Creating lifelike characters in
            <i>Toy Story</i>

Porter, Tom

doi:10.1145/272874.272876

Cited by 4 publications

(3 citation statements)

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“…There is a long history in computer graphics of creating high-fidelity rigs of human faces [Alexander et al 2009;Bergeron and Lachapelle 1985;Porter 1997] although few approaches focus primarily on the eyes [Francois et al 2009]. Recently, however, Bérard et al [2014] developed a high-quality capture system and model for human eyes.…”

Section: Related Work 21 Modeling Human Face and Eyesmentioning

confidence: 99%

The eyes have it

et al. 2020

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Interacting with people across large distances is important for remote work, interpersonal relationships, and entertainment. While such face-to-face interactions can be achieved using 2D video conferencing or, more recently, virtual reality (VR), telepresence systems currently distort the communication of eye contact and social gaze signals. Although methods have been proposed to redirect gaze in 2D teleconferencing situations to enable eye contact, 2D video conferencing lacks the 3D immersion of real life. To address these problems, we develop a system for face-to-face interaction in VR that focuses on reproducing photorealistic gaze and eye contact. To do this, we create a 3D virtual avatar model that can be animated by cameras mounted on a VR headset to accurately track and reproduce human gaze in VR. Our primary contributions in this work are a jointly-learnable 3D face and eyeball model that better represents gaze direction and upper facial expressions, a method for disentangling the gaze of the left and right eyes from each other and the rest of the face allowing the model to represent entirely unseen combinations of gaze and expression, and a gaze-aware model for precise animation from headset-mounted cameras. Our quantitative experiments show that our method results in higher reconstruction quality, and qualitative results show our method gives a greatly improved sense of presence for VR avatars.

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Section: Related Work 21 Modeling Human Face and Eyesmentioning

confidence: 99%

The eyes have it

et al. 2020

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“…One further consideration -which is especially critical to animation research -is the believability of expressions. Most guides to or papers on character animation discuss the importance of believability, using synonyms such as lifelike, sincerity, or authenticity [7,18,30,33]. However, not all psychological studies into facial perception consider this factor, focusing instead on emotion identification rates, intensity, and typicality.…”

Section: A Related Researchmentioning

confidence: 99%

Considerations for Believable Emotional Facial Expression Animation

Sloan

Cook

Robinson

2009

2009 Second International Conference in Visualisation

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Facial expressions can be used to communicate emotional states through the use of universal signifiers within key regions of the face. Psychology research has identified what these signifiers are and how different combinations and variations can be interpreted. Research into expressions has informed animation practice, but as yet very little is known about the movement within and between emotional expressions. A better understanding of sequence, timing, and duration could better inform the production of believable animation. This paper introduces the idea of expression choreography, and how tests of observer perception might enhance our understanding of moving emotional expressions.

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“…It is less commonly acknowledged that principles of human acting can inform the design of ECA behavior, particularly in making behavior engaging and understandable. Character animators, in contrast, understand clearly the relationship between character behavior and acting (Porter, 1997), and have articulated principles such as exaggeration and staging that are based in part on observations of actors (Thomas & Johnston, 1981;Lasseter, 1987;Maestri, 1999). However, we cannot expect to capture principles of dramatic portrayal in ECAs simply by copying the techniques of animators.…”

Section: Introductionmentioning

confidence: 99%

Dramatic Expression in Opera, and Its Implications for Conversational Agents

Johnson¹

2003

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Creating lifelike characters in Toy Story

Abstract: As Visual Effects Supervisor on Toy Story, I led a technical group working on all the surface appearances in the film, along with certain visual effects outside the mainstream of Pixar's character animation process.

Cited by 4 publications

References 1 publication

The eyes have it

The eyes have it

Considerations for Believable Emotional Facial Expression Animation

Dramatic Expression in Opera, and Its Implications for Conversational Agents

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