F. I. Parke. Computer-generated animation of faces. In Proceedings of ACM National Conference, volume 1, pages 451--457, 1972.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....developments that could be done in order to make the current system better for general or specific uses. Previous Work This chapter briefly explains the research conducted in the facial modeling and animation. Historically,Parke s research is considered as the pioneering work in this area [53]. Parke started to design a very crude polygonal representation of the head, that would be capable for building animations which moved the eyes and mouth. Parke came out with pieces of animations that looked rather satisfying for the time. He produced the facial expression polygon data from real ....

F. Parke. Computer generated animation of faces. In Proc. of ACM National Conference,volume 1, pages 451--457, 1972.

....their strengths, weaknesses, and relative performance. Taxonomy groups the methods into classes that highlight their similarities and differences. Categories and Subject Descriptors: General Terms: Additional Key Words and Phrases: Introduction Since the pioneering work of Frederic I. Parke [91] in 1972, many research efforts have attempted to generate realistic facial modeling and animation. The most ambitious attempts perform the modeling and rendering in real time. Because of the complexity of human facial anatomy, and our natural sensitivity to facial appearance, there is no real ....

....techniques. Facial modeling and animation research falls into two major categories, those based on geometric manipulations and those based on image manipulations (Fig. 1) Each realm comprises several subcategories. Geometric manipulations include key framing and geometric interpolations [33, 86, 91], parameterizations [21, 88, 89, 90] finite element methods [6, 44, 102] muscle based modeling [70, 96, 101, 106, 107, 110, 122, 131] visual simulation using pseudo muscles [50, 71] spline models [79, 80, 125, 126, 127] and free form deformations [24, 50] Image manipulations include image ....

F. I. Parke, Computer Generated Animation of Faces. Proc. ACM annual conf., 1972

....INTRODUCTION Recent interest in facial modeling and animation is spurred by the increasing appearance of virtual characters in film and video and computer games. Another possible applications are 3D teleconferencing, 3D email or chatting over the Internet. Ever since the pioneering work of Parke [13], researches attempted to generate realistic facial models and animation. For an excellent survey the reader is referred to [14] The complexity of human facial anatomy and our natural sensitivity to facial appearance increase the difficulty of modeling human facial appearance and subtle ....

F. I. Parke. "Computer Generated Animation of Faces". Proc. ACM Annual Conference, August 1972 8

....orientation of the face for a keyframe by rotating it in x and y directions. To create intermediate frames, we use cosine interpolation, which is an interpolation technique for facial animation. 2 PREVIOUS WORK Previous studies for facial modeling and animation started with the work of Parke [3]. He used keyframing techniques and cosine interpolation to animate the face. Since each key frame must be completely specified to animate the face, simple keyframing cannot be easily used for threedimensional (3D) facial animation. Parametric systems have emerged as a result of this [4] A ....

Parke, F.I., "Computer Generated Animation of Faces", Proc. of ACM National Conference, Vol. 1, pp. 451-457, 1972.

....a physically motivated nonlinear interpolation algorithm used between these positions. Only this nonlinearity and the history of the workers qualifies the approach as physically based. It might also be viewed as more properly fitting in the TA class, which we now discuss. In a seminal development [Parke, 1972, Parke, 1974, Parke, 1975, Parke, 1982, Parke, 1991] Parke modeled the facial surface as a polyhedral object composed of about 900 small surfaces arranged in 3D, joined together at the edges and smooth shaded. In his original work [Parke, 1972] key frames were used to change the shape of the ....

....which we now discuss. In a seminal development [Parke, 1972, Parke, 1974, Parke, 1975, Parke, 1982, Parke, 1991] Parke modeled the facial surface as a polyhedral object composed of about 900 small surfaces arranged in 3D, joined together at the edges and smooth shaded. In his original work [Parke, 1972], key frames were used to change the shape of the face, but in subsequent work the face was animated by altering the location of various points in the grid under the control of 50 parameters. About 10 of these parameters were used for speech animation, such as jaw rotation, mouth width, lip ....

Parke, F. I. (1972). Computer generated animation of faces. In Proc. ACM National Conference, volume 1, pages 451--457.

....picture is available. When applying the method to several images of a person, the reconstructions reach almost the quality of laser scans. 1.1 Previous and related work Modeling human faces has challenged researchers in computer graphics since its beginning. Since the pioneering work of Parke [25, 26], various techniques have been reported for modeling the geometry of faces [10, 11, 22, 34, 21] and for animating them [28, 14, 19, 32, 22, 38, 29] A detailed overview can be found in the book of Parke and Waters [24] The key part of our approach is a generalized model of human faces. Similar ....

....a variety of methods have been proposed. For a complete overview we again refer to the book of Parke and Waters [24] The techniques can be roughly separated in those that rely on physical modeling of facial muscles [38, 17] and in those applying previously captured facial expressions to a face [25, 3]. These performance based animation techniques compute the correspondence between the different facial expressions of a person by tracking markers glued to the face from image to image. To obtain photo realistic face animations, up to 182 markers are used [14] Working directly on faces without ....

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F.I. Parke. Computer generated animation of faces. In ACM National Conference. ACM, November 1972.

....specify facial expressions such as brow action, mouth movement, and blink. The separation between these two groups implies the independence of the facial model and of the facial expression. The animation is obtained by changing the parameters value and by interpolating between the key frames [281, 182, 286, 90, 268, 227, 164]. ffl Physically based: skin properties and muscle actions are simulated using an elastic spring mesh and forces [298, 310, 381, 296, 398, 220, 363] Structural model: The face [299, 298] is structured as a hierarchy of regions (forehead, brow, cheek, node, lip) and sub regions (upper lip, ....

....phoneticians [144, 28, 102] only few parameters are considered to define lip shapes. These parameters are [28] the horizontal width of the lip, the vertical height of the internal lip contour, and the distance between a vertical profile and the lip contact protrusion. Parametric models such as [281] can be extended to include these parameters [182, 227, 268, 286, 89, 164, 39] ffl Coarticulation: Several models of coarticulation have been proposed, differing primarily in their way of analyzing the timing of event dependencies. Four main models of coarticulation can be dis55 tinguished: the ....

F.I. Parke. Computer generated animation of faces. Master's thesis, University of Utah, Salt Lake City, UT, June 1972. UTEC-CSc-72-120.

.... Speech (TTAVS) synthesizer developed at the ICP both in terms of the accuracy and realism. 1. INTRODUCTION To date, facial animation control whenever focused facial expression, conformation or motion for speech synchronization use one of four control techniques: 1) 3D shape interpolation [8], 2) surface shape parameterization [9] 3) muscle based models [12] or (4) physically based models [10] As the realism of the synthetic facial models improves, we would like them to mimic reality as closely as possible i.e. facial models and their control parameters should be able to mimic ....

Parke F.I., Computer generated animation of faces, Master's thesis, University of Utah, 1972.

....[27] from The Artist s Complete Guide to Facial Expression 1.1 Motivation Realistic face synthesis is one of the most fundamental problems in computer graphics and one of the most difficult. Indeed, attempts to model and animate realistic human faces date back to the early 70 s [55], with many dozens of research papers published since. The applications of face animation include such diverse fields as character animation for films and advertising, computer games [37] video teleconferencing [13] user interface agents and avatars [73] and facial surgery planning [42, 75] So ....

....produce a cylindrical grid of 512 by 256 samples) The price we pay for these advantages is the need for user intervention in the modeling process. The earliest photogrammetric techniques applied to face modeling and animation employed grids that were drawn directly on the human subject s face [55, 56]. One consequence of these grids, however, is that the images used to construct geometry 7 can no longer be used as valid texture maps for the subject. More recently, several methods have been proposed for modeling the face photogrammetrically without the use of grids [38, 43] These modeling ....

F.I. Parke. Computer generated animation of faces. Proceedings ACM annual conference., August 1972.

....A detailed example illustrates the user interface. More results are described in Section 10. We give the conclusions and perspectives of our system in Sections 11 and 12, respectively. 2 State of the Art Facial modeling and animation has been a computer graphics research topic for over 25 years [6, 19, 20, 21, 22, 23, 24, 25, 26, 30, 33, 34, 36]. The reader is referred to Parke and Waters book [26] for a complete overview. Lee et al. 20, 21] developed techniques to clean up and register data generated from laser scanners. The obtained model is then animated by using a physically based approach. DeCarlo at al. 5] proposed a method to ....

F. I. Parke. Computer generated animation of faces. In ACM National Conference, November 1972.

.... Gary Faigin [14] from The Artist s Complete Guide to Facial Expression Realistic facial synthesis is one of the most fundamental problems in computer graphics and one of the most difficult. Indeed, attempts to model and animate realistic human faces date back to the early 70 s [34], with many dozens of research papers published since. The applications of facial animation include such diverse fields as character animation for films and advertising, computer games [19] video teleconferencing [7] user interface agents and avatars [44] and facial surgery planning [23, 45] ....

....model and animate realistic facial expressions in three dimensions. The reader is referred to the recent book by Parke and Waters [36] for an excellent survey of this entire field. Parke s pioneering work introduced simple geometric interpolation between face models that were digitized by hand [34]. A radically different approach is performancebased animation, in which measurements from real actors are used to drive synthetic characters [4, 13, 47] Today, face models can also be obtained using laser based cylindrical scanners, such as those produced by Cyberware [8] The resulting range ....

[Article contains additional citation context not shown here]

Frederic I. Parke. Computer Generated Animation of Faces. Proceedings ACM annual conference., August 1972.

....specify facial expressions such as brow action, mouth movement, and blink. The separation between these two groups implies the independence of the facial model and of the facial expression. The animation is obtained by changing the parameters value and by interpolating between the key frames [231, 148, 236, 75, 220, 186, 135]. ffl Physically based: skin properties and muscle actions are simulated using an elastic spring mesh and forces [247, 258, 321, 245, 337, 180, 306] Structural model: The face [248, 247] is structured as a hierarchy of regions (forehead, brow, cheek, node, lip) and sub regions (upper lip, ....

....by phoneticians [120, 22, 86] only few parameters are considered to define lip shapes. These parameters are [22] the horizontal width of the lip, the vertical height of the internal lip contour, and the distance between a vertical profile and the lip contact protrusion. Parametric models such as [231] can be extended to include these parameters [148, 186, 220, 236, 74, 135, 32] ffl Coarticulation: Several models of coarticulation have been proposed, differing primarily in their way of analyzing the timing of event dependencies. Four main models of coarticulation can be distinguished: the ....

F.I. Parke. Computer generated animation of faces. Master's thesis, University of Utah, Salt Lake City, UT, June 1972. UTEC-CSc-72-120.

....the physically based models described below, a parametric model more easily allows a new face to be created through the use of conformation parameters. The extraction of the parameters, however, is difficult to define and does not simulate muscle movement. The first facial model created by Parke [97] was a parametric model. Many researchers have used and extended this model to handle lip synchronization (see [58, 104, 21] and Section 9 on lip movement) To animate Marilyn Monroe and Humphrey Bogart, Magnenat Thalmann and Thalmann [86] used specialized procedures, considered to be abstractions ....

F.I. Parke. Computer generated animation of faces. Master's thesis, University of Utah, Salt Lake City, UT, June 1972. UTEC-CSc-72-120.

....image interpolating technique. 7.6 Using Visual Acoustic Speech Models for Animation The inverse problem to visual acoustic speech recognition is the speech animation problem. Traditionally such systems are based on musculoskeletal models of the face that are driven by hand coded dynamics [32]. Of the shelf text to speech systems produce phoneme categories that control the sequence of face model dynamics. Some systems are driven by input video data of tracked lips [37] or audio data [22] instead of handcoded heuristics, and some systems output modified video data [24, 34] instead of ....

F. Parke. Computer generated animation of faces. In ACM National Conferences, pages 451--457, 1972.

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F. I. Parke. Computer-generated animation of faces. In Proceedings of ACM National Conference, volume 1, pages 451--457, 1972.

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F. I. Parke, Computer generated animation of faces, Master's thesis, university of Utah, Salt Lake City, June 1972.

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Parke F, 1972, "Computer Generated Animation Of Faces", In Proc. ACM National Conf..

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F. I. Parke. Computer Generated Animation of Faces. Master's thesis, University of Utah, Salt Lake City, UT, June 1972.

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F. I. Parke. Computer generated animation of faces. In Proc. ACM National Conference, 1972. 1:451-457.

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F.I. Parke. Computer generated animation of faces. Proceedings ACM annual conference., August 1972.

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Frederic I. Parke. Computer generated animation of faces. In ACM National Conference, pages 451--457, 1972. 2 The Eurographics Association 2003.

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PARKE, F. I. Computer generated animation of faces. Proc. ACM annual conf. (August 1972).

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PARKE, F. I. Computer generated animation of faces. Proc. ACM annual conf. (August 1972).

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Parke, F.:Computer generated animation of faces, MS Thesis Technical Report, UTEC-CSC-72-120, Department of Computer Science, University of Utah, Salt Lake City, Utah.

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Parke, F. (1972), "Computer generated animation of faces", Proc. ACM National Conf., Boston, MA, pp. 451--457.

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