This paper presents a complete framework for creating speechenabled 2D and 3D avatars from a single image of a person. Our approach uses a generic facial motion model which represents deformations of the prototype face during speech. We have developed an HMM-based facial animation algorithm which takes into account both lexical stress and coarticulation. This algorithm produces realistic animat...

Given video footage of a person's face, we present new techniques to automatically recover the face position and the facial expression from each frame in the video sequence. A 3D face model is fitted to each frame using a continuous optimization technique. Our model is based on a set of 3D face models that are linearly combined using 3D morphing. Our method has the advantages over previous tech...

LUCIA is an MPEG-4 facial animation system developed at ISTC-CNR.. It works on standard Facial Animation Parameters and speaks with the Italian version of FESTIVAL TTS. To achieve an emotive/expressive talking head LUCIA was build from real human data physically extracted by ELITE optotracking movement analyzer. LUCIA can copy a real human by reproducing the movements of passive markers positio...

LUCIA is an MPEG-4 facial animation system developed at ISTCCNR1. It works on standard Facial Animation Parameters and speaks with the Italian version of FESTIVAL TTS. To achieve an emotive/expressive talking head LUCIA was build from real human data physically extracted by ELITE optotracking movement analyzer. LUCIA can copy a real human by reproducing the movements of passive markers position...

We present techniques for improving performance driven facial animation, emotion recognition, and facial key-point or landmark prediction using learned identity invariant representations. Established approaches to these problems can work well if sufficient examples and labels for a particular identity are available and factors of variation are highly controlled. However, labeled examples of fac...

A total solution for computer facial animation is proposed. First, a well-de ned 3D head model is deformed according to several photographs with di erent views, where the 3D head model exhibits good animation features. After pose recovery, B ezier curves are used to depict the subtle contours on a face. Moreover, elastic deformation can be applied to adjust the locations of global features. We ...

Oftentimes facial animation is created separately from overall body motion. Since convincing facial animation is challenging enough in itself, artists tend to create and edit the face motion in isolation. Or if the face animation is derived from motion capture, this is typically performed in a mo-cap booth while sitting relatively still. In either case, recombining the isolated face animation w...

Traditional facial animation techniques require either an artist to create and/or clean the animation by hand, which is very time consuming, or rely on motion capture techniques, where fine tuning is usually still required. Generating facial animation becomes even slower when modelling the reactions to external stimuli. Procedural methods are an alternative to these approaches as they rely on a...

We explore the application of facial tracking to automated re-animation. To this end, it is necessary to recover both head-pose and facial expression from the facial movement of a performer. However, both eeects are coupled. This is a serious problem, which previous studies haven't fully considered. The solution to this interaction problem proposed here is to solve explicitly, at each timestep,...

Machinima is digital visuals created with game engines that build real-time 3D CG (computer graphic) environment. Composition of scene and facial animation play important role in composition of Machinima’s videos. Character facial animation is frequently used in scene composition that mainly displays face and upper body of the character. Expressing character’s emotion is an important factor in ...