Veronica Orvalho - Profile on Academia.edu (original) (raw)
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.
Facial Sinthesys of 3D Avatars for Therapeutic Applications
Frontiers in Neuroengineering, 2009
A practical appearance model for dynamic facial color
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 = ...
Finding an effective control interface to manipulate complex geometric objects has traditionally ... more Finding an effective control interface to manipulate complex geometric objects has traditionally relied on experienced users to place the animation controls. This process, whether for key framed or for motion captured animation, takes a lot of time and effort. We introduce a novel sketching interface control system inspired in the way artists draw, in which a stroke defines the shape of an object and reflects the user's intention. We also introduce the canvas, a 2D drawing region where the users can make their strokes, which determines the domain of interaction with the object. We show that the combination of strokes and canvases provides a new way to manipulate the shape of an implicit volume in space. And most importantly, it is independent from the 3D model rig. The strokes can be easily stored and reused in other characters, allowing retargeting of poses. Our interactive approach is illustrated using facial models of different styles. As a result, we allow rapid manipulation of 3D faces on the fly in a very intuitive and interactive way. Our informal study showed that first time users typically master the system within seconds, creating appealing 3D poses and animations in just a few minutes.
A practical appearance model for dynamic facial color
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 = ...
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.
Transferring Facial Expressions to Different Face Models
... 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.
Fast and reusable facial rigging and animation
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.
Rigging is the process of setting up a group of controls to operate a 3D model, analogous to the ... more Rigging is the process of setting up a group of controls to operate a 3D model, analogous to the strings of a puppet. It plays a fundamental role in the animation process as it eases the manipulation and editing of expressions, but rigging can be very laborious and cumbersome for an artist. This difficulty arises from the lack of a standard definition of what is a rig and the multitude approaches on how to setup a face. This survey presents a critical review on the fundamentals of rigging, with an outlook of the different techniques, their uses and problems. It describes the main problems that appear when preparing a character for animation. This paper also gives an overview of the role and relationship between the rigger and the animator. Continues with an exhaustive analysis of the published literature and previous work, centered on the facial rigging pipeline. Finally, the survey discusses future directions of facial rigging.
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.
Facial Sinthesys of 3D Avatars for Therapeutic Applications
Frontiers in Neuroengineering, 2009
A practical appearance model for dynamic facial color
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 = ...
Finding an effective control interface to manipulate complex geometric objects has traditionally ... more Finding an effective control interface to manipulate complex geometric objects has traditionally relied on experienced users to place the animation controls. This process, whether for key framed or for motion captured animation, takes a lot of time and effort. We introduce a novel sketching interface control system inspired in the way artists draw, in which a stroke defines the shape of an object and reflects the user's intention. We also introduce the canvas, a 2D drawing region where the users can make their strokes, which determines the domain of interaction with the object. We show that the combination of strokes and canvases provides a new way to manipulate the shape of an implicit volume in space. And most importantly, it is independent from the 3D model rig. The strokes can be easily stored and reused in other characters, allowing retargeting of poses. Our interactive approach is illustrated using facial models of different styles. As a result, we allow rapid manipulation of 3D faces on the fly in a very intuitive and interactive way. Our informal study showed that first time users typically master the system within seconds, creating appealing 3D poses and animations in just a few minutes.
A practical appearance model for dynamic facial color
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 = ...
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.
Transferring Facial Expressions to Different Face Models
... 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.
Fast and reusable facial rigging and animation
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.
Rigging is the process of setting up a group of controls to operate a 3D model, analogous to the ... more Rigging is the process of setting up a group of controls to operate a 3D model, analogous to the strings of a puppet. It plays a fundamental role in the animation process as it eases the manipulation and editing of expressions, but rigging can be very laborious and cumbersome for an artist. This difficulty arises from the lack of a standard definition of what is a rig and the multitude approaches on how to setup a face. This survey presents a critical review on the fundamentals of rigging, with an outlook of the different techniques, their uses and problems. It describes the main problems that appear when preparing a character for animation. This paper also gives an overview of the role and relationship between the rigger and the animator. Continues with an exhaustive analysis of the published literature and previous work, centered on the facial rigging pipeline. Finally, the survey discusses future directions of facial rigging.