This thesis researches techniques for modelling static facial expressions, as well as the dynamics of continuous facial motion. We demonstrate how static and dynamic properties of facial expressions can be represented within a linear and nonlinear context, respectively. These two representations do not act in isolation, but are mutually reinforcing in conceding a cohesive framework for the analysis, animation, and manipulation of expressive faces. We derive a basis for the linear space of expressions through Principal Components Analysis (PCA). We introduce and formalize the notion of "expression manifolds", manifolds residing in PCA space that model motion dynamics for semantically similar expressions. We then integrate these manifolds into an animation workflow by performing Nonlinear Dimensionality Reduction (NLDR) on the expression manifolds. This operation yields expression maps that encode a wealth of information relating to complex facial dynamics, in a low dimensional space that is intuitive to navigate and efficient to manage.

This thesis provides an example of creating a special cinematic style of Film Noir in computer-generated animation. The thesis is designed as a discussion of how a unique lighting style in computer graphics can be used to enhance visual storytelling for cinematic purposes. It provides digital filmmakers a beginning guide to deal with various lighting situations, and with cinematic lighting in 3D production.

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 88-92).

Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Guilherme DeSouza. Vita. Includes bibliographical references.

Character‘s animation is the most complicated, but at the same time the most important field of the computer animation. The main problem is related with realistic, flexible representation of human motion, when complex and large computations occur. Hybrid, human motion analyzing algorithm has been introduced theoretically. This algorithm is based on input of constraints, and one of the main constrains is mass distribution of human parts. Transitional motion representations are build, and their adjustment are computed while using aproxsimation of multiresolution B-splines. Advantage of this algorithm is that for calculation universal spline handling metric can be used, but disadvantage – there is no optimal algorithm.

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This Creative Project has investigated current methods being used to produce computer animation. This investigation has resulted in the creation of a computer rendering program capable of generating animation. In order for the program to be able to execute though, a model of the object to be viewed must first be specified. This is done by assembling together a series of graphic primitives that when viewed collectively, form the desired model. Next, the rendering software is told where to point an imaginary camera in space. This camera is used to focus the image found in the viewfinder onto the computer monitor. Lastly, the imaginary camera is provided with a three dimensional path to follow as it tracks its way through space. By combining this data with the rendering software, a person viewing the resulting computer animation is able to interact with the computer model. / Department of Computer Science

The structure from motion (SfM) problem is that of determining 3-dimensional (3D) information of a scene from sequences of 2-dimensional (2D) images [59]. This information consists of object shape and motion and relative camera motion. In general, objects may undergo complex non-rigid motion and may be occluded by other objects or themselves. These aspects make the general SfM problem under-constrained and the solution subject to missing or incomplete data.