• Journal of Korea Multimedia Society
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• v.11 no.8
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• pp.1138-1145
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• 2008

Recently, performance-driven facial animation has been popular in various area. In television or game, it is important to guarantee real-time animation for various characters with different appearances between a performer and a character. In this paper, we present a new facial animation approach based on motion capture. For this purpose, we address three issues: facial expression capture, expression mapping and facial animation. Finally, we show the results of various examination for different types of face models.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.7 no.2
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• pp.328-333
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• 2003

This paper did to do with 18 muscle pairs that do fetters in anatomy that influence in facial expression change and mix motion of muscle for face facial animation. After set and change mash and make standard model in individual's image, did mapping to mash using individual facial front side and side image to raise truth stuff. Muscle model who become motive power that can do animation used facial expression creation correcting Waters' muscle model. Created deformed face that texture is dressed using these method. Also, 6 facial expression that Ekman proposes did animation.

• Journal of Korea Multimedia Society
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• v.25 no.7
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• pp.964-972
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• 2022

The Uncanny Valley phenomenon has already been deemed as theoretical, and the characteristics of game character expression elements for the Uncanny Valley phenomenon were recognized through case analysis as well. By theoretical consideration and case studies, it was found out that the influential elements of the Uncanny Valley phenomenon can be classified as two primary factors: character surface treatment and facial expression animation. The prepared experimental materials and adjectives were measured to be Five-Point Likert Scale. The measured results were evaluated for both influence and comparative analysis through essential statistical analysis and Repeated Measuring ANOVA in SPSS. The conclusions which were drawn from this research are as follows: The surface treatment of characters did not substantially affect the Uncanny Valley phenomenon. Instead, character's expression animation had a significant impact on the Uncanny Valley phenomenon, which also led to another conclusion that the facial expression animation had an overall deeper impact on Uncanny Valley phenomenon compared with character's surface treatment. It was the unnatural facial expression animation that controlled all of the independent variables and also caused the Uncanny Valley phenomenon. In order for game characters to evade the Uncanny Valley phenomenon and enhance game immersion, the facial expression animation of the character must be done spontaneously.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1999.06a
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• pp.133-140
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• 1999

In this paper, we propose a method of image-based three-dimensional modeling for realistic facial expression. In the proposed method, real human facial images are used to deform a generic three-dimensional mesh model and the deformed model is animated to generate facial expression animation. First, we take several pictures of the same person from several view angles. Then we project a three-dimensional face model onto the plane of each facial image and match the projected model with each image. The results are combined to generate a deformed three-dimensional model. We use the feature-based image metamorphosis to match the projected models with images. We then create a synthetic image from the two-dimensional images of a specific person's face. This synthetic image is texture-mapped to the cylindrical projection of the three-dimensional model. We also propose a muscle-based animation technique to generate realistic facial expression animations. This method facilitates the control of the animation. lastly, we show the animation results of the six represenative facial expressions.

• The KIPS Transactions:PartA
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• v.11A no.2
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• pp.189-194
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• 2004

This paper describes method to distribute much high-dimensional facial expression motion data to 2 dimensional space, and method to create facial expression animation by select expressions that want by realtime as animator navigates this space. In this paper composed expression space using about 2400 facial expression frames. The creation of facial space is ended by decision of shortest distance between any two expressions. The expression space as manifold space expresses approximately distance between two points as following. After define expression state vector that express state of each expression using distance matrix which represent distance between any markers, if two expression adjoin, regard this as approximate about shortest distance between two expressions. So, if adjacency distance is decided between adjacency expressions, connect these adjacency distances and yield shortest distance between any two expression states, use Floyd algorithm for this. To materialize expression space that is high-dimensional space, project on 2 dimensions using Sammon's Mapping. Facial animation create by realtime with animators navigating 2 dimensional space using user interface.

• Journal of Korea Multimedia Society
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• v.17 no.9
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• pp.1076-1083
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• 2014

We propose an emotional facial avatar that portrays the user's facial expressions with an emotional emphasis, while achieving visual and behavioral realism. This is achieved by unifying automatic analysis of facial expressions and animation of realistic 3D faces with details such as facial hair and hairstyles. To augment facial appearance according to the user's emotions, we use emotional templates representing typical emotions in an artistic way, which can be easily combined with the skin texture of the 3D face at runtime. Hence, our interface gives the user vision-based control over facial animation of the emotional avatar, easily changing its moods.

• Journal of KIISE:Computer Systems and Theory
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• v.32 no.1
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• pp.39-48
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• 2005

According to traditional 2D animation techniques, anticipation makes an animation much convincing and expressive. We present an automatic method for inserting anticipation effects to an existing facial animation. Our approach assumes that an anticipatory facial expression can be found within an existing facial animation if it is long enough. Vertices of the face model are classified into a set of components using principal components analysis directly from a given hey-framed and/or motion -captured facial animation data. The vortices in a single component will have similar directions of motion in the animation. For each component, the animation is examined to find an anticipation effect for the given facial expression. One of those anticipation effects is selected as the best anticipation effect, which preserves the topology of the face model. The best anticipation effect is automatically blended with the original facial animation while preserving the continuity and the entire duration of the animation. We show experimental results for given motion-captured and key-framed facial animations. This paper deals with a part of broad subject an application of the principles of traditional 2D animation techniques to 3D animation. We show how to incorporate anticipation into 3D facial animation. Animators can produce 3D facial animation with anticipation simply by selecting the facial expression in the animation.

• Journal of Korea Game Society
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• v.8 no.2
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• pp.47-55
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• 2008

This paper introduces that SSFE(Skeleton System for Facial Expression) to deform facial expressions by rigging of skeletons does same functions with 14 facial muscles based on anatomy. A three dimensional animation tool (MAYA 8.5) is utilized for making the SSFE that presents deformation of mesh models implementing facial expressions around eyes, nose and mouse. The SSFE has a good reusability within diverse human mesh models. The reusability of SSFE can be understood as OSMU(One Source Multi Use) of three dimensional animation production method. It can be a good alternative technique for reducing production budget of animations. It can also be used for three dimensional animation industries such as virtual reality and game.

• The KIPS Transactions:PartB
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• v.14B no.4
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• pp.311-320
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• 2007

This paper presents vision-based 3D facial expression animation technique and system which provide the robust 3D head pose estimation and real-time facial expression control. Many researches of 3D face animation have been done for the facial expression control itself rather than focusing on 3D head motion tracking. However, the head motion tracking is one of critical issues to be solved for developing realistic facial animation. In this research, we developed an integrated animation system that includes 3D head motion tracking and facial expression control at the same time. The proposed system consists of three major phases: face detection, 3D head motion tracking, and facial expression control. For face detection, with the non-parametric HT skin color model and template matching, we can detect the facial region efficiently from video frame. For 3D head motion tracking, we exploit the cylindrical head model that is projected to the initial head motion template. Given an initial reference template of the face image and the corresponding head motion, the cylindrical head model is created and the foil head motion is traced based on the optical flow method. For the facial expression cloning we utilize the feature-based method, The major facial feature points are detected by the geometry of information of the face with template matching and traced by optical flow. Since the locations of varying feature points are composed of head motion and facial expression information, the animation parameters which describe the variation of the facial features are acquired from geometrically transformed frontal head pose image. Finally, the facial expression cloning is done by two fitting process. The control points of the 3D model are varied applying the animation parameters to the face model, and the non-feature points around the control points are changed by use of Radial Basis Function(RBF). From the experiment, we can prove that the developed vision-based animation system can create realistic facial animation with robust head pose estimation and facial variation from input video image.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.165-174
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• 2006

Birdwhistell explains in the whole communication, language conveys only 35% of the meaning and the rest 65% is conveyed by non-linguistic media. Humans do not entirely depend on linguistic communication, but are sensitive being, using every sense of theirs. Human communication, by using facial expression, gesture as well as language, is able to convey more concrete meaning. Especially, facial expression is a many-sided message system, which delivers Individual Personality, interest, information about response and emotional status, and can be said as powerful communication tool. Though being able to be changed according to various expressive techniques and degree and quality of expression, the symbolic sign of facial expression is characterized by generalized qualify. Animation characters, as roles in story, have vitality by emotional expression of which mental world and psychological status can reveal and read naturally on their actions or facial expressions.