In order to explore these boundaries, I can’t be limited my own facial anatomy. appeal? How might my client leverage and improve upon Apple’s strategies? What kind of rules do they have? How high does Memoji raise its brows at maximum intensity? What restrictions and compromises did Apple make in order to create an expressive - yet stable - product? How much emphasis do they put on authenticity vs. When testing tracked avatar products like Memoji, I need to be able to explore the limitations and quirks of the tech. Tricking & Testing Face Trackers, Part II 🔹There is some face punctuation already going on, which is great - but there could be more flow.įor more on facial expressions in animation, science, and technology: #animation #facialexpressions #games #diablo 🔹Expression punctuations should be coordinated with word and tone emphasis. Think about about the vocal stress in some of these words. 🔹Facial expressions can serve functions similar to punctuations and speech emphasis. 🔹Though some brow activity is present here, the part where he says “NOT going to make it” is stiff. 🔹Keep the corrugator (slow-twitch-heavier muscle compared to procerus) sustained while playing with brow raisers, then drop in strategic procerus (fast-twitch-dominant muscle) for dynamics and liveliness. 🔹Create more flexible options for combination shapes that involve lid raising and lowering. 🔹Get more expressivity and impact by phasing expressions in and out. 🔹Lid tightener also seems too persistent. This staticness could possibly be caused by the attempt to hold upper lid raiser in place during the presence of other expressions. 🔹Upper lid and eye cover fold area seem too static in the presence of lid tightener, brow lowering, etc. Stepping away from my typical FACS posts, here’s a snippet of notes I gave a client last year who wanted to see how I might break down the Diablo cinematic, “By Three They Come.”
All details big or small are part of the story, and sometimes we neglect the small. While most of the focus remains on hero characters and closeups, I find a lot of value in inspecting the background character and far shots. When writing performance notes, I love to pull concepts from linguistics, psychology, and other behavior-based disciplines.
These types of studies often require a broad analysis rather than facial muscle micromanagement. Studios I work with frequently request performance breakdowns of popular media they wish to emulate so a large part of my work involves studying cool films and games. It’s also about facial performance and behavior. It’s not just about FACS and facial anatomy.
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