Computer Facial Animation

Declaro ser autor do presente trabalho de investigação, parte integrante das condições exigidas para a obtenção do grau de Mestre em Audiovisual e Multimédia. Declaro ainda ser este um trabalho original, nunca submetido (no seu todo ou em qualquer das suas partes) a uma instituição de ensino superior para obtenção de um grau académico ou de outra habilitação. Atesto ainda que todas as citações aqui incluídas se encontram devidamente identificadas, e acrescento ter consciência de que o plágio poderá levar à anulação do trabalho agora apresentado. Lisboa, fevereiro de 2021 _____________________________ Nuno Gomes x RESUMO A computação gráfica (computer graphics) nasceu na década de 1960, ajudando na forma como o cinema representa o mundo. Nos dias de hoje é uma ciência multidisciplinar. É responsável pelo constante desenvolvimento e aperfeiçoamento de diversas áreas, desde a medicina à indústria automóvel. A evolução do cinema permitiu à computação gráfica integrar-se na sétima arte. Sendo a mesma, hoje em dia, uma importante ferramenta das produções cinematográficas. Começando por simples introduções da computação gráfica em curtas metragens na década de 1970, acabou por se tornar numa ferramenta muito utilizada em longas metragens totalmente computadorizadas, já no século XXI. O foco desta investigação passa por compreender a construção e animação da personagem virtual, através da captura de movimento de atores. As diversas representações do ser humano através de uma personagem digital, ao longo da história do cinema, demonstram que existem diversas técnicas para chegar ao resultado final. No entanto, ainda há uma indefinição sobre a melhor a ser abordada e utilizada. The Adventures of Tintin: The Secret of the Unicorn (2011). Serve assim, para perceber as características de animação indicadas para determinados momentos cinematográficos, tendo em conta a representação do ser humano através de uma personagem virtual. Esta investigação pretende ser um arquivo de dados relevante, através de uma pesquisa epistemológica reflexiva justificada na literatura das ciências sociais e humanas. Tornar-se um ponto de partida para que mais etapas de conceção, modelação, animação e produção sejam compreendidas e estudadas por novas gerações da era da computação gráfica.

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This paper describes our approach on the development of the expression of emotions on a robot with constrained facial expressions. We adapted principles and practices of animation from Disney TM and other animators for robots, and applied them on the development of emotional expressions for the EMYS robot. Our work shows that applying animation principles to robots is beneficial for human understanding of the robots' emotions.

We describe a new facial animation system based on a hierarchy of morphable sub-facial appearance models. The innovation in our approach is that through the hierarchical model, parametric control is available for the animation of multiple sub-facial areas. We animate these areas automatically both from speech -to produce lip-synching, and natural pauses and hesitations -and using specific temporal variation of appearance parameters to control sub-facial behaviours.

Animating human face presents interesting challenges because of its familiarity as the face is the part utilized to recognize individuals. This paper reviewed the approaches used in facial modeling and animation and described their strengths and weaknesses. Realistic face animation of computer graphic models of human faces can be hard to achieve as a result of the many details that should be approximated in producing realistic facial expressions. Many methods have been researched to create more and more accurate animations that can efficiently represent human faces. We described the techniques that have been utilized to produce realistic facial animation. In this survey, we roughly categorized the facial modeling and animation approach into the following classes: blendshape or shape interpolation, parameterizations, facial action coding system-based approaches, moving pictures experts group-4 facial animation, physics-based muscle modeling, performance driven facial animation, visua...

We present further steps in our research into visual languages for animation. Animation is a rich mode of communication that is currently accessible to few, because animation systems are complex. Some systems try to make animation simple but put severe limits on users' creative expression. Our field studies are demonstrating that would-be animators need to express animation in a wide variety of ways. We are developing a taxonomy of forms of expression for animation that will help the designers of visual languages for animation to determine which expressive forms to support. Our end goal is to build animation sketching systems that use pen input to make animation universally accessible.

We present our research into visual languages for animating sketches. Animation is a rich mode of communication that is currently accessible to few. Simple animation systems exist, but severely restrict the types of motion that can be represented. Our field studies are demonstrating that would-be animators need to coordinate many objects moving in a variety of ways. The visual language described here allows a variety of motions to be defined with hand gestures, and gives visual feedback for coordination of events. This may open up computerized communication to users who think in dynamic visual images.

The article discusses and review the various factors affect the consumer behaviour towards organic food. The findings are extracted from various research studied conducted around the globe, factors are analyzed and suggestions are provided for the future research. We explore that awareness and knowledge make people health conscious which change the preferences of consumer towards organic food over conventional food. The positive shift in the attitude of consumers occurs due to demographic change like growing income and education in the modern consumers. Some other factors like due to modern life style people are facing some lifestyle diseases like obesity, heart disease depression also influenced people to make a healthy food choice. This kind of choice create a huge opportunity for retailers, distributors, farmers and marketers to accelerate their organic food business.

Many vocational schools and universities offer lectures on non-stereoscopic 3D computer graphics (3DCG) animation production, as well as practical 3DCG software operation, modeling, and animation production. However, relatively few of these educational institutions provide lectures on stereoscopic 3D (S3D). To address this gap, we developed two 15-week syllabuses with educational materials, which focused on both knowledgebased and skills-based education about 3DCG animation and S3D computer graphics (S3DCG) animation production, considering the potential employment of students in animation studios. Our investigation confirmed that the knowledge and skills of the subjects improved in this study, so we presented a report on the effectiveness of the educational materials for S3DCG animation production education at the Education Symposium of SIGGRAPH Asia 2015. By developing these educational materials, we reaffirmed the importance of camerawork skills education, which may be regarded as the cornerstone of 3DCG animation and S3DCG animation production. However, camerawork skills education in 3DCG animation classes remains limited in vocational schools and universities at present. We hypothesized that one of the reasons for the paucity of camerawork skills education is the lack of suitable educational materials for practical classes in the use of 3DCG software. Indeed, educational materials that allow teachers to begin camerawork skills education for 3DCG and S3DCG animation production without preparation are greatly lacking. Furthermore, modeling and character animation are regarded as essential before camerawork practice. Camerawork practice can be started immediately if sufficient educational materials are provided. The educational materials that we developed are suitable for S3DCG but also for 3DCG camerawork practice. In this study, we present the camerawork skills education and evaluation methods involved in the educational materials developed for the S3D lectures and for camerawork practical classes in S3DCG animation. We then discuss the experimental classes in which we used the educational materials and we report the results of S3D knowledge tests and camerawork practical tests, which were conducted in order to measure the learning/education outcomes for the participating subjects, as well as the results of a survey that focused on their subjective experiences. The experimental results clearly demonstrated improvements in both the knowledge and skills of subjects, thereby confirming the effectiveness of the camerawork educational materials. We suggest that if students with knowledge of S3D and 3DCG animation are well-practiced in the use of these educational materials, their skills in S3DCG camerawork would improve markedly.

We present Animatomy, a novel anatomic+animator centric representation of the human face. Present FACS-based systems are plagued with problems of face muscle separation, coverage, opposition, and redundancy. We, therefore, propose a collection of muscle fiber curves as an anatomic basis, whose contraction and relaxation provide us with a fine-grained parameterization of human facial expression. We build an end-to-end modular deformation architecture using this representation that enables: automatic optimization of

We present a hierarchical image based facial model which is driven from speech. It incorporates a novel modelling and synthesis algorithm for learning and producing coarticulated mouth animation We demonstrate using the hierarchical model how animation of the entire face may be created solely from animations of the mouth and how colour may be reincorporated and reproduced compactly without explicitly being modelled. We then consider and evaluate methods of merging animations from several different facial areas for delivery of output.

In this paper we describe a method for re-mapping animation parameters between multiple types of facial model for performance driven animation. A facial performance can be analysed in terms of a set of facial action parameter trajectories using a modified appearance model with modes of variation encoding specific facial actions which we can pre-define. These parameters can then be used to animate other modified appearance models or 3D morph-target based facial models. Thus, the animation parameters analysed from the video performance may be re-used to animate multiple types of facial model. We demonstrate the effectiveness of our approach by measuring its ability to successfully extract action-parameters from performances and by displaying frames from example animations. We also demonstrate its potential use in fully automatic performance driven animation applications.

Motivated by the need for an informative, unbiased, and quantitative perceptual method for the evaluation of a talking head we are developing, we propose a new test based on the “McGurk Effect.” Our approach helps to identify strengths and weaknesses in visual--speech synthesis algorithms for talking heads and facial animations, in general, and uses this insight to guide further development. We also evaluate the behavioral quality of our facial animations in comparison to real-speaker footage and demonstrate our tests by applying them to our current speech-driven facial animation system.

In this paper we describe a method for re-mapping animation parameters between multiple types of facial model for performance driven animation. A facial performance can be analysed automatically in terms of a set of facial action trajectories using a modified appearance model with modes of variation encoding specific facial actions. These parameters can then be used to animate other appearance models, or 3D facial models. Thus, the animation parameters analysed from the video performance may be re-used to animate multiple types of facial model. We demonstrate the effectiveness of our approach by measuring its ability to successfully extract action-parameters from performances and by displaying frames from example animations.

We present a hierarchical image based facial model which is driven from speech. It incorporates a novel modelling and synthesis algorithm for learning and producing coarticulated mouth animation We demonstrate using the hierarchical model how animation of the entire face may be created solely from animations of the mouth and how colour may be reincorporated and reproduced compactly without explicitly being modelled. We then consider and evaluate methods of merging animations from several different facial areas for delivery of output.

Motivated by the need for an informative, unbiased, and quantitative perceptual method for the evaluation of a talking head we are developing, we propose a new test based on the “McGurk Effect.” Our approach helps to identify strengths and weaknesses in visual--speech synthesis algorithms for talking heads and facial animations, in general, and uses this insight to guide further development. We also evaluate the behavioral quality of our facial animations in comparison to real-speaker footage and demonstrate our tests by applying them to our current speech-driven facial animation system.

As an art form that has existed since nearly a century ago, animation has birthed many different techniques of presenting visual motion to the audience, either in a more familiar, realistic representation or a stylistic visual choice that goes beyond imagination. Various elements such as characters, objects, environments and abstract constructs are combined into one cohesive shot and subsequently, several of these shots are compiled to create one scene in an animation production. Among these aspects of animation that have to be taken into consideration heavily by animators, is frame rates, or more commonly known and abbreviated as FPS (frames per seconds). The definition of frame rate is basically the amount of frames or images that are playing within one second exactly in a time-based work. There are several variations of frame rates that are used by different styles of animation, whether it is traditional hand-drawn 2D animation, fully computer-generated 3D animation, stop motion ...

Abstract— Temporal modeling of facial expression is very important in various fields which include expression recognition, realism in computer animation and behavioral study in psychological field. While various researches are currently being done to capture the movement of facial ...

For realistic speech animation, smooth viseme and expression transitions, blending and co-articulation have been so far studied and experimented widely. In this paper, we describe an approach for speech animation by smooth viseme transition. Though this method cannot form an alternative to the coarticulation phenomenon, it certainly takes us a step nearer to realistic speech animation. The approach is devised as a result of the Principal Component Analysis of facial capture data extracted using an optical tracking system. The system extracts the 3D positions of markers attached at the specific feature point locations on face to capture the facial movements of a talking person. We form a vector space representation by using the Principal Component Analysis of this data. We call this space the "viseme space". We use the viseme space to generate convincing speech animation and to make smooth transitions from one viseme to another. As the analysis and the resulting viseme space automatically consider the dynamics of and the deformation constraints on the facial movements, the resulting facial animation is very realistic.

Figure 1: Left: A user drawing a spatial motion doodle (SMD) which is the six-dimensional trajectory of a moving frame (position and orientation), here attached to the HTC Vive controller. Right: The SMD is parsed into a string of motion tokens, allowing to recognize actions and extract the associated motion qualities. This information is transferred to an articulated character to generate an expressive 3D animation sequence.

The continuously increasing complexity of computer animations makes it necessary to rely on the knowledge of various experts to cover the different areas of computer graphics and animation. This fact, which can be noted in many areas of scientific working, leads to increasing effort being put into research concerning cooperative working over the internet. However, it still requires substantial effort and time to combine different animation techniques in a common virtual environment. When trying to perform collaborative animation over a network, we often face the problem of having to combine animation systems and applications based on different software and hardware and using incompatible data structures. We present an approach, based on a client-server architecture and employing a VRML-based language as common interchange format, that allows inhomogeneous systems to be easily incorporated into a collaborative animation. The applications can be freed from employing plug-ins or libraries to link into a common animation platform; they keep a local copy of the global scene and only need the ability to export the internal data representation into the so called "PaVRML" language, the language we use use to exchange data and synchronize the clients. This approach does not only allow a number of practitioners to share their know-how within a common animation without requiring the huge amount of work necessary to port their application to a common platform. It also makes it often possible in the first place to combine the capabilities of different animation systems into a single complex animation. Additionally, we investigate solutions to optimize the network load for real-time applications. In this paper we present preliminary results and discuss the future developments of this ongoing work.

Figure : With our animation interface, users can edit the shape and opacity of automatically generated silhouette curves in a temporally consistent manner. In this case, a user changed the shape of the character's hand lines through editing and redrawing the curves to emphasize the movement. Towards the beginning and end frames, the user also added laugh lines under the character's eye and around the mouth.

Figure 1: Left: A user drawing a spatial motion doodle (SMD) which is the six-dimensional trajectory of a moving frame (position and orientation), here attached to the HTC Vive controller. Right: The SMD is parsed into a string of motion tokens, allowing to recognize actions and extract the associated motion qualities. This information is transferred to an articulated character to generate an expressive 3D animation sequence.

We present a n i n teractive modeling and animation system that enables the close integration of a variety of simulation and animation paradigms. The system models diverse objects undergoing a wide variety o f c hanges over time. These changes can be speci ed by di erent methods of control. Real-time update speeds are facilitated through maintenance of data dependency networks combined with a detailed caching and data invalidation scheme. The system is an extensible testbed, enabling research in the interaction of disparate controller types.

As an art form that has existed since nearly a century ago, animation has birthed many different techniques of presenting visual motion to the audience, either in a more familiar, realistic representation or a stylistic visual choice that goes beyond imagination. Various elements such as characters, objects, environments and abstract constructs are combined into one cohesive shot and subsequently, several of these shots are compiled to create one scene in an animation production. Among these aspects of animation that have to be taken into consideration heavily by animators, is frame rates, or more commonly known and abbreviated as FPS (frames per seconds). The definition of frame rate is basically the amount of frames or images that are playing within one second exactly in a time-based work. There are several variations of frame rates that are used by different styles of animation, whether it is traditional hand-drawn 2D animation, fully computer-generated 3D animation, stop motion ...

In this paper we present a platform called VhCVE, in which relevant issues related to Collaborative Virtual Environments applications are integrated. The main goal is to provide a framework where participants can interact with others by voice and chat. Also, manipulation tools such as a mouse using Computer Vision and Physics are included, as well as rendering techniques (e.g. light sources, shadows and weather effects). In addition, avatar animation in terms of face and body motion is provided. Results indicate that our platform can be used as a interactive virtual world to help communication among people.

We describe the HUMANOID environment dedicated to human modeling and animation for general multimedia, VR, and CAD applications integrating virtual humans. We present the design of the system and the integration of the various features: generic modeling of a large class of entities with the BODY data structure, realistic skin deformation for body and hands, facial animation, collision detection, integrated motion control and parallelization of computation intensive tasks.

Visemes are visual counterpart of phonemes. Traditionally, the speech animation of 3D synthetic faces involvesextraction of visemes from input speech followed by the application of co‐articulation rules to generate realisticanimation. In this paper, we take a novel approach for speech animation — using visyllables, the visual counterpartof syllables. The approach results into a concatenative visyllable based speech animation system. The key contributionof this paper lies in two main areas. Firstly, we define a set of visyllable units for spoken English along withthe associated phonological rules for valid syllables. Based on these rules, we have implemented a syllabificationalgorithm that allows segmentation of a given phoneme stream into syllables and subsequently visyllables. Secondly,we have recorded the database of visyllables using a facial motion capture system. The recorded visyllableunits are post‐processed semi‐automatically to ensure continuity at the vowel boundaries of t...

There is an increasing interest in the computer animation. The most of the current animation software tools are described by Richard Parent in [5]. The driving ideas behind animation in general and computer animation in particular are presented in [6]. More and more animations are available in various places on the Internet. The increasing availability of potentially interesting materials makes the search extremely difficult especially when the search is by the animation contents. This work is devoted to analyzing the syntax contents of the animations. In the paper we present the ANIMATION system-a system for animation scene and contents creation, retrieval and display. The system is based on MPEG-4 standard [3, 4]. MPEG-4 is an ISO/IEC standard developed by MPEG (Moving Picture Experts Group). These standard makes interactive video on CD-ROM and Digital Television possible.

Research in facial expression has concluded that at least six emotions, conveyed by human faces, are universally associated with distinct expressions. Sadness, anger, joy, fear, disgust and surprise are categories of expressions that are recognizable across cultures. In this work we form a relation between the description of the universal expressions and the MPEG-4 Facial Definition Parameter Set (FDP). We also investigate the relation between the movement of basic FDPs and the parameters that describe emotion-related words according to some classic psychological studies. In particular Whissel suggested that emotions are points in a space, which seem to occupy two dimensions: activation and evaluation. We show that some of the MPEG-4 Facial Animation Parameters (FAPs), approximated by the motion of the corresponding FDPs, can be combined by means of a fuzzy rule system to estimate the activation parameter. In this way variations of the six archetypal emotions can be achieved. Moreover, Plutchik concluded that emotion terms are unevenly distributed through the space defined by dimensions like Whissel's; instead they tend to form an approximately circular pattern, called "emotion wheel", modeled using an angular measure. The "emotion wheel" can be defined as a reference for creating intermediate expressions from the universal ones, by interpolating the movement of dominant FDP points between neighboring basic expressions. By exploiting the relation between the movement of the basic FDP points and the activation and angular parameters we can model more emotions than the primary ones and achieve efficient recognition in video sequences.

Software for computer animation is generally characterized by a steep learning curve, due to the entanglement of both sophisticated techniques and interaction methods required to control 3D geometries. This paper proposes a tool designed to support computer animation production processes by leveraging the affordances offered by articulated tangible user interfaces and motion capture retargeting solutions. To this aim, orientations of an instrumented prop are recorded together with animator's motion in the 3D space and used to quickly pose characters in the virtual environment. High-level functionalities of the animation software are made accessible via a speech interface, thus letting the user control the animation pipeline via voice commands while focusing on his or her hands and body motion. The proposed solution exploits both off-the-shelf hardware components (like the Lego Mindstorms EV3 bricks and the Microsoft Kinect, used for building the tangible device and tracking animator's skeleton) and free open-source software (like the Blender animation tool), thus representing an interesting solution also for beginners approaching the world of digital animation for the first time. Experimental results in different usage scenarios show the benefits offered by the designed interaction strategy with respect to a mouse & keyboard-based interface both for expert and non-expert users.

Software for computer animation is generally characterized by a steep learning curve, due to the entanglement of both sophisticated techniques and interaction methods required to control 3D geometries. This paper proposes a tool designed to support computer animation production processes by leveraging the affordances offered by articulated tangible user interfaces and motion capture retargeting solutions. To this aim, orientations of an instrumented prop are recorded together with animator's motion in the 3D space and used to quickly pose characters in the virtual environment. High-level functionalities of the animation software are made accessible via a speech interface, thus letting the user control the animation pipeline via voice commands while focusing on his or her hands and body motion. The proposed solution exploits both off-the-shelf hardware components (like the Lego Mindstorms EV3 bricks and the Microsoft Kinect, used for building the tangible device and tracking animator's skeleton) and free open-source software (like the Blender animation tool), thus representing an interesting solution also for beginners approaching the world of digital animation for the first time. Experimental results in different usage scenarios show the benefits offered by the designed interaction strategy with respect to a mouse & keyboard-based interface both for expert and non-expert users.

In animation, style can be considered as a distinctive layer over the content of a motion, allowing a character to achieve the same gesture in various ways. Editing existing animation to modify the style while keeping the same content is an interesting task, which can facilitate the re-use of animation data and cut down on production time. Existing animation edition methods either work directly on the motion data, providing precise but tedious tools, or manipulate semantic style categories, taking control away from the user. As a middle ground, we propose a new character motion edition paradigm allowing higher-level manipulations without sacrificing controllability. We describe the concept of pose metrics, objective value functions which can be used to edit animation, leaving the style interpretation up to the user. We then propose an edition pipeline to edit animation data using pose metrics.

We introduce a novel parameterization of facial expressions by using elastic surface model. The elastic surface model has been used as a deformation tool especially for nonrigid organic objects. The parameter of expressions is either retrieved from existing articulated face models or obtained indirectly by manipulating facial muscles. The obtained parameter can be applied on target face models dissimilar to the source model to create novel expressions. Due to the limited number of control points, the animation data created using the parameterization require less storage size without affecting the range of deformation it provides. The proposed method can be utilized in many ways: (1) creating a novel facial expression from scratch, (2) parameterizing existing articulation data, (3) parameterizing indirectly by muscle construction, and (4) providing a new animation data format which requires less storage.

Software for the production of sign languages is much less common than for spoken languages. Such software usually relies on 3D humanoid avatars to produce signs which, inevitably, necessitates the use of animation. One barrier to the use of popular animation tools is their complexity and steep learning curve, which can be hard to master for inexperienced users. Here, we present PE2LGP, an authoring system that features a 3D avatar that signs Portuguese Sign Language. Our Animator is designed specifically to craft sign language animations using a key frame method, and is meant to be easy to use and learn to users without animation skills. We conducted a preliminary evaluation of the Animator, where we animated seven Portuguese Sign Language sentences and asked four sign language users to evaluate their quality. This evaluation revealed that the system, in spite of its simplicity, is indeed capable of producing comprehensible messages.

We present a system capable of producing video-realistic videos of a speaker given audio only. The audio input signal requires no phonetic labelling and is speaker independent. The system requires only a small training set of video to achieve convincing realistic facial synthesis. The system learns the natural mouth and face dynamics of a speaker to allow new facial poses, unseen in the training video, to be synthesised. To achieve this we have developed a novel approach which utilises a hierarchical and non-linear PCA model which couples speech and appearance. We show that the model is capable of synthesising videos of a speaker using new audio segments from both previously heard and unheard speakers. The model is highly compact making it suitable for a wide range of real-time applications in multimedia and telecommunications using standard hardware.

Several very complex problems must be solved in order to render three-dimensional animation involving virtual humans in their environment. In this paper, we explain several of these problems and present solutions. In the context of interactive animation systems, the relationship between the animator and the virtual humans should be also emphasized. We present an example of facial communication between the animator and virtual humans.

This paper presents an account of a Cyberdance performance involving both real and virtual dancers. Preparing for this performance required the integration of a number of virtual human modules into a single system framework capable of handling all aspects of the show. We describe the modules that deal with creation, modeling and texturing the virtual humans, as well as those that manage the animation of bodies within real-time applications, and control several bodies simultaneously, as choreographed. Real-time hand deformation and facial animation modules increase the realism of the virtual dancers. Two techniques are described for improving the quality of the rendering in the virtual component of the scenario. We describe the VR devices for merging the interactive dancers into the virtual environment. In conclusion, we report on experiences during the actual presentation of the show and suggest topics for future research into improvements of various parts of our system.

In this paper, we present a new semiautomatic method to reconstruct 3D facial model for animation from two orthogonal pictures taken from front and side views. The method is based on extracting the hair and face outlines and detecting interior features in the region of mouth, eyes, etc. We show how to use structured snakes for extracting the profile boundaries and facial features. Then DFFD, a deformation process, is used for modifying a predefined or generic 3D head model to produce the individualized head. Texture mapping based on cylindrical projection is employed using a composed image from the two images. The reconstructed 3D face can be animated in our facial animation system.

In this paper, we present our work on a level of detail(LoD) technique for human-like face models in virtual environments. Conventional LoD techniques have been adapted to allow facial animation on simplified geometric models. This includes optimization on both geometry, and animation parameters. Simplified models are generated in a region-based manner in consideration with the mobility of each region. The animation process is decomposed into two sub-processes and each step is optimized. In the MPA(Minimum Perceptible Action) level optimization, a hierarchical structure was devised for the multi-level animation model. The deformation level is simplified by reducing the number of control points. During runtime, the level of animation is selected in combination with the viewpoint information the level of geometry.

In visual effects it is usually required to process multiple film plates in order to reproduce the performance of real actors using a digital 3D character. One of the most challenging aspects of this process is the complexity of facial animation. Motivated by the work required to capture and digitally augment the performances for the 2019 film Cats [Cats 2019], we created FaceLab, a system that drives the animation of a 3D facial rig by optimizing its blendshape targets' weights and the head transformation matrix to match the reference plate. The system is designed to scale across different scenarios with varying complexity and produced tangible savings on the show. • Applied computing → Media arts; • Computing methodologies → Motion capture; Machine learning.

Animasi adalah gambar bergerak yang dibuat dengan menggunakan media komputer. Selain untuk dokumentasi museum, animasi ini dibuat juga dalam rangka sebagai media sosialisasi atau pengenalan kepada masyarakat khususnya anak-anak dari berbagai sekolah yang berkunjung ke museum, bahwa permainan ini merupakan salah satu budaya peninggalan nenek moyang dimana kita harus ikut melestarikannya supaya permainan ini tidak hilang dimakan jaman. Dimana kita tahu sekarang ini sudah masuk ke era teknologi banyak permainan canggih yang masuk ke kalangan anak-anak. Anak-anak saat ini jarang bahkan tidak mengetahui tentang adanya permainan tradisional. Museum Anak Kolong Tangga Yogyakarta salah satu institusi yang peduli tentang permainan tradisional,dimana didalamnya banyak koleksi mainanmainan kuno yang secara tidak langsung merupakan pusat perhatian khusus pada upaya penyelamatan seni kerajinan tradisional atau permaianan rakyat yang masih tersisa. Di dalam film ini akan memperkenalkan permainanp...

This study looks into the nuanced interaction between AI-driven autonomy and animator control within digital animation, a domain witnessing rapid technological advancements. Focusing on the AI-rendering techniques demonstrated in the works of Mick Mahler, with his explicit permission, we explore the balance of creative expression and automated efficiency in producing high-quality animations. The research critically evaluates the effectiveness and artistic fidelity of AI-assisted processes in animation, using Mahler's innovative methods as a case study. It proposes a novel framework for incorporating AI in animation workflows, emphasizing enhancement of the animator's creative agency. The methodology includes a qualitative analysis of animations rendered with AI, a quantitative comparison to traditional methods, and experimental application of the proposed framework in animation projects. By bridging the gap between the technical prowess of AI and the creative vision of animators, this study seeks to enrich the toolkit of digital animators, fostering a collaborative relationship between advanced technology and artistic creativity.

Generating extreme appearances such as scared awaiting sweating while happy fit for tears (cry) and blushing (anger and happiness) is the key issue in achieving the high quality facial animation. The effects of sweat, tears, and colors are integrated into a single animation model to create realistic facial expressions of 3D avatar. The physical properties of muscles, emotions, or the fluid properties with sweating and tears initiators are incorporated. The action units (AUs) of facial action coding system are merged with autonomous AUs to create expressions including sadness, anger with blushing, happiness with blushing, and fear. Fluid effects such as sweat and tears are simulated using the particle system and smoothed-particle hydrodynamics (SPH) methods which are combined with facial animation technique to produce complex facial expressions. The effects of oxygenation of the facial skin color appearance are measured using the pulse oximeter system and the 3D skin analyzer. The re...