2015 Motion Capture Symposium


November 23, 2015 | 8:30am – 6:00pm
Room WG 126, Sir Paul Reeves Building, AUT City Campus

Academic Chair: Gregory Bennett, Senior Lecturer, Digital Design, School of Art + Design.
Event coordination: Harry Silver, Public liaison coordinator, Colab.

Colab in collaboration with The School of Art and Design are pleased to announce the second AUT Motion Capture Symposium.
The event will facilitate and foster discussion and debate around the possibilities of Motion Capture as an emerging tool in animation, virtual production, virtual reality and performance, and as an emerging area of academic practice and research. The event includes panels and presentations from both industry practitioners and established and emerging academic researchers, plus a showcase of the capabilities of AUT University’s Motion Capture Lab.

Choreographic Coding Lab | November 24, 2015 & February 15 – 19, 2016  | More info

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PROFESSOR KIM VINCS, Director, Deakin Motion.Lab, Deakin University

Professor Kim Vincs is the Director of the Deakin Motion.Lab, Deakin University’s motion capture studio and performance technology research centre, which she established in 2006.  Kim is a choreographer and interactive dance artist who develops new ways of investigating and creating dance using digital technology. Her research brings together scientific, technological and artistic methodologies to develop new ways of creating dance performance.

Professor Vincs extensive experience in Motion Capture includes creating technologically enabled design for performance, including Multiverse for Garry Stewart and the Australian Dance Theatre, the Melbourne Ballet Company, Sidney Myer Fellows Gorkem Acaroglu and Danielle Wilde. Her own work, The Crack Up, a transmedia dance performance that integrates live dancers, stereoscopic imagery and mobile device content, premiered at the Merlyn Theatre, Coopers Malthouse, Melbourne.

She has led two Australian Research Council Discovery Projects in dance technology, and has collaborated with cognitive scientists Professor Kate Stevens and Professor Emery Schubert on an Australian Research Council Linkage Project in dance and cognition. She recently commenced a 3-year ARC Linkage project with Richard Mills, Artistic Director, Victorian Opera to create stereoscopic imagery for full-scale opera productions, a new 3-year ARC Linkage project in dance and cognition with Professor Stevens, and a new collaboration with Arts Access Victoria and the Centre for Intelligent Systems Research.

She has worked with many industry partners to develop projects in motion capture, movement analysis and digital art, including companies such as Autodesk, Motion Analysis, Act3animation, Iloura, Alt.vfx, iCinema/Museum Victoria, Australian Defence Apparel, Arts Access Victoria and the Australian Ballet School. She has commercial motion capture credits in computer games, television commercials and film, including Altv.fx’s Cannes Silver Lion winning Nocturnal Migration.


LEANNE POOLEY – Director, 25 April

Leanne Pooley is one of New Zealand’s most accomplished documentary filmmakers having directed over 20 films. In 2011 Leanne’s work was recognised by the New Zealand Arts Foundation and she was made a New Zealand Arts Laureate.

We are especially excited that Leanne has agreed to talk about her latest feature film project 25 April,  a 2015 New Zealand animated documentary film about the 1915 Gallipoli Campaign, which was recently screened in the Contemporary World Cinema section of the 2015 Toronto International Film Festival. Motion Capture for the film was undertaken at the AUT University Motion Capture Lab working with Flux Animation Studio.

Leanne will talk about the creative opportunities presented by animation as a story telling device, and her use of motion capture to achieve the vision she had for her film.

Interview with Leanne Pooley about 25 April for the Toronto International Film Festival
TIFF review of 25 April
Leanne Pooley on Wikipedia
Leanne Pooley and Spacific Films


Leanne’s talk will be followed by a presentation by Flux animation Studio. Flux Animation Studio is an award-winning character animation company, founded in 1997 by Managing/Creative Director and animation industry advocate, Brent Chambers. Flux is a world-class studio with over 20 permanent talented designers, animators and directors producing international commercials, television series and films.

Flux worked with Director Leanne Pooley on 25 April to produce the animation for the film which combines traditional hand-drawn animation with 3D animation and motion capture using the Vicon Cara 3D Facial motion capture system at AUT University’s Motion Capture Lab to create a uniquely visual cinema experience.

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LUISMA LAVIN, Lead Motion Editor, Weta Digital

Motion Edit: An overview of the integration of characters in motion into shots
What happens with motion capture data: from the motion capture shoot to the final shot delivery, making an emphasis on the retargeting process (mapping of data into digital characters), the compositional aspects of motion, problem solving, and lastly, the motion edit most common procedures.

Luisma began his career in 1992 as a co-founder of d3 Infografia where he specialized in architectural and engineering visualization, TV graphics and the creation of multimedia content. Pursuing his interest in character animation, Luisma went on to work at several high profile facilities, including Stromboli Animation as a motion capture supervisor, User T-38 as a VFX supervisor, and MadPix Company as the Head of 3D and VFX Supervisor. In 2005, Luisma joined Weta Digital as a Motion Editor on Peter Jackson’s King Kong. Since then, he has added over eleven credits to his name including James Cameron’s Avatar, Peter Jackson’s Hobbit trilogy, and the recent films in the revival of the Planet of the Apes franchise: Rise of the Planet of the Apes and Dawn of the Planet of the Apes.

Luisma’s work at Weta Digital involves working directly with the motion edit team to deliver the highest quality motion to help achieve the director’s vision. He collaborates with motion leads and TD’s to design new tools, and improve current tools and pipeline interaction. He also mentors his team, helping them widen their skill sets, resolve more complex tasks and take on new responsibilities. Luisma has recently completed work on Peter Jackson’s The Hobbit: The Battle of the Five Armies, and is currently supervising the motion editteam working on Jon Favreau’s Jungle Book.

Weta Digital

Weta Digital is one of the world’s premier visual effects companies. Led by Senior Visual Effects Supervisor Joe Letteri, Weta Digital is known for uncompromising creativity and a commitment to developing innovative technology. Groundbreaking performance-driven digital characters like Smaug, Gollum, Kong, Neytiri, and Caesar (from Dawn of the Planet of the Apes) are widely acknowledged as some of the best digital characters ever put on screen. Weta’s development of revolutionary virtual production workflows for Avatar, The Adventures of Tintin, and the Hobbit trilogy has firmly integrated digital production techniques into the film production paradigm.

Co-founder Peter Jackson established Weta Digital in 1993 to create the visual effects for his film Heavenly Creatures. The company went on to cement its reputation for cutting edge visual effects with work on blockbusters like the Lord of the Rings trilogy and King Kong.

Weta Digital has five visual effects Oscars® and five visual effects BAFTAs to its credit, and has recently completed the visual effects for The Hobbit: The Battle of the Five Armies and Dawn of the Planet of the Apes



Bruce Ferguson is Creative Director of Darkroom Motion Graphics Studio, which specialises in site-specific video projections and installations. Darkroom creates all forms of content – motion graphics, live action, 2D and 3D animation – and apply it to new and innovative screening technologies, like video mapping, fulldome and bespoke LED structures.

Bruce’s presentation will include a discussion of his involvement with Japanese artist Chiho Aoshima‘s exhibition “Rebirth of the World” at the Seattle Asian Art Museum, which included motion capture work undertaken at the AUT Motion Capture lab.


Auckland-based communications agency Brandspank was chosen to create the official IRB opening sequence to the world feed of this years Rugby World Cup. This production involved taking the AUT Motion Capture system on location to an indoor sports venue and motion capturing rugby players in action. Producer Kurt Bradley and Creative Director Steve Thomson will give an overview of this unique project and the process involved bringing it to the screen.

RWC_Hero RWC_Scrum

Tickets are just $35 for Students and $45 for General Admission and include catering for the full day.

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8:00am  Registration
9:00am   Welcome
9:15am   Leanne Pooley, Film Director – 25 April
9:45am Csaba Nehez, Flux Animation – 25 April
10:15am 25 April, Q&A session
10:30am        Morning tea
11:00am Luisma Lavin, Lead Motion Editor, Weta Digital – Motion Edit
11:45am Bruce Ferguson, Darkroom – Rebirth of the World
12:10pm  Kurt Bradley & Steve Thomson, Brandspank – 2015 Rugby World Cup Motion Graphics
12:30pm Lunch
1:00pm Demo sessions: Virtual Camera & Live Streaming
2:00pm Professor Kim Vincs, Director, Deakin Motion.Lab, Deakin University
2:45pm Dr. Jennifer Nikolai & Gregory Bennett, AUT – Mocap and Choreographic thinking – a collaboration
3:00pm Afternoon tea
3:30pm Miranda Smitheram, AUT – Unconventional Motion Capture: Dematerialized cloth and unseen bodies
3:50pm AUT Postgraduate student research presentations:
Alejandro Davila
Gareth Prosser
Matthew Phillips-Rudowski
Brae Burrows-Keen
4:30pm Dr. Stefan Marks, AUT – Holodeck and Light Sabers
4:50pm Wrap up
5:00pm Networking, drinks & nibbles
5:10pm Demo sessions: Motion Capture VR
6:00pm Ends

Tickets are just $35 for Students and $45 for General Admission and include catering for the full day.

Buy NZGDC Tickets