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In this project, I learned how to create a webpage to showcase how we developed a piece of work. During the production process, we discussed various storylines together, eventually selecting a storyline and designing characters and story scenes.

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In the process of performing, I realized that motion capture actors, much like behind-the-scenes performers, need to portray the situation and emotions of the characters in the current scene to achieve a more authentic effect. In this film, I played a character who is scared; she encounters a terrifying monster in her dream, which fills her with fear and dread. As an actor, I needed to convey fear and anxiety to immerse the audience in the story. During this performance, I transitioned from needing to act scared to genuinely feeling scared because the sudden closeness and the emotional build-up caused me to react with real fear, triggering a defensive reaction where I almost kicked back. However, I ultimately managed to hold back, haha.

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During the discussion, we each shared our perspectives, discussed the storyline, and divided the tasks to ensure that the project could proceed smoothly.

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To better capture the essence of performing as a monster, I researched horror-themed movies and games to understand the characteristics and body movements of monsters, even though I find such content terrifying. Monsters are often defined by their illogical, oversized bodies, which create a sense of pressure and fear in humans. In my performance, to embody these traits, I incorporated strong body tremors and raised my hands to emphasize the monster's size and unsettling presence.

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I referred to movies such as The Ring, The Walking Dead, Silent Hill, and Sweet Home 2 to understand the posture and movements of monsters. For example, the movements often involve bending the body, lowering or swinging the head, dragging the feet, or moving them in a slow and deliberate manner. Incorporating animal-inspired movements can also enhance the effect. For instance, in The Ring, Sadako’s crawling movements resemble those of a reptile, while in Silent Hill, the nurse monsters, despite their humanoid appearance, exhibit twisted and trembling motions. Their stiff yet rapid steps and uncoordinated head movements vividly convey their inhuman essence.

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I believe that motion capture actors need to be aware of the equipment and clothing they wear, such as their attire. Motion capture clothing refers to specialized garments designed specifically for motion capture. Unlike regular clothes, motion capture suits are made with special materials and tailored designs to facilitate accurate movement data capture.  

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The markers on the motion capture suit are called ‘motion capture markers’, which are made of reflective materials. These markers reflect infrared light and are captured by cameras to record movements.  

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Actor, research, help asist the tchnical

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This is my motion capture outfit. In general, full-body motion capture usually requires 40-70 markers, and if detailed facial and hand capture is included, it could reach 100-150 markers or more. The actual number depends on the project requirements and the motion capture equipment used. However, we don't need highly detailed capture, so I only have a basic 37 markers on my suit to enable the character to perform basic movements. This, however, becomes the biggest challenge during the performance. Since there aren't many markers to capture movement, we need to exaggerate everyday actions during the performance to achieve the desired character movements. Especially as a monster actor, I have to make much larger movements to convey the feeling of the monster. This is both a challenge for my acting and physical stamina.

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This is the calibration equipment needed before starting motion capture. Its function is to accurately establish the calibration space, allowing the cameras to know the space precisely. The L-shaped calibration tool in the upper image is used to calibrate the position on the floor, while the calibration tool in the lower image is used to define the position of the space.

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I am using the calibration tools to define the space and the position on the floor. This ensures that the cameras can accurately know the space's location and avoid any strange bugs. When outlining the space, it is important to pay close attention to the accuracy of the drawn space, ensuring that the required values are met for better precision.

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During the performance, I realized that because fine details of movements cannot be captured, the actions must be exaggerated beyond what is typically seen in daily life to make them clear to the audience. For instance, the subtle trembling of a stiff body cannot be effectively portrayed in this project, so it needs to be replaced with highly exaggerated shaking to convey the monster's shuddering effect. 

While performing as the monster, even though I had studied its movements, I found that some actions were difficult to portray in a way that conveyed the monster's terrifying nature. Therefore, the movements had to be further exaggerated to achieve the desired effect. This process was physically demanding and required significant stamina.

Additionally, since performing together as two characters cannot be simultaneously processed in MotionBuilder, we ultimately decided to abandon dual performances and instead opted to perform one by one. This added to the difficulty, as performing solo required imagining the approximate position and orientation of the other person to ensure directional accuracy. For example, during a scene where Ramizah spins counterclockwise, I needed to confirm her position and rotation direction to accurately perform the monster’s action of following and watching her character spin.

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Collaborative Learning and Character Performance

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Collaborative Learning and Character Performance

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At the start of each session, Ramizah and I would change into the motion capture suits, and Wong would help both of us attach the markers. While Wong was attaching markers to Ramizah, I would assist and learn the correct placement of the markers as well. Once everything was ready, we would begin performing our story.

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In this project, I realized that the range of physical movements is particularly important. While portraying a monster, the creature's movements need to be large and evoke a sense of fear. To avoid coming across as comical during the performance, I went online to study the movements of monsters or ghosts. Since the performance requires continuous, exaggerated actions, it is a real test of stamina, especially for someone like me who doesn’t exercise regularly.

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Throughout this project, I have gained a lot. Previously, I could only watch behind-the-scenes mocap (motion capture) productions online, but after getting hands-on experience with mocap and completing this project, I gained a much deeper understanding of the course. We started by designing our own story, then moved on to writing the script, creating the storyboard, and producing the animatic. These steps provided us with a general understanding of the later stages of performance and editing. Next, we learned about mocap software, the necessary preparations, and various precautions. For instance, we needed to scan the capture space in the correct sequence, properly place markers on the actor, and ensure that actors removed any jewelry or accessories to prevent interference.In this project, Hana was our director, responsible for writing the script and giving instructions to Ramizah and me on how to perform the story and meet its requirements. Wong served as the assistant director, supporting Hana and helping Ramizah and me attach the markers. Ramizah was not only a mocap actor for the rabbit character but also the designer of our website. Lastly, I played the role of the mocap actor for the monster and worked on background design, voice acting, and more.When performing with mocap, actors must first strike a T-pose to calibrate the initial data before starting their performance. During the performance, it’s essential to avoid blocking the markers on the body to prevent tracking issues, such as misaligned body parts or losing position if stepping outside the capture area.The biggest challenge for me was acting as the monster. Since subtle details, like slight body tremors, cannot be captured, I had to use exaggerated movements to convey the intended effect. This was a true test of my physical endurance. I think one area I could improve on is studying monster movements more thoroughly to better embody the character, as I found it difficult to get into the role during the performance. This experience has sparked a strong interest in mocap acting for me. Although the process was exhausting, seeing the character come to life was incredibly rewarding and even adorable, which deepened my passion for mocap acting.