Download Capture [PORTABLE]
Jeanine Filbey
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.
Value capture strategies generate sustainable, long-term revenue streams that can help repay debt used to finance the upfront costs of building infrastructure, such as transit projects. Revenue from value capture strategies can also be used to fund the operations and maintenance costs of transit systems.
Value capture strategies are public financing tools that recover a share of the value transit creates. Examples of value capture strategies used for transit include: tax increment financing, special assessments, and joint development.
Done well, value capture optimizes the benefits for both the public and private sectors. This requires close coordination to ensure that the transit investments are designed to maximize value creation and that the value capture strategies recoup enough funding for transit without creating disincentives for development.
Most value capture strategies are local matters. States establish the legal and regulatory framework for revenue/financing strategies, and cities and counties hold the land use implementing authority over revenue/taxing, business districts, and zoning, etc. Land owners determine the use of their land. Transit agencies, like any other land owner, must work with local governments to establish value capture strategies that use property and sales taxes, or development impact fees. The federal government does not have the legal authority to regulate local land use.
When transit agencies own land, particularly land acquired with federal transit funding, they can realize opportunities for transit-supportive value capture strategies. FTA plays a direct role in helping make that happen.
Joint development is a value capture strategy allowing a transit agency to coordinate with developers to improve the transit system and, at the same time, develop real estate in ways that share costs and create mutual benefits. Joint development creates revenue streams for transit that can be used to cover operating expenses and finance capital projects. For example, a transit agency might convert a publicly owned park-and-ride lot into a mixed-use development of offices and housing. When new FTA funding or land previously acquired with FTA funding is used for a joint development, it must go through an FTA approval process.
A wide variety of information and technical assistance regarding value capture is available to potential project sponsors. Please view the resources listed below or contact FTA using the information on the right side of this page for further assistance.
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.
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