Paul Debevec animates a photo-real digital face

86,234 views ・ 2009-10-20

TED


請雙擊下方英文字幕播放視頻。

譯者: Bill Hsiung 審譯者: Jing Yao
00:18
One of the biggest challenges in computer graphics
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電腦繪圖的巨大挑戰之一,
00:21
has been being able to create a photo-real,
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是如何製作一個如相片般真實的
00:23
digital human face.
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數位人物面孔。
00:25
And one of the reasons it is so difficult is that, unlike aliens and dinosaurs,
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不像外星人和恐龍,它之所以如此困難的原因是,
00:28
we look at human faces every day.
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我們每天都會看到人的面孔,
00:31
They are very important to how we communicate with each other.
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它們對我們非常重要,因為我們藉此來彼此溝通,
00:33
As a result, we're tuned in to the subtlest things
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因此,我們會注意到那些通過電腦渲染出來,
00:36
that could possibly be wrong with a computer rendering,
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不正確的、非常細微的東西,
00:38
in order to believe whether these things are realistic.
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並用它們來分辨這些事物是否真實的。
00:41
And what I'm going to do in the next five minutes
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在接下來的五分鐘裡面,
00:43
is take you through a process
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我將帶領大家一起看一個過程,
00:45
where we tried to create a reasonably photo-realistic computer-generated face,
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從我們嘗試去創造一個以電腦制作的幾近相片般真實的面孔,
00:48
using some computer graphics technology we've developed,
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通過我們
00:51
and also some collaborators at a company called Image Metrics.
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和一些來自 Image Metrics 的伙伴開發的一系列電腦繪圖技術。
00:53
And we're going to try to do a photo-real face
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我們將嘗試製作
00:55
of an actress named Emily O'Brien, who is right there.
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一位名叫 Emily O'Brien 的女演員的面孔,她就在那兒。
00:58
And that's actually a completely computer-generated rendering of her face.
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那實際上是一個完全依據她的面孔,由電腦渲染產生的結果。
01:01
By the end of the talk, we're going to see it move.
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在演講的最後,我們將會看到她動起來。
01:03
The way that we did this is we tried to start with Emily herself,
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我們嘗試的方式是由 Emily 她本身開始,
01:06
who was gracious enough to come to our laboratory
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她非常親切地來到我們的實驗室。
01:09
in Marina Del Rey, and sit for a session in Light Stage 5.
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在瑪麗安德爾灣,並坐到了我們的設備「光台五號」(Light Stage 5) 當中。
01:12
This is a face-scanning sphere, with 156 white LEDs all around
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這是一個臉部掃描球體,有 156 個白色的發光二極管,
01:16
that allow us to photograph her
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能讓我們在一系列嚴格控制的照明條件下,
01:18
in a series of very controlled illumination conditions.
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對她進行拍照。
01:21
And the lighting that we use these days looks something like this.
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我們當時使用的照明方式看起來是這樣的。
01:24
We shoot all of these photographs in about three seconds.
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我們在三秒鐘之內拍攝出這裡全部的照片。
01:26
And we basically capture enough information
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我們基本上採集到了足夠的資訊,
01:29
with video projector patterns that drape over the contours of her face,
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能夠通過圖像投影模擬出她的面部輪廓,
01:33
and different principle directions of light from the light stage,
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以及在燈光舞台不同角度的照明條件下,
01:35
to figure out both the coarse-scale
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來計算出她面孔粗略的
01:37
and the fine-scale detail of her face.
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以及精細的面部細節模型。
01:39
If we zoom in on this photograph right here,
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如果我們放大這張照片的這個地方,
01:41
we can see it's a really nice photograph to have of her,
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我們可以很清晰地看到她臉部的細節,
01:43
because she is lit from absolutely everywhere at the same time
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因為她的臉部同時從各個角度被完全地照亮了,
01:47
to get a nice image of her facial texture.
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因此得到一份非常優質的她的臉部紋理的相片。
01:49
And in addition, we've actually used polarizers on all the lights --
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再加上,我們實際上在所有燈光上應用了偏光鏡
01:52
just like polarized sunglasses can block
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就如同偏光的太陽眼鏡可以阻擋
01:54
the glare off of the road,
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馬路上的強烈反強光,
01:56
polarizers can block the shine off of the skin,
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偏光鏡可以阻擋皮膚上出現的光澤,
01:58
so we don't get all those specular reflections to take this map.
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所以在這張圖中,我們沒有採集到那些球面反射。
02:01
Now, if we turn the polarizers around just a little bit,
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現在,如果我們稍微調整一下偏光鏡,
02:03
we can actually bring that specular reflection
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我們就可以將球面反射
02:05
of the skin back in,
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帶回到皮膚上面,
02:07
and you can see she looks kind of shiny and oily at this point.
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並且,你會看到她的面部看起來有些閃耀和油光。
02:10
If you take the difference between these two images here,
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如果你取得這兩張圖像的差別,
02:13
you can get an image lit from the entire sphere of light
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你可以得到的一個被球形光線照亮的
02:15
of just the shine off of Emily's skin.
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Emily 的皮膚的相片。光照效果
02:18
I don't think any photograph like this had ever been taken
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我認為沒有任何人拍過像這樣的照片,
02:20
before we had done this.
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我們是第一個這麼做的。
02:22
And this is very important light to capture,
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採集這種光線是非常重要的,
02:25
because this is the light that reflects off the first surface of the skin.
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因為這是皮膚最表層所反射出來的光線,
02:27
It doesn't get underneath the translucent
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它不會跑到皮膚的透明層下面去,
02:29
layers of the skin and blur out.
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然後造成模糊不清。
02:31
And, as a result, it's a very good cue
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因此,它是一個
02:33
to the detailed shape of the skin-pore structure
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用來獲得皮膚細緻毛孔結構
02:36
and all of the fine wrinkles that all of us have,
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以及我們都有的皮膚全部的褶皺細節的很好線索,
02:38
the things that actually make us look like real humans.
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實際上,是這些東西讓我們看起來像真實人類。
02:40
So, if we use information that comes off of this specular reflection,
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如果,我們使用來自高光反射的資訊,
02:44
we can go from a traditional face scan
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我們可以從傳統的臉部掃描開始,
02:46
that might have the gross contours of the face and the basic shape,
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來得到臉部的粗略輪廓和基本形狀,
02:50
and augment it with information
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再加上大量
02:52
that puts in all of that skin pore structure and fine wrinkles.
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皮膚的毛孔結構和紋理特徵的資訊。
02:55
And, even more importantly,
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更重要的是,
02:57
since this is a photometric process that only takes three seconds to capture,
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因為這是基於照片建模的流程而我們只採集了三秒鐘的照片資料,
03:00
we can shoot Emily
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我們可以用一下午的時間
03:02
in just part of an afternoon,
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來拍愛蜜麗 (Emily),
03:04
in many different facial poses and facial expressions.
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拍攝不同的面部姿態和表情變化。
03:07
So, here you can see her moving her eyes around, moving her mouth around.
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這裡,你可以看到她轉動眼睛,嘴巴的開合。
03:10
And these we're actually going to use to create a photo-real digital character.
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這些,實際上都會被我們用來創造數位虛擬的寫實人物。
03:13
If you take a look at these scans that we have of Emily,
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來看一下這些我們對愛蜜麗 (Emily) 進行的掃描,
03:17
you can see that the human face does an enormous amount of amazing things
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你會看到我們人類臉部表情是千變萬化的,
03:20
as it goes into different facial expressions.
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在不同的臉部表情變換之中,
03:23
You can see things. Not only the face shape changes,
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你會看到,不僅僅是臉部形態發生變化,
03:26
but all sorts of different skin buckling and skin wrinkling occurs.
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各種各樣的皮膚的弧線和皮膚上的褶皺也會出現。
03:30
You can see that the skin pore structure changes enormously
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你可以看到皮膚毛孔結構也有著巨大的變化,
03:34
from stretched skin pores
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從被拉伸的皮膚毛孔,
03:36
to the regular skin texture.
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到普通的皮膚質地。
03:38
You can see the furrows in the brow and how the microstructure changes there.
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你可以看到前額眉骨那裡細微的變化,
03:41
You can see muscles pulling down at flesh to bring her eyebrows down.
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你可以看到在她皺眉時候肌肉的收縮。
03:45
Her muscles bulging in her forehead when she winces like that.
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在她畏懼的時候,她前額的肌肉會這樣地膨脹。
03:48
In addition to this kind of high-resolution geometry,
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對於這樣高分辨率的幾何體,
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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因為這些都通過照相機採集,我們有她面部表情足夠的貼圖。
03:55
And by looking at how the different color channels of the illumination,
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通過顏色和亮度不同的頻道,
03:57
the red and the green and the blue,
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紅綠藍色彩頻道,
03:59
diffuse the light differently,
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受光照不同的散射,
04:01
we can come up with a way of shading the skin on the computer.
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我們可以通過電腦總結出為皮膚添加陰影的方式。
04:04
Then, instead of looking like a plaster mannequin,
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然後,不同於看起來如同石膏像的假人,
04:07
it actually looks like it's made out of living human flesh.
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她看起來如同人類一樣鮮活。
04:10
And this is what we used
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這就是我們
04:12
to give to the company Image Metrics
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為 Image Metrics 公司
04:14
to create a rigged, digital version of Emily.
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所製作的寫實的數位虛擬人物 Emily。
04:17
We're just seeing the coarse-scale geometry here.
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這裡,我們看一下粗糙的幾何模型,
04:19
But they basically created a digital puppet of her,
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但他們已經對她創建了一些基本的數據程式,
04:22
where you can pull on these various strings,
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你可以拖曳這些不同的座標繩,
04:24
and it actually moves her face in ways that are
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它實際上運動的方式就會依照
04:26
completely consistent with the scans that we took.
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我們掃描出的數據那樣。
04:28
And, in addition to the coarse-scale geometry,
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並且,對於這個基本模型,
04:30
they also used all of that detail
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他們也使用了全部的細節
04:32
to create a set of what are called "displacement maps"
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來創建一系列的「置換貼圖」,
04:35
that animate as well.
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同樣可以對其進行動畫設置。
04:38
These are the displacement maps here.
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這裡是一些置換貼圖,
04:40
And you can see those different wrinkles actually show up as she animates.
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你可以看到不同的褶皺出現在她的動畫之中。
04:43
So the next process was then to animate her.
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所以,接下來的步驟是對她進行動畫設置,
04:45
We actually used one of her own performances to provide the source data.
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我們實際上應用她自身的表演作為源數據。
04:49
So, by analyzing this video with computer vision techniques,
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通過計算機視覺技術來分析這些影片,
04:52
they were able to drive the facial rig
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他們可以使用電腦合成的表演,
04:54
with the computer-generated performance.
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來驅動表情的變化。
04:56
So what you're going to see now, after this,
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所以,我們將看到,通過這一切處理,
04:58
is a completely photo-real digital face.
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是一個完全寫實的數位化臉部。
05:00
We can turn the volume up a little bit if that's available.
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我們可以把聲音開大一點,如果可以的話。
05:02
Emily: Image Metrics is a markerless, performance-driven animation company.
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Emily: Image Metrics 是一家追求高品質的動畫公司。
05:06
We specialize in high-quality facial animation
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我們致力於為電動和電影
05:09
for video games and films.
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製作高品質的臉部表情動畫。
05:11
Image Metrics is a markerless, performance-driven animation company.
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Image Metrics 是一家追求高品質動畫的公司。
05:15
We specialize in high quality facial animation
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我們致力於為電動和電影
05:18
for video games and films.
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製作高品質的臉部表情動畫。
05:21
Paul Debevec: So, if we break that down into layers, here's that diffuse component
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保羅•德貝維奇:因此,如果我們把它分解到各個層,這是散射部分,
05:23
we saw in the first slide.
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我們在第一張投影片裡面看到的。
05:25
Here is the specular component animating.
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這是高光部分的動畫。
05:27
You can see all the wrinkles happening there.
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你們可以看到各處皮膚褶皺的出現。
05:29
And there is the underlying wireframe mesh.
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這是原始的線框結構層。
05:34
And that is Emily herself.
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那是 Emily 她自己。
05:36
Now, where are we going with this here?
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現在,我們接下來會做些什麼?
05:38
We've gone a little bit beyond Light Stage 5. This is Light Stage 6,
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我們已經有了高於「光台五」的裝置設備。這是「光台六」。
05:42
and we're looking at taking this technology
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我們期望將這一技術
05:44
and applying it to whole human bodies.
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應用到人的全身。
05:46
This is Bruce Lawmen, one of our researchers in the group,
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這是布魯斯•勞曼,我們研發團隊中的一位,
05:48
who graciously agreed to get captured running in the Light Stage.
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非常樂意配合我們,採集他在「光台」中跑步的數據。
05:51
And let's take a look at a computer-generated version
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接著讓我們看一下電腦合成的,
05:53
of Bruce, running in a new environment.
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在一個全新的環境中跑步的,布魯斯的影像。
06:01
And thank you very much.
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感謝大家。
06:03
(Applause)
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(掌聲)
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