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511:-length units. One of the most common approaches to speech animation is the use of dominance functions introduced by Cohen and Massaro. Each dominance function represents the influence over time that a viseme has on a speech utterance. Typically the influence will be greatest at the center of the viseme and will degrade with distance from the viseme center. Dominance functions are blended together to generate a speech trajectory in much the same way that
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532:. The disadvantage to these models is that a large amount of captured data is required to produce natural results, and whilst longer units produce more natural results the size of database required expands with the average length of each unit. Finally, some models directly generate speech animations from audio. These systems typically use
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communicative purposes (as explained in the next section), it may be argued that physically based models are not a very efficient choice in many applications. This does not deny the advantages of physically based models and the fact that they can even be used within the context of parameterized models to provide local details when needed.
454:', the realm where animation realism is sufficient for human recognition and to convey the emotional message but where the characters fail to be perceived as realistic. The main difficulties of motion capture are the quality of the data which may include vibration as well as the retargeting of the geometry of the points.
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is very broadly used in games. The bones setup can vary between few bones to close to a hundred to allow all subtle facial expressions. The main advantages of bone driven animation is that the same animation can be used for different characters as long as the morphology of their faces is similar, and
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in 1978, FACS defines 46 basic facial Action Units (AUs). A major group of these Action Units represent primitive movements of facial muscles in actions such as raising brows, winking, and talking. Eight AU's are for rigid three-dimensional head movements, (i.e. turning and tilting left and right and
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uses cameras placed around a subject. The subject is generally fitted either with reflectors (passive motion capture) or sources (active motion capture) that precisely determine the subject's position in space. The data recorded by the cameras is then digitized and converted into a three-dimensional
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to transform audio parameters into a stream of control parameters for a facial model. The advantage of this method is the capability of voice context handling, the natural rhythm, tempo, emotional and dynamics handling without complex approximation algorithms. The training database is not needed to
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basis functions are blended together to generate a curve. The shape of each dominance function will be different according to both which viseme it represents and what aspect of the face is being controlled (e.g. lip width, jaw rotation etc.). This approach to computer-generated speech animation can
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may achieve real-time performance without the use of any markers using a high speed structured light scanner. The system is based on a robust offline face tracking stage which trains the system with different facial expressions. The matched sequences are used to build a person-specific linear face
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are simulated to provide a realistic appearance (e.g. spring-like elasticity). Such methods can be very powerful for creating realism but the complexity of facial structures make them computationally expensive, and difficult to create. Considering the effectiveness of parameterized models for
665:'s video for "Black Or White". In 3D animation texture based animation can be achieved by animating the texture itself or the UV mapping. In the latter case a texture map of all the facial expression is created and the UV map animation is used to transition from one expression to the next.
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and colleagues, and approaches to automatic speech synchronization by Lewis and Hill. The 1990s have seen increasing activity in the development of facial animation techniques and the use of computer facial animation as a key storytelling component as illustrated in animated films such as
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aims at simplifying the motion capture process by avoiding encumbering the performer with markers. Several techniques came out recently leveraging different sensors, among which standard video cameras, Kinect and depth sensors or other structured-light based devices. Systems based on
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computer model of the subject. Until recently, the size of the detectors/sources used by motion capture systems made the technology inappropriate for facial capture. However, miniaturization and other advancements have made motion capture a viable tool for computer facial animation.
609:. Drawbacks of this technique are that they involve intensive manual labor and are specific to each character. Recently, new concepts in 3D modeling have started to emerge. Recently, a new technology departing from the traditional techniques starts to emerge, such as
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which is the influence of surrounding visemes upon the current viseme (i.e. the effect of context). To account for coarticulation current systems either explicitly take into account context when blending viseme keyframes or use longer units such as
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is the least automated of the processes to create animation data although it delivers the maximum amount of control over the animation. It is often used in combination with other techniques to deliver the final polish to the animation. The
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used a large Vicon system to capture upward of 150 points. Although these systems are automated, a large amount of manual clean-up effort is still needed to make the data usable. Another milestone in facial animation was reached by
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data. Bone driven animation is most widely supported by 3D game engines. Bone driven animation can be used for both 2D and 3D animation. For example, it is possible to rig and animate using bones a 2D character using
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techniques usually consist of a combination of a geometric deformation technique, which aligns the target images, and a cross-fade which creates the smooth transition in the image texture. An early example of image
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has been the subject of scientific investigation for more than one hundred years. Study of facial movements and expressions started from a biological point of view. After some older investigations, for example by
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uses pixel color to create the animation on the character face. 2D facial animation is commonly based upon the transformation of images, including both images from still photography and sequences of video. Image
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The early-1980s saw the development of the first physically based muscle-controlled face model by Platt and the development of techniques for facial caricatures by
Brennan. In 1985, the animated short film
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The body of work around computer facial animation can be divided into two main areas: techniques to generate animation data, and methods to apply such data to a character. Techniques such as
601:) based systems offer a fast playback as well as a high degree of fidelity of expressions. The technique involves modeling portions of the face mesh to approximate expressions and
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etc.) instead of visemes. As the basis units already incorporate the variation of each viseme according to context and to some degree the dynamics of each viseme, no model of
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is required. Speech is simply generated by selecting appropriate units from a database and blending the units together. This is similar to concatenative techniques in audio
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is not a new endeavour. The earliest work with computer based facial representation was done in the early-1970s. The first three-dimensional facial animation was created by
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where hundreds of motion points were captured. This film was very accomplished and while it attempted to recreate realism, it was criticized for having fallen in the '
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going up, down, forward and backward). FACS has been successfully used for describing desired movements of synthetic faces and also in tracking facial activities.
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is a technique which allows in-between transitional images to be generated between a pair of target still images or between frames from sequences of video. These
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and then blending the different sub meshes, known as morph targets or blendshapes. Perhaps the most accomplished character using this technique was Gollum, from
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are particularly well fitted for speech animation. Speech is usually treated in a different way to the animation of facial expressions, this is because simple
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was a landmark for facial animation. This marked the first time computer facial expression and speech animation were a fundamental part of telling the story.
1932:
486:), however there is a great deal of variation in the realisation of visemes during the production of natural speech. The source of this variation is termed
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1315:(the original Swedish title of the book is: "Människans ansikte och mimiska språket". The correct translation would be: "Man's face and facial language")
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coefficients or bones at the same time. For example, a "smile" control can act simultaneously on the mouth shape curving up and the eyes squinting.
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methods for facial animation started in the early-1970s, major achievements in this field are more recent and happened since the late 1980s.
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animation process a control rig is used by the animation. The control rig represents a higher level of abstraction that can act on multiple
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225:-based systems (for example online customer service representatives). With the recent advancements in computational power in personal and
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that encapsulates methods and techniques for generating and animating images or models of a character face. The character can be a
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are used to represent the key poses in observed speech (i.e. the position of the lips, jaw and tongue when producing a particular
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Many face animation languages are used to describe the content of facial animation. They can be input to a compatible "player"
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or character, etc. Due to its subject and output type, it is also related to many other scientific and artistic fields from
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be labeled since there are no phonemes or visemes needed; the only needed data is the voice and the animation parameters.
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as a data representation mechanism, most face animation languages are XML-based. For instance, this is a sample from
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that emphasizes the modeling of the movement of a 3D object instead of the traditional modeling of the static shape.
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coefficients or rotation and translation values of the bones in models with a bone based rig. Often to speed up the
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in 1972. In 1973, Gillenson developed an interactive system to assemble and edit line drawn facial images. in 1974,
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from several high-definition cameras was used to capture realistic facial movement at every point on the face.
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have caused considerable scientific, technological, and artistic interests in computer facial animation.
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Face/Off: Live Facial
Puppetry - Realtime markerless facial animation technology developed at ETH Zurich
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More advanced languages allow decision-making, event handling, and parallel and sequential actions. The
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be seen in the Baldi talking head. Other models of speech use basis units which include context (e.g.
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belong to the second. Facial animation has become well-known and popular through animated feature
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which then creates the requested actions. Face animation languages are closely related to other
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Lucero, J.C.; Munhall, K.G. (1999). "A model of facial biomechanics for speech production".
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in entertainment facial animation, and FACS based systems developed by Sagar were used on
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Ding, H.; Hong, Y. (2003). "NURBS curve controlled modeling for facial animation".
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model that is subsequently used for online face tracking and expression transfer.
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techniques using different type of cameras, 3.) audio-driven techniques, and 4.)
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The generation of facial animation data can be approached in different ways: 1.)
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The main techniques used to apply facial animation to a character are: 1.)
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can be considered a major departure for modern research in behavioural
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One of the most important attempts to describe facial movements was
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Learning Audio-Driven Viseme
Dynamics for 3D Face Animation
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developed a parameterized three-dimensional facial model.
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The sophistication of the films increased after 2000. In
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The "Artificial Actors" Project - Institute of
Animation
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secondly they do not require loading in memory all the
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Stop
Staring: Facial Modeling and Animation Done Right
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Screenshot from "Kara" animated short by
Quantic Dream
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by Nadia
Magnenat-Thalmann and Daniel Thalmann, 2004
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but its applications include many more areas such as
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Carl-Herman
Hjortsjö, Man's face and mimic language"
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List of animated television series by episode count
420:on points or marks on the face of a performer, 2.)
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60:. Unsourced material may be challenged and removed.
1191:. Carleton University. 6 June 2007. Archived from
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197:(more commonly known as blendshape animation) and
252:The Expression of the Emotions in Men and Animals
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2510:List of animated films by box office admissions
555:data can be made of scalar values defining the
261:Computer based facial expression modelling and
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751:FirstIspeakwithanangryvoiceandlookveryangry,
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120:Learn how and when to remove this message
1220:by Frederic I. Parke, Keith Waters 2008
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572:Applying facial animation to a character
1263:(2nd ed.). John Wiley & Sons.
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280:(FACS). Originally developed by
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1085:Man's face and mimic language
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1050:Interactive online characters
730:Virtual Human Markup Language
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2051:Non-photorealistic rendering
284:in the 1960s and updated by
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1683:International Animation Day
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418:marker-based motion capture
278:Facial Action Coding System
69:"Computer facial animation"
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682:. Here, the physical and
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459:Markerless motion capture
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133:Computer facial animation
27:Area of computer graphics
1651:Animation film festivals
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704:Face animation languages
442:was used extensively in
178:Although development of
135:is primarily an area of
2473:Twelve basic principles
2393:Instructional animation
645:Texture-based animation
578:morph targets animation
472:Audio-driven techniques
195:morph targets animation
2071:Virtual cinematography
1668:Highest-grossing films
1570:Early TV broadcast era
1117:Computers and Graphics
779:Face Modeling Language
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367:The Matrix Revolutions
2588:Anatomical simulation
2388:Independent animation
2378:Educational animation
1257:Osipa, Jason (2005).
1083:Hjortsjö, CH (1969).
1045:Facial motion capture
903:"kbd;F3_up"
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618:Bone driven animation
607:The Lord of the Rings
582:bone driven animation
440:Facial motion capture
384:The Lord of the Rings
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2200:Whiteboard animation
2093:Traditional puppetry
1737:Adult animated films
1646:Biologist simulators
1609:Animation department
534:hidden Markov models
377:Polar Express (film)
282:Carl-Herman Hjortsjö
159:. The importance of
54:improve this article
2441:Character animation
2221:Character animation
1759:Children's animated
1156:1999ASAJ..106.2834L
804:constructs such as
686:characteristics of
403:, and other films.
361:The Matrix Reloaded
246:in the late 1640s,
2583:Computer animation
2468:Creature animation
2398:Virtual newscaster
2343:Abstract animation
2175:Ink-wash animation
2165:Humanoid animation
2148:Audio-Animatronics
1712:Lost or unfinished
1636:Animation database
1614:Animation director
1311:2022-08-06 at the
1090:2022-08-06 at the
1060:Parametric surface
1025:Computer animation
766:</surprised>
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199:skeletal animation
149:legendary creature
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1270:978-0-471-78920-8
1040:Facial expression
1030:Computer graphics
975:"F2_up"
939:"F1_up"
746:"angry"
339:(both 2001), and
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239:facial expression
180:computer graphics
143:, a humanoid, an
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2298:Straight ahead
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2029:Motion capture
2026:
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2016:
2011:
2006:
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1995:
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1981:Onion skinning
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1754:Adult animated
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1560:The Golden Age
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1300:Animated Baldi
1297:
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1280:
1279:External links
1277:
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1206:
1195:on 6 June 2007
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1123:(3): 373–385.
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991:
921:"40"
834:"15"
811:
800:, and typical
798:event handling
759:"50"
735:
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666:
633:
632:
614:
573:
570:
569:
568:
542:
526:coarticulation
488:coarticulation
469:
455:
452:uncanny valley
434:Motion capture
413:
410:
408:
405:
341:computer games
336:Monsters, Inc.
248:Charles Darwin
234:
231:
227:mobile devices
207:computer games
187:motion capture
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2209:Other methods
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2180:Magic Lantern
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2113:Virtual human
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2039:hand tracking
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997:
981:</excl>
963:"0"
927:"0"
870:"0"
840:"0"
809:
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799:
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772:</vhml>
753:<surprised
733:
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727:
723:
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673:
671:
670:Physiological
667:
664:
660:
655:
651:
646:
643:
642:
637:
630:
625:
624:Morph targets
620:
619:
615:
612:
608:
604:
600:
599:"blendshapes"
597:(also called
596:
595:
594:Morph targets
591:
590:
589:
587:
586:physiological
583:
579:
566:
565:morph targets
562:
558:
557:morph targets
554:
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531:
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444:Polar Express
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394:Monster House
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110:February 2010
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: –
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
2520:anime series
2478:Motion comic
2347:visual music
2293:Pose to pose
2268:Inbetweening
2248:Chuckimation
2190:Shadowmation
2143:Animatronics
2044:eye tracking
2024:Morph target
2018:
1976:Multi-sketch
1727:Short series
1641:Art pipeline
1619:Story artist
1565:World War II
1434:South Africa
1304:download of
1259:
1243:
1230:
1217:
1197:. Retrieved
1193:the original
1147:
1143:
1137:
1120:
1116:
1110:
1099:
1079:
987:</fml>
984:</act>
972:event_value=
936:event_value=
897:""
894:event_value=
882:</par>
781:(FML) is an
778:
776:
743:disposition=
737:<vhml>
707:
668:
644:
616:
606:
598:
592:
575:
544:
471:
457:
432:
415:
398:
392:
382:
375:
372:optical flow
365:
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328:
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260:
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236:
184:
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132:
131:
116:
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
2446:model sheet
2303:Rubber hose
2226:model sheet
2004:Cel shading
1846:Stop motion
1831:Rotoscoping
1803:Traditional
1732:Stop-motion
1678:Outsourcing
1439:South Korea
1419:Philippines
1414:North Korea
888:event_name=
819:<par>
816:<act>
813:<fml>
802:programming
629:Adobe Flash
538:neural nets
428:animation.
244:John Bulwer
161:human faces
2577:Categories
2451:walk cycle
2318:Syncro-Vox
2231:walk cycle
2135:Mechanical
2061:Procedural
1961:PowerPoint
1914:Puppetoons
1909:Pixilation
1874:silhouette
1863:strata-cut
1854:Claymation
1795:Techniques
1784:Television
1555:Silent Era
1487:Bangladesh
1482:Azerbaijan
1369:Bangladesh
1358:By country
1071:References
1020:Caricature
756:intensity=
740:<person
714:multimedia
684:anatomical
448:Imageworks
407:Techniques
219:simulation
191:keyframing
153:psychology
80:newspapers
2461:off-model
2431:Key frame
2288:Pixel art
2283:Pinscreen
2241:off-model
2185:Scanimate
2103:Machinima
1902:Brickfilm
1890:go motion
1816:Flip book
1350:Animation
1015:Animation
787:animation
548:animation
522:triphones
400:King Kong
318:Toy Story
263:animation
215:education
157:animation
2547:Category
2456:lip sync
2336:Variants
2323:Zoetrope
2273:Morphing
2236:lip sync
2216:Blocking
2108:Aniforms
2085:Puppetry
2066:Skeletal
1933:timeline
1924:Computer
1779:Internet
1661:regional
1597:Animator
1590:Industry
1454:Thailand
1424:Portugal
1404:Malaysia
1309:Archived
1172:10573899
1088:Archived
1055:Morphing
1035:Deepfake
993:See also
945:<hdmv
909:<hdmv
885:<excl
852:<expr
822:<hdmv
732:(VHML):
710:software
659:morphing
654:morphing
650:morphing
588:models.
561:keyframe
553:keyframe
546:Keyframe
518:diphones
509:sentence
503:or even
501:syllable
497:triphone
476:keyframe
426:keyframe
370:, dense
343:such as
327:(1998),
321:(1995),
250:'s book
173:software
2562:Outline
1929:history
1880:Graphic
1826:Masking
1717:Package
1542:Ukraine
1512:Hungary
1474:History
1464:Vietnam
1429:Romania
1389:Estonia
1384:Czechia
1199:16 June
1189:"iFACE"
1152:Bibcode
900:repeat=
692:tissues
603:visemes
493:diphone
484:phoneme
480:visemes
290:Friesen
256:biology
233:History
94:scholar
2557:Portal
2118:Live2D
2034:facial
1999:T-pose
1897:Object
1870:Cutout
1749:Series
1698:Films
1537:Russia
1507:France
1497:Canada
1492:Brazil
1449:Taiwan
1409:Mexico
1374:Bhutan
1352:topics
1267:
1250:
1237:
1224:
1170:
960:begin=
954:value=
924:begin=
918:value=
867:begin=
861:value=
837:begin=
831:value=
791:MPEG-4
694:, and
672:models
580:, 2.)
513:spline
352:Casper
333:, and
308:Waters
237:Human
221:, and
145:animal
96:
89:
82:
75:
67:
2373:Anime
2014:Crowd
1956:Flash
1885:Model
1774:Flash
1722:Short
1692:Works
1532:Korea
1527:Japan
1517:India
1502:China
1444:Spain
1399:Japan
1394:India
1379:China
1295:iFACE
978:/>
948:type=
942:/>
912:type=
879:/>
855:type=
849:/>
825:type=
806:loops
688:bones
330:Shrek
286:Ekman
271:Parke
267:Parke
223:agent
203:films
141:human
101:JSTOR
87:books
2313:Sand
1951:2.5D
1629:List
1602:List
1522:Iran
1265:ISBN
1248:ISBN
1235:ISBN
1222:ISBN
1201:2019
1168:PMID
966:end=
930:end=
906:>
873:end=
843:end=
762:>
749:>
722:VRML
720:and
718:SMIL
696:skin
680:face
678:and
676:head
507:and
505:word
389:FACS
364:and
346:Sims
324:Antz
288:and
205:and
189:and
171:and
147:, a
73:news
2436:Cel
2009:CGI
1971:CSS
1966:SVG
1160:doi
1148:106
1125:doi
783:XML
726:XML
536:or
446:by
349:.
163:in
56:by
2579::
1991:3D
1943:2D
1931:,
1861:,
1180:^
1166:.
1158:.
1146:.
1121:27
1119:.
690:,
520:,
499:,
495:,
397:,
258:.
213:,
2349:)
2345:(
1935:)
1927:(
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1872:(
1674:)
1670:(
1342:e
1335:t
1328:v
1273:.
1203:.
1174:.
1162::
1154::
1131:.
1127::
1094:.
631:.
123:)
117:(
112:)
108:(
98:·
91:·
84:·
77:·
50:.
20:)
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