Celebrity voice acting and motion capture are related, but they are not the same process. A performer may record dialogue in a booth, act out body movement on a capture stage, or take part in performance capture that records voice, face, and body together. The studio then synchronizes and refines those recordings; a famous cast member’s name alone does not reveal who supplied each part of a character’s performance.
What is the difference between voice acting, motion capture, and performance capture?
Voice acting records spoken dialogue, often in a sound booth, separately from the character’s movement. Motion capture records physical movement and can be used without recording dialogue at the same time. Performance capture brings more of an actor’s performance together, recording body movement, facial expression, and voice in a synchronized session.
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Those labels are useful distinctions, not guarantees of a uniform workflow across the industry. CD PROJEKT RED Motion Capture Lead Tomasz Kowalczyk describes motion capture as recording movement, while performance capture records voice at the same time. Ubisoft’s performance-capture director similarly describes it as combining body, face, and voice performance. CD PROJEKT RED’s 2026 account and Ubisoft’s 2019 account explain their respective approaches.
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The requirements of a scene shape casting and preparation. A studio may seek a dialogue performer, a physical performer with specific movement skills, or someone who can contribute across several parts of the character’s performance. For difficult physical actions, the production may use a stunt performer or another specialist.
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In a 2026 account, CD PROJEKT RED says casting can begin under project or character codenames. After performers meet the team and sign an NDA, the studio provides context about the character and scene. It also describes iterating with doubles before scheduling some high-profile performers. That is one studio’s account, not a rule for celebrity casting across games. CD PROJEKT RED’s description of casting and preparation gives more detail.
What happens in a voice or motion-capture session?
Separate dialogue recording
Dialogue can be recorded apart from body movement and facial animation. Quantic Dream described using separate elements on Heavy Rain; its account noted that assembling independently recorded parts could make the result feel disjointed. Separate recording gives a production distinct material to work with, but the pieces must later be brought into alignment. Quantic Dream’s production account discusses that earlier workflow.
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Body motion capture
For body capture, performers typically wear close-fitting suits with markers that cameras track. The recorded marker positions help reconstruct movement and locate body joints. Cameras need coverage around the capture area, including around set pieces, so the system can track performers as they move through a scene. A stunt performer or double may handle physical work that is not assigned to the dialogue actor. CD PROJEKT RED describes its marker and stage approach in its motion-capture overview.
Performance capture
Performance capture aims to preserve the relationship between an actor’s speech, facial expression, and body movement by recording those elements together. CD PROJEKT RED describes body markers, a head-mounted camera for facial performance, and a sensor glove for finger positions, alongside synchronized voice recording. Kowalczyk explains: “For performance capture, we are recording voice at the same time as we are recording the animation.”
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The equipment and physical demands are more involved than a dialogue-only session. For its own stage, CD PROJEKT RED’s Motion Capture Lead described 74 cameras and a capture volume around 50 meters by 7 meters. Those are specifications for that studio’s described facility, not an industry standard. Ubisoft’s account of its Toronto facility gives different scale figures: 8,000 square feet for its original stage and 12,000 square feet for its newer one. These studio-specific details illustrate the range of capture setups rather than a typical requirement. CD PROJEKT RED and Ubisoft Toronto describe their facilities.
How do studios turn capture data into a finished scene?
Capture produces material for a cinematic team to edit and refine; it is not a finished game scene. In Ubisoft’s described workflow, facial, audio, motion-capture, and reference-video data are synchronized for editing. After the cinematic director validates an edit, timecode helps order the corresponding data, while automated post-production processes assist with managing the volume. Performance Capture Director Tony Lomonaco says: “Every aspect of what we capture is timecode-synced, which is crucial in performance capture for many reasons – most specifically because of our editing process.”
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Other stages remain after the recording and synchronization. PlayStation’s production account for The Last of Us describes cleaning raw motion-capture data and continuing through planning, writing, performance, scripting, animation, lighting, and repeated refinement. The captured performance is a foundation that teams shape into the final cinematic. PlayStation’s account of the cinematic process describes that work.
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A recognizable actor may provide dialogue, participate in face-and-body capture, contribute only some portions of a character’s performance, or work alongside stunt performers and doubles. Which arrangement a production uses depends on the scene, schedule, performer’s skills, and studio workflow. A cast credit does not, on its own, establish who performed every physical action or supplied every captured element.
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The available studio accounts describe varied casting and role division, but they do not establish one celebrity workflow used across the industry. To identify a particular actor’s contribution, rely on a production source that specifies whether the person recorded dialogue, performed capture, or shared the work with other performers.
Why use one workflow rather than another?
Separate recording and simultaneous performance capture solve different production needs. Neither is universally best: the choice depends on what a scene requires and how the studio plans to edit it.
| Production approach | What is recorded together | Practical consideration |
|---|---|---|
| Separate voice recording | Dialogue; movement and facial performance may be recorded separately. | Separate pieces must be assembled and aligned, and can feel disconnected if their timing or expression does not match. |
| Body motion capture | Physical movement, generally without voice recorded at the same time. | Marker suits and camera coverage capture movement; a separate performer may supply dialogue or specialized physical work. |
| Performance capture | Body, face, and voice performance in a synchronized session. | More elements are captured together, with additional equipment and data to synchronize, edit, and refine. |
These are broad workflow distinctions, not exhaustive production recipes. Some scenes or projects can combine methods, and the sources do not establish an industry-wide share of games using each approach.
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