Stop staring facial modeling and animation done right
The de facto official source on facial animation-now updated! If you want to do character facial modeling and animation at the high levels achieved in today's films and games, Stop Staring: Facial Modeling and Animation Done Right, Third Edition, is for you. While thoroughly covering the basics...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Indianapolis, IN :
Sybex
2010.
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| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628170706719 |
Tabla de Contenidos:
- Stop Staring: Facial Modeling and Animation Done Right, Third Edition; Acknowledgments; About the Author; About the Author; Contents at a Glance; Contents; Introduction; Part I: Getting to Know the Face; Chapter 1: Learning the Basics of Lip Sync; The Essentials of Lip Sync; Analyzing the Right Things; Speech Cycles; Starting with What's Most Important: Visemes; Why Phonemes Aren't Best for CGI; Visemes Aren't Tied to Individual Sounds; Representative Shapes; Relative Shapes; The Simplest Lip Sync; Creating a Sync Tool 1: Shapes; Creating a Sync Tool 2: Setup; Using the Sync Tool
- Chapter 2: What the Eyes and Brows Tell UsThe Two Major Brow Movements; Brows Up and Down; Brows Squeeze; The Brow Squeeze Is Every Expression; The Upper Lids' Effect on Expression; The Upper Lids Show Alertness; The Upper Lids Usually Stay Relative to the Pupil and Iris; The Lower Lids' Effect on Expression; The Value of a Good Squint; Squint Is Not Emotion Specific; Eyelines: Perception vs. Reality; Headline vs. Eyelines; Implied Eyelines; Distraction Is the Enemy of Performance; Chapter 3: Facial Landmarking; Introduction to Landmarking; Landmarking by Example
- Fixing a Shape by Fixing Its SurroundingsThe Landmarking Process; Landmarks Are Obvious When They're Alone; Landmarking Mouth Creases; Landmarking to Plan a Point Layout; Where Is the Crease Most Intense?; Even the Big Boys Sometimes Get It Wrong; Creasing Applied to Each Shape; Landmarking Brow Creases; Brows Up/Raise; The Shape of Brow Creases; Brows Down/Squeeze; Landmarking the Tilt of the Head; Every Expression Has a Tilt; The Significance of Tilts; Part II: Animating and Modeling the Mouth; Chapter 4: Visemes and Lip Sync Technique; Sync: Wide/Narrow Grows Up; Visemes vs. Sounds
- Breaking Sounds DownThe Best Order of Sync Operations; Learn-While-Doing Sync: "Hey, buddy, I don't like your face"; Finessing Sync; Sync Subtleties; Sync Example 1: "What am I sayin' in here?"; Identifying Visemes; Identifying Open/Closed; Finessing; Sync Example 2: "Was it boys?"; Identifying Visemes; Identifying Open/Closed; Finessing; Chapter 5: Constructing a Mouth and Nose; The Best Edge Flow; Modeling in Circles; Modeling for Movement; The Big Picture; Building the Lips; Edge Loop Consistency into the Mouth; Cross-Sections; Building the Surrounding Mouth Area; Photorealism
- Cartoony SnoutBuilding the Nose; A Moment of Hands-On; Connecting the Nose and Mouth; Continuing Toward the Jaw and Cheek; Building Teeth; A Real-Life Lesson in Gums; Creating Teeth; Building the Tongue; Shaping a Basic Tongue; A More Refined Tongue; The Mouth Wall; Chapter 6: Mouth Keys; Order of Operations; Preparing to Build a Key Set; Key Set Construction; Default Shapes, Additive Shapes, and Tapering; Additive Shapes Explained; Tapering: Subtraction of Shapes; The Default Shape Is Bored. Period.; Deciding What to Include; What to Build?; Binding Sufficiently for Building
- Building the Shapes
