Noel Fisher Quotes

Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.

Motion capture has become very specialized but also still just a tool of filmmaking.

I am a bit evangelical, I know, but performance-capture is still misunderstood.

Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.

If you're in a motion-capture studio, you have spherical, reflective markers, which are picked up by cameras that emit infrared - it reflects it, and then the cameras pick up the data.

'Mars Needs Moms' was motion capture, where you walk into a space that's essentially a black box with cameras everywhere. It was so technical. You have these mandibles with cameras on your face and a helmet, and you have to hit certain marks. You couldn't shoot this stuff without the green-screen aspect.

The difference between 'Resident Evil: Damnation' and 'Resident Evil 6' is in 'Resident Evil 6' we did facial mo-cap, along with the voice over. We had these little reflectors glued to our faces and these head pieces in this room filled with light with about 40 cameras.

One of the things that motion capture and/or voice acting does is allow you to continue your career, change it, or bring a new aspect to it.

I'm always keen to use my body in my work, so I'm looking forward to the motion capture for Smaug. Both Gollum and King Kong were primates, whereas I'm playing a serpent, so it'll be interesting - I'll have to tie my legs together, possibly, or else they'll be kind of splayed out to the side as a reptile's should be.

One of the interesting things about motion capture technology is kind of how it's all put together. The idea is to make it as much a "normal" acting experience as possible and then being able to do all these amazing technical things with it afterwards.

I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

When I first did 'The Lord of the Rings,' I was acting on the set with the other actors, but then I had to go back and repeat the process on my own to do the physical capture on a motion capture stage.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.

The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

The fact of the matter is that an actor, if I'm playing a performance capture role and you're playing a live action role and we're having a scene together, there's no difference in our acting processes.

People used to say, 'Andy Serkis lent his movements to Gollum,' and now they say, 'Andy Serkis played Caesar.' That's a significant leap.

As soon as you do it, actors realize there is no difference playing a performance-captured role or a live-action role.

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

With 'Avatar,' you're beginning to see the need for less and less actors and less of an appreciation for live acting.