Download presentation
Presentation is loading. Please wait.
Published byMarian Hensley Modified over 9 years ago
1
Digital Face Cloning David Bennett Christophe HerySteve Sullivan George Borshukov J.P. Lewis Lance Williams Paul Debevec Fred Pighin Li Zhang
2
David Bennett Christophe HerySteve Sullivan George Borshukov J.P. Lewis Lance Williams Paul Debevec Fred Pighin Li Zhang BostonSeattle Los Angeles San Francisco
3
Definition Process of capturing an actor’s performance and/or likeness in a digital face model
4
E.g. photogrammetry (input)
5
E.g. photogrammetry (output)
6
Motivation Replicate a live actor (e.g. celebrity) – Stunts – Extreme makeup – Younger/older/slimmer clone Creating realistic faces from first principles is difficult (digitizing is easier than modeling)
7
Purpose of the course 1. Review the field 2. Suggest directions
8
Digital Clones: History
9
CG Humans in the movies First 3D actor representation in the movies: Peter Fonda in FutureWorld (1976!) Not intended to be photorealistic
10
1990s
11
Terminator 2 (brief, texture projection) Jurrasic Park (legs only, does not count) Titanic (distant) Startup attempt: Virtual Celebrity/Global Icons, purchased virtual rights to Sammy Davis Jr., others
12
1998: Hollywood is ready "I don't see them as competing with real actors,” Richard Masur, head of Screen Actors Guild Projected uses: de-aging, celebrity vacuum ads. A television series with a virtual cast was considered
13
Recent and current
14
Space Cowboys (2000), Enemy at the Gates (2001): brief and distant, but successful Disney Facial Cloning test (afternoon session) Matrix sequels (2003): “superpunch” full-screen for 13 seconds (afternoon session) SpiderMan 2 (reflectance capture) Lemony Snicket: CG baby in several shots (afternoon session) Discovery Channel Churchill/Hitler clones (MPC)
15
Observation There has not been a “breakthrough” introduction of digital clones Rather, clones were initially used in the distance, and briefly; they are getting closer, and withstanding longer study. Current state of the art: full screen for several seconds (see afternoon Perception session)
16
Syllabus – morning (theory) 8:30 Introduction and Overview Fred Pighin 9:00 Face Scanning and Dense Motion Capture Technologies Li Zhang 10:00 Break or Mathematical Background (schedule change) 10:15 Reflectance Modeling and Capture Paul Debevec and J.P. Lewis 11:15 Facial Parameterization and Cross-Mapping J.P. Lewis and Fred Pighin 12:15Lunch
17
Syllabus – afternoon (practice) 1:30Case study: Face Cloning at ILM Steve Sullivan and Christophe Hery 2:15Perception Experiment (schedule change) 2:30Case Study: Disney Facial Cloning Lance Williams 3:15 Case study: Leaping the Uncanny Valley with Data (Face Cloning in the Matrix sequels) George Borshukov 4:00 Break 4:15 Case study: Polar Express David Bennet 5:00 Perception of Facial Realism J.P. Lewis 5:15 Panel on the Future of Digital Face Cloning All
18
Face Cloning at Siggraph Courses – 10. Realistic Materials in Computer Graphics – 28. From Mocap to Movie: The Making of "The Polar Express“ – 29. High-Dynamic-Range Imaging and Image-Based Lighting Papers (Skin & Faces session on Monday) – Automatic Determination of Facial Muscle Activations From Sparse Motion Capture Marker Data – Face Transfer With Multilinear Models – Postproduction Relighting and Reflectance Transformation with Time-Multiplexed Illumination Sketches – Image-Based Rendering From a Sparse Set of Images – Implementation of Modeling Hair From Multiple Views – Model Flowing: Capturing and Tracking of Deformable Geometry – Performance Geometry Capture for Spatially Varying Relighting – Joint Motion and Reflectance Capture for Relightable 3D Video
Similar presentations
© 2025 SlidePlayer.com. Inc.
All rights reserved.