Cultural dialects of real and synthetic emotional facial expressions

In this article we discuss the aspects of designing facial expressions for virtual humans (VHs) with a specific culture. First we explore the notion of cultures and its relevance for applications with a VH. Then we give a general scheme of designing emotional facial expressions, and identify the stages where a human is involved, either as a real person with some specific role, or as a VH displaying facial expressions. We discuss how the display and the emotional meaning of facial expressions may be measured in objective ways, and how the culture of displayers and the judges may influence the process of analyzing human facial expressions and evaluating synthesized ones. We review psychological experiments on cross-cultural perception of emotional facial expressions. By identifying the culturally critical issues of data collection and interpretation with both real and VHs, we aim at providing a methodological reference and inspiration for further research

Mulsemedia: State of the art, perspectives, and challenges

Mulsemedia-multiple sensorial media-captures a wide variety of research efforts and applications. This article presents a historic perspective on mulsemedia work and reviews current developments in the area. These take place across the traditional multimedia spectrum-from virtual reality applications to computer games-as well as efforts in the arts, gastronomy, and therapy, to mention a few. We also describe standardization efforts, via the MPEG-V standard, and identify future developments and exciting challenges the community needs to overcome

Socially expressive communication agents: A face-centric approach

Interactive Face Animation - Comprehensive Environment (iFACE) is a general purpose software framework that encapsulates the functionality of “face multimedia object”. iFACE exposes programming interfaces and provides authoring and scripting tools to design a face object, define its behaviors, and animate it through static or interactive situations. The framework is based on four parameterized spaces of Geometry, Mood, Personality, and Knowledge that together form the appearance and behavior of the face object. iFACE capabilities are demonstrated within the context of some artistic and educational projects

The influence of dynamics and speech on understanding humanoid facial expressions

Human communication relies mostly on nonverbal signals expressed through body language. Facial expressions, in particular, convey emotional information that allows people involved in social interactions to mutually judge the emotional states and to adjust its behavior appropriately. First studies aimed at investigating the recognition of facial expressions were based on static stimuli. However, facial expressions are rarely static, especially in everyday social interactions. Therefore, it has been hypothesized that the dynamics inherent in a facial expression could be fundamental in understanding its meaning. In addition, it has been demonstrated that nonlinguistic and linguistic information can contribute to reinforce the meaning of a facial expression making it easier to be recognized. Nevertheless, few studies have been performed on realistic humanoid robots. This experimental work aimed at demonstrating the human-like expressive capability of a humanoid robot by examining whether the effect of motion and vocal content influenced the perception of its facial expressions. The first part of the experiment aimed at studying the recognition capability of two kinds of stimuli related to the six basic expressions (i.e. anger, disgust, fear, happiness, sadness, and surprise): static stimuli, that is, photographs, and dynamic stimuli, that is, video recordings. The second and third parts were focused on comparing the same six basic expressions performed by a virtual avatar and by a physical robot under three different conditions: (1) muted facial expressions, (2) facial expressions with nonlinguistic vocalizations, and (3) facial expressions with an emotionally neutral verbal sentence. The results show that static stimuli performed by a human being and by the robot were more ambiguous than the corresponding dynamic stimuli on which motion and vocalization were associated. This hypothesis has been also investigated with a 3-dimensional replica of the physical robot demonstrating that even in case of a virtual avatar, dynamic and vocalization improve the emotional conveying capability

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

Indexing, browsing and searching of digital video

Video is a communications medium that normally brings together moving pictures with a synchronised audio track into a discrete piece or pieces of information. The size of a “piece ” of video can variously be referred to as a frame, a shot, a scene, a clip, a programme or an episode, and these are distinguished by their lengths and by their composition. We shall return to the definition of each of these in section 4 this chapter. In modern society, video is ver

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

Network streaming and compression for mixed reality tele-immersion

Bulterman, D.C.A. [Promotor]Cesar, P.S. [Copromotor

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