Video-driven Neural Physically-based Facial Asset for Production

Production-level workflows for producing convincing 3D dynamic human faces have long relied on an assortment of labor-intensive tools for geometry and texture generation, motion capture and rigging, and expression synthesis. Recent neural approaches automate individual components but the corresponding latent representations cannot provide artists with explicit controls as in conventional tools. In this paper, we present a new learning-based, video-driven approach for generating dynamic facial geometries with high-quality physically-based assets. For data collection, we construct a hybrid multiview-photometric capture stage, coupling with ultra-fast video cameras to obtain raw 3D facial assets. We then set out to model the facial expression, geometry and physically-based textures using separate VAEs where we impose a global MLP based expression mapping across the latent spaces of respective networks, to preserve characteristics across respective attributes. We also model the delta information as wrinkle maps for the physically-based textures, achieving high-quality 4K dynamic textures. We demonstrate our approach in high-fidelity performer-specific facial capture and cross-identity facial motion retargeting. In addition, our multi-VAE-based neural asset, along with the fast adaptation schemes, can also be deployed to handle in-the-wild videos. Besides, we motivate the utility of our explicit facial disentangling strategy by providing various promising physically-based editing results with high realism. Comprehensive experiments show that our technique provides higher accuracy and visual fidelity than previous video-driven facial reconstruction and animation methods.Comment: For project page, see https://sites.google.com/view/npfa/ Notice: You may not copy, reproduce, distribute, publish, display, perform, modify, create derivative works, transmit, or in any way exploit any such content, nor may you distribute any part of this content over any network, including a local area network, sell or offer it for sale, or use such content to construct any kind of databas

A survey of real-time crowd rendering

In this survey we review, classify and compare existing approaches for real-time crowd rendering. We first overview character animation techniques, as they are highly tied to crowd rendering performance, and then we analyze the state of the art in crowd rendering. We discuss different representations for level-of-detail (LoD) rendering of animated characters, including polygon-based, point-based, and image-based techniques, and review different criteria for runtime LoD selection. Besides LoD approaches, we review classic acceleration schemes, such as frustum culling and occlusion culling, and describe how they can be adapted to handle crowds of animated characters. We also discuss specific acceleration techniques for crowd rendering, such as primitive pseudo-instancing, palette skinning, and dynamic key-pose caching, which benefit from current graphics hardware. We also address other factors affecting performance and realism of crowds such as lighting, shadowing, clothing and variability. Finally we provide an exhaustive comparison of the most relevant approaches in the field.Peer ReviewedPostprint (author's final draft

Analysis of Design Principles and Requirements for Procedural Rigging of Bipeds and Quadrupeds Characters with Custom Manipulators for Animation

Character rigging is a process of endowing a character with a set of custom manipulators and controls making it easy to animate by the animators. These controls consist of simple joints, handles, or even separate character selection windows.This research paper present an automated rigging system for quadruped characters with custom controls and manipulators for animation.The full character rigging mechanism is procedurally driven based on various principles and requirements used by the riggers and animators. The automation is achieved initially by creating widgets according to the character type. These widgets then can be customized by the rigger according to the character shape, height and proportion. Then joint locations for each body parts are calculated and widgets are replaced programmatically.Finally a complete and fully operational procedurally generated character control rig is created and attached with the underlying skeletal joints. The functionality and feasibility of the rig was analyzed from various source of actual character motion and a requirements criterion was met. The final rigged character provides an efficient and easy to manipulate control rig with no lagging and at high frame rate.Comment: 21 pages, 24 figures, 4 Algorithms, Journal Pape

Unsupervised Training for 3D Morphable Model Regression

We present a method for training a regression network from image pixels to 3D morphable model coordinates using only unlabeled photographs. The training loss is based on features from a facial recognition network, computed on-the-fly by rendering the predicted faces with a differentiable renderer. To make training from features feasible and avoid network fooling effects, we introduce three objectives: a batch distribution loss that encourages the output distribution to match the distribution of the morphable model, a loopback loss that ensures the network can correctly reinterpret its own output, and a multi-view identity loss that compares the features of the predicted 3D face and the input photograph from multiple viewing angles. We train a regression network using these objectives, a set of unlabeled photographs, and the morphable model itself, and demonstrate state-of-the-art results.Comment: CVPR 2018 version with supplemental material (http://openaccess.thecvf.com/content_cvpr_2018/html/Genova_Unsupervised_Training_for_CVPR_2018_paper.html

DiffusionRig: Learning Personalized Priors for Facial Appearance Editing

We address the problem of learning person-specific facial priors from a small number (e.g., 20) of portrait photos of the same person. This enables us to edit this specific person's facial appearance, such as expression and lighting, while preserving their identity and high-frequency facial details. Key to our approach, which we dub DiffusionRig, is a diffusion model conditioned on, or "rigged by," crude 3D face models estimated from single in-the-wild images by an off-the-shelf estimator. On a high level, DiffusionRig learns to map simplistic renderings of 3D face models to realistic photos of a given person. Specifically, DiffusionRig is trained in two stages: It first learns generic facial priors from a large-scale face dataset and then person-specific priors from a small portrait photo collection of the person of interest. By learning the CGI-to-photo mapping with such personalized priors, DiffusionRig can "rig" the lighting, facial expression, head pose, etc. of a portrait photo, conditioned only on coarse 3D models while preserving this person's identity and other high-frequency characteristics. Qualitative and quantitative experiments show that DiffusionRig outperforms existing approaches in both identity preservation and photorealism. Please see the project website: https://diffusionrig.github.io for the supplemental material, video, code, and data.Comment: CVPR 2023. Project website: https://diffusionrig.github.i

Purged

This paper describes the entire thought process, the work and journey behind the completion of my Thesis Film titled “PURGED”. This film was animated in 3D and created over the course of four semesters. Purged is a thrilling short animated film about a couple’s escape from death. The film mainly revolves around a couple; namely the white king and queen, and how death; the black pieces of a chessboard enact out the game as if it’s happening in real life until the big reveal at the end of it merely being a game of chess. The film is centered around the theme of sacrifice. The Oxford dictionary defines the word sacrifice as an act of giving up something valued for the sake of something else regarded as more important or worthy. It defines the same word in terms of chess as a move intended to allow the opponent to win a pawn or piece, for strategic or tactical reasons. The film is thrilling amalgamation of these two concepts. On one hand, it shows the sacrifice in love whereas on the other hand it shows strategic sacrifices of pieces in order to win the game. Through this three minute animated short film I learned a lot about the value of sacrifice and how our life is full of them. The various obstacles faced during the creation of this thesis not only helped make me a better artist

The Rocketbox Library and the Utility of Freely Available Rigged Avatars

As part of the open sourcing of the Microsoft Rocketbox avatar library for research and academic purposes, here we discuss the importance of rigged avatars for the Virtual and Augmented Reality (VR, AR) research community. Avatars, virtual representations of humans, are widely used in VR applications. Furthermore many research areas ranging from crowd simulation to neuroscience, psychology, or sociology have used avatars to investigate new theories or to demonstrate how they influence human performance and interactions. We divide this paper in two main parts: the first one gives an overview of the different methods available to create and animate avatars. We cover the current main alternatives for face and body animation as well introduce upcoming capture methods. The second part presents the scientific evidence of the utility of using rigged avatars for embodiment but also for applications such as crowd simulation and entertainment. All in all this paper attempts to convey why rigged avatars will be key to the future of VR and its wide adoption

A Survey of Computer Graphics Facial Animation Methods: Comparing Traditional Approaches to Machine Learning Methods

Human communications rely on facial expression to denote mood, sentiment, and intent. Realistic facial animation of computer graphic models of human faces can be difficult to achieve as a result of the many details that must be approximated in generating believable facial expressions. Many theoretical approaches have been researched and implemented to create more and more accurate animations that can effectively portray human emotions. Even though many of these approaches are able to generate realistic looking expressions, they typically require a lot of artistic intervention to achieve a believable result. To reduce the intervention needed to create realistic facial animation, new approaches that utilize machine learning are being researched to reduce the amount of effort needed to generate believable facial animations. This survey paper summarizes over 20 research papers related to facial animation and compares the traditional animation approaches to newer machine learning methods as well as highlights the strengths, weaknesses, and use cases of each different approach

THREE DIMENSIONAL MODELING AND ANIMATION OF FACIAL EXPRESSIONS

Facial expression and animation are important aspects of the 3D environment featuring human characters. These animations are frequently used in many kinds of applications and there have been many efforts to increase the realism. Three aspects are still stimulating active research: the detailed subtle facial expressions, the process of rigging a face, and the transfer of an expression from one person to another. This dissertation focuses on the above three aspects. A system for freely designing and creating detailed, dynamic, and animated facial expressions is developed. The presented pattern functions produce detailed and animated facial expressions. The system produces realistic results with fast performance, and allows users to directly manipulate it and see immediate results. Two unique methods for generating real-time, vivid, and animated tears have been developed and implemented. One method is for generating a teardrop that continually changes its shape as the tear drips down the face. The other is for generating a shedding tear, which is a kind of tear that seamlessly connects with the skin as it flows along the surface of the face, but remains an individual object. The methods both broaden CG and increase the realism of facial expressions. A new method to automatically set the bones on facial/head models to speed up the rigging process of a human face is also developed. To accomplish this, vertices that describe the face/head as well as relationships between each part of the face/head are grouped. The average distance between pairs of vertices is used to place the head bones. To set the bones in the face with multi-density, the mean value of the vertices in a group is measured. The time saved with this method is significant. A novel method to produce realistic expressions and animations by transferring an existing expression to a new facial model is developed. The approach is to transform the source model into the target model, which then has the same topology as the source model. The displacement vectors are calculated. Each vertex in the source model is mapped to the target model. The spatial relationships of each mapped vertex are constrained