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More About This Title Stop Staring: Facial Modeling and Animation Done Right, 3rd Edition
English
If you want to do character facial modeling and animation at the high levels achieved in today’s films and games, Stop Staring: Facial Modeling and Animation Done Right, Third Edition, is for you. While thoroughly covering the basics such as squash and stretch, lip syncs, and much more, this new edition has been thoroughly updated to capture the very newest professional design techniques, as well as changes in software, including using Python to automate tasks.
Shows you how to create facial animation for movies, games, and moreProvides in-depth techniques and tips for everyone from students and beginners to high-level professional animators and directors currently in the fieldFeatures the author’s valuable insights from his own extensive experience in the fieldCovers the basics such as squash and stretch, color and shading, and lip syncs, as well as how to automate processes using PythonBreathe life into your creations with this important book, considered by many studio 3D artists to be the quintessential reference on facial animation.
English
ABOUT THE AUTHOR Jason Osipa has been working in 3D since 1997, holding titles in all levels of animation, rigging, and directing in real-time and rendered 3D. He is currently running Osipa Entertainment, which offers contracting, consulting, and classes for games, TV, Direct-to-Video, and film. Prior to opening his own company, he worked at gaming industry giants LucasArts and EA, among others. He is the author of both previous editions of Stop Staring: Facial Modeling and Animation Done Right.
English
Introduction xv
PART I GETTING TO KNOW THE FACE 1
Chapter 1 Learning the Basics of Lip Sync 3
The Essentials of Lip Sync 4
Speech Cycles 6
Starting with What’s Most Important: Visemes 8
The Simplest Lip Sync 15
Chapter 2 What the Eyes and Brows Tell Us 21
The Two Major Brow Movements 22
The Upper Lids’ Effect on Expression 24
The Lower Lids’ Effect on Expression 26
Eyelines: Perception vs. Reality 28
Distraction Is the Enemy of Performance 30
Chapter 3 Facial Landmarking 31
Introduction to Landmarking 32
Landmarking Mouth Creases 35
Landmarking Brow Creases 39
Landmarking the Tilt of the Head 42
PART II ANIMATING AND MODELING THE MOUTH 45
Chapter 4 Visemes and Lip Sync Technique 47
Sync: Wide/Narrow Grows Up 48
The Best Order of Sync Operations 56
Sync Example 1: “What am I sayin’ in here?” 63
Sync Example 2: “Was it boys?” 69
Chapter 5 Constructing a Mouth and Nose 75
The Best Edge Flow 76
The Big Picture 78
Building the Lips 78
Building the Surrounding Mouth Area 81
Building the Nose 84
Continuing Toward the Jaw and Cheek 87
Building Teeth 88
Building the Tongue 92
The Mouth Wall 95
Chapter 6 Mouth Keys 97
Order of Operations 98
Preparing to Build a Key Set 99
Default Shapes, Additive Shapes, and Tapering 100
Building the Shapes 114
PART III ANIMATING AND MODELING THE EYES AND BROWS 145
Chapter 7 Building Emotion: The Basics of the Eyes 147
Building an Upper Face for Practice 148
Using “Box Head” 158
Rules of the Game 159
Example Animations 164
Continuing and Practicing 177
Chapter 8 Constructing Eyes and Brows 179
Building Eyeballs 180
Building the Eye Sockets 183
Building the Brow and Forehead 189
Chapter 9 Eye and Brow Keys 197
Brow Shapes and Texture Maps 198
Building Realistic Brow Shapes 207
Tying Up Loose Ends 226
PART IV BRINGING IT TOGETHER 229
Chapter 10 Connecting the Features 231
Building the Ear 232
Assembling the Head Pieces 237
Chapter 11 Skeletal Setup, Weighting, and Rigging 245
Skeleton 246
Eyelid Rigs 254
Extra Eye Fun 265
Sticky Lips 270
Chapter 12 Interfaces for Your Faces 281
The Two Big Problems of Facial Control 282
Buffer Networks 283
Sliders 291
Skeletal Control 301
Layered Controls 304
Corrective, Contextual, XYZ, Half, and Dominant Shapes 308
Just Interface Me 319
Chapter 13 Squash, Stretch, and Secondaries 321
Local Rigs 322
Global Rigs 326
The “Real” Character Has No Rig! 330
Not Using W t raps Changes a Few Things 331
Tutorial: Rigging Squoosh 332
Gotchas 339
Secondaries 341
Chapter 14 A Shot in Production 347
Scene 1: Bartender 348
Scene 2: Lack of Dialogue 353
Scene 3: Dunce Cap 363
Scene 4: Salty Old Sea Captain 367
Scene 5: Pink or Blue? 370
Scene 6: Great Life 379
That’s All, Folks! 381
Index 383
