Kellan Lutz Quotes

Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.

When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.

Motion capture has become very specialized but also still just a tool of filmmaking.

I am a bit evangelical, I know, but performance-capture is still misunderstood.

'Mars Needs Moms' was motion capture, where you walk into a space that's essentially a black box with cameras everywhere. It was so technical. You have these mandibles with cameras on your face and a helmet, and you have to hit certain marks. You couldn't shoot this stuff without the green-screen aspect.

The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.

If you're in a motion-capture studio, you have spherical, reflective markers, which are picked up by cameras that emit infrared - it reflects it, and then the cameras pick up the data.

The amazing thing about motion capture is everything translates. Your slightest emotions translate through the suit and into the character.

The technical aspects of doing motion capture and actually, you know, capturing the motion, is very different. It's an interesting learning curve to be part of because you have so much gear on you.

I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

Shane McMahon did his own mo-cap. Did you guys know that? He went and did his own mo-cap. He didn't want somebody doing his moves. Shane did his own mo-cap.

Performance capture, for me, is finding the essence of a performance.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

When I first did 'The Lord of the Rings,' I was acting on the set with the other actors, but then I had to go back and repeat the process on my own to do the physical capture on a motion capture stage.

You've seen how they make movies like Star Wars and stuff. They're never really there. They're in front of a green screen just pretending to be jumping around.

I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.

It's quite amazing what 3D is doing to movies. Just simple things like a paper plane flying at you or flower petals fluttering about are wonderful.

People used to say, 'Andy Serkis lent his movements to Gollum,' and now they say, 'Andy Serkis played Caesar.' That's a significant leap.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

If a scene called for numerous Oompas to join in a narrative song and dance, I would perform the steps for all of them with subtle distinctions of expression and movement. When the images were joined with the help of a computer, I became an entire troupe.