دانلود کتاب Performing for Motion Capture: A Guide for Practitioners

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Cover Halftitle page Title page Copyright page Contents Figures Contributors Acknowledgements 1 What is motioncapture? JOHN DOWER AND PASCAL LANGDALE Motion capture is a medium in its own right Digital and virtual production What is a game engine or real-time engine? What is a game engine or real-time engine? Motion capture – the technical lowdown in a nutshell Motion capture versus performance capture Chapter 1 takeaways Notes 2 The body PASCAL LANGDALE Where movement comes from Physical heritage. Your life is in how you move Kinesthesia, proprioception and mind–body connection Falsehood in performance is magnified by motion capture Train your mind–body connection How to train Chapter 2 takeaways Notes 3 Imaginary environments PASCAL LANGDALE Don’t pantomime or lose touch with drama The actor’s job: nonverbal storytelling Rehearse, rehearse, rehearse . . . The job in the volume Imaginary environment example exercise 1 Imaginary environment example exercise 2 Imaginary environment example exercise 3 Summary Chapter 3 takeaways 4 Mocap is an animated medium JOHN DOWER What is animation? The mocap data pipeline The animator interprets Capturing the facial performance The eye of the animator The animator relationship with the actor The difference between performance and motion capture in animation Digital makeup versus augmented animation What animators are looking for in an actor What you can expect from the shoot Chapter 4 takeaways Notes 5 Building a character in motion capture PASCAL LANGDALE How to build a physically embodied character The universal challenge: bridging the gap Linking character to physicality Psychophysical Bringing the character to the mocap stage A total performance is always useful Summary Chapter 5 takeaways Note 6 Video game locomotion PASCAL LANGDALE Locomotions – the consequence of interactivity How to do the job Two deceptively simple locomotion exercises Using real-time and reference video Chapter 6 takeaways 7 Cinematics John Dower Directing in motion capture is different from other performance media What are cinematics? How are cinematics created? The practical differences between mocap, performance capture, facial capture and working with pre-recorded audio How does interactivity in a scene affect performance? Cameras in cinematics Even more on virtual cameras The vibe in a mocap studio Keeping character continuity over the shooting schedule Chapter 7 takeaways 8 Direction and the lack of it JOHN DOWER Expectations of a director The different types of mocap work What kind of information do you get before arriving at the studio? How often are you directed by what you would call a director? An exercise using pre- recorded audio What advice would you have liked when you started out in mocap? Chapter 8 takeaways 9 The industry – finding your place in a new medium JOHN DOWER Mocap is proving its worth How has the industry changed in your part of the world? Where are we now? Where is the work? So how do we find work? How equal are the opportunities? A note on whether you need to train – or not! How to decide what skills and training you should consider Getting granular – how do I submit for a job? Chapter 9 takeaways Notes 10 What will the landscape be in ten years’ time? A low wager bet between professional futurists . . . PASCAL LANGDALE The state of play Expanding use of motion capture Challenges in the new world Opportunities in a new world Chapter 10 takeaways Appendix: Chapter by Chapter Summary Index