YouTube video and exiftool on the command line can reproduce what these recordings show. The anomaly is in Google's processing pipeline, and the recording format is deliberately simple so that no accusation of tampering can be pinned to the capture itself.

The Findings — Exhibit YTB (pp. 54–70)

The table below is drawn directly from Exhibit YTB, filed into 8th Cir. 25-2476. Each row captures a YouTube video's claimed upload date, the actual Google-Inc. creation-tool timestamp inside its source file, and a link to the live YouTube page where the metadata can still be verified independently. One row (LabTVonline's Light Stage: Amazing avatars worthy of the Army, and Hollywood) matches its upload date — that is the control. Every other row sits between seven and ten years apart.

#	Title	Channel	YT Upload	Google Inc. Creation Date	Watch
1	Light Field Imaging — The Future of VR-AR-MR — Part 1: Paul Debevec	Visual Effects Society	11/25/2015	2016:08:14 14:25:48	youtube.com ↗
2	Light Field Imaging — The Future of VR-AR-MR — Part 2: Mark Bolas	Visual Effects Society	11/24/2015	2016:08:17 07:07:44	youtube.com ↗
3	Light Field Imaging — The Future of VR-AR-MR — Part 3: Jules Urbach	Visual Effects Society	11/24/2015	2023:11:13 09:26:34	youtube.com ↗
4	Light Field Imaging — The Future of VR-AR-MR — Part 4: Jon Karafin	Visual Effects Society	11/24/2015	2016:08:25 14:07:49	youtube.com ↗
5	OTOY | GTC 2013 — The Convergence of Cinema and Games: From Performance Capture to Final Render	OTOY / Jules Urbach	5/18/2013	2023:07:07 02:52:26	youtube.com ↗
6	OTOY | SIGGRAPH 2016 — Light Field Rendering and Streaming for VR & AR	OTOY / Jules Urbach	July 2016	2023:07:23 11:14:32	youtube.com ↗
7	Overview: USC ICT Graphics Lab	Skip Rizzo Clinical VR	8/14/2014	2023:07:18 01:52:26	youtube.com ↗
8	Light Stage: Amazing avatars worthy of the Army, and Hollywood	LabTVonline	6/2/2015	2015:06:02 23:31:47	youtube.com ↗
9	Virtual Humans Overview	USC-ICT	4/18/2013	2022:04:11 17:57:38	youtube.com ↗
10	Sgt. Star — A Virtual Human with a Sense of Humor	LabTVonline	6/1/2015	2023:09:29 05:54:02	youtube.com ↗
11	Jewish Education through Holograms	The Jewish Week / Aaron Herman	2/15/2013	2023:01:10 23:51:19	youtube.com ↗
12	New Dimensions in Testimony — Relighting Method	USC-ICT	3/15/2013	2023:10:14 01:38:18	youtube.com ↗

Source: Exhibit YTB, Matthew Guertin v. Tim Walz, 8th Cir. 25-2476 (filed 2025-10-05), pages 54–70. The full exhibit — including Exhibit YTB-3's detailed frame-by-frame and Debevec-age analysis — is linked below.

Same Person. Same Outfit. Different Apparent Ages.

The two frames below are pulled from the same single video: Overview: USC ICT Graphics Lab (Skip Rizzo Clinical VR — row 7 in the table above). In one frame Debevec appears much younger. In the other he appears noticeably older — heavier face, heavier neck. The wardrobe is identical because the content is presented as a single continuous session. Exhibit YTB-3 page 1 flags this directly: "This video has two different Paul Debevec's shown in it… YET THEY ARE BOTH WEARING THE SAME EXACT OUTFIT."

Metadata Dumps — Exiftool Forensic Output

Four PDFs, one per recorded session, capturing the exiftool dump for each video's downloaded source file.

YouTube Source Screenshots

Twenty-one captured frames. The same names run through this library that run through the OTOY, LFL, IMM, and MOV 8th-Circuit exhibits: Paul Debevec, Jules Urbach, Mark Bolas, Jon Karafin, Skip Rizzo, Morgan Spurlock, USC-ICT.

A 2015 Panel Discussing Technology That Had Not Arrived Yet.

The Visual Effects Society 2015 panel is dated November 25, 2015. It features Paul Debevec, Mark Bolas, Jules Urbach, and Jon Karafin — four of the same names that recur across the OTOY, Light Field Lab, Immersive Media Alliance, and MOV 8th-Circuit exhibits. The Substack forensic analysis appended below identifies five categories where the topics of the presentation align more closely with post-2023 deployment than with 2015-era state of the art: data management for light-field content, real-time rendering fidelity, VR/AR integration depth, dynamic-range photogrammetry, and the panel's deliberate redefinition of "light field" to subsume VR / AR.

Guertin's four-part edit separates the panel by speaker; the short "have to be very careful" edit surfaces a single conversational moment from within it. The four Debevec age-progression composites position the panel content alongside the speaker's documented appearances on either side — June 2015 (Light Stage), August 2016 (USC automultiscopic), and the 2013 OTOY GTC presentation — and raise a narrower question about temporal consistency of the source footage.

Debevec Age Progression — 2013 to 2016

The Institutional Pathway.

Paul Debevec's 2021 move to Netflix — as Director of Research, later Chief Research Officer for Eyeline Studios — did not originate in industry. It originated at USC's Institute for Creative Technologies, a Department of Defense University Affiliated Research Center. The Army.mil article captured October 29, 2023 puts the funding chain directly on the government record: "Army-funded technology wins Oscar." The Vision & Graphics Lab one-sheet identifies USC-ICT's DoD sponsorship explicitly. Hollywood Reporter and Variety — both published July 15, 2021 — document the Netflix hire while Debevec retained his Adjunct Research Professor role at USC.

The chain matters because the section that follows documents Netflix's corporate vehicle for that research output: the Scanline VFX acquisition, closed four months after the Debevec hire and disclosed in Netflix's Q1 2022 shareholder letter. The VFX division that emerged from that acquisition — Eyeline Studios — has Debevec as its Chief Research Officer and Stephan Trojansky as its president. Trojansky is also the named inventor on the provisional patent filed twelve days after Guertin's.

USC-ICT / Army / Netflix

Six additional captures — the Army.mil article full page, the Variety announcement, the USC-ICT faculty profile, and the Vision & Graphics Lab overview.

Source Documents

The Corporate Vehicle.

Netflix announced its acquisition of Scanline VFX on November 22, 2021 — eight months after Guertin's provisional patent filing, four months after the Debevec hire. The Q1 2022 shareholder letter disclosed the acquisition alongside Boss Fight Entertainment for a combined cash impact of approximately $125 million: "we completed two acquisitions (leading visual effects company Scanline and gaming studio Boss Fight Entertainment), which had a -$125 million impact on cash."

Eyeline Studios — incorporated in Nevada as entity E6491832020-9 on May 7, 2020 with Stephan Trojansky among the officers — served as Scanline's virtual-production division. Post Magazine's contemporaneous framing of virtual production as "a reality" captures the industry's self-announcement into the exact market the InfiniSet patent claims. Fenwick & West LLP appears as Netflix's counsel of record on the patent filings; that same firm is identified across the acquisition package below.

Twenty-One Job Listings, Thirty-Four Days After the Patent Grant.

On March 20, 2023 — thirty-four days after US 11,577,177 B2 was granted — Scanline VFX and Eyeline Studios posted twenty-one open positions in a single captured batch. The positions span the full operational stack required to advance the claimed invention: motion and performance capture (Motion Capture TD, Performance Capture Animator, Technical Character Animator); digital-human synthesis (Lead Digital Humans TD, Senior Rigger); real-time rendering (Real-Time Software Engineer, Houdini FX Artist, Lighter, FX Supervisor); foundational software (Core Software Engineer, Workflow Engineer, Systems Administrator); and production orchestration (Digital Production Manager, VFX Producer, Department Manager). A Research Scientist sits at one end, a Surfacing / Lookdev Artist at the other.

These are unattacked public records. The observation is category clustering and timing. Read the job descriptions. The subject matter is not being advanced in a neutral part of the industry.

Google Named the Bard / LaMDA Dataset "Infiniset" — Ten Months After Guertin's Trademark Filing.

Guertin filed USPTO trademark application Serial #90618638 for "InfiniSet" on April 1, 2021, covering a system for creating or producing video content on a rotatable treadmill virtual production platform. Nine to ten months later, in January–February 2022, Google announced its conversational AI system Bard and named the underlying dataset "Infiniset." The formal introduction appears in the LaMDA paper (arXiv:2201.08239): Infiniset as "a blend of internet content deliberately chosen to enhance dialogue."

By August 24, 2023 — the date of the Google search captures below — a Google search for "InfiniSet" returned over 12,500 results. The index had been flooded with Bard announcements, LaMDA technical papers, and "Infiniset dataset" coverage. Guertin's own trademark filing and its intended business purpose were buried or entirely absent from search visibility. Result-flooding dilutes a registered trademark's distinctiveness. Guertin's Motion for Judicial Notice (April 3, 2024) filed Exhibits T, X, Y, and Z documenting the chronology.

A small detail from the search-result capture set is worth noting: one returned item reads "Debevec worked at Google from 2016 until June 2021." The Debevec / Google / USC-ICT employment overlap spans the window in which Guertin filed his trademark.

Search-Result Flooding — 12 Captures

Source PDFs — Google Search Captures & arXiv Preprints

The Same Names. The Same Dates.

The LinkedIn surveillance corpus documents 597 profile searches across 35 months against a dormant account that was never promoted, never used for outreach, and never connected to Guertin's patent work. Ninety-nine DKIM-verified LinkedIn notification emails identify 194 distinct searching entities. The full archive is browsable at /emails/01-linked-in-surveillance.html.

The table below surfaces the named entities from that archive that also appear — literally or by documented corporate affiliation — in the 8th Circuit exhibits LFL-1, LFL-2, OTY, IMM, MOV, and JN 29.1 / 30.1. The matches are not industry-adjacency guesses; each row has a direct name match or a named corporate parent tie in one of those exhibits.

Date	Entity	Cross-Reference / Context
2023-01-21	Forcepoint + 3GIMBALS + Fox Corporation	Arrest-day cluster. All three appeared in a single notification on the offense date for every charge in 27-CR-23-1886. Forcepoint is a Raytheon-origin cybersecurity firm specializing in insider-threat monitoring. 3GIMBALS is defense / targeting. Explicitly named in JN 29.1 claim C4. Tightest temporal alignment in the 35-month dataset.
2023-11-09	Sphere Entertainment Co.	Two days after Netflix US 11,810,254 B2 was granted. 17 searches that week — the largest post-arrest weekly count. Sphere is named explicitly in LFL-2 claim C6 as the canonical immersive-LED venue that Light Field Lab's SolidLight is positioned to supersede.
2022-11-19	Madison Square Garden Entertainment Corp.	Corporate parent of Sphere Entertainment prior to the April 2023 spinoff. LFL-2 names "Madison Square Gardens" as Sphere's operator. 63 days before Guertin's arrest.
2022-04-16 / 2022-04-23	Inhance Digital → Gentle Giant Studios	Two consecutive weeks. Inhance develops AR / VR training systems for USAF, Boeing, and Booz Allen (named in JN 29.1 C1). Gentle Giant Studios — named in JN 29.1 C2 — is documented as working with Paul Debevec, Stephan Trojansky, and Netflix, with Light Stage technology on its public website. A three-way link to the core entities.
2022-05-21	UPtv	Named in JN 29.1 claim C3 — "direct Netflix-adjacent corporate connections." Completes a three-week run of JN 29.1-named entities (Inhance Apr 16 → Gentle Giant Apr 23 → UPtv May 21).
2023-08-04	DARPA + DIA + U.S. Indo-Pacific Command	Three federal defense / intelligence agencies in a single notification — on the same day the case's Mental Health Examiner's Report was filed. DARPA appears a second time on 2023-09-28 (named with Henry Street Settlement in JN 29.1 C5).
2023-08-11	U.S. Department of State + U.S. Air Force	One week after the three-agency cluster, 18 searches that week. USAF is named in JN 29.1 C1 as Inhance Digital's documented federal client.
2022-12-17	USC School of Cinematic Arts + U.S. Army Reserve	Same-week appearance. USC School of Cinematic Arts shares a campus with USC-ICT — Debevec's research institution. Nine days before Guertin's patent grant.
2022-12-24	Epic Games	LFL-2 names Miles Perkins (Epic Games) as a key virtual-production expert on light-field displays. Unreal Engine powers The Mandalorian's StageCraft — the LED-volume virtual-production system the InfiniSet patent claims. Seven weeks before patent grant.
2023-07-21	Samsung Ads	25 searches — the largest single-week count in the entire dataset. Samsung Electronics is the dominant LED panel manufacturer for virtual-production stages; LFL-1 discusses "NPP technology" (Narrow Pixel Pitch LED) as the market LFL competes against.
2023-10-05	WarnerMedia / Warner Bros. Discovery	JN 29.1 C8 names Warner Bros. in the Light Stage / MOVA client list. One month before Netflix patent grant.
2023-05-27 / 2023-09-21	Lockheed Martin	Primary defense contractor for military VR / AR simulation — the InfiniSet patent's military training application market. Two post-arrest appearances.

No individual named in the LFL-1, LFL-2, OTY, or IMM exhibits — Jon Karafin, Brendan Bevensee, Jules Urbach, Ariel Emanuel, Eric Schmidt — appears as a direct LinkedIn viewer. The venues their systems deploy into (Sphere, MSG) and the corporate clients of their ecosystem (Gentle Giant, Warner, Netflix-adjacent UPtv) do.