Facial Motion Capture is the process of electronically converting the movements of a person's face into a digital database using cameras or laser scanners. This database may then be used to produce CG (computer graphics) computer animation for movies, games, or real-time avatars. Because the motion of CG characters is derived from the movements of real people, it results in more realistic and nuanced computer character animation than if the animation were created manually.
A facial motion capture database describes the coordinates or relative positions of reference points on the actor's face. The capture may be in two dimensions, in which case the capture process is sometimes called "expression tracking", or in three dimensions. Two dimensional capture can be achieved using a single camera and low cost capture software such as Zign Creations' Zign Track. This produces less sophisticated tracking, and is unable to fully capture three dimensional motions such as head rotation. Three dimensional capture is accomplished using multi-camera rigs or laser marker system. Such systems are typically far more expensive, complicated, and time-consuming to use. Two predominate technologies exist; marker and markerless tracking systems.
Facial Motion Capture is related to body motion capture, but is more challenging due to the higher resolution requirements to detect and track subtle expressions possible from small movements of the eyes and lips. These movements are often less than a few millimeters, requiring even greater resolution and fidelity and different filtering techniques than usually used in full body capture. The additional constraints of the face also allow more opportunities for using models and rules.
Facial expression capture is similar to Facial Motion Capture. It is a process of using visual or mechanical means to manipulate computer generated characters with input from human faces, or to recognize emotions from a user.
Read more about Facial Motion Capture: History
Famous quotes containing the words facial, motion and/or capture:
“You must call up every strength you own
And you can rip off the whole facial mask.”
—William Dewitt Snodgrass (b. 1926)
“It is the fixed that horrifies us, the fixed that assails us with the tremendous force of mindlessness. The fixed is a Mason jar, and we cant beat it open. ...The fixed is a world without fire--dead flint, dead tinder, and nowhere a spark. It is motion without direction, force without power, the aimless procession of caterpillars round the rim of a vase, and I hate it because at any moment I myself might step to that charmed and glistening thread.”
—Annie Dillard (b. 1945)
“Not even the visionary or mystical experience ever lasts very long. It is for art to capture that experience, to offer it to, in the case of literature, its readers; to be, for a secular, materialist culture, some sort of replacement for what the love of god offers in the world of faith.”
—Salman Rushdie (b. 1947)