The Opacity of Representations of 3D Scanning and Motion Capture in the Cinema - Text 10
The dematerialisation of the protagonist’s body is in addition filmed from several angles, an aesthetic clue to the volumetry of digitising which suggests once again that to “capture” in this sense is also to capture in another sense.[6] And so the question of control raised by this visual imaginary in the early 1980s would return twenty years later when motion capture and performance capture – based, precisely, on digitising volumes – opened a new path to manufacturing films, but gave rise to growing concern with respect to the heightened control over the object-film by the filmmaker.[7] In this case the acting is actually first captured digitally, from every angle, and encoded in a virtual three-dimensional space in which a virtual camera is positioned after the fact.
