Mocap Cutter Celsior Anim ToolsThe editing table for motion capture takes.
Play a take next to the video of the shoot on one shared timeline, slide the video until a sync point lines up, mark the useful actions, and cut them in a single pass into AnimSequence assets, FBX files, or both, under your own naming convention.
Fab listing coming soon. Until then, early access builds are distributed directly by GAMECELSIOR.
From a long take to a clip library in five steps
- Stage the takes. Drag AnimSequences onto the table. Performer names are guessed from asset names, tracked bones come from the skeleton, colours from the session palette.
- Load the rush. Drop the shoot video. Cadence is detected from the decoder or set by hand from a preset menu.
- Sync once. Mark a landmark on the take, the same on the video. A second pair measures drift. Every other performer of the shoot inherits the placement.
- Mark the clips. Open a clip at the playhead, drag its edges with magnetic snapping, split, rename, tick the performers who take part. Loop a clip to judge it before it exists.
- Cut. The Export tab lists exactly what will be created. One button writes every enabled clip for every performer as
AS_Dodge_01_Hunter, or however your rule says.
Everything on the table
Session asset, not asset pollution
Takes, video, sync, trims and clips live in a Mocap Cutter Session asset of a few kilobytes. Takes are referenced softly; only the selected take is loaded. The animations are only ever read.
Shared timeline with the shoot video
The panel owns the playhead and drives the 3D preview and the media player through the take's own offset. One ruler, one lane per performer, a video lane and the clips lane.
Sync measured, never typed
Mark the same landmark on the take and on the video. One pair places the video; a second pair, at least one second away, measures its speed. The frame recorded is the one actually shown, so long-GOP seek error is never baked in.
Sync inheritance across the shoot
One camera filmed the whole set. A measure written on one performer places every untouched take of the same shoot, in the same transaction. Nothing measured is ever overwritten.
Several performers on one table
Each take has its own performer, tracked bone and colour, a body in the 3D preview and a lane on the timeline. Add or remove performers from the 3D scene independently of what the inspector shows.
Speed curve per performer
Each lane draws the normalised speed of the tracked bone, hips in practice, composed with its parents, so an action can be spotted without playing the take.
Side by side, overlay, wipe
Three comparison modes with video zoom and pan. In superimposed modes the 3D render is magnified with the picture so the superposition holds.
Shoot camera read from FBX
Location, rotation, focal length, sensor size and optical centre shift, copied from a CineCameraActor or read straight from an FBX without importing anything. A correction transform handles axis, unit and origin mismatches.
Frame accurate clip authoring
Bounds stored as frames, never seconds. Open at playhead, split with S, drag with magnetic snapping to the playhead, take ends, trims and other clips, rename in place, or type timecodes in the inspector.
Trim without touching a key
Useful windows on both tracks bound playback only. Align starts gives a coarse placement until a real landmark is matched; a measured sync always wins.
One cut, three outputs
Assets, Assets + FBX, or FBX only. Bone tracks, curves, attributes, additive settings, retarget source and compression carried across; notifies and sync markers dropped before the crop. FBX only leaves the project untouched.
Every clip remembers where it came from
Rush file, frame rate, in and out on the video clock, offset and speed, source take and frame range, exposed as asset registry tags so the Content Browser shows them as columns.
Offline media and folder relink
Relinking writes the path and nothing else. When a whole shoot folder moves, remap every take of the session in one transaction.
Full undo, multi-tab safe
Every mutation goes through one write path: one transaction per gesture. Two tabs on the same session notice each other. Only the cut itself is not undoable, because Ctrl+Z cannot delete an asset.
AI-assisted and scripted pipelines
An optional MCP toolset (UCelsiorMocapToolset) exposes the whole tool to agents and scripts: create a session, add takes, set the rush, add sync points, author clips, preview and run the cut, save. It goes through the same cut engine as the panel, so there is never a second answer to which frames a clip contains. It compiles only when the engine's ToolsetRegistry plugin is present and is fully optional.
CreateSession("/Game/Captury/Take05", "Take05_Session")
AddTake(Session, MH_AS_Hunter_Dodge, "Hunter")
SetRush(Session, "D:/Shoot/Take05.mp4", 50.0)
AddSyncPoint(Session, 0, AnimSeconds=12.40, VideoSeconds=15.82)
AddClip(Session, 0, "Dodge_01", StartFrame=930, EndFrame=1010)
PreviewCut(Session) // lists AS_Dodge_01_Hunter, creates nothing
RunCut(Session) // writes the assetsWhat you need
Unreal Engine 5.8
Editor-only module. Nothing is added to packaged builds. The session class never ships in a game.
Windows for video
Video playback uses WmfMedia on Win64. MP4, MOV, M4V, AVI, WMV, M2TS and more, subject to installed codecs.
No extra dependency
Ships no content, drops into any project. FBX reading uses the Autodesk FBX SDK bundled with the engine. See the full notice.
Bring your next shoot to the table
Mocap Cutter 1.0 is used daily on real action shoots. Tell us about your pipeline and we will get you a build.
Request early access