Issue link: https://digital.copcomm.com/i/1489831
30 cgw o c t o b e r • n o v e m b e r • d e c e m b e r 2 0 2 2 W hile the technology itself has roots in biomechan- ics research from the 1970s and 80s, today mo- tion capture is more commonly associated with Hollywood blockbusters and AAA games. Motion capture was first made popular by the iconic performances of Andy Serkis as Gollum in The Lord of the Rings trilogy (2001 - 2003) and Ahmed Best as Jar Jar Binks in Star Wars: Episode I - The Phantom Menace (1999) – the first fully computer-generated character with a major role in a live-action film. Mocap has evolved leaps and bounds since the early noughties. BRIDGING THE GAP BETWEEN TECHNOLOGY AND PERFORMANCE While mocap is synonymous with actors wearing onesies decorated with pom poms, at its high end is a combination of sophisticated soware and hardware. At the heart: it is data. Typically, an actor will don a suit that's equipped with a variety of sensors. Externally, motion-tracking cameras record everything from full body movements — such as running, dancing, and stunts — to more nuanced, almost indetectable, movements like subtle facial twitches. This data is then processed by the post-production team using dedicated soware. Motion capture is a predominantly technology-led process that enables storytellers to push creative boundaries. However, its use should always be intentional; technology cannot replace creative direction, nor should it ever try. Technology is a facilitator of story- telling, not a driver. Successful implementation of mocap in films re- quires an understanding of the cra that goes beyond pure technical expertise. An intrinsic trust between motion capture service providers and creative teams is key. While the essence of motion capture is data, that data then becomes the foundation for the entire post-produc- tion process. Award-winning director Neill Blomkamp (District 9, Ely- sium, Chappie) has shared that "As a director, the worst thing you could ever hear is something like: the data screwed up. Sorry, we lost the take." Not only will the reliability of the motion capture studio and the quality of the data set the tone for the rest of the production pipeline, but the studio facilities oen prompt the creative team to explore aesthetic or narrative options that they haven't considered before. OUTLOOK MOTION CAPTURE AS A PLOT DEVICE WHY FILM TECH WILL ALWAYS BE IN THE SERVICE OF STORYTELLING BY BRETT INESON