Celebrity voice acting and motion capture are related parts of game production, but they are not the same process. A performer may record dialogue separately, take part in body-motion capture, or perform voice, face, and movement together in performance capture. Even then, the captured material is raw input: teams synchronize, edit, clean up, and refine it before it appears in a finished scene.
Voice acting, motion capture, and performance capture: what is the difference?
Voice acting records dialogue. It can happen in a sound booth, separately from movement or facial animation. Motion capture records physical movement, often using cameras to track markers worn by performers. Performance capture brings together more of an actor’s performance—typically body movement, facial expression, and voice—during the same recording process.
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Studios do not use these terms identically in every context, but the distinction is clear in accounts from CD PROJEKT RED and Ubisoft: motion capture can mean body movement alone, while performance capture combines body, face, and voice. The CD PROJEKT RED account and Ubisoft’s explanation describe these approaches.
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How a game scene moves from casting to capture
1. Casting and preparation
Productions cast performers for the role and for the demands of particular scenes. That may include actors, stunt performers, doubles, or specialists with particular physical abilities. In a 2026 account, CD PROJEKT RED says casting can begin with project or character codenames; after performers meet the team and sign a nondisclosure agreement, they receive context about the character and scene. The studio also describes iterating with doubles before scheduling a final version with some high-profile performers. This is one studio’s practice, not a universal rule.
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2. Recording dialogue or body movement
Dialogue may be recorded separately in a booth. Body motion can be captured in a dedicated stage: performers wear close-fitting suits with reflective markers, and cameras track those markers to reconstruct movement and locate body joints. Camera coverage must account for the stage and any set pieces that might block a marker from view. CD PROJEKT RED’s Motion Capture Lead describes this arrangement in the studio’s 2026 production account.
Separate recording gives production teams flexibility, but it means separately recorded elements must later be combined. Quantic Dream’s account of its earlier Heavy Rain process says voice and movement were recorded separately and could feel disjointed when assembled. The studio’s account of its evolving process illustrates why some productions aim to capture more of an actor’s performance together.
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3. Capturing voice, face, and body together
In performance capture, multiple signals are recorded at once. CD PROJEKT RED describes body markers, a head-mounted camera for facial movement, a sensor glove for finger positions, and synchronized voice. The studio’s Motion Capture Lead, Tomasz Kowalczyk, summarized the approach: “For performance capture, we are recording voice at the same time as we are recording the animation.”
Ubisoft describes performance capture similarly: it records body, facial, and voice performance. Its production account says that timecode synchronizes facial, audio, motion-capture, and reference-video data so editors can match the relevant streams. After a cinematic director validates an edit, timecode helps order corresponding data through post-production. See Ubisoft Toronto’s explanation of its performance-capture workflow.
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What happens after the performers leave the stage?
Capture is source material, not a finished game cinematic. Teams must align recordings, select and edit takes, clean up motion data, and complete the scene through the game’s production pipeline. Depending on the project, that work can involve scripting, animation, lighting, and repeated refinement.
PlayStation’s production account for The Last of Us describes high-tech cameras recording suit markers, raw motion-capture data being cleaned up, and the cinematic continuing through planning, writing, performance, scripting, animation, lighting, and extensive refinement. The production account shows why captured movement is not simply copied straight into the game.
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Timecode is especially useful when a scene has several synchronized streams. Ubisoft Toronto Performance Capture Director Tony Lomonaco said: “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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A celebrity’s casting does not, by itself, establish who supplied every part of the character’s performance. The actor may provide dialogue, participate in facial and body capture, or contribute only some elements. A stunt performer or double may handle particular physical work; specialists may contribute other movement. Scheduling and scene requirements can also affect when a high-profile actor is brought into the process.
For a specific game, describe an actor’s contribution only when a reliable production source identifies it. There is no single industry-wide celebrity workflow established by the studio accounts cited here.
Why studios choose different capture workflows
Separate recording and simultaneous performance capture are production choices, not a simple ranking of better and worse methods. The right approach depends on the scene, performers, schedule, and the material a team needs to edit.
| Workflow | What is recorded together | Production consideration |
|---|---|---|
| Separate voice recording | Dialogue is recorded apart from body movement. | Teams can record elements independently, then must combine them in editing and animation. Quantic Dream said its earlier Heavy Rain process could feel disjointed when assembled. |
| Motion capture | Body movement; voice and face may be handled separately. | Markers, camera coverage, stage layout, and post-capture cleanup shape the process. |
| Performance capture | Body, face, and voice are captured together. | More synchronized performance data is available, while specialized equipment and an editing pipeline are needed to manage the streams. |
Capture setups differ by studio. CD PROJEKT RED’s Motion Capture Lead described that studio’s stage in 2026 as using 74 cameras across a capture volume around 50 meters by 7 meters. Ubisoft reported that its Toronto studio’s original stage measured 8,000 square feet and its newer stage 12,000 square feet in a 2019 account. These are facility-specific details, not industry averages.
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