According to McClean (2007), the birth of motion capture creates a capability to make computer-generated performance become real. It is the practice of recording a physical performance data of the actor and then applies the coordination data on the 3D model to form the basis of CG character's performance in 3D space (McClean 2007). The first movie applied this technique was Young Sherlock Homes (1985) (Bordwell 2006). However, the most famous applicant of computer-generated performance is the Lord of the Rings series where the motion capture data of actor Andrew Serkis to generate the realistic fiction Gollum character. McClean (2007) argues that the critical change in film history since the implementation of CGI is that the performance on screen can have a representational meaning rather than the qualities of recording arts.
Over the last few decades, the advent of the digital technology has raised a significant concern in academic film literature in the medium of photography-based medium. Indeed, the concept that movie should always be a medium of photographic realism is no longer applicable due to the institution of the ability to create "fake" realistic images of CGI, as Manovich (2011) stated that CGI is making "something which looks exactly as if it could have happened, although it really could not". Indeed, realism, which was the exclusive feature of film, has changed since the introduction of CGI. Prince (1996) claims that CGI makes it possible to share the same frame between filmed objects and 3D object, when in reality this can never be happened. Manovich (2011) also sees the huge potential of CGI to create things that never exist before or to polish the footage after production stage. For those reasons, a new notion of realism was born by Prince (1996) called "Perceptual realism" where the audience perceives the images as realistic but in fact referentially fictional.
