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The capture attribute takes as its value a string that specifies which camera to use for capture of image or video data, if the accept attribute indicates that the input should be of one of those types.

Note: Capture was previously a Boolean attribute which, if present, requested that the device's media capture device(s) such as camera or microphone be used instead of requesting a file input.

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Motion capture (sometimes referred as mo-cap or mocap, for short) is the process of recording the movement of objects or people. It is used in military, entertainment, sports, medical applications, and for validation of computer vision[3] and robots.[4] In filmmaking and video game development, it refers to recording actions of human actors and using that information to animate digital character models in 2D or 3D computer animation.[5][6][7] When it includes face and fingers or captures subtle expressions, it is often referred to as performance capture.[8] In many fields, motion capture is sometimes called motion tracking, but in filmmaking and games, motion tracking usually refers more to match moving.

In motion capture sessions, movements of one or more actors are sampled many times per second. Whereas early techniques used images from multiple cameras to calculate 3D positions,[9] often the purpose of motion capture is to record only the movements of the actor, not their visual appearance. This animation data is mapped to a 3D model so that the model performs the same actions as the actor. This process may be contrasted with the older technique of rotoscoping.

Camera movements can also be motion captured so that a virtual camera in the scene will pan, tilt or dolly around the stage driven by a camera operator while the actor is performing. At the same time, the motion capture system can capture the camera and props as well as the actor's performance. This allows the computer-generated characters, images and sets to have the same perspective as the video images from the camera. A computer processes the data and displays the movements of the actor, providing the desired camera positions in terms of objects in the set. Retroactively obtaining camera movement data from the captured footage is known as match moving or camera tracking.

The first virtual actor animated by motion-capture was produced in 1993 by Didier Pourcel and his team at Gribouille. It involved "cloning" the body and face of French comedian Richard Bohringer, and then animating it with still-nascent motion-capture tools.

There are many applications of Motion Capture. The most common are for video games, movies, and movement capture, however there is a research application for this technology being used at Purdue University in robotics development.

Video games often use motion capture to animate athletes, martial artists, and other in-game characters.[13][14] As early as 1988, an early form of motion capture was used to animate the 2D player characters of Martech's video game Vixen (performed by model Corinne Russell)[15] and Magical Company's 2D arcade fighting game Last Apostle Puppet Show (to animate digitized sprites).[16] Motion capture was later notably used to animate the 3D character models in the Sega Model arcade games Virtua Fighter (1993)[17][18] and Virtua Fighter 2 (1994).[19] In mid-1995, developer/publisher Acclaim Entertainment had its own in-house motion capture studio built into its headquarters.[14] Namco's 1995 arcade game Soul Edge used passive optical system markers for motion capture.[20] Motion capture also uses athletes in based-off animated games, such as Naughty Dog's Crash Bandicoot, Insomniac Games' Spyro the Dragon, and Rare's Dinosaur Planet.

In the field of aerial robotics research, motion capture systems are widely used for positioning as well. Regulations on airspace usage limit how feasible outdoor experiments can be conducted with Unmanned Aerial Systems (UAS). Indoor tests can circumvent such restrictions. Many labs and institutions around the world have built indoor motion capture volumes for this purpose.

Movies use motion capture for CGI effects, in some cases replacing traditional cel animation, and for completely CGI creatures, such as Gollum, The Mummy, King Kong, Davy Jones from Pirates of the Caribbean, the Na'vi from the film Avatar, and Clu from Tron: Legacy. The Great Goblin, the three Stone-trolls, many of the orcs and goblins in the 2012 film The Hobbit: An Unexpected Journey, and Smaug were created using motion capture.

The film Batman Forever (1995) used some motion capture for certain visual effects. Warner Bros. had acquired motion capture technology from arcade video game company Acclaim Entertainment for use in the film's production.[22] Acclaim's 1995 video game of the same name also used the same motion capture technology to animate the digitized sprite graphics.[23]

The Lord of the Rings: The Two Towers was the first feature film to utilize a real-time motion capture system. This method streamed the actions of actor Andy Serkis into the computer-generated imagery skin of Gollum / Smeagol as it was being performed.[24]

Storymind Entertainment, which is an independent Ukrainian studio, created a neo-noir third-person / shooter video game called My Eyes On You, using motion capture in order to animate its main character, Jordan Adalien, and along with non-playable characters.[25]

Since 2001, motion capture has been used extensively to simulate or approximate the look of live-action theater, with nearly photorealistic digital character models. The Polar Express used motion capture to allow Tom Hanks to perform as several distinct digital characters (in which he also provided the voices). The 2007 adaptation of the saga Beowulf animated digital characters whose appearances were based in part on the actors who provided their motions and voices. James Cameron's highly popular Avatar used this technique to create the Na'vi that inhabit Pandora. The Walt Disney Company has produced Robert Zemeckis's A Christmas Carol using this technique. In 2007, Disney acquired Zemeckis' ImageMovers Digital (that produces motion capture films), but then closed it in 2011, after a box office failure of Mars Needs Moms.

Television series produced entirely with motion capture animation include Laflaque in Canada, Sprookjesboom and Cafe de Wereld [nl] in The Netherlands, and Headcases in the UK.

Virtual reality and Augmented reality providers, such as uSens and Gestigon, allow users to interact with digital content in real time by capturing hand motions. This can be useful for training simulations, visual perception tests, or performing virtual walk-throughs in a 3D environment. Motion capture technology is frequently used in digital puppetry systems to drive computer-generated characters in real time.

Gait analysis is one application of motion capture in clinical medicine. Techniques allow clinicians to evaluate human motion across several biomechanical factors, often while streaming this information live into analytical software.

In Marvel's The Avengers, Mark Ruffalo used motion capture so he could play his character the Hulk, rather than have him be only CGI as in previous films, making Ruffalo the first actor to play both the human and the Hulk versions of Bruce Banner.

During Game Developers Conference 2016 in San Francisco Epic Games demonstrated full-body motion capture live in Unreal Engine. The whole scene, from the upcoming game Hellblade about a woman warrior named Senua, was rendered in real-time. The keynote[29] was a collaboration between Unreal Engine, Ninja Theory, 3Lateral, Cubic Motion, IKinema and Xsens.

Motion tracking or motion capture started as a photogrammetric analysis tool in biomechanics research in the 1970s and 1980s, and expanded into education, training, sports and recently computer animation for television, cinema, and video games as the technology matured. Since the 20th century, the performer has to wear markers near each joint to identify the motion by the positions or angles between the markers. Acoustic, inertial, LED, magnetic or reflective markers, or combinations of any of these, are tracked, optimally at least two times the frequency rate of the desired motion. The resolution of the system is important in both the spatial resolution and temporal resolution as motion blur causes almost the same problems as low resolution. Since the beginning of the 21st century - and because of the rapid growth of technology - new methods have been developed. Most modern systems can extract the silhouette of the performer from the background. Afterwards all joint angles are calculated by fitting in a mathematical model into the silhouette. For movements you can not see a change of the silhouette, there are hybrid systems available that can do both (marker and silhouette), but with less marker.[citation needed] In robotics, some motion capture systems are based on simultaneous localization and mapping.[33]

Optical systems utilize data captured from image sensors to triangulate the 3D position of a subject between two or more cameras calibrated to provide overlapping projections. Data acquisition is traditionally implemented using special markers attached to an actor; however, more recent systems are able to generate accurate data by tracking surface features identified dynamically for each particular subject. Tracking a large number of performers or expanding the capture area is accomplished by the addition of more cameras. These systems produce data with three degrees of freedom for each marker, and rotational information must be inferred from the relative orientation of three or more markers; for instance shoulder, elbow and wrist markers providing the angle of the elbow. Newer hybrid systems are combining inertial sensors with optical sensors to reduce occlusion, increase the number of users and improve the ability to track without having to manually clean up data.[citation needed] 17dc91bb1f