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Stop Staring: Facial Modeling and Animation Done Right

Name: Stop Staring: Facial Modeling and Animation Done Right
Author: Jason Osipa
ISBN: 9780471789208

by Jason Osipa

May 2007

Beginner

384 pages

12h 26m

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 OrganizedThe Companion CDInstalling the Shelf and Tools Is Easy!What's on the CDChapter FilesResourcesExtras
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: Visimes1.3.1. Why Phonemes Aren't Best for CGI1.3.1.1. Open Mouth Sounds1.3.2. Visimes 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 Us Alertness2.2.1.1. 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 Squint2.3.1.1. Squint Is Not Emotion Specific2.3.1.2. Squeeze Across Different Styles2.4. Eyelines: Perception vs. Reality2.4.1. Headline vs. Eyelines2.4.1.1. Implied Eyelines2.5. Distraction Is the Enemy of Performance
3. Facial Landmarking
3.1. Introduction to Landmarking3.1.1. Landmarking by Example3.1.1.1. Fixing a Shape by Fixing Its Surroundings3.1.2. The Landmarking Process3.1.3. 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?3.2.2.1. Even the Big Boys Sometimes Get It Wrong3.2.3. Creasing Applied to Each Shape3.3. Landmarking Brow Creases3.3.1. Brows Up/Raise3.3.1.1. The Shape of Brow Creases3.3.2. 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. Visimes and Lip Sync Technique
4.1. Sync: Wide/Narrow Grows Up4.1.1. Visimes vs. Sounds4.1.1.1. The Visimes4.1.1.2. The Non-Visime 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. Relatives between Absolutes4.2.2.3. Opposites4.2.2.4. 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 Visimes4.3.2. 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 Visimes4.4.2. 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 Lips5.4. Building the Surrounding Mouth Area5.5. Building the Nose5.6. Connecting the Nose and Mouth5.6.1. Mouth Conclusion5.7. Building Teeth5.7.1. A Real-Life Lesson in Gums5.7.1.1. Placement5.7.2. The Types of Teeth5.7.3. Creating Teeth5.7.3.1. Shaping the Interior Tooth Surface5.7.3.2. The Underside of the Teeth5.7.3.3. Sculpting the Gums5.7.4. 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 ss2_blend_taper.mel6.3.1. Additive Shapes Explained6.3.1.1. There Are No Shapes, Only Differences6.3.2. ss2_blend_taper.mel: Subtraction of Shapes6.3.2.1. Subtraction6.3.2.2. Ss2_blend_taper and ss2_blend_inverse6.3.2.3. 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 Style6.4.4. 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. Cartoon Style6.4.6. Lower Lip Down6.4.6.1. Basic Ingredients6.4.6.2. Advanced Ingredients and Style6.4.7. 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 Control7.1.3.3. Rigging the Eye Control7.1.3.4. Rigging the Upper Lids7.1.3.5. Rigging the Lower Lids7.1.3.6. Rigging the Brows7.1.3.7. Re-Rigging the Mouth7.2. 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 Duct8.3. Building the Forehead8.3.1. Brow Hair8.3.1.1. For Fur or PaintFX Eyebrows8.3.1.2. Separate Brows: Technical Extras8.4. Detailing the Inside of the Lid
9. Eye and Brow Keys
9.1. Brow Shapes and Texture Maps9.1.1. UV Mapping Information9.1.1.1. Cylindrical Mapping9.1.2. Multiple Bump Maps9.1.2.1. Connecting a Color Map to Start From9.1.2.2. Connecting a Bump Map9.1.2.3. Connecting a Second Bump Map9.1.2.4. Bump Depth and Alpha Gain9.2. Building Realistic Brow Shapes9.2.1. BrowsOutUp9.2.2. browsOutDn9.2.3. browsMidUp9.2.4. browsMidDn9.2.5. browsSqueeze9.2.6. squint9.3. Building Stylized Brow Shapes9.3.1. browsOutUp9.3.2. browsOutDn9.3.3. browsMidUp (Sad)9.3.4. browsMidDn (Mad)9.3.5. browsSqueeze9.3.6. Squint (Happy Eyes)9.4. Tying Up Loose Ends9.4.1. Asymmetry (Tapering)9.4.2. Pupil Dilation Keys9.4.3. The Stop Staring Expressions
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 Head10.2. Assembling the Head Pieces10.2.1. Mirroring: Working on Half of the Head10.2.2. Silhouetting the Chin
11. Skeletal Setup, Weighting, and Rigging
11.1. Weighting the Head11.1.1. Placing the Joints11.1.1.1. Placing the Head and Neck Joints11.1.1.2. Placing the Eye Joints11.1.1.2.1. MAKING THE RIGHT-SIDE EYE JOINTS11.1.1.3. Placing the Jaw11.1.1.3.1. CONNECTING THE EYEBALL GEOMETRY TO THE SKELETON11.1.2. Binding the Head11.1.2.1. Weighting Order11.1.2.2. Checking Poses11.1.2.3. Weighting the Eyelids11.1.2.4. Mirroring the Weights11.2. The SS2 Eye Rig11.2.1. Outputs11.2.2. Multipliers and Variables11.2.2.1. Spread11.2.2.2. Cornea Push Radius11.2.2.3. Cornea Push Weight11.2.2.4. Upper Lid Limit11.2.2.5. Lower Lid Limit11.2.2.6. Upper Lid Up/Down % Follow11.2.2.7. Upper Lid Left/Right % Follow11.2.2.8. Lower Lid Up/Down % Follow11.2.2.9. Lower Lid Left/Right % Follow11.2.2.10. Blink Line11.2.3. Setting Up Your Skeleton11.2.4. Notes on the Ss2 Eye Rig : For TDs11.2.4.1. Attribute Labeling on the Network Node11.2.4.2. Offsets and the Diverge Setup11.2.4.3. Up/Down/Left/Right11.2.4.4. Integrating the Aims11.3. Zipper Lips11.3.1. SS2_Zip
12. Interfaces for Your Faces
12.1. Using Expressions to Animate12.1.1. What Is an Expression?12.1.1.1. What Else Can Expressions Do?12.1.2. Corralling Our Values: clamp12.1.2.1. You Can Do Math Anywhere in an Expression12.1.3. Building an Example Expression and Control12.1.3.1. Creating a Simple Expression to Start12.1.3.2. Adding More to the Slider12.1.3.3. Expressions Wrap-Up12.2. Interface Concepts12.2.1. Multidirectional Controls12.2.2. Shape Collisions12.2.3. Limits12.2.4. Fix Shapes12.2.5. XYZ Shapes and Half Shapes12.2.6. Control Schemes: Shapes12.3. Prep Work for Your Own Setup12.3.1. Naming Conventions12.3.2. Work Flow for Fixes, Halves, and XYZs12.3.2.1. Fix Shapes12.3.2.2. Half Shapes12.3.2.3. XYZ Shapes12.3.3. Prepping Your Blends12.3.3.1. Prepping Fixes12.3.3.2. Prepping Halves12.3.3.3. Prepping XYZs12.3.3.4. Generating a Control Network12.3.3.4.1. LIMITED12.3.3.4.2. UNLIMITED12.3.3.4.3. DIRECT12.3.3.4.4. BUFFER12.3.4. Controlling Your Blends12.3.5. Making Controls12.3.5.1. Control Types12.3.5.1.1. TYPE A12.3.5.1.2. TYPE B12.3.5.1.3. TYPE C12.3.5.1.4. Type D12.3.5.1.5. Type E12.3.5.1.6. Type F12.3.6. Connecting Sliders12.3.6.1. Connecting to Shapes That Are Already Connected12.3.6.2. Limiting Shapes12.4. Sharing Control Schemes12.5. The "Just Do This" Part12.5.1. Shapes12.5.1.1. Simple Face Shapes12.5.1.2. Complex Face Shapes12.5.1.3. Simple Teeth Shapes12.5.1.4. Complex Teeth Shapes12.5.2. Control Schemes: Eyes and Lids
13. Squash and Stretch and Squoosh
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 Order
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. That's All, Folks!
Stop Staring in Color

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

Chapter 13. Squash and Stretch and Squoosh

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, people. We can make characters turn themselves into parachutes (like Elastigirl in The Incredibles) if we want to. Animation where character deformations are bound only by the imagination is known as squash and stretch, and that's what we'll cover here, using my character Squoosh.

Fair warning: this chapter is more for the TDs than the animators. I've simplified the 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. That said, there are ...

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

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Stop Staring: Facial Modeling and Animation Done Right

by Jason Osipa

Chapter 13. Squash and Stretch and Squoosh

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