CMIVFX Camera Based Motion Capture HELL
English | 28 06 2011 | 658MBGenre: eLearning
In the last few years, many companies went to use different programs ( 2D and 3D ) and different devices (motion capture, motion control) to achieve specific kinds of shots to meet difficult or critical creative needs. A generic problem presents itself during this hybrid use of different programs and devices (programs made by different companies ) which is the process of data exchange between them. Every program or machine has its own logic which could be different from other rest, but they all share the same blood, which is the data. Traditionally, we may face problems transferring animation or objects data between programs or between device and a program ( motion control to 3D camera ) in our production line. Most of you would tend to wait until the software companies create a plugin to do this work for you. Unfortunately you simply cant do that in real world scheduled VFX spot. We have to act immediately upon demand and learn to create these tools and utilities ourselves in order to get our job done effectively and on time.
During our adventure, dealing with pure data will enable us not to just transfer the data between different parts of our production line, but to manipulate this data, and customize it the way we need to suit our use, AND MAYBE ( as in our course ) to invent a new solution for an old problem using two cameras to capture human movement and automatically transfer the data into a custom character in 3D, without the need of expensive motion capture device or other solution.
We can also, create our own data file format and extension to package special kind of data for use in other programs or to save this data out to disk. We will create tools to save our character and cameras animation in .CSM file or other custom file format to use that animation in other program ( Max, Maya and Endorphin in this course ) or to save it to disk, or even to send it by internet for general use, such as usual BVH and CSM motion capture files.
You dont have to be skilled rigger, match mover, Max scripture or Mel genius to understand and to practice doing and creating these tools in this course. We started from scratch just like you will. (We do not hide anything from you) The learning structure used in these videos, gears all users up to be able to follow its contents from start to beginning. This is one of the few videos made that allow a novice or experienced TDs and mid level 3D artist the ability to learn on the same level.Capturing ( character tracking ) a woman movements with two cameras :
In this chapter, we will talk about character tracking using two different cameras with angle differences. ( the conditions and the best solution ) Then we will go through the process of tracking the movement of a woman from two additional HDV cameras, using Autodesk MatchMover step by step (solid tracking method ), then we will create a coordinate system, and export the tracks of the woman and the cameras into 3DMax. Following that, we then setup the 3D scene to receive match mover data correctly.Building a CSM ( character studio motion capture data file ) from scratch:
In this section of the video we will explain Motion capture file structure ( CSM mainly ), and how to extract information from this kind of files, then we will go through the process of applying those files into characters in 3d ( Character Studio in this case ). (NOTE: The process that we show can be used in other file formats in almost the same manor. Your not locked to 3DMax)
Baking and Application
In this portion of the video we will build a custom CSM exporter to save the MatchMover tracks as .CSM file, then we will use this file to Automatically control our character in character studio transforming track data into typical motion capture file ready to use on any character. During this process, we will build a custom baking keys utility for our tracks.
All the material ( live footage ( Red, 35 mm, and HD ), and motion control flair data ) used in this course, are used in real commercials, to transfer all real production conditions through this long course.
We are not assuming ideal conditions which can work for specific lab work, but we preferred to bring real stuff, real problems, such as daily VFX work so that you too can fix those problems during the course, and to mimic real production line circumstances, step by step.
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