Broadcast Beat Magazine 2017 NAB Show NY/SMPTE Special Edition - Page 48

work on the initial pass: “We just take the raw data and put it onto our characters – it’s that good!” door to further experimenta- tion. Unshackled from the mocap volume, Unexpected can try out some truly out-there ideas. Improv mocap The flexibility of the Xsens suits means quicker commercial pro- duction, but it also opens the For example, for a commercial set in outer space, Unexpected placed a suit-wearing animator on a rolling office chair, pushing him back and forth to simulate gravity-free movement. And for the ZAIN commercial, Kiesl himself wore an Xsens suit in his car and drove for 30 minutes, capturing realistic hand and body movements in the driver’s seat – something that would be simply impossible with optical mocap. But above all, the time savings and ease of use have made Xsens an essential part of the Unexpected workflow. Even large, complicated projects like the Dubai Parks and Resorts commercial seem more feasible when motion capture sessions can be achieved anytime, any- where. 48 • Broadcast Beat Magazine • www.broadcastbeat.com “There were so many characters in the Dubai Parks and Resorts crowd scene,” says Kiesl. “We just motion-captured basically all of them, and then we had crowds of hundreds of danc- ers doing performing motions. There was very little time to do it, but thanks to Xsens the proj- ect went entirely smoothly.” From script to screen Unexpected now uses their Xsens suits for every project. Even if an ad doesn’t have a character mocap requirement, the studio uses the technol- ogy for proof-of-concept clips, previsualization, and animatics. The whole production pipe- line benefits from this new and simple approach to the motion capture process. “Xsens has changed our lives across post, previz, and prepa- ration,” affirms Kiesl. “It’s been a huge impact, and fundamen- tally improved the way we work at Unexpected.”