Veronica Orvalho | Center for Naval Analyses (original) (raw)
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Papers by Veronica Orvalho
Preparing a facial mesh to be animated requires a laborious manual rigging process. The rig speci... more Preparing a facial mesh to be animated requires a laborious manual rigging process. The rig specifies how the input animation data deforms the surface and allows artists to manipulate a character. We present a method that automatically rigs a facial mesh based on Radial Basis Functions (RBF) and linear blend skinning approach. Our approach transfers the skinning parameters (feature points and their envelopes, ie. point-vertex weights), of a reference facial mesh (source) - already rigged - to the chosen facial mesh (target) by computing an automatic registration between the two meshes. There is no need to manually mark the correspondence between the source and target mesh. As a result, inexperienced artists can automatically rig facial meshes and start right away animating their 3D characters, driven for instance by motion capture data.
Frontiers in Neuroengineering, 2009
ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., M... more ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., Matts, P., Orvalho, V., Gutierrez, D., Weyrich, T. 2010. A Practical Appearance Model for Dynamic Facial Color. ACM Trans. Graph. 29, 6, Article 141 (December 2010), 9 pages. DOI = ...
ACM Transactions on Graphics, 2010
ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., M... more ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., Matts, P., Orvalho, V., Gutierrez, D., Weyrich, T. 2010. A Practical Appearance Model for Dynamic Facial Color. ACM Trans. Graph. 29, 6, Article 141 (December 2010), 9 pages. DOI = ...
... V. Costa Teixeira Orvalho1, Ernesto Zacur2 and Antonio Susin1 ... Mark Henne [Hen90] used a l... more ... V. Costa Teixeira Orvalho1, Ernesto Zacur2 and Antonio Susin1 ... Mark Henne [Hen90] used a layered approach, where implicit fields simulated body tissue. Singh et al. ... We use these land-marks to define specific facial features to guarantee corre-spondence between models. ...
We present a facial deformation system that adapts a generic facial rig into different face model... more We present a facial deformation system that adapts a generic facial rig into different face models. The deformation is based on labels and allows transferring specific facial features between the generic rig and face models. High quality physics-based animation is achieved by combining different deformation methods with our labeling system, which adapts muscles and skeletons from a generic rig to individual face models. We describe how to find the correspondence of the main attributes of the generic rig, transfer them to different 3D face models and generate a sophisticated facial rig based on human anatomy. We show how to apply the same deformation parameters to different face models and obtain unique expressions. Our goal is to ease the character setup process and provide digital artists with a tool that allows manipulating models as if they were using a puppet. We end with different examples that show the strength of our proposal.
Computer Graphics Forum, 2008
We introduce a facial deformation system that allows artists to define and customize a facial rig... more We introduce a facial deformation system that allows artists to define and customize a facial rig and later apply the same rig to different face models. The method uses a set of landmarks that define specific facial features and deforms the rig anthropometrically. We find the correspondence of the main attributes of a source rig, transfer them to different three-demensional (3D) face models and automatically generate a sophisticated facial rig. The method is general and can be used with any type of rig configuration. We show how the landmarks, combined with other deformation methods, can adapt different influence objects (NURBS surfaces, polygon surfaces, lattice) and skeletons from a source rig to individual face models, allowing high quality geometric or physically-based animations. We describe how it is possible to deform the source facial rig, apply the same deformation parameters to different face models and obtain unique expressions. We enable reusing of existing animation scripts and show how shapes nicely mix one with the other in different face models. We describe how our method can easily be integrated in an animation pipeline. We end with the results of tests done with major film and game companies to show the strength of our proposal.
Reproducing the subtleties of a face through animation requires developing a sophisticated charac... more Reproducing the subtleties of a face through animation requires developing a sophisticated character rig. But, creating by hand the inner structure and controls of each character is a very labor-intensive and time-consuming task. We developed an application that is 90--99% faster than traditional manual rigging. The application automatically transfers the rig and animations from the source to a target model.
Preparing a facial mesh to be animated requires a laborious manual rigging process. The rig speci... more Preparing a facial mesh to be animated requires a laborious manual rigging process. The rig specifies how the input animation data deforms the surface and allows artists to manipulate a character. We present a method that automatically rigs a facial mesh based on Radial Basis Functions (RBF) and linear blend skinning approach. Our approach transfers the skinning parameters (feature points and their envelopes, ie. point-vertex weights), of a reference facial mesh (source) - already rigged - to the chosen facial mesh (target) by computing an automatic registration between the two meshes. There is no need to manually mark the correspondence between the source and target mesh. As a result, inexperienced artists can automatically rig facial meshes and start right away animating their 3D characters, driven for instance by motion capture data.
Frontiers in Neuroengineering, 2009
ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., M... more ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., Matts, P., Orvalho, V., Gutierrez, D., Weyrich, T. 2010. A Practical Appearance Model for Dynamic Facial Color. ACM Trans. Graph. 29, 6, Article 141 (December 2010), 9 pages. DOI = ...
ACM Transactions on Graphics, 2010
ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., M... more ACM Reference Format Jimenez, J., Scully, T., Barbosa, N., Donner, C., Alvarez, X., Vieira, T., Matts, P., Orvalho, V., Gutierrez, D., Weyrich, T. 2010. A Practical Appearance Model for Dynamic Facial Color. ACM Trans. Graph. 29, 6, Article 141 (December 2010), 9 pages. DOI = ...
... V. Costa Teixeira Orvalho1, Ernesto Zacur2 and Antonio Susin1 ... Mark Henne [Hen90] used a l... more ... V. Costa Teixeira Orvalho1, Ernesto Zacur2 and Antonio Susin1 ... Mark Henne [Hen90] used a layered approach, where implicit fields simulated body tissue. Singh et al. ... We use these land-marks to define specific facial features to guarantee corre-spondence between models. ...
We present a facial deformation system that adapts a generic facial rig into different face model... more We present a facial deformation system that adapts a generic facial rig into different face models. The deformation is based on labels and allows transferring specific facial features between the generic rig and face models. High quality physics-based animation is achieved by combining different deformation methods with our labeling system, which adapts muscles and skeletons from a generic rig to individual face models. We describe how to find the correspondence of the main attributes of the generic rig, transfer them to different 3D face models and generate a sophisticated facial rig based on human anatomy. We show how to apply the same deformation parameters to different face models and obtain unique expressions. Our goal is to ease the character setup process and provide digital artists with a tool that allows manipulating models as if they were using a puppet. We end with different examples that show the strength of our proposal.
Computer Graphics Forum, 2008
We introduce a facial deformation system that allows artists to define and customize a facial rig... more We introduce a facial deformation system that allows artists to define and customize a facial rig and later apply the same rig to different face models. The method uses a set of landmarks that define specific facial features and deforms the rig anthropometrically. We find the correspondence of the main attributes of a source rig, transfer them to different three-demensional (3D) face models and automatically generate a sophisticated facial rig. The method is general and can be used with any type of rig configuration. We show how the landmarks, combined with other deformation methods, can adapt different influence objects (NURBS surfaces, polygon surfaces, lattice) and skeletons from a source rig to individual face models, allowing high quality geometric or physically-based animations. We describe how it is possible to deform the source facial rig, apply the same deformation parameters to different face models and obtain unique expressions. We enable reusing of existing animation scripts and show how shapes nicely mix one with the other in different face models. We describe how our method can easily be integrated in an animation pipeline. We end with the results of tests done with major film and game companies to show the strength of our proposal.
Reproducing the subtleties of a face through animation requires developing a sophisticated charac... more Reproducing the subtleties of a face through animation requires developing a sophisticated character rig. But, creating by hand the inner structure and controls of each character is a very labor-intensive and time-consuming task. We developed an application that is 90--99% faster than traditional manual rigging. The application automatically transfers the rig and animations from the source to a target model.