Every technical solution has a place and use.” But, sometimes the helmet bars get in the way. “It costs a lot to surround an actor with cameras,” Rausch says, “and we can get solid information from the head-mounted cameras. The House of Moves has performers wearing markers on their faces and bodies, and captures both simultaneously in motion-capture volumes with hundreds of cameras other times, the performers wear head-mounted cameras. It’s like a bunch of mad scientists blowing things up while we’re out in the middle of the street. The variations in how people apply the data are small. Most body rigs tend to look roughly the same. As Brian Rausch, CEO of the motion-capture facility House of Moves, puts it: “We’ve all gotten really good at body capture.
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It’s an exciting time for facial-capture products and techniques.
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Soon, consumers will be able to create avatars that can wear their facial expressions and see expressive versions of themselves in kiosks. In games, sports figures look more like themselves, and warriors, aliens, and avatars can carry believable emotions – especially in cut-scenes and cinematics, but, increasingly, in gameplay. The opportunity for actors to play themselves at any age, size, or shape is becoming more appealing and available as digital dopplegangers and characters become ever more realistic and costs decline. And at a nearly consumer level, 3D sensors, such as Microsoft’s Kinect and those from PhaseSpace, combined with capture and retargeting software, are “democratizing” facial capture. Game engines can play more realistic characters. So, what’s new? Three things: At the high end, facial motion capture and retargeting is becoming more realistic as studios and companies perfect their tools and artists become more practiced. VICON’S CARA SYSTEM provides facial capture data comparable to that from body capture in an optical volume.
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Weta Digital’s Caesar in Rise of the Planet of the Apes (2011) and the Hulk created at ILM for The Avengers (2012) resulted in Oscar nominations for best visual effects. Similarly, when done well, digital characters animated using facial expressions captured from humans bring home Oscars and Oscar nominations for best visual effects and drive box-office success: Davy Jones created at Industrial Light & Magic for Pirates of the Caribbean: Dead Man’s Chest (2006) and the Na’vi created at Weta Digital in Avatar (2009) gave those studios Oscars for best visual effects.
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We’ve seen the results in film – from the first major attempt to reproduce actors’ faces in Final Fantasy (2001), through Robert Zemeckis’ body of work from The Polar Express (2004) through Beowulf (2007) created at Sony Pictures Imageworks, to A Christmas Carol (2009) from ImageMovers Digital.Īlso in 2009, Digital Domain’s performance of the digital, aged version of Brad Pitt created for The Curious Case of Benjamin Button (2008) helped that film receive an Oscar nomination for best picture and brought home an Oscar for best visual effects.
#Faceshift studio pro software
CaraPost software creates a 3D point-cloud representation of the marker positions. THE FOUR CAMERAS attached to the head rig in Vicon’s Cara system capture the markers.