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Interactive Editing of Performance-based Facial Animation

Yeongho Seol, Michael Cozens

SIGGRAPH AsiaWeta FX3 citesFacial

Interactive system for editing performance-captured facial animation, allowing artists to intuitively adjust and correct captured data.

Abstract

While performance-based facial animation efficiently produces realistic animation, it still needs additional editing after automatic solving and retargeting. We review why additional editing is required and present a set of interactive editing solutions for VFX studios. The presented solutions allow artists to enhance the result of the automatic solve-retarget with a few tweaks. The methods are integrated into our performance-based facial animation framework and have been actively used in high-quality movie production.

How to read this

Category
Method / production system (interactive editing of captured facial animation)
Contributions
  • Analyzes why performance-based facial animation still needs editing after automatic solve and retarget
  • Presents a set of interactive editing tools that let artists correct solved-retargeted results with a few tweaks
  • Integrates the methods into a production facial-animation framework used in high-quality movie work
Context
Builds on performance-capture facial pipelines, specifically Seol and colleagues' 'Creating an Actor-Specific Facial Rig from Performance Capture' (2016), adding an artist-facing correction layer on top of the automatic solve.Builds on: Creating an Actor-Specific Facial Rig from Performance Capture
Correctness
Described as actively used in high-quality movie production, which is strong practical validation, but evidence is qualitative and studio-internal rather than benchmarked, so generality beyond their framework is not established.
Clarity
Accessible motivation and tool descriptions; a first pass conveys the editing ideas, a second pass helps if you want to map each tool to a specific solve artifact.
How to read it
Focus first on the taxonomy of why edits are needed, then skim each editing solution; a second pass pays off only if you are building an artist-correction layer for your own facial pipeline.

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