Giant is provided 6 months of motion capture, including horses for the A.I. engine crowd scenes, as well as the first on set capture for a Hero character, Tumnus.

Again, working with long time client Digital domain, Giant's technology was used to create digital doubles of soldiers storming the beathes. We simulated this by building sand pits and dunes in our studio.

Animal Logic utilized Giant's technology in this nearly 100% motion capture production. The film won the 2006 Academy Award for best-animated feature.

Again, working with long time client Digital domain, Giant's technology was used to create digital doubles of soldiers storming the beathes. We simulated this by building sand pits and dunes in our studio.

Giant captured performers representing the various miniature characters such as the Roman soldiers, Cowboys and Indians, etc.

Working with Rhythm and hues, Giant created the motion trees of data that would be incorporated into Massive software to create the crowd scene in the car chase through the center of Tokyo.

Giant performed both Hero and background capture under the direction of VFX Supervisor John Scheele.

This was a milestone project for the company in that it was the first time we used our Image Based Capture technology in capturing multiple characters. We delivered over 40 minutes of data to Sony Imageworks in helping create 'the infected' characters including the Hero.

Giant was asked to come on location and construct a capture volume around the life-sized set piece of the Hai Pang pirate ship. We performed 3 days of capture, adapting to the changing environment of live action set lighting.

This was our first project with now long-time client Marvel. We became involved during pre-production, helping with character development including flight tests captured with skydivers in a wind tunnel.

Giant was tasked to complete 10 days of capture including horse and riders and deliver over 100 minutes of data within a span of 3 months. We delivered on time and within budget.

Our second project with Marvel involved going on location for 2 months to capture 'post-viz' data as simultaneously with the live action shoot. During post we also captured plate-specific animation shots for the Hulk.

Using our Real Time capture system we were able to layer in crown animations on the fly so the director, Rob Cohen could make editorial decisions on the fly.

The production team from Roland Emmerich's large-scale new feature spent three days at Giant Studios, creating digital doubles to simulate mass hysteria as the world is coming to an end.

Digital Domain turned to Giant to develop a method to simulate the appearance of humans moving through snow and water.

Weta Digital once again selected Giant Studios as the motion capture technology provider reuniting us with Andy Serkis.