History of Motion Capture for Computer Character Animation The use of motion capture for computer character animation is relatively new, having started in late 1970 and only now beginning to spread. Motion capture is the recording of movements of the body (or other) for an immediate or delayed analysis and playback. Motion capture for computer character animation involves the mapping of human movement to the movement of a computer character. For convincing proposal for the human characters, Disney studios traced on an animated actors playing live on stage. This method, called rotoscoping has been used successfully for the character of the man since. The rotoscoping was invented by Max Fleischer in 1915. The first character must be rotoscope cartoon was “Koko the Clown.” He want to use Koko convinced the major study of the new process for the project. Walt Disney used rotoscoping technique in 1937 to create a movement characteristic of the man in the white snow. The decision to use the technique of rotoscoping is realistic human movement. In 1970 he began to be possible to animate characters by computer animators adapted traditional techniques, includingrotoscoping. There is a better name in the history of motion capture; Pioneers of Motion Capture Eadweard Muybridge (1830 – 1904) – pioneer photographer of the moving image Etienne-Jules Marey – First person to analyze human and animal movement with video Harold E. “Doc” Edgerton (1903-1990) high-speed stroboscopic photography Max Fleischer (1915) – Rotoscoping Lee Harrison III (1960) – Scanimation Walt Disney – Multiplane Room The motion capture problems The purpose of the motion capture is to record the movements of an actor (usually but not always, human) in a compact and easy to use. Graphics and computer vision in general abstract body in a small number of rigid segments that rotate relative to one another. The problem of motion capture and we have the following form: given a single stream of video observations of an artist, calculates a 3D representation of the skeleton of the motion of sufficient quality to be useful for animation. The specific challenges of the animation makes the problem even more difficult. - Unlike applications such as reconnaissance and surveillance, the animation is concerned about the small details. - Jitter and flickers often come from uncertainty in the calculations, - The importance of the high frequency means that the filter is an indispensable tool to remove video noise on the sampling. - The unpredictability and unusual motions that we need to catch the limit of force models can be applied.