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Stop Staring: Facial Modeling and Animation Done Right, Third Edition

Name: Stop Staring: Facial Modeling and Animation Done Right, Third Edition
Author: Jason Osipa
ISBN: 9780470609903

by Jason Osipa

October 2010

Beginner

416 pages

12h 52m

English

Sybex

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Copyright
Dear Reader,
Acknowledgments
About the Author
Introduction
Why This BookWho Should Read This BookMaya and Other 3D AppsHow Stop Staring Is OrganizedWhat's on the Website
I. Getting to Know the Face
1. Learning the Basics of Lip Sync
1.1. The Essentials of Lip Sync1.1.1. Analyzing the Right Things1.2. Speech Cycles1.3. Starting with What's Most Important: Visemes1.3.1. Why Phonemes Aren't Best for CGI1.3.1.1. Open Mouth Sounds1.3.2. Visemes Aren't Tied to Individual Sounds1.3.3. Representative Shapes1.3.4. Relative Shapes1.3.4.1. "Who are you and what are you doing?": Wide/Narrow1.3.4.2. "Who are you and what are you doing?": Open/Closed1.4. The Simplest Lip Sync1.4.1. Creating a Sync Tool 1: Shapes1.4.2. Creating a Sync Tool 2: Setup1.4.3. Using the Sync Tool
2. What the Eyes and Brows Tell Us
2.1. The Two Major Brow Movements2.1.1. Brows Up and Down2.1.2. Brows Squeeze2.1.3. The Brow Squeeze Is Every Expression2.2. The Upper Lids' Effect on Expression2.2.1. The Upper Lids Show Alertness2.2.2. The Upper Lids Usually Stay Relative to the Pupil and Iris2.3. The Lower Lids' Effect on Expression2.3.1. The Value of a Good Squint2.3.2. Squint Is Not Emotion Specific2.4. Eyelines: Perception vs. Reality2.4.1. Headline vs. Eyelines2.4.2. Implied Eyelines2.5. Distraction Is the Enemy of Performance
3. Facial Landmarking
3.1. Introduction to Landmarking3.1.1. Landmarking by Example3.1.2. Fixing a Shape by Fixing Its Surroundings3.1.3. The Landmarking Process3.1.4. Landmarks Are Obvious When They're Alone3.2. Landmarking Mouth Creases3.2.1. Landmarking to Plan a Point Layout3.2.1.1. The Main Crease of the Mouth Area3.2.1.2. The Same Crease Does Different Things3.2.2. Where Is the Crease Most Intense?3.2.3. Even the Big Boys Sometimes Get It Wrong3.2.4. Creasing Applied to Each Shape3.3. Landmarking Brow Creases3.3.1. Brows Up/Raise3.3.2. The Shape of Brow Creases3.3.3. Brows Down/Squeeze3.4. Landmarking the Tilt of the Head3.4.1. Every Expression Has a Tilt3.4.2. The Significance of Tilts3.4.2.1. The Benefits of More Animation on the Head3.4.2.2. Musical Head Tilts
II. Animating and Modeling the Mouth

4. Visemes and Lip Sync Technique
4.1. Sync: Wide/Narrow Grows Up4.1.1. Visemes vs. Sounds4.1.1.1. The Visemes4.1.1.2. The Non-Viseme Sounds4.1.2. Breaking Sounds Down4.1.2.1. Spelling, Respelling, and S-P-EH-L-IH-NG4.1.2.2. Funneling4.2. The Best Order of Sync Operations4.2.1. Learn-While-Doing Sync: "Hey, buddy, I don't like your face"4.2.2. Finessing Sync4.2.2.1. Weighting the Rules4.2.2.2. Opposites4.2.2.3. Relatives between Absolutes4.2.2.4. Stepping4.2.3. Sync Subtleties4.2.3.1. Cap the Ends4.2.3.2. Earlier Is Better4.2.3.3. Percussive Sounds4.2.3.4. Oh Yeah, Almost Forgot the Tongue!4.3. Sync Example 1: "What am I sayin' in here?"4.3.1. Identifying Visemes4.3.2. Identifying Open/Closed4.3.3. Finessing4.3.3.1. Inserting Opposites or Stepping4.3.3.2. The Tongue4.3.3.3. What Bothers Me4.4. Sync Example 2: "Was it boys?"4.4.1. Identifying Visemes4.4.2. Identifying Open/Closed4.4.3. Finessing4.4.3.1. Inserting Opposites or Stepping4.4.3.2. The Tongue4.4.3.3. What Bothers Me
5. Constructing a Mouth and Nose
5.1. The Best Edge Flow5.1.1. Modeling in Circles5.1.2. Modeling for Movement5.2. The Big Picture5.3. Building the Lips5.3.1. Edge Loop Consistency into the Mouth5.3.2. Cross-Sections5.4. Building the Surrounding Mouth Area5.4.1. Photorealism5.4.2. Cartoony Snout5.5. Building the Nose5.5.1. A Moment of Hands-On5.5.2. Connecting the Nose and Mouth5.6. Continuing Toward the Jaw and Cheek5.7. Building Teeth5.7.1. A Real-Life Lesson in Gums5.7.1.1. Placement5.7.1.2. The Types of Teeth5.7.2. Creating Teeth5.7.2.1. The Underside of the Teeth and Roof of the Mouth5.7.2.2. Making the Lower Teeth from the Upper Teeth5.8. Building the Tongue5.8.1. Shaping a Basic Tongue5.8.2. A More Refined Tongue5.9. The Mouth Wall
6. Mouth Keys
6.1. Order of Operations6.2. Preparing to Build a Key Set6.2.1. Key Set Construction6.3. Default Shapes, Additive Shapes, and Tapering6.3.1. Additive Shapes Explained6.3.1.1. There Are No Shapes, Only Differences6.3.2. Tapering: Subtraction of Shapes6.3.2.1. Subtraction6.3.2.2. Inversing and Tapering6.3.2.3. Forks (Tapering the Tapers)6.3.2.4. Scrunch = Lots6.3.3. The Default Shape Is Bored. Period.6.3.4. Deciding What to Include6.3.5. What to Build?6.3.6. Binding Sufficiently for Building6.4. Building the Shapes6.4.1. Open6.4.2. Smile / Wide6.4.2.1. Basic Ingredients6.4.2.2. Advanced Ingredients6.4.2.3. Style6.4.3. Narrow / OO6.4.3.1. Basic Ingredients6.4.3.2. Advanced Ingredients6.4.3.3. Cartoon Style6.4.3.4. Snouts6.4.4. Upper Lip Up6.4.4.1. Basic Ingredients6.4.4.2. Advanced Ingredient: Path6.4.4.3. Cartoon Style6.4.5. Upper Lip Down6.4.5.1. Basic Ingredients6.4.5.2. Advanced Ingredients6.4.5.3. Cartoons/Snouts6.4.6. Lower Lip Down6.4.6.1. Basic Ingredients6.4.7. Lower Lip Up6.4.8. Frown6.4.8.1. Basic Ingredients6.4.8.2. Advanced Ingredients6.4.8.3. Cartoon Style6.4.9. Sneer6.4.9.1. Basic Ingredients6.4.9.2. Advanced Ingredient: Path6.4.9.3. Cartoon Style6.4.10. Joint-Built or Soft-Mod Shapes6.4.10.1. Mouth Move Left/Right6.4.10.2. Jaw Left/Right Forward/Back6.4.11. The Tongue
III. Animating and Modeling the Eyes and Brows
7. Building Emotion: The Basics of the Eyes
7.1. Building an Upper Face for Practice7.1.1. Modeling the Pieces7.1.1.1. The Face7.1.1.2. The Brows7.1.1.3. The Upper Lids7.1.1.4. The Lower Lids7.1.1.5. The Eyeballs7.1.2. Parenting Our Face Together7.1.3. Rigging Our Face7.1.3.1. Creating Our Control7.1.3.2. Rigging the Face Control7.1.3.2.1. IF BY EXPRESSIONS7.1.3.2.2. IF BY UTILITY NODES7.1.3.3. Rigging the Eye Control7.1.3.3.1. IF BY EXPRESSIONS7.1.3.3.2. IF BY UTILITY NODES7.1.3.4. Rigging the Upper Lids7.1.3.4.1. IF BY EXPRESSION7.1.3.4.2. IF BY UTILITY NODES7.1.3.5. Rigging the Lower Lids7.1.3.5.1. IF BY EXPRESSION7.1.3.5.2. IF BY UTILITY NODES7.1.3.6. Rigging the Brows Up/Down7.1.3.6.1. IF BY EXPRESSION7.1.3.6.2. IF BY UTILITY NODES7.1.3.7. Brow Emotion!7.1.3.7.1. IF BY EXPRESSION7.1.3.7.2. IF BY UTILITY NODES7.1.3.8. Updating the Mouth Rigging7.1.3.8.1. IF BY EXPRESSIONS7.1.3.8.2. IF BY UTILITY NODES7.2. Using "Box Head"7.3. Rules of the Game7.3.1. Eye Rules: Focus and Distraction7.3.1.1. Focus and Motion7.3.1.2. Timing7.3.1.3. Involuntary Distraction Is the Enemy of Performance7.3.2. Brow Rules7.3.2.1. Limit Your Range7.3.2.2. Darting Motion7.3.2.3. Sometimes the Best Shape Is No Shape7.3.3. Order of Operations7.3.3.1. Sync7.3.3.2. Head Tilt7.3.3.3. Eyes7.3.3.4. Eyelids7.3.3.5. Brows7.3.3.6. Finesse7.4. Example Animations7.4.1. "What Am I Sayin' in Here?"7.4.1.1. Head Tilt7.4.1.2. Eyes7.4.1.3. Eyelids7.4.1.4. Brows7.4.1.5. Finesse7.4.2. Beautiful Perfect7.4.2.1. Head Tilt7.4.2.2. Eyes7.4.2.3. Eyelids7.4.2.4. Brows7.4.2.5. Finesse7.4.3. Default Grey7.4.3.1. Head Tilt7.4.3.2. Eyes7.4.3.3. Eyelids7.4.3.4. Brows7.4.3.5. Finesse7.5. Continuing and Practicing
8. Constructing Eyes and Brows
8.1. Building Eyeballs8.1.1. Two Ways to Model the Pupil8.1.1.1. Sculpt the Pupil from the Eyeball8.1.1.2. Cut a Hole8.1.2. Building the Cornea8.2. Building the Eye Sockets8.2.1. Creating the Tear Duct8.2.2. Detailing the Inside of the Lid8.2.3. Building the Remaining Eye Area8.3. Building the Brow and Forehead8.3.1. Sliding Skin8.3.2. Dealing with Nose Edge Density8.3.2.1. Straight-Through8.3.2.2. Up-N-Over8.3.3. Geometry versus Texture Wrinkles8.3.3.1. The Four-Point Crease Profile8.3.4. Brow Hair8.3.4.1. For Fur or PaintFX Eyebrows8.3.4.2. The Fur on the Model from this Book
9. Eye and Brow Keys
9.1. Brow Shapes and Texture Maps9.1.1. UV Mapping9.1.1.1. Cylindrical Mapping9.1.1.2. Cleanup9.1.2. Faking Deformation9.1.2.1. What Is a Bump Map?9.1.2.2. What Is a Displacement Map?9.1.2.3. What Is a Normal Map?9.1.3. Stringing Multiple Maps Together9.1.3.1. Controlling the Map Blend9.1.3.2. Adding More Maps9.1.3.3. Displacement, Normal, or Color Variations9.2. Building Realistic Brow Shapes9.2.1. browsOutUp9.2.2. browsOutDn9.2.3. browsMidUp9.2.4. browsMidDn9.2.5. browsSqueeze9.2.6. Squint9.2.7. Blinks9.3. Tying Up Loose Ends9.3.1. Asymmetry (Tapering)9.3.2. Pupil Dilation Keys
IV. Bringing It Together
10. Connecting the Features
10.1. Building the Ear10.1.1. Bottom of the Ear10.1.2. Preparing the Ear to Join with the Head10.1.2.1. Finishing with One Continuous Outside Edge10.1.2.2. Making More of the Head10.2. Assembling the Head Pieces10.2.1. Mirroring: Working on Half of the Head10.2.2. Building the Rest of the Head10.2.2.1. Finishing the Neck10.2.2.2. Mirroring10.2.3. Silhouetting the Chin
11. Skeletal Setup, Weighting, and Rigging
11.1. Skeleton11.1.1. Shape-Based Rig11.1.1.1. Head and Neck11.1.1.2. Jaw11.1.2. Joint-Based Setup11.1.2.1. The Jaw and Sub-Jaws11.1.2.1.1. CREATING A SUB-JAW11.1.2.1.2. USING SUB-JAWS11.1.2.2. Skeleton Resolutions11.1.2.2.1. TOP-SHELF (400)11.1.2.2.2. HIGH-INTERMEDIATE (250)11.1.2.2.3. MIDDLE-OF-THE-ROAD (125)11.1.2.2.4. THE GAME CUT SCENE (50)11.1.2.2.5. THE IN-GAME (20)11.1.2.3. Animation Rig vs. Bind Rig11.2. Eyelid Rigs11.2.1. Eye Aim/Anim Setup11.2.2. Joint Lid Setup11.2.2.1. Hierarchy11.2.2.2. Tracking11.2.2.3. Lid Controls11.2.2.4. Finishing Up11.2.3. Shape Lids11.2.3.1. Control Object and Attributes11.2.3.2. Lower Lid Shapes11.2.3.3. Upper Lid Shapes11.2.3.4. Making Room for the Blink Shape11.2.3.5. Lid Collisions11.2.3.6. Send In the Blinks!11.2.3.7. Combining Anim and Track Values11.2.3.8. Finishing Up11.3. Extra Eye Fun11.3.1. Squishy Eyes11.3.2. Cornea Bump11.4. Sticky Lips11.4.1. Shared Steps11.4.1.1. Getting Tweaks Out of the Way11.4.1.2. Making the Sticky Object11.4.1.3. Making the Loft11.4.2. Manual Steps11.4.2.1. Getting Top and Bottom Positions11.4.2.2. Resolving the Sticky Position11.4.2.3. Controlling Stickiness11.4.2.4. Rinse, Repeat11.4.2.5. Driving Vertices with StickyPos11.4.2.6. Sticky Control Driven Keys11.4.3. Using the Tools11.4.3.1. Make Stickers11.4.3.2. Load Verts11.4.3.3. Load Stickers11.4.3.4. Link Verts to Stickers11.4.3.5. Default Zips11.4.3.6. Refining the Links
12. Interfaces for Your Faces
12.1. The Two Big Problems of Facial Control12.1.1. Reduction12.1.1.1. Visemes12.1.1.2. Tapering12.1.1.3. Interface Exclusivity12.1.1.4. Dominance12.1.2. Corrective and Contextual Shapes12.2. Buffer Networks12.2.1. Demo Blend12.2.2. Building the First Half12.2.2.1. Blasting Attributes12.2.2.2. Connections: For Real This Time12.2.2.3. Changing the Range from 0–1 to 0–1012.2.3. Building the Second Half12.2.3.1. Node Rundown12.2.3.1.1. WIDGETS12.2.3.1.2. DIRECT12.2.3.1.3. INTERNALA AND INTERNALB12.2.3.1.4. SUPERDIRECT12.2.3.1.5. FINAL12.2.3.1.6. VOLUME12.2.3.2. Clamp Nodes12.2.4. Sharing Setups12.2.4.1. Mismatched Shape Names12.2.4.2. In-Scene Sharing12.2.4.3. Eyes, Lids, and Sticky Lips12.2.5. Chicken-and-Egg Problems12.3. Sliders12.3.1. Making the Widget12.3.1.1. Compass Output12.3.1.1.1. NORTH/SOUTH12.3.1.1.2. EAST/WEST12.3.1.2. Corners12.3.1.2.1. THE NORTHEAST CORNER12.3.1.2.2. THE NORTHWEST CORNER12.3.1.2.3. THEORY BREAK 112.3.1.2.4. THE SOUTHEAST CORNER12.3.1.2.5. THE SOUTHWEST CORNER12.3.1.2.6. THEORY BREAK 212.3.1.3. Tidying Up12.3.2. Using the Widget12.3.2.1. Widgets for Eyes, Lids, and Sticky Lips12.3.2.2. Buffer Networks12.3.3. Separate Viewport12.4. Skeletal Control12.4.1. Smile12.4.1.1. Reset the Pose12.4.1.2. Cleanup12.4.2. Brows Out Up12.4.3. Wrinkle Maps12.5. Layered Controls12.5.1. Phonemes12.5.1.1. A_I12.5.1.2. E12.5.1.3. O and U12.5.1.4. Cleanup12.5.2. Buffer Network Locations12.5.2.1. The End12.5.2.2. Widgets12.5.2.3. Parallel to Widgets and Direct12.5.3. Implications12.6. Corrective, Contextual, XYZ, Half, and Dominant Shapes12.6.1. Dominant Shapes12.6.2. Correctives and Contextual Shapes12.6.2.1. Correctives12.6.2.1.1. SCULPT12.6.2.1.2. EXTRACT12.6.2.1.3. HOOKUP12.6.2.1.4. ADVANCED USAGE12.6.2.2. Contextuals12.6.3. XYZs and Halves12.6.3.1. Half Shapes12.6.3.2. XYZ Shapes12.7. Just Interface Me
13. Squash, Stretch, and Secondaries
13.1. Local Rigs13.1.1. Joints13.1.1.1. Eye and Eyelid Joints13.1.2. Separate the Big Blends13.2. Global Rigs13.2.1. Separating out the "Special" Objects13.2.1.1. Lattices13.2.1.2. Wraps13.2.2. Plugging B, C, D... into A13.2.2.1. The Elastigirl Parachute13.3. The "Real" Character Has No Rig!13.3.1. Anytime You Rig Something, It's Just a Plug13.4. Not Using Wraps Changes a Few Things13.4.1. Point-Level Rigging13.4.2. No Parenting to Joints13.5. Tutorial: Rigging Squoosh13.5.1.13.5.1.1. Taper Big Shapes13.5.1.2. Make a Skeleton13.5.1.3. Identify "Specials"13.5.1.4. Create Lattices13.5.1.5. Make Wraps13.5.1.6. Hierarchies13.5.1.7. Making the Teeth Behave13.5.1.8. Adding More Rigs: The Real Fun13.6. Gotchas13.6.1.13.6.1.1. Pivot Location13.6.1.2. Tooth Line and Tooth Scale13.6.1.3. Limiting13.6.1.4. Deformation Order13.7. Secondaries13.7.1. Creating the Secondary Rig13.7.2. Hooking It All Up13.7.2.1. Duplicate the Skeleton13.7.2.2. Pin to the Mesh13.7.2.3. Double-Transform Fix13.7.2.4. Orientation13.7.2.5. Closing Notes
14. A Shot in Production
14.1. Scene 1: Bartender14.1.1. Sync Special Cases14.1.2. Head Tilts14.1.3. Eyes14.1.4. Lids14.1.5. Brows14.1.6. Mouth Emotion14.1.7. Other Tilts and Finesse14.2. Scene 2: Lack of Dialogue14.2.1. Sync Special Cases14.2.1.1. "That's the way it is sometimes."14.2.1.2. The Cough14.2.1.3. Neighborhood14.2.1.4. Character Two14.2.2. Head Tilts14.2.3. Eyes14.2.3.1. Character Two14.2.4. Lids14.2.5. Brows14.2.6. Mouth Emotion14.2.7. Other Tilts and Finesse14.3. Scene 3: Dunce Cap14.3.1. What Order to Do Things?14.3.2. Your Process with This Scene14.4. Scene 4: Salty Old Sea Captain14.4.1. Sync Special Cases14.4.2. Head Tilts14.4.3. Eyes14.4.4. Lids14.4.5. Brows14.4.6. Mouth Emotion14.4.7. Other Tilts and Finesse14.5. Scene 5: Pink or Blue?14.5.1. Sync Special Cases14.5.1.1. Toon Sync Differences14.5.1.2. Hitting the "Clicks"14.5.1.3. Use Smiles and Frowns in Your Sync When You've Got the Time14.5.1.4. Exaggerated Closeds14.5.2. Tilts14.5.3. Eyes14.5.4. Lids14.5.5. Brows14.5.6. Mouth Emotion14.5.7. Other Tilts14.6. Scene 6: Great Life14.6.1. What Order to Do Things?14.6.2. Your Process with This Scene14.7. That's All, Folks!

Content preview from Stop Staring: Facial Modeling and Animation Done Right, Third Edition

Chapter 13. Squash, Stretch, and Secondaries

All the animation we've done so far, whether it has a photorealistic or a toon-style "look" to it, has been bound for the most part by the physical limits of what real human bodies can do. But this is animation. We can make characters turn themselves into parachutes (like Elastigirl in The Incredibles) if we want to.

Fair warning: This chapter is more for the TDs than the animators. I've simplified Squash and Stretch the best I can, but some of it is just a few too many steps into TD land to pull back out. Deformations for squash and stretch rigging break into two main groups: deformations done locally and those done globally. Locally, you can create a type of rig that will allow your face to do certain ...

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Stop Staring: Facial Modeling and Animation Done Right, Third Edition

by Jason Osipa

Chapter 13. Squash, Stretch, and Secondaries

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