E N T E R TA I N ME N T

A RICHER
S P E C TA C L E

VFX and motion capture technology: A 2025 vision paper

January / February 2021

VI CON.CO M
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

WELCOME

VFX AND MOTION CAPTURE

HAVE LONG HAD A SYMBIOTIC
RELATIONSHIP. THE NEED TO CREATE
MORE DIVERSE, MORE IMMERSIVE
AND MORE BELIEVABLE EXPERIENCES
– OFTEN AT SPEED – HAS DRIVEN
RAPID INNOVATION IN MOTION
CAPTURE TECHNOLOGY.

“The results of this innovation can be seen in work like the

Marvel Cinematic Universe. It is hard to imagine how such
a hugely successful franchise would have been possible
without motion capture technology.

“The use of virtual production techniques continues to

grow and accelerate. The need for greater on-set efficiency
and creativity is growing exponentially. Crews simply
can’t spend time constantly setting up, calibrating and
processing data. Real-time is the key.

“Looking ahead, it is imperative that we continue to expand

the capabilities of motion capture systems by adding
modalities – including passive, active, inertial, markerless,
and video tracking – to tool suites so that creatives have
full flexibility to realise their vision and create even more
compelling experiences for audiences.”

02
There is increasing
understanding of
the sheer range
of assessments
and preventative
treatments where
motion capture can
have huge benefits
- not just in pre/post-
surgery environments.
This is going to
drive a new wave of
technology innovation
to service a more
‘light touch’ model of
assessments.

Imogen Moorhouse,
CEO, Vicon

03
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

WHERE ARE WE TODAY?

“MOTION CAPTURE IS ALREADY A VITAL PART OF
THE VFX INDUSTRY, BUT ITS IMPORTANCE IS ONLY
INCREASING. IT IS CRUCIAL WE CONTINUE TO GIVE
EVERY DIRECTOR AND CREATIVE THE TOOLS THEY
NEED TO REALISE THEIR VISIONS.”
Isaac Partouche, Head of Virtual Production, DNEG

Since the mid-1990s the use of motion capture technology

has grown exponentially in the entertainment industry.
Driven by huge advances in computing power, the rise of
games consoles, and the ever-increasing creative ambition “VFX has always pushed the
of directors and games designers alike, motion capture is
now an integral part of the film and games industries. boundaries of motion capture
technology. Directors want
Directors such as James Cameron and Jon Favreau, to take risks and dial the
working closely with CG supervisors, have been a massive
driving force behind the progress we have witnessed since
technology up to 11.”
the 90s – and technology vendors have had to continue to Imogen Moorhouse, CEO, Vicon
innovate to ensure that their demands can be met.

For animators and creatives, it is critical to visualise
environments early – to help them get from concept to
final rapidly while retaining control of that process. For
them to embrace motion capture technology has required
technology vendors to prioritise real-time capabilities. That
has put the emphasis on accelerating data processing,
higher camera resolutions, and streamlined modelling and
solving tools.
However, the industry never stands still – and technology
continues to drive new, richer experiences for audiences.
To understand where the industry is heading next, this
paper presents a vision of how the use of motion capture
can support a rapidly changing sector and continue to
bring the creative visions of the entertainment industry to
life.

And these demands really have ballooned. If we look at the
games sector – the amount and complexity of cinematic
cut scenes in each game has increased massively. The
latest games routinely have several hours of cut scenes.
Not only that, but with many games featuring triple A
talent, creatives also need to reproduce the nuances of the
actors’ performances.
Motion capture has proven itself uniquely capable of
balancing these demands. This has moved the technology
out of the basement studios it found itself in the 90s, to now
being firmly part of the main studio. From a couple of techs
doing the capture work, now we routinely see multiple
actors, stunt teams, cinematics team, TDs, directors and
producers all on the stage together “creatively” bringing
their vision to life through motion capture.
That has brought us to today’s world where multi-billion
dollar entertainment assets, including the entire Marvel
Cinematic Universe (MCU), simply wouldn’t exist without
the developments we have seen in motion capture
technology.
Based on the views and opinions of industry heavyweights,
new insurgent studios, educators, technologists and our
own experts, Vicon sees four key priorities to bring that
vision to life:
1. Maximising the potential of virtual production
2. Increasing accessibility
3. 
Meeting the changing demands of educating
the next generation of talent
4. 
Unlocking a new wave of innovation in the VFX
sector
There is significant overlap in these challenges – and
overcoming them will require ever-greater collaboration
and integration between technologies, creatives and
technical crews.
This paper looks ahead to the next five years and offers
insights on how we can ensure that the VFX sector benefits
from the full value of motion capture technology.

04
Anyone that works in VFX can’t
afford to stand still. There is a
constant need to be adaptive.”
Alex Counsell, Technical Advisor,
Faculty of Creative & Cultural Industries,
Portsmouth University

05
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

MAXIMISING THE
POTENTIAL OF
VIRTUAL PRODUCTION

“VIRTUAL PRODUCTION ISN’T THE

ELEPHANT IN THE ROOM – IT’S THE
ROOM.”
Jeff Ovadya, Director of Sales, Support and
Marketing, Vicon

Virtual production is not a new concept in the VFX industry.
However, until recently it was a somewhat loosely defined
term that could refer to one of a number of different
elements of a production.
Now the term is rapidly coalescing around the ability to
‘do more, faster’ – especially where there are increased
restrictions on productions. This has particularly focused on
the use of game engines and motion capture to streamline
the more labour-intensive front-end and pre-vis stages of
productions and make them entirely virtual or offload them
to later in the process.
There are multiple ‘efficiency’ benefits to virtual production.
On the one hand it enables studios to take on more
ambitious work – without the price tag that would have
prohibited the work previously. But on the other hand,
it also creates efficiencies in terms of simply making the
best use of the time of the production team and the talent.
Because virtual assets can be quickly changed on the fly,
the whole process can be iterated much quicker.
This ability to iterate ‘in the moment’ is incredibly powerful.
Projects like The Mandalorian show us the potential for
virtual production to become the ‘new normal’. With the
real-time capabilities virtual production enables, on-set
teams can more faithfully capture the director’s vision and
intent.
Crucially, the restrictions imposed by COVID-19 have only
helped promote the value of virtual production techniques.
Working virtually has been incredibly valuable in terms
of dealing with the challenges of social distancing – and
minimising the exposure of people on set.
As an added benefit - the combination of virtual production
and motion capture has also demonstrated the potential for
production to take place in disparate locations - allowing
seamless collaboration on projects regardless of where
production teams and talent are based.
At the same time, it has demonstrated the ability for these
techniques to unleash the full creativity of a director and the
creative team.
It is impossible to
overstate the increasing
importance of the game
engine to the entire VFX
industry.”
Imogen Moorhouse, CEO, Vicon

6
06
On set it’s actually quite hard to really understand what you
are capturing. But with these tools the director, the DoP, in fact
everyone on set can now visualise the scene properly and be more
intuitive on set. We’re seeing almost ‘final deliverable’ quality on
set already, and that gap is only going to keep closing.”
Isaac Partouche, Head of Virtual Production, DNEG

07
7
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

THE 2025 PERSPECTIVE

REDEFINING THE ENTERTAINMENT STUDIO
As more producers take advantage of virtual production
With virtual production
techniques ¬– from film studios to TV producers and the
we’re transforming into streaming companies - so pre- and post-production will be
less of a strict ‘motion brought closer together – not only to save time, but also to
capture studio’ and more more faithfully produce the original intent of every scene.
of a ‘real time animation
Far from the huge stages we are familiar with, the
studio’.” expansion of virtual production techniques will challenge
Laura Herzing, Silver Spoon our perception of what a ‘film studio’ is.

Systems are becoming more capable of capturing and

THE 2021 PERSPECTIVE
‘DEMOCRATISING’ VFX WITH VIRTUAL PRODUCTION
We are already in the midst of a massive ramp in adoption
of virtual production.
For the major studios there has been significant investment
in virtual production capabilities. As Isaac Partouche
highlights, that investment “is just going to keep going
up”.
Crucially, while use of game engines and off the shelf
hardware continues to lower the technical barriers to virtual
production, advances in tracking systems continue to
enable more ambitious productions to be tackled virtually.
tracking more and more elements – whether that is more
actors or including props – and faithfully reproducing them
in the virtual environment in real-time. Isaac Partouche
at DNEG highlights that many productions are already
capturing the ‘final deliverable’ in camera on the shoot
itself – but as systems continue to improve this is likely to
become standard procedure.
Parallel developments in technologies such as LED walls
– for example, increasing our ability to use the walls to
directly light the set – will be hugely influential in further
streamlining the process.
And as more efficiencies are realised so it will open up
opportunities for a host of other creative agencies outside
of the film and gaming spheres to capitalise on studio
production techniques.

Optical tracking systems can already be used to track

elements across the entire virtual production environment.
The ability to track the film camera, track the camera lens,
track the LED wall and other parts of the set – as well as
the actors and props – and to know where every element
is within the same relative space is critical to making virtual
production as efficient and effective as possible.

It is the combination of these technologies and techniques

that are enabling more artists and creatives to make use of
virtual production tools in delivering an ever-wider range
of content. Over the next 12 months this is going to lead
to investment across the board – not just at the major
studios, but also by the streaming companies and smaller
producers.

For many producers this will help them ‘leapfrog’ their

capabilities – as virtual production is deployed by studios
and countries that have never had dedicated motion
capture stages.

08
8
09
9
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R
INCREASING
ACCESSIBILITY
“INCREASING ACCESSIBILITY HAS
BEEN A BIG CHANGE. MOTION
CAPTURE USED TO BE A DIFFICULT
THING TO DO, BUT THE COST AND
COMPLEXITY HAS COME DOWN
MASSIVELY – ENABLING MORE
STUDIOS FURTHER DOWN THE
PYRAMID TO HAVE THEIR OWN
SYSTEMS.”
Tom Shannon, Director, Vicon
While virtual production is set to become the most visible
value of motion capture for the VFX space – it is worth noting
that it also comes off the back off the other key long-term
trend for motion capture: the increasing democratisation of
the technology.
Over the last 15 years more and more studios have invested
in motion capture systems – as a result of both increasing
cost-effectiveness and improvements in ease of use. In the
last couple of years this trend has significantly accelerated
– to the extent that we are seeing more and more small
studios invest in motion capture systems.
However, the focus for the technology now is increasingly
moving from simply having access, to increasing what
users – regardless of organisation size – can do with their
system. As Vicon’s Entertainment Product Manager, Tim
Doubleday, puts it: “Why should there be a limit on what a
studio can do with their system? Why can’t a small games
studio look at someone like EA and say that’s what we can
do too? Even with the smallest set up everyone should get
the highest quality capture”.
The accelerating democratisation of motion capture tech
is not limited to games and films either. Carlos Cristerna,
RadLab Director at Neoscape, highlights how “a more
diverse set of artists – in particular artists that don’t have
the luxury of a big Hollywood studio with all of the lighting
and layout specialists and so on that come with that – can
now do more ambitious work”.
The key point, as Laura Herzing of Silver Spoon says is that
“you don’t have to be ILM doing The Mandalorian to justify
the investment in motion capture. The technology is out
10
there and readily available. It’s more about how you use
it and how you set up your environment to get the most
benefit out of it”.
The focus for technology vendors now is to continue this
momentum – to continue to make the technology easier
to use, more reliable, more repeatable. As Vicon’s CTO,
Mark Finch, explains: “Ultimately the goal is that someone
with as little as a few hours training should be able to run
a capture stage from their iPad with no further technical
support”.
“A studio like Myrkur hardly could
have existed a few years ago.
As technology has become more
affordable and accessible, smaller
studios are now able to be more
ambitious and make some amazing
new things.”
Halldór Snær, Co-Founder and CEO, Myrkur
Games
THE 2021 PERSPECTIVE
NEW IDEAS AND NEW APPLICATIONS
Alongside the increasing use of virtual production by
the film and games studios, the next 12 months will also
witness a proliferation of other creative agencies investing
in their own motion capture capabilities and using it for
more diverse purposes.
“We use these technologies today in entertainment
industry, but it can be leveraged for so much more.
Whether that is for addressing social issues, for
educational purposes, or even to transform public
spaces.”
Nick Jushchyshyn, Drexel University
Neoscape are a perfect example of this trend – pushing
Neoscape are a perfect example of this trend – pushing
the use of motion capture into an increasing multiplicity
of uses such as architectural visualisations. However, we
also see interest from other organisations, whether that
is advertising agencies, engineering firms or even public
bodies.

THE 2025 PERSPECTIVE
PUSHING EASE-OF-USE TO ITS FULL POTENTIAL
The next obvious leap forward for motion capture is
the creation of truly ‘flip the switch’ systems. In other
words, systems where you turn it on and it just works –
zero calibration, zero markers, automated recognition of
people and props and so on.
As Derek Potter, Head of Product Management at Vicon,
points out it is likely to be “a combination of technologies
that make that possible – including optical, inertial trackers,
video tracking, AI and machine learning (ML)”, but it is the
latter that holds the most potential for simplifying ease of
use as it opens the door to markerless capture.
“The absolute holy grail is being able to use AI/ML to
capture tracking data direct from video without the
need for any markers.”
Richard Graham, Framestore
We are already starting to see momentum build behind
these developments. As Tim Doubleday explains: “When
we talk about markerless in the VFX field we are really
talking about being able to shoot a real actor in full
costume and working out where they are in a space
without markers. It is an enormous challenge, but people
are taking it head on. Look at the technology you see
now in the iPhone/iPad – or even with full body Snapchat
filters. It’s basic, but it’s there and there is no doubt there
is massive desire to make it possible.”
Of course, there is still a way to go before markerless can
achieve the fidelity that is currently possible with optical
systems. Andy Ray, Vicon’s Sales Director, highlights
that this is partly because of the nature of entertainment
products: “Ultimately, people love the talent. If you love
Tom Hanks then you need markers to faithfully capture
the nuance of his performance – markerless just isn’t there
today”.
However, that means we are likely to see ‘hybrid’ systems
bridge the gap from today’s motion capture systems
to full markerless operation. While at the minute there
is too much of a trade off between the convenience of
markerless and the precision of marker-based capture,
a hybrid would see performances captured with fewer
markers and then ‘fill in the gaps’ with markerless.
11
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R
MEETING THE CHANGING DEMANDS
OF EDUCATING THE NEXT GENERATION
OF TALENT
“THESE DAYS ANY SERIOUS DIGITAL MEDIA PROGRAMME
HAS AT LEAST SOME FACILITY FOR TRAINING STUDENTS ON
MOTION CAPTURE – AND THE INCREASED ACCESSIBILITY OF THE
TECHNOLOGY HAS BEEN A BIG PART OF MAKING THAT POSSIBLE.”
Nick Jushchyshyn, Drexel University
Of course, as motion capture is accessible to more users and
new techniques proliferate, so there is massive imperative
to ensure that the needs of the VFX sector are supported
through the education of the next generation of creatives
and digital artists.
“Universities have struggled to keep up with the
industry levels of technology - but not anymore. Now as
the technology accelerates, so it is vital that education
continues to keep pace.”
Alex Counsell, Technical Advisor, Faculty of Creative &
Cultural Industries, Portsmouth University
As Andy Ray mentions, “in the last few years I’ve increasingly
been having the conversation with the major studios that it
is all well and good providing motion capture systems, but
they also want to know where are the students, the pipeline
of talent that can use them?”
The market trends this paper has already touched on –
the growth of virtual production techniques, increased
accessibility, a more diverse range of users – also have
huge impact on the training landscape. As Jeff Ovadya,
Director of Sales, Support and Marketing at Vicon, points
out: “Yes, the barrier to entry is much lower for most users,
and that’s incredibly useful. But the industry will still require
more ‘skilled practitioners’. We need to ensure we balance
the training of both sides”.
Universities and the industry need to ensure that there
is sufficient talent to support the use of motion capture
from small studios, to in-house work at the major studios,
the service bureaus, and the innovative start-ups and
freelancers.
12
Take for example the rise of the game engines.
Unsurprisingly those skills are now in huge demand. That’s
great for the people who already have those skills, but
can we give practitioners the crossover skills to be able to
work across films, games and other sectors to meet that
demand? If we don’t then people and skills will quickly
become barriers to the momentum behind developments
like virtual production.
In the end, everyone wins when we have the right workforce
available.
THE 2021 PERSPECTIVE
VIRTUAL PRODUCTION TAKES CENTRE STAGE ON
UNIVERSITY COURSES
The impact of virtual production is already having a knock-
on effect on universities. For example, whereas precise
camera tracing may once have been a niche tool, now the
tools are integral to a huge range of uses and productions.
Nick Jushchyshyn at Drexel confirms that “the ability to
understand and work with motion capture technologies
and data has immediately become more of a priority for
our students.”
Perhaps more importantly in the medium term, while there
has long been value to being a specialist in a single area
– whether that was camera tracking, or 3D modelling/
texturing and so on – there is now a huge demand for
‘generalists’ that can truly understand and work with the
full virtual production pipeline.
“There has been a slightly unexpected feedback loop
in the industry. As the software has become easier to
use, we’ve seen smaller teams take on more ambitious
work thanks to their ability to be ‘generalist artists’.
Now, as Hollywood has also invested in more off-the-
shelf technology, so these same generalists are now in
huge demand from the biggest studios.”
Carlos Cristerna, RadLab Director, Neoscape
In the next 12 months we will see more and more courses
tailored to these changing dynamics.
THE 2025 PERSPECTIVE
NEW CAREER PATHS
Perhaps the biggest impact of all of the trends in the VFX
market will actually be on the artists themselves.
As Halldor at Myrkur Games explains: “We’re going to see
more paths for careers in the VFX industry as it continues
to rapidly evolve and new opportunities emerge. We took
a risk by starting with such an ambitious game straight out
of university. But rather than Myrkur being an anomaly, I
think we’ll be seeing a rise in that trend as the barrier of
entry gradually lowers for new developers. With that, I’m
excited to see more creative and interesting projects in the
next few years as a result”.
Guided by pioneers like Myrkur we expect to see curriculums
shifting to reflect the fact that students no longer have one
fixed path to expressing their creativity. Not only does this
mean we expect to see more smaller studios pop up in
the games and VFX space, it also means we will see artists
applying their skills in totally new ways.
Indeed, Nick at Drexel suggests that the real end point of
these trends is, “expanding what ‘VFX’ encompasses. The
trajectory of virtual production is taking these techniques
that have been pioneered in the entertainment field and
applying them to other areas. that could include everything
from the automotive industry, to aerospace design, or
something like virtual reality training”.
Ultimately, we are going to
unleash even more creativity
in the industry simply
because all of a sudden, a
games developer doesn’t
have to work in games. They
can work in VFX, in VR, in
immersive experiences – and
beyond.”
Alex Counsell, Technical Advisor,
Faculty of Creative & Cultural
Industries, Portsmouth University
13
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

UNLOCKING A NEW WAVE OF

INNOVATION IN THE VFX SECTOR

AS MAY ALREADY BE CLEAR FROM THIS PAPER, THESE

TRENDS ARE NOT DEVELOPING IN ISOLATION FROM EACH
OTHER. INSTEAD, THEY ARE CONSTANTLY INTERACTING
AND COALESCING. AND THE COMBINED EVOLUTION OF ALL
OF THE THREADS IDENTIFIED IN THIS PAPER IS CRUCIAL TO
CREATING A GENERATIONAL SHIFT IN THE VFX SPACE.

Improvements to the technology will open up new
possibilities. Tim Doubleday points to the potential for
deeper immersion with LED walls, which will “enable
directors to ‘mix the layers’ in virtual production. Using
motion capture to fully understand the 3D space and
communicating that to the game engine will enable actors
on set to appear to walk behind objects in the scene –
removing a key limitation that currently exists”.
Richard Graham at Framestore suggests a different path
that motion capture will help us explore: “With even more
fidelity in performance capture can we start to explore the
potential for fully ‘digital humans’? While there is still an
‘uncanny valley challenge today, progress is rapid. We are
not far off from being able to create something in the digital
space that is fully realistic and believable”.
Other organisations are looking at the potential to take the
studio out of the equation altogether. For example, Brian
Copenhagen at Pixelgun, is focusing on “outdoor motion
capture solutions – setting up cameras underneath a tent
and literally “popping up” in almost any location”.
At the same time the continuing democratisation of the
technology will put motion capture into the hands of more
creatives. Whether that is YouTubers, Twitchers, Instagram
influencers, or even just ‘one-man-band’ operations – these
are groups who can potentially take the technology in
previously unthought of directions.
“I don’t think it is that far-fetched to imagine a scenario
where you can combine capture on an iPhone, with some
sort of camera system and a game engine. At that point
suddenly we are talking about someone being able to
produce high quality work in their spare bedroom. That
has the potential to be a massive source of innovation,
not just the ‘high end’.”
Tim Doubleday, Entertainment Product Manager, Vicon
This combination of increased accessibility, hardware and
software advances and university curriculums that give more
people the ability to make full use of the technology, will
contribute to unlocking a wave of perhaps unprecedented
innovation in the VFX sector.
THE 2021 PERSPECTIVE
PUTTING THE BUILDING BLOCKS IN PLACE
For all this potential, at the minute it is just that. Some of
the technologies that need to come together to make this
possible are still at a very early stage.
As such, in the short term there needs to be a focus on
certain key foundational technologies. For example, Jeff
Ovadya points to such ‘unglamorous’ developments as
battery and computing power: “Currently tracking data is
still a wired operation because – although it adds massive
operational complexity – battery technology cannot meet
the demands of a typical shoot. Having devices capable
of supporting fully wireless transmission of tracking data
would be a huge development in minimising set up time
and streamlining the process of motion capture”.
Similarly, access to evermore computing power is crucial to
supporting more automation, accelerating data processing
– even potentially reducing the number of markers required.
Before we can fully explore the limits of innovation we
need to make steps forward in our ability to do what we
can today – but more and faster.

14
WITH POWERFUL CHAMPIONS
LIKE JON FAVREAU FOR THESE
NEW TECHNIQUES, SO THEY
ARE GOING TO NATURALLY
ACCELERATE. OVER THE NEXT
FEW YEARS THIS IS GOING TO
CREATE A GENERATION OF
CREATIVES WHO JUST SEE IT
AS ‘NATIVE’.”
Alex Counsell, Technical Advisor,
Faculty of Creative & Cultural Industries,
Portsmouth University

THE 2025 PERSPECTIVE

NEW DIRECTIONS
Perhaps the key development we will see over the next
five years will be an increased merging of categories and
experiences.

One obvious merger would be between film and location-

based entertainment. Halldór Snær points to the idea of
creating fully immersive or interactive films: “taking the idea
of Netflix’s Bandersnatch and transporting it to a fully 3D
world so that the audience is a participant in the world, not
just a ‘viewer’”.

The immersive potential for entertainment experiences is

a rich vein of potential innovation – something that could
even change the experience of the ‘movie theatre’. Mark
Finch, CTO at Vicon, suggests that there will be a new trend
of ‘distributed experiences’: “People are always going to
want to watch movies, but COVID-19 has accelerated the
decline of the cinema – so can we take that experience and
make it virtual? There has been an arms race in television
screen sizes for 20 years, but why just have a bigger screen
when you could potentially have a whole environment right
there in your home. The beauty of the technology is that
you also have the added potential to meaningfully interact
with your friends remotely while you do it?”

Imogen Moorhouse highlights the potential for motion

capture content to appear in more places as the
capabilities of virtual production techniques are expanded:
“The inclusion of motion capture-enabled effects in live
broadcasts has been tried, but the technology wasn’t quite
there yet. Over the next few years that is something that is
likely to be returned to”.

In short – for audiences there is going to be a wealth of new

experiences for them to enjoy.

15
VF X A N D M O TI O N C AP T UR E T E C H NO LOGY:
A 2025 V ISION PA P E R

MAKING THE VISION A REALITY

Driven by the continuing rise of virtual production over

the next few years, it is fair to say that motion capture is
only going to become more central to the VFX sector. This
importance is founded on not just the ability to enhance
the sector as we know it today, but also because it has the
potential to significantly expand the industry – opening
doors that we haven’t even considered yet. This potential is
also founded on something that sets the VFX sector apart.
For all the exciting potential of technology, the human
element remains at the heart of performance, art, creativity
and even in consumption. Motion capture is the vital
medium between all of these aspects.

That is not to say that the potential this paper has outlined
is a done deal – challenges undoubtedly remain in making
these visions a reality. However, the ultimate prize is
too great for the sector to ignore – one where creatives,
directors, studios, producers and audiences all win through
new experiences and new revenues.

The technology that we are creating today is the start of

this journey – a journey that Vicon will continue to drive.

IT IS CRITICAL THAT WE MAINTAIN

THE ENTHUSIASM OF INDUSTRY
FOR THESE TECHNIQUES. THE
TECHNOLOGY HAS THE POTENTIAL
TO BE INCREDIBLY IMPACTFUL, BUT
WE HAVE TO ENSURE THAT THE
COST AND EASE OF USE KEEPS IT
ATTRACTIVE AND COMPTETITIVE.”

Isaac Partouche, Head of Virtual Production,

DNEG

WITH THANKS TO

Issac Hart – DNEG Laura Herzing – Silverspoon Richard Graham – Framestore

Brian Copenhagen – PixelGun Halldór Snær – Mykur Games Carlos - Neoscape
Alex Counsell – Portsmouth University Nick Jushchyshyn – Drexel University

16
17
 LIFE SCIE N CE S

Contact us to find
out more
www.vicon.com/sales
sales@vicon.com

Vicon Denver
+1.303.799.8686
Open from 8am to 5pm MST (GMT -7)
Monday to Friday

Vicon LA
+1.310.437.4499
Open from 8am to 5pm PST (GMT -8)
Monday to Friday

Vicon Oxford:
+44.1865.261800
Open from 9am to 5pm GMT
(MST +7, PST +8) Monday to Friday