Sketching-out virtual humans: From 2d storyboarding to immediate 3d character animation

Virtual beings are playing a remarkable role in today’s public entertainment, while ordinary users are still treated as audiences due to the lack of appropriate expertise, equipment, and computer skills. In this paper, we present a fast and intuitive storyboarding interface, which enables users to sketch-out 3D virtual humans, 2D/3D animations, and character intercommunication. We devised an intuitive “stick figurefleshing-outskin mapping” graphical animation pipeline, which realises the whole process of key framing, 3D pose reconstruction, virtual human modelling, motion path/timing control, and the final animation synthesis by almost pure 2D sketching. A “creative model-based method” is developed, which emulates a human perception process, to generate the 3D human bodies of variational sizes, shapes, and fat distributions. Meanwhile, our current system also supports the sketch-based crowd animation and the storyboarding of the 3D multiple character intercommunication. This system has been formally tested by various users on Tablet PC. After minimal training, even a beginner can create vivid virtual humans and animate them within minutes

A Data-Driven Appearance Model for Human Fatigue

Humans become visibly tired during physical activity. After a set of squats, jumping jacks or walking up a flight of stairs, individuals start to pant, sweat, loose their balance, and flush. Simulating these physiological changes due to exertion and exhaustion on an animated character greatly enhances a motion’s realism. These fatigue factors depend on the mechanical, physical, and biochemical function states of the human body. The difficulty of simulating fatigue for character animation is due in part to the complex anatomy of the human body. We present a multi-modal capturing technique for acquiring synchronized biosignal data and motion capture data to enhance character animation. The fatigue model utilizes an anatomically derived model of the human body that includes a torso, organs, face, and rigged body. This model is then driven by biosignal output. Our animations show the wide range of exhaustion behaviors synthesized from real biological data output. We demonstrate the fatigue model by augmenting standard motion capture with exhaustion effects to produce more realistic appearance changes during three exercise examples. We compare the fatigue model with both simple procedural methods and a dense marker set data capture of exercise motions

Multi-Scale Capture of Facial Geometry and Motion

We present a novel multi-scale representation and acquisition method for the animation of high-resolution facial geometry and wrinkles. We first acquire a static scan of the face including reflectance data at the highest possible quality. We then augment a traditional marker-based facial motion-capture system by two synchronized video cameras to track expression wrinkles. The resulting model consists of high-resolution geometry, motion-capture data, and expression wrinkles in 2D parametric form. This combination represents the facial shape and its salient features at multiple scales. During motion synthesis the motion-capture data deforms the high-resolution geometry using a linear shell-based mesh-deformation method. The wrinkle geometry is added to the facial base mesh using nonlinear energy optimization. We present the results of our approach for performance replay as well as for wrinkle editing.Engineering and Applied Science

Natural User Interfaces for Virtual Character Full Body and Facial Animation in Immersive Virtual Worlds

In recent years, networked virtual environments have steadily grown to become a frontier in social computing. Such virtual cyberspaces are usually accessed by multiple users through their 3D avatars. Recent scientific activity has resulted in the release of both hardware and software components that enable users at home to interact with their virtual persona through natural body and facial activity performance. Based on 3D computer graphics methods and vision-based motion tracking algorithms, these techniques aspire to reinforce the sense of autonomy and telepresence within the virtual world. In this paper we present two distinct frameworks for avatar animation through user natural motion input. We specifically target the full body avatar control case using a Kinect sensor via a simple, networked skeletal joint retargeting pipeline, as well as an intuitive user facial animation 3D reconstruction pipeline for rendering highly realistic user facial puppets. Furthermore, we present a common networked architecture to enable multiple remote clients to capture and render any number of 3D animated characters within a shared virtual environment

Animating Virtual Human for Virtual Batik Modeling

This research paper describes a development of animating virtual human for virtual batik modeling project. The objectives of this project are to animate the virtual human, to map the cloth with the virtual human body, to present the batik cloth, and to evaluate the application in terms of realism of virtual human look, realism of virtual human movement, realism of 3D scene, application suitability, application usability, fashion suitability and user acceptance. The final goal is to accomplish an animated virtual human for virtual batik modeling. There are 3 essential phases which research and analysis (data collection of modeling and animating technique), development (model and animate virtual human, map cloth to body and add a music) and evaluation (evaluation of realism of virtual human look, realism of virtual human movement, realism of props, application suitability, application usability, fashion suitability and user acceptance). The result for application usability is the highest percentage which 90%. Result show that this application is useful to the people. In conclusion, this project has met the objective, which the realism is achieved by used a suitable technique for modeling and animating

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

Visualising Human Motion: a First Principles Approach using Vicon data in Maya

Author version made available in accordance with publisher copyright policy.This paper describes a first principles approach to understanding how 3D digital animation of human motion can be processed and produced from raw data, without the use of proprietary software. The paper describes how students collected motion data using a custom marker set, how this was used to create a point cloud, how errors were corrected, and finally how the skeleton was rigged, skinned and modelled in Maya