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In Motive, the Application Settings can be accessed under the View tab or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main Toolbar.
Sets the separator (_) and string format specifiers (%03d) for the suffix added after existing file names.
Enable/Disable auto-archiving of Takes when trimming Takes.
When enabled, all of the session folders loaded in the Data pane will be persisted when exiting and launching Motive again next time.
_[Advanced]_Sets the default device profile, XML format, to load onto Motive. The device profile determines and configures the settings for peripheral devices such as force plates, NI-DAQ, or navigation controllers.
[Advanced] Enter IP address of glove. Leave blank to use Local Host IP.
Enable or disable the LED panel in front of cameras that displays assigned camera numbers.
Sets how Camera IDs are assigned for each camera in a setup. Available options are By Location and By Serial Number. When assigning by location, camera IDs will be given following the positional order in clockwise direction, starting from the -X and -Z quadrant in respect to the origin.
Controls the color of the RGB Status Indicator Ring LEDs (Prime Series cameras only). Options include distinct indications for Live, Recording, Playback, Selection and Scene camera statuses, and you can choose the color for the corresponding camera status.
(Default: Blue) Sets the indicator ring color for cameras in Live mode.
(Default: Green) Sets the indicator ring color for cameras when recording a capture.
(Default: Black) Sets the indicator ring color for cameras when Motive is in playback mode.
(Default: Yellow) Sets the indicator ring color for cameras that are selected in Motive.
(Default: Orange) Sets the indicator ring color for cameras that are set as the reference camera in Motive.
(Default: Enabled) Controls whether the hibernation light turns on for the cameras when Motive is closed.
Configures the Aim Assist button. Sets whether the button will switch the camera to MJPEG mode and back to the default camera group record mode. Valid options are: True (default) and False.
(Default: Grayscale Only) Sets whether the camera button will display the aiming crosshairs on the the camera. Options: None, Grayscale Only, All Modes.
Enables or disables LED illumination on the Aim Assist button behind Prime Series cameras.
Sets the default device profile, XML format, to load onto Motive. The device profile determines and configures the settings for peripheral devices such as force plates, NI-DAQ, or navigation controllers.
Enter IP address of glove. Leave blank to use Local Host IP.
Shows which log file is loaded into Motive and displayed in the log pane. There is also a folder icon in order to change or add a log file.
Enable or disable continuous calibration for bumped cameras. When enabled, Motive will continuously monitor the calibration and update it as necessary. When this is set to true, calibration updates more invasively to accommodate for camera position/orientation changes. In general, if camera is significantly moved or displaced, it's suggested to calibrate the system again. For more information, refer to the Continuous Calibration page.
Restrict camera translation during continuous calibration.
Automatically loads the previous, or last saved, calibration setting when starting Motive.
The time duration, in seconds, that the camera system will auto-detect the existing extraneous reflections in order to apply masks during Calibration process.
Number of samples suggested for calibration. Depending on this setting, the sample count feedback will be colored differently during the Calibration process.
During the calibration wanding process, informative visuals are drawn over the camera view to show successfully collected wand samples and also to mark any extraneous reflections that appear. This is enabled by default. Disabling this will hide those calibration visuals.
When enabled, you can edit the camera calibration position with the 3D Gizmo tool.
Max distance cameras are translated by the position correction tool in mm.
Enables detection of PoE+ switches by High Power cameras (Prime 17W, PrimeX 22, Prime 41, and PrimeX41). LLDP allows the cameras to communicate directly with the switch and determine power availability to increase output to the IR LED rings. When using Ethernet switches that are not PoE+ Enabled or switches that are not LLDP enabled, cameras will not go into the high power mode even with this setting enabled.
In Motive, the Application Settings can be accessed under the or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main .
In Motive, the Data Streaming pane can be accessed under the or by clicking icon on the main toolbar. For explanations on the streaming workflow, read through the page.
This section allows you to stream tracking data via Motive's free streaming plugins or any custom-built NatNet interfaces. To begin streaming, select Broadcast Frame Data. Select which types of data (e.g. markers, Rigid Bodies, or Skeletons) will be streamed, noting that some third party applications will only accept one type of data. Before you begin streaming, ensure that the network type and interface are consistent with the network you will be streaming over and the settings in the client application.
(Default: False) Enables/disables broadcasting, or live-streaming, of the frame data. This must be set to true in order to start the streaming.
(Default: loopback) Sets the network address which the captured frame data is streamed to. When set to local loopback (127.0.0.1) address, the data is streamed locally within the computer. When set to a specific network IP address under the dropdown menu, the data is streamed over the network and other computers that are on the same network can receive the data.
(Default: Multicast) Selects the mode of broadcast for NatNet. Valid options are: Multicast, Unicast.
(Default: True) Enables, or disables, streaming of labeled Marker data. These markers are point cloud solved markers.
(Default: True) Enables/disables streaming of all of the unlabeled Marker data in the frame.
(Default: True) Enables/disables streaming of the Marker Set markers, which are named collections of all of the labeled markers and their positions (X, Y, Z). In other words, this includes markers that are associated with any of the assets (Marker Set, Rigid Body, Skeleton). The streamed list also contains a special marker set named all which is a list of labeled markers in all of the assets in a_Take_. In this data, Skeleton and Rigid Body markers are point cloud solved and model-filled on occluded frames.
(Default: Skeletons) Enables/disables streaming of Skeleton tracking data from active Skeleton assets. This includes the total number of bones and their positions and orientations in respect to global, or local, coordinate system.
When enabled, this streams active peripheral devices (ie. force plates, Delsys Trigno EMG devices, etc.)
(Default: Global) When set to Global, the tracking data will be represented according to the global coordinate system. When this is set to Local, the streamed tracking data (position and rotation) of each skeletal bone will be relative to its parent bones.
(Default: Motive) Sets the bone naming convention of the streamed data. Available conventions include Motive, FBX, and BVH. The naming convention must match the format used in the streaming destination.
(Default: Y Axis) Selects the upward axis of the right-hand coordinate system in the streamed data. When streaming onto an external platform with a Z-up right-handed coordinate system (e.g. biomechanics applications) change this to Z Up.
(Default: False) When set to true, Skeleton assets are streamed as a series of Rigid Bodies that represent respective Skeleton segments.
(Default: True) When set to true, associated asset name is added as a subject prefix to each marker label in the streamed data.
Enables streaming to Visual3D. Normal streaming configurations may be not compatible with Visual3D, and this feature must be enabled for streaming tracking data to Visual3D.
Applies scaling to all of the streamed position data.
(Default: 1510) Specifies the port to be used for negotiating the connection between the NatNet server and client.
(Default: 1511) Specifies the port to be used for streaming data from the NatNet server to the client(s).
Specifies the multicast broadcast address. (Default: 239.255.42.99). Note: When streaming to clients based on NatNet 2.0 or below, the default multicast address should be changed to 224.0.0.1 and the data port should be changed to 1001.
Warning: This mode is for testing purposes only and it can overflood the network with the streamed data.
When enabled, Motive streams out the mocap data via broadcasting instead of sending to Unicast or Multicast IP addresses. This should be used only when the use of Multicast or Unicast is not applicable. This will basically spam the network that Motive is streaming to with streamed mocap data which may interfere with other data on the network, so a dedicated NatNet streaming network may need to be set up between the server and the client(s).To use the broadcast set the streaming option to Multicast and have this setting enabled on the server. Once it starts streaming, set the NatNet client to connect as Multicast, and then set the multicast address to 255.255.255.255. Once Motive starts broadcasting the data, the client will receive broadcast packets from the server.
Warning: Do not modify unless instructed.
(Default: 1000000)
This controls the socket size while streaming via Unicast. This property can be used to make extremely large data rates work properly.
(Default: False) When enabled, Motive streams Rigid Body data via the VRPN protocol.
[Advanced] (Default: 3883) Specifies the broadcast port for VRPN streaming. (Default: 3883).
In Motive, the Application Settings can be accessed under the or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main .
The Mouse tab under the application settings is where you can check and customize the mouse actions to navigate and control in Motive.
The following table shows the most basic mouse actions:
You can also pick a preset mouse action profiles to use. The presets can be accessed from the below drop-down menu. You can choose from the provided presets, or save out your current configuration into a new profile to use it later.
Configured hotkeys can be saved into preset profiles to be used on a different computer or to be imported later when needed. Hotkey presets can be imported or loaded from the drop-down menu:
In Motive, the Application Settings can be accessed under the or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main .
2D tab under the view settings lists out display settings for the in Motive.
Sets the background color of the .
Enables markers selected from the 3D Perspective View to be also highlighted with yellow crosshairs in the 2D camera view, based on calculated position. Crosshairs that are not directly over the marker tend to indicate occlusion or poor camera calibration.
When enabled, Camera View shows which markers have been filtered out by the camera's circularity and size filter. This is enabled by default and is useful for inspecting why certain cameras are not tracking a specific markers in the view.
Sets the background color of the Perspective View.
Turns a gradient “fog” effect on in the Perspective View.
Selects the color of the ground plane grid in the Perspective View.
Selects the size of the ground plane grid in the Perspective View. Specifically, it sets the number of grids along the positive and negative direction in both the X and Z axis. Each grid represents 20cm x 20cm in size within a calibrated volume.
When enabled, Motive will display the floor plane in the Perspective View. This is disabled by default to only show the floor grid.
Sets the color of selections in the 3D view port.
Displays the coordinate axis in the 3D view port.
Determines where timecode gets displayed in Motive. Timecode can be displayed either on the Perspective View or the Control Deck or hidden entirely. Timecode will be available only when the timecode signal is inputted through the eSync.
Show or hide marker count report located at the bottom-right corner of the Perspective View.
Overlays the OptiTrack logo over top of the Perspective View.
Overlays refresh rate of the display on the Perspective View.
Determines whether marker sizes in the 3D Perspective View are represented by the calculated size or overwritten with a set diameter.
When the Marker Size setting above is set to Custom, the diameter of the 3D markers will all be fixed to the inputted diameter.
Sets the color for passive markers in the 3D viewport. Retro-reflective markers or continuously illuminating IR LEDs will be recognized as passive markers in Motive.
When this is set to true. 3D positions and estimated diameter of selected markers will be displayed on the 3D viewport.
Displays a history trail of marker positions over time.
When both the marker history and this setting is enabled, marker history trail will be shown for only selected markers in the viewport.
Number of past frames for showing the marker history.
Sets the color of reference cameras in the 3D Perspective View. Cameras that are capturing reference MJPEG grayscale videos or color videos, for Prime Colors, will be considered as reference cameras.
Sets the color for Tracked Rays in the 3D Perspective View.
Sets the color for unlabeled rays in the 3D Perspective View.
Sets the color for untracked rays in the 3D Perspective View.
Sets the color used for visualizing the capture volume.
Minimum number of cameras required for their FOV to overlap when visualizing the capture volume.
Sets the color for labeled markers. Markers that are labeled using either Rigid Body or Skeleton solve will be colored according to their asset properties.
Shows rays stemming from camera to markers that have not been labeled.
Displays all tracked rays.
Background color used for the plots.
The scope of domain range, in frames, used for plotting graphs.
The Assets tab in the application settings panel is where you can configure the creation properties for Rigid Body and Skeleton assets. In other words, all of the settings configured in this tab will be assigned to the Rigid Body and Skeleton that are newly created in Motive.
You can change the naming convention of Rigid Bodies when they are first created. For instance, if it is set to RigidBody, the first Rigid Body will be named RigidBody when first created. Any subsequent Rigid Bodies will be named RigidBody 001, RigidBody 002, and so on.
User definable ID. When streaming tracking data, this ID can be used as a reference to specific Rigid Body assets.
The minimum number of markers that must be labeled in order for the respective asset to be booted.
The minimum number of markers that must be labeled in order for the respective asset to be tracked.
Applies double exponential smoothing to translation and rotation. Disabled at 0.
Compensate for system latency by predicting movement into the future.
For this feature to work best, smoothing needs to be applied as well.
Toggle 'On' to enable. Displays asset's name over the corresponding skeleton in the 3D viewport.
Select the default color a Rigid Body will have upon creation. Select 'Rainbow' to cycle through a different color each time a new Rigid Body is created.
When enabled this shows a visual trail behind a Rigid Body's pivot point. You can change the History Length, which will determine how long the trail persists before retracting.
Shows a Rigid Body's visual overlay. This is by default Enabled. If disabled, the Rigid Body will only appear as individual markers with the Rigid Body's color and pivot marker.
When enabled for Rigid Bodies, this will display the Rigid Body's pivot point.
Shows the transparent sphere that represents where an asset first searches for markers, i.e. the Marker Constraints.
When enabled and a valid geometric model is loaded, the model will draw instead of the Rigid Body.
Allows the asset to deform more or less to accommodate markers that don't fix the model. High values will allow assets to fit onto markers that don't match the model as well.
Creates the Skeleton with arms straight even when arm markers are not straight.
Creates the Skeleton with straight knee joints even when leg markers are not straight.
Creates the Skeleton with feet planted on the ground level.
Creates the Skeleton with heads upright irrespective of head marker locations.
Force the solver so that the height of the created Skeleton aligns with the top head marker.
Height offset applied to hands to account for markers placed above the write and knuckle joints.
Same as the Rigid Body visuals above:
Label
Creation Color
Bones
Marker Constraints
Changes the color of the skeleton visual to red when there are no markers contributing to a joint.
Display Coordinate axes of each joint.
Displays the lines between labeled skeleton markers and corresponding expected marker locations.
Displays lines between skeleton markers and their joint locations.
In Motive, the Application Settings can be accessed under the or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main .
Live-Pipeline settings contain camera filter settings and solver settings for obtaining 3D data in Motive. Please note that these settings are optimized by default and should provide high-quality tracking for most applications. The settings that might need to be adjusted based on the application are visible by default (i.e. not advanced).
The most commonly changed settings are...
Coarse/Fine IK Iterations - This helps Skeletons converge to a good pose quickly when Skeletons start in a difficult to track pose.
Minimum Rays to Start/Continue - This helps reduce false markers from semi-reflective objects when there is a lot of camera overlap. It also allows you to not track when seen by only one camera (Minimum Rays to Continue = 2).
Boot Skeleton Label Percentage - A lower value will allow Skeletons to boot more quickly when entering the volume. A higher value will prevent untracked Skeletons from attempting to track using other markers in the volume.
Solver settings for recorded captures:
Please note that these settings are applied only to the Live 3D data. For captures that are already recorded, you can optimize them from the of the corresponding TAK file.
The solver settings control how each marker trajectory gets reconstructed into the 3D space and how Rigid Bodies and Skeletons track. The solver is designed to work for most applications without needing to modify any settings. However, in some instances changing some settings will lead to better tracking results. The settings that may need to be changed are visible by default. There are also a large number of advanced settings that we don’t recommend changing, but the tooltips are available if needed. The settings that users may need to change are listed below with descriptions.
These are general tracking settings for the solver not related to creating 3D markers or booting assets. Do not change these settings in Live mode as incorrect settings can negatively affect the tracking, this is mostly useful when optimizing 3D data for recorded captures with actors in difficult positions to track.
What it does: This property sets the number of Coarse IK iterations, which are fast but not accurate inverse kinematic solve to place the Skeleton on the associated markers.
When to change: Do not change this property in Live mode. In recorded captures, this property may need to be changed, under the TAK properties, if the recording(s) starts with actors who are not in standing-up positions. Sometimes in these recordings, the Skeletons may not solve on the first couple frames, and in these cases, increasing this setting will allow the Skeleton to converge on the first frame.
What it does: This property sets the number of Fine IK iterations, which are slow but accurate inverse kinematic solve to place the final pose of the Skeleton on the associated markers. Increasing this setting may result in higher CPU usage.
When to change: Do not change this property in Live mode. In recorded captures, this property may need to be changed, under the TAK properties, if the recording(s) starts with actors who are not in standing-up positions or the ones that are difficult to solve. Sometimes in these recordings, the Skeletons may not solve on the first couple frames, and in these cases, increasing this setting will allow the Skeleton to converge on the first frame.
The Trajectorizer settings control how the 2D marker data is converted into 3D points in the calibrated volume. The trajectorizer performs reconstruction of 2D data into 3D data, and these settings control how markers are created in the 3D scene over time.
What it does: This setting controls the maximum distance between a marker trajectory and its predicted position.
When to change: This setting may need to be increased when tracking extra fast assets. The default setting should track most applications. Attempt to track with default settings first, and if there are any gaps in the marker trajectories, you can incrementally increase the distance until stable tracking is achieved.
What it does: This setting controls the maximum distance between a ray and the marker origin.
When to change: For large volumes with high camera counts, increasing this value may provide more accurate and robust tracking. The default value of 3 works well with most medium and small-sized volumes. For volumes that only have two cameras, the trajectorizer will use a value of 2 even when it's not explicitly set.
What it does: This sets the minimum number of rays that need to converge on one location in order to continue tracking a marker that already initialized near that location. A value of 1 will use asset definitions to continue tracking markers even when a 3D marker could not have been created from the camera data without the additional asset information.
When to change: This is set to 1 by default. It means that Motive will continue the 3D data trajectory as long as at least one ray is obtained and the asset definition matches. When single ray tracking is not desired or for volumes with a large number of cameras, change this value to 2 to utilize camera overlaps in the volume.
What it does: This setting is used for tracking active markers only, and it sets the number of frames of motion capture data used to uniquely identify the ID value of an active marker.
When to change: When using a large number of active tags or active pucks, this setting may need to be increased. It's recommended to use the active batch programmer when configuring multiple active components, and when each batch of active devices has been programmed, the programmer will provide a minimum active pattern depth value that should be used in Motive.
What it does: The total number of rays that must contribute to an active marker before it is considered active and given an ID value.
When to change: Change this setting to increase the confidence in the accuracy of active marker ID values (not changed very often).
What it does: The number of frames of data that the solver will attempt to fill if a marker goes missing for some reason. This value must be at least 1 if you are using active markers.
When to change: If you would like more or fewer frames to be filled when there are small gaps.
The Booter settings control when the assets start tracking, or boot, on the trajectorized 3D markers in the scene. In other words, these settings determine when Rigid Bodies and/or Skeletons track on a set of markers.
What it does: This controls the maximum distance between a pair of Marker Constraints to be considered as an edge in the label graph.
When to change: The default settings should work for most applications. This value may need to be increased to track large assets with markers that are far apart.
When to change: The default settings should work for most applications. Set this value to about 75% to help keep Skeletons from booting on other markers in the volume if there are similar Skeleton definitions or lots of loose markers in the scene. If you would like Skeletons to boot faster when entering the volume, then you can set this value lower.
Controls the deceleration of the asset joint angles in the absence of other evidence. For example, a setting of 60% will reduce the velocity by 99% in 8 frames; whereas 80% will take 21 frames to do the same velocity reduction.
The residual is the distance between a Marker Constraint and its assigned trajectory. If the residual exceeds this threshold, then that assignment will be broken. A larger value helps catch rapid acceleration of limbs, for example.
Ignores reconstructed 3D points outside of the reconstruction bounds.
This will be the general shape of the reconstruction bounds. Can choose from the following:
Cuboid
Cylinder
Spherical
Ellipsoid
The rest of the settings found under this tab can be modified in relation to center, width, radius, and height.
Two marker trajectories discovered within this distance are merged into a single trajectory.
A marker trajectory is predicted on a new frame and then projected in all the cameras. to be assigned to a marker detection in a particular camera, the distance (in pixels) must not exceed this threshold.
The maximum number of pixels between a camera detection and the projection of its marker.
The new marker trajectory is generated at the intersection of two rays through detections in different cameras. Each detection must be the only candidate within this many pixels of the projection of the other ray.
Marker trajectories are predicted on the next frame to have moved with this percentage of their velocity on the previous frame.
When a Skeleton marker trajectory is not seen, its predicted position reverts towards its assigned Marker Constraints by this percentage.
When a Rigid Body marker trajectory is not seen, its predicted position reverts towards its assigned Marker Constraints by this percentage.
The penalty for leaving Marker Constraints unassigned (per label graph edge).
The maximum average distance between the marker trajectory and the Marker Constraints before the asset is rebooted.
This value controls how willing an asset is to boot onto markers. A higher value will make assets boot faster when entering the volume. A lower value will stop assets from booting onto other markers when they leave the volume.
This is a less accurate but fast IK solve meant to get the skeleton roughly near to the final pose while booting.
This is a more accurate but slow IK solve meant to get the skeleton to the final pose while booting. (High values will slow down complex takes.)
The maximum number of assets to boot per frame.
This section of the application settings is used for configuring the 2D filter properties for all of the cameras.
The minimum pixel size of a 2D object, a collection of pixels grouped together, for it to be included in the Point Cloud reconstruction. All pixels must first meet the brightness threshold defined in the Cameras pane in order to be grouped as a 2D object. This can be used to filter out small reflections that are flickering in the view. The default value for the minimum pixel size is 4, which means that there must be 4 or more pixels in a group for a ray to be generated.
This setting sets the threshold of the circularity filter. Valid range is between 0 and 1; with 1 being a perfectly round reflection and 0 being flat. Using this 2D object filter, the software can identify marker reflections using the shape, specifically the roundness, of the group of thresholded pixels. Higher circularity setting will filter out all other reflections that are not circular. It is recommended to optimize this setting so that extraneous reflections are efficiently filtered out while not filtering out the marker reflections.
When using lower resolution cameras to capture smaller markers at a long distance, the marker reflection may appear to be more pixelated and non-circular. In this case, you may need to lower the circularity filter value for the reflection to be considered as a 2D object from the camera view. Also, this setting may need to be lowered when tracking non-spherical markers in order to avoid filtering the reflections.
Changes the padding around masks by pixels.
Delay this group from sync pulse by this amount.
Controls how the synchronizer operates. Options include:
Force Timely Delivery
Favor Timely Delivery
Force Complete Delivery
Choose the filter type. Options include:
Size and Roundness
None
Minimum Pixel Threshold
The minimum allowable size of the 2D object (pixels over threshold).
The maximum allowable size of the 2D object (pixels over threshold).
The size of the guard region beyond the object margin for neighbor detection.
The pixel intensity of the grayscale floor (pixel intensity).
The minimum space (in pixels) between objects before they begin to overlap.
The number of pixels a 2D object is allowed to lean.
The maximum allowable aspect tolerance to process a 2D object (width:height).
The allowable aspect tolerance for very small objects.
The rate at which the aspect tolerance relaxes as object size increases.
The Assets pane in Motive lists out all of the assets involved in the Live, or recorded, capture and allows users to manage them. This pane can be accessed under the in Motive or by clicking icon on the main toolbar.
A list of all assets associated with the take is displayed in the Assets pane. Here, view the assets and you can right click on an asset to export, remove, or rename selected asset from the current take.
Exports selected Rigid Bodies into either a Motive file (.motive) or CSV. Exports selected Skeletons into either Motive file (.motive) or an FBX file.
Exports Skeleton marker template constraint XML file. The exported constraints files contain marker can be modified and imported again.
Imports Skeleton marker template constraint XML file onto the selected asset. If you wish to apply the imported XML for labeling, all of the Skeleton markers need to be unlabeled and auto-labeled again.
Imports the default Skeleton marker template constraint XML files. This basically colors the labeled markers and creates marker sticks that inter-connects between each of consecutive labels.
This is only possible when post-processing a recorded TAK. Solving an Asset bakes its 6 DoF data into the recording. Once the asset is solved, Motive plays back the recording from the recorded Solved data.
Exports FBX actor of the Skeleton.
The Application Settings panel can be opened under the or by clicking icon on the main toolbar in Motive. Most of the settings that are related to the overall software and the system can be accessed and configured in this panel. This includes camera system setting, data pipeline settings, streaming settings, and hotkeys and shortcuts.
Changes to the Application Settings can be resetted by Reset Settings under the Edit Tools tab from the main .
Advanced Settings
The Application Settings contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
This page provides instructions on how to use the Constraints pane in Motive.
The Constraints pane is intended to allow further optimization around the solver constraints which currently only includes asset model markers. It also allows users to change the name and color of markers for an asset. The asset that you are working with is linked to the selection in Motive unless the “Link to 3D Selection” toggle next to the asset name is turned off.
The default view of the Constraints pane shows the labels and color either of which can be modified to customize your asset. You can also enable three other columns that help control how the solver interacts with markers. The sections below the details for each of these columns.
Constraints (Names)
The “Constraint” column lists the labels of asset model markers associated with an asset. Labels can be modified in the Constraints pane by slow clicking or right-clicking (context menu). You can sort the “Constraint” column alphabetically ascending or descending. However, by default, this column sorts by the asset definition. This uses the internal asset definition to order the constraints and allows you to change this order using the context menu. Changing the order of the constraints will also change the order of the asset model marker names in the Labels pane. This can be helpful to define custom marker ordering for manual labeling.
Color
The color column allows you to change the color of a constraint. This allows you to assign custom colors to different markers associated with an asset. The constraint’s color property has a “rainbow” macro available. This allows you to link the color of the marker to the color defined by the asset.
The MemberID column is mostly just used to view unique ID values assigned to each constraint. It typically is just a reflection of the original ordering of the constraints.
The ActiveID column allows you to view and modify Active Marker ID values. Typically Active ID values are automatically assigned on asset creation or when adding a marker, but this gives you a higher level of insight and control in the process.
The Weight column allows you to tell the solver to prefer a marker when solving the asset data with less than an optimal amount of marker information. For example, the hands are weighted slightly higher for the baseline and core Marker Sets to help preference the end effectors. However, editing this property is not typically recommended.
Exporting constraints makes an XML file containing the names, colors, and marker stick definitions for manual editing. Importing reads the (.xml) files made when exporting. Generating constraints resets the asset back to the default state, if applicable.
In Motive, the Application Settings can be accessed under the or by clicking icon on the main toolbar. Default Application Settings can be recovered by Reset Application Settings under the Edit Tools tab from the main .
If you have an audio input device, you can record synchronized audio along with motion capture data in Motive. Recorded audio files can be played back from a captured Take or be exported into a WAV audio files. This page details how to record and playback audio in Motive. Before using an audio input device (microphone) in Motive, first make sure that the device is properly connected and configured in Windows.
In Motive, audio recording and playback settings can be accessed from .
In Motive, open the Audio Settings, and check the box next to Enable Capture.
Select the audio input device that you want to use.
Press the Test button to confirm that the input device is properly working.
Make sure the device format of the recording device matches the device format that will be used in the playback devices (speakers and headsets).
Capture the Take.
Enable the Audio device before loading the TAK file with audio recordings. Enabling after is currently not supported, as the audio engine gets initialized on TAK load
Open a Take that includes audio recordings.
To playback recorded audio from a Take, check the box next to Enable Playback.
Select the audio output device that you will be using.
Make sure the configurations in Device Format closely match the Take Format. This is elaborated further in the section below.
Play the Take.
In order to playback audio recordings in Motive, audio format of recorded sounds MUST match closely with the audio format used in the output device. Specifically, communication channels and frequency of the audio must match. Otherwise, recorded sound will not be played back.
The recorded audio format is determined by the format of a recording device that was used when capturing Takes. However, audio formats in the input and output devices may not always agree. In this case, you will need to adjust the input device properties to match them. Device's audio format can be configured under the Sound settings in Windows. In Sound settings (accessed from Control Panel), select the recording device, click on Properties, and the default format can be changed under the Advanced Tab, as shown in the image below.
If you want to use an external audio input system to record synchronized audio, you will need to connect the motion capture system into a Genlock signal or a Timecode device. This will allow you to precisely synchronize the recorded audio along with the capture data.
The Calibration pane is used to calibrate the capture volume for accurate tracking. This pane is typically a default pane when first starting Motive. Otherwise, you can access this pane either via the command bar View > Calibration, or the icon. This page provides instructions and tips on how to efficiently use all the functionalities of the Calibration pane.
Calibration is essential for high quality optical motion capture systems. During calibration, the system computes position and orientation of each camera and amounts of distortions in captured images, and they are used constructs a 3D capture volume in Motive. This is done by observing 2D images from multiple synchronized cameras and associating the position of known calibration markers from each camera through triangulation.
Please note that if there is any change in a camera setup over the course of capture, the system must be recalibrated to accommodate for changes. Moreover, even if setups are not altered, calibration accuracy may naturally deteriorate over time due to ambient factors, such as more or less light entering the capture volume as the day progresses and fluctuation in temperature. Thus, for accurate results, it is recommended to periodically calibrate the system.
To learn more about Calibration outside of the pane functionality, please visit the page on this wiki.
To begin a new Calibration click New Calibration
If you already have a previous calibration you wish to load, click Load Calibration.
This will open the Calibrations folder.
From here you can choose a Calibration you wish to load.
Each time you create a new calibration in Motive, it will automatically save in the Calibrations folder.
If you wish to view calibrations in File Explorer, click the Open Calibration Folder. You cannot load a calibration from this window. The purpose of opening the Calibration folder is to manipulate the files separately from Motive. For instance, you may want to delete old Calibrations that are no longer relevant to your current camera setup.
Before performing system calibration, all extraneous reflections or unnecessary markers should ideally be removed or covered so that they are not seen by the cameras. If this is not possible, extraneous reflections can be ignored by applying masks over them in Motive.
Masks can be applied by clicking Mask in the calibration pane, and it will apply red masks over all of the reflections detected in the 2D camera view. Once masked, the pixels in the masked regions will entirely be filtered out from the data. Please note that Masks get applied additively, so if there are already masks applied in the camera view, clear them out first before applying a new one.
This will help remove masks that are no longer useful or need to be reset in order to cover new reflections.
This button will allow you go back to the Calibration pane's default window.
This button will auto-apply masks to objects in the capture volume.
You can always click Clear Masks then Mask again to reapply new Masks if you're unhappy with the initial masking or to reset the masks from a previous calibration.
This button will continue with the Calibration process with the masks applied.
Full
When Full is chosen from the dropdown, this will allow for a full volume calibration where each camera is used for the calibration.
Refine
This button allows you to go back to the masking window incase you need to make changes to your masks.
This button will initiate the calibration with all previous settings applied.
Once you begin to wand the camera squares in the Calibration pane will turn dark green when a camera has begun successfully collecting samples, but still does not have a sufficient amount of samples collected. Once there is a sufficient amount of samples collected the square will turn light green. Once all the camera squares have filled in light green the Start Calculating button will be enabled.
This will show the amount of samples a camera has captured. Typically you want around 1,000-4,000 samples. Samples above this threshold are unnecessary and can oftentimes be detrimental to a calibration's accuracy.
This button will start calculating the samples taken during the wanding stage. During this the camera squares will cycle through red, dark cyan, and light cyan.
Calibration samples were Poor and have a high Mean Ray Error.
Calibration samples are Good
Calibration samples are Excellent.
Calibration samples are Exceptional.
When chosen from the dropdown, Motive will automatically recognize the ground plane you are using.
On occasion Motive will recognize a ground plane as a different ground plane. When this occurs, you can choose the appropriate ground plane from the Detected Device's dropdown.
You can create your own custom ground plane by positioning three markers in a right triangle shape. To refine the position, change the vertical offset (how far from the ground are the markers on its base.
It is also possible to create a ground plane from a Rigid Body. Select the Rigid Body you wish to use. Motive will use the pivot point of the Rigid Body as the ground plane.
By toggling the white dot at the bottom of the Calibration pane, you can access the Refine Ground Plane window.
It is possible to refine the ground plane. To do this, you'll want to lay out additional markers in the capture volume. It is important to use markers of the same dimension and height for an accurate refinement. This allows Motive to make sure that the ground plane is level.
By further toggling the white dot at the bottom of the Calibration pane, you can access the Translate and Rotate window.
To further position the ground plane, you can manually enter translate and rotate values. This step is typically not necessary for an accurate ground plane placement.
When the status is Idle, Motive is waiting to initiate continuous calibration.
Motive is sampling the position of at least four markers.
Motive is calculating the newly acquired samples.
By toggling the white dot at the bottom of the Calibration pane, you can switch to the anchor marker window.
Active anchor markers can be set up in Motive to further improve continuous calibration. When properly configured, anchor markers improve continuous calibration updates, especially on systems that consists of multiple sets of cameras that are separated into different tracking areas, by obstructions or walls, without camera view overlap. It also provides extra assurance that the global origin will not shift during each updates; although the continuous calibration feature itself already checks for this_._
The Devices pane can be accessed under the View tab in Motive or by clicking the button on the main toolbar.
In Motive, all of the connected devices get listed in the Devices pane, including tracking cameras, synchronization hubs, color reference cameras, and other supported peripheral devices such as force plates and data acquisition devices. Using this pane, core settings of each component can be adjusted, which includes sampling rates and camera exposures. Cameras can be grouped to control the system more quickly. You can also select individual devices to view and modify their properties in the . Lastly, when specific devices are selected in this pane, their respective properties will get listed under , where you can also make changes to the settings.
At the very top of the devices pane, the master camera system frame rate is indicated. All synchronized devices will be capturing at a whole multiple or a whole divisor of this master rate.
The master camera frame rate is indicated at top of the Devices pane. This rate sets the framerate which drives all of the tracking cameras. If you wish to change this, you can simply click on the rate to open the drop-down menu and set the desired rate.
eSync2 users: If you are using the eSync2 synchronization hub to synchronize the camera system to another signal (e.g. Internal Clock), you can apply multiplier/divisor to the input signal to adjust the camera system frame rate.
By clicking on the down-arrow button under the camera frame rate, you can expand list of grouped devices. At first, you may not have any grouped devices. To create new groups, you can select multiple devices that are listed under this panel, right-click to bring up the context menu, and create a new group. Grouping the cameras allows easier control over multiple devices in the system.
Under the tracking cameras section, it lists out all of the motion capture cameras connected to the system. Here, you can configure and control the cameras. You can right-click on the camera setting headers to show/hide specific camera settings and drag them around to change the order. When you have multiple cameras selected, making changes to the settings will modify them for all of the selected cameras. You can also group the cameras to easily select and change the settings quickly. The configurable options include:
Framerate multiplier
Exposure length (microseconds)
IR LED ring on/off
Real-time reconstruction contribution
Imager Gain
IR Filter on/off
Sets the amount of time that the camera exposes per frame. The minimum and maximum values will depend on both the type of camera and the frame rate. Higher exposure will allow more light in, creating a brighter image that can increase visibility for small and dim markers. However, setting exposure too high can introduce false reflections, larger marker blooms, and marker blurring--all of which can negatively impact marker data quality.
Exposure value is measured in scanlines for V100 and V120 series cameras, and in microseconds for Flex13, S250e and PrimeX Series cameras.
This setting enables or disables illumination of the LEDs on the camera IR LED ring. In certain applications, you may want to disable this setting to stop the IR LEDs from strobing. For example, when tracking active IR LED markers, there is no need for the cameras to emit IR lights, so you may want to disable this to stop the IR illuminations which may introduce additional noise in the data.
The IR intensity setting is now a on/off setting. Please adjust the exposure setting to adjust the brightness of the image in the IR spectrum.
In most applications, you can have all of the cameras contributing to the 3D reconstruction engine without any problem. But for a very high-camera count systems, having all camera to contribute to the reconstruction engine can slow down the real-time processing of point cloud solve and result in dropped frames. In this case, you can have a few cameras disabled from real-time reconstruction to prevent frame drops and use the collected 2D data later in post-processing.
Increasing a camera’s gain will brighten the image, which can improve tracking range at very long distances. Higher gain levels can introduce noise into the 2D camera image, so gain should only be used to increase range in large setup areas, when increasing exposure and decreasing lens f-stop does not sufficiently brighten up the captured image.
Sets the camera to view either visible or infrared light on cameras equipped with a Filter Switcher. Infrared Spectrum should be selected when the camera is being used for marker tracking applications. Visible Spectrum can optionally be selected for full frame video applications, where external, visible spectrum lighting will be used to illuminate the environment instead of the camera’s IR LEDs. Common applications include reference video and external calibration methods that use images projected in the visible spectrum.
This property sets the resolution of the images that are captured by selected cameras. Since the amount of data increases with higher resolution, depending on which resolution is selected, the maximum frame rate allowed by the network bandwidth will vary.
Bit-rate setting determines the transmission rate outputted from the selected color camera. This is how you can control the data output from color cameras to avoid overloading the camera network bandwidth. At a higher bit-rate setting, more amount of data is outputted and the image quality is better since there is less amount of image compression being done. However, if there is too much data output, it may overload the network bandwidth and result in frame drops. Thus, it is best to minimize this while keeping the image quality at a acceptable level.
Detected force plates and NI-DAQ devices will get listed under the Devices pane as well. You can apply multipliers to the sampling rate if the they are synchronized through trigger. If they are synchronized via a reference clock signal (e.g. Internal Clock), their sampling rate will be fixed to the rate of that signal.
In Motive, the Edit Tools pane can be accessed under the or by clicking icon on the main toolbar.
The Edit Tools pane contains the functionality to modify 3D data. Four main functions exist: trimming trials, filling gaps, smoothing trajectories and swapping data points. Trimming trials refers to the clearing of data points before and after a gap. Filling gaps is the process of filling in a markers trajectory for each frame that has no data. Smoothing trajectories filters out unwanted noise in the signal. Swapping allows two markers to swap their trajectories.
Read through the page to learn about utilizing the edit tools.
Default: 3 frames. The Trim Size Leading/Trailing defines how many data points will be deleted before and after a gap.
Default: OFF. The Smart Trim feature automatically sets the trimming size based on trajectory spikes near the existing gap. It is often not needed to delete numerous data points before or after a gap, but there are some cases where it's useful to delete more data points in case jitters are introduced from the occlusion. When enabled, this feature will determine whether each end of the gap is suspicious with errors, and delete an appropriate number of frames accordingly. Smart Trim feature will not trim more frames than the defined Leading and Trailing value.
Default: 5 frames. The Minimum Segment Size determines the minimum number of frames required by a trajectory to be modified by the trimming feature. For instance, if a trajectory is continuous only for a number of frames less than the defined minimum segment size, this segment will not be trimmed. Use this setting to define the smallest trajectory that gets.
Default: 2 frames. The Gap Size Threshold defines the minimum size of a gap that is affected by trimming. Any gaps that are smaller than this value are untouched by the trim feature. Use this to limit trimming to only the larger gaps. In general it is best to keep this at or above the default, as trimming is only effective on larger trajectories.
Automatically search through the selected trajectory and highlights the range and moves the cursor to the center of a gap before the current frame.
Automatically search through the selected trajectory and highlights the range and moves the cursor to the center of a gap after the current frame.
Fills all gaps in the current TAK. If you have a specific frame range selected in the timeline, only the gaps within the selected frame range will be filled.
The maximum size, in frames, that a gap can be for Motive to fill. Raising this will allow larger gaps to be filled. However, larger gaps may be more prone to incorrect interpolation.
Applies smoothing to all frames on all tracks of the current selection in the timeline.
Determines how strongly your data will be smoothed. The lower the setting, the more smoothed the data will be. High frequencies are present during sharp transitions in the data, such as footplants, but can also be introduced by noise in the data. Commonly used ranges for Filter Cutoff Frequency are 6-12 Hz, but you may want to adjust that up for fast, sharp motions to avoid softening transitions in the motion that need to stay sharp.
Delete all trajectories within the selected frame range that have frames less then the percentage defined in the settings.
For all trajectories that have frames shorter than the percentage defined in this setting will be deleted.
Jumps to the most recent detected marker swap.
Jumps to the next detected marker swap.
Select the markers to be swapped.
Choose the direction, from the current frame, to apply the swap
Swaps the two markers selected in the Markers to Swap
This page includes detailed step-by-step instructions on customizing constraint XML files for assets.In order to customize the marker labels, marker colors, and marker sticks for an asset a constraint XML file may be exported, customized, and loaded back into Motive. Alternately, the can be used to modify the marker names and color and the can be used to customize marker sticks directly in Motive. This process has been standardized between assets types with the only exception being that marker sticks for Rigid Bodies does not work in Motive 3.0.
a) First, create an asset using the or the 3D context menu.
b) Right-click on the asset in the and select Export Markers. Alternately, you can click the "..." menu at the top of the .
c) In the export dialog window, select a directory to save the constraints XML file. Click Save to export.
a) Open the exported XML file using a text editor. It will contain corresponding marker label information under the <marker_names> section.
b) Customize the marker labels from the XML file. Under the <marker_names> section of the XML, modify labels for the name variables with the desired name, but do not change labels for old_name variables. The order of the markers should remain the same unless you would like to change the labeling order.
c) If you changed marker labels, the corresponding marker names must also be renamed within the <marker_colors> and <marker_sticks> sections as well. Otherwise, the marker colors and marker sticks will not be defined properly.
b) You can customize the marker colors and the marker sticks in these sections. For each marker name, you must use exactly same marker labels that were defined by the <marker_names> section of the same XML file. If any marker label was changed in the <marker_names> section, the changed name must be reflected in the respective colors and sticks definitions as well. In other words, if a Custom_Name was assigned under name for a label in the <marker_names> section <marker name="Custom_Name" old_name="Name" />, the same Custom_Name must be used to rename all the respective marker names within <marker_colors> and/or <marker_sticks> sections of the XML.
Marker Colors: For each marker in a Skeleton, there will be a respective name and color definitions under the <marker_colors> section of the XML. To change corresponding marker colors for the template, edit the RGB parameter and save the XML file.
Marker Sticks: A marker stick is simply a line interconnecting two labeled markers within the Skeleton. Each marker stick definition consists of two marker labels for creating a marker stick and a RGB value for its color. To modify the marker sticks, edit the marker names and the color values. You can also define additional marker sticks by copying the format from the other marker stick definitions.
You can also apply customized constraint XML file to an existing assets using the import constraints feature. Right-click on an asset in the Assets pane (or click the "..." menu in the Constraints pane) and select Import Constraints from the menu. This will bring up a dialog window for importing a constraint XML file. Import the customized XML template and the modifications will be applied to the asset. This feature must be used if extra markers were added to the default XML template.
The Builder pane can be accessed under the View tab or by clicking the icon on the main toolbar.
The Builder pane is used for creating and editing trackable models, also called trackable assets, in Motive. In general, Rigid Body assets are created for tracking rigid objects, and Skeleton assets are created for tracking human motions.
When created, trackable models store the positions of markers on the target object and use the information to auto-label the markers in 3D space. During the auto-label process, a set of predefined labels gets assigned to 3D points using the solver pipeline, and the labeled dataset is then used for calculating the position and orientation of the corresponding Rigid Bodies or Skeleton segments.
The trackable models can be used to auto-label the 3D capture both in Live mode (real-time) and in the Edit mode (post-processing). Each created trackable models will have its own properties which can be viewed and changed under the . If new Skeletons or Rigid Bodies are created during post-processing, the Take will need to be auto-labeled again in order to apply the changes to the 3D data.
On the Builder pane, you can either create a new trackable asset or modify an existing one. Select the Type of asset you wish to work on, and then select whether you wish to create or make modifications to existing assets. Create and modify tools for different types asset will be explained in the sections below.
For creating Rigid Bodies, select the Rigid Body from the Type option and access the Create tab at the top. Here, you can create Rigid Body assets and track any markered-objects in the volume. In addition to standard Rigid Body assets, you can also create Rigid Body models for head-mounted displays (HMDs) and measurement probes as well.
Step 1.
Step 2.
On the Builder pane, confirm that the selected markers match the markers that you wish to define the Rigid Body from.
Step 3.
Click Create to define a Rigid Body asset from the selected markers.
You can also create a Rigid Body by doing the following actions while the markers are selected:
Prespective View (3D viewport): While the markers are selected, right-click on the perspective view to access the context menu. Under the Rigid Body section, click Create From Selected Markers.
Hotkey: While the markers are selected, use the create Rigid Body hotkey (Default: Ctrl +T).
Step 4.
Defining Assets in Edit mode:
For using OptiTrack system for VR applications, it is important that the pivot point of HMD Rigid Body gets placed at the appropriate location, which is at the root of the nose in between the eyes. When using the HMD clips, you can utilize the HMD creation tools in the Builder pane to have Motive estimate this spot and place the pivot point accordingly. It utilizes known marker configurations on the clip to precisely positions the pivot point and sets the desired orientation.
Under the Type drop-down menu, select HMD. This will bring up the options for defining an HMD Rigid Body.
If the selected marker matches one of the Active clips, it will indicate which type of Active Clip is being used.
Under the Orientation drop-down menu, select the desired orientation of the HMD. The orientation used for streaming to Unity is +Z forward and Unreal Engine is +X forward, or you can also specify the expected orientation axis on the client plugin side.
Hold the HMD at the center of the tracking volume where all of the active markers are tracked well.
Click Create. An HMD Rigid Body will be created from the selected markers and it will initiate the calibration process.
During calibration, slowly rotate the HMD to collect data samples in different orientations.
Once all necessary samples are collected, the calibrated HMD Rigid Body will be created.
Under the Type drop-down menu, select Probe. This will bring up the options for defining a Rigid Body for the measurement probe.
Select the Rigid Body created in step 2.
Place and fit the tip of the probe in one of the slots on the provided calibration block.
Note that there will be two steps in the calibration process: refining Rigid Body definition and calibration of the pivot point. Click Create button to initiate the probe refinement process.
Slowly move the probe in a circular pattern while keeping the tip fitted in the slot; making a cone shape overall. Gently rotate the probe to collect additional samples.
After the refinement, it will automatically proceed to the next step; the pivot point calibration.
Repeat the same movement to collect additional sample data for precisely calculating the location of the pivot or the probe tip.
When sufficient samples are collected, the pivot point will be positioned at the tip of the probe and the Mean Tip Error will be displayed. If the probe calibration was unsuccessful, just repeat the calibration again from step 4.
Caution
The probe tip MUST remain fitted securely in the slot on the calibration block during the calibration process.
Also, do not press in with the probe since the deformation from compressing could affect the result.
Note: Custom Probes
It's highly recommended to use the Probe kit when using this feature. With that being said, you can also use any markered object with a pivot arm to define a custom probe in Motive, but when a custom probe is used, it may have less accurate measurements; especially if the pivot arm and the object are not rigid and/or if any slight translation occurs during the probe calibration steps.
The Builder pane has tools that can be used to modify the tracking of a Rigid Body that's selected in Motive. To modify Rigid Bodies, select a single Rigid Body and access the Modify tab at the top. This will bring up the options for editing a Rigid Body.
This feature is supported in _Live Mode_** only.**
The Rigid Body refinement tool improves the accuracy of Rigid Body calculation in Motive. When a Rigid Body asset is initially created, Motive references only a single frame for defining the Rigid Body definition. The Rigid Body refinement tool allows Motive to collect additional samples in the live mode for achieving more accurate tracking results. More specifically, this feature improves the calculation of expected marker locations of the Rigid Body as well as the position and orientation of the Rigid Body itself.
Steps
Select the Rigid Bodies from the Type dropdown menu.
Hold the physical selected Rigid Body at the center of the capture volume so that as many cameras as possible can clearly capture the markers on the Rigid Body.
Click Refine in the Builder pane.
Slowly rotate the Rigid Body to collect samples at different orientations until the progress bar is full.
Once all necessary samples are collected, the Refine and Create + Refine buttons will appear again in the Builder pane and the refinements will have been applied.
The Probe Calibration feature under the Rigid Body edit options can be used to re-calibrate a pivot point of a measurement probe or a custom Rigid Body. This step is also completed as one of the calibration steps when first creating a measurement probe, but you can re-calibrate it under the Modify tab.
In Motive, select the Rigid Body or a measurement probe.
Bring out the probe into the tracking volume where all of its markers are well-tracked.
Place and fit the tip of the probe in one of the slots on the provided calibration block.
Click Start
Once it starts collecting the samples, slowly move the probe in a circular pattern while keeping the tip fitted in the slot; making a cone shape overall. Gently rotate the probe to collect additional samples.
When sufficient samples are collected, the mean error of the calibrated pivot point will be displayed.
Click Apply to use the calibrated definition or click Cancel to calibrate again.
The Modify tab is used to apply translation or rotation to the pivot point of a selected Rigid Body. A pivot point of a Rigid Body represents both position (x,y,z) and orientation (pitch, roll, yaw) of the corresponding asset.
Use this tool to translate a pivot point in x/y/z axis (in mm). You can also reset the translation to set the pivot point back at the geometrical center of the Rigid Body.
Use this tool to apply rotation to the local coordinate system of a selected Rigid Body. You can also reset the orientation to align the Rigid Body coordinate axis and the global axis.When resetting the orientation, the Rigid Body must be tracked in the scene.
This feature is useful when tracking a spherical object (e.g. ball). It will assume that all of the markers on the selected Rigid Body are placed on a surface of a spherical object, and the pivot point will be calculated and re-positioned accordingly. Simply select a Rigid Body in Motive, open the Builder pane to edit Rigid Body definitions, and then click Apply to place the pivot point at the center of the spherical object.
Step 1.
From the Skeleton creation options on the Builder pane, select a Skeleton Marker Set template from the Template drop-down menu. This will bring up a Skeleton avatar displaying where the markers need to be placed on the subject.
Step 2.
Step 3.
Step 4.
Step 5.
Step 6.
Next step is to select the Skeleton creation pose settings. Under the Pose section drop-down menu, select the desired calibration post you want to use for defining the Skeleton. This is set to the T-pose by default.
Step 7.
Step 8.
Click Create to create the Skeleton. Once the Skeleton model has been defined, confirm all Skeleton segments and assigned markers are located at expected locations. If any of the Skeleton segment seems to be misaligned, delete and create the Skeleton again after adjusting the marker placements and the calibration pose.
In Edit Mode
You can also select a Skeleton and use CTRL + R hotkey to refresh the tracking of Skeleton if needed.
Existing Skeleton assets can be recalibrated using the existing Skeleton information. Basically, the recalibration recreates the selected Skeleton using the same Skelton Marker Set. This feature recalibrates the Skeleton asset and refreshes expected marker locations on the assets.
Skeleton recalibration does not work with Skeleton templates with added markers.
Enable selection of Asset Model Markers.
Access the Modify tab on the Builder pane.
Select a Skeleton or a Rigid Body that you wish to modify the asset markers for.
CTRL + left-click on an asset model(s) marker that's associated with the selected asset.
On the Asset Model Markers in the Builder pane, click + for adding the marker to the definition or - for removing the asset model marker.
Use the Constraints pane to modify marker label and/or colors.
This feature works for Skeleton assets only
For Skeleton marker sticks, you can use the Builder pane to add/remove markers sticks and also modify the color of the sticks as needed.
In Motive, the Status Log pane can be accessed under the or by clicking the icon on the main toolbar.
The Status Log pane logs important events or statuses of the system operation. Actively occurring events are listed under the Current section and all of the events are logged under the History section for the record. The log can be exported into a text file for troubleshooting references.
In general, when there are no errors in the system operation, the Current section of the log will remain free of warning or error messages. Occasionally during system operations, however, the error/warning messages (e.g. Dropped Frame, Discontinuous Frame ID) may pop-up momentarily and disappear afterward. This could occur when Motive is changing its configurations; for example, when switching between Live and Edit modes or when re-configuring the synchronization settings. This is a common behavior, and this does not necessarily indicate system errors as long as the messages do not persist in the Current section. If the error message is continuously persisting under the Current section or have a high number of event counts, it is indicating an issue with the system operation.
Status messages are categorized into three categories: Informational, Warning, and Error. Logged status messages on the history list can be filtered through choosing a specific category under the Display Filter section. Status messages will appear in a chronological order with corresponding timestamps, which indicate the number of seconds past since the software start.
Symbol Convention
Note: This table is not an exhaustive list of messages in the Log pane.
(Default: True) Enables/disables streaming of Rigid Body data, which includes the name of Rigid Body assets as well as positions and orientations of their .
(Default: False) Allows using the remote trigger for recording using XML commands. See more:
For information on streaming data via the VRPN Streaming Engine, please visit the . Note that only 6 DOF Rigid Body data can be streamed via VRPN.
The Keyboard tab under the application settings allows you to assign specific hotkey actions to make Motive easier to use. List of default key actions can be found in the following page also:
3D tab under the view settings lists out display settings for the in Motive.
Sets the color for in the 3D viewport.
Sets the color for measurement markers that are sampled using the .
Sets the color of tracking cameras in the 3D Perspective View. Cameras that are set to will be considered as tracking cameras in Motive.
Colors used for plot guidelines in the .
When enabled, y-axis of each plot will autoscale to fit all the data in the view. It will also zoom automatically for best visualization. For fixed y-plot ranges, this setting can be disabled. See for more information.
Preferred used for Live mode.
Preferred used for Edit mode.
A list of the default Rigid Body creation properties is listed under the Rigid Bodies tab. These properties are applied to only Rigid Bodies that are newly created after the properties have been modified. For descriptions of the Rigid Body properties, please read through the page.
Note that this is the default creation properties. Asset specific Rigid Body properties are modified directly from the .
A list of the default Skeleton display properties for newly created Skeletons is listed under the Skeletons tab. These properties are applied to only Skeleton assets that are newly created after the properties have been modified. For descriptions of the Skeleton properties, please read through the page.
Note that this is the default creation properties. Asset-specific Skeleton properties are modified directly from the .
What it does: This sets the minimum number of that need to converge on one location to create a new marker in 3D. This is also the minimum number of calibrated cameras that see the same target marker within the 3D threshold value for them to initially get trajectorized into a 3D point.
What it does: This sets the percentage of Skeleton markers that need to be trajectorized in order to track the corresponding Skeleton(s). If needed, this setting can also be configured per each asset from the corresponding asset properties using the .
You can also enable or disable assets by checking or unchecking, the box next to each asset. Only enabled assets will be visible in the 3D viewport and used by the to label the markers associated with respective assets.
In the Assets pane, the context menu for involved assets can be accessed by clicking on the context menu or by right-clicking on a selected Take(s). The context menu lists out available actions for the corresponding assets.
Re-calibrates an existing Skeleton. This feature is essentially same as re-creating a Skeleton using the same Skeleton Marker Set. See page for more information on using the Skeleton template XML files.
You can also view and modify the constraints setting from the . When you select a constraint from the list, the properties of the selected constraints will be listed under the . This is just another way to interface with the same information, but in addition, you can also modify XYZ location of the asset model markers on a Rigid Body or a skeletal bone. Note that these position values are in respect to the local coordinate system of the corresponding Rigid Body or the bone.
You can also export configured constraints, or import them, using the Constraints pane. To do this, simply click on the , and there will be options to export, import, and generate constraints.
Recorded audio files can be exported into WAV format. To export, right-click on a Take from the and select Export Audio option in the context menu.
For more information on synchronizing external devices, read through the page.
This icon will open the page in the wiki for reference.
This link will direct you to the page in the wiki for reference.
This link will direct you to the page in the wiki for reference.
When the cameras detect reflections in their view, it will be indicated with a warning sign to alert which cameras are seeing reflections; for Prime series cameras, the indicator LED ring will also light up in white.
If masks were previously applied during another calibration or manually via the , you have the option of clearing these masks.
When Refine is chosen from the dropdown, this will allow for only specific cameras to be calibrated. For more information regarding Refine calibrations please visit our wiki page.
This dropdown allows you to select which wand you'll be using to calibrate your volume. Please refer to the section on the page of this wiki.
This toggle enables .
For more information regarding anchor markers, visit the section of this wiki.
Reference cameras using MJPEG grayscale video mode, or cameras, can capture either at a same frame rate as the other tracking cameras or at a whole fraction of the master frame rate. In many applications, capturing at a lower frame rate is better for reference cameras because it reduces the amount of data recorded/outputted decreasing the size of the capture files overall. This can be adjusted by configuring the setting.
The multiplier setting applies selected multiplier to the master sampling rate. Multipliers cannot be applied to the tracking cameras, but you can apply them to the reference cameras that are capturing in processing mode. This allows the reference cameras to capture at a slower framerate. This reduces the number of frames captured by the reference camera which reduces the overall data size.
The mode setting indicate which that the cameras are set to. You can click on the icons to toggle between the tracking mode and the reference grayscale mode. Available video modes may be slightly different for different camera types, but available types include:
Object mode (tracking)
Precision mode (tracking)
MJPEG compressed grayscale mode (reference)
Ray grayscale mode (reference)
This enables/disables contribution of respective cameras to the of the 3D data. When cameras are disabled from contributing to the reconstruction, the cameras will still be collecting capture data but they will not be processed through the real-time reconstruction. Please note that 2D frames will still get recorded into the capture file, and you can run post-processing reconstruction pipeline to obtain fully contributed 3D data in the Edit mode.
reference cameras will also get listed under the devices pane. Just like other cameras in the Tracking group, you can configure the camera settings, including the sampling rate multiplier to decrease the sampling rate of the camera. Additionally, captured and the data transfer can be configured.
Detected synchronization hubs will also get listed under the devices pane. You can select the synchronization hubs in the Devices pane, and configure its input and output signals through the . For more information on this, please read through the page.
For more information, please read through the force plate setup pages (, , ) or the setup page.\
Sets which interpolation method to be used. Available patterns are constant, linear, cubic, pattern-based, and model-based. For more information, read page
When using the interpolation to fill gaps on a marker's the trajectory, Other reference markers are selected alongside the target marker to interpolate. This Fill Target drop-down menu specifies which marker among the selected markers to set as the target marker to perform the pattern-base interpolation.
a) To customize the marker colors and sticks, open the exported XML file using a text editor and scroll down to the <marker_colors> and/or <marker_sticks> sections. If the <marker_colors> and/or <marker_sticks> sections do not exist in the exported XML file, then you could be using an old Skeleton created before Motive 1.10. and exporting old Skeleton will provide these sections in the XML.
Now that you have customized the XML file, it can be loaded each time when creating new Skeletons. In the under Skeleton creation options, select the corresponding Marker Set. Next, under the Constraints drop down menu select "Choose File..." to find and import the XML file. When you the Skeleton, the custom marker labels, marker colors, and marker sticks will be applied.
If you manually to a Skeleton, then you must import the constraint XML file after adding the extra markers or just modify the extra makers using the and .
Note: For Skeletons, modified Marker XML files can only be used with the same Marker Set template. In other words, if you exported a and modified the constraints XML file, same Baseline (41) Marker Set will typically need to be created in order to import the customized XML file.
Select all associated Rigid Body markers in the .
Assets pane: While the markers are selected in Motive, click on the add button in the .
Once the Rigid Body asset is created, the markers will be colored (labeled) and interconnected to each other. The newly created Rigid Body will be listed under the .
If the Rigid Bodies, or Skeletons, are created in the Edit mode, the corresponding Take needs to be . Only then, the Rigid Body markers will be labeled using the Rigid Body asset and positions and orientations will be computed for each frame. If the 3D data have not been labeled after edits on the recorded data, the asset may not be tracked.
This feature can be used only with HMDs that have the clips mounted.
HMDs with passive markers can utilize the tool to calibrate the pivot point.
First of all, make sure Motive is configured for tracking .
Open the Builder pane under and click Rigid Bodies.
Select the 8 active markers in the .
You can also define a measurement probe using the Builder pane. The measurement probe tool utilizes the precise tracking of OptiTrack mocap systems and allows you to measure 3D locations within a capture volume. For more information, please read through the .
Open the Builder pane under and click Rigid Bodies.
Bring the probe out into the tracking volume and create a from the markers.
Once the probe is calibrated successfully, a probe asset will be displayed over the Rigid Body in Motive, and live x/y/z position data will be displayed under the .
Select from the toolbar at the top, open the Builder pane.
In , select an existing Rigid Body asset that you wish to refine from the Assets pane.
You can also use the to quickly make modify the pivot point of a Rigid Body.
The OptiTrack Clip Tool basically recalibrates HMDs with OptiTrack HMD Clips to position its pivot point at an appropriate location. The steps are basically the same as when first creating the .
To create Skeletons in Motive, you need to select the Skeleton option from the type dropdown menu and access the Create tab at the top. Here, you select which to use, choose the calibration post, and create the Skeleton model.
Refer to the avatar and place the markers on the subject accordingly. For accurate placements, ask the subject to stand in the calibration pose while placing the markers. It is important that these markers get placed at the right spots on the subject's body for the best Skeleton tracking. Thus, extra attention is needed when placing the .
The magenta markers indicate the that can be placed at a slightly different position within the same segment.
Double-check the marker counts and their placements. It may be easier to use the in Motive to do this. The system should be tracking the attached markers at this point.
In the Builder pane, make sure the numbers under the Markers Needed and Markers Detected sections are matching. If the Skeleton markers are not automatically detected, manually select the Skeleton markers from the .
Select a desired set of marker labels under the Labels section. Here, you can just use the Default labels to assign labels that are defined by the Marker Set template. Or, you can also assign custom labels by loading previously prepared files in the label section.
Ask the subject to stand in the selected calibration pose. Here, standing in a proper calibration posture is important because the pose of the created Skeleton will be calibrated from it. For more details, read the section.
If you are creating a Skeleton in the post-processing of captured data, you will have to the Take to see the Skeleton modeled and tracked in Motive.
To recalibrate Skeletons, select all of the associated Skeleton markers from the perspective view along with the corresponding Skeleton model. Make sure the selected Skeleton is in a calibration pose, and click Recalibrate. You can also recalibrate from the context menu in the or in the .
You can add or remove from a Rigid Body or a Skeleton using the Builder pane. This is basically adding or removing markers to the existing Rigid Body and/or Skeleton definition. To do this, you will need to make sure the selection of Asset Model Markers is enabled in the Perspective viewport. Then, follow the below steps to add or remove markers:
: Informational
: Warning
: Error
Rotate view
Right + Drag
Pan view
Middle (wheel) click + drag
Zoom in/out
Mouse Wheel
Select in View
Left mouse click
Toggle Selection in View
CTRL + left mouse click
Camera Calibration Updated ( {#} mm/ray mean error)
Continuation calibration feature has updated and improve the camera calibration.
Plugin Device Created: {Name}
The plugin device object for an external device (e.g. force plate and NIDAQ) has been successfully created.
Plugin Device Registered: {Name}
The plugin device has been registered in Motive.
Loaded Plugin: {Directory}
Plugin DLL in the {Directory} has been loaded.
Streaming: Duplicate Frame
Notifying that a duplicate frame has been sent out through the data stream.
Streaming: Discontinuous Frame ID.
Notifying that the streamed frame ID was discontinuous.
Network client connect request received.
A NatNet client application has requested to connect to the server application, Motive.
Network client disconnect request received.
A NatNet client application has has requested to disconnect from the server application, Motive.
Network client validation request received.
A NatNet client application is requesting validation in order to connect to the server application, Motive.
Continuous Calibration: (Status)
Evaluating: Indicates that the continuous calibration feature is assessing the calibration quality.
Sampling: Indicates that the Continuous Calibration feature is sampling reconstructions for updating the calibration.
Refining: Indicates that the continuous calibration feature is refining and updating the calibration.
Calibration Validated. No refinement applied: this indicates that a refinement was deemed less quality than a previous sampling. Continuous Calibration was not updated.
Calibration partition updated
Indicates that the calibration have been automatically updated to that camera partition. Updated mean error value will also be reported.
Calibration: Need more samples from cameras x, y, z...
Indicates that a camera needs more marker samples. To remedy this, add more markers to the volume.
Calibration: Need more distributed samples from Cameras x, y, z...
Indicates that markers are not fully dispersed in a camera's view. To remedy this, add more markers spread more evenly that cover more of the camera's view.
CAM Camera #: Not Receiving Frame Data.
Indicates that the Camera (#) is not receiving frame data. This could be just because the cameras are still waiting to be initialized. If this status persists, it is like due to a hardware problem.
CAM Camera #: Packet Header CRC Fail
Error in the received camera data packet. Data packets from the cameras are invalid.
CAM Synchronization: Invalid Packet Received
Invalid packet was received. Indicates an encounter of networking error on the camera synchronization.
CAM Synchronization: Packet Header CRC Fail
Error in the received synchronization data packet. Indicates an encounter of networking error on the camera synchronization.
CAM Synchronization: Packet Length Fail
Received packet length invalid. Indicates an encounter of networking error on the camera synchronization.
2D: Camera Stalled
Cameras are stalled. Please check the cable connection and make sure appropriate cable type is used. You would also want to make sure the cables have electromagnetic interference shielding. When cables without the shielding are bundled close together, they can interfere with each other and cause the cameras to stall. Please note that flat Ethernet cables often do not have electromagnetic interference shielding.
CAM Camera #: Dropped Frame
The received frame was invalid and it was dropped. Cameras are not working correctly.
CAM Synchronization: Dropped Frame
Data synchronization failed and the frame has been dropped.
The Data pane is used for managing the Take files. This pane can be accessed under the View tab in Motive or by clicking the icon on the main toolbar.
Simple
Use the simplest data management layout.
Advanced
Additional column headers are added to the layout.
Classic
Use the classic Motive layout where Take name, availability of 2D data and 3D data is listed.
New...
Create a new customizable layout.
Rename
Rename a custom layout.
Delete
Delete a custom layout.
2D Mode
Import Shot List...
Import a list of empty Take names from a CSV file. This is helpful when you plan a list of shots in advance to the capture.
Export Take Info...
Exports a list of Take information into an XML file. Included elements are name of the session, name of the take, file directory, involved assets, notes, time range, duration, and number of frames included.
The left section of the Data pane is used to list out the sessions that are loaded in Motive. Session folders group multiple associated Take files in Motive, and they can be imported simply by dragging-and-dropping or importing a folder into the data management pane. When a session folder is loaded, all of the Take files within the folder are loaded all together.
What happened to the Project TTP Files?
The TTP project file format is deprecated starting from the 2.0 release. Now, recorded Takes will be managed by simply loading the session folders directly onto the new Data pane. For exporting and importing the software setting configurations, the Motive profile file format will replace the previous role of the TTP file. In the Motive profile, software configurations such as reconstruction settings, application settings, data streaming settings, and many other settings will be contained. Camera calibration will no longer be saved in TTP files, but they will be saved in the calibration file (CAL) only. TTP files can still be loaded in Motive 2.0. However, we suggest moving away from using TTP files.
Set the selected session as the current session.
Rename the session folder.
This creates a folder under the selected directory.
Opens the session folder from the file explorer
Delete the session folder. All of its contents will be deleted as well.
When a session folder is selected, associated Take files and their descriptions are listed in a table format on the right-hand side of the Data pane. For each Take, general descriptions and basic information are shown in the columns of the respective row. To view additional descriptions, click on the pane menu, select the Advanced option, and all of the descriptions will be listed. For each of the enabled columns, you can click on the arrow next to it to sort up/down the list of Takes depending on the category.
Best
Health
Progress
The progress indicator can be used to track the process of the Takes. Use the indicators to track down the workflow specific progress of theTakes.
Ready
Recorded
Reviewed
Labeled
Cleaned
Exported
Name
Shows the name of the Take.
2D
3D
Video
Solved
Audio
Analog
Data Recorded
Shows the time and the date when the Take was recorded.
Frame Rate
Shows the camera system frame rate which the Take was recorded in.
Duration
Time length of the Take.
Total Frames
Total number of captured frames in the Take.
Notes
Section for adding commenting on each Take.
Start Timecode
A search bar is located at the bottom of the Data pane, and you can search a selected session folder using any number of keywords and search filters. Motive will use the text in the input field to list out the matching Takes from the selected session folder. Unless otherwise specified, the search filter will scope to all of the columns.
Search for exact phrase
Wrap your search text in quotation marks.
e.g. Search "shooting a gun" for searching a file named Shooting a Gun.tak.
Search specific fields
To limit the search to specific columns, type field:, plus the name of a column enclosed with quotation marks, and then the value or term you're searching for.
Multiple fields and/or values may be specified in any order.
e.g. field:"name" Lizzy, field:"notes" Static capture.
Search for true/false values
To search specific binary states from the Take list, type the name of the field followed by a colon (:), and then enter either true ([t], [true], [yes], [y]) or false ([f], [false], [no], [n]).
e.g. Best:[true], Solved:[false], Video:[T], Analog:[yes]
The table layout can also be customized. To do so, go to the pane menu and select New or any of the previously customized layouts. Once you are in a customizable layout, right-click on the top header bar and add or remove categories from the table.
A list of take names can be imported from either a CSV file or carriage return texts that contain a take name on each line. Using this feature, you can plan, organize, and create a list of capture names ahead of actual recording. Once take names have been imported, a list of empty takes with the corresponding names will be listed for the selected session folder.
From Text
Take lists can be imported by copying a list of take names and pasting them onto the Data pane. Take names must be separated by carriage returns; in other words, each take name must be in a new line.
From a CSV File
Saves the selected take
Reverts any changes that were made. This does not work on the currently opened Take.
Selects the current take and loads it for playback or editing.
Allows the current take to be renamed.
Opens an explorer window to the current asset path. This can be helpful when backing up, transferring, or exporting data.
Separate reconstruction pipeline without the auto-labeling process. Reconstructs 3D data using the 2D data. Reconstruction is required to export Marker data.
Separate auto-labeling pipeline that labels markers using the existing tracking asset definitions. Available only when 3D data is reconstructed for the Take. Auto-label is required to export Markers labeled from Assets.
Combines 2D data from each camera in the system to create a usable 3D take. It also incorporates assets in the Take to auto-label and create rigid bodies and skeletons in the Take. Reconstruction is required to export Marker data and Auto-label is required when exporting Markers labeled from Assets.
Solves 6 DoF tracking data of skeletons and rigid bodies and bakes them into the TAK recording. When the assets are solved, Motive reads from recorded Solve instead of processing the tracking data in real-time. Solving is required prior to exporting Assets.
Performs all three reconstruct, auto-label, and solve pipelines in consecutive order. This basically recreates 3D data from recorded 2D camera data.
Opens the Export dialog window to select and initiate file export. Valid formats for export are CSV, C3D, FBX, BVH.
Reconstruction is required to export Marker data, Auto-label is required when exporting Markers labeled from Assets, and Solving is required prior to exporting Assets.
Please note that if you have Assets that are unsolved and just wish to export reconstructed Marker data, you can toggle off Rigid Bodies and Bones (Skeletons) from the Export window (see image below). For more information please see our Data Export page.
Opens the export dialog window to initiate scene video export to AVI.
Exports an audio file when selected Take contains audio data.
Opens the Delete 2D Data pop-up where you can select to delete the 2D data, Audio data, or reference video data. Read more in Deleting 2D data.
Permanently deletes the 3D data from the take. This option is useful in the event reconstruction or editing causes damage to the data.
Unlabels all existing marker labels in 3D data. If you wish to re-auto-label markers using modified asset definitions, you will need to first unlabel markers for respective assets.
Deletes 6 DoF tracking data that was solved for skeleton and rigid bodies. If Solved data doesn't exist, Motive instead calculates tracking of the objects from recorded 3D data in real-time.
Archives the original take file and creates a duplicate version. Recommended prior to completing any post-production work on the take file.
Opens a dialog box to confirm permanent deletion of the take and all associated 2D, 3D, and Joint Angle Data from the computer. This option cannot be undone.
Deletes all assets that were recorded in the take.
Copies the assets from the current capture to the selected Takes.
This page provides information on the Probe pane, which can be accessed under the Tools tab or by clicking on the icon from the toolbar.
This section highlights what's in the Probe pane. For detailed instructions on how to use the Probe pane to collect measurement samples, read through Measurement Probe Kit Guide.
The Probe Calibration feature under the Rigid Body edit options can be used to re-calibrate a pivot point of a measurement probe or a custom Rigid Body. This step is also completed as one of the calibration steps when first creating a measurement probe, but you can re-calibrate it under the Modify tab.
In Motive, select the Rigid Body or a measurement probe.
Bring out the probe into the tracking volume where all of its markers are well-tracked.
Place and fit the tip of the probe in one of the slots on the provided calibration block.
Click Start
Once it starts collecting the samples, slowly move the probe in a circular pattern while keeping the tip fitted in the slot; making a cone shape overall. Gently rotate the probe to collect additional samples.
When sufficient samples are collected, the mean error of the calibrated pivot point will be displayed.
Click Apply to use the calibrated definition or click Cancel to calibrate again.
The Digitized Points section is used for collecting sample coordinates using the probe. You can select which Rigid Body to use from the drop-down menu and set the number of frames used to collect the sample. Clicking on the Sample button will trigger Motive to collect a sample point and save it into the C:\Users\[Current User]\Documents\OptiTrack\measurements.csv file.
When needed, export the measurements of the accumulated digitized points into a separate CSV file, and/or clear the existing samples to start a new set of measurements
Shows the live X/Y/Z position of the calibrated probe tip.
Shows the live X/Y/Z position of the last sampled point.
Shows the distance between the last point and the live position of the probe tip.
Shows the distance between the last two collected samples.
Shows the angle between the last three collected samples
This page provides information on the Info pane, which can be accessed from the View tab or by clicking on the icon on the toolbar.
The Info pane can be used to check tracking in Motive. There are two different types of tools you can use from this pane: measurement tools and Rigid Body information. You can switch between different types from the context menu. The measurement tool allows you to use a calibration wand to check detected wand length and the error when compared to the expected wand length.
The Measurement Tool is used to check calibration quality and tracking accuracy of a given volume. There are two tools in this: the Wand Validation tool and the Marker Movement tool.
This tool works only with a fully calibrated capture volume and requires the calibration wand that was used during the process. It compares the length of the captured calibration wand to its known theoretical length and computes the percent error of the tracking volume. You can analyze the tracking accuracy from this.
In Live mode, open the Measurements pane under the Tools tab.
Access the Accuracy tools tab.
Under the Wand Measurement section, it will indicate the wand that was used for the volume calibration and its expected length (theoretical value) depending on the type of wand that was used during the system calibration.
Bring the calibration wand into the volume.
Once the wand is in the volume, detected wand length (observed value) and the calculated wand error will be displayed accordingly.
This tool calculates the measured displacement of a selected marker. You can use this tool to compare the calculated displacement in Motive against how much the marker has actually moved to check the tracking accuracy of the system.
Place a marker inside the capture volume.
Select the marker in Motive.
Under the Marker Measurement section, press Reset. This zeroes the position of the marker.
Slowly translate the marker, and the absolute displacement will be displayed in mm.
The Rigid Bodies tool under Info pane in Motive displays real-time tracking information of a Rigid Body selected in Motive. This lists out real-time tracking information for a selected Rigid Body in Motive. Reported data includes a total number of tracked Rigid Body markers, mean errors for each of them, and the 6 Degree of Freedom (position and orientation) tracking data for the Rigid Body.
Euler Angles
There are many potential combinations of Euler angles so it is important to understand the order in which rotations are applied, the handedness of the coordinate system, and the axis (positive or negative) that each rotation is applied about. The following conventions are used for representing Euler orientation in Motive:
Rotation order: XYZ
All coordinates are *right-handed*
Pitch is degrees about the X axis
Yaw is degrees about the Y axis
Roll is degrees about the Z axis
Position values are in millimeters
In Motive, the Labeling pane can be accessed under the View tab or by clicking icon on the main toolbar.
For more explanation on the labeling workflow, read through the Labeling workflow page.
Selection Mode
Options for switching between select mode and QuickLabel mode. Select mode is used for normal operations, and QuickLabel mode allows assigning each selected label with just one-click.
Increment Options
Options for selection increment behavior when labeling:
Do not increment: Selection stays the same after labeling
Go to next label: Selection advances to the next label on the list
Go to next unlabeled marker: Selection advances to the next unlabeled marker on the list.
Unlabeled Selected
Unlabels selected trajectories.
Label List Options
Splits the list of labels into two columns for organization purposes. Unlabeled trajectories will be sorted on the right column, and the selected marker set labels are sorted on the left column.
Link to 3D Selection
Show Range Settings
When enabled, shows the range settings to determine which frames of the recorded data the label will get applied to.
Assign labels to a selected marker for all, or selected, frames in a capture.
Applies labels to a marker within the frame range bounded by trajectory gaps and spikes (erratic change). The Max Spike value sets the threshold for spikes which will be used to set the labeling boundary. The Max Gap size determines the tolerable gap size in a fragment, and trajectory gaps larger than this value will set the labeling boundary. This setting is efficient when correcting labeling swaps.
This sets the tolerable gap sizes for both gap ends of the fragment labeling.
Sets the max allowable velocity of a marker (mm/frame) for it to be considered as a spike.
When using the Spike or Fragment range setting, the label will be applied until the marker trajectory is discontinued with a gap that is larger than the maximum gap defined above. When using the All or Selected range setting, the label will be applied to the entire trajectory or just the selected ranges.
Assigns the selected label onto a marker for current frame and frames forward.
Assigns selected label onto a marker for current frame and frames backward.
Assigns selected label onto the marker for current frame, frames forward, and frames backward.
The Graph View pane is used to visualize the tracking data in Motive. This pane can be accessed from the command bar (View tab > Graph) or simply by clicking on the icon. This page provides instructions and tips on how to efficiently utilize the Graph View pane in Motive.
Using the Graph View pane, you can visualize and monitor multiple data channels including 3D positions of reconstructed markers, 6 Degrees of Freedom (6 DoF) data of trackable assets, and signals from integrated external devices (e.g. force plates or NI-DAQ). Graph View pane offers a variety of graph layouts for the most effective data visualization. In addition to the basic layouts (channel, combined, gapped), custom layouts can also be created for monitoring specific data channels only. Up to 9 graphs can be plotted in each layout and up to two panes can be opened simultaneously in Motive.
Graphs can be plotted in both Live and Edit mode.
In Live Mode, the following data can be plotted in real-time:
Rigid body 6 DoF data (Position and Orientation)
Force Plate Data (Force and Moment)
Analog Data
In Edit Mode, the graphs can be used to review and post-process the captured data:
3D Positions of reconstructed markers
Rigid body 6 DoF data (Position and Orientation)
Force Plate Data (Force and Moment)
Analog Data
Graph Editor
This opens up the sidebar for customizing a selected graph within a layout.
Autoscale Graph
Toggle to autoscale X/Y/Z graphs.
Zoom Fit
(selected range)
Zooms into selected frame region and centers the timeline accordingly.
Lock Cursor Centered
Locks the timeline scrubber at the center of the view range.
Delete Selected Keys
Delete selected frame region.
Move Selected Keys
Translates trajectories in selected frame region. Select a range and drag up and down on a trajectory.
Draw Keys
Manual draw trajectory by clicking and dragging on a selected trajectory in the Editor.
Merge Keys Up
Merge Keys Down
Lock Selection
Locks the current selection (marker, Rigid Body, Skeleton, force plates, or NI-DAQ) onto all graphs on the layout. This is used to temporarily hold the selections. Locked selections can later be fixed by taking a snapshot of the layout. This is elaborated more in the later section.
Creates a new graph layout.
Deletes the current graph layout.
Saves the changes to the graph layout XML file.
Takes an XML snapshot of the current graph layout. Once a layout has been particularized, both the layout configuration and the item selection will be fixed and it can be exported and imported onto different sessions.
Opens the layout XML file of the current graph layout for editing.
Opens the file location of where the XML files for the graph layouts are stored.
Alt + left-click on the graph and drag the mouse left and right to navigate through the recorded frames. You can do the same with the mouse scroll as well.
Scroll-click and drag to pan the view vertically and horizontally throughout plotted graphs. Dragging the cursor left and right will pan the view along the horizontal axis for all of the graphs. When navigating vertically, scroll-click on a graph and drag up and down to pan vertically for the specific graph.
Other Ways to Zoom:
Press "Shift + F" to zoom out to the entire frame range.
Zoom into a frame range by Alt + right-clicking on the graph and selecting the specific frame range to zoom into.
When a frame range is selected, press "F" to quickly zoom onto the selected range in the timeline.
The frame range selection is used when making post-processing edits on specific ranges of the recorded frames. Select a specific range by left-clicking and dragging the mouse left and right, and the selected frame ranges will be highlighted in yellow. You can also select more than one frame ranges by shift-selecting multiple ranges.
Left-click and drag on the nav bar to scrub through the recorded frames. You can do the same with the mouse scroll as well.
Scroll-click and drag to pan the view range range.
Zoom into a frame range by re-sizing the scope range using the navigation bar handles. You can also easily do this by Alt + right-clicking on the graph and selecting a specific range to zoom into.
The working range (also called the playback range) is both the view range and the playback range of a corresponding Take in Edit mode. Only within the working frame range will recorded tracking data be played back and shown on the graphs. This range can also be used to output a specific frame range when exporting tracking data from Motive.
The working range can be set from different places:
In the navigation bar of the Graph View pane, you can drag the handles on the scrubber to set the working range.
You can also use the navigation controls on the Graph View pane to zoom in or zoom out on the frame ranges to set the working range.
Start and end frames of a working range can also be set from the Control Deck when in the Edit mode.
The selection range is used to apply post-processing edits only onto a specific frame range of a Take. Selected frame range will be highlighted in yellow on both the Graph View pane as well as the Timeline pane.
Gap indication
When playing back a recorded capture, the red colors on the navigation bar indicate the number of occlusions from labeled markers. Brighter red means that there are more markers with labeling gaps.
Left-click and drag on the graph to select a specific frame range. Frame range selection can be utilized for the following workflows:
Tracking Data Export: Exporting tracking data for selected frame ranges.
Reconstruction: Performing the post-processing reconstruction (Reconstructing / Reconstruct and Auto-labeling) pipeline on selected frame ranges.
Labeling: Assigning marker labels, modifying marker labels, or running the auto-label pipeline on selected ranges only.
Post-processing data editing: Applying the editing tools on selected frame ranges only. Read more: Data Editing
Data Deleting: Deleting 3D data or marker labels on selected ranges.
The layouts feature in the Graphs View pane allows users to organize and format graph(s) to their preference. The graph layout is selected under the drop-down menu located at the top right corner of the Graph View pane.
In addition to default graph layouts (channels view, combined view, and tracks view) which have been migrated from the previous versions of Motive, custom layouts can also be created. With custom layouts, users can specify which data channels to plot on each graph, and up to 9 graphs can be configured on each layout. Furthermore, asset selections can be locked to labeled markers or assets.
Layouts under the System Layouts category are the same graphs that existed in the old timeline editor.
The Channel View provides X/Y/Z curves for each selected marker, providing verbose motion data that highlights gaps, spikes, or other types of noise in the data.
The Combined View provides X/Y/Z curves for each selected markers at same plot. This mode is useful for monitoring positions changes without having to translate or rescale the y-axis of the graph.
Graph layout customization is further explained on the later section: Customizing Layout.
Right-click on the graph, go to the Grid Layout, and choose the number of rows and columns that you wish to put in the grid. (max 9 x 9)
Click on a graph from the grid. The graph will be highlighted in yellow. Within the grid, only the selected graph will be edited when making changes using the Graph Editor.
Next, you need to pick data channels that you wish to plot. You can do this by checking the desired channels under the data tab while a graph is selected. Only the checked channels will be plotted on the selected graph. Here, you can also specify which color to use when plotting corresponding data channels.
Then under the Visual tab, format the style of the graph. You can configure the graph axis, assign name for the graph, display values, and etc. Most importantly, configure the View Style to match desired graph format.
When plotting live tracking data in the Live Mode, set the View Style to Live. Frame range of the Live mode graphs can be adjusted by changing the scope duration under application settings.
Repeat the above steps 5 ~ 6 and configure each of the graphs in the layout.
Select an asset (marker, Rigid Body, Skeleton, force plate, or NI-DAQ channel) that you wish to monitor.
Once all related graphs are locked, move on to next selection and lock the corresponding graph.
When you have the layout configured with the locked selections you can save the configurations as well as the implicit selections temporarily to the layout. Until the layout is particularized onto the explicit selections, you will need to select the related items in Motive to plot the respective graphs.
It is important to particularize the customized layout once all of the graphs are configured. This action will save and explicitly fix the locked selections that the graphs are locked onto. Once the layouts have been particularized, you can re-open the same layout on different sessions and plot the data channels from the same subject without locking the selection again. Specifically, the particularized layout will try to look for items (labeled marker, Rigid Body, Skeleton, force plate, or analog channels) with the same names that the layout is particularized to.
Only enabled, or checked, data channels will be plotted on the selected graph using the specified color. Once channels are enabled, an asset (marker, Rigid Body, Skeleton, force plate, or DAQ channel) must be selected and locked.
Plot 3D position (X/Y/Z) data of selected, or locked, marker(s) onto the selected graph.
Plot pivot point position (X/Y/Z), rotation (pitch/yaw/roll), or mean error values of selected, or locked, Rigid Body asset(s) onto the selected graph.
Plot analog data of selected analog channel(s) from a data acquisition (NI-DAQ) device onto the selected graph.
Plot force and moment (X/Y/Z) of selected force plate(s). Plotted graph respects coordinate system of the force platforms (z-up).
Using the black color (0,0,0) for the plots will set the graph color to the color of the Rigid Body asset shown in the 3D viewport, which is set under the Rigid Body properties.
Labels the selected graph.
Configures the style of the selected graph:
Channel: Plots selected channels onto the graph.
Combined: Plots X/Y/Z curves for each selected markers fixed on the same plot.
Gap: The Tracks View style allows you to easily monitor the occluded gaps on selected markers.
Live: The Live mode is used for plotting the live data.
Enables/disables range handles that are located at the bottom of the frame selection.
Sets the height of the selected row in the layout. The height will be determined by a ratio to a sum of all stretch values: (row stretch value for the selected row)/(sum of row stretch values from all rows) * (size of the pane).
Sets the width of the selected column in the layout. The width size will be determined by a ratio to a sum of all values: (column stretch value for the selected column)/(sum of column stretch values from all columns) * (size of the pane).
Display current frame values for each data set.
Display name of each plotted data set.
Plots data from the primary selection only. The primary selection is the last item selected from Motive.
Shows/hides x grid-lines.
Shows/hides y grid-lines.
Sets the size of the major grid lines, or tick marks, on the y-axis values.
Sets the size of the minor grid lines, or tick marks, on the y-axis values.
Sets the minimum value for the y-axis on the graph.
Sets the maximum value for the y-axis on the graph.
When a camera, or a camera group, is selected from the Devices pane, related camera settings will be displayed in the Properties pane. From the Properties pane, you can configure the camera settings so that it is optimized for your capture application. You can enable/disable IR LEDs, change exposure length of the cameras, set the video mode, apply gain to the capture frames, and more. This page lists out properties of the cameras and what they are used for.
Advanced Settings
The Properties: Camera contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Enables/disables selected cameras. When cameras are disabled, they don't record any data nor contribute to the reconstruction of 3d data.
Shows the frame rate of the camera. The camera frame rate can only be changed within the devices pane.
This setting determines whether or not selected cameras contribute to the real-time reconstruction.
Shows the rate multiplier or divider applied to the master frame rate. The master frame rate depends on the sync configuration.
Sets the amount of time that the camera exposes per frame. The minimum and maximum values will depend on both the type of camera and the frame rate. Higher exposure will allow more light in, creating a brighter image that can increase visibility for small and dim markers. However, setting exposure too high can introduce false markers, larger marker blooms, and marker blurring--all of which can negatively impact marker data quality. Exposure value is measured in scanlines for tracking bars and Flex3 series cameras, and in microseconds for Flex13, S250e, Slim13E, and Prime Series cameras.
Defines the minimum brightness for a pixel to be seen by a camera, with all pixels below the threshold being ignored. Increasing the threshold can help filter interference by non-markers (e.g. reflections and external light sources), while lowering the threshold can allow dimmer markers to be seen by the system (e.g. smaller markers at longer distances from the camera).
[Advanced] When calibrating multi-room spaces, you can partition select cameras to allow for Continuous Calibration to collect samples from each room and calibrate even when there is no camera overlap between spaces. This creates the ability to have several capture volumes tied to a single system while maintaining continuously calibrated cameras for each space.
This setting enables or disables the IR LED ring on selected cameras. For tracking passive retro-reflective markers, this setting must be set to true to illuminate the IR LED rings for tracking. If the IR illumination is too bright for the capture, you can decrease the camera exposure setting to decrease the amount of light received by the imager; dimming the overall captured frames.
Sets the video type of the selected camera.
Sets the camera to view either visible or IR spectrum on cameras equipped with a Filter Switcher. When enabled, the camera captures in IR spectrum, and when disabled, the camera captures in visible spectrum.Infrared Spectrum should be selected when the camera is being used for marker tracking applications. Visible Spectrum can optionally be selected for full frame video applications, where external, visible spectrum lighting will be used to illuminate the environment instead of the camera’s IR LEDs. Common applications include reference video and external calibration methods that use images projected in the visible spectrum.
Sets the imager gain level for the selected cameras. Gain settings can be adjusted to amplify or diminish the brightness of the image. This setting can be beneficial when tracking at long ranges. However, note that increasing the gain level will also increase the noise in the image data and may introduce false reconstructions. Thus, before deciding to change the gain level, adjust the camera settings first to optimize the image clarity.
[Advanced] This property indicates whether the selected camera has been calibrated or not. This is just an indication of whether the camera has been processed through the calibration wanding, but it does not validate the quality of the camera calibration.
Basic information about the selected camera gets listed in the Details section
Displays the camera number assigned by Motive.
Displays the model of a selected camera.
Displays the serial nubmer of a selected camera.
Displays focal length of the lens on the selected camera.
When this is enabled, the estimated field of view (FOV) of the selected camera will be shown in the perspective viewport.
Show of hide frame delivery information from the selected camera. The frame delivery information is used for diagnosing how fast each camera is delivering its frame packets. When enabled, the frame delivery information will be shown in the camera views.
Show or hide the guide reticle when using the Aim Assist button for aiming the cameras.
Prime color cameras also have the following properties that can be configured:
Default: 1920, 1080
This property sets the resolution of the images that are captured by selected cameras. Since the amount of data increases with higher resolution, depending on which resolution is selected, the maximum allowable frame rate will vary. Below is the maximum allowed frame rates for each respective resolution setting.
960 x 540 (540p)
500 FPS
1280 x 720 (720p)
360 FPS
1920 x 1080 (1080p)
250 FPS
Default: Constant Bit Rate.
This property determines how much the captured images will be compressed. The Constant Bit-Rate mode is used by default and recommended because it is easier to control the data transfer rate and efficiently utilize the available network bandwidth.
Constant Bit-Rate
In the Constant Bit-Rate mode, Prime Color cameras vary the degree of image compression to match the data transmission rate given under the Bit Rate settings. At a higher bit-rate setting, the captured image will be compressed less. At a lower bit-rate setting, the captured image will be compressed more to meet the given data transfer rate, but compression artifacts may be introduced if it is set too low.
Variable Bit-Rate
Variable Bit-Rate setting is also available for keeping the amount of the compression constant and allowing the data transfer rate to vary. This mode can be beneficial when capturing images with objects that have detailed textures because it keeps the amount of compression same on all frames. However, this may introduce dropped frames whenever the camera tries to compress highly detailed images because it will increase the data transfer rate; which may overflow the network bandwidth as a result. For this reason, we recommend using the Constant Bit-Rate setting in most applications.
Default: 50
Available only while using Constant Bit-rate Mode
Bit-rate setting determines the transmission rate outputted from the selected color camera. The value given under this setting is measured in percentage (100%) of the maximum data transmission speed, and each color camera can output up to ~100 MBps. In other words, the configured value will indirectly represent the transmission rate in Megabytes per second (MBps). At bit-rate setting of 100, the camera will capture the best quality image, however, it could overload the network if there is not enough bandwidth to handle the transmitted data.
Since the bit-rate controls the amount of data outputted from each color camera, this is one of the most important settings when properly configuring the system. If your system is experiencing 2D frame drops, it means one of the system requirements is not met; either network bandwidth, CPU processing, or RAM/disk memory. In such cases, you could decrease the bit-rate setting and reduce the amount of data output from the color cameras.
Image Quality
The image quality will increase at a higher bit-rate setting because it records a larger amount of data, but this will result in large file sizes and possible frame drops due to data bandwidth bottleneck. Often, the desired result is different depending on the capture application and what it is used for. The below graph illustrates how the image quality varies depending on the camera framerate and bit-rate settings.
Tip: Monitoring data output from each camera
Default : 24
Gamma correction is a non-linear amplification of the output image. The gamma setting will adjust the brightness of dark pixels, mid-tone pixels, and bright pixels differently, affecting both brightness and contrast of the image. Depending on the capture environment, especially with a dark background, you may need to adjust the gamma setting to get best quality images.
When a force plate is selected in Motive, its device information gets listed under the Properties pane. For configuring force plate properties, use the Devices pane and modify the corresponding device properties.
For more information, read through the force plate setup pages:
Advanced Settings
The Properties: Force Plates contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Force Plate Group Properties:
Group policy is enforced for the force plates that are from the same vendors. This means most of the force plate properties are shared within the force plate groups. Shared settings include the enabled status, sampling rates, and sync modes. These settings should be configured the same for all force plates in most cases. If you need to disable a specific force plate among the group, this will need to be done by powering off the amplifier or disabling the device from the Windows Device Manager.
Enables or disables selected force plate. Only enabled force plates will be shown in Motive and be used for data collection.
Select whether the force plate is synchronized through a recording trigger. This must be set to Device when force plates are synchronized through recording trigger signal from the eSync. This must be set to None when synchronizing through a clock signal.
When set to true, the force plate system synchronizes by reference to an external clock signal. This must be enabled for the reference clock sync. When two systems syncs using the recording trigger, this must be turned off.
Indicates the output port on the eSync that is used for synchronizing the selected force plate. This must match the output port on the eSync that is connected to the force plate amplifier and sending out the synchronization signal.
Multiplier applied to the camera system frame rate. This is available only for triggered sync and can also be configured from the Devices pane. The resulting rate decides the sampling rate of the force plates.
Resulting data acquisition rate of the force plates. For reference clock sync setups, it will match the frequency of the clock signal. For triggered sync setups, this will match the multiple of the camera system frame rate.
Assigned number of the force plates.
Name of the Motive asset associated with the selected device. For Manus Glove integration, this must match the name of the Skeleton.
Name of the selected force plate.
Model number of the force plate
Force plate serial number.
Number of active channels available in the selected device. For force plates, this defaults to 6 with channels responsible for measuring 3-dimensional force and moment data.
Indicates the state that the force plate is in. If the force plate is streaming the data, it will be indicated Receiving Data. If the force plate is on standby for data collection, it will be indicated Ready.
Size scale of the resultant force vector shown in the 3D viewport.
Length of the force plate.
Width of the force plate.
Manufacturer defined electrical-to-mechanical offset values.
Lists out positions of the four force plate corners. Positions are measured with respect to the global coordinate system, and this is calibrated when you Set Position using the CS-400 calibration square.
The Properties pane can be accessed by clicking on the icon on the toolbar.
The Properties pane lists out the settings configured for selected objects. In Motive, each type of asset has a list of associated properties, and you can access and modify them using the Properties pane. These properties determine how the display and tracking of the corresponding items are done in Motive. This page will go over all of the properties, for each type of asset, that can be viewed or configured in Motive.
Properties will be listed for recorded Takes, Rigid Body assets, Skeleton assets, force plate device, and NI-DAQ device. Detailed descriptions on each corresponding properties are documented on the following pages:
Selected Items
The Properties pane contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Important Note
Please note that the OptiHub2 is not designed for precise synchronization with external devices. It is used to provide only a rough synchronization to a trigger event on the input/output signal. Using an OptiHub2, there will be some amount of time delay between the trigger events and the desired actions, and for this reason, the OptiHub2 is not suitable for the precisely synchronizing to an external device. To accomplish such synchronization, it is recommended to use the eSync 2 instead along with an Ethernet camera system.
By modifying the device properties of the OptiHub, users can customize the sync configurations of the camera system for implementing external devices in various sync chain setups. This page directly lists out the properties of the OptiHub. For general instructions on customizing sync settings for integrating external devices, it is recommended to read through the External Device Sync Guide: OptiHub 2 guide.
While the OptiHub is selected under the Devices pane, use the Properties pane to view and configure its properties. By doing so, users can set the parent sync source for the camera system, configure how the system reacts to input signals, and also which signals to output from the OptiHub for triggering other external acquisition devices.
This option is only valid if the Sync Input: Source is set to Internal Sync. Controls the frequency in Hertz (Hz) of the OptiHub 2's internal sync generator. Valid frequency range is 8 to 120 Hz.
This option is only valid if the Sync Input: Source is set to Sync In or USB Sync_. Controls synchronization delay in microseconds (us) between the chosen sync source signal and when the cameras are actually told to expose. This is a global system delay that is independent of, and in addition to, an individual camera's exposure delay setting. Valid range is 0 to 65862 us, and should not exceed one frame period of the external signal._
To setup the sync input signals, first define a input Source and configure desired trigger settings for the source:
Internal/Wired sets the OptiHub 2 as the sync source. This is the default sync configuration which uses the OptiSync protocol for synchronizing the cameras. The Parent OptiHub 2 will generate an internal sync signal which will be propagated to other (child) OptiHub 2(s) via the Hub Sync Out Jack and Hub Sync In Jack. For V100:R1(legacy) and the Slim 3U cameras, Wired Sync protocol is used. In this mode, the internal sync signal will still be generated but it will be routed directly to the cameras via daisy-chained sync cables.
Sync In sets an external device as the sync source.
USB Sync sets an external USB device as the sync source. This mode is for customers who use the Camera SDK development kits and would like to have their software trigger the cameras instead. Using the provided API, the OptiHub 2 will be send the trigger signal from the PC via the OptiHib 2's USB uplink connection to the PC.
The Internal/Wired input source uses the OptiHub 2's internal synchronization generator as the main sync source. You can modify the synchronization frequency for both Wired and OptiSync protocol under the Synchronization Control section. When you adjust the system frame rate from this panel, the modified frame rate may not be reflected on the Devices pane. Check the streaming section of the status bar for the exact information.
This option is only valid if the Sync Input: Source is set to Internal Sync. Controls the frequency in Hertz (Hz) of the OptiHub 2's internal sync generator, and the this frequency will control the camera system frame rate. Valid frequency range is 8 to 120 Hz.
The Sync In input source setting uses signals coming into the input ports of the OptiHub 2 to trigger the synchronization. Please refer to External Device Sync Guide: OptiHub 2 page for more instructions on this.
Detects and displays the frequency of the sync signal that's coming through the input port of the parent OptiHub 2, which is at the very top of the RCA sync chain. When sync source is set to Sync In, the camera system framerate will be synchronized to this input signal. Please note that OptiHub 2 is not designed for precise sync, so there may be slight sync discrepancies when synchronizing through OptiHub 2.
Manually adds global sync time offset to how camera system reacts to the received input signal. The input unit is measured in microseconds.
Can select from Either Edge, Rising Edge, Falling Edge, Low Gated, or High Gated signal from the connected input source.
Allows a triggering rate compatible with the camera frame rate to be derived from higher frequency input signals (e.g. 300Hz decimated down to 100Hz for use with a V100:R2 camera). Valid range is 1 (no decimation) to 15 (every 15th trigger signal generates a frame).
(The camera system will be the child) sets an external USB device as the sync source. This mode is for customers who use the Camera SDK development kits and would like to have their software trigger the cameras instead. Using the provided API, the OptiHub 2 will be send the trigger signal from the PC via the OptiHib 2's USB uplink connection to the PC.
Detects and displays the frequency of the parent source.
Allows the user to allow or block trigger events generated by the internal sync control. This option has been deprecated for use in the GUI. Valid options are Gate-Open and Gate-Closed.
Allows a triggering rate compatible with the camera frame rate to be derived from higher frequency input signals (e.g. 360Hz decimated down to 120Hz for use with a Flex 13 camera). Valid range is 1 (no decimation) to 15 (every 15th trigger signal generates a frame).}}
Either Edge
Uses either the rising or falling edge of the pulse signal.
Rising Edge
Uses the rising edge of the pulse signal.
Falling Edge
Uses the falling edge of the pulse signal.
High Gated
High Gated mode triggers when the input signal is at a high voltage level, but stops triggering at a low voltage level.
Low Gated
Low Gated mode triggers when the input signal is at a low voltage level, but stops triggering at a high voltage level.
Sync signals can also be sent out through the output ports of the OptiHub 2 to child devices in the synchronization chain. Read more: External Device Sync Guide: OptiHub 2.
Selects condition and timing for a pulse to be sent out over the External Sync Out jack. Available Types are: Exposure Time, Pass-Through, Recording Level, and Recording Pulse.
Exposure Time
Outputs a pulse signal when the cameras expose.
Pass-Through
Passes the input signal to the output.
Recording Gate
Outputs a constant high level signal while recording. Other times the signal is low. (Referred as Recording Level in older versions).
Gated Exposure Time
Outputs a pulse signal when the cameras expose during a recording only. (Referred as Recording Pulse in older versions).
Polarity
Selects output polarity of External Sync Out signal. Valid options are: Normal and Inverted. Normal signals are low and pulse high and inverted signals are high and pulse low.
When an NI-DAQ device is selected in Motive, its device information gets listed under the Properties pane. Just basic information on the used device will be shown in the Properties pane. For configuring properties of the device, use the Devices pane.
For more information, read through the NI-DAQ setup page: NI-DAQ Setup.
Advanced Settings
The Properties: NI-DAQ contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Only enabled NI-DAQ devics will be actively measuring analog signals.
This setting determines how the recording of the selected NI-DAQ device will be triggered. This must be set to None for reference clock sync and to Device for recording trigger sync.
None: NI-DAQ recording is triggered when Motive starts capturing data. This is used when using the reference clock signal for synchronization.
Device: NI-DAQ recording is triggered when a recording trigger signal to indicate the record start frame is received through the connected input terminal.
(available only when Trigger Sync is set to Device) Name of the NI-DAQ analog I/O terminal where the recording trigger signal is inputted to.
This setting sets whether an external clock signal is used as the sync reference. For precise synchronization using the internal clock signal sync, set this to true.
True: Setting this to true will configure the selected NI-DAQ device to synchronize with an inputted external sample clock signal. The NI-DAQ must be connected to an external clock output of the eSync on one of its digital input terminals. The acquisition rate will be disabled since the rate is configured to be controlled by the external clock signal.
False: NI-DAQ board will collect samples in 'Free Run' mode at the assigned Acquisition Rate.
(available only when Reference Clock Sync is set to True) Name of the NI-DAQ digital I/O terminal that the external clock (TTL) signal is inputted to.
Set this to the output port of the eSync where it sends out the internal clock signal to the NI-DAQ.
Shows the acquisition rate of the selected NI-DAQ device(s).
Depending on the model, NI-DAQ devices may have different sets of allowable input types and voltage ranges for their analog channels. Refer to your NI-DAQ device User's Guide for detailed information about supported signal types and voltage ranges.
(Default: -10 volts) Configure the terminal's minimum voltage range.
(Default: +10 volts) Configure the terminal's maximum voltage range.
Configures the measurement mode of the selected terminal. In general, analog input channels with screw terminals use the single-ended measurement system (RSE), and analog input channels with BNC terminals use the differential (Diff) measurement system. For more information on these terminal types, refer to NI documentation.
Terminal: RSE Referenced single ended. Measurement with respect to ground (e.g. AI_GND) (Default)
Terminal: NRSE NonReferenced single ended. Measurement with respect to single analog input (e.g. AISENSE)
Terminal: Diff Differential. Measurement between two inputs (e.g. AI0+, AI0-)
Terminal: PseudoDiff Differential. Measurement between two inputs and impeded common ground.
[Advanced] Name of the selected device.
Device model ID, if available.
Device serial number of the selected NI-DAQ assigned by the manufacturer.
Type of device.
Total number of available channels on the selected NI-DAQ device.
_[Advanced]_What mode of Motive playback being used.
Whether the device is ready or not.
Tristate status of either Need Sync, Ready for Sync, or Synced. Updates the "State" icon in the Devices pane.
[Advanced] Internal device number.
User editable name of the device.
This page lists out the options that are available on the toolbar and the command bar of Motive.
Open File
Open Motive files: Project (TTP), Calibration (CAL), Takes (TAK), Rigid bodies (TRA), Skeletons (SKL).
Save Current Take
Save currently opened Take.
Save All Takes
Opens Application Setting pane for software preferences. Reconstruction settings will also be modified in this pane.
Hide all panes
Closes all the panes in the layout, leaving only the main viewport.
Opens the Devices (Cameras) Pane.
Opens Calibration Pane.
Opens the Marker Sets pane for creating and configuring constraints for markers labels associated each assets.
Opens Edit Tools for post-processing pipelines.
Opens the Labeling pane for labeling the markers.
Opens the Status Log for monitoring the activity.
Adds extra Viewports.
Prompts user to select a file to open. Applicable files include Take files (.tak), Camera Calibration files (.cal), Motive user profile (.motive), Rigid Body definitions (.tra deprecated), Skeleton defintions (.skl deprecated).
Imports a session folder into Motive. All of the TAK files within the session folder will be loaded in the Data pane.
Import a list of Take names to record from a CSV file that contains Take names on each row. This allows users to plan which motions to capture ahead of the time (See: Data Recording page). Import CSV can also be used to load a Rigid Body that has been exported to CSV format from the Assets pane.
Shows a list of Motive compatible files that were recently loaded into Motive.
Saves currently opened Take.
Prompts the user to select a filename and a directory to save the current Take.
Save all Takes from all of the sessions loaded in the Data pane.
Exports tracking data from a selected Take into the desired output format. See: Data Export.
Exports reference video to an AVI file. To play this file in Windows Media Player, a codec needs to be installed.
Exports audio to into a WAV file. See: Audio Recording in Motive.
Exports the current system calibration file(.cal) to a desired location.
Exports the current software configurations into an application profile (MOTIVE).
Profile (MOTIVE) files: MOTIVE profile stores software configurations. Software setting such as applications settings, streaming setting, trackable assets, synchronization configurations, and/or device configurations can be saved into this file. This file can be exported and imported to configurations in Motive.
Export just the assets (Rigid Bodies, Skeletons, Marker Sets) to a MOTIVE file.
Exports the devices currently connected to Motive into a CSV file (ie. Cameras and their serial numbers).
Manually update the current software configurations onto the default system profile. Which loads up at first when launching Motive and located under C:\ProgramData\OptiTrack\MotiveProfile.motive.
Closes the Motive application.
Reverts data processing actions (i.e. deleting data, merging markers, filling gaps).
Reverts an Undo.
Archives the original take file and crops out the working range selected in the Graph View pane. For more information, read through the Trimming Captured Takes.
Opens the Application Settings pane.
Sets all application settings to the default setting.
This closes all of Motive's panes except the main viewport.
Opens the Devices pane for controlling cameras and other devices in the system
Opens the Calibration for calibrating the camera system.
Opens the Data pane for managing the recorded captures.
Opens the Assets pane for managing the list of tracked assets as well as integrated devices such as force plates and data acquisition devices.
Opens the Properties pane for managing the properties of selected items in Motive.
Opens the Info pane for monitoring real-time tracking data of a Rigid Body.
Opens the Builder pane for creating trackable models or assets. Specifically, this pane is used for creating Rigid Body models and Skeleton models in Motive.
Opens the Constraints pane for managing selected Marker Sets assets.
Opens the Edit Tools pane. For post-processing recorded marker data.
Opens the Labels pane. For monitoring, assigning, and/or modifying marker labels.
Opens Graph View pane for monitoring the channel data.
Opens an additional Viewport for additional viewports for monitoring 3D tracking and camera views.
Opens the Data Streaming pane. See: Data Streaming
Opens the Log pane for status messages.
Opens the Probe pane for using the Measurement Probe.
Toggles display of the Toolbar on/off.
Note: Layouts created versions prior to 2.0 are not compatible. Please re-create and update the layouts for use.
Displays panes applicable to system calibration. (Cameras, Perspective View, Camera Preview, Camera Calibration, Reconstruction)
Displays panes applicable to asset creation and modification. (Project, Perspective View, Timeline, Skeleton, Rigid Bodies)
Displays panes applicable to capturing a take. (Project, Perspective View, Timeline)
Displays panes applicable to editing a take. (Project, Perspective View, Timeline, Edit Tools).
Saves the current layout. Saved custom layouts can be accessed from the drop-down menu located at the top-right corner of Motive.
Deletes the saved custom layout.
Updates the selected custom layout from the drop-down menu located at the top-right corner of Motive.
Sets the current layout as a default layout setup for starting Motive.
List of custom layouts that are created by the user. In the screenshot, Label Fix and Skeleton Label layouts are added as an example
Opens the OptiTrack support site.
Opens the OptiTrack community forum
Links you to our Quick Start Guide.
Links you to the online documentation.
Links you to our Quick Start Guide.
Opens NaturalPoint's news feed.
This is a toggle for receiving notifications for Motive updates.
Opens the folder location of your license files.
Displays information about the version of Motive currently running.
Skeleton properties determine how Skeleton assets are tracked and displayed in Motive.
To view related properties, select a Skeleton asset in the Assets pane or in the 3D viewport, and the corresponding properties will be listed under the Properties pane. These properties can be modified both in Live and Edit mode. Default creation properties are listed under the Application Settings.
Advanced Settings
The Properties: Skeleton contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Shows the name of selected Skeleton asset.
Enables/disables both tracking of the selecting Skeleton and its visibility under the perspective viewport.
The minimum number of markers that must be tracked and labeled in order for a Rigid Body asset, or each Skeleton bone, to be booted or first tracked.
The minimum number of markers that must be tracked and labeled in order for a Rigid Body asset, or each Skeleton bone, to continue to be tracked after the initial boot.
[Advanced] Euler angle rotation order used for calculating the bone hierarchy.
Selects whether or not to display the Skeleton name in the 3D Perspective View.
Selects how the Skeleton will be shown in the 3D perspective view.
Segment: Displays Skeleton as individual Skeleton segments.
Avatar (male): Displays Skeleton as a male avatar.
Avatar (female): Displays Skeleton as a female avatar.
Sets the color of the Skeleton.
This feature is supported in Live mode and 2D mode only. When enabled, the color of the Skeleton segments will change whenever there are tracking errors.
Show or hide Skeleton bones.
[Advanced] Displays orientation axes of each segments in the Skeleton.
[Advanced] Shows the Asset Model Markers as transparent spheres on each Skeleton segment. The asset mode markers are the expected marker locations according to the Skeleton solve.
[Advanced] Draws lines between labeled Rigid Body or Skeleton markers and corresponding expected marker locations. This helps to visualize the offset distance between actual marker locations and the asset model markers.
[Advanced] Displays lines between each Skeleton markers and their associated Skeleton segments.
Applied double-exponential smoothing to translation and rotation of a Rigid Body or a skeletal bone. Disabled at 0.
Compensate for system latency by predicting bone movements into the future. For this feature to work best, smoothing needs to be applied as well. Disabled at 0.
[Advanced] When needed, you can damp down translational and/or rotational tracking of a Rigid Body or a Skeleton bone on selected axis.
When a Take is selected from the Data pane, related information will be displayed in the Properties pane.
From the Properties pane, you can get the general information about the Take, including the total number of recorded frames, capture data/time, and the list of assets involved in the recording. Also, when needed, the solver settings that were used in the recorded TAK can be modified, and these changes will be applied when performing post-processing reconstruction.
Take name
The camera frame rate in which the take was captured. The Take file will contain the corresponding number of frames for each second.
The frame ID of the first frame saved on the Take.
The frame ID of the last frame saved on the Take.
A timestamp of when the recording was first captured started.
A timestamp of when the recording was ended.
Names of assets that are included in the Take
Comments regarding the take can be noted here for additional information.
Marks the best take. Takes that are marked as best can also be accessed via Motive Batch Processor scripts.
Date and time when the capture was recorded.
The version of Motive which the Take was recorded in. (This applies only to Takes that were captured in versions 1.10 or above)
The build of Motive which the Take was recorded in.
The data quality of the Take which can be flagged by users.
Progress indicator for showing how into the post-processing workflow that this Take has made.
Camera system calibration details for the selected Take. Takes recorded in older versions of Motive may not contain this data.
Shows when the cameras were calibrated.
Shows mean residual offset value during calibration.
Displays percentile distribution of the residual errors.
Displays a mean error value of the detected wand length samples throughout the wanding process.
Displays percentile distribution of the wand errors.
Shows what type of wand was used: Standard, Active, or Micron series.
Displays the length of the calibration wand used for the capture.
Distance from one of the end markers to the center marker, specifically the shorter segment.
The camera filter settings in the Take properties determine which IR lights from the recorded 2D camera data contributes to the post-processing reconstruction pipeline when re-calulating the 3D data when needed.
For more information on these settings in Live mode, please refer to the Application Settings: Live Pipeline page.
The Solver/Reconstruction settings under the Take properties are the 3D data solver parameters that were used to obtain the 3D data saved in the Take file. In Edit mode, you can change these parameters and perform the post-processing reconstruction pipeline to obtain a new set of 3D data with the modified parameters.
For more information on these settings in Live mode, please refer to the Application Settings: Live Pipeline page.
Rigid body properties determine how the corresponding Rigid Body asset is tracked and displayed in the viewport.
To view related properties, select a Rigid Body asset in the Assets pane or in the 3D viewport, and the corresponding properties will be listed under the Properties pane. These properties can be modified both in Live and Edit mode. Default creation properties are listed under the Application Settings.
Advanced Settings
The Properties: Rigid Body contains advanced settings that are hidden by default. Access these settings by going to the menu on the top-right corner of the pane and clicking Show Advanced and all of the settings, including the advanced settings, will be listed under the pane.
The list of advanced settings can also be customized to show only the settings that are needed specifically for your capture application. To do so, go the pane menu and click Edit Advanced, and uncheck the settings that you wish to be listed in the pane by default. One all desired settings are unchecked, click Done Editing to apply the customized configurations.
Allows a custom name to be assigned to the Rigid Body. Default is "Rigid Body X" where x is the Rigid Body ID.
Enables/Disables tracking of the selected Rigid Body. Disabled Rigid Bodies will not be tracked, and its data will not be included in the exported or streamed tracking data.
User definable ID for the selected Rigid Body. When working with capture data in the external pipeline, this value can be used to address specific Rigid Bodies in the scene.
The minimum number of markers that must be tracked and labeled in order for a Rigid Body asset, or each Skeleton bone, to be booted or first tracked.
The minimum number of markers that must be tracked and labeled in order for a Rigid Body asset, or each Skeleton bone, to continue to be tracked after the initial boot.
_[Advanced]_The order of the Euler axis used for calculating the orientation of the Rigid Body and Skeleton bones. Motive computes orientations in Quaternion and converts them into an Euler representation as needed. For exporting specific Euler angles, it's recommended to configure it from the Exporter settings, or for streaming, convert Quaternion into Euler angles on the client-side.
Selects whether or not to display the Rigid Body name in the 3D Perspective View. If selected, a small label in the same color as the Rigid Body will appear over the centroid in the 3D Perspective View.
Show the corresponding Rigid Body in the 3D viewport when it is tracked by the camera system.
Color of the selected Rigid Body in the 3D Perspective View. Clicking on the box will bring up the color picker for selecting the color.
For Rigid Bodies, this property shows, or hides, visuals of the Rigid Body pivot point.
[Advanced] Enables the display of a Rigid Body's local coordinate axes. This option can be useful in visualizing the orientation of the Rigid Body, and for setting orientation offsets.
Shows a history of the Rigid Body’s position. When enabled, you can set the history length and the tracking history will be drawn in the Perspective view.
Shows the Marker Constraints as transparent spheres on the Rigid Body. Asset mode markers are the expected marker locations according to the Rigid Body solve.
Draws lines between labeled Rigid Body or Skeleton markers and corresponding expected marker locations. This helps to visualize the offset distance between actual marker locations and the Marker Constraints.
[Advanced] When enabled, all markers that are part of the Rigid Body definition will be dimmed, but still visible, when not present in the point cloud.
When a valid geometric model is loaded in the Attached Geometry section, the model will be displayed instead of a Rigid Body when this entry is set to true.
Attached Geometry setting will be visible if the Replace Geometry setting is enabled. Here, you can load an OBJ file to replace the Rigid Body. Scale, positions, and orientations of the attached geometry can be configured under the following section also. When a OBJ file is loaded, properties configured in the corresponding MTL files alongside the OBJ file will be loaded as well.
Attached Geometry Settings
When the Attached Geometry is enabled, you can attach a 3D model to a Rigid Body and the following setting will be available also.
Pivot Scale: Adjusts the size of the Rigid Body pivot point.
Scale: Rescales the size of attached object.
Yaw (Y): Rotates the attached object in respect to the Y-axis of the Rigid Body coordinate axis.
Pitch (X): Rotates the attached object in respect to the X-axis of the Rigid Body coordinate axis.
Roll (Z): Rotates the attached object in respect to the Z-axis of the Rigid Body coordinate axis.
X: Translate the position of attached object in x-axis in respect to the Rigid Body coordinate.
Y: Translate the position of attached object in y-axis in respect to the Rigid Body coordinate.
Z: Translate the position of attached object in z-axis in respect to the Rigid Body coordinate.
Opacity: Sets the opacity of an attached object. An OBJ file typically comes with a corresponding MTL file which defines its properties, and the transparency of the object is defined within these MTL files. The Opacity value under the Rigid Body properties applies a factor between 0 ~ 1 in order to rescale the loaded property. In other words, you can set the transparency in the MTL file and rescale them using the Opacity property in Motive.
If you are exporting an OBJ file from Maya, you will need to make sure the Ambient Color setting is set to white upon export. If this color is set to black, it will result in removing textures when a Rigid Body is deselected.
IMU feature is not fully supported in Motive 3.x. Please use Motive 2.3 for using IMU active components.
Uplink ID assigned to the Tag or Puck using the Active Batch Programmer. This ID must match with the Uplink ID assigned to the Active Tag or Puck that was used to create the Rigid Body.
Radio frequency communication channel configured on the Active Tag, or Puck, that was used to define the corresponding Rigid Body. This must match the RF channel configured on the active component; otherwise, IMU data will not be received.
Applies double exponential smoothing to translation and rotation of the Rigid Body. Increasing this setting may help smooth out noise in the Rigid Body tracking, but excessive smoothing can introduce latency. Default is 0 (disabled).
Compensate for system latency when tracking of the corresponding Rigid Body by predicting its movement into the future. Please note that predicting further into the future may impact the tracking stability.
[Advanced] When needed, you can damp down translational and/or rotational tracking of a Rigid Body or a Skeleton bone on selected axis.
The status panel lists out the system parameters for monitoring the live status of system operations. Click on the displayed status at the bottom right corner of Motive, and the Status Panel will pop up. You can drag and place the Status Panel anywhere.
Average of residual values of all live-reconstructed 3D points. This is available only in the Live mode or in the 2D Mode.
Current incoming data transfer rate (KB/s) for all attached cameras.
Measured latency of the point cloud reconstruction engine.
Measured latency of the Rigid Body solver and the Skeleton solver combined.
Measured software latency. It represents the amount of time it takes Motive to process each frame of captured data. This includes the time taken for reconstructing the 2D data into 3D data, labeling and modeling the trackable assets, displaying in the viewport, and other processes configured in Motive.
Available only on Ethernet Camera systems (Prime series and Slim13E). Measured total system latency. This is the time measured from the middle of the camera exposures to when Motive has fully solved all of the tracking data.
The data rate at which the tracking data is streamed to connected client applications.
Final data acquisition rate of the system.
Available only on Ethernet Camera systems (Prime series or Slim 13E). Average temperature, in Celsius, on the imager boards of the cameras in the system.
When there is an increased latency on any of the processing pipeline that needs an attention, it will be highlighted in purple. Increase processing latency may result in dropped frames when real-time processing the data in live-captures or in 2D Mode. Increased latency usually occurs due to the CPU not being fast enough to process the data in real-time. If you perform post-processing reconstructions, you will be accessing the recorded 3D data or solved data (rigid bodies), and there will be no processing required for the corresponding pipeline and they will be indicated as inactive.
With large camera systems, the Point Cloud engine may experience increased latency due to the amount of data it needs to handle in real-time. If the increased latency is causing frame drops or affecting the tracking quality, you can exclude selected cameras from contributing to the real-time reconstruction. In the Devices pane, reveal the Reconstruction setting from the header context menu, and disable this setting for the cameras that you wish to process later. 2D frames captured by these cameras will be recorded in the TAK but they will not contribute to real-time reconstruction. This will reduce the amount of data to be processed in real-time, and you will still be able to utilize the 2D frames using post-processing reconstruction pipeline.
By modifying the device properties of the eSync, users can customize the sync configurations of the camera system for implementing various sync chain setups.
While the eSync is selected under the Devices pane, use the Properties pane to monitor the eSync properties. Here, users can configure the parent sync source of the camera system and also the output sync signals from the eSync for integrating child devices (e.g. NI-DAQ). For a specific explanation on steps for synchronizing external devices, read through the following page: External Device Sync Guide: eSync 2.
Configure the input signal by first defining which input source to use. Available input sources include Internal Free Run, Internal Clock, SMPTE Timecode In, Video Gen Lock, Inputs (input ports), Isolated, VESA Stereo In, and Reserved. Respective input configurations appear on the pane when a source is selected. For each selected input source, the signal characteristics can be modified.
Synchronization Input Source Options
Internal Free Run
This is the default synchronization protocol for Ethernet camera systems without an eSync2. In this mode, Prime series cameras are synchronized by communicating the time information with each other through the camera network itself using a high-precision algorithm for timing synchronization.
Internal Clock
Sets the eSync 2 to use its internal clock to deliver the sync signal to the Ethernet cameras, and the sync signal can be modified as well.
SMPTE Timecode In
Sets a timecode sync signal from an external device as the input source signal.
Video Gen Lock
Locks the camera sync to an external video sync signal.
Isolated
Used for generic sync devices connected to the Isolated Sync In port from the eSync 2. Considered safer than other general input ports (Hi-Z and Lo-Z). The max signal voltage cannot exceed 12 Volts.
Inputs
Uses signals through the input ports of the eSync 2. Used for high impedance output devices. The max signal voltage cannot exceed 5 Volts.
VESA Stereo In
Sets cameras to sync to signal from the VESA Stereo input port.
Reserved
Internal use only.
Controls the frequency of the eSync 2's internal sync generator when using the internal clock.
Introduces an offset delay, in microsecond, to selected trigger signal.
Sets the trigger mode. Available modes are Either Edge, Rising Edge, and Falling Edge, and each of them uses the corresponding characteristic of the input signal as a trigger.
Allows a triggering rate, compatible with the camera frame rate, to be derived from higher frequency input signals.
Allows a triggering rate, compatible with the camera frame rate, to be derived from lower frequency input signals. Available multiplier range: 1 to 15.
Displays the final rate of the camera system.
eSync2 ports vs eSync ports
In the eSync2, three general input ports are implemented in place of Lo-Z and Hi-Z input ports from the eSync. These general input ports are designed for high impedance devices, but low impedance devices can also be connected with appropriate adjustments. When the eSync 2 is connected to the system, options for Lo-Z and Hi-Z will be displayed.
Lo-Z input: Sets an external low impedance device as the trigger. The max signal voltage cannot exceed 5 Volts.
Hi-Z input: Sets an external high impedance device as the trigger. The max signal voltage cannot exceed 5 Volts.
Allows you to configure signal type and polarity of synchronization signal through the output ports, including the VESA stereo output port, on the eSync 2.
Type: Defines the output signal type of the eSync 2. Use this to sync external devices to the eSync 2.
Polarity: Change the polarity of the signal to normal or inverted. Normal signals constantly output a low signal and pulses high when triggering. Inverted signals constantly output a high signal and pulse low when triggering.
Output Signal Types
Exposure Time
Outputs a pulse signal when the cameras expose.
Recording Gate
Outputs a constant high level signal while recording. Other times the signal is low.
Record Start/Stop Pulse
Outputs a pulse signal both when the system starts and stops recording.
Gated Exposure Time
Outputs a pulse signal when the cameras expose, when the system is recording.
Gated Internal Clock
Outputs the internal clock, while the system is recording.
Selected Sync
Outputs the Sync Input signal without factoring in signal modifications (e.g. input dividers).
Adjusted Sync
Outputs the Sync Input signal accounting for adjustments made to the signal.
Internal Clock
SMPTE Timecode In
Video Genlock In
Isolated
Inputs
VESA Stereo In
Reserved
Uses a selected input signal to generate the synchronization output signal.
Trigger Source: Determines which trigger source is used to initiate the recording in Motive. Available options are Software, Isolated, and Inputs. When the trigger source set to software, recording is initiated in Motive.
With the eSync 2, external triggering devices (e.g. remote start/stop button) can integrate into the camera system and set to trigger the recording start and stop events in Motive. Such devices will connect to input ports of the eSync 2 and configured under the Record Triggering section of the eSync 2 properties.
By default, the remote trigger source is set to Software, which is the record start/stop button click events in Motive. Set the trigger source to the corresponding input port and select an appropriate trigger edge when an external trigger source (Trigger Source → isolated or input) is used. Available trigger options include Rising Edge, Falling Edge, High Gated, or Low Gated. The appropriate trigger option will depend on the signal morphology of the external trigger. After the trigger setting have been defined, press the recording button in advance. It sets Motive into a standby mode until the trigger signal is detected through the eSync. When the trigger signal is detected, Motive will start the actual recording. The recording will be stopped and return to the 'armed' state when the second trigger signal, or the falling edge of the gated signal, is detected.
Note: For capturing multiple recordings via recording trigger, only the first TAK will contain the 3D data. For the subsequent TAKs_, the 3D data must be reconstructed through the_ post-processing reconstruction pipeline.
Open the Devices pane and the Properties pane to access the eSync 2 properties.
Under the Record Triggering section, set the source to the respective input port where the trigger signal is inputted.
Choose an appropriate trigger option, depending on the morphology of the trigger signal.
Press the record button in Motive, which prepares Motive for recording. At this stage, Motive awaits for an incoming trigger signal.
When the first trigger is detected, Motive starts recording.
When the second trigger is detected, Motive stops recording and awaits for next trigger for repeated recordings. For High Gated and Low Gated trigger options, Motive will record during respective gated windows.
Once all the recording is finished, press the stop button to disarm Motive.
Input Monitor displays the corresponding signal input frequency. This feature is used to monitor the synchronization status of the signals into the eSync 2.
Displays the frequency of the Internal Clock in the eSync 2.
Displays the frequency of the timecode input.
Displays the frequency of the video genlock input.
Displays the frequency of the input signals into the eSync 2.
Displays the frequency of the external low impedance sync device.
Displays the frequency of the external high impedance sync device.
Display the frequency of the external generic sync device.
For internal use only.
Synchronization Input Source Options
Internal Free Run
This is the default synchronization protocol for Ethernet camera systems without an eSync 2. In this mode, Prime series cameras are synchronized by communicating the time information with each other through the camera network itself using a high-precision algorithm for timing synchronization.
Internal Clock
Sets the eSync 2 to use its internal clock to deliver the sync signal to the Ethernet cameras, and the sync signal can be modified as well.
SMPTE Timecode In
Sets a timecode sync signal from an external device as the input source signal.
Video Gen Lock
Locks the camera sync to an external video sync signal.
Isolated
Used for generic sync devices connected to the Isolated Sync In port from the eSync 2. Considered safer than other general input ports (Hi-Z and Lo-Z). The max signal voltage cannot exceed 12 Volts.
Inputs
Uses signals through the input ports of the eSync2. Used for high impedance output devices. The max signal voltage cannot exceed 5 Volts.
VESA Stereo In
Sets cameras to sync to signal from the VESA Stereo input port.
Reserved
Internal use only.
Controls the frequency of the eSync 2's internal sync generator when using the internal clock.
Introduces an offset delay, in microsecond, to selected trigger signal.
Sets the trigger mode. Available modes are Either Edge, Rising Edge, and Falling Edge, and each of them uses the corresponding characteristic of the input signal as a trigger.
Allows a triggering rate, compatible with the camera frame rate, to be derived from higher frequency input signals.
Allows a triggering rate, compatible with the camera frame rate, to be derived from lower frequency input signals. Available multiplier range: 1 to 15.
Displays the final rate of the camera system.
eSync ports vs eSync2
In the eSync 2, three general input ports are implemented in place of Lo-Z and Hi-Z input ports from the eSync. These general input ports are designed for high impedance devices, but low impedance devices can also be connected with appropriate adjustments. When the eSync is connected to the system, options for Lo-Z and Hi-Z will be displayed.
Lo-Z input: Sets an external low impedance device as the trigger. The max signal voltage cannot exceed 5 Volts.
Hi-Z input: Sets an external high impedance device as the trigger. The max signal voltage cannot exceed 5 Volts.
Allows you to configure signal type and polarity of synchronization signal through the output ports, including the VESA stereo output port, on the eSync2.
Defines the output signal type of the eSync2. Use this to sync external devices to the eSync2.
Polarity
Change the polarity of the signal to normal or inverted. Normal signals constantly output a low signal and pulses high when triggering. Inverted signals constantly output a high signal and pulse low when triggering.
Output Signal Types
Exposure Time
Outputs a pulse signal when the cameras expose.
Recording Gate
Outputs a constant high level signal while recording. Other times the signal is low.
Record Start/Stop Pulse
Outputs a pulse signal both when the system starts and stops recording.
Gated Exposure Time
Outputs a pulse signal when the cameras expose, when the system is recording.
Gated Internal Clock
Outputs the internal clock, while the system is recording.
Selected Sync
Outputs the Sync Input signal without factoring in signal modifications (e.g. input dividers).
Adjusted Sync
Outputs the Sync Input signal accounting for adjustments made to the signal.
Internal Clock
SMPTE Timecode In
Video Genlock In
Isolated
Inputs
VESA Stereo In
Reserved
Uses a selected input signal to generate the synchronization output signal.
Trigger Source: Determines which trigger source is used to initiate the recording in Motive. Available options are Software, Isolated, and Inputs. When the trigger source set to software, recording is initiated in Motive.
External Device Sync Guide: eSync 2
Input Monitor displays the corresponding signal input frequency. This feature is used to monitor the synchronization status of the signals into the eSync 2.
Internal Clock: Displays the frequency of the Internal Clock in the eSync 2.
SMTPE Time Code In: Displays the frequency of the timecode input.
Video Genlock In: Displays the frequency of the video genlock input.
Inputs: Displays the frequency of the input signals into the eSync 2.
Lo-Z: Displays the frequency of the external low impedance sync device.
Hi-Z: Displays the frequency of the external high impedance sync device.
Isolated: Display the frequency of the external generic sync device.
Reserved: For internal use only.
Timeline Frame Range Indicator
Scrubber: Current frame.
Green: Working frame range.
Yellow: Selected frame range.
There are two different modes in Motive: Live mode and Edit mode. You can toggle between two modes from the Control Deck or by using the (Shift + ~) hotkey.
Live Mode
The Live mode is mainly used when recording new Takes or when streaming a live capture. In this mode, all of the cameras are continuously capturing 2D images and reconstructing the detected reflections into 3D data in real-time.
Edit Mode
The Edit Mode is used for playback of captured Take files. In this mode, you can playback, or stream, recorded data. Also, captured Takes can be post-processed by fixing mislabeling errors or interpolating the occluded trajectories if needed.
Located on the right corner of the control deck, the status monitor can be used to monitor specific operational parameters in Motive. Click on up/down arrows to switch the displayed status. You can also click on the status monitor to open a popup for displaying all available status.
The following status parameters will be available:
Current incoming data transfer rate (KB/s) for all attached cameras.
Measured latency of the point cloud reconstruction engine.
Measured latency of the rigid body solver and the skeleton solver combined.
Measured software latency. It represents the amount of time it takes Motive to process each frame of captured data. This includes the time taken for reconstructing the 2D data into 3D data, labeling and modeling the trackable assets, displaying in the viewport, and other processes configured in Motive.
Available only on Ethernet Camera systems (Prime series and Slim13E). Measured total system latency. This is the time measured from the middle of the camera exposures to when Motive has fully solved all of the tracking data.
The data rate at which the tracking data is streamed to connected client applications.
Final data acquisition rate of the system.
Available only on Ethernet Camera systems (Prime series or Slim 13E). Average temperature, in Celsius, on the imager boards of the cameras in the system.
Streaming status will be available only for Unicast streaming. This will be disabled for Multicast streaming.
When using Motive, the main View pane will always be docked in the center. One Viewer pane can be divided up to four viewports, and if desired, additional Viewer panes can be opened under the or by clicking the icon on the main toolbar.
The following actions are useful for when navigating using the viewport. All of the mouse actions and keyboard hotkeys can be customized in the panel.
From this icon, you can switch between different mouse interaction modes in the 3D viewport. You can either use the mouse actions to select objects in the scene, translate, rotate, scale assets, or use the Quick Label mode for labeling.
Translate: In translate mode, you can apply a translation to Rigid Body pivot points and Skeleton bones. In recorded data, you can also select a group of reconstructed 3D markers in the scene and apply translation along the global x-y-z axis. When the change is made to a Skeleton, the segment hierarchy will be modified and reflected on exported Skeleton bone data but the marker locations will remain the same.
Rotate: In rotate mode, you can apply rotation to Rigid Body pivot points and Skeleton bones.
Local Coordinates: When enabled, translation, rotation, and scaling changes will be applied with respect to the local coordinate axis of the selected asset. When disabled, all changes will be applied to the global coordinate axis.
Symmetric Bones: When enabled, any modifications on bone lengths and orientations are applied symmetrically on both the left and right side of a Skeleton.
Actions for zooming into a selected object or zooming out to fit all. You can also use "F" and "Shift + F" hotkeys for this.
Opens a context menu to enable or disable visuals in the perspective viewports. From this menu, you can show or hide markers, marker labels, Rigid Bodies, Skeletons, tracked rays, and more.
Visible
Show, or hide, markers, cameras, or different types of assets from the perspective view. You can also hide Asset Model markers which are the expected marker positions that allow auto-labeling of markers for the assets.
Marker
Labels: Show, or hide, marker labels for each marker on the perspective viewport
Info: Show, or hide, marker info from the perspective view. Marker info includes x/y/z coordinate as well as the diameter of the marker.
Color: When checked, Rigid Body and/or Skeleton markers will be colored according to the color of the related Rigid Body and/or Skeleton asset.
History: Show, or hide, marker trajectory history from the perspective view.
Distance: Show, or hide, marker distance information when two markerrs are selected in the perspective viewport.
Angle: Show, or hide, angle information when three markers are selected in the perspective viewport.
Rays
Tracked Rays: Show/Hide Tracked Rays from the view. Tracked rays are the marker centroid rays (available only in 2D data) from each camera that contributes to the 3D reconstruction.
Untracked Rays: Show/Hide Untracked Rays from the view. Untracked Rays are the marker centroid rays (available only in 2D data) that are seen by each camera but does not contribute to the 3D reconstructions because the reconstruction requirements, usually the ray count, are not met.
Heads Up Display
Marker Count: Show/Hide reconstructed and selected marker counts at the bottom-right corner of the view.
Coordinate Axis: Show/Hide global coordinate axis at the left-bottom corner of the 3D view.
This tool locks the camera into the selected object(s) in the 3D perspective view, and the viewport will follow the selected object throughout the capture. For example, you can select a Rigid Body in the view, lock the selection, focus zoom into the object (Hotkey: F) have Motive follow the object.
Enables, or disables, selection of specific objects in the 3D view. Only the items checked in the menu will be selectable in the perspective view.
From this icon, you can switch between different mouse interaction modes in the camera viewport. In addition to simple Select mode, you can switch to the Pixel Inspector mode to check the brightness of individual pixels in the grayscale mode for inspecting the camera view, or you can also add/remove masking from the camera view.
Pixel Inspection
In pixel inspection mode, the viewport displays X,Y coordinates of the cursor location when hovering over a camera, and pixel brightness for selected pixels when a region is drag-selected. Inspecting pixel brightness can be useful during camera focusing, tuning, and aiming.
Zoom to All: Zooms all cameras to fit the pane. (default hotkey: Shift + F)
Zoom to Selection: Zooms into selected cameras to fit the pane. (default hotkey: F)
Show or hide additional camera information from the camera viewport.
Reticles: Show/Hide marker reticles to indicate where the reconstructed markers are located in respect to the camera view.
Camera Info: Show/Hide camera specific information, including camera models, camera setting values, time, data transfer rate, frame ID, and sync methods. For Prime series cameras, image board temperature information will also be available. If there is any synchronization or hardware issues, they will also be indicated in the camera info.
Markers
Coordinates: Show/Hide (x,y) coordinate information for the reflections that satisfy the 2D object filter.
Centroids: Show/Hide centroid crosshairs for the reflections that satisfy the 2D object filter.
Circularity: Show/Hide circularity value label for detected reflections. The label will appear red if the reflection does not satisfy the 2D filter setting.
Size: Show/Hide number of pixels involved in each reflection. The label will appear red if the reflection does not satisfy the 2D filter setting.
Labels: Shows whether the markers detected in the camera view is passive retroreflective marker or active markers. When the camera is detecting an active LED marker(s) corresponding label ID for each marker will be shown.
Using the masking settings context menu, you can re-apply auto-masking feature, clear masks, and/or perform other actions related to applying masks in the camera view.
Mask All: Apply auto-masking to all of the connected cameras.
Mask Selected: Apply auto-masking to only the selected cameras.
Masking is Additive: When this is checked, all of the masks will be applied additively over the existing masks.
Clear All: Clears all masks from the camera view.
Clear Selected: Clears masks from selected cameras only.
Select from the 4 video types:
Object
Precision
Grayscale
MJPEG
Mask Selected - Masks all the current IR data/reflections for camera selected
Clear Selected - Clears masks from the selected camera's Camera view
Mask Camera Light - Masks other camera's in the volume
Angle - Changes the angle of the camera's view
Auto - Automatically changes the angle of the camera's view
Clear - Resets the orientation angle to 0
This setting when selected overlays the frame delivery of each camera in the volume onto the selected camera's camera view. This information is useful to diagnose latency issues. The closer the lines are to straight, this means the frames are being delivered at the same time as other cameras. If, however, the lines are wavy or have spikes between cameras, this is an indication of an issue with synchronization.
Auto corrects the camera's position/orientation. Typically this will be grayed out and is unnecessary for most workflows.
Saves image of the camera's view as a Bitmap file.
Makes the selected camera a reference camera. You'll want to switch this camera to either MJPEG, grayscale, or color video (Prime color). See section below for more information.
The Reference View mode is used to monitor captured videos from the reference cameras. In order to view the reference view, the cameras must be recording either MJPEG, grayscale, or color video mode (Prime Color). In this mode, cameras, markers, and trackable assets can be overlaid over the reference view. To monitor the reference view, select one of the cameras and use Number 3 hotkey to view from the selected camera. This is a good way of monitoring events during the capture. All of the assets and trajectory histories under the Perspective view pane can be overlaid on the reference videos from this pane.
Reference video can also be exported from Motive with the asset overlay. To export, simply right-click on the Take that contains reference videos. Then select Export Video to export the video files. Then in the export options, you can select which assets to overlay in the video.
The following context menu appears when a camera is selected either in the perspective view or in the camera preview.
Hardware Mask: Sets masking of the selected cameras. You can apply auto-masks or clear existing masks.
Orientation: Adjust display orientation of a camera in the 2D camera preview. It can be manually configured or set to a calculated orientation which is obtained from the system calibration.
Frame Delivery Visual: Shows frame delivery graph for debugging camera synchronization problems. Available only in Cameras Viewport when in Live mode.
Save Image As...: Saves the 2D view of the selected camera into a bitmap image.
Make Reference: Switches the camera into reference mode for monitoring grayscale video and applying asset overlay. Available only in Cameras Viewport when in Live mode.
Zoom to All: Zoom to fit all of the cameras in the viewport.
Zoom to Selection: Zoom into the selected camera in the viewport.
The following context menu appears when 3D reconstructed markers are selected in the perspective view.
Unlabel: When marker label is already assigned, the assigned label can be removed using this option in the recorded data.
The following context menu appears when a Rigid Body is selected in the perspective view.
Reset Pivot: Repositions the Rigid Body pivot point at the center of a Rigid Body.
Markers: When a marker(s) is selected along with a Rigid Body, you can use this option to assign pivot point to a specific marker, or add/remove markers from the selected Rigid Body asset.
Make Reference: Switch the viewport so that it looks at the perspective of the Rigid Body in the direction of its Z-axis.
Delete: Delete the selected Rigid Body.
The following context menu appears when a Skeleton asset is selected in the perspective view.
Recalibrate Skeleton: Re-calibrate the Skeleton from its markers using the same Skeleton template.
Markers: Add or remove selected Skeleton marker from the Skeleton asset definition.
Delete: Delete selected Skeletons.
The following context menu appears when a force plate is selected in the perspective view.
Zero (all): Zeroes, or tares, all selected force plates.
Re-Sync (all): For triggered synchronization protocols, (e.g. force plates that syncs using the record trigger), this feature re-synchronizes force plates with the camera system. This will remove any sync offsets that may have increased gradually since the trigger.
In the Edit mode, when this option is enabled, Motive will access the recorded 2D data of a current Take. In this mode, Motive will be live-reconstructing from recorded 2D data and you will be able to inspect the reconstructions and marker rays from the view ports. For more information: .
The session folder can be opened or closed using the button at the bottom left corner.
In the list of session folders, a currently loaded session folder is noted with a flag symbol and a selected session folder will be highlighted in white. To add a new folder, click the button.
The star mark allows users to mark the best Takes. Simply click on the star icon and mark the successful Takes.
The health status column of the Takes indicates the user-selected status of each take:
: Excellent capture
: OK capture
: Poor capture
Indicates whether exists on the corresponding Take
Indicates whether the reconstructed exists on the corresponding Take.
If 3D data does not exist on a Take, it can be derived from 2D data by performing the reconstruction pipeline. See page for more details.
Indicates whether exist in the Take. Reference videos are recorded from cameras that are set to either MJPEG grayscale or raw grayscale modes.
Indicates whether any of the assets have baked into it.
Indicates whether synchronized audio data have been recorded with the Take. See:
Indicates whether analog data recorded using a data acquisition device exists in the Take. See: page.
Timecode stamped to the starting frame of the Take. This is available only if there was signal integrated to the system.
Take lists can be imported from a CSV file that contains take names on each row. To import, click on the top-right menu icon and select Import Shot List.
In the Data pane, context menu for captured Takes can be brought up by clicking on the icon or by right-clicking on a selected Take(s). The context menu lists out the options which can be used to perform corresponding pipelines on the selected Take(s). The menu contains a lot of essential pipelines such as reconstruction, auto-label, data export and many others. Available options are listed below.
When this button is enabled, marker label selection will be linked to the selection from the .
Labeling pane includes a list of marker labels that are associated with the capture. The color of each label tells whether the marker is tracked in the current frame, and the corresponding gap percentage is indicated next to each label. When a marker set is chosen under the Marker Set dropdown menu, only associated labels will be listed. In addition, the marker set selection can also be linked to 3D selection in the perspective view pane when the Link to 3D button is enabled.
Merges two trajectories together. This feature is useful when used with the graphs. Select two trajectories and click this button to merge the bottom trajectory into the top trajectory.
Merges two trajectories together. This feature is useful when used with the graphs. Select two trajectories and click this button to merge the top trajectory into the bottom trajectory.
Right-click and drag on a graph to free-form zoom in and out on both vertical and horizontal axis. If the Autoscale Graph is enabled, the vertical axis range will be fixed according to the max and min value of the plotted data.
Zooming: Zoom quickly into the selected range by clicking on the button or by using the F hotkey.
The Tracks View is a simplified view that can reveal gaps, marker swaps, and other basic labeling issues that can be quickly remedied by merging multiple marker trajectories together. You can select a specific group of markers from the drop down menu. When two markers are selected, labels can be merged by using the Merge Keys Up and Merge Keys Down buttons.
In the new Graphs View pane, the graph layout can be customized to monitor data from channels involved in a capture. Create a new layout from the menu > Create New Layout option or right-click on the pane and click Create New Layout option.
New layouts can be created by clicking on the Create Graph Layout from the pane menu located on the top-right corner.
Expand the Graph Editor by clicking on the icon on the tool bar.
Lock selection for graphs that need to be linked to the selection. Individual graphs can be locked from the context menu (right-clicking on the graph > Lock Selection) or all graphs can be locked by clicking on the toolbar.
The last step is to make the selection explicit by particularizing the layout. You can do this by clicking the Particularize option under the pane menu once the layout is configured and desired selections are locked. This will fix the explicit selection onto the layout XML file, and the layout will always look for specific items with the same name from the Take. Particularized graphs will be indicated by at the top-right corner of the graph.
The Graph Editor can be expanded by clicking on the icon from the toolbar. When this sidebar is expanded, you can select individual graphs but other navigation controls will be disabled. Using the graph editor, you can select a graph, choose which data channels to plot, and format the overall look to suit your need.
Data output from the entire camera system can be monitored through the Status Panel. Output from individual cameras can be monitored from the 2D Camera Preview pane when the Camera Info is enabled under the visual aids () option.
Properties of individual channels can be configured directly from the Devices pane. As shown in the image, you can click on the icon to bring up the settings and make changes.
Save all of the Takes that are loaded in the .
Opens the for managing takes.
Opens the for managing the list of tracked assets as well as integrated devices such as force plates and data acquisition devices.
Opens the for managing the properties of selected items in Motive.
Opens the for defining or modifying Rigid Body or Skeleton assets in Motive.
Opens for monitoring the channel data.
Opens the for collecting sample points using the .
Opens the for monitoring real-time tracking data of a selected Rigid Body in Motive.
Tip: Prime series cameras will illuminate in blue when in live mode, in green when recording, and turned-off in edit mode. See more at .
Average of values of all live-reconstructed 3D points. This is available only in the or in the .
The streaming status icon informs users of the streaming connection status. You can click on this icon to quickly access the also.
Important software notifications will be reported at the right corner of the control deck. Click on the to view the message. Only the important configuration notification will be reported here. Software status messages are reported on the .
Select: In selection mode, you can any objects in the scene, and their properties will be shown in the .
Scale: In scale mode, you can scale the length of Skeleton bones or scale the size of the attached to a Rigid Body.
Quick Label: In , you can quickly reassign marker labels in the post-processing of recorded data.
Visual Aids
Sticks: Show, or hide, Skeleton marker sticks from the perspective view. help users to easily interpret the Skeleton marker labels from the viewport.
Video Type: Sets of the selected cameras.
Create Marker Sets: Create a , a list of marker labels, from the selected markers for manual labeling on recorded data.
Create Rigid Body: Create a asset from selected markers for tracking a markered object in the scene.
Create Skeleton: Create a asset from selected markers. When a group of marker is selected, matching Skeleton template will be listed next to this option.
Set Position: Repositions a force plate asset according to the location of the calibration square. This is used to calibrate the position of a selected force plate within Motive. For more information: page.
Switch selected cameras to Object mode
O
Switch selected camera to MJPEG mode
I
Switch selected camera to Grayscale mode
U
Zoom
F: Quickly zoom into a selected camera(s) in the view.
Shift + F: Quickly zoom out to fit all of the cameras into the view.
Rotate view
Right + Drag
Pan view
Middle (wheel) click + drag
Zoom in/out
Mouse Wheel
Select in View
Left mouse click
Toggle Selection in View
CTRL + left mouse click
Switch to Perspective View
Number 1
Switch to Camera View
Number 2
Switch to Reference View
Number 3, while a camera is selected
Split View
Shift + 1: Show only one viewport
Shift + 2: Split the viewport into two horizontally
Shift + 3: Split the viewport into two vertically
Shift + 4: Split the Viewport into four
Zoom
F: Quickly zoom into a selected object(s) or camera(s) in the view. Shift + F: Quickly zoom out to fit everything into the view.
