Passive Marker MoCap

Passive marker MoCap, or Motion Capture, works via optical tagging. Markers coated with a special paint that is retroreflective ? a special kind of reflective that returns most light back to its source only.

The camera recording the MoCap has a powerful backlit light source that the tags pick up on. Their relative brightness far outshines that returned from skin, or clothing. Non retroreflective metal is also not as bright ? it scatters evenly, rather than returning all to the light source.

The result is a captured two-dimensional image of the person?s body movements, in each camera. Three dimensions are achieved via the software, isolating the relative brightness of the tags, and extrapolating relative distance from that. Multiple camera views are then combined, to gain a true 3D perspective.

Below, we offer a selection of links from our resource databases which may match this term.

Active marker MoCap

MoCap

Passive Marker MoCap

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Swift MoCap Sequence Retrieval
A better way has been developed for premade MoCap summoning. A method that uses general limb movements to call up the closest matching MoCap file.

MoCap for Movement Analysis
Promising work by QuinteQ on real-time motion capture without excessive hardware, holds promise for MoCap use in public VR.

Large Image Display: Simone: Mocap Animation Differences
In Lessons from Simone: MoCap Filter , it was discussed how Simone whilst yes she was controlled by Victor?s body movements in a MoCap system, never quite copied those movements perfectly. Whereas Viktor's movements are not always feminine, Simone moves with a permanent feminine grace.

Combining MoCap and Gesture Recognition
MoCap - Motion Capture - for all its impressive abilities, has definite limitations in terms of sensory fidelity, the expense and bulk of the rig. Gesture control is cheap and captures every little movement, but easily overwhelmed. Is a hybrid system possible?

Lessons from Simone: MoCap Filter
Simone is a seminal virtual reality film, and there are several aspects of both the technology of VR and the social impact, which the film carries off very well, and which deserve to stand on their own merits. The MoCap filter the film alludes to, is one such aspect.

Large Image Display: Animatrix: Final Flight of the Osiris: Facial Detail
This frame is from the widescreen version of ?Final Flight of the Osiris?, one of the Animatrix animated shorts. It has been considerably scaled back from the original material. Still, it exists to showcase the state of CG faces back in 2003. At least the CG possible when interactive VR techniques are applied to a passive VR production. In the years since this animation short came out, normal passive CG specialists have caught up. The question we ask here is, how come it took four years for them to catch up?

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