The preparation of the recorded data is done in Motion Builder, where physical simulations “substitute” hazardous physical forces and dangerous movements that can not be done by the mocap actors. Vehicles and other non-living objects have to be entirely animated in Maya using many scripts. In most cases the basis for the character animation is provided by mocap recordings, then during the actual animation phase we retouch, refine movements such as the interactions between characters/props, the posture of the hands and the facial expressions. Character animationĪrtists: Istvan Zorkoczy (lead animator), Robert Babenko (animation supervisor), Adam Juhasz (animator), Gabor Lendvai (animator)
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It is often the difference in size and proportions of the mocap actor versus his digital character, that necessitates manual retouching by the animators as well. Despite the precise, accurate mocap recordings a lot of keyframe animation is required for the characters’ animation. Luckily enough, many of our colleagues are fans of the Mass Effect games therefore they were acquainted with its characters, props and unique universe way before we got into this project. Usually we spend long hours on collecting references for designing the movements of the characters, let them be humanoid or beast like characters / creatures. One scene might be made up of several different versions, depending on which looks better from different camera angles. Sometimes we may record up to thirty versions of certain important scenes and the director picks those that will be used for the movie. For the Mass Effect 3 – Take Earth Back trailer we had a twelve day mocap session, and recorded approximately seven hundred takes. Usually the mocap shooting days are preceded by rehearsal days, for example if we have a two day mocap shooting session then the actors need at least two-three days rehearsal with the director. For a bit of trivia, the little girl’s mocap was recorded with our colleague’s daughter. The mocap actors’ experience in the choreography of fight scenes (Assassin’s Creed 2, Assassin’s Creed Brotherhood, Dragon Age 2, Assassin’s Creed Revelations, Mass Effect 3 teaser and trailer) is a great help to the director as we have worked with them on numerous projects since Digic Motion was set up in 2009.
We try to build all props accurately to scale, as much as possible, so at the end of the day we receive quite accurate motions after data cleaning and re-targeting. In general we capture 2-3 or sometimes even 4 actors’ movements at once together with their props (swords, shields etc). The mocap subject was a Digic's artist's daughter. We reconstruct the paths of these markers with Vicon’s Blade software, then re-target the data using Motion Builder onto the skeletons we work with in Maya. What this means is that during the course of a shoot, when we record the paths of about 220 special markers, an enormous amount of data is generated: in the case of the Mass Effect piece the raw motion data was in the range of 100 gigabytes. Our studio is equipped with 16 such cameras. Currently, this is the most advanced optical motion capture system available, recording 16 megapixel grayscale images of 10 bit depth, at 120 frames per second.
We used Vicon’s T160 camera system to record all motion for this piece. We go in-depth with Digic to show how the cinematic was made – in stereo – featuring behind the scenes video breakdowns, images and commentary from several of the artists involved.Ībove: watch ‘Take the Earth Back’ Motion captureĪrtists: Csaba Kovari (Mocap TD), Istvan Gindele (Mocap TD), Gyorgy Toth (animator) The trailer, dubbed ‘Take Earth Back’, tells the story of an alien invasion as Earth is attacked by the game’s Reapers. Earlier this year, Budapest studio Digic Pictures produced a stunning three minute trailer for the Bioware game Mass Effect 3.
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