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Fix the driver behind crashes, sound loss and screen glitchesFind Drivers →Repair Windows errors before they cause bigger problemsFix Now →Video games capture actors’ movement and voices in different ways: some productions record body movement, facial performance and dialogue together, while others record some elements separately. The recordings are synchronized and shaped by editors and animation teams before they become part of a finished game scene. There is no single workflow used by every studio.
What motion capture and performance capture mean
Motion capture, often shortened to mocap, records a performer’s body movement for use in animation. Performance capture is broader: it can combine body motion with facial performance and voice. Ubisoft Toronto describes the distinction this way: “Generally, mocap only refers to the performer’s body movement, whereas performance capture is that and more – it refers to the capture of body motion, facial, and voice performance.” Ubisoft News’ account of the studio’s workflow explains that these elements can be handled as connected parts of a production.
Voice, facial expression and movement are also distinct areas of game acting, as reflected in SAG-AFTRA’s overview of performance capture and its discussion of video-game performers at Comic-Con 2025. A voice actor therefore does not necessarily wear a motion-capture suit, and a body-performance session does not necessarily include dialogue recording.
What gets recorded, and when?
A production may plan scenes and scripts before actors perform on a capture stage. Depending on the project, teams may record body movement, facial expression and dialogue in one session or capture some elements separately. The examples below illustrate the options; they are not a ranking of cost, quality or efficiency.
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| Approach | What is recorded | How it may be used |
|---|---|---|
| Body motion capture | The performer’s body movement | Movement animation |
| Separate recordings | Body movement, facial performance and voice in different sessions | Movement, facial animation and dialogue, brought together in production |
| Combined performance capture | Body, face and voice together | A linked performance for animation and cinematic production |
PlayStation’s account of Quantic Dream’s evolution describes a production that initially recorded body movement separately from face and voice, then later used a system able to capture body, face and voice at once. That example shows how a studio’s method can change over time; it does not establish one standard for the industry.
How recorded performances become game scenes
1. Actors perform planned material
Scripts and scene plans give performers material to act. On a capture stage, the production records the elements required for the project—such as movement, facial performance or dialogue. These elements may be captured together or in separate sessions.
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- FULL-BODY TRACKING MADE EASY: No need to wear a suit or go through a complicated setup. Simply strap on the lightweight sensors and follow the instructions on the apps. Calibration is minimal, just step forward. Motion capture starts immediately.
- MOVE FREELY: No base stations, no studio needed: Works even in small rooms. No dedicated space for cameras or sensors required. Wireless and untethered, you can freely use the space without field-of-view limitations.
- LIGHTWEIGHT AND EASY TO WEAR: Each sensor is small and lightweight, weighing only about 8g (0.28 oz). Simply attach the sensors to the designated body parts using the bands.
- READY FOR LONG SESSIONS: Supports up to 10 hour of continuous use. You can do other activities while wearing sensors.
- OPTIMAL APP OPTIONS: For VR use, the mocopi VR app (free) is available. For streaming and content creation, you can use the mocopi smartphone app (free) and/or the mocopi PC app (paid). Additionally, for content creation purposes, the XYN Motion Studio app (paid) provides full support for timeline editing and cloud management of motion data. Continuous improvements and new features are added through multiple updates each year.
2. Teams synchronize and edit the recordings
Capture does not automatically produce a finished scene. Ubisoft Toronto describes facial, audio, mocap and video data being synchronized and sent through post-production for editing. This lets the team work with the recorded elements as parts of the same performance.
3. The performance is adapted into animation and a finished scene
Editors and animation teams shape the recorded material for the game, then combine it with other cinematic work. PlayStation’s account of The Last of Us describes a production process involving planning, writing, performance, scripting, animation, lighting and artistry—not a simple conversion from suit data to final footage. The feature says the process it covers took more than two years; that is a project-specific duration, not a typical timetable for games. PlayStation’s making-of account provides that example.
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How actors’ performances connect to on-screen characters
Captured movement and expression can inform the animation of a 3D character, but the precise relationship depends on the production. In an interview about Indiana Jones and the Great Circle, Nintendo Australia says Troy Baker’s full motion-capture performance drove the in-game 3D model. That is a concrete example of an actor’s performance shaping the character seen on screen, not evidence that every game uses the same capture method. Read the Nintendo Australia interview with creative director Axel Torvenius.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Where voice acting fits
Dialogue can be recorded as part of a combined performance-capture session or separately from body movement and facial capture. In either case, voice is one component of the character’s performance; the production must bring it together with the relevant visual material. The examples from Ubisoft Toronto and Quantic Dream demonstrate both synchronized post-production and different recording arrangements.
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These examples do not establish a universal method for directing separate voice sessions, localizing dialogue, or implementing it in interactive scenes. Those parts of the workflow can’t be specified from the cited production accounts alone.
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