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Figure from:Transferring the Rig and Animations from a Character to Different Face Models

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Figure 13: In this example, we show 3 of the 25 shapes we transferred from the source model (SM) to the target models (TM). First row details de SM, second and third row detail the TM: (a) rest pose; (b) eye brows up; (c) left eye brow up; d) angry expression, mix of four different shapes: end of the eye brow up, middle eye brow down, inside eye brow down and upper chick up (3D models courtesy of Dygra).

Figure 13 In this example, we show 3 of the 25 shapes we transferred from the source model (SM) to the target models (TM). First row details de SM, second and third row detail the TM: (a) rest pose; (b) eye brows up; (c) left eye brow up; d) angry expression, mix of four different shapes: end of the eye brow up, middle eye brow down, inside eye brow down and upper chick up (3D models courtesy of Dygra).

Related Figures (20)

Figure 1: Jn this example, we transfer the character setup from the source model (SM) to the target model (TM). The character rig includes: 19 joints and a NURBS surface behind the mouth (a) SM, (b) SM rig, (c) SM shape, (d) TM, (e) TM rig, (f) TM Shape (3D models courtesy of Dygra).
Figure 1: Jn this example, we transfer the character setup from the source model (SM) to the target model (TM). The character rig includes: 19 joints and a NURBS surface behind the mouth (a) SM, (b) SM rig, (c) SM shape, (d) TM, (e) TM rig, (f) TM Shape (3D models courtesy of Dygra).
Figure 3: The generic rig: (a) 3D textured model; (b) wire- frame, 1800 points; (c) 44 landmarks; (d) weight distribu- tion; (e) 11 polygon geometric surfaces, representing the face muscles; (f) 6 bones that constitute the skeleton. Figure 2: Overview: (a) define the source and target model; (b) adapt the source model geometry to fit the target model; (c) transfer and bind the influence objects, skeleton, shapes and attributes from the source model to the target model. As a result, we obtain a model ready to animate.
Figure 3: The generic rig: (a) 3D textured model; (b) wire- frame, 1800 points; (c) 44 landmarks; (d) weight distribu- tion; (e) 11 polygon geometric surfaces, representing the face muscles; (f) 6 bones that constitute the skeleton. Figure 2: Overview: (a) define the source and target model; (b) adapt the source model geometry to fit the target model; (c) transfer and bind the influence objects, skeleton, shapes and attributes from the source model to the target model. As a result, we obtain a model ready to animate.
Figure 4: (a) TPS warp of a generic surface based on re- duced set of sparse landmarks (S\: source surface, S>: tar- get surface, P: source landmarks, Q: target landmarks); (b) Sticking of the source surface to the target surface after ap- plying the TPS (see Section 5.3). Figure 5: Human face warping process using 10 landmarks.
Figure 4: (a) TPS warp of a generic surface based on re- duced set of sparse landmarks (S\: source surface, S>: tar- get surface, P: source landmarks, Q: target landmarks); (b) Sticking of the source surface to the target surface after ap- plying the TPS (see Section 5.3). Figure 5: Human face warping process using 10 landmarks.
Figure 7: Warping structure with (a) sparse correspon- dences (landmarks); (b) dense correspondences. Figure 6: Human face deformation with 10 landmarks, TPS front view (left); close up (middle); stick lines that represent the dense correspondence between the generic rig and the target model after applying STK (right).
Figure 7: Warping structure with (a) sparse correspon- dences (landmarks); (b) dense correspondences. Figure 6: Human face deformation with 10 landmarks, TPS front view (left); close up (middle); stick lines that represent the dense correspondence between the generic rig and the target model after applying STK (right).
Figure 8: Cartoon deformation: (a) TPS and stick lines; (b) cartoon after STK; (c) muscles transfer front view; (d) muscles transfer side view.
Figure 8: Cartoon deformation: (a) TPS and stick lines; (b) cartoon after STK; (c) muscles transfer front view; (d) muscles transfer side view.
Figure 9: Weight distribution between generic rig and target model: (a) weight distribution for the jaw bone (red is w = 0, blue is w = 1); (b) weight region distribution for the face.
Figure 9: Weight distribution between generic rig and target model: (a) weight distribution for the jaw bone (red is w = 0, blue is w = 1); (b) weight region distribution for the face.
Figure 11: Method pipeline: (1) find surface correspon- dence based on the SM and TM landmarks; (2) obtain surface dense correspondence; (3) transfer attributes from the SM to the TM; (4) bind the attributes to the TM based on the SM weights.
Figure 11: Method pipeline: (1) find surface correspon- dence based on the SM and TM landmarks; (2) obtain surface dense correspondence; (3) transfer attributes from the SM to the TM; (4) bind the attributes to the TM based on the SM weights.
Figure 12: Geometric surface deformation: (a) source model (SM); (b) SM TPS; (c) SM STK; (d) target model (3D models courtesy of Dygra).
Figure 12: Geometric surface deformation: (a) source model (SM); (b) SM TPS; (c) SM STK; (d) target model (3D models courtesy of Dygra).
Figure 14: Jn this example, the source model and the target models were hand sculpted by an artist from Dygra Films. The ri, from the source model was also created by an artist from Dygra films. The rig includes 12 bones distributed along the head seven bones around the mouth and one influence object. The influence object is a NURBS surface located behind the mouth wer the seven mouth bones are attached. The source model rig was automatically transferred and bound to the target models usin; the method described in Section 5. The source model (a) has 1455 points, target model (e) has 1610 points and target model (i has 1291 points (3D models courtesy of Dygra).
Figure 14: Jn this example, the source model and the target models were hand sculpted by an artist from Dygra Films. The ri, from the source model was also created by an artist from Dygra films. The rig includes 12 bones distributed along the head seven bones around the mouth and one influence object. The influence object is a NURBS surface located behind the mouth wer the seven mouth bones are attached. The source model rig was automatically transferred and bound to the target models usin; the method described in Section 5. The source model (a) has 1455 points, target model (e) has 1610 points and target model (i has 1291 points (3D models courtesy of Dygra).
Figure 15: Distance between muscle and skin surfaces on the generic rig and on the model: (a) scanned human; (b) cartoon.
Figure 15: Distance between muscle and skin surfaces on the generic rig and on the model: (a) scanned human; (b) cartoon.
Figure 16: This example shows keyframes from a facial animation that reproduces a speech. To create these animations, an artist created an animation script in the source model (first and forth column), based on mixing different blendshapes and manipulating the joints of the mouth and NURBS surface. Then the animation script was applied to both target models (second, third, ffith and sixth column) (3D models and animations courtesy of Dygra).
Figure 16: This example shows keyframes from a facial animation that reproduces a speech. To create these animations, an artist created an animation script in the source model (first and forth column), based on mixing different blendshapes and manipulating the joints of the mouth and NURBS surface. Then the animation script was applied to both target models (second, third, ffith and sixth column) (3D models and animations courtesy of Dygra).
Figure 17: This example shows keyframes from a facial animation that tests extreme expressions. To create these animations an artist created an animation script in the source model (first and forth column), based on mixing different blendshapes and manipulating the joints of the mouth and NURBS surface. Then the animation script was applied to both target models (second, third, fifth and sixth column) (3D models and animations courtesy of Dygra).
Figure 17: This example shows keyframes from a facial animation that tests extreme expressions. To create these animations an artist created an animation script in the source model (first and forth column), based on mixing different blendshapes and manipulating the joints of the mouth and NURBS surface. Then the animation script was applied to both target models (second, third, fifth and sixth column) (3D models and animations courtesy of Dygra).
Figure 18: Generic rig: (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.
Figure 18: Generic rig: (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.
Figure 19: Human (a) textured; (b) wireframe; (c) 10 landmarks; (d) muscles.
Figure 19: Human (a) textured; (b) wireframe; (c) 10 landmarks; (d) muscles.
Figure 20: Cartoon (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.
Figure 20: Cartoon (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.
Figure 21: Animal (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.
Figure 21: Animal (a) textured; (b) wireframe; (c) 44 landmarks; (d) muscles.