Facial Capture Lip-Sync
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Reallusion Premieres Iclone 1.52 - New Technology for Independent Machinima
For Immediate Release Reallusion Premieres iClone 1.52 - New Technology for Independent Machinima New York City - November 1st, 2006 – Reallusion, official Academy of Machinima Arts and Sciences’ Machinima Festival partner hits the red carpet with the iClone powered Best Visual Design nominee, “Reich and Roll”, an iClone film festival feature created by Scintilla Films, Italy. iClone™ is the 3D real-time filmmaking engine featuring complete tools for character animation, scene building, and movie directing. Leap from brainstorm to screen with advanced animation and visual effects for 3D characters, animated short-films, Machinima, or simulated training. The technology of storytelling evolves with iClone. Real-time visual effects, character interaction, and cameras all animate in with vivid quality providing storytellers instant visualization into their world. Stefano Di Carli, Director of ‘Reich and Roll’ says, “Each day I find new tricks in iClone. It's really an incredible new way of filmmaking. So Reallusion is not just hypin' a product. What you promise on the site is true. You can do movies!” Machinima is a rising genre in independent filmmaking providing storytellers with technology to bring their films to screen excluding high production costs or additional studio staff. iClone launches independent filmmakers and studios alike into a production power pack of animation tools designed to simplify character creation, facial animation, and scene production for 3D films. “iClone Independent filmmakers can commercially produce Machinima guaranteeing that the movies you make are the movies you own and may distribute or sell,” said John Martin II, Director of Product Marketing of Reallusion. “iClone’s freedom for filmmakers who desire to own and market their films supports the new real-time independent filmmaking spirit and the rise of directors who seek new technologies for the future of film.” iClone Studio 1.52 sets the stage delivering accessible directing tools to develop and debut films with speed. -
Facial Animation: Overview and Some Recent Papers
Facial animation: overview and some recent papers Benjamin Schroeder January 25, 2008 Outline Iʼll start with an overview of facial animation and its history; along the way Iʼll discuss some common approaches. After that Iʼll talk about some notable recent papers and finally offer a few thoughts about the future. 1 Defining the problem 2 Historical highlights 3 Some recent papers 4 Thoughts on the future Defining the problem Weʼll take facial animation to be the process of turning a characterʼs speech and emotional state into facial poses and motion. (This might extend to motion of the whole head.) Included here is the problem of modeling the form and articulation of an expressive head. There are some related topics that we wonʼt consider today. Autonomous characters require behavioral models to determine what they might feel or say. Hand and body gestures are often used alongside facial animation. Faithful animation of hair and rendering of skin can greatly enhance the animation of a face. Defining the problem This is a tightly defined problem, but solving it is difficult. We are intimately aware of how human faces should look, and sensitive to subtleties in the form and motion. Lip and mouth shapes donʼt correspond to individual sounds, but are context-dependent. These are further affected by the emotions of the speaker and by the language being spoken. Many different parts of the face and head work together to convey meaning. Facial anatomy is both structurally and physically complex: there are many layers of different kinds of material (skin, fat, muscle, bones). Defining the problem Here are some sub-questions to consider. -
Metadefender Core V4.13.1
MetaDefender Core v4.13.1 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
Moho Free Download Full Version Moho Anime Studio
moho free download full version Moho Anime Studio. Are you someone who is interested in animation, specifically in the Japanese anime style? Are you looking for a software that has all the tools you need to get into Animation? Well then look no further, as Moho Anime Studio is the perfect software for you to use. What is Moho Anime Studio? Moho Anime Studio is a 2D animation software by the company Smith Software Inc. Moho Anime Studio was first made in the year 1999 by a man called Mike Clifton. This is the 13th Version of Moho Anime Studio, and it has two versions, Pro and a trial version called Moho Debut. Moho Anime Studio comes filled with a wide variety of different tools and features that are designed to help the user create professional and good-looking animations. Moho Anime Studio has an amazing user interface that is extremely well-made and is very helpful for beginners, whilst at the same time not giving up on any functionality. Moho Anime Studio was extremely well received on its release by both the critics and the public and was generally praised for its performance. Moho Anime Studio System Requirements. Moho Anime Studio runs on devices running 64-Bit Windows, that is Windows 7 or higher. At least 4 GB of RAM is required for running Moho Anime Studio smoothly. A 2-GHz or higher processor is required for running Moho Anime Studio. An Open GL 4+ compatible GPU is required for running Moho Anime Studio. Main Features of Moho Anime Studio. -
First Words: the Birth of Sound Cinema
First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints. -
Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation
ACM SIGGRAPH 97 Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation ABSTRACT Video Rewrite automatically pieces together from old footage a new video that shows an actor mouthing a new utterance. The Video Rewrite uses existing footage to create automatically new results are similar to labor-intensive special effects in Forest video of a person mouthing words that she did not speak in the Gump. These effects are successful because they start from actual original footage. This technique is useful in movie dubbing, for film footage and modify it to match the new speech. Modifying example, where the movie sequence can be modified to sync the and reassembling such footage in a smart way and synchronizing it actors’ lip motions to the new soundtrack. to the new sound track leads to final footage of realistic quality. Video Rewrite automatically labels the phonemes in the train- Video Rewrite uses a similar approach but does not require labor- ing data and in the new audio track. Video Rewrite reorders the intensive interaction. mouth images in the training footage to match the phoneme Our approach allows Video Rewrite to learn from example sequence of the new audio track. When particular phonemes are footage how a person’s face changes during speech. We learn what unavailable in the training footage, Video Rewrite selects the clos- a person’s mouth looks like from a video of that person speaking est approximations. The resulting sequence of mouth images is normally. We capture the dynamics and idiosyncrasies of her artic- stitched into the background footage. -
FILM-GOING in the SILENT ERA Elizabeth Ezra in The
THE CINEMISING PROCESS: FILM-GOING IN THE SILENT ERA Elizabeth Ezra In the Surrealist text Nadja, published in 1928, André Breton reminisces about going to the cinema in the days ‘when, with Jacques Vaché we would settle down to dinner in the orchestra of [the cinema in] the former Théâtre des Folies- Dramatiques, opening cans, slicing bread, uncorking bottles, and talking in ordinary tones, as if around a table, to the great amazement of the spectators, who dared not say a word’ (Breton 1960 [1928]: 37). When Breton recalled these youthful antics, which had probably taken place in the late teens or early twenties, he characterized them as ‘a question of going beyond the bounds of what is “allowed,” which, in the cinema as nowhere else, prepared me to invite in the “forbidden” (Breton 1951; original emphasis). Breton’s remarks beg the following questions. How did such behaviour in a cinema come to be considered transgressive? How did the structures emerge that made it a transgressive act to speak or eat a meal in the cinema, to reject, in other words, the narrative absorption that had become a standard feature of the filmgoing experience? The conventions that gave meaning to such forms of transgression emerged over the course of the silent era in what may be called, to adapt Norbert Elias’s term, ‘the cinemizing process’ (1994). The earliest historians of cinema already relied heavily on a rhetoric of lost innocence (witness the multiple accounts of the first cinema-goers cowering under their seats in front of the Lumière brothers’ film of a train pulling into a station); the cinemizing process thus presupposes a ‘golden age’ of naive, uninitiated spectatorship followed by 2 an evolution of audiences into worldy-wise creatures of habit. -
Papagayo Download Mac
Papagayo download mac Papagayo is free to download and use. Sync 'till your virtual lips are sore! Papagayo is available for Windows, and Mac OS X. Download Papagayo below. Papagayo for Mac can be downloaded from our software library for free. The actual developer of this free software for Mac is Lost marble. Free Download Papagayo for Mac / Beta 1 - Lip-syncing application designed to help you line up phonemes. Papagayo is a lip- syncing program designed to help you line up phonemes (mouth shapes) with DOWNLOAD Free MB Mac version. This video shows how to download and install Papagayo on your PC as I couldn't find any other video's for. Papagayo - A lip-syncing program designed to help you line up phonemes Downloads: Papagayo is available for Windows, Mac OS X, and Linux. use with Anime Studio. Papagayo is free to download and use. Sync 'till your virtual lips are sore! Papagayo is available for Windows, Mac OS X, and Linux. tool for animators. Contribute to Papagayo development by creating an account on GitHub. 3 years ago. mac · Initial commit, 3 years ago What you've downloaded here is the source code to Papagayo. You can modify. Below you can download a new development builds of Synfig, Mac OS X and Linux: #papagayo; OSX. Papagayo is free to download and use. Sync 'till your virtual lips are sore! Papagayo is available for Windows, Mac OS X, and Linux. Download Papagayo below. PAPAGAYO gibt es jetzt als native App frs Smartphone! Alle Neuigkeiten, Fotos, Veranstaltungen und Termine immer dabei. -
Popular Song Recordings and the Disembodied Voice
Lipsynching: Popular Song Recordings and the Disembodied Voice Merrie Snell Doctor of Philosophy School of Arts and Cultures April 2015 Abstract This thesis is an exploration and problematization of the practice of lipsynching to pre- recorded song in both professional and vernacular contexts, covering over a century of diverse artistic practices from early sound cinema through to the current popularity of vernacular internet lipsynching videos. This thesis examines the different ways in which the practice provides a locus for discussion about musical authenticity, challenging as well as re-confirming attitudes towards how technologically-mediated audio-visual practices represent musical performance as authentic or otherwise. It also investigates the phenomenon in relation to the changes in our relationship to musical performance as a result of the ubiquity of recorded music in our social and private environments, and the uses to which we put music in our everyday lives. This involves examining the meanings that emerge when a singing voice is set free from the necessity of inhabiting an originating body, and the ways in which under certain conditions, as consumers of recorded song, we draw on our own embodiment to imagine “the disembodied”. The main goal of the thesis is to show, through the study of lipsynching, an understanding of how we listen to, respond to, and use recorded music, not only as a commodity to be consumed but as a culturally-sophisticated and complex means of identification, a site of projection, introjection, and habitation, -
Research on Animation Lip Synchronization Technology
Received June 30, 2013; Accepted September 15, 2013 Research on Animation Lip synchronization technology A study on application and development of domestic animation Lip synchronization Cho, Jungsung Chung Kang College of Cultural Industries [email protected] . Abstract Recently, linguistic communication and learning effect and even delivery of knowledge information and mutual communion was capacitated with English lip sync automation device and voice recognition technology based real time animation character in areas like movie, game, broadcasting, AR with application of animation lip sync. It connotes the possibility of these characters` lip sync using characteristic of animation to efficiently enhance the qualitative level of work in domestic animation creation`s linguistic expression with progress and application of automation technology. In a word, a study on development and practical use of Korean lip sync technique is needed to be made actively in industrial, technical progress of domestic animation. However, it is hard to find a research on commercialization method of Korean lip sync automation technique and excellent performance or example that these techniques were applied in domestic animation up to now. The reason that development using Korean lip sync technique on domestic animation passed unobserved could be found in problem of sociocultural awareness, production environment and functional value feature. First, in Korea, animation is recognized as subordinate part of movie genre, and sociocultural stereotype that persisted with dictionary definition and feature that unreal and non-objective illusion image with playful exaggeration and symbol that brings optical illusion through apparition of movement is also a problem. Second, labor-intensive method that mobilized many labor was used in production of traditional 2D animation, and since the production was done by specific worker with long acumen and experience, thus it requires long period of production and big consumption expense. -
Haruhi in Usa: a Case Study of a Japanese Anime in the United States
HARUHI IN USA: A CASE STUDY OF A JAPANESE ANIME IN THE UNITED STATES A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Ryotaro Mihara August 2009 © 2009 Ryotaro Mihara ALL RIGHTS RESERVED ABSTRACT Although it has been more than a decade since Japanese anime became a popular topic of conversation when discussing Japan, both within the United States and in other countries as well, few studies have empirically investigated how, and by whom, anime has been treated and consumed outside of Japan. This research thus tries to provide one possible answer to the following set of questions: What is the empirical transnationality of anime? How and by whom is anime made transnational? How is anime transnationally localized/consumed? In order to answer the questions, I investigated the trans-pacific licensing, localizing, and consuming process of the anime The Melancholy of Haruhi Suzumiya (Haruhi) from Japan to the United States by conducting fieldwork in the United States’ agencies which localized Haruhi as well as U.S. anime and Haruhi fans. The central focus of this research is the ethnography of agencies surrounding Haruhi in the United States and Japan. I assume that these agencies form a community with a distinctive culture and principles of behaviors and practices in the handling of the Haruhi anime texts. The research findings to the above questions could be briefly summarized as follows. The worldview, characters, and settings of Haruhi (i.e. a fictious world of Haruhi which is embodied and described through its anime episodes and other related products) “reduces” and “diffuses” as it is transferred on the official business track from the producers in Japan to the localizers in the United States (i.e. -
Here Were Eminent Invited Persons with Expertise in the Field of FOSS Present There to Guide Them
1 Contents 1 Foreword………………………………………………………………………………….05 2 Day 1: 20 December 2017 2.1 Conference Keynote: “Software Freedom Conservancy”…………………06 2.2 Inaugural Session…………………………………………………………..11 2.3 Venue 01 2.3.1 GNU Health in the Context of Integrative and Precision Medicine……….18 2.3.2 RedHat……………………………………………………………………...19 2.3.3 Eliminating “Black Boxes” from Your Life: Using Free Software, Free Hardware & Self-Hosting…………………………………………………..21 2.3.4 Open Data Kit and Openstreetmap…………………………………………25 2.3.5 Building a Collaborative Economy over Networks held in Commons…….26 2.3.6 Women Hackathon………………………………………………………….27 2.4 Venue 02 2.4.1 How can FOSS Empower Me?……………………………………………..29 2.5 Venue 03 2.5.1 Affordable & Opensource Assistive Technology Solutions for People with Physical Disabilities: AsTeRICS, FABI and the Flip Mouse……………….34 2.5.2 Being Human in an Open Source Driven 4th Industrial Revolution………...35 2.5.3 Manually Building Your Own Tile Server with OSM………………………37 2.5.4 Introduction to Micro Services……………………………………………...39 2.5.5 The Role of Open Source Hardware in Healthcare………………………....40 2.5.6 Build Your Own Block Chain with Free Software…………………………42 2.5.7 Cultural Event……………………………………………………………….42 2 3 Day 2: 21 Dec 2017 3.1 Plenary Talk………………………………………………………………….43 3.2 Venue 01 3.2.1 Electronic Health Records in Low Resource Settings……………………....44 3.2.2 Internet Infrastructure,Values and Politics…………………………………..47 3.2.3 IT Initiatives of Kerala State Electricity Board Limited…………………….48 3.2.4 UNESCO and its Free Software Policy……………………………………...50