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Procedures During the Shoot Depending on the studio and type of motion capture, it may not be easy to play back each take of the actual data or review the footage afterwards to select the best ones. To make life easier, set up a regular video camera as a "slate camera" to tape the session. This video camera should have time code synched to the tapes of data being recorded. Hold up a slate board for each take, noting the file name, move name and take number. To document rest frame positions, take Polaroids and also trace outlines on acetate taped to a monitor showing the slate camera's output. Take notes and make preliminary selects on your shot list as you go. Ideally, a few key members (lead programmer, animator, producer) are present during the shoot, schedule permitting. You'll want input from them as well as from the motion capture studio personnel during the shoot. However, have a meeting prior to the shoot to discuss how you and the team will communicate in the studio. Above all, establish how decisions will be made. You want to avoid arguing with other team members during the shoot about whether the move you just captured was good enough. This will waste time and make the talent quite uncomfortable. Make it clear that only one person--the director--will communicate directly with the talent on the set, explaining each shot and giving feedback. The director must also be in control of the session's progress: calling action and cut, allowing breaks, and deciding when to go on to the next move. Directing the Talent Your first job as a director is to put the talent at ease. He or she is going to feel a bit awkward in that skintight motion capture suit with sensors attached everywhere. Make small talk. Make jokes. Let the talent warm up and get used to the mo-cap suit and any props that will be used.
Treat the performer with respect--don't condescend and don't immediately assume her or she won't understand what you want done. Explain the importance of hitting rest frames and marks, but make sure the performer is relaxed and moving naturally. Explain the shot list and, if appropriate, ask for the talent's input. However, maintain your control as the director. Thank the performer for all suggestions, and do use the ones that will help. But emphasize that mo-cap and game requirements must take precedence over "authentic" sports, fighting and acting considerations. Take notes on your shot list and mark down which takes you like best during the shoot. You will also have to watch for technical considerations: continuity, timing, rests frame positions, distances, contact points, and so on. But try not to get bogged down to the point where you are treating the performer like a robot. remember to keep an overall sense of the game's character and help the actor bring the role to life. Throw in some humorous idle moves or will improvisations if you can spare the studio time. The performer will probably move quite naturally, being relieved of hitting his or her marks. Often those last-minute ideas work well to add some spice to the game characters. Directing celebrity talent is not much different than working with other performers. If the performer tries to pull a prima donna act, appeal to his or her ego. Say something like, "We knew this would be hard, that's why we needed you!" Keep the phone number to the celebrity's agent close at hand. (Don't threaten the performer. Let the agent do that.) You can't force a celebrity to give you a good performance, so try to establish a good rapport and talk about the great video game you are creating. Special Set-ups and Stunts If you are going to put performer at any risk of injury, you need a stunt coordinator. A good rule of thumb is that if there is going to be any kind of contact involved--between the performer and an object, another performer, or the floor--you should have an expert around to make sure things are done safely. Don't skimp on this. Not only could your performer get maimed and your company sued for millions of dollars, but your shoot will fall behind schedule. Stunt coordinators are also needed to set up special rigs, like a flying harness. A ratchet is another interesting set-up, which propels the performer violently backwards in a harness to simulate getting blown away by whatever powerful weapons you've designed for your game. You can also use rigs to simulate non-human motion. Put a performer on stilts or outfit them with extra motion capture arms and legs. Test an actor's ability by making them crawl around on their arms and knees imitating an alien monster that barks. You get the idea. Wrapping the Shoot After each shoot, you'll have to collect your notes and slate videotapes to review. After you've selected which of all your fantastic takes is the best for each move, provide the take number and time code in and out points to the motion capture processing team. After the data is process, keep in touch with the animators to make sure they understand what you had in mind. As the motion data is implemented in the game, continue to ask the team for feedback while you are still able to re-shoot anything missing. When you finally wrap your very last re-shoot, have a blow-out party for your cast and crew. It's hard work, but your game characters are going to look great and be a blast to play. With any luck, you'll have had some fun in the process, too. Melianthe Kines can be reached at mkines@escape.com.
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