Facial expression recognition of 3D image using facial action coding system (FACS)

Facial expression or mimic is one of the results of muscle motion on the face. In a large Indonesian dictionary, the expression is a disclosure or process of declaring, i.e. showing or expressing intentions, ideas of feelings and so on. Facial expression is affected by the cranial nerve VII or Nervus Facialis. In research conducted Paul Ekman got a standardization of expression in the format of a movement called the Facial Action Coding System (FACS). In his research, Paul Ekman said six basic expressions of happiness, sadness, shock, fear, anger, and disgust. In muscle anatomy, that every moving muscle must be contraction, and in the event of contraction, the muscle will expand or swell. Muscles are divided into three parts of origo and insersio as the tip of muscle and belli as the midpoint of the muscle, so any movement occurs then the muscle part belli will expand or swell. Data retrieval technique that is by recording data in 3D, any contraction occurs then the belli part of the muscle will swell and this data will be processed and compared. From this data processing will be obtained the maximum strength of contraction that will be used as a reference for the magnitude of expression made by the model. In the detection of expression is ecluidience distance by comparing the initial data with movement data. The result of this research is a detection of expression and the amount of expression that occurs. A conclusion of this research, we can reconstruction of facial expression detection using FACS, for the example the happiness expression using AU 6 and AU 12 and in this research AU 6 and AU 12 in area 1 and area 4, and in this area it so higher than the other

Simulation of nonverbal social interaction and small groups dynamics in virtual environments

How can the behaviour of humans who interact with other humans be simulated in virtual environments? This thesis investigates the issue by proposing a number of dedicated models, computer languages, software architectures, and specifications of computational components. It relies on a large knowledge base from the social sciences, which offers concepts, descriptions, and classifications that guided the research process. The simulation of nonverbal social interaction and group dynamics in virtual environments can be divided in two main research problems: (1) an action selection problem, where autonomous agents must be made capable of deciding when, with whom, and how they interact according to individual characteristics of themselves and others; and (2) a behavioural animation problem, where, on the basis of the selected interaction, 3D characters must realistically behave in their virtual environment and communicate nonverbally with others by automatically triggering appropriate actions such as facial expressions, gestures, and postural shifts. In order to introduce the problem of action selection in social environments, a high-level architecture for social agents, based on the sociological concepts of role, norm, and value, is first discussed. A model of action selection for members of small groups, based on proactive and reactive motivational components, is then presented. This model relies on a new tagbased language called Social Identity Markup Language (SIML), allowing the rich specification of agents' social identities and relationships. A complementary model controls the simulation of interpersonal relationship development within small groups. The interactions of these two models create a complex system exhibiting emergent properties for the generation of meaningful sequences of social interactions in the temporal dimension. To address the issues related to the visualization of nonverbal interactions, results are presented of an evaluation experiment aimed at identifying the application requirements through an analysis of how real people interact nonverbally in virtual environments. Based on these results, a number of components for MPEG-4 body animation, AML — a tag-based language for the seamless integration and synchronization of facial animation, body animation, and speech — and a high-level interaction visualization service for the VHD++ platform are described. This service simulates the proxemic and kinesic aspects of nonverbal social interactions, and comprises such functionalities as parametric postures, adapters and observation behaviours, the social avoidance of collisions, intelligent approach behaviours, and the calculation of suitable interaction distances and angles

Affective Computing

This book provides an overview of state of the art research in Affective Computing. It presents new ideas, original results and practical experiences in this increasingly important research field. The book consists of 23 chapters categorized into four sections. Since one of the most important means of human communication is facial expression, the first section of this book (Chapters 1 to 7) presents a research on synthesis and recognition of facial expressions. Given that we not only use the face but also body movements to express ourselves, in the second section (Chapters 8 to 11) we present a research on perception and generation of emotional expressions by using full-body motions. The third section of the book (Chapters 12 to 16) presents computational models on emotion, as well as findings from neuroscience research. In the last section of the book (Chapters 17 to 22) we present applications related to affective computing

Unhinged

Unhinged is an animated graduate thesis film 7 minutes, 30 seconds long, which was originally conceived as a story about decision making, and it turned into a story about loneliness and an acceptance of it. It tells a story of a troll, Lancelot, who carries on a lonely life in a neglected cabin in the middle of a desert. He entertains himself by playing masquerade with his friends, mannequins-hat-holders. One day he hears a knock on the door and struggles with fear to open the door. This film is a hand-drawn animation that was mostly produced in TVPaint Animation Software. It is done in full color and has an elaborated soundtrack. This paper outlines the whole film creation process from the very beginning of an idea development stage until receiving a response and critique. It describes all my inventions, obstacles, failures, and successes, as well as technical specifics of the process

Low delay video coding

Analogue wireless cameras have been employed for decades, however they have not become an universal solution due to their difficulties of set up and use. The main problem is the link robustness which mainly depends on the requirement of a line-of-sight view between transmitter and receiver, a working condition not always possible. Despite the use of tracking antenna system such as the Portable Intelligent Tracking Antenna (PITA [1]), if strong multipath fading occurs (e.g. obstacles between transmitter and receiver) the picture rapidly falls apart. Digital wireless cameras based on Orthogonal Frequency Division Multiplexing (OFDM) modulation schemes give a valid solution for the above problem. OFDM offers strong multipath protection due to the insertion of the guard interval; in particular, the OFDM-based DVB-T standard has proven to offer excellent performance for the broadcasting of multimedia streams with bit rates over 10 Mbps in difficult terrestrial propagation channels, for fixed and portable applications. However, in typical conditions, the latency needed to compress/decompress a digital video signal at Standard Definition (SD) resolution is of the order of 15 frames, which corresponds to ≃ 0.5 sec. This delay introduces a serious problem when wireless and wired cameras have to be interfaced. Cabled cameras do not use compression, because the cable which directly links transmitter and receiver does not impose restrictive bandwidth constraints. Therefore, the only latency that affects a cable cameras link system is the on cable propagation delay, almost not significant, when switching between wired and wireless cameras, the residual latency makes it impossible to achieve the audio-video synchronization, with consequent disagreeable effects. A way to solve this problem is to provide a low delay digital processing scheme based on a video coding algorithm which avoids massive intermediate data storage. The analysis of the last MPEG based coding standards puts in evidence a series of problems which limits the real performance of a low delay MPEG coding system. The first effort of this work is to study the MPEG standard to understand its limit from both the coding delay and implementation complexity points of views. This thesis also investigates an alternative solution based on HERMES codec, a proprietary algorithm which is described implemented and evaluated. HERMES achieves better results than MPEG in terms of latency and implementation complexity, at the price of higher compression ratios, which means high output bit rates. The use of HERMES codec together with an enhanced OFDM system [2] leads to a competitive solution for wireless digital professional video applications

Digital tools in media studies: analysis and research. An overview

Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems

Digital Tools in Media Studies

Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems

Webfilm theory

Since its inception in 1989, the World Wide Web has grown as a medium for publishing first text, then images, audio, and finally, moving images including short films. While most new media forms, in particular, hypertext, have received scholarly attention, research into moving image on the Internet had been limited. The thesis therefore set out to investigate webfilms, a form of short film on the WWW and the Internet, over a period of 9 years (1997-2005). The thesis was theoretically embedded in questions regarding new media as new field of research, since the increasing visibility of new media had resulted in the emergence of the discipline of 'new media studies'. This context raised issues regarding the configuration of new media studies within the existing academic disciplines of media and cultural studies, which were explored in depth in the literature review. The case studies of the thesis explored and analysed webfilms from a vantage point of actor-network theory, since this was arguably the most appropriate methodology to a research object considerably influenced by technological factors. The focus was on the conditions of webfilm production, distribution, and exhibition, and the evolution of webfilm discourse and culture. The aim was to seek answers to the question 'How didwebfilm arise as (new) form of film?' In the process of research, a number of issues were raised including the changing definition and changing forms of webfilms, the convergence of media, and the complex interdependency of humans and their computers. The research re-evaluates the relationship between human and non-human factors in media production and presents a fresh approach by focusing on the network as unit of analysis. The thesis as a whole not only provides new information on the evolution of webfilm as a form of film, but also illustrates how the network interaction of humans and nonhumans lies at the heart of contemporary new media and convergence culture.sub_mcpaunpub79_ethesesunpu