BETA | MO-CAP SPECIAL


notes there are always issues with expertise and training when using motion capture because of the technical complexity of the process, and this needs to be overcome to provide a more seamless approach to filming. “We are still a long way from motion


capture being as easy as pointing a camcorder at someone and capturing their performance,” he states. “However, with depth sensing technologies like we have seen in devices like Kinect, I think we’re going to get there sooner rather than later. “After that, it’s going to be less about capturing explicit markers, and more about capturing entire environments, props, clothing and all.” Imagination Studios founder John Klepper


says that one of the larger challenges is to provide actors with freedom of movement so they can express themselves, which will in turn, benefit the game. “A big challenge yet to be adequately


overcome is the ability to capture actors without the need for special suits or head mounted cameras, such that one could film in a normal way with normal clothes and simultaneously capture the actors’ motion in high resolution.” He adds that TV and film have no such


restrictions and continue to progress in the field, even introducing new animation technologies, such as complete facial motion capture and new lighting techniques. “Future computer animation may bring


the effects even closer to perceivable reality,” he says.


FREE TO MOVE Motion Analysis director Bo Wright agrees that one of the biggest limitations in the industry is providing actors more freedom. He argues that too much hands-on tech can prohibit performance.


“I think the biggest limitation is finding a less intrusive way to capture facial motion. Right now the performer has to wear either markers affixed to their face or wear a head- mounted camera rig. Both of them are limiting to the production and performance.” Working with and providing actors and


Above, (top-to-bottom): Bo Wright from Motion Analysis, Captive Motion’s James Comstock, Hein Beute of Xsens, NaturalPoint’s Jim Richardson and John Klepper of Imagination Studios


directors with the tools and environments they need is a challenge the industry has taken on, albeit with mixed results. L.A. Noire and Heavy Rain are examples of how performance capture can be done in the correct way, engaging the player in real emotions, immersing them into the game world, whilst moving the industry forward. Comstock says that the technology is in


fact already here and ready for use, and consoles can easily make use of the fidelity of the animations that can be provided. “It’s time to take really advantage of it,” he


states. “Of course, with more power comes more responsibility. A bad actor is still going to be a bad actor and a terrible script is going to be terrible no matter how great the characters and animation look.” Morris agrees that acting needs to take on


a more important role with developers in future games if studios are to take advantage of current tech and create a believable experience. He also believes that hiring the right director and bringing them in early on


30 | DECEMBER 2011 / JANUARY 2012


Many developers are looking to movies such as Paul (pictured) to better realise the role of the director in a mo-cap studio


in production is equally essential, as the chemistry between a good actor and director can provide moments too rarely seen in gaming and more often associated with film. “Casting the right actors and director is


crucial,” he says. “The chemistry between a good director and the actors on a full performance stage can be amazing; hairs on the back of your neck stuff. “It’s very difficult to do this if they aren’t on the stage together, recording everything at the same time. What’s the point of re-recording or dubbing when you can capture that magic between director and actor as it happens.”


A bad actor is still going to be a bad


actor no matter how great the characters and animations look.


James Comstock, Captive Motion


Alexandre Pechev, founder of full body solving and animation outfit Ikinema also believes directors need a more integral role in the filming and animation process. He says by merging pre-visualisation and


post-processing together, which requires fast processing and solving on the CG characters in real-time, directors would be able to then work on near-final quality characters. Whilst there is a need for some developers


to recognise the importance of acting and directing, as well as the various technical limitations, there appears to be a unanimous agreement amongst the sector that the slower console cycle has not affected the progress of motion capture, despite dealing with the same hardware. Elderfield says that the longer lifespan of the PS3, Xbox 360 and Wii has in fact helped motion capture cement a more important


role in gaming as costs can go straight into IP, rather than into R&D for new systems. “I don’t think it’s prohibiting any


advancement in motion capture,” he claims. “Contrary to this, I think it has helped developers become more comfortable with what motion capture is capable of right now. As developers become more accustomed to their consoles’ power and capabilities, they are more willing to divert resources toward testing how to get more out of their engines, which in turn allows for better animations.”


MASTER OF ALL TRADES Richardson echoes these sentiments, stating that despite the current generation’s system having relatively limited real-time capabilities and restricting what can be offered graphically, motion capture is tuned for numerous markets such as robotics, and is in a constant state of development. “In that way, the gaming market will


continue to benefit from the more rigorous demands of the scientific and film markets,” says Richardson. “If gaming engines and hardware progress to Avatar-like quality, in real-time, motion capture architecture will already be in place to drive those animations.” The Creative Assembly’s mo-cap manager


Peter Clapperton sums up the situation: “It may be a little known fact in the entertainment industry that one of the largest areas of R&D for motion capture technology is the medical profession, which, as you might imagine, demands absolute precision.” This doesn’t mean that there isn’t more


console manufacturers can do to help. Further advancements in real-time processing and rendering need to be made at both the software and hardware levels to bring the industry closer to film quality, and Sony, Nintendo and Microsoft all need to work with mo-cap studios to make the most of the tech. “The key notion here is for any developers


or console manufacturers to consult more and collaborate more with motion capture studios – at the very basis of any game development,” offers Klepper.


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