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Message: <blockquote data-quote="nismok" data-source="post: 6683350" data-attributes="member: 109094">This is a Motion Capturing System with Real-time Preview.1: The Volume   <img src="http://media.popularmechanics.com/images/avatar-fx-1-1209.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /> Most of James Cameron’s space epic, Avatar, was shot on a  performance-capture stage, known as the volume, in Playa Vista, Calif.  The volume was rimmed by 120 stationary video cameras, which could  record the movements of all actors at once in 3D, with submillimeter  precision. Data from the cameras was streamed into Autodesk software,  which translates actors’ movements into digital characters in real time  within a low-resolution computer-generated environment. So riding a fake  banshee mockup onstage instantly translated to CG footage. Multiple  cameramen were used on set for reference video, but because the volume  essentially captures performances from every angle at once, Cameron  could digitally render whatever angles and shots he wanted after the  performance, adjusting the camera movements while viewing playback.  2: Digital Closeup   <img src="http://media.popularmechanics.com/images/avatar-fx-2-1209.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />  Like many actors in Avatar, Zoë Saldana plays a fully computer-generated  character, Na’vi princess Neytiri. To map her movements to her digital  doppelgänger, Saldana wore a motion-capture bodysuit with reference  markers and stripes. She also wore a head rig designed by Cameron that  aimed  a small video camera at her face. That camera tracked green ink dots,  painted on Saldana’s face, throughout the scene, giving Cameron  closeup-level detail of changes in expression to map to Neytiri’s CG  face.  3: On-Set Playback   <img src="http://media.popularmechanics.com/images/avatar-fx-3-1209.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />  To shoot a scene within a totally CG world, Cameron had virtual  production supervisor Glenn Derry rig up augmented-reality cameras.  Cameron could watch from the sidelines as his actors’ performances were  instantly mapped to their CG characters and displayed via an on-set  screen. Or he could use a portable, motion-tracking virtual camera to  walk through the volume and view the CG environment of the movie on its  LCD screen.  4: Final Render   <img src="http://media.popularmechanics.com/images/avatar-fx-4-1209.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />  To transition from the CG produced on set to the photorealistic world of  the finished movie, Cameron sent his rough footage to Weta Digital in  New Zealand. There, special-effects programmers used a facial solve  program and facial action coding to translate the actors’ every minute  muscle movement—blinks, twitches, frowns—to believable expressions on  the faces of Pandora’s aliens.</blockquote>

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