P. Bergeron and P. Lachapelle. Controlling facial expressions and body movements in the computer generated animated short 'Tony de Peltrie'. In SigGraph '85 Tutorial Notes, Advanced Computer Animation Course. 1985.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....to come up with computer based techniques to age facial images especially of children. Bergeron and Lachapelle produced the short animation film named Tony de Peltrie, which was a landmark for facial animation, by combining threedimensional facial expressions and speech in order to tell the story [4]. The fictional animated character s face was controlled by parameters whichwere mapped to a test subject s face. The changes in subject s face when performing certain expressions were digitized and applied to animate the model, resulting in a library of standard expressions. Both lip ....

P. Bergeron and P. Lachapelle. Controlling facial expressions and body movements. In Advanced Computer Animation, SIGGRAPH 85 Tutorials, volume 2, pages 61--79, New York, 1985.

.... virtual actors has application in video telecommunication because of the potential for low bandwidth communication [Choi91] Choi94] This kind of technology has also been used to lipsynch computer graphic animations with an actor s voice and movements for film entertainment or virtual avatars [Berge85] [Willi90] Bregl97] Essa96] Guent98] Ezzat00] The animated characters are either a direct clone of the original (in the case of low bandwidth communication) or are designed by a 3D computer artist or computer algorithm. In this work, instead of employing a computer artist, we use facial ....

Bergeron P. and Lachapelle P.: Controlling facial expressions and body movements in the computer-generated short 'Tony de Peltrie', in SIGGRAPH85 Conference Proceedings, 1985.

....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 ....

P. Bergeron and P. Lachapelle. Controlling facial expressions and body movements. In Advanced Computer Animation, SIGGRAPH '85 Tutorials, volume 2, pages 61--79, New York, 1985. ACM.

....first by low frequencies, and then finetuned by adding in higher frequency refinements 3 . 3 Multitarget Interpolation Multitarget interpolation refers to a process widely used in computer animation to blend between different models. The technique was originally applied in facial animation [1, 21]. We might have a detailed model of a happy face, which corresponds parametrically to similar models of a sad face, quizzical face, angry face, etc. The control parameters to the model might be high level (like raise left eyebrow by 0.7 ) very high level (like be happy ) or they might simply ....

BERGERON,P.,AND LACHAPELLE, P. Controlling facial expressions and body movements in the computer-generated animated short: Tony de Peltrie. In Computer Graphics (SIGGRAPH '85), Course Notes: Techniques for Animating Characters (July 1985).

....The separation between conformation parameters and expression parameters imply the independence of the production of an expression and the considered face. But, the use of a limited set of parameters enhances a limited set of facial expressions. Various animations such as Tony de Peltrie [BER85] and Sextone for President [KLE88] were made from a library of digitized expressions. Such systems are very tedious to manipulate and are valid for one particular facial model only. M. Nahas, H. Huitric and M. Saintourens defined a B spline model [NAH88] where the animation is done using given ....

....from nonexpressive ones. We will elaborate a repertory of such movements. The computation of the facial expressions linked to one particular utterance with its intonation and emotion is done independently of the facial model. Contrary to the technique of using a stored library of expressions [BER85], KLE88] which computes facial expressions for one model only, this method used the decomposition of the facial model into two levels: the physical level (described in previous sections) and the expression level. The facial expressions may be applied to any other facial model (having the same ....

P. Bergeron, P. Lachapelle, "Controlling Facial Expressions and Body Movements in the Computer Generated Animated Short `Tony de Peltrie"', ACM SIGGRAPH'85 Tutorial Notes, Advanced Computer Animation Course, 1985.

No context found.

P. Bergeron and P. Lachapelle. Controlling facial expressions and body movements in the computer generated animated short 'Tony de Peltrie'. In SigGraph '85 Tutorial Notes, Advanced Computer Animation Course. 1985.

No context found.

P. Bergeron and P.Lachapelle. Controlling Facial Expression and Body Movements. Advaned Computer Animation, SIGGRAPH'85 Tutorials, 2:61--79, 1985.

No context found.

P. Bergeron and P. Lachapelle. Controlling facial expressions and body movements in the computer-generated animated short Tony De Peltrie. In Siggraph 85 Advanced Computer Animation Seminar Notes, NY, July 1985. ACM Press.

Online articles have much greater impact   More about CiteSeer.IST   Add search form to your site   Submit documents   Feedback  

CiteSeer.IST - Copyright Penn State and NEC