For those who don’t know the tool: Animcraft by Basefount is a collaborative animation management and sharing platform used across Maya, 3ds Max, and Unreal Engine pipelines. It synchronises rigs, motions, and assets across DCC tools to streamline team workflows when it behaves.

Mocap finally holds its pose

Basefount’s new release of Animcraft focuses on reliability rather than new buzzwords. The video-based motion capture module now produces more stable poses and eliminates motion flipping that can occur during rapid or inverted movements. The changes are internal and system-level, not cosmetic. Artists can expect more predictable markerless capture in high-energy sequences, though Basefount provides no raw benchmark data.

Dragon Breath rewritten for realism

The 3ds Max Dragon Breath Ribbon System has been entirely rewritten. The update smooths solving, improves inertia and collision handling, and introduces a centrifugal force feature that produces physically believable motion for skirts and accessories during spins. Basefount describes it as informed by feedback from production teams rather than laboratory testing. The solver now supports continuous frame looping and stable simulation of skirt and shoulder armour, which should reduce secondary-motion cleanup in animation and game cinematics.

Unreal Engine preview rebuilt

Animcraft’s Unreal Engine library has undergone a full structural rebuild. Assets can now be previewed directly inside the editor without a separate environment. Higher engine versions remain backwards-compatible, meaning a UE 5.6 editor can view assets made for UE 5.4. This consolidation cuts disk usage, eliminates redundant preview assets, and removes the need for baking or PAK exports. All asset management is handled within a unified plugin across Unreal Engine 5.4, 5.5, and 5.6.

MetaHuman toolkit grows up

Animcraft 5.5 adds a more flexible MetaHuman editing workflow. Users can freely add or remove high-resolution LOD0 skeleton joints, edit DNA data directly, and write or locate RBF (Radial Basis Function) corrections from bone selections. Corrective pose frames can be created and updated within the same interface. Up-axis correction and solver tuning are now included, alongside official support for Maya 2026.

New Maya animation helpers

The Maya toolset gains two modest but practical features: Temporary Pivot and Curve Reverse. The first allows animators to quickly change a manipulation axis without breaking hierarchy alignment, while the second mirrors or inverts animation curves for symmetrical motion or loop creation. These are designed to reduce manual keyframe editing rather than reinvent workflows.

Unified system, less maintenance

With all plugins now synchronised across Unreal Engine versions, maintaining multi-project setups becomes simpler. Animcraft continues to position itself as a hub for virtual human production, motion sharing, and animation management across DCCs. The company lists fixes for retargeting keyframe issues, negative-scale ribbons, and IK/FK switch errors. As with any major tool update, artists should test the release in controlled conditions before integrating it into live pipelines.

The post Animcraft 5.5: Stability, ribbons, and MetaHumans first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Xsens has released the next-generation version of its Xsens Link motion capture system. The redesign focuses on physical comfort, data precision, and setup efficiency. The new suit uses a 4D stretch eSuit built from a lightweight, breathable fabric with integrated, washable cabling. Xsens claims the MoCap setup time is cut by half compared to the previous generation, thanks to embedded wiring and one-click sensors.

Smarter Sensors, Smoother Data

The system’s 17 inertial sensors have been upgraded for cleaner motion data with fewer artefacts. Combined with Wi-Fi 6E, the Link can stream motion capture at up to 240 Hz within a 150-metre range, supporting stable, low-latency links to Xsens Animate and third-party software such as Unreal Engine, Unity, Blender, Maya, Houdini, and Faceware.

The suit is built for production : washable textiles, simplified cabling, and consistent sensor alignment even during complex movement. It’s designed to withstand location work, whether on a volume stage or on a mountain (Well, maybe not EVERY mountain)

Hot-Swap and Go

Each suit is powered by an internal battery plus an optional external pack, offering 4 to 8 hours of operation with hot-swappable capability for uninterrupted shooting. The hub (the system’s processing and communication unit) can be mounted anywhere on the suit, offering flexibility in setup and movement.

Pipeline Integration

The hardware is fully integrated with Xsens Animate, which processes live capture data and retargets it for animation or previs. Together, the suit and software form a complete inertial motion capture pipeline, bridging live performance and production-ready motion data. The new Xsens Link (Next-Generation) is available now, with pricing provided on request. Full specifications are available on Movella’s official product page.

Test Before You Shoot

As with all new mocap hardware, professionals are advised to test the suit under real production conditions before committing to a pipeline update, particularly regarding sensor consistency and latency over extended Wi-Fi sessions.

The post Xsens Rebuilds Its Link Mocap Suit With 4D Stretch first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Quaternius is offering over 120 ready-to-use game animations—free to download and available now via Itch.io. Designed for developers and artists working in real-time engines like Unreal Engine and Unity, this animation pack could serve as a fresh alternative to the often overused Mixamo motion library. The animation pack is offered for free on ArtStation. No subscription, no licensing hassle—just click, download, and integrate into your project.

Mixamo Fatigue? Try This.

The Mixamo library, while useful, has become somewhat of a default fallback for many real-time projects, leading to a certain uniformity in animation across indie games and prototypes. Studio Recode seems to be addressing that fatigue directly, positioning its pack as a plug-and-play solution for developers seeking more variety without sacrificing ease of use.

Check Before You Leap

As always: While these animations are advertised as ready-to-use, they should be tested in your specific production pipeline before deployment. Stability and usability remain key, and integration can vary depending on project specifics.

Links and Downloads

Download the animation pack: Itch.io
More about Quaternius: Quaternius@itch.io

The post Ready, Set, Animate: 120+ Game Animations Up for Grabs first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Mask ML, as the name suggests, is a machine-learning powered roto tool, complimenting the existing roto toolset in Syntheyes. Artists can very quickly define objects to be masked in a simple point-and-click procedure on either a single or multiple frames and then let the application produce roto to be used for example to exclude moving objects from a solve or to be rendered out to be used in another application.

Dynamic Tagging, Multi-Exporter and Workflow Presets

The 2025 release also focuses heavily on pipeline automation, introducing Dynamic Tagging. With the Project Tag Manager, Artists can set up a blueprint for file paths to be used on a certain project, ensuring that all the assets, renders and cameras are automatically saved in the right location. 

This feature works hand in hand with the new multi-exporter, which allows you to save multiple export presets into a single preset file. That way deliverables can be streamlined and automated, allowing you detailed control on type of export, geometry and trackers to be included and much more. This feature also takes advantage of the Dynamic Tags.

The new Workflow Presets Manager allows Artists to more easily adhere to a specific workflow by starting a new shot with specifically designed presets – these can be managed on a facility-, user- or project basis.

Head Geo

For head tracking, Syntheyes is now supplying a standard human face mesh in low, medium and high resolution meshes. These meshes can easily be added to a head track and then be customized using the brush tools inside of Syntheyes. From there the mesh can either be used in CG or compositing applications. Especially for de-aging and digital beauty work this feature can be really helpful.

Batch Processing

Batch Processing allows the Artist to queue numerous Syntheyes tasks like tracking, solving, processing lens distortion or the new Mask ML feature and then process them inside a single batch. As resources are allocated accordingly, the artist is still able to work in the foreground while the batch processing is happening simultaneously in the background.

Users on subscription or active upgrade and support plans will receive Syntheyes 2025 as a complimentary update. Right now Syntheyes is on a flash sale with 25% off until Friday, February 28th, 2025.

The post Syntheyes 2025: ML-powered masks, batch processing and more… first appeared on DIGITAL PRODUCTION and was written by Christoph Zapletal.

OnPoint Studios, a Berlin-based leader in motion capture and virtual production, is set to host an event highlighting the latest advancements in digital production. The event will take place at their facility located at Friedrich-Olbricht-Damm 62, 13627 Berlin, on February 18th. For more details, including participant costs and the event program, please visit the event’s official website. (Spots are limited – text the team to receive your invitation!)

The event will feature several notable sessions. Attendees can look forward to a presentation by Marian Woller, Virtual Production Supervisor at OnPoint Studios, discussing the integration of motion capture with Unreal Engine. Additionally, Niklas Bothe, Head of Motion Capture, will delve into the nuances of facial capture using Faceware technologies.

OnPoint Studios is renowned for its innovative use of motion capture technology, combining OptiTrack systems, Unreal Engine, and Faceware Technologies to deliver immersive experiences. For more information about OnPoint Studios and their services, visit their official website.

The post OnPoint Studios Hosts Virtual Production Event in Berlin first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Sony’s newly unveiled mocopi Pro Kit is the latest addition to their professional-grade motion capture tools. Designed to cater to the rigorous demands of digital production professionals, the kit integrates advanced hardware with software solutions to deliver precise, full-body motion capture. Featuring a 12-sensor setup, real-time Bluetooth connectivity, and seamless integration with Sony’s XYN Motion Studio app, mocopi Pro raises the bar for motion fidelity and usability across industries such as animation, game development, virtual reality (VR), and live-streaming.

At the core of the mocopi Pro Kit is its expanded 12-sensor configuration, which offers greater precision than its predecessor by capturing nuanced movements across the head, hips, wrists, ankles, arms, thighs, and hands or feet. This professional-grade setup ensures accuracy in every step, leap, or gesture—essential for crafting high-quality animations or real-time virtual performances. The sensors are lightweight and ergonomically designed to fit comfortably, even during extended sessions.

Integration with XYN Motion Studio

Sony’s XYN Motion Studio app powers the mocopi Pro Kit, streamlining motion capture and editing into a cohesive workflow. The app provides two primary functionalities: Motion Capture and Motion Editor. Together, they allow creators to seamlessly record, refine, and export motion data without needing third-party tools. Motion data can be exported in industry-standard formats like BVH and Filmbox (FBX), ensuring compatibility with leading digital content creation platforms such as Maya, Unreal Engine, and VRChat.

The app supports both wired (USB) and wireless (Bluetooth or IP) connectivity, enabling flexibility in professional setups. Additionally, offline grounding refinement in the Motion Editor eliminates common motion capture issues like foot sliding and floating, ensuring accurate post-capture corrections. Users can further enhance their workflows with customizable file naming, a searchable preset motion library, and secure cloud storage.

Real-Time Integration and Workflow Optimization

For those in live-production environments, the mocopi Pro Kit introduces real-time PC connectivity via the sensor data receiver, optimizing motion data transfer with reduced latency. The system supports merging camera data with sensor inputs, significantly enhancing positional accuracy and reducing tracking errors. Whether you’re working on real-time graphics or crafting 3D content for XR (Extended Reality), the integration ensures a smooth pipeline from capture to production.

Sony has also responded to user feedback by incorporating more sensors and direct PC connections, addressing demands from advanced users who require precision tracking for complex projects. Jeff Carlin, Head of Business for mocopi at Sony Electronics, emphasized this focus on removing barriers to creativity: “The mocopi Pro Kit brings these enhancements and more, empowering creators to bring their most ambitious projects to life with greater ease and accuracy than ever before.”

Pricing and Availability

The mocopi Pro Kit is available for pre-order starting late March 2025, with the full hardware bundle priced at $1,180. Individual components are also sold separately, including the sensor data receiver for $110 each and additional bands at $60 per set. Subscriptions for the XYN Motion Studio app start at $8.99 per month, with future updates planned to expand its functionality throughout 2025.

For further details on the mocopi Pro Kit, pricing, and upcoming updates, visit Sony’s official website.

Fact Check Reminder: While Sony’s mocopi Pro Kit promises impressive innovations, professionals should prioritize stability and simplicity in their workflows. Always test new tools extensively before relying on them for critical production tasks.

The post Sony’s mocopi Pro Kit: Elevating Full-Body Motion Capture first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Wonder Dynamics’ latest – and Beta-testable – , Wonder Studio, aims to automate character animation for post-production and VFX workflows, potentially saving hours in 3D character rigging and animation. The tool’s unique selling point: AI-driven character animation that processes live-action footage, turning it into animated 3D scenes in real time. In an industry where time and budget constraints are constant, Wonder Studio proposes to shave off costly manual processes for production artists – or get the “good enough” version straight to DVD, when something has to be done with an IP.

Wonder Studio’s core innovation lies in its AI engine, designed to manage motion capture without the usual mocap suits or additional equipment. This appeals to filmmakers and animators working in real-time graphics or game development – getting a starting point from some footage seems like an easy setup.

The workflow seems to be to upload the footage into the cloud, and getting a 3d-Scene back, which then can be configured and developed in any 3D package – Blender, Unreal or Maya or whatever. (No word yet on Lightwave-connections.)

In terms of technical deployment, Wonder Dynamics is pushing this technology as part of the VFX pipeline, inviting questions about its practical use for seasoned production artists, in other points of the pipeline. As a “blocking” tool it might be really helpful, as well as the setup for collisions in simulation.

How It Works: Motion Capture in Post-Production

Wonder Studio’s approach eliminates conventional mocap suits, relying instead on AI to map a character’s movement directly from the footage. For those familiar with motion capture tech, this opens new possibilities, though it’s clear there are limitations to consider. Integrating AI-driven character animation without physical tracking devices offers an interesting trade-off between accessibility and control, but might come with compromises on precision. For technical directors, this could signal a shift in the demands of virtual production, potentially aligning more with the needs of smaller studios or indie developers. However, it remains essential to fact-check results from AI-based character motion, as real-world use will reveal any limitations.

Pricing

Wonder Studio’s pricing lands at a bit over $1,000 per year. This package provides features for production artists, such as exporting at a maximum resolution of 4K, 80GB of storage, and a 2000MB video upload limit. Users can upload up to 15 custom characters and access four-person motion capture, with export options covering mocap data, full scenes, camera tracking, clean plates, and alpha masks. Additional exports in PNG format make it flexible for VFX workflows, while advanced live-action and standalone AI mocap capabilities support a range of animation project types. This package comes with a commercial license, tailored for industry use and compatible with intensive post-production and VFX requirements.

Stability vs. Innovation: Practicality for VFX Artists and Filmmakers

The question for production-ready deployment is stability. While the idea of AI-driven animation sounds groundbreaking, production artists are likely to approach with caution. Artists who already work with advanced VFX tools, such as Unreal Engine or Nuke, may appreciate the simplicity of automated character rigging. Wonder Studio’s compatibility across VFX platforms suggests integration might be seamless, but testing is essential. Practical testing and calibration in real-world projects are recommended to ensure results meet professional standards.

Wonder Studio’s pricing is currently available on the Wonder Dynamics website, positioning it within the reach of smaller studios and larger post-production houses alike.

The post Wonder Dynamics Brings Real-Time Animation to VFX first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

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.

My guest today is Adrian Perdjo who is the founder of the motion capture studio BONES in Warsaw in Poland. Adrian started his career as a motion capture artist on The Witcher series before founding his own studio. Together we talk about motion capture for The Witcher, video games and the future of motion capture.

The post Motion Capture for Video Games w/ Adrian Perdjon | 21 Artist Show 031 first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

The year is 2029, we live in an ageing society. What will the world look like when younger people can no longer pay for the pensions of older people? Will they still have to work? Who will look after them? These are the kinds of questions we asked ourselves when creating the story. In essence, it’s about an old, frail lady who controls a robot for a living, which she uses to collect rubbish. A bit like modern bottle collecting.

This woman, or rather her robot, then finds a tape recorder, which rekindles her love of music and dance. Instead of the boring, repetitive work, the robot she controls dances. She uses her working hours, somewhat subversively, to experience again what her situation now prohibits. In order to finally arrive at this idea, we first collected a large pool of ideas and small stories, roughly sketched them out and expanded them.

Realisability was not yet a decisive factor at this stage. It was more about generating lots of ideas quickly. Thanks to this pool of ideas, we had the decisive advantage in the next phase that we were able to part with stories that didn’t work so well without any pain, whereby some discarded ideas could flow into further development in the form of details. Over several rounds, the respective stories were further enriched with character sketches and smaller scenes. In the end, the basis for the film was a human-controlled robot that collects rubbish at night. The original idea came from the carelessly discarded masks lying around on the streets during the coronavirus winter of 2021. The dystopian tale of poverty in old age and loneliness is given a positive twist, celebrating the power of memories, human resilience, music, dance and fun.

Concept

This development should also be reflected in the look. The aim was to create visually exciting images from the story. What should the film look like, what does the robot look like, what kind of city is it set in, what time of day is it, how does the positive twist manifest itself in the environment. During this phase, we mainly used the drawing programme Procreate to create sketches and images for inspiration. There was also a Miro board on which we could save and organise our ideas. Basically, we had a Pixar-like look in mind – with high standards.

The robot went through many iterations. It had to be able to collect rubbish as believably as possible as well as dance freely in a human way. In the end, a cold robot should develop human traits. We also decided on a design that was as humanoid as possible in order to be able to use motion capture in the animation later on. The robots from Boston Dynamics served as a great inspiration. New York, with its tall buildings and small neighbourhood parks, was our template for the urban design. The environment contrasts gloomy streets at night with a park at dawn, and an interior space also had to be created for the limited world of the old working woman.

Storyboard

Once the story and look for the film had been found, the next step was to combine them into a convincing storyboard. Together with Prof Michael Coldewey, we looked for key frames such as the encounter between the rubbish collector and the tape recorder, the old woman in the wheelchair or the dancing robot in front of the sunrise. Ideas were discarded, developed further and sometimes reintroduced.

We tried to break the story down to the most important plot steps without losing any of the substance. The keyframes helped us to find effective shots. We then sketched these roughly before drawing them in more detail in Procreate.

Animatic & pre-visualisation

Now it was time to convert the storyboard into a moving film. To begin with, we took the previously created shots and added slight movements and a rough sound concept using After Effects and Premiere Pro. The addition of the sound in particular helped us to get a better feel for the timing.
It also allowed us to decide what should be shown visually and what would be better told on the audio level. With this knowledge, we moved on to the three-dimensional in the next step. For the previs, the settings were roughly blocked out in Blender, cameras were set, animations were added or used from Mixamo and the timings were taken from the animatic.

Then Eevee was used for rendering and the result was cut in Premiere Pro. This allowed us to recognise which settings worked well in three dimensions and which needed to be framed differently or fundamentally changed. From there, we gradually made the Previs cleaner, adjusted the camera movements, increased the level of detail in the environments and animated the Smoother animations until we could be sure that the film would come across to the viewer the way we wanted to tell it.

Pipeline & Workflow

Our great pipeline TD Jonas Kluger had set up a pipeline for us via Shotgrid for Blender, so it was possible not to get bogged down in chaos even with a project of this size. As we had almost 250 assets in total, it was necessary to work in a clearly organised structure. We created three environments from the assets: grandma’s home, the city and the park. We could then load these into the respective shots again and again and be sure that continuity was maintained. Nevertheless, it was still possible to adjust the size and position of individual assets in certain shots.

We were also able to use the pipeline to change and publish assets and then update them in the environment or in the shot using the Shotgrid add-on in Blender. This made the division of labour within the team much easier and eliminated misunderstandings about versions or file names from the outset.

Modelling & Shopping

It was clear to us that the amount of work involved in modelling all the assets or an entire city would far exceed our capacities. That’s why we decided early on to only create the really important models ourselves and to buy in all the others.

As we didn’t want our style to be photorealistic, we had to search a little longer to find the right models. We finally decided on a package that already included an entire city. We built our hero models, the robot, the “router” and the station from which the robot emerges ourselves, with valuable tips from Helmut Stark, and we were able to create the grandma with the help of Reallusion’s Character Creator. It was important to us that the robot should look as if it had really been built to collect rubbish, but it also had to have enough freedom of movement to be able to dance. For the grandma, we decided to change the proportions of the head and body to avoid ending up in the Uncanny Valley.

Texturing

Once the models were finished, it was time for some colour, using Adobe Substance Painter to give the robot, station and router the right finish. By using textures with less detail, we were able to get closer to the goal of a cartoon-like style.

A mix of procedurally generated and hand-drawn masks for wear and tear and dirt emphasises the history of the models, for example, it became very clear that the robot has been keeping the city streets clean for a long time and has picked up a few scratches along the way. We then imported all the textures created in Substance Painter back into Blender and the models were ready for the next step.

Rigging

Our two characters, the grandma and the robot, finally wanted to move. For the grandma, we were able to use a Blender add-on, Autorig Pro, and with the help of our lecturer Benc Orpak, we were able to generate a functioning rig quite quickly. Fortunately, this saved us the manual rigging process and therefore a lot of time. Unfortunately, things were a little different with our robot: although it has human-like proportions, some of the joints worked a little differently. That’s why we had to rig the robot manually. The aperture and the cylinders on the legs were particularly interesting, as they visualise the mechanical character of the robot well. For remapping the data recorded during motion capture to the respective rig, we were able to use Autorig for both models.

Once the mapping, i.e. the definition of which bone receives which keyframes, had been set, it could be used again and again. In the end, only one click was needed to transfer all the data from the mocap to the target rig. It was a truly magical moment when you could see a robot moving almost by itself for the first time.

Motion capture shoot

When we were developing our story, it was already clear that we didn’t want to animate the dancing movements of the robot by hand, but to record them using motion capture. Katharina Hein, our producer, discovered Nicole, a professional rollerblader who showcases her roller dance skills on Instagram (@rollin_me_softly) and has even founded a Munich roller dance group (@munich_rollerdance_squad). Nicole was quickly enthusiastic about our film idea and was keen to lend her movements to our robot as a motion-capture actress.

A few days before the actual shoot, we made some preparations so that the motion capturing could run smoothly. For example, we measured our digital
digital sets so that we could recreate them in a very rudimentary form in the studio. We also developed a detailed shooting schedule for the three days of filming. For the actual motion capturing, we used a suit from Xsens and the associated software MVN Animate. On the first day of filming, we mainly recorded Nicole’s dance movements on the roller skates. As Xsens is not an optical motion capture system, but a system that works with acceleration sensors, we had the following difficulty: Xsens calculates the position of the suit in space based on ground contact and the distance travelled by the actress while walking. Due to the lack of ground contact because of the rather high roller skates and the “floating” movement above the ground, we did not receive any position data from the performer, but only her own movement data. This wasn’t a problem, however, as we were planning to manipulate the recorded routes to our liking during the animation phase anyway. In addition, we always filmed the entire set from two different perspectives with witness cams so that we could better reconstruct the movement in space later.

Animation

With the motion capture data recorded, we were able to continue with the animation. Firstly, all the selected motion captures were selected and exported to MVN Animate as .fbx. Retargeting in Blender was relatively simple using the AutoRig Pro add-on. Of course, the pure motion capture animation was not precise enough, or we wanted to change certain movements afterwards. For this we used the Blender add-on Animation Layers, which enabled us to do just that. This meant that the original mocap movement data was on one layer and we had the option of manipulating the movements on a second layer. This was particularly important in moments when the characters interacted with objects. We were accompanied by Prof Melanie Beisswenger, who not only provided practical support but also explained the basic theoretical principles of animation.

Lighting

Before we started lighting ourselves, we first looked for mood images with colours and lighting that matched our ideas for Clean Aid. For example, we analysed still frames from Pixar films for their lighting design. From these images, we developed a lookbook and colour palettes for each of the three environments.

With this inspiration, we went about lighting our shots. We used various HDRIs, on the one hand as a “natural” light source for the scenes, but also to tell the story of the transition from the night sky to the morning mood.

In one shot, in which we show a time-lapse, we even used an HDRI sequence to allow the different stages of the sky to run smoothly. Of course, we didn’t leave it at the HDRIs, but set the lights individually for each shot to achieve our desired look. With backlighting, for example, we were able to isolate the characters shown from the background. These lights were rendered in Blender on separate layers so that we could adjust them again in compositing. The use of volumes in the shots made the robot’s light cone visible. Creative director and CGI artist Kathrin Hawelka provided us with active support.

Rendering

As we had two internal render engines at our disposal in Blender, we used both. We rendered with Eevee during the entire Previs phase. This allowed us to render almost in real time, which accelerated our creative process enormously. However, as it was still important to us to have a realistic interaction with light, especially because of the robot’s light beam, we decided to use Cycles as our render engine. In order to be as flexible as possible when compositing in Nuke, we used Blender’s own compositor to export a multilayer EXR sequence in which all render passes and masks were saved. For hero objects, such as the robot, the granny and the boombox, we create one mask per shot. We realised that the denoiser works much better if we don’t apply it to the whole image, but to each render pass individually. This allowed us to denoise the volume, for example, and reduce artefacts to a minimum.

At the same time, this procedure enabled us to save all passes in the EXR without noise. However, we had to realise that the denoiser also has its limits, and it was difficult to denoise asphalt, for example. As the reflections that inevitably result from the structure are very similar to digital noise, this desired structure was often transformed into “mud”. Although we had to do without the denoiser in such cases, we were still able to significantly reduce the render time. An average render time of approx. 45 min/frame was possible.

Compositing

With the exported EXR sequences including all layers, it was time for compositing. In Nuke, we used a “back-to-beauty” workflow to merge the layers back into the overall image. However, this gave us the opportunity to adjust all the selected passes individually and manipulate them to our liking.

Depending on the environment, we set up a comp setup that allowed us to go even further in the direction of our lookbook. To achieve the most authentic camera look possible, we used chromatic abberation effects in compositing, for example, or to further emphasise the dreamy overall mood during the dance sequence at sunrise, we worked with various types of glow effects. We also had the opportunity to retouch render errors or other minor details in the compositing. Senior compositing artist Shayan Sharegh provided us with lots of helpful tips and tricks
Artist Shayan Sharegh was at our side.

Grading

Then it was off to grading with the composited shots. Together with colourist Claudia Fuchs, we fine-tuned a few small details, completed our look and checked the settings for colour accuracy. A selected grain rounded off our sequences.

Sound design & music

No film without sound. This is all the more true for our animated film. Very early on in the development process, we were looking for the right piece of music for our robot to dance its way through the streets to. As the film is set in 2029, the grandma in the wheelchair is 80 years old and her wheeler dance career is at its peak in young adulthood, it was clear to us that the song should fit in with the 70s and the disco genre.
After extensive research, we came across “Dance Like Crazy” by the artist “Ikoliks”. Mykola Odnoroh (alias Ikoliks) was enthusiastic about the idea of his piece of music making our robot dance, and that’s how the collaboration came about.
But not only the music has become an elementary component of our animated film, but also the sound design. Sound engineer Andreas Goldbrunner and artistic collaborator Rodolfo Anes Silveira used the raw sound design that we had created for Previs as a basis and used it to conjure up an auditory backdrop that brought our environments and the movements of our rusty robot to life.

Retrospective

And voilà, about a year later it was finished, our first animated short film. Who would have thought that it could take so long to develop a coherent story, to go through all the production steps of the animation pipeline until you end up with a finished film of three minutes and fifty-five seconds? We certainly didn’t – but it was worth it. It’s been a very instructive year with many hurdles and challenges overcome, so we can now look back on Clean Aid with pride and look forward to sharing it with as many people as possible.

Producers Comment by Katharina Hein and Felix Mann

After the exciting and inspiring lecture on VFX by Michael Coldewey in the first semester, we were gripped by enthusiasm and curiosity for VFX producing. The offer to support our year’s animated films gave us the opportunity to get to know a completely new way of producing. As students in our first semester, we had no previous experience in the production of animated films. So we began a period of constant learning about the workflow, the software required and how long rendering times can really take. One of the highlights of the production for both of us was the motion capture shoot, where we were able to make the best use of our previous experience from previous shoots. After all, a motion capture shoot is essentially only slightly different from a live-action film shoot. As producers, we tried to take on all organisational tasks and be available at all times to answer questions. After the shoot is before the shoot and we are very much looking forward to producing the VFX students’ first live-action film in 2021 together with WennDann Film next year. We would like to thank the entire VFX department and especially Ines, Franzi, Alex, Valentin, Hannes and Felix for this trust.

Team

• Directors: Valentin Dittlmann,Hannes Werner, Felix Zachau
• Producer: Katharina Hein
• Motion capture Actors: Nicole Adamczyk, Katharina Hein, Hannes Werner
• Music: Mykola Odnoroh (Ikoliks)
• Project Supervision: Prof. Jürgen Schopper
• Project Consultant: Berter Orpak, Rodolfo Anes Silveira
• Vfx Pipeline TD: Jonas Kluger
• Line Producer: Ina Mikkat
• Team Assistant to Line Producer: Jenny Freiburger
• Team Assistant: Petra Hereth
• Scheduling: Beate Bialas, Sabina Kannewischer
• Technical Support: Benedikt Geß, Florian Schneeweiß
• Studio Management: Peter Gottschall, Andreas Beckert
• Conforming: Martin Foerster
• Colour grading: Claudia Fuchs
• Sound Design & Re-Recording: Andreas Goldbrunner
• Lecturer: Prof. Melanie Beisswenger (Animation), Prof. Michael Coldewey (Storyboarding), Kathrin Hawelka (Lighting), Benc Orpak (Rigging), Moritz Rautenberger (Camera work), Shayan Sharegh (Compositing), Helmut Stark (Modelling & Texturing)
• Thanks to: Jonas Bartels, Franziska Bayer, Christian Gessner, Alexander Hupp, Christoph Kühn, Malte Pell, Jonas Potthoff, Nicolas Schwarz, Tobias Sodeikat, Ines Timmich

The post Trash, Dance & Robots first appeared on DIGITAL PRODUCTION and was written by HFF Hochschule für Fernsehen und Film München.

A genuine Hollywood star honoured FMX this year: performance capture pioneer and actor Andy Serkis spoke in the conference programme about the second part of the reboot series “Planet of the Apes – Revolution”. DP met Serkis in Stuttgart for an interview.

The security effort for Serkis’ presentation “Early Look at Dawn of the Planet of the Apes” was enormous: all the windows of the König-Karl-Halle were taped off so that no one from outside could catch a glimpse of the film’s exclusive scenes or film them. Visitors had to register in advance for the keynote and hand in all their belongings before entering the hall. On the floor, everyone who didn’t make it into the hall stood in front of closed loo doors for the duration of the keynote. But the first glimpse of the scenes, in which some shots were still in the pre-vis phase, was worthwhile. When you saw what was still missing in terms of CG shots at the end of April, the scope and tight time frame of Weta for this part became clear and their work all the more remarkable.

Andy Serkis will be very busy in the near future. There is talk of roles for him in the new “Star Wars” part as well as in “The Avengers 2”, of course always accompanied by speculation: will he appear as a CG character or will he get to play a “real” role this time? He is primarily famous for his CG characters: Gollum elevated him to Hollywood Olympus and made him a performance capture icon. Since then, he has already played King Kong, the chimpanzee Caesar and Captain Haddock. According to Serkis, it makes no difference to him whether he is playing a live action or performance capture role; the process of acting is the same in both formats. Basically, the only difference would be what you wear on set.

For Serkis, however, it didn’t stop at acting in this area: with The Imaginarium(www.theimaginariumstudios.com) in London, he has founded a thriving performance capture studio together with Jonathan Cavendish, where, for example, “Ryse: Son of Rome” (see also DP issue 02/14, PDF in DP web content) was realised and the film adaptation of the novel “Animal Farm” is currently being produced under Serkis’ direction. The actor has already made his first forays into directing alongside Peter Jackson on the second unit for “The Hobbit”.

DP: How has performance capturing changed since you first started?

Andy Serkis: From a technical point of view, immensely: on “Lord of the Rings” we were filming on 35 mm, I was filmed as an actor with the other actors on set and then had to repeat all the scenes separately in the motion capture studio. There was no facial capture back then, the animators just copied my facial expressions. We started using facial markers for “King Kong”, but we still didn’t have head-mounted cameras. “Avatar” was a big leap because several actors could be recorded in the studio at the same time. “Planet of the Apes – Prevolution” was the first project where we were able to use performance capturing on the set itself with head-mounted cameras without having to redo it in the studio. In addition, the perception of the topic in the industry and among viewers has changed significantly in the meantime and it is more widely accepted.

DP: Where is performance capture technology currently heading?

Andy Serkis: In the post-production process, rendering capabilities are getting better and better, so the original performance of the actor on set is becoming more and more important. Very soon we will no longer need head-mounted cameras, but will be able to use the acting alone. The future practical application of performance capture is an exciting topic: for example, real-time avatars could soon be projected live onto a screen at television, theatre events or concerts. At the Imaginarium, we are currently trying to find out what creative possibilities lie in performance capturing.

DP: You have played so many CG characters, which is your favourite role?

Andy Serkis: I have a strong connection to Gollum, of course, because my whole performance capture journey started with him. Finding Gollum as a character was difficult at first, but once the concept was in place, his role wasn’t too complicated. He’s not about what he thinks or feels, he talks all the time instead – his psychology is simple. Caesar, on the other hand, is more subtle, and making him seem real was much more complicated. That’s why I’ve grown very fond of this character.

DP: How were you able to put yourself in the shoes of an ape – without a mask or other aids?

Andy Serkis: We prepared for a long time before filming: We had a kind of ape camp where all the actors analysed the way apes communicate and interact. As most of the ape characters were already in the first part, we knew how Caesar would behave towards them.

DP: Do you think a performance capture actor needs more imagination than a traditional one?

Andy Serkis: We’re no longer playing with balls, we can act with each other. Of course I have to use my imagination for a role like this, but it makes no difference whether I’m wearing a performance capture suit or a monkey costume. In fact, it’s more likely that a mask or elaborate make-up would restrict my performance. Performance capturing allows me to move freely and the team can capture my every movement.

DP: When you look at the CG character on the screen later, do you see yourself or a normal monkey?

Andy Serkis: Myself. Even though it’s a CG ape, it shows my expressions, emotions, facial expressions and decisions. When you spend some time with real monkeys, you realise – just like with your own pet – what an individual personality each one has. During the time I was working on “King Kong”, I spent a lot of time at London Zoo. I studied the rhythm of the monkeys’ movements and observed how they reflect human behaviour. When apes are surrounded by humans, it affects the way they communicate or gesticulate; they behave in a more human way. Chimpanzees tend to imitate human behaviour more than gorillas, for example.

DP: Don’t you sometimes think it’s going too far that only your facial expressions and gestures are used to bring a CG character to life and that nothing more is seen of you as a person?

Andy Serkis: You know in advance what job you’re going to do and under what conditions. One of the greatest performances of recent times is that of Scarlett Johansson in “Her”. You never see her on screen, you just hear her voice. The important thing is not whether someone is physically on screen, but how much the audience is moved by a performance.

DP: Scarlett Johansson’s voice acting has once again sparked the debate as to whether such a performance should be awarded an Oscar. What do you think?

Andy Serkis: I don’t think there should be any difference in that respect. Since the process of acting is always the same, all performances should be judged equally. John Hurt played the “Elephant Man”(bit.ly/1w4Ep6J) completely covered by a special effects mask and still received an Oscar nomination. I don’t understand why a distinction is made with regard to digital characters. It’s probably a problem of perception. For me, the digital character is a kind of digital make-up that the artists apply to the actors (see also the interview with Weta VFX supervisor Dan Lemmon).

DP: Why did you set up The Imaginarium in London and not in Los Angeles or Canada?

Andy Serkis: First and foremost because London is my home. in 2005, I took over the direction of the performance capturing for the game “Heavenly Sword”(bit.ly/U5c6sH). We had already started rehearsals, drafted a script and cast the roles, but then realised that we had no opportunities for performance capture filming in Europe. So I had to travel with the team to the other side of the world, to New Zealand, for the shoot. Which I found bizarre, because the company Vicon Motion Systems is from Oxford, the motion capture software is from Cambridge and all the game actors were from London. In Europe, especially in England, there is a great lack of understanding for the topic of performance capturing – and therefore the technology is also underrepresented. With the studio, I want to combine my previous experience from the film industry in this area with new techniques and realise my own projects there.

The post Star for Stuttgart | Retro article first appeared on DIGITAL PRODUCTION and was written by Mirja Fürst.

In nuce: The technology company Rokoko has released free, AI-supported software: Rokoko Video. This software, supported by artificial intelligence, is tailored to motion capturing – and can be controlled via the web browser. Rokoko announced the release of Rokoko Video on 6 December 2022 via the website 3dvf.com .

Start animating with our free AI mocap tool Rokoko Video I Tutorial

In toto: According to the announcement on the company website, Rokoko Video is comparatively easy to use. The first step is for users to upload a video using a webcam, smartphone or comparable moving image recording device. It should be noted that the entire body should be recorded, which users can then edit using motion capturing. The motion data is generated automatically by the software. If required, the same data can be edited using Rokoko Studio (also from Rokoko)(Manuel Skroblin reported in detail for Digital Production on 1 March 2019 about how character animation can look with Rokoko Studio and associated hardware and software solutions). Finally, users import the finished motion capturing into common DCC software such as Maya, Blender, Cinema 4D or Unreal Engine. According to the company, a free version of Rokoko Studio is also available.

Click further: Further information is available via the aforementioned website at 3dvf.com . An alternative to Rokoko Video is Maxon Moves, an app for mobile devices, which Digital Production reported on 5 March 2020 .

The post Motion capturing with Rokoko Video? first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Russell Midfield, a Blender fanboy with a focus on creating characters, has published a ten-minute video in which he compares four motion capture programmes. The highlight: all four programmes work on the basis of artificial intelligence.

In toto: For his video, Midfield takes a look at the programmes Plask, Radical, DeepMotion and Pixcap (Plask was presented by Digital Production on 26 January this year ) – and uses iClone 8 to solve some of the typical teething troubles of motion capture software, such as posture correction, shaky movements and slipping feet.

Click further: Digital Production reported on the release of iClone 8 on 7 June 2022. Russell Midfield’s entire video is linked below.

Russell Review: AI Motion Capture – Who is the best?

The post What can iClone 8 from Reallusion do that the competition can’t? first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Adobe has released Character Animator version 23.0. Character Animator is a real-time tool for motion capturing and character animation. For example, the comedy series Our Cartoon President was realised with Character Animator. A mocap library has now been added (see below for details). Character Animator 23.0 was announced at the Adobe Max creative conference (Digital Production reported on 19 October this year). The software is available for Windows and Mac operating systems.

Motion Library (Adobe Character Animator Tutorial)

In toto: For the new version, a library with over 350 full-body mocap movements (including combat, dance and sports movements) has been installed. These movements can be customised using the timeline within the software. How the so-called motion library works is explained at helpx.adobe.com .

Click further: The corresponding release note provides information about Character Animator 23.0. A free trial version of the software is offered, the full version costs 61.95 euros per month – included in the Creative Cloud subscription. Further information can be found at adobe.com/en . In a video lasting almost half an hour, Adobe’s Senior Experience Designer Lead, Dave Werner (aka Okay Samurai), explains what the new Motion Library has to offer (see above).

The post Adobe’s Character Animator now includes a Motion Library! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

relative.berlin, like many successful studios, began as a group of freelance friends working together in a living room. Over the years, these friends grew closer and added new members to their team to form a holistic company with a passion for creative output at a high aesthetic level. In less than 10 years, the team has realised video productions for global brands such as Universal Music, Mercedes, Honda, McDonald’s and Kinder.

The core group of relative.berlin consists of 10 artists. The perfect mix of aesthetically orientated pixel pushers and playful tech nerds who challenge each other to stay up to date with the latest looks, trends and technical innovations. Starting with motion graphics and 3Danimation, relative. berlin has evolved to apply its expertise in photogrammetry, body motion capture and facial motion capture to real-time animation, VR/AR, digital fashion and almost all forms of CGI.

Hello Anders, and welcome to our Reallusion Feature Stories. Please briefly introduce yourself, relative.berlin, and your music project.

Anders Mortensen: Hi, we are a creative studio in the heart of Berlin, so rave culture is part of our DNA. During the pandemic, the lockdown required isolation, which was very problematic for everyone. Art and culture professionals were confronted with deep existential fears. As a studio, we were lucky to be able to continue working on projects during these difficult times and we wanted to give something back to the community.

That’s why it was a special pleasure for us to shoot a music video for our good friend DJ Taube and his song“Where To Go?“. The video shows a madman raging in a padded cell while imagining himself on stage in front of thousands, and a lonely dancer expressing his feelings through movement in undefined, confined spaces. It is an expression of our collective feelings about the lockdowns of the last few years, and it was a therapeutic exercise to transform these feelings into art.

A lot of software is used and combined with each other. Can you tell us how long it took your team to familiarise themselves with iClone and Character Creator and understand the whole animation pipeline?

Anders Mortensen: We started our journey in 2021 with Character Creator (CC4) and then combined it with iClone (iC8). Coming from a traditional 3D pipeline, we knew we had some challenges to solve when developing a pipeline for this project. We needed both flexible and fast tools for character animation as we would need around 4 minutes of motion capture data. After a few days of trial and error, we found several ways that we could effectively integrate both Character Creator and iClone into our pipeline.

Can you tell us about some of the latest iClone features used in Taube’s where-to-go music video?

Anders Mortensen: Of course! There are several features that we found very useful during the production process. Firstly, we used the Character Creator to create a 3D model to match our photoshoot dancer. This also made it much easier for us to start the next step in our pipeline, which was to transfer the movements into iClone.

“We had previously trialled other motion capture data preparation software, but in this case that wouldn’t have been an option due to the complexity of the project. The biggest advantage we found in using the Reallusion tools was the ability and variety of options to correct motion capture data in real-time software.”

Anders Mortensen | 3D/2D Generalist at relative.berlin

We used various new features of iClone 8 to set up and prepare the movements, such as motion correction, foot contact, flexible frame rate and other tools for optimisation. This was extremely useful to ensure that we could maintain a fast pipeline for the character animation without losing too much time preparing the movements for the subsequent steps.

Motion Layer System

Particularly handy for us was the newly added feature that allowed us to access our recorded data at both part level and bone level, so we could make even the smallest corrections to all bones. This allowed us to quickly ensure high quality optimisation in our pipeline.

Reach target integration: foot contact and correction

As we had a lot of shots where the feet interacted with the floor, this became an essential and reliable feature during production compared to manual correction. This project involved a lot of stomping on the floor, so this feature helped us a lot in fine-tuning the movements of the crazies.

Functions for flexible frame rates

When flexible frame rate was introduced in iClone 8, we were sure that this would be a perfect fit for our pipeline as we could now combine assets from different parts of the pipeline in one place instead of having to convert each individual asset. Most importantly, we could now process the recorded motion capture data and cloth simulations without any major issues and even see if there were any errors in real time.

The characters’ clothing played a major role in this project. Can you tell us what advantages the Reallusion tools offered you?

Anders Mortensen: Importing fabric simulations and checking for possible errors before moving on to the next step in the pipeline saved us a lot of time as we could bring everything together in one place. This part of the workflow also allowed us to customise the transaction data to achieve better and more attractive fabric simulation results. We recognised where there was an opportunity to get an extra ‘oomph’ or create extra space for the simulation to get more detail.

Another important point was the use of Smart Gallery, which allowed people involved in this step of the pipeline to easily share and update files without losing time to import/export.

We love the way you realise your ideas. Would you tell us a little about what we can expect from you in the near future?

Anders Mortensen: For the future we see ourselves in many different areas of the animation/media industry. As we gain more and more experience in character animation and motion capture, we are confident to take an even bigger step in that direction. We believe that the development of the Metaverse will create a huge demand in character development for avatars and areas such as digital fashion.

We are currently working with a major game manufacturer to deliver high quality animated characters for their products. As we constantly walk the fine line between aesthetics and new technology, we are confident that we will continue to keep our finger on the pulse and push the boundaries of what is possible in these exciting times.

Follow relative.berlin

Website: relative.berlin
Vimeo: vimeo.com/relativeberlin
Instagram: instagram.com/relative.berlin
Facebook: facebook.com/relative.berlin
Behance: behance.net/relativeberlin

The post Club culture, techno music and character animation combined with iClone & Character Creator first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: A group of eight computer scientists has published Rich – a database containing 142 video recordings in 4K resolution (recorded from various perspectives). The recordings show people interacting with a real environment. The acronym Rich breaks down as follows. R: Real Scenes. I: Interaction. C: Contact. H: Humans. The computer scientists involved in the project are Chun-Hao P. Huang, Hongwei Yi, Markus Höschle, Matvey Safroshkin, Tsvetelina Alexiadis, Senya Polikovsky, Daniel Scharstein and Michael J. Black.

What is special about Rich? According to the developers, Rich is the first time that human-scene contact (HSC) has been successfully generated using a single image. According to the developers, HSC is the first step towards understanding how people interact with their environment. The computer scientists go on to explain that significant progress has now been made in recognising 2D human-object interaction (HOI) and restoring 3D human pose and shape (HPS) – HSC, on the other hand, is an ongoing challenge.

Click further: All further information on the Rich project. In the following video “Capturing and Inferring Dense Full-Body Human-Scene Contact”, the project participants explain how Rich works in general and HSC in particular.

[CVPR 2022] Capturing and Inferring Dense Full-Body Human-Scene Contact

The post Computer scientists research human-scene contact first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Adobe releases its Character Animator in version 22.5. The Character Animator is a real-time tool for motion capturing and character animation. We last reported on the Character Animator on 9 November 2021 , when it was released in version 22.0.

New functions: At the heart of the new features is the Starter Mode, which is available to all users free of charge. Starter Mode primarily offers functionalities relating to the presentation, recording and exporting of characters. However, the free version of Starter Mode is limited in its range of functions compared to the paid version. Nevertheless, the following functions are also available to users of the free Starter Mode.

• Contains sample puppets: It is also possible to import puppets.
• The settings for the behaviour of your characters: Simply drag and drop from the behaviour panel, which you can find at the top right of the user interface.
• You can customise the backgrounds using the background button.
• Adjust aspect ratios: So that your character fits into the film image.
• Triggerable poses, emotions and backgrounds: Can now also be displayed in the preview.
• Quick export function: Export animations directly as an H264 file.

Click further: You can get an overview of the features in Character Animator 22.5 at helpx.adobe.com. The following video uses application examples to illustrate the advantages of Starter Mode.

FREE Adobe Character Animator: Starter Mode

The post Adobe releases Character Animator 22.5! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

SideFX Houdini users get help in processing image series for point cloud generation and reverse engineering to take Houdini’s pipeline for game developers to a new level. In this case, we are talking about photogrammetry integrated into Houdini on the basis of Capturing Reality. We are also pleased to announce that the Capturing Reality plug-in for Houdini is in open beta. The plug-in maps a handful of stages from the main Capturing Reality software as Houdini nodes, so users don’t have to perform constant import and export functions between the two packages. Combined with the optimised tools in Houdini, this results in a significant production boost for game content developers.

In media productions, the use of photogrammetry is growing as software solutions become more affordable and professional technical equipment has become more accessible. Time is always a driving factor in media productions. Studios are turning to photogrammetry to create digital sets faster. This is an area that already offers a range of solutions for processing image series. Well-known examples include Agisoft’s Photoscan, 3D Zephyr, Recap and Capturing Reality. The latter solution enjoys a special status in the community, as its accuracy and, above all, processing speed are said to leave its competitors out in the symbolic rain. Reason enough to take a closer look at the symbiosis between the VFX giant and the photogrammetry giant.

Fast to the target

The number of nodes of the capturing reality plug-in is manageable and can be counted on one hand during the test period. The starting point is within an empty geometry node. Using the node called RC Register Images, users can import an image series into Houdini that is optimised for the photogrammetry workflow of Capturing Reality. Once the image series has been added, users can use the RC Align Images node to initiate the analysis of the image pairs and placement of the cameras in 3D space. As a result of the operation, the object in the image series is displayed as a point cloud with colour values. Even with an image series that was taken under strict conditions, it can happen that far more points are present during generation than is sensible and the scene resembles a fine spray mist. The area to be processed must be narrowed down. To do this, it is sufficient to delete the points that are not required and draw a bounding box around the required points. How the process takes place is up to the user and usually does not take long. There is no RC node for this, but it is not necessary as Houdini provides numerous ready-made tools for this.

To obtain a 3D object from the point cloud, another Capturing Reality Node called RC Create Model is used. Two inputs must be used for a correct display, ideally starting with the second input to prevent unnecessary computing operations that could lead to a crash if cancelled – provided Auto Update is set. The first input is the direct output of the RC Align Images node. All points resulting from the calculation of the image series are fed in here. The second input requires the bounding box information, which should display or mark out the selected points for reconstruction.

After a processing time, which can vary depending on the resolution and length of the image series, the 3D object is visible in the scene graph, but must still be correctly placed in the Origin by the user. The colouring of the object at this point appears plausible, but is based on the vertex colours, which were taken from the point cloud and interpolated. This is relatively easy to recognise by looking at the number of areas.

There are now two basic methods for proceeding. The first leads back to the RC Create Model Node. An RC Texture Model Node must be added to the node – the fifth RC Node in the bundle. There is a field in the settings that makes it possible to derive a lower-resolution model from the scan model with just a few settings. In addition to specifying an output path, the settings options for the function also allow the user to specify the resolution of the textures to be created based on a power of two or to select from the options. There is also a slider that asks the user to specify the percentage by which the algorithm should reduce the object.

Once the settings have been made, the object can be created at the touch of a button. As this is an automatic process, the topology of the grid may not correspond to the desired standard for some objects. It is therefore also a good idea to prepare the object in Houdini. SideFX offers special tools for game content developers.

The sample data sets from SideFX are relatively simple, so a reality capture test was carried out in Houdini using an image set from 3D-Scanstore. In addition to 3D models, image sets can now also be purchased for your own mesh generation: 3dscanstore.com

Fine tuning and function

When you get right down to it, users receive two nodes that can be used to create 3D objects from image series. As the old saying goes, the devil is in the detail and the settings may need to be adjusted for accuracy when processing the different image pairs. The accuracy of the reconstruction can be checked when using the node called RC Extract Cameras. If image series were created using a cage or a fixed camera rig, the position of the different cameras in the room can be displayed using RC Extract Cameras. Any deviations can thus be counteracted in a targeted manner.

Up to this point, we have talked about the workflow rather than the plug-in itself. Firstly, the plug-in must be downloaded and installed. SideFX has added a separate subpage on the official homepage with download links for Houdini version 16.5 and 17 as well as sample files. When the RC Align Images node is inserted and the display flag is set, the plugin asks for an active Capturing Reality licence. If no licence is available, the query window allows you to select a specific licence model. Regardless of which one is selected, a Capturing Reality account is always important, as Capturing Reality will ask for a licence the first time it is used. Users who do not yet have a licence are asked to select a licence model at this point.

Potential users must be aware that the Houdini plug-in is free of charge within the beta. However, a purchased capturing reality licence must be acquired via the user’s own account. The demo and Steam versions are not compatible. However, the costs for Capturing Reality are manageable and reasonable in terms of functionality and user-friendliness. In addition, the Capturing Reality community is active and is constantly growing. If a problem is identified in the community in order to find a solution, new users can look forward to help.

Costs: For individual users and indie studios, we recommend the promo programme for 99 euros for three months of use. Updates are included, a maximum of 2500 images per object can be imported and an internet connection is required to export the data. For a fair price, users in the entertainment industry get a photogrammetry turbo.

Links

Houdini Capturing Reality Plug-in, documentation and sample files

Official Capturing Reality Hompage

The post Capturing Reality in Houdini first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Denys Hsu, known under his pseudonym cgtinker, releases his free Blender add-on called BlenderArMocap, which makes it easy to realise motion capturing – without any annoying markers.

What you need: All you need is a working webcam, and Blender on your hard drive – and of course a healthy pair of hands and feet, along with a head between your shoulders. After all, the tracking software needs some kind of orientation points. By the way: The data recorded by the add-on can be transferred to Blenders Rifigy rigs if required.

Extended access rights: According to Denys, you must start Blender with extended access rights if you want to install his add-on. Denys says: “The tools I provide are free to use, but online use remains paid. I enjoy creating tools for you, but it is time consuming.”

Click further: On GitHub you can get all further information about this interesting add-on, on Gumroad you can download the BlenderArMocap for free. Denys explains how the add-on works in the video below. If you want to delve deeper into the creative workshop of 27-year-old freelance technical artist Denys Hsu, visit his website.

BlendArMocap – AR Pose, Hand, Face Detection in Blender Beta Release

The post Motion capturing without annoying markers first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

• Plask is a 3D animation editor and motion capture tool
• What exactly is the Plask tool? The tool is web-based and powered by artificial intelligence
• The killer feature of the Plask tool? The ability to animate your character based on video recordings – and practical motion capturing

In nuce: The Plask team releases its two-in-one tool: 3D animation editor and motion capture tool.

What is the Plask tool? The tool is web-based and powered by artificial intelligence. Plask allows you to record, edit and animate your 3D projects without having to leave your internet browser. And, let’s be honest: who leaves their internet browser these days (unless the user is forcibly removed from the display with a crowbar)?

The killer feature? The ability to animate your character based on video recordings. Plask owes this practical motion-capturing experience to the AI mentioned above. Plask automatically sets keyframes within your videos. It’s even easier if you use your webcam to record your movements in front of the camera (and, let’s face it, who doesn’t record their body claus via webcam these days?)

Click on: But enough about crowbars and being overconfident in front of webcams. You’re just one Plask login away from animating in your web browser ! The video below shows you how Plask works. We hope you enjoy this groovy tool!

Meet Plask – Plask – AI Motion Capture and 3D Animation Tool

The post Plask | Great tool first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: In this almost two-hour sci-fi feature film by director Miguel Sapochnik (“Repo Man”, “Game of Thrones”, “Altered Carbon”), the eponymous Finch (played by Tom Hanks) assembles a robot to keep him and his dog company in the post-apocalyptic wasteland.

Click further: The featurette just below offers an outline of how the robot Jeff (played by Caleb Landry Jones) was created using performance capturing. We think: Sci-fi fodder worth seeing for fans of Tom “Everyman” Hanks and niche sci-fi gems like “Annihilation” or “Ex Machina”.

 

The post Finch | Featurette first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.