FacEMOTE: Qualitative Parametric Modifiers for Facial Animations

We propose a control mechanism for facial expressions by applying a few carefully chosen parametric modifications to preexisting expression data streams. This approach applies to any facial animation resource expressed in the general MPEG-4 form, whether taken from a library of preset facial expressions, captured from live performance, or entirely manually created. The MPEG-4 Facial Animation Parameters (FAPs) represent a facial expression as a set of parameterized muscle actions, given as intensity of individual muscle movements over time. Our system varies expressions by changing the intensities and scope of sets of MPEG-4 FAPs. It creates variations in “expressiveness” across the face model rather than simply scale, interpolate, or blend facial mesh node positions. The parameters are adapted from the Effort parameters of Laban Movement Analysis (LMA); we developed a mapping from their values onto sets of FAPs. The FacEMOTE parameters thus perturb a base expression to create a wide range of expressions. Such an approach could allow real-time face animations to change underlying speech or facial expression shapes dynamically according to current agent affect or user interaction needs

Multispace behavioral model for face-based affective social agents

This paper describes a behavioral model for affective social agents based on three independent but interacting parameter spaces: knowledge, personality, andmood. These spaces control a lower-level geometry space that provides parameters at the facial feature level. Personality and mood use findings in behavioral psychology to relate the perception of personality types and emotional states to the facial actions and expressions through two-dimensional models for personality and emotion. Knowledge encapsulates the tasks to be performed and the decision-making process using a specially designed XML-based language. While the geometry space provides an MPEG-4 compatible set of parameters for low-level control, the behavioral extensions available through the triple spaces provide flexible means of designing complicated personality types, facial expression, and dynamic interactive scenarios

Lip syncing method for realistic expressive 3D face model

Lip synchronization of 3D face model is now being used in a multitude of important fields. It brings a more human, social and dramatic reality to computer games, films and interactive multimedia, and is growing in use and importance. High level of realism can be used in demanding applications such as computer games and cinema. Authoring lip syncing with complex and subtle expressions is still difficult and fraught with problems in terms of realism. This research proposed a lip syncing method of realistic expressive 3D face model. Animated lips requires a 3D face model capable of representing the myriad shapes the human face experiences during speech and a method to produce the correct lip shape at the correct time. The paper presented a 3D face model designed to support lip syncing that align with input audio file. It deforms using Raised Cosine Deformation (RCD) function that is grafted onto the input facial geometry. The face model was based on MPEG-4 Facial Animation (FA) Standard. This paper proposed a method to animate the 3D face model over time to create animated lip syncing using a canonical set of visemes for all pairwise combinations of a reduced phoneme set called ProPhone. The proposed research integrated emotions by the consideration of Ekman model and Plutchik’s wheel with emotive eye movements by implementing Emotional Eye Movements Markup Language (EEMML) to produce realistic 3D face model. © 2017 Springer Science+Business Media New Yor

Affective communication remapping in MusicFace System

This paper addresses the issue of affective communication remapping, i.e. translation of affective content from one communication form to another. We propose a method to extract the affective data from a piece of music and then use that to animate a face. The method is based on studies of emotional aspect of music and our behavioural head model for face animation

Emotional remapping of music to facial animation

We propose a method to extract the emotional data from a piece of music and then use that data via a remapping algorithm to automatically animate an emotional 3D face sequence. The method is based on studies of the emotional aspect of music and our parametric-based behavioral head model for face animation. We address the issue of affective communication remapping in general, i.e. translation of affective content (eg. emotions, and mood) from one communication form to another. We report on the results of our MusicFace system, which use these techniques to automatically create emotional facial animations from multiinstrument polyphonic music scores in MIDI format and a remapping rule set. ? ACM, 2006. This is the author\u27s version of the work. It is posted here by permission of ACM for your personal use. Not for redistribution. The definitive version was published in Proceedings of the 2006 ACM SIGGRAPH symposium on Videogames, 143-149. Boston, Massachusetts: ACM. doi:10.1145/1183316.118333

Face modeling and animation language for MPEG-4 XMT framework

This paper proposes FML, an XML-based face modeling and animation language. FML provides a structured content description method for multimedia presentations based on face animation. The language can be used as direct input to compatible players, or be compiled within MPEG-4 XMT framework to create MPEG-4 presentations. The language allows parallel and sequential action description, decision-making and dynamic event-based scenarios, model configuration, and behavioral template definition. Facial actions include talking, expressions, head movements, and low-level MPEG-4 FAPs. The ShowFace and iFACE animation frameworks are also reviewed as example FML-based animation systems

Animation of 3D Model of Human Head

The paper deals with the new algorithm of animation of 3D model of the human head in combination with its global motion. The designed algorithm is very fast and with low calculation requirements, because it does not need the synthesis of the input videosequence for estimation of the animation parameters as well as the parameters of global motion. The used 3D model Candide generates different expressions using its animation units which are controlled by the animation parameters. These ones are estimated on the basis of optical flow without the need of extracting of the feature points in the frames of the input videosequence because they are given by the selected vertices of the animation units of the calibrated 3D model Candide. The established multiple iterations inside the designed animation algorithm of 3D model of the human head between two successive frames significantly improved its accuracy above all for the large motion