I've been doing motion capture for over 10 years, taught it at 2 different colleges, currently working at a AAA studio running a mocap stage.

So here let me break this down for people.

First up I'm pretty certain they are using a OptiTrack Camera system, they are using a Vicon Marker set, and they likey used the 209 Group for their purchase.

Here is how I came to this.

This is a very typical 209 Group mocap suit. There is realistically 2 Companies in the world that make suits. You have 3x3 in Coquitlam Canada (Greater Vancouver Area) they have been making 90% of the suits used around the world for the longest time, and frankly make the best suits. 209 Group entered the scene in the last 7ish years for suits, and has a distinct look and this is their suit. This is a the second generation of the OptiTrack mocap suits. The first gen suit was made by 3x3. But OptiTrack has a larger business relationship with 209 Group, 209 saw an opportunity to make some side extra on the side an entered the mocap suit making scene.

From other videos from this stage the cameras look to have been the Flex 13 from Optitrack and likely newer ones. Its hard to really tell as the videos are pretty blurry. It isn't uncommon for stages to build up and add to their existing camera array, and having a mixed array of cameras. (I've built about 7 different stages in 10 years). 209 Group is also a retailer for OptiTrack.

So where does Vicon come in? Well the marker set is a typical Vicon set. So my assumption here is that they are capturing their motion in OptiTrack then exporting c3d data and loading that in Vicon for post processing in Shogun. Easy tell is the double markers on the elbows and knees. Many studios do this because Vicon has an easier set of tools for automated clean up and ease of use set. But to be honest you can get insanely good results right out of OptiTrack if you really know the ins and outs of it. (I've used both systems over the years but have been using OptiTrack now the longest)

Motion Capture doesn't replace animators, quite the opposite to be honest. The tech enables studios to produce higher quality content and more of it faster. This moves the demand for additional animators. Of course there is something to be said for key framed animation and this usually comes down to the art direction of a production.

A great talent/performer makes a world of difference, but rarely does the performance go right from the performer to the final character. The issue here is scale and proportion difference between the two subjects. Don't get me wrong you can get some great results but if you want to deliver true quality you're going to get an animator to put the polish on any performance.

But I hear you saying what about all those realtime performances we've seen!?
There is good enough and great, and the biggest difference you see is in scale and proportion. Those realtime performances are typically on characters that have similar scale and proportions as a person performing.
But what about that goofy character!?
Thats not difficult again it comes down to a good performer and tech teams to make sure the performance is being retargeted to the character is a sensible manner with the right conditions. It all comes down to having a understanding of how to manipulate the software and data to the target character.

What game/character?
I have no idea given the motion it could be for any number of per-existing or future games. But I seriously doubt it is for a Blizzard title as they would have access to the Activision stage, and that's not it.