The Human Motion Archive
The Roots: Pure 2D Craft Before the Pixels
Long before motion capture, 3D tracking, and spatial algorithms dominated the industry, it all started with analog 2D design. I was part of the very first graduating class at the Billy Blue School of Graphic Design in North Sydney back in 1987—an era when computers hadn't even entered the studio yet. It was pure traditional visual arts: pen, ink, layout, composition, and raw craft, and commercial art meant getting 2D work ready for the printers. That diploma and the connections to how the art world worked provided the foundational discipline beneath every tech venture that I stumbled into.
The Exoskeleton Era: Early Arcade Gaming & Contact Capture
The motion capture odyssey actually began back in 1994 using heavy, mechanical exoskeletons. While ground-breaking at the time, these rigid exo-suits were clunky and restrictive. Their mechanical joint sensors limited their practical use mainly to arcade gaming, basic video game contact capture, and controlled studio environments. They got the job done for early digital movement, but the physical constraints left a lot to be desired.
Live Virtual Characters: The Animalive Era
With Animalive.com, real-time performance met digital characters. Those clunky metal suits were good enough to plug into high-powered computers and create live interaction magic for theme parks and Family Entertainment Centres, enabling performers to mesmerize kids and their parents alike, for over 20 years. It was a massive leap forward for live interactive broadcasting, digital puppetry, and real-time entertainment long before automated virtual streaming became mainstream.
The IMU Revolution & Engineering The Gyroscopic Tracking Suits (And Gloves)
Everything changed in 2006 with the advent of miniaturized IMU (inertial Measurement Unit) sensors, allowing me to fully replace bulky exoskeletons with the IGS (Inertial Gyro Suit). Stripping away the need for mechanical joints, IGS delivered lightweight, markerless full-body 3D motion capture.
Liberated from studio walls, this shift to small sensors didn't just revolutionize 3D animation and visual effects—it opened the floodgates to high-velocity sports analytics and untethered real-time performance. Having solved the kinematics math matrixes of spatial tracking across both mechanical exoskeletal and IMU technologies, that chapter of R&D stands complete.
Biometrics in Motion: Sports Analytics & Tracking
Creating the fastest IMU sensors and applying it to biomechanics opened up entirely new frontiers in athletics. With the help of gifted engineers in both hardware and software, I adapted sensor fusion to measure high-velocity human movement with precision. This tech went directly into tracking real-time dynamics, pitch metrics, tennis, surfing, skiing and body mechanics for elite sports analysis—capturing movement data where traditional camera systems failed.
The Deep-End Odyssey: Bridging Music & 3D Spatial Control
Driven by a desire to bring real-time human expression into digital performance, I took a decades-long detour into what my tracking technologies were able to do to controlling electronic music as an instrument. I created the Midi3D device and software. It translated physical movement and 3D gesture into direct MIDI control, letting musicians (and non-musicians like me) shape audio through spatial motion through a DAW (Digital Audio Workstation).
Interactive Learning: Guitarwaze & Digital Fretboards
Next came applying the mocap technologies to guitar practicing techniques (I needed one). Through Guitarwaze, I applied interactive motion and visual mapping to online guitar instruction. Using my glove mocap systems I created (with the direction of my guitar teacher, of course) a library of 73 lessons that offered intuitive visual feedback, accelerating learning. Students could see spatial guitar mechanics rendered clearly on-screen, transforming abstract fretboard theory into an accessible visual language.
Full Circle: Returning to the Canvas at Handmadepixelart
After decades of mastering spatial algorithms and inertial tracking across music, sports, and 3D animation, I've come back home, in my retirement, to where it all began: 2D visual art. Handmadepixelart is the culmination of that full-circle journey.
Pixel art is an intentional discipline—it requires the exact same foundational spatial awareness and visual economy taught back in '86, built brick by brick, pixel by pixel. This site is a showcase of that original visual artistry, refined by a lifetime of pushing technology to its limits, back in its purest digital form.
Artist's Bio, Omizoochan
Living in the UK Southwest today he was born in Bagdad and had his early schooling in Iran till 15. Later schooling in the US from 15 to 26. Then lived a couple of years in Sydney where he graduated Billy Blue school of art in '87. Then 6 years in Tokyo, manufacturing indoor golf systems. Back to the US to work on creating and manufacturing inertial mocap systems, which is what he still does. Did Burning Man from '95 to 2000, with art installation each year to be burned. Moved to the UK in 2000, living with his partner of 33 years.
Technical
Specifications
Our vision is to bridge the gap between human performance and AI pixel generation engines. We translate the fluidity of motion into a tactile, high-fidelity pixel landscape, creating works that are as technically rigorous as they are emotionally resonant. Neither the artist nor AI could go at it alone and match the results.
- High-Resolution Motion Capture
- Real-Time Pixel Rendering
- Eclectic Methodologies
- Resolute Printing Mediums
- Secured Digital Output
- Tiling For Large Works
- Textile and Lithography Ready
- Related Sets Schemes
- Brilliant on Lightboxes
- Developed In The USA & The UK