Performance Capture in 'Rise of the Planet of the Apes'

Performance Capture Technology in Feature Length Films

Introduction (Summary)

Motion Capture Technology (MoCap) has been prevalent in the film industry for decades, but in recent years a few directors have decided to make the switch to Performance Capture Technology. Both of these technologies essentially have the same background, in which an actor dons a form-fitting suit that contains multiple motion markers. Then, all acting is performed on a special soundstage (called a volume) where somewhere between 60-120 cameras film the actor from all different angles at once (Feeny, 2004, p.18). What sets Performance Capture apart, however, is that up to four actors can be on the volume at once, essentially creating a scenario similar to live stage acting. In addition, more recent developments seen in The Rise of the Planet of the Apes (2011) allow for this technology to be used outside, therefore eliminating the need for computer-generated scenery (Eisenberg, 2011). These most recent advancements in Performance Capture Technology make it seem to be the future of computer animation.
Background

Since Performance Capture Technology has evolved from Motion Capture, it is best to look back to the 1970’s, when MoCap first appeared. During this time, MoCap was mostly used in an experimental sense, such as in biomechanics labs in order to analyze human motion (Sturman, 1999, para. 4). Throughout the 80’s and 90’s, several different companies began to experiment with single character animation, using techniques such as Mechanical (where the performer is outfitted with electrical strips), Electromagnetic (where the performer wears magnetic receivers) and what is most commonly used today, Optical (where the performer wears reflective dots that are followed by several cameras) (Furniss, n.d., Types of Motion Capture).  All of this research and experimentation eventually lead to the production of the first full-length film that was created entirely using motion capture, The Polar Express (2004). However, the result was “not merely motion capture and not strictly live action; with a motion-captured live-action cast and digital sets, the film is a computer-generated fairytale that looks like an animated movie” (Feeny, 2004, p. 18). It was at this time that the term ‘Motion Capture’ no longer seemed to fit what this process had become, and it started to be referred to as ‘Performance Capture’.  In The Polar Express, the crew was able to achieve the creation of a volume that could hold up to four actors, a 360-degree array of cameras, and the integration of both facial and bodily movements and reactions. However advanced this technology seemed at the time, it surely was not as versatile as it is today.
Potential Benefits

There are many benefits that come with using Performance Capture Technology. The first and most obvious is the ability to turn human actors into animated characters. Doing this translates all human actions, movements, and expressions of the body and on the face onto that of an imagined person or creature.  This takes away the need for hand drawing such as in traditional animation, and also the need for the artistry involved in CGI, which is the type of animation used in films such as Toy Story (1995) and Shrek (2001). Because of the motion dots on the actor’s outfits, the characters are essentially already animated once the scene is performed. In addition, according to Maureen Furniss’ article titled “Motion Capture”, “ a ‘full body’ (motion capture) character can be animated for as little and $1,000 per minute; over a series of shows, the price can go even lower. Cel animation, by contrast, can cost as much as $5,000 a minute” (n.d., para. 7).  However, this does not include the costs for more expensive things, such as lavish props and backgrounds. Seth Rosenthal is quoted in Furniss’ article by saying that “motion capture is irreplaceable for some applications and inappropriate for others. When used well, it can be incredibly cost effective…” (n.d., para. 7). The fact that this is a cheaper alternative to other forms of animation definitely makes Performance Capture the most favorable route; if access to the necessary equipment can be obtained. Practically taking away the need for any animators at all and lowering the cost to animate at the same time makes Performance Capture a useful technology in the film industry.

Social Problems

The main argument surrounding Performance Capture Technology is that it eliminates all artistry found in traditional animation, and therefore is not a form of animation at all. However, this argument also came about when CGI was first introduced, and that is now becoming more widely accepted as digital animation. So, with time, performance capture will most likely fall into the category of animation without second thoughts. In Furniss’ article, Bob Kurtz argues, “animation is about creating an illusion of motion that doesn’t otherwise exist. (Mocap) doesn’t involve the same artistic input and creativity” (n.d., para. 9). In contrast, Anne Eisenberg explains in her article that “software may do most of the animating, but human artists still apply their skills, adjusting the rendering… if the emotional intent of the performance is not conveyed properly” (2011, para. 15). Arguments such as these are always apparent when new technology is introduced in any field, and with so many advancements today, it is probable that it will soon be considered as ‘old news’.
How It Works

There are many different steps and aspects that go into making Performance Capture Technology work. First, is the set-up of the soundstage, or volume. When first introduced in The Polar Express only 64 cameras were placed in a 360 degree angle. More recently in the award winning James Cameron masterpiece, Avatar (2009), the volume was outfitted with 120 cameras (Thompson, 2010, p. 58). Next, up to four actors are placed on the soundstage, wearing special motion capture suits. These suits contain about 32-38 four-millimeter balls covered in reflective materials “to cover fingers, major joints, the limbs, and the torso” (Feeny, 2004, p. 18).  In addition, more than 150 markers are placed on the face, and the actor dons a lightweight helmet with a small camera dangling in front of it. Anne Eisenberg’s article that focuses on this technology in The Rise of the Planet of the Apes quotes Dr. Chris Bregler as saying that “the system can capture every subtle nuance of expression down to the pixel, and every wrinkle” (2011, para. 8). After this, all of the footage is modeled and analyzed, and the characters are shaped as they need to be. For example, in Rise, the computer transforms the recorded pixels into chimpanzees and in Avatar, they become the towering blue creatures known as Na’vi. Postproduction will then continue as usual from this point on, with the addition of backgrounds and the selection of camera angles. It is clear that a lot of technical and specific work goes into Performance Capture, in order to get the desired animation effect in the final product.

Hardware and Software

One system that is commonly used in creating movies using Performance Capture Technology is called Autodesk. Autodesk allows the user to utilize real-time animation tools, features revolutionary character technology, and includes a unified non-linear editing environment. In order to run this software, one must have Apple Mac OS X 10.3 or higher or Microsoft Windows XP Professional. In addition, they must have Internet Explorer, Netscape, Safari, or Firefox downloaded onto their computer. Necessary hardware includes: an Intel Pentium III or higher, AMD Athlon processor, Macintosh G4 or G5, 256 megabits of RAM, a CD-ROM drive, and OpenGL graphics card with 32 megabits of RAM, and 600 megabits of hard disk space (“Hardware,” n.d.). Autodesk is a highly useful program when it comes to Performance Capture Technology.
Conclusion

Performance Capture, as a separate technology from Motion Capture, is becoming extremely prevalent and useful in the fields of film and animation. Not only does it allow for human-like actions to be applied to any imaginable characters, but it also allows for these characters to be transported to any real or imaginary place. Just by having a few actors place reflective balls on their body and face, and perform in a room of 120 cameras, directors and producers can create anything within and even beyond imagination. All that is needed is knowledge of the devices and software. It is obvious that the future of computer animation is within Performance Capture Technology, and with that will come even more astounding advancements to the entire film industry.

References

Eisenberg, A. (2011, August 27). Technology Blurs the Line Between the Animated and the Real. Rise. (Newspaper). The New York Times.

Anne Eisenberg is a writer for the New York Times. In the article she analyzes the Performance Capture Technology used in The Rise of the Planet of the Apes. This article describes in great detail this new technology, how it works, and how it is used in this film.

Feeny, Catherine. Digital Cinema. New York: Oct 2004. Vol. 4, Iss. 5; pg 18.

Catherine Feeny analyzed the Performance Capture Technology used in The Polar Express. Since this was the first appearance of this technology in a full-length film, this publication also describes in great detail what goes into working Performance Capture in any film.

Furniss, M. (n.d.). Motion Capture. Retrieved October 3, 2011, from http://web.mit.edu/comm-forum/papers/furniss.html.

Maureen Furniss wrote this length article, that investigates all aspects of Motion Capture, from social problems, to how it works. It is a great source for any and all questions one might have about motion capture.

Hardware & Software for Motion Builder MoCap. (n.d.). Retrieved October 4, 2011, from http://www.metamotion.com/software/motion-builder.htm.

This is the website for the Autodesk Software used in many Performance Capture and Motion Capture films. This specific web page provides information on the hardware and software needed to run Autodesk.

Sturman, D.J. (1999, March 13). A Breif History of Motion Capture for Computer Character Animation. Retrieved October 5, 2011, from http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/motion_capture/history1.htm.

David J. Sturman provides a look into the history of motion capture. This article covers from when the technology was first introduced in the 1970's all the way up to advancements made in the late 1990's. It provides in depth looks at specific motion capture projects in all different fields of study.

Thompson, Anne. Popular Mechanics. New York: Jan 2010. Vol. 187, Iss. 1; pg. 58.

In this publication, Anne Thompson provides a look at the technology used in the movie Avatar. The Performance Capture Technology used is explained in great detail. This is a reliable source in order to see how this technology has evolved, and is used today.