Facs based rigging tutorial

Course overview Course overview. Learn how to rig character faces and bring them to life! Upon completion of this 8-week class, students will have a full understanding of how to create a functional, animator-friendly, character face rig that's ready for a close-up on the big screen! Even though our courses are the most affordable for the quality of education. These Finance Options allow you to focus on your goals instead of the barriers that keep you from reaching them.

The instructor was informative, helpful and open to communication throughout the duration of the course. Cannot recommend enough. I really appreciate the instructor's attitude in conveying the material and he worked hard to try and teach us advanced approaches and details. I liked how he kept what little mistakes he made in the videos and showed how he fixed them, it provided substantial amount of insight to the thought process to being a good rigger.

The instructor enlightened and motivated students to learn. The course was excellent and extremely professional. This is one of the best courses I have taken in some time. It is very much University quality.

Jose is such an amazing instructor! He explains things thoroughly so that even a beginner like my self can follow along with success!!! Jose was very gentle in his critiques and has a vast knowledge on the subject. I also appreciate the fact that he didn't cut his mistakes out from the lectures and showed the debugging process, as it's really important part of rigging.

He was very responsive and definitely encouraged everyone to learn more and search more to have a deep understanding of the topics. Personal Feedback. Receive personal individual feedback on all submitted assignments from the industries best artist.

facs based rigging tutorial

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Not sure if you have the skills, or are you proving you do? Show us. Phung Nhat Huya 3D artist from Vietnam, gave some tips on different aspects of character rigging.I thought it was about time that I tackle this subject as I see the question a lot as I read questions on different forums and groups. I figure it is about time that I address the larger question and give a complete answer as so many of the answers that I see are either inaccurate, incomplete or highly biased to the only solution some one has used them selves.

Almost never do I see this question accompanied by a clear understanding of what will be required from the final results yet person after person, as well meaning as they are, gives them the answer.

Neither of these define anything at all and really only serve to muddy the waters even more. Lets say the project is a game, first what sort of game is it? Battlefield 5 just came out and damn it looks good. It can be described as high quality for sure.

For the cut scenes they need to have more abilities but generally not during game play. For a project like this speed is really what matters the most. So what if you are doing a first person high end PC boxing game where you are facing your opponent?

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With this sort of setup really strong facial work would be needed. That right cross to the chin needs to distort the entire face and even have beads of sweat flying off it. But does the character ever speak? Even if the final renders are looking good the big question is how much time does the animation team have to work with the facial setup?

facs based rigging tutorial

If you over complicate the rig and add way to many controls the animator may find it difficult to hit dead lines. What they really need is a supper fast rig that allows them to hit the major phonemes and emotions with the least amount of work. Lets call it less is more in this case. If you are that person you are probably not asking this question on some Facebook group looking for advise from students in their second year at a school no one has ever heard of.

One of the first things that I do when I have been contacted by a client and asked to rig a character is I ask for the story boards and script. Once I have read and understood those then I ask to speak directly with the animation team that will be responsible for working with the rigs that I have created.

One issue I have found is if I ask ten animators what they want I will usually get ten answers, some times I will get all ten answers in one. For this reason I usually only want to speak with a senior animator and work out with them what will really be needed. Sorting through this and coming to a good solution takes experience but without any of this information you are running blind.This process involves capturing a range of facial expressions using photogrammetry techniques, which can then be used to reproduce realistic facial deformation for digital characters.

The most fundamental part to this pipeline requires the use of b lend shape deformers. Blend shapes are a tool used in 3D software to interpolate between two shapes made from the same numerical vertex order. For this project I will be using blend shapes to deform facial expressions.

When multiple expressions are combined together you can begin to build a facial rig which acts as a puppet that can be used to create animation.

In terms of realism, blend shapes work really well if the expressions are modelled using good anatomical reference. The alternative is to use FACS scans, which require a different approach, but can save a lot of manual work if the data is optimised correctly.

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Blend shape rigging can produce some great results, but if you want to push the realism even further you can also introduce blended deformation on the shader level.

With the use of texture blending, you can add variations of high resolution wrinkle deformation using either normal maps, or displacement maps. This technique can enhance the appearance of skin stretching, or compressing, and enables you to create surface deformations that would otherwise be impossible to achieve with blend shapes alone.

The theory behind this technique is fairly straight forward, but once combined with a rig consisting of large sets of shapes, it can become quite complex and will require an organised workflow to link everything together. Throughout this post I will be summarising my workflow for using FACS data, and breaking down my research into the texture blending process for anyone who might be interested. The first stage of blend shape rigging is modelling all the facial shapes.

I like to work up the neutral shape to the highest level I can, taking it as far through the look development stages as possible.

The reason for this is that once the rigging process has began, it is better to avoid making any major changes to the neutral shape. Once I am happy with how the model and textures look when rendered, I can then move onto the other expressions.

FACS Blendshapes

For this project I used scan data to create all my facial shapes, but the principles covered in this post can be applied to hand sculpted characters too. Most of my freelance work over the past six years has been related to photogrammetry pipelines; whether it be capturing data, or handling the post processing and optimisation stages.

When optimising facial scans, I have found there are various ways you can approach this. The workflow I prefer requires two pieces of software, Wrap3 and ZBrush.

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As mentioned above, there are a few options I use for tertiary detailing; either using hand sculpting, or applying a high-pass from the scanned diffuse texture. Another option is to use a multi-channel Texturing XYZ pack.

For this project I tried a combination of all these techniques, but Texturing XYZ was the fastest approach to achieving realistic looking skin.

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The second stage of the pipeline is to create a set of blend shapes that isolate individual muscle groups across the face. When these shapes are combined together they should provide a full range of motion in order to achieve realistic facial animation. The human face has a complex anatomy made up from 43 different muscles, which makes it extremely hard to recreate and look believable.

Rather than representing every individual muscle on your facial rig, you can use blend shapes to represent them in groups which create different shape variations depending on whether the muscles are expanding or contracting.

The number of blend shapes required on a rig will be determined by the specified rigging pipeline for the character you are creating. For the rig I have built, the aim is for it to be integrated with the Apple AR kit for real-time facial tracking. For this I needed at least 51 facial shapes. When using scan data, I have found that you can extract a number of different facial shapes from a single scanned expression, so the number of facial scans can be much lower.

The data was great to work with and contained all the detail needed for this project. There were a few shapes that I had to create myself, but as mentioned earlier, every data set is different and ideally you would plan the list of FACS before capturing them.

I used 14 scans in total from this set. The FACS marked green on the contact sheet right were to be processed into blend shapes, and blue for extracting wrinkle map details.

Character Facial Rigging for Production

Some wrinkle map expressions where combined together to minimise the number of maps used in the skin shader. The intention for this pipeline was to replicate a rig setup that could be used within a game engine, so optimisation was an important factor.

To do this you can use a piece of software called Wrap3 by R3DS.Make social videos in an instant: use custom templates to tell the right story for your business.

It is a self study in FACS theory based rigging. I know nowadays we have motion capture that can track facial expressions. Rigging a realistic face from scratch like this seems technically backward, however, I did so, at least once, for understanding how facial expressions work, from single Action Unit to Combination Units.

The model is purchased from 3dscanstore. They do have scanned 3D expressions files, but those files don't have the same topoly to do the blendshapes raw scanned resultand they are not animation ready. I only use that as reference resources. Create Make social videos in an instant: use custom templates to tell the right story for your business.

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Stock Browse and buy exceptional, royalty-free stock clips, handpicked by the best. New video Upload. Create a video. Menu Search. More stuff. Please enable JavaScript to experience Vimeo in all of its glory.Updated: Mar FACS can be thought of as an index for facial expressions. Each expression is given an index in Action Units AU and a basic description. I've also read they can be further described by an Intensity Score of A-E. U is used for an unilateral action. It occurs on only one side of the face, but can happen in either side example: winking an eye.

A is an unilateral action that has a stronger side example: raising brows but the left side is more pronounced. In Rigging. FACS theory is used in rigging to create more natural and appealing facial expressions in characters. It can also include normal maps that can blend to create the illusion of photo-realistic wrinkles. Here's a pretty cool example of something done with FACS:.

I'm planning on doing a breakdown of the whole process once it's finished, but this is your basic introduction to what I know about FACS! If you do.

facs based rigging tutorial

All Posts tech art portfolio tips tutorial rigging python facs tech art tuesday simulation vfx wip 2d art. What is FACS rigging? Recent Posts See All.FACS is used across many different personal and professional settings. It is often used in various scientific settings for research. It is also used by animators and computer scientists interested in facial recognition.

facs based rigging tutorial

FACS may also enable greater awareness and sensitivity to subtle facial behaviors. Such skills are useful for psychotherapists, interviewers, and anyone working in communications. It also describes how AUs appear in combinations. The Paul Ekman Group offers the manual for sale.

The FACS manual is self-instructional. The user reads the manual and practices coding various pictures and videos. This self-instruction usually takes about 50 to hours to complete. After completing the self-study, or a workshop, you can take the final test for certification. FACS self-instruction usually takes about 50 to hours to complete.

If a user studies FACS five days a week for two hours a day, then learning will be closer to 50 than hours. Ekman recommends training in groups. This can help make the high volume of information easier to learn. Currently there are no online or in-person versions of FACS training that have been evaluated or approved by Paul Ekman.

There are also accounts in many other published academic articles. The anatomist Hjorstjo did important groundwork in identifying the units of action based on facial muscle groups on which Ekman and Friesen built in developing FACS as a measurement system.

The original version of FACS was published in It was a manual, not an article, available for training as the current manual is. The original version is out of print, and techniques have been modified since then. The manual is the current version, and it is the only one that should be used for scoring today.

Right now, there is no central place where FACS coders advertise and are accessible. Also, there is considerable variability in experience among FACS coders.

If you are interested in hiring someone, first make sure they are FACS certified i. You would also want to be sure they have had coding experience beyond testing — as the Final test simply tells us that someone is proficient in recognizing the AUs, and coding real life data reliably takes practice. To do this, the coder scans the video for core combinations of events that have been found to suggest certain emotions much like the prototypes in Table The coders only codes the events in a video record that contains such core combinations — they use FACS coding to score those events, but they are not coding everything on the video.

The drawback is that it can be harder to get intercoder agreement on EMFACS coding as the coders have to agree on two things: 1 whether to code an event a result of their online scanning of the video for the core combinations and 2 how to code those events that they have chosen to code. Only people who know FACS as a comprehensive system can correctly apply it on a selective basis. If you take the final test and pass, you can receive the document.

Facial Action Coding System. It breaks down facial expressions into individual components of muscle movement, called Action Units AUs.Outliers are atypical (by definition), infrequent observations. Because of the way in which the regression line is determined (especially the fact that it is based on minimizing not the sum of simple distances but the sum of squares of distances of data points from the line), outliers have a profound influence on the slope of the regression line and consequently on the value of the correlation coefficient.

A single outlier is capable of considerably changing the slope of the regression line and, consequently, the value of the correlation, as demonstrated in the following example. Note, that as shown on that illustration, just one outlier can be entirely responsible for a high value of the correlation that otherwise (without the outlier) would be close to zero.

Needless to say, one should never base important conclusions on the value of the correlation coefficient alone (i. Note that if the sample size is relatively small, then including or excluding specific data points that are not as clearly "outliers" as the one shown in the previous example may have a profound influence on the regression line (and the correlation coefficient). Typically, we believe that outliers represent a random error that we would like to be able to control.

Unfortunately, there is no widely accepted method to remove outliers automatically (however, see the next paragraph), thus what we are left with is to identify any outliers by examining a scatterplot of each important correlation. Needless to say, outliers may not only artificially increase the value of a correlation coefficient, but they can also decrease the value of a "legitimate" correlation.

See also Confidence Ellipse. Quantitative Approach to Outliers. Some researchers use quantitative methods to exclude outliers.

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In some areas of research, such "cleaning" of the data is absolutely necessary. For example, in cognitive psychology research on reaction times, even if almost all scores in an experiment are in the range of 300-700 milliseconds, just a few "distracted reactions" of 10-15 seconds will completely change the overall picture. It should also be noted that in some rare cases, the relative frequency of outliers across a number of groups or cells of a design can be subjected to analysis and provide interpretable results.

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For example, outliers could be indicative of the occurrence of a phenomenon that is qualitatively different than the typical pattern observed or expected in the sample, thus the relative frequency of outliers could provide evidence of a relative frequency of departure from the process or phenomenon that is typical for the majority of cases in a group.

Correlations in Non-homogeneous Groups. A lack of homogeneity in the sample from which a correlation was calculated can be another factor that biases the value of the correlation. Imagine a case where a correlation coefficient is calculated from data points which came from two different experimental groups but this fact is ignored when the correlation is calculated.

Let us assume that the experimental manipulation in one of the groups increased the values of both correlated variables and thus the data from each group form a distinctive "cloud" in the scatterplot (as shown in the graph below). In such cases, a high correlation may result that is entirely due to the arrangement of the two groups, but which does not represent the "true" relation between the two variables, which may practically be equal to 0 (as could be seen if we looked at each group separately, see the following graph).

If you suspect the influence of such a phenomenon on your correlations and know how to identify such "subsets" of data, try to run the correlations separately in each subset of observations. If you do not know how to identify the hypothetical subsets, try to examine the data with some exploratory multivariate techniques (e.


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