For anyone tired of character setups held together by hope, version notes and one dangerous checkbox, Houdini 21 promises a paradigm shift. By decoupling mesh, rig logic, animation and execution through KineFX and APEX, SideFX is taking another run at the holy grail of procedural rigging. But can it deliver a fast and intuitive workflow?
Xsens reinvents its Link suit: 4D stretch fabric, Wi-Fi 6E, one-click sensors, and fewer cables. mocap setups just got a lot less sweaty, or at least easier to keep (reasonably) clean.
Animcraft is a collaborative 3D animation library/editor with re‑targeting, facial rigging, mocap, and DCC/engine connections across Standard and Advanced editions.
Xsens Animate 2025 introduces native male and female anatomy models, a refined spine model, and experimental Auto Sensor Mapping for streamlined mocap workflows.
Animator Tal Minks introduces HandCraft Pro, a Maya plugin that captures hand movements via webcam, offering an alternative to traditional motion capture methods.
Boris FX has just releases the latest version of its 3D Tracking and Matchmoving software, Syntheyes. Boris FX traditionally tries to utilize technology from its other software solutions in its various products, and Syntheyes is no exception, including Mask ML in the 2025 release.
OnPoint Studios is hosting a virtual production event in Berlin, featuring industry experts and showcasing advancements in motion capture and real-time graphics.
Sony introduces the mocopi Pro Kit, featuring a 12-sensor setup, real-time Bluetooth connectivity, and integration with the XYN Motion Studio app for enhanced motion capture.
iClone 8.52 delivers a highly anticipated update for professional animation editing, packed with groundbreaking features driven by user feedback. Despite its numerical step from 8.51, this release introduces transformative tools to elevate animation workflows.
Let's take a look at motion capture for video games. From The Witcher 1 & 2, The Medium to The Vanishing of Ethan Carter, all these game animations were (partially) created using motion capture. In the middle of it all is the Polish motion capture studio BONES, founded by actor and motion capture artist Adrian Perdjo in the wave of CG Projekt Red's smash hit The Witcher 1, 2 and 3.
The cinema film of the story was produced in classic 2D. For the series, we opted for the "third dimension". This presented us with new challenges, but also opened up completely new doors. Blender was our main tool.
Below is an interview with Cesar Turturro, a successful film director who was honoured with the coveted Epic MegaGrant 2022 for his outstanding work on "Invasion 2040".
Something‘s always happening in the Boris FX- Ecosystem – and just before this year’s IBC they announced that Syntheyes is now part of the family! So we cornered Boris Yamnitzki and John-Paul Smith and asked them what the plans are for one of our favourite tracking Tools.
"There is no Planet B". A slogan
from various climate protection campaigns, which refers to our current situation of not having a second planet on which to live
on which the inhabitants of Earth could live. The film Planet B shows
a scenario in which exactly that is attempted. On a planet afflicted by drought and toxic gases, a young woman sits in her underground bunker and controls the construction process of a new planet in space.
In winter 2021, we decided to make a film as a group of three under the guidance of our professor Jürgen Schopper about a robot whose purpose in life is to pick up rubbish. A lot has happened in the meantime: the robot is now controlled by an old lady and can - surprise! - dance very well. We have spent many enjoyable, stressful and also funny days at the HFF with our robot and the old lady. The original idea resulted in a four-minute animated film. We - three visual effects students (Valentin Dittlmann, Hannes Werner, Felix Zachau) at the University of Television and Film in Munich - developed, realised and completed this film in the course of our first year of study.
Review: In DP 06 : 2014, we went into conversation with performance capturing pioneer Andy Serkis - chatting about Planet of the Apes. An encounter at FMX 2014.
Still kicking (and performing MoCap): Technology company Rokoko releases its AI-powered web browser solution that allows users to transfer movements into 3D software.
Plask, Radical, DeepMotion, Pixcap and iClone 8 - these are the names of the mocap tools! Blender expert Russell Midfield pits the motion capture programmes against each other.
Important for motion capturing: how do people interact with the environment? With the Rich project, researchers want to decisively develop the HSC further.
The convenient software for anyone who wants to enhance their content with animated cartoon characters. The latest version of the real-time tool for motion capturing and character animation.
Review: In DP 02 : 2019, we take a closer look at photogrammetry in Houdini. Our Houdini expert clarifies whether this has resulted in a production boost for game developers.
A detailed look at Renderpeople's expansion from ready-to-render scanned people to rigged 3D characters, including topology, skeletons, facial controls and workflow trade-offs.
ZDF Digital explains how Character Creator, iClone and motion capture helped its teams produce animated television, documentary and augmented-reality projects efficiently.
"From the edge of a forest, the werewolf steps into the moonlight; in front of him lies a small settlement by a forest lake."
This sentence comes from an early version of our script. A lot happened from there to the final film. The old-fashioned settlement became a big city, the forest lake became a hill with modern flats and the werewolf became a werewolf.
In 19:02 we unpack the toolbox - plug-ins for video, audio, 3D, comp, animation and pipeline - because if you have a task, there's a good chance that someone else has already solved it.
The final part of the "Planet of the Apes" trilogy opens in German cinemas on August 3. This video shows some of the technology behind the epic VFX work for which Weta was responsible.
Spoiler alert: one of the most impressive CG achievements for “Rogue One: A Star Wars Story” was the digital re-creation of two human actors. In this video, ILM shows how this demanding task was accomplished.
Last year, the impressive Filmakademie production "Jagon" was the only student project nominated alongside the big names – Trixter, Scanline and ILP – for an animago AWARD in the "Best Postproduction" category. Here is the 20-minute short film in full.
Using a conventional camera and an algorithm, MIT manages to allow objects to be interacted with directly in video based on the tiniest vibrations, which are extrapolated.
Today I bake, tomorrow I brew, and the day after tomorrow I’ll turn Grimm’s “Rumpelstiltskin” into a Hollywood blockbuster and call it “Steelskin” for marketing reasons.
What exactly the Cupertino company intends to do with the faceware technologies for facial animaton is still unclear. What is clear, however, is that many game and film studios must now look for alternatives.
Canadian performance-capture service provider Animatrik has licensed technology from Lightstorm Entertainment Inc./Giant. This means 21 performers can now be captured in real time.