Motion Capture in Performance

Delbridge, Matthew

doi:10.1057/9781137505811

Cited by 32 publications

(5 citation statements)

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“…For performers, traversing this multiplanar space fosters a distributed perception that heightens their experience of the uncanny, wherein they are neither here nor there, in their bodies or others. In his experimental research, Matthew Delbridge (2015) has developed a series of training exercises to help performers acclimatize to mocap’s peculiar spatial demands. Delbridge draws a distinction between motion capture and performance capture 3 (or PeCap), the latter term referring to the use of motion capture techniques to capture an entire performance in one take.…”

Section: Uncanny Space Distributed Perceptionmentioning

confidence: 99%

“… 3. The term performance capture was first used by the director Robert Zemeckis during the filming of Polar Express (2004) and is preferred by directors like James Cameron, who famously used the technology in the Hollywood blockbuster Avatar , and well-known PeCap performers such as Andy Serkis. As Delbridge (2015) notes, some devotees of animation deride PeCap for the way it diminishes the animator; he instead underscores the vital relationship between animator and performer. …”

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confidence: 99%

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Catching the ghost: the digital gaze of motion capture

Chang¹

2019

Journal of Visual Culture

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Created with digital motion capture, or mocap, the virtual dances Ghostcatching and as.phyx.ia render movement abstracted from choreographic bodies. These depictions of gestural doubles or ‘ghosts’ trigger a sense of the uncanny rooted in mocap’s digital processes. Examining these material processes, this article argues that this digital optical uncanny precipitates from the intersubjective relationship of performer, technology, and spectator. Mocap interpolates living bodies into a technologized visual field that parses these bodies as dynamic data sets, a process by which performing bodies and digital capture technologies coalesce into the film’s virtual body. This virtual body signals a computational agency at its heart, one that choreographs the intersubjective embodiments of real and virtual dancers, and spectators. Destabilizing the human body as a locus of perception, movement, and sensation, mocap triggers uncanny uncertainty in human volition. In this way, Ghostcatching and as.phyx.ia reflect the infiltration of computer vision technologies, such as facial recognition, into numerous aspects of contemporary life. Through these works, the author hopes to show how the digital gaze of these algorithms, imperceptible to the human eye, threatens individual autonomy with automation.

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Section: Uncanny Space Distributed Perceptionmentioning

confidence: 99%

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confidence: 99%

Catching the ghost: the digital gaze of motion capture

Chang¹

2019

Journal of Visual Culture

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“…Rather than making on-set framing and camera movement decisions, or actors playing to a particular camera, motion capture uses an 'omniscient frame' [Delbridge 2015] whereby recording of performance is not delineated by a 'window typified by the cinematic frame' [Delbridge 2015], but becomes a volumetric operation 'enabled by the capacity of a Motion Capture system's camera array to see within a volume, to capture not just the height and width of the 2D frame, but to capture depth (via movement) as well' [Delbridge 2015]. Cinematography becomes a significantly more malleable creative tool within the 3D environment with which to flexibly and non-destructively explore visual storytelling permutations post-performance.…”

Section: Difference To Traditional Cinematographymentioning

confidence: 99%

Teaching visual storytelling for virtual production pipelines incorporating motion capture and visual effects

Bennett

Kruse

2015

SIGGRAPH Asia 2015 Symposium on Education

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Film, television and media production are subject to consistent change due to ever-evolving technological and economic environments. Accordingly, tertiary teaching of subject areas such as cinema, animation and visual effects require frequent adjustments regarding curriculum structure and pedagogy. This paper discusses a multifaceted, cross-disciplinary approach to teaching Visual Narratives as part of a Digital Design program. Specifically, pedagogical challenges in teaching Visual Storytelling through Motion Capture and Visual Effects are addressed, and a new pedagogical framework using three different modes of moving image storytelling is applied and cited as case studies. Further, ongoing changes in film production environments and their impact on curricula for tertiary education providers are detailed, and appropriate suggestions based on tangible teaching experience are made. This paper also discusses the advantages of teaching Motion Capture in the context of immersive environments.Keywords: motion capture, visual storytelling, narrative, visual effects, curriculum Outline and BackgroundVisual Storytelling has been used in various contexts, from marketing [Mileski et al. 2015] to film [McClean 2007] and even games [Howland et al. 2007]. While the Digital Design program at Auckland University of Technology utilizes Visual Narratives in different contexts throughout the curriculum, the focus of this paper is on film and immersive environments.Teaching Visual Storytelling or Visual Narratives poses significant challenges to educators and students alike. The topic requires a * e-mail:gbennett@aut.ac.nz † e-mail:jkruse@aut.ac.nz solid theoretical foundation, and could traditionally only be explored through theory and examples in a lecture/lab style context. Particularly programs that aim to deliver content in a studio-based environment suffer from the complexity and cost-time-constraints inherently part of practical inquiry into storytelling through short film production or visual effects animation. Further, due to the structure and length of Film, Visual Effects and Digital Design degrees, there is normally only time for a single facet of visual narrative to be addressed, for example a practical camera shoot, or alternatively a visual effects or animation project. This means that comparative exploratory learning is usually out of the question, and students might only take a singular view on technical and creative story development throughout their undergraduate years. Normally only postgraduate study offers sufficient time to understand and explore multiple facets of filmic narratives. Film production pipelines in general, and visual effects workflows in particular, have seen a significant paradigm-shift in the past decade. Traditional workflows are based on frequent conversions between two dimensional images and three dimensional data sets [Okun and Zwerman 2010]. For example, the acquisition of camera images (digital or on film) projects a 3D world through a lens on to a 2D camera plane (sensor or f...

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“…Among many studies Oscar Schlemmer's and Rudolf Laban's works on movement comes into prominence because of their validity and effects on today's researches. For example Schlemmer's stereometric approach focusing on the exploration of the spatial relationship between human body and geometry has an impact on today's motion capture technology [6,7].…”

Section: Introductionmentioning

confidence: 99%

Movement as a design parameter: Studio works 2014–2016

Özer¹,

Kavakoğlu²

2017

Int. J. DNE

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In the relationship of design and nature, movement is one of the major concepts that can be considered in every design scale. Therefore, this study tries to reveal the various integration of movement notion/ concept into design problems in architectural design education, aiming to use movement data as a design parameter. Space, time and movement are a very complex triple to articulate in a design problem but at the same time, the analysis of movement notion and search for its impacts in design, stretch the students' way of design thinking. Regarding the above statement, three courses are conducted as a series of design studios, within Istanbul Kemerburgaz University (IKBU) Department of Architecture. The case studies focused in this paper based on design projects take place during ARCH 101-Basic Design, ARCH 284-Introduction to Digital Design and ARCH 301-Architectural Design courses between 2014 and 2016. These courses aim to develop a common ground for a computational way of thinking in the curricula. Regarding this aim; all three courses are designed within a similar methodology that targets the integration of (1) capturing/recording (2) analyzing, and (3) embodying/materializing/articulation of movement into design process. Finally, this paper is an experimental study on using movement data in design process of architectural design education. The results of the studios are compared within their processes, and it has been observed that when design experience increases, students tend to spend more time in materializing the design rather than capturing and analyzing the movements.

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Motion Capture in Performance

Cited by 32 publications

References 1 publication

Catching the ghost: the digital gaze of motion capture

Catching the ghost: the digital gaze of motion capture

Teaching visual storytelling for virtual production pipelines incorporating motion capture and visual effects

Movement as a design parameter: Studio works 2014–2016

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