By Jason Osipa
ISBN-10: 0470609907
ISBN-13: 9780470609903
The de facto legitimate resource on facial animation—now updated!
If you must do personality facial modeling and animation on the excessive degrees accomplished in today’s motion pictures and video games, Stop Staring: Facial Modeling and Animation performed correct, 3rd Edition, is for you. whereas completely protecting the fundamentals reminiscent of squash and stretch, lip syncs, and masses extra, this re-creation has been completely up to date to catch the very latest expert layout suggestions, in addition to alterations in software program, together with utilizing Python to automate tasks.* exhibits you ways to create facial animation for video clips, video games, and extra* presents in-depth suggestions and tips for everybody from scholars and rookies to high-level specialist animators and administrators at present within the box* beneficial properties the author’s worthwhile insights from his personal broad adventure within the box* Covers the fundamentals equivalent to squash and stretch, colour and shading, and lip syncs, in addition to the right way to automate approaches utilizing Python
Breathe existence into your creations with this crucial publication, thought of by means of many studio 3D artists to be the indispensable reference on facial animation.
Read Online or Download Stop Staring: Facial Modeling and Animation Done Right PDF
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Extra resources for Stop Staring: Facial Modeling and Animation Done Right
Sample text
By pushing the Open/Closed analysis and posing to the second pass, you reduce the temptation of overcomplication. When your first pass really doesn’t look like much, you’re unlikely to noodle with it too much! who I started with rest, because without it, you wouldn’t see that the narrow OO shape to follow is narrower than anything. In other words, by leaving the mouth at rest for a moment, I created a reference point for the OO shape to look narrow in context. are This is wider. Being exclusively affected by the Open/Closed shape of the mouth in this case (the main sound being AW, which is an open mouth/jaw sound), this is made wider not because it needs any particular Wide/Narrow, but instead because it’s sandwiched between two OOs.
This little rig really is the start of how we’re going to get into some very complicated performances, and it illustrates quite well the less-is-more approach I’m preaching. There will soon be an army of sliders and controls just like this one, each custom-made for different motions and shapes. The setup we just did could directly be translated to work on some beautiful shapes and characters. It’s just a matter of getting them built so we can use them. We’re only playing with a circle for now, but that’s so you can get some practice with the basic The Simplest Lip Sync concepts of both shapes and controls before we get too crazy.
Thinking in these terms is very efficient. It’s extremely advantageous to build a model to cooperate with what it will eventually have to do because with the wrong point layout, life can become very miserable, in a square-peg round-hole sort of way. For example, forcing a diagonal crease down a square grid can get ugly very quickly. Landmarking to Plan a Point Layout You should plan to look at all of the different shapes and creasing that the mouth will have to do (landmark them), comparing the shapes and planning the point layout of the model in the way that best compromises for all the shapes.
Stop Staring: Facial Modeling and Animation Done Right by Jason Osipa
by Charles
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