Rigging up to 24 cameras with electrically triggered shutters, Muybridge conducted studies of the movement of horses, birds, and men from 1878 onwards, according to which gestures were fragmented into sequential parts in individual images. The creation of any MoCap character involves various forms of intensive technical, artistic, and computational labour.ĭemonstrating that the preoccupation with anatomy and movement has long been at the heart of the persistent entwinement between cinema and scientific enquiry, the history of motion capture predates that of cinema itself, beginning with the proto-cinematic experiments of figures such as Eadweard Muybridge and Étienne-Jules Marey, well-known pioneers of the method of chronophotography. 2 MoCap characters like Gollum signify a convergence of analog and digital modes, a grafting together of a human body that has moved through tangible space, and an algorithmic body that has been fleshed out through code. In the twenty years since Gollum appeared on screen, the first time a virtual character was “filmed” on location, motion capture (“MoCap”) has become one of the central techniques of CGI, and, it can be argued, one of the distinctive aesthetics of post-Millennial Hollywood film making. Gollum signified a pioneering development in computer generated imaging in the cinema, in terms of both technological innovation and the opening-up of new formal possibilities. Production still showing Andy Serkis in MoCap suit as Gollum/Smeagol in The Lord of the Rings: The Two Towers (Peter Jackson, 2002)
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