Model for predicting perception of facial action unit activation using virtual humans

Blendshape facial rigs are used extensively in the industry for facial animation of virtual humans. However, storing and manipulating large numbers of facial meshes (blendshapes) is costly in terms of memory and computation for gaming applications. Blendshape rigs are comprised of sets of semantically-meaningful expressions, which govern how expressive the character will be, often based on Action Units from the Facial Action Coding System (FACS). However, the relative perceptual importance of blendshapes has not yet been investigated. Research in Psychology and Neuroscience has shown that our brains process faces differently than other objects so we postulate that the perception of facial expressions will be feature-dependent rather than based purely on the amount of movement required to make the expression. Therefore, we believe that perception of blendshape visibility will not be reliably predicted by numerical calculations of the difference between the expression and the neutral mesh. In this paper, we explore the noticeability of blendshapes under different activation levels, and present new perceptually-based models to predict perceptual importance of blendshapes. The models predict visibility based on commonly-used geometry and image-based metrics

High-quality face capture, animation and editing from monocular video

Digitization of virtual faces in movies requires complex capture setups and extensive manual work to produce superb animations and video-realistic editing. This thesis pushes the boundaries of the digitization pipeline by proposing automatic algorithms for high-quality 3D face capture and animation, as well as photo-realistic face editing. These algorithms reconstruct and modify faces in 2D videos recorded in uncontrolled scenarios and illumination. In particular, advances in three main areas offer solutions for the lack of depth and overall uncertainty in video recordings. First, contributions in capture include model-based reconstruction of detailed, dynamic 3D geometry that exploits optical and shading cues, multilayer parametric reconstruction of accurate 3D models in unconstrained setups based on inverse rendering, and regression-based 3D lip shape enhancement from high-quality data. Second, advances in animation are video-based face reenactment based on robust appearance metrics and temporal clustering, performance-driven retargeting of detailed facial models in sync with audio, and the automatic creation of personalized controllable 3D rigs. Finally, advances in plausible photo-realistic editing are dense face albedo capture and mouth interior synthesis using image warping and 3D teeth proxies. High-quality results attained on challenging application scenarios confirm the contributions and show great potential for the automatic creation of photo-realistic 3D faces.Die Digitalisierung von Gesichtern zum Einsatz in der Filmindustrie erfordert komplizierte Aufnahmevorrichtungen und die manuelle Nachbearbeitung von Rekonstruktionen, um perfekte Animationen und realistische Videobearbeitung zu erzielen. Diese Dissertation erweitert vorhandene Digitalisierungsverfahren durch die Erforschung von automatischen Verfahren zur qualitativ hochwertigen 3D Rekonstruktion, Animation und Modifikation von Gesichtern. Diese Algorithmen erlauben es, Gesichter in 2D Videos, die unter allgemeinen Bedingungen und unbekannten Beleuchtungsverhältnissen aufgenommen wurden, zu rekonstruieren und zu modifizieren. Vor allem Fortschritte in den folgenden drei Hauptbereichen tragen zur Kompensation von fehlender Tiefeninformation und der allgemeinen Mehrdeutigkeit von 2D Videoaufnahmen bei. Erstens, Beiträge zur modellbasierten Rekonstruktion von detaillierter und dynamischer 3D Geometrie durch optische Merkmale und die Shading-Eigenschaften des Gesichts, mehrschichtige parametrische Rekonstruktion von exakten 3D Modellen mittels inversen Renderings in allgemeinen Szenen und regressionsbasierter 3D Lippenformverfeinerung mittels qualitativ hochwertigen Daten. Zweitens, Fortschritte im Bereich der Computeranimation durch videobasierte Gesichtsausdrucksübertragung und temporaler Clusterbildung, Übertragung von detaillierten Gesichtsmodellen, deren Mundbewegung mit Ton synchronisiert ist, und die automatische Erstellung von personalisierten "3D Face Rigs". Schließlich werden Fortschritte im Bereich der realistischen Videobearbeitung vorgestellt, welche auf der dichten Rekonstruktion von Hautreflektionseigenschaften und der Mundinnenraumsynthese mittels bildbasierten und geometriebasierten Verfahren aufbauen. Qualitativ hochwertige Ergebnisse in anspruchsvollen Anwendungen untermauern die Wichtigkeit der geleisteten Beiträgen und zeigen das große Potential der automatischen Erstellung von realistischen digitalen 3D Gesichtern auf

FDLS: A Deep Learning Approach to Production Quality, Controllable, and Retargetable Facial Performances

Visual effects commonly requires both the creation of realistic synthetic humans as well as retargeting actors' performances to humanoid characters such as aliens and monsters. Achieving the expressive performances demanded in entertainment requires manipulating complex models with hundreds of parameters. Full creative control requires the freedom to make edits at any stage of the production, which prohibits the use of a fully automatic ``black box'' solution with uninterpretable parameters. On the other hand, producing realistic animation with these sophisticated models is difficult and laborious. This paper describes FDLS (Facial Deep Learning Solver), which is Weta Digital's solution to these challenges. FDLS adopts a coarse-to-fine and human-in-the-loop strategy, allowing a solved performance to be verified and edited at several stages in the solving process. To train FDLS, we first transform the raw motion-captured data into robust graph features. Secondly, based on the observation that the artists typically finalize the jaw pass animation before proceeding to finer detail, we solve for the jaw motion first and predict fine expressions with region-based networks conditioned on the jaw position. Finally, artists can optionally invoke a non-linear finetuning process on top of the FDLS solution to follow the motion-captured virtual markers as closely as possible. FDLS supports editing if needed to improve the results of the deep learning solution and it can handle small daily changes in the actor's face shape. FDLS permits reliable and production-quality performance solving with minimal training and little or no manual effort in many cases, while also allowing the solve to be guided and edited in unusual and difficult cases. The system has been under development for several years and has been used in major movies.Comment: DigiPro '22: The Digital Production Symposiu

Physics-based Reconstruction and Animation of Humans

Creating digital representations of humans is of utmost importance for applications ranging from entertainment (video games, movies) to human-computer interaction and even psychiatrical treatments. What makes building credible digital doubles difficult is the fact that the human vision system is very sensitive to perceiving the complex expressivity and potential anomalies in body structures and motion. This thesis will present several projects that tackle these problems from two different perspectives: lightweight acquisition and physics-based simulation. It starts by describing a complete pipeline that allows users to reconstruct fully rigged 3D facial avatars using video data coming from a handheld device (e.g., smartphone). The avatars use a novel two-scale representation composed of blendshapes and dynamic detail maps. They are constructed through an optimization that integrates feature tracking, optical flow, and shape from shading. Continuing along the lines of accessible acquisition systems, we discuss a framework for simultaneous tracking and modeling of articulated human bodies from RGB-D data. We show how semantic information can be extracted from the scanned body shapes. In the second half of the thesis, we will deviate from using standard linear reconstruction and animation models, and rather focus on exploiting physics-based techniques that are able to incorporate complex phenomena such as dynamics, collision response and incompressibility of the materials. The first approach we propose assumes that each 3D scan of an actor records his body in a physical steady state and uses a process called inverse physics to extract a volumetric physics-ready anatomical model of him. By using biologically-inspired growth models for the bones, muscles and fat, our method can obtain realistic anatomical reconstructions that can be later on animated using external tracking data such as the one resulting from tracking motion capture markers. This is then extended to a novel physics-based approach for facial reconstruction and animation. We propose a facial animation model which simulates biomechanical muscle contractions in a volumetric head model in order to create the facial expressions seen in the input scans. We then show how this approach allows for new avenues of dynamic artistic control, simulation of corrective facial surgery, and interaction with external forces and objects

Pde surface-represented facial blendshapes

Partial differential equation (PDE)-based geometric modelling and computer animation has been extensively investigated in the last three decades. However, the PDE surface-represented facial blendshapes have not been investigated. In this paper, we propose a new method of facial blendshapes by using curve-defined and Fourier series-represented PDE surfaces. In order to develop this new method, first, we design a curve template and use it to extract curves from polygon facial models. Then, we propose a second-order partial differential equation and combine it with the constraints of the extracted curves as boundary curves to develop a mathematical model of curve-defined PDE surfaces. After that, we introduce a generalized Fourier series representation to solve the second-order partial differential equation subjected to the constraints of the extracted boundary curves and obtain an analytical mathematical expression of curve-defined and Fourier series-represented PDE surfaces. The mathematical expression is used to develop a new PDE surface-based interpolation method of creating new facial models from one source facial model and one target facial model and a new PDE surface-based blending method of creating more new facial models from one source facial model and many target facial models. Some examples are presented to demonstrate the effectiveness and applications of the proposed method in 3D facial blendshapes

TEXT-DRIVEN MOUTH ANIMATION FOR HUMAN COMPUTER INTERACTION WITH PERSONAL ASSISTANT

International audiencePersonal assistants are becoming more pervasive in our environments but still do not provide natural interactions. Their lack of realism in term of expressiveness and their lack of visual feedback can create frustrating experiences and make users lose patience. In this sense, we propose an end-to-end trainable neural architecture for text-driven 3D mouth animations. Previous works showed such architectures provide better realism and could open the door for integrated affective Human Computer Interface (HCI). Our study shows that such visual feedback improves users' comfort for 78% of the candidates significantly while slightly improving their time perception

Learning from the Artist: Theory and Practice of Example-Based Character Deformation

Movie and game production is very laborious, frequently involving hundreds of person-years for a single project. At present this work is difficult to fully automate, since it involves subjective and artistic judgments. Broadly speaking, in this thesis we explore an approach that works with the artist, accelerating their work without attempting to replace them. More specifically, we describe an “example-based” approach, in which artists provide examples of the desired shapes of the character, and the results gradually improve as more examples are given. Since a character’s skin shape deforms as the pose or expression changes, or particular problem will be termed character deformation. The overall goal of this thesis is to contribute a complete investigation and development of an example-based approach to character deformation. A central observation guiding this research is that character animation can be formulated as a high-dimensional problem, rather than the two- or three-dimensional viewpoint that is commonly adopted in computer graphics. A second observation guiding our inquiry is that statistical learning concepts are relevant. We show that example-based character animation algorithms can be informed, developed, and improved using these observations. This thesis provides definitive surveys of example-based facial and body skin deformation. This thesis analyzes the two leading families of example-based character deformation algorithms from the point of view of statistical regression. In doing so we show that a wide variety of existing tools in machine learning are applicable to our problem. We also identify several techniques that are not suitable due to the nature of the training data, and the high-dimensional nature of this regression problem. We evaluate the design decisions underlying these example-based algorithms, thus providing the groundwork for a ”best practice” choice of specific algorithms. This thesis develops several new algorithms for accelerating example-based facial animation. The first algorithm allows unspecified degrees of freedom to be automatically determined based on the style of previous, completed animations. A second algorithm allows rapid editing and control of the process of transferring motion capture of a human actor to a computer graphics character. The thesis identifies and develops several unpublished relations between the underlying mathematical techniques. Lastly, the thesis provides novel tutorial derivations of several mathematical concepts, using only the linear algebra tools that are likely to be familiar to experts in computer graphics. Portions of the research in this thesis have been published in eight papers, with two appearing in premier forums in the field