 |
 |
|
|
| All images from Inspired 3D Modeling and Texture Mapping by Tom Capizzi. | |
|
This excerpt is the next in a number of adaptations from the new Inspired 3D series published by Premier Press. Comprised of four titles and edited by Kyle Clark and Michael Ford, these books are designed to provide animators and curious moviegoers with tips and tricks from Hollywood veterans. The following is excerpted from Modeling & Texture Mapping.
Facial Animation and Blend Shapes
In the production of an animated character, the character can have the
face animated in two basic ways. One way is to have animation setup
control the face using various setup techniques. This requires
expertise on the part of the setup technical directors. In a large
production facility, the efficiency of scale can make difficult jobs
like this commonplace. Many characters have already been set up that
can be taken apart and reused. In a small production, the process of
creating facial controls can be time consuming. This is especially true
because no other similar characters can have their controls “recycled”
for the new character.
On this production, despite my best efforts to avoid this, the production decided early on that the facial animation would be controlled using blend shapes. Blend shapes are 3D morph targets that have the exact topology as the face they are controlling.
Full Face Shapes vs. Local Face Shapes
In the
creation of face shapes for an animated character, there are two basic
schools of thought regarding the way the face should be animated using
blend shapes. One method is to use the entire face as a specific
target. If the character is going to frown, then the entire face is
sculpted into a frown shape. The eyebrows are sculpted into a furrowed
appearance, and the entire mouth is sculpted into a real scowl.
 |
 |
 |
 |
 |
 |
|
|
||