(Ebook) Computer Facial Animation 2nd Edition by Frederic I Parke, Keith Waters ISBN 1568814488 9781040157688

(Ebook) Computer Facial Animation 2nd Edition by Frederic I Parke, Keith Waters ISBN 1568814488 9781040157688

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ISBN 10: 1568814488 
ISBN 13: 9781040157688
Author: Frederic I Parke, Keith Waters

This comprehensive work provides the fundamentals of computer facial animation and brings into sharper focus techniques that are becoming mainstream in the industry. Over the past decade, since the publication of the first edition, there have been significant developments by academic research groups and in the film and games industries leading to the development of morphable face models, performance driven animation, as well as increasingly detailed lip-synchronization and hair modeling techniques. These topics are described in the context of existing facial animation principles. The second edition provides an up-to-date source for professionals and academic researchers working in the field of facial animation.

(Ebook) Computer Facial Animation 2nd Table of contents:

1 Introduction
1.1 About This Book
1.2 A Brief Historical Sketch of Facial Animation
1.3 Application Areas
1.3.1 Games Industry
1.3.2 Medicine
1.3.3 Video Teleconferencing
1.3.4 Social Agents and Avatars
1.3.5 Social Robots
1.4 The Believability Flip and the Uncanny Valley
1.5 A Turing Test for Faces?
1.5.1 A Visual Turing Test
1.6 Relationship to Conventional Animation
1.6.1 Disney’s Principles of Animation
Squash and Stretch
Anticipation
Staging
Ease-In and Ease-Out
Follow-Through and Overlapping Action
Arcs
Secondary Motion
Exaggeration
Appeal
2 Face Analysis and Coding
2.1 Charles Darwin’s Investigations
2.1.1 The Electrophysical Experiments of Duchenne
2.2 Expression Coding Systems
2.2.1 Mimic Language
The Mimic Muscles of the Face
Mimic Co-Movements
Mimic Facial Expressions
2.2.2 Facial Action Coding System
Example Action Units
2.2.3 Face Coding Standards
3 Anatomy of the Face, Head, and Neck
3.1 Nomenclature
3.2 The Skull
3.2.1 Bones of the Calvaria
3.2.2 Bones of the Cranial Base
3.2.3 Bones of the Facial Skeleton
3.2.4 The Cervical Vertebral Column
3.3 Muscles of the Face, Head, and Neck
3.3.1 The Muscles of Facial Expression
Circumorbital Muscles of the Eye
Muscles of the Nose
Muscles of the Mouth
3.3.2 The Muscles of Mandible Motion
Muscles That Elevate the Mandible
Muscles That Retract the Mandible
Muscles That Protract the Mandible
Muscles That Depress the Mandible
3.4 The Temporomandibular Joint
3.4.1 Movements of the Temporomandibular Joint
3.5 Muscles of the Tongue
Extrinsic Muscles of the Tongue
Intrinsic Muscles of the Tongue
3.5.1 Tongue Motion
3.6 The Muscles of the Forehead, Ear, and Neck
3.6.1 Frontalis
3.6.2 Muscles of the Outer Ear
3.6.3 Superficial Muscles of the Neck
3.7 Skin
3.7.1 The Epidermial Tissue
3.7.2 The Dermal Tissue
3.7.3 The Subcutaneous Tissues
3.7.4 Skin Lines
3.8 The Eyes
3.8.1 The Eyeball
3.8.2 Eye Motion
Vergence
Saccades
Vistibulo-ocular Reflex
Optokinetic Reflex
4 Modeling Faces
4.1 Introduction
4.1.1 Facial Mechanics
4.1.2 Facial Diversity
Caricatures
Empathetic Characterizations
4.2 Facial Geometry
4.2.1 Volume Representations
4.2.2 Surface Representations
Implicit Surfaces
Parametric Surfaces
4.2.3 Polygonal Surfaces
4.2.4 Developing a Polygonal Topology
4.3 Face Features
4.3.1 Complete Heads
4.4 Sources of Facial Surface Data
4.4.1 Capturing Likeness
4.4.2 The Time Element
4.4.3 Contour Reconstruction
4.4.4 Three-Dimensional Digitizers
4.4.5 Photogrammetric Techniques
4.4.6 Laser Scanning Systems
4.4.7 Standard Form
4.5 Digitizer-Based Modeling
4.5.1 Digitizing Polygonal Surfaces
4.5.2 Digitizing Parametric Surfaces
The Digitization Process
Surface Fitting
Modeling Gollum
4.6 Photogrammetric Measurement
4.6.1 A Simple Photogrammetric Method
4.6.2 A Better Photogrammetric Method
Theory
Implementation
4.7 Modeling Based on Laser Scans
4.7.1 Missing Data
4.7.2 Surface Smoothing
Filtering the Normals
4.7.3 Polar Artifacts
4.7.4 Scanned Data Versus Desired Topologies
Interactively Fitting a Topology
Face Topology Adaptation
Adaptive Meshes
4.8 Anthropometric Facial Models
4.9 Sculpting Facial Models
4.9.1 Successive Refinement
4.9.2 Shapes Based on Intensity Painting
4.10 Conformation Guidelines
Overall Shape and Proportion
The Eyes and Eyelids
The Nose
The Mouth and Lips
The Ears
Male versus Female
Children
4.11 Assembling Faces from Simple Shapes
4.11.1 Simple Facial Shapes
Language-Based Modeling
4.12 New Faces from Existing Faces
4.12.1 Interpolation for Modeling
Fixed Topology
Variable Topology
4.12.2 n-Dimensional Face Spaces
4.12.3 Transforming Canonical Faces
The Transformation Method
Photographic Transformation Control
Texture
4.12.4 Growth Transformations
4.12.5 Local Deformations
4.12.6 Freeform Deformations
4.12.7 Stochastic Noise Deformations
4.13 Statistical Models
4.13.1 A Morphable Model
Facial Attributes
Segmented Model
Matching the Model to an Image
4.13.2 A Virtual Sculpture-Based Model
4.14 Parameterized Conformation Models
5 Facial Animation
5.1 Fundamental Animation Techniques
5.2 Control Parameterizations
5.3 Interpolation
5.3.1 Key Expression Interpolation
Bilinear Expression Interpolation
n-Dimensional Expression Interpolation
Pairwise Expression Interpolation
Facial Region Interpolation
Nonlinear Interpolation
Limitations of Interpolation
5.4 Facial Rigging
5.4.1 Use of Articulated Joints
5.4.2 Use of Blend Shapes
5.4.3 Use of Clusters
5.4.4 Use of Functions
5.4.5 The User Interface
GUI Interfaces
5.5 Performance-Based Animation
5.5.1 Expression Mapping
5.5.2 Model-Based Persona Transmission
Image Analysis
5.6 Facial Expressions
5.6.1 The Universal Expressions
Sadness
Anger
Joy
Fear
Disgust
Surprise
5.6.2 Expressions of Physical States
5.7 Parameterized Models
5.8 Pseudomuscle-Based Animation
5.8.1 Abstract Muscle Actions
5.8.2 Freeform Deformations
Rational Freeform Deformations
5.8.3 Facial Animation using RFFDs
5.9 Muscle-Based Facial Animation
5.10 Language-Based Animation
5.10.1 Animation Sequencers
5.10.2 Animation Languages
5.11 Abstraction-Layered Facial Animation
5.11.1 The Abstraction Layers
Layer 0: Abstract Muscles
Layer 1: Minimal Perceptible Actions
Layer 2: Facial Snapshots
Layer 3: Sequences of Snapshots
Layer 4: Synchronization Mechanisms
5.11.2 High-Level Script Language
Action Durations
Action Sequencing
Action Synchronization
5.12 The Billy Animation
5.13 Creating Good Animation
5.13.1 Does It Communicate?
Story or Content
Design
Execution
5.13.2 Use of Conventional Animation Techniques
The Storyboard
The Structured Animation Approach
Pencil Tests
5.13.3 Hints for Animating Simple Facial Models
5.14 Control Parameterizations Revisited
5.14.1 Ideal Parameterizations
5.14.2 Quality of Control Parameterizations
5.14.3 High-Level Control Abstraction
Speech-Driven Level
Behavior-Driven Level
Story-Driven Level
6 Facial Image Synthesis
6.1 Synthetic Images
6.1.1 The Image Synthesis Tasks
6.1.2 Coordinate Transformations
Homogeneous Coordinates
Modeling Transformations
Viewing Transformations
Perspective
6.2 Visible Surface Determination
6.2.1 Visible Surface Algorithm Taxonomies
Image Space/Object Space
Sorting Order and Algorithms
6.2.2 Use of Coherence
6.2.3 Depth Sort Algorithms
Painter’s Algorithm
Newell Algorithm
BSP Trees
6.2.4 Scan Line Algorithms
Area Subdivision Algorithms
6.2.5 Z-Buffer
6.2.6 PRMan
6.3 Surface Shading
6.3.1 Surface Properties
Surface Color
Texture Maps
6.3.2 Reflection Properties
The Eye as an Example
6.4 Lighting
6.4.1 Direct Lighting
6.4.2 Global Illumination
Ray Tracing
Radiosity
Photon Mapping
Ambient Occlusion
Image-Based Lighting
6.5 Polygonal Shading Models
6.5.1 Flat Shading
6.5.2 Gouraud Shading
6.5.3 Phong Shading
6.5.4 The OpenGL Shading Model
6.5.5 Emission Term
6.5.6 Ambient Component
6.5.7 Contributions from the Light Sources
6.5.8 Shading Languages
6.6 Aliasing
6.6.1 Spatial Aliasing
Convolution
Super Sampling
Area Sampling
6.6.2 Temporal Aliasing
6.7 Generating Synthetic Human Skin Texture
6.7.1 Skin Surface Geometry
Pattern Generation
Hierarchical Skin Structure
Skin Ridge Shape Definition
6.7.2 Shading Calculation
6.7.3 Skin Texture Control Parameters
6.7.4 Skin Surface Reflection
Multiple Light Reflections
6.7.5 Rendering Calculations
6.7.6 Vascular Skin Color Effects
6.8 Lighting the Face: Lessons from Portrait Photography
6.8.1 Single-Source Lighting
Full Face— Viewpoint Directly in Front of the Face
Three-Quarter Pose
Facial Profiles
6.8.2 Multiple-Source Lighting
Wraparound Lighting
6.8.3 Use of Makeup
6.9 Animation Rendering and Perception
7 Parameterized Face Models
7.1 Parameterized Model Concepts
7.1.1 The Basic Parameterization Concept
7.1.2 The Synthesis Model
7.2 Facial Parameterization
7.2.1 Developing Facial Parameter Sets
7.2.2 Expression Versus Conformation
7.2.3 Expression Parameters
Facial Action Coding System
7.2.4 Conformation Parameters
7.2.5 Quality and Scope of Control Parameterizations
7.3 Implementation of a Parameterized Model
7.3.1 Polygon Topology
Skin Creases
Single Topology Assumption
7.3.2 Model Data
7.3.3 Interpolation Basis
7.3.4 Operations
7.3.5 Eyes
The Eyeball Model
7.3.6 The Eye Tracking Algorithm
7.3.7 Eyelids
Eyelashes
7.3.8 Eyebrows
7.3.9 Eye Region Parameters
7.3.10 Mouth and Jaw
7.3.11 Mouth Region Parameters
7.3.12 Conformation Parameters
Parameters Implemented by Interpolation
Parameters Implemented by Scaling
Parameters Implemented by Translation
Additional Parameters
7.3.13 Parameter Ordering
7.4 Animation Using the Parameterized Model
7.4.1 Key Framing in Parameter Space
7.4.2 Speech Animation
7.5 Parameterized Model Extensions
7.5.1 DiPaola Extensions
Broader Range of Facial Types
Asymmetry
Additional Expression Parameters
Eyes
Complete Heads
Ears
Facial Hair
Eyebrows
Neck
Matching Facial Animation with Body Animation
Interactive Control and Real-Time Playback
7.5.2 Pearce Extensions
7.5.3 Cohen Extensions
Additional Lip and Tongue Parameters
Image Mapping
Skin Transparency
7.5.4 Extensions
Use of Parametric Surfaces
Better Parameterizations
Higher-Level Parameterizations
Non-Humanoid Faces
8 Skin and Muscle-Based Facial Animation
8.1 The Mechanics of Facial Tissue
8.1.1 Biological Solids
8.2 The Mechanics of Muscles
8.3 A Muscle Model Process
8.3.1 Muscle Vectors
8.3.2 Linear Muscle
8.3.3 The Sphincter Muscle
8.3.4 Sheet Muscle
8.3.5 Varying the Elastic Properties
8.4 Modeling the Primary Facial Expressions
8.4.1 Surprise
8.4.2 Fear
8.4.3 Disgust
8.4.4 Anger
8.4.5 Happiness
8.4.6 Sadness
8.5 Parametric Surface Patches
8.5.1 Bicubic B-spline Patches
8.5.2 Bicubic and Catmull-Rom Splines with a Muscle Model
8.5.3 Gradient-Based Muscles
8.6 Physical Models of Facial Tissue
8.6.1 A Tension Net
8.6.2 A Deformable Lattice of Skin
Nodes
Springs
8.6.3 Integration
8.6.4 Layered Tissue Models
8.6.5 Muscles
8.6.6 Examples
8.6.7 Finite-Element Skin Tissue
8.6.8 Skin Flap Design
8.6.9 Surgical Tissue Simulation
8.6.10 Increasing Facial Tissue Geometry Detail
8.7 A Dynamic Neck
9 Speech-Synchronized Animation
9.1 Cartoon Lip Animation
9.2 Speech Production
9.2.1 Speech Phonetics
9.2.2 Visemes
9.2.3 Visual Diphones and Triphones
9.2.4 Lip Reading Speech Postures
9.2.5 Coarticulation
Computing Coarticulation Effects
Dominance and Blending
9.2.6 Intonation
9.2.7 Bimodal Communication
9.2.8 Speech as a Second-Level Parameterization
9.3 Automated Synchronization
9.3.1 Performance Measures
9.3.2 Taxonomy of Approaches
Text-Driven
Speech-Driven
Hybrid: Text-and-Speech-Driven
Hybrid: Image-and-Speech-Driven
9.4 Text-Driven Synchronized Speech
9.4.1 Speech Synthesis
9.4.2 Linear Prediction Speech Synthesis and Resynthesis
9.4.3 Extending Synthesis to Include Faces
9.4.4 Real-Time Text-to-Speech
9.5 Image-Based Visual Speech Synthesis
9.6 Muscle-Driven Synchronization
9.7 Speech-Driven Synchronization
9.7.1 Simple Volume Tracking
9.7.2 Speech Recognition Acoustic Preprocessor
9.7.3 Linear Prediction Analysis
Linear Prediction Speech Model
Solution Algorithm
Classifying the Speech Sample
Reference Phonemes
Real-Time Implementations
9.8 Expression Overlays
9.8.1 Emotional Overlays
9.8.2 Emotions
9.8.3 Non-emotional Overlays
Conversational Signals
Punctuators
Regulators
9.8.4 Eye Actions
Eye Blinks
Changes in Eye Gaze
Changes in Pupil Size
9.9 Complete Speech Animation
10 Performance Animation
10.1 Background
10.1.1 Mechanical Performance Systems
10.1.2 Animatronics
Computer-Aided Animatronics
Mixing Animatronics and a Computer-Generated Waldo
Phase 1: Interactive Rotoscoping
Phase 2: Secondary Action
Phase 3: Compositing
Full Computer-Generated Waldo
Animating a Virtual Mike Normal
10.2 The Envelope for Face Deformations
10.3 Feature Tracking and Correspondence
10.3.1 Automated Marker Tracking
10.3.2 Markers and Video Texture Capture
10.3.3 Dense Marker Motion Capture
10.3.4 Generalized Face Image Analysis and Tracking
10.3.5 Deformable Templates
Image Intensities
Energy Function
10.3.6 Active Contour Models
10.3.7 A Discrete Deformable Contour
10.3.8 Tracking Features with Active Contours
10.3.9 A Facial Image Analysis Example
10.3.10 Local Parametric Models of Face Motion
10.3.11 Optical Flow Performance Capture
10.4 Directions for Performance Animation
11 Modeling and Animating Hair
11.1 Hair Structure
11.1.1 Hair Characteristics
11.1.2 Properties of Hair
Elastic and Tensile Deformations
Hair Friction
Static Electricity in Hair
Cosmetic Effects
11.2 Representing Hair
11.2.1 Hair Rendering
11.2.2 Hair Self-Shadowing
11.3 Hair Modeling
11.3.1 Polygon-Based Hair
11.3.2 Polygon Hair Shapes
11.3.3 Hair as Surface Textures
11.3.4 Special Shading and Special Shapes
Texels
Fake Fur
11.4 Cluster Hair Model
11.5 The Thin Shell Volume Model
11.6 Loosely Connected Particles Model
11.7 Strand-Based Hair Models
11.7.1 Strand Modeling
11.7.2 Hairstyling
11.8 Wisp-Based Hair
11.8.1 Animation Based on Wisps
11.9 Mass-Spring-Hinge Hair Model
11.9.1 Hair Dynamics
Strand-to-Head Collisions
Dynamic Simplifications
11.10 Beam Bending Hair
11.10.1 Cantilever Beam Simulation for Hair Bending
Deflection in Three Dimensions
Collision Detection
Examples
11.10.2 Dynamic Behavior of Bending Beam Hair
One-Dimensional Projective Equations for Hair Dynamics
11.10.3 Inertia Moments and Heuristic Modifications
Pseudoforce Field
Joint Angle Adjustment
Randomness
11.11 Hair-to-Hair Interaction
11.12 Interactive Hair Modeling Tools
11.12.1 The Wisp Model
11.12.2 The Mass-Spring-Hinge Model
11.13 Super-Helices Hair Model
11.14 Strand Rendering
11.14.1 Mass and Spring Hair Rendering
11.14.2 Backlighting Effects
11.14.3 Anisotropic Reflection Model for a Three-Dimensional Curve
11.14.4 Hair Self-Shadowing
A A Face Model

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Tags: Frederic I Parke, Keith Waters, Computer, Facial