Paul Debevec animates a photo-real digital face

86,234 views ・ 2009-10-20

TED


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Prevoditelj: Davorin Jelačić Recezent: Mislav Ante Omazić - EFZG
00:18
One of the biggest challenges in computer graphics
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Jedan od najvećih izazova u računalnoj grafici
00:21
has been being able to create a photo-real,
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je biti u stanju stvoriti foto-realistično,
00:23
digital human face.
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digitalno ljudsko lice.
00:25
And one of the reasons it is so difficult is that, unlike aliens and dinosaurs,
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A jedan od razloga zašto je to teško je taj što, za razliku od dinosaura,
00:28
we look at human faces every day.
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ljudska lica promatramo svakodnevno.
00:31
They are very important to how we communicate with each other.
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Vrlo su važna za našu međusobnu komunikaciju.
00:33
As a result, we're tuned in to the subtlest things
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Kao rezultat, primjećujemo najtananije stvari
00:36
that could possibly be wrong with a computer rendering,
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koje bi uopće mogle biti pogrešne u računalnom renderiranju,
00:38
in order to believe whether these things are realistic.
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kako bismo vjerovali jesu li te stvari realistične.
00:41
And what I'm going to do in the next five minutes
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Ono što ću učiniti u sljedećih pet minuta
00:43
is take you through a process
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je da ću vas provesti kroz proces
00:45
where we tried to create a reasonably photo-realistic computer-generated face,
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kojim smo pokušali stvoriti razumno foto-realistično računalno generirano lice,
00:48
using some computer graphics technology we've developed,
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koristeći tehnologiju računalne grafike koju smo sami razvili,
00:51
and also some collaborators at a company called Image Metrics.
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kao i suradnike u kompaniji po imenu Image Metrics.
00:53
And we're going to try to do a photo-real face
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Pokušat ćemo napraviti foto-realistično lice
00:55
of an actress named Emily O'Brien, who is right there.
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glumice po imenu Emily O'Brien, koja je ovdje.
00:58
And that's actually a completely computer-generated rendering of her face.
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A to je zapravo potpuno računalno renderiranje njezinog lica.
01:01
By the end of the talk, we're going to see it move.
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Do kraja ovog govora, vidjet ćemo ga u pokretu.
01:03
The way that we did this is we tried to start with Emily herself,
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Način na koji smo to napravili je tako da smo pokušali početi sa samom Emily,
01:06
who was gracious enough to come to our laboratory
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koja je bila dovoljno draga i došla do našeg laboratorija
01:09
in Marina Del Rey, and sit for a session in Light Stage 5.
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u marini Del Rey, i sjela na seansu na svjetlosnoj pozornici 5.
01:12
This is a face-scanning sphere, with 156 white LEDs all around
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Ovo je kugla za skeniranje lica koja ima 156 bijelih LED-ova uokolo,
01:16
that allow us to photograph her
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koji nam omogućuju da je fotografiramo
01:18
in a series of very controlled illumination conditions.
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u nizu kontroliranih uvjeta osvjetljenja.
01:21
And the lighting that we use these days looks something like this.
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A svjetlost koju koristimo ovih dana izgleda poput ovoga.
01:24
We shoot all of these photographs in about three seconds.
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Slikamo sve ove fotografije u neke tri sekunde.
01:26
And we basically capture enough information
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I praktički dobivamo dovoljno informacija
01:29
with video projector patterns that drape over the contours of her face,
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s uzorcima video projekcije koji se prevlače preko njezinog lica,
01:33
and different principle directions of light from the light stage,
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i različitim glavnim pravcima svjetla u svjetlosnoj pozornici,
01:35
to figure out both the coarse-scale
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da raščlanimo i grube crte
01:37
and the fine-scale detail of her face.
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kao i fine sitne detalje njezinog lica.
01:39
If we zoom in on this photograph right here,
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Ako zumiramo ovu fotografiju ovdje,
01:41
we can see it's a really nice photograph to have of her,
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vidimo da je to zaista lijepa fotografija nje,
01:43
because she is lit from absolutely everywhere at the same time
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jer je osvijetljena s apsolutno svih strana u isto vrijeme
01:47
to get a nice image of her facial texture.
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čime dobivamo lijepu sliku površine njezinog lica.
01:49
And in addition, we've actually used polarizers on all the lights --
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Dodatno, koristili smo polarizatore na svim svjetlima --
01:52
just like polarized sunglasses can block
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baš kao što polarizirane sunčane naočale blokiraju
01:54
the glare off of the road,
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sjaj koji se reflektira od ceste,
01:56
polarizers can block the shine off of the skin,
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polarizatori mogu blokirati sjaj kože,
01:58
so we don't get all those specular reflections to take this map.
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pa ne dobivamo refleksije na ovoj mapi.
02:01
Now, if we turn the polarizers around just a little bit,
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No, ako okrenemo polarizatore samo malo,
02:03
we can actually bring that specular reflection
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možemo zapravo tu refleksiju
02:05
of the skin back in,
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vratiti na lice,
02:07
and you can see she looks kind of shiny and oily at this point.
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i vidite da ona sada izgleda nekako sjajno i nauljeno.
02:10
If you take the difference between these two images here,
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Ako uzmete razliku između ove dvije slike,
02:13
you can get an image lit from the entire sphere of light
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možete dobiti sliku osvijetljenu s cjelokupnom svjetlosnom kuglom
02:15
of just the shine off of Emily's skin.
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ili samo sjaj s Emilyne kože.
02:18
I don't think any photograph like this had ever been taken
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Mislim da fotografija poput ove nikada nije bila fotografirana
02:20
before we had done this.
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prije nego što smo mi ovo učinili.
02:22
And this is very important light to capture,
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A ovo je vrlo važno svjetlo za uhvatiti,
02:25
because this is the light that reflects off the first surface of the skin.
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jer je to svjetlo koje se reflektira s prve površine kože.
02:27
It doesn't get underneath the translucent
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Ono ne ulazi pod prozirne
02:29
layers of the skin and blur out.
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slojeve kože i tu se muti.
02:31
And, as a result, it's a very good cue
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Rezultat je taj da imamo vrlo dobar pokazatelj
02:33
to the detailed shape of the skin-pore structure
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detaljnog oblika strukture kože i pora
02:36
and all of the fine wrinkles that all of us have,
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i svih finih bora koje svi imamo,
02:38
the things that actually make us look like real humans.
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stvari zbog kojih zapravo i izgledamo kao pravi ljudi.
02:40
So, if we use information that comes off of this specular reflection,
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Dakle, ako koristimo informacije koje dobivamo od te točkaste refleksije
02:44
we can go from a traditional face scan
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možemo ići od tradicionalnog skena lica
02:46
that might have the gross contours of the face and the basic shape,
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koji nam daje grube konture lica i glavni oblik,
02:50
and augment it with information
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i pojačati ga s informacijama
02:52
that puts in all of that skin pore structure and fine wrinkles.
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koje dodaju čitavu strukturu pora i fine bore.
02:55
And, even more importantly,
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I još važnije,
02:57
since this is a photometric process that only takes three seconds to capture,
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otkad je to fotometrijski proces koji zahtijeva samo 3 sekunde,
03:00
we can shoot Emily
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možemo fotografirati Emily
03:02
in just part of an afternoon,
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tijekom samo dijela popodneva,
03:04
in many different facial poses and facial expressions.
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u mnogo različitih položaja lica i mnogo izraza.
03:07
So, here you can see her moving her eyes around, moving her mouth around.
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Ovdje je vidite kako okreće očima, pomiče usta.
03:10
And these we're actually going to use to create a photo-real digital character.
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A ove ćemo zaista koristiti da stvorimo foto-realističan digitalni karakter.
03:13
If you take a look at these scans that we have of Emily,
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Ako pogledate ove skenove koje imamo od Emily,
03:17
you can see that the human face does an enormous amount of amazing things
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vidite da ljudsko lice čini ogroman broj zapanjujućih stvari
03:20
as it goes into different facial expressions.
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kad pravi različite izraze.
03:23
You can see things. Not only the face shape changes,
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Možete to vidjeti. Ne samo da se oblik lica mijenja,
03:26
but all sorts of different skin buckling and skin wrinkling occurs.
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već se događa i različito savijanje i nabiranje kože.
03:30
You can see that the skin pore structure changes enormously
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Vidite da se struktura pora kože drastično mijenja
03:34
from stretched skin pores
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od rastegnutih pora,
03:36
to the regular skin texture.
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do normalne teksture kože.
03:38
You can see the furrows in the brow and how the microstructure changes there.
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Možete vidjeti brazde na čelu i kako se mikrostruktura ovdje mijenja.
03:41
You can see muscles pulling down at flesh to bring her eyebrows down.
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Vidite kako mišići povlače kožu nadolje kako bi spustili njezine obrve.
03:45
Her muscles bulging in her forehead when she winces like that.
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Mišići iskaču na njezinom čelu kad pravi ovu grimasu.
03:48
In addition to this kind of high-resolution geometry,
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Osim ove geometrije visoke rezolucije,
03:51
since it's all captured with cameras, we've got a great texture map to use for the face.
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budući da je sve snimljeno fotoaparatom, imamo odličnu mapu teksture za upotrijebiti na licu.
03:55
And by looking at how the different color channels of the illumination,
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A gledajući kako različiti kanali boja u svjetlosti,
03:57
the red and the green and the blue,
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crveni i zeleni i plavi,
03:59
diffuse the light differently,
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različito raspršuju svjetlo,
04:01
we can come up with a way of shading the skin on the computer.
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možemo odrediti način na koji ćemo osjenčati kožu računalom.
04:04
Then, instead of looking like a plaster mannequin,
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I tada, umjesto da izgleda kao gipsana lutka,
04:07
it actually looks like it's made out of living human flesh.
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ovo zapravo izgleda kao da je izrađeno od živog ljudskog tkiva.
04:10
And this is what we used
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I to je ono što smo davali
04:12
to give to the company Image Metrics
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kompaniji Image Metrics
04:14
to create a rigged, digital version of Emily.
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da naprave prilagođenu digitalnu verziju Emily.
04:17
We're just seeing the coarse-scale geometry here.
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Ovdje vidimo samo geometriju u grubom planu.
04:19
But they basically created a digital puppet of her,
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Ali oni su napravili digitalnu marionetu nje,
04:22
where you can pull on these various strings,
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kod koje možete povući ove različite uzice,
04:24
and it actually moves her face in ways that are
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i one pomiču njezino lice na način
04:26
completely consistent with the scans that we took.
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sasvim konzistentan sa skenovima koje smo napravili.
04:28
And, in addition to the coarse-scale geometry,
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Osim grube geometrije,
04:30
they also used all of that detail
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Iskoristili su i sve te detalje
04:32
to create a set of what are called "displacement maps"
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da naprave skup onoga što se zove "karte pomaka"
04:35
that animate as well.
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koje se također mogu animirati.
04:38
These are the displacement maps here.
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Ovo su karte pomaka.
04:40
And you can see those different wrinkles actually show up as she animates.
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I vidite da se različite bore doista vide kad je animirana.
04:43
So the next process was then to animate her.
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Sljedeći je postupak, dakle, bila animacija.
04:45
We actually used one of her own performances to provide the source data.
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Koristili smo jednu njenu pravu izvedbu kao izvor podataka.
04:49
So, by analyzing this video with computer vision techniques,
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Analizirajući ovaj video tehnikama računalnog gledanja,
04:52
they were able to drive the facial rig
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bili su u stanju pokrenuti kostur lica
04:54
with the computer-generated performance.
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izvedbom generiranom u računalu.
04:56
So what you're going to see now, after this,
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Ono što ćete sada vidjeti, nakon ovoga,
04:58
is a completely photo-real digital face.
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je posve foto-realistično lice.
05:00
We can turn the volume up a little bit if that's available.
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Možemo malo pojačati glasnoću ako može.
05:02
Emily: Image Metrics is a markerless, performance-driven animation company.
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Emily: Image Metrics je kompanija za animaciju bez markera, temeljenu na izvedbi.
05:06
We specialize in high-quality facial animation
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Specijaliziramo se za animaciju lica visoke kvalitete
05:09
for video games and films.
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za video igre i filmove.
05:11
Image Metrics is a markerless, performance-driven animation company.
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Image Metrics je kompanija za animaciju bez markera, temeljenu na izvedbi.
05:15
We specialize in high quality facial animation
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Specijaliziramo se za animaciju lica visoke kvalitete
05:18
for video games and films.
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za video igre i filmove.
05:21
Paul Debevec: So, if we break that down into layers, here's that diffuse component
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Paul Debevec: Pa, ako to raščlanimo na slojeve, evo te difuzne komponente
05:23
we saw in the first slide.
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koju smo vidjeli na prvom slajdu.
05:25
Here is the specular component animating.
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Ovdje je refleksivna komponenta u animaciji.
05:27
You can see all the wrinkles happening there.
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Vidite da se ovdje pojavljuju i sve bore.
05:29
And there is the underlying wireframe mesh.
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A ovdje je žičana mreža u podlozi.
05:34
And that is Emily herself.
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A ovo je sama Emily.
05:36
Now, where are we going with this here?
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Pa, kamo dalje s ovime?
05:38
We've gone a little bit beyond Light Stage 5. This is Light Stage 6,
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Pomaknuli smo se nešto dalje od svjetlosne pozornice 5. Ovo je svjetlosna pozornica 6.
05:42
and we're looking at taking this technology
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I gledamo kako iskoristiti ovu tehnologiju
05:44
and applying it to whole human bodies.
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i primijeniti je na čitava tijela.
05:46
This is Bruce Lawmen, one of our researchers in the group,
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Ovo je Bruce Lawmen, jedan od istraživača u skupini,
05:48
who graciously agreed to get captured running in the Light Stage.
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koji se velikodušno složio da ga snimimo dok trči na svjetlosnoj pozornici.
05:51
And let's take a look at a computer-generated version
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Pogledajmo verziju Brucea generiranu računalom,
05:53
of Bruce, running in a new environment.
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dok trči u novom okruženju.
06:01
And thank you very much.
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Hvala vam lijepa.
06:03
(Applause)
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(Pljesak)
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