Before any preformer I have helping me during a shoot, I work through the main actions and/or stunts for the actor to understand what the performance needs to achieve. That means breaking down movements, identifying technical constraints, rig complexity for post processing, what is the engine target, and briefing performers so the session runs cleanly. Good prep is where time gets saved downstream.

Performers are fitted into the Vicon suit with reflective markers placed at key anatomical points. Marker placement is extremely important. Consistent positioning, through multiple sessions, means cleaner data from the start. The volume is calibrated before every shoot, ensuring accurate spatial tracking throughout.

During the session, I monitor the real-time skeleton solve in Shogun Live, which lets me catch marker dropout or tracking issues in the moment rather than discovering them in post. I make it a habit of using the x-ray tool, turnnig off the mesh to see how the skeleton is reacting. Takes are reviewed on the floor, performances are directed with that feedback directly, and data quality is checked before moving on.

Raw marker data is processed offline in Shogun Post — solving the skeleton, filling gaps, correcting mislabelled markers, and reducing noise. This stage produces the clean, solved data that everything downstream depends on. Output is typically FBX or BVH depending on the pipeline.

Solved motion is retargeted onto the project's character rig in MotionBuilder. I use the Story tool for non-linear take management — blending performances, trimming, and layering where needed. This is also where larger structural issues get resolved before the data moves into Maya.

Final cleanup happens in Maya. This can be defined as fixing footplants and contact, smoothing out any random artifacts, and making sure the animation integrates cleanly with the character's rig and scene. This is where the capture stops feeling like data and starts feeling like a performance.

Files are delivered in the format your pipeline needs — FBX, or engine-ready exports for Unreal or Unity. Everything is clearly named and organised, with handoff notes covering anything you need to know to bring the files straight into the project.