Introduction |
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xv | |
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PART I GETTING TO KNOW THE FACE |
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1 | (44) |
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Chapter 1 Learning the Basics of Lip Sync |
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3 | (18) |
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The Essentials of Lip Sync |
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4 | (2) |
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6 | (2) |
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Starting with What's Most Important: Visemes |
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8 | (7) |
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15 | (6) |
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Chapter 2 What the Eyes and Brows Tell Us |
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21 | (10) |
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The Two Major Brow Movements |
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22 | (2) |
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The Upper Lids' Effect on Expression |
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24 | (2) |
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The Lower Lids' Effect on Expression |
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26 | (2) |
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Eyelines: Perception vs. Reality |
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28 | (2) |
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Distraction Is the Enemy of Performance |
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30 | (1) |
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Chapter 3 A Facial Landmarking |
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31 | (14) |
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Introduction to Landmarking |
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32 | (3) |
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Landmarking Mouth Creases |
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35 | (4) |
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39 | (3) |
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Landmarking the Tilt of the Head |
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42 | (3) |
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PART II ANIMATING AND MODELING THE MOUTH |
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45 | (100) |
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Chapter 4 Visemes and Lip Sync Technique |
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47 | (28) |
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Sync: Wide/Narrow Grows Up |
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48 | (8) |
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The Best Order of Sync Operations |
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56 | (7) |
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Sync Example 1 "What am I sayin' in here?" |
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63 | (6) |
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Sync Example 2 "Was it boys?" |
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69 | (6) |
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Chapter 5 Construction a Mouth and Nose |
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75 | (22) |
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76 | (2) |
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78 | (1) |
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78 | (3) |
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Building the Surrounding Mouth Area |
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81 | (3) |
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84 | (3) |
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Continuing Toward the Jaw and Cheek |
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87 | (1) |
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88 | (4) |
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92 | (3) |
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95 | (2) |
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97 | (48) |
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98 | (1) |
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Preparing to Build a Key Set |
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99 | (1) |
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Default Shapes, Additive Shapes, and Tapering |
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100 | (14) |
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114 | (31) |
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PART III ANIMATING AND MODELING THE EYES AND BROWS |
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145 | (84) |
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Chapter 7 Building Emotion: The Basics of the Eyes |
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147 | (32) |
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Building an Upper Face for Practice |
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148 | (10) |
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158 | (1) |
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159 | (5) |
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164 | (13) |
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Continuing and Practicing |
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177 | (2) |
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Chapter 8 Constructing Eyes and Brows |
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179 | (18) |
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180 | (3) |
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183 | (6) |
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Building the Brow and Forehead |
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189 | (8) |
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Chapter 9 Eye and Brow Keys |
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197 | (32) |
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Brow Shapes and Texture Maps |
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198 | (9) |
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Building Realistic Brow Shapes |
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207 | (19) |
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226 | (3) |
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PART IV BRINGING IT TOGETHER |
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229 | (154) |
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Chapter 10 Connecting the Features |
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231 | (14) |
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232 | (5) |
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Assembling the Head Pieces |
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237 | (8) |
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Chapter 11 Skeletal Setup, Weighting, and Rigging |
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245 | (36) |
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246 | (8) |
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254 | (11) |
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265 | (5) |
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270 | (11) |
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Chapter 12 Interfaces for Your Faces |
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281 | (40) |
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The Two Big Problems of Facial Control |
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282 | (1) |
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283 | (8) |
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291 | (10) |
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301 | (3) |
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304 | (4) |
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Corrective, Contextual, XYZ, Half, and Dominant Shapes |
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308 | (11) |
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319 | (2) |
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Chapter 13 Squash, Stretch, and Secondaries |
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321 | (26) |
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322 | (4) |
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326 | (4) |
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The "Real" Character Has No Rig! |
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330 | (1) |
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Not Using Wraps Changes a Few Things |
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331 | (1) |
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Tutorial: Rigging Squoosh |
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332 | (7) |
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339 | (2) |
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341 | (6) |
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Chapter 14 A Shot in Production |
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347 | (36) |
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348 | (5) |
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353 | (10) |
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363 | (4) |
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Scene 4 Salty Old Sea Captain |
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367 | (3) |
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370 | (9) |
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379 | (2) |
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381 | (2) |
Index |
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383 | |