Along with a. Readme file for instructions on building G3 character structures with Xara. generate a CrazyTalk Animator 3 animate-able character. The context. Reallusion iClone, CrazyTalk, CrazyTalk Animator, CTA, 3DXchange, WidgetCast, FaceFilter Studio, Video, Manuals, Help, Tutorial, FAQ, E-Books, PDF, HLP. CrazyTalk Animator3 Manual - Ebook download as PDF File .pdf), Text File .txt) or (Pipeline and Pro only) CrazyTalk Animator 3 User Manual. or an image.
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musicmarkup.info Also LEARNING CENTER click on everthing ie pictures. Many good links. Lester Smile My YouTube. CrazyTalk Animator, the next level of 2D animation. Create actors using any CrazyTalk Animator PRO Manual (PDF/MB) Download. CrazyTalk Animator . CrazyTalk Animator 3 Online Manual Version: Jun. 14th. CrazyTalk Animator is the world's easiest 2D animation software that enables all levels of users to.
In that time my main focus has been on the creation of 2D assets for CrazyTalk Animator 2, including hand-drawn cartoon characters, props and scenes. Ten original hand-sketched cartoon faces, fully rigged as 3D head models for use in CrazyTalk 8. The limitless possibilities for these faces really becomes apparent when you apply them to the base models in Character Creator, where you can use the morph sliders to create an infinite number of characters from each face. Your custom characters can then be exported to iClone 6 for lighting, posing and rendering and are also ready for animation. This article is not so much a technical guide as a behind-the-scenes look at the way I create my art. As this is a creative process, there are certainly other ways to do this, this is just my way. It works for me.
You'll get the full experience of the software and will never watch a video tutorial only to discover that feature isn't in your version. Both applications offer free trials so make the most of those before you download. I wouldn't recommend downloading them at the same time, there's just too much to learn. Trial them one after the other. This comparison is based on the full versions of each application.
Which One is Easier to Learn? CTA3's UI remains fairly constant with tools grayed out if they aren't appropriate to the current selection on the stage. Fly-out hints appear for most tools if you mouse over them.
Moho's tool menu changes quite a bit with different tools coming and going based on what is selected on the stage. Moho has fly-out tool hints but also includes a hint bar, under the settings menu bar that further details how the currently selected tool is used. Both applications feature comprehensive, written user manuals available through their Help menus. You'll also find many video tutorials, created by each company, to help you learn, however both companies could use an online video tutorial link from their application's help menu that is a direct step by step video guide to learning the software videos that logically progress and gradually introduce you to the more advanced features.
For some reason both companies focus on explaining their software's newest features and forget that not everyone is upgrading. New users tend to have to sort through the tutorial videos to find what they need. Overall CTA3 is the easiest to learn by virtue of the fact there is less to learn and you can get through the basics much quicker. Further to that, CTA3's content library even if you just settle for what comes with the application will have you animating much quicker.
Predefined content, motions and auto lip syncing make getting your first test animations up and running a much simpler process. Moho does ship with some demo content that you can make use of and you can download content packs but generally the process of animating is more detailed and intricate - giving you greater control but making it more time consuming to master the basics. Both CTA3 and Moho allow you to animate with pre-made content that you can either download directly through each company's online stores or through their respective, user generated, market places.
Reallusion's Content Store and Content Marketplace is easy to find through links directly from the application's Help Menu.
I personally prefer CTA3's character composer as it really draws on any available content you have in your library. Moho's character composer seems to limit you to a particular drawing style. Moho's creator also includes a random character generator feature that I found resulted in characters so garish and awkward they were more laughable than useful.
Creating animations from your own artwork is very possible with both applications though, at minimum, you will need a drawing application that can export to transparent PNG and JPG image file formats. Moho's vector drawing tools allow you to trace all your artwork into vectors right within the application. It even includes a handy, auto-trace tool that works reasonably well. CTA3 has support for vector art as. SWF files but you'll need vector illustration software that can export in this format.
Character Creation and Bones 2D puppet animation is built on manipulating character bone rigs. Any talk about ease of character creation from your own character designs comes down to how easy is it to rig your characters with a bone rig. Moho's bone rigging system is incredibly advanced and flexible in application. You can use it to rig characters of any size or shape. If you can dream it in 2D then Moho's bone rigging system can make it move exactly how you want. You can even add bone switches and levers to manipulate bones indirectly.
All this comes with the price of a fairly steep learning curve. CTA3 with its new G3 freebone character rigs will also effectively let you rig almost any 2D character art you can imagine using a similar bone rigging system to Moho but with a much simpler and easier to learn implementation.
On top of this you can build your characters around specific G3 character templates for humans, cats, dogs and horses. This allows your characters to be animated with predefined motions from your motion library and also makes them compatible with CTA3's direct puppet facial animation system too a process that allows you to directly record your character moving in real time.
G3 characters in CTA3 are relatively easy to rig. Once you have all your artwork ready, putting together a basic rig can be done in less than an hour. A full character rig with switchable hand and facial sprites will take longer but it's not that difficult to learn.
Unique to CTA3 is its G2 plus bipedal only characters, which simulate 3D movement in a 2D environment, and makes use of the new facial morph, face animation system of G3 characters.
In action these characters are quite impressive and can even be animated using 3D imotions from iClone however, creating a G2 character comes with a very steep learning curve and is extremely time consuming. If G2 characters sound like an attractive option be sure to download the Pipeline version of CTA3 which has tools to make the creation process a touch easier and quicker.
Creating Your Animations Other than the lip syncing all of the animation in this clip was key framed from scratch in CrazyTalk Animator. CTA3 is specifically designed to speed up the actual animation process. Whilst you can key frame every little movement from scratch a lot of time and effort can be saved using the predefined motion libraries and puppet animation tools. Block out motion sequences using combinations of library motions then refine them to suit your exact needs.
Create motions from scratch, save them out and transfer them to other characters. Create action menus for your characters containing often used actions and perform motions that can even include the character's voice track.
Lip syncing is as simple as loading in a voice audio file into your character and CTA3 does the rest. It's pretty good too but, if your character's mouth movements don't quite look right it's easy enough to refine with the lips editor. In this latest release, CTA3 introduced elastic motions for props, making it easy to add cartoon effects like squash and stretch to your motion graphics simply by drag'n'dropping the desired effect onto your prop.
The majority of CTA3's animation can be done using point, drag and click motions of your mouse or track pad combined with keyboard short cuts. In contrast, I've been learning Moho's animation tools for quite some time, completing well over video tutorials I've heard you can import and export motion files with Moho 12 it's listed as a new feature but I've yet to be shown how and have no idea where to start.
So far all of the character animation I've done has been key framed from scratch. All of the animation in this clip was key framed from scratch in Moho Pro Click the Prop button to create a new prop with these media. Select a single or multiple media files in the source folder. Appending Media to a Sprite 1. Select a character or a prop. Switch to the Composer mode. Drag and drop into the working area of CrazyTalk Animator. Drag and drop onto the target sprite in the working area of CrazyTalk Animator.
All the media will be converted into the elements of the sprite. Pick the sprite and click the Sprite Editor button. Replace Cur- rent Project rent Project Character.
Scene Cat. Scene Cat- egory egory egory Image Layer. You may select the Working Area angle switch to view and adjust the sprite in each angle. Please refer to the sections below for more details about each part. Composer User Interface Introduction — Actor The composer user interface for actors is divided into 9 parts. Validate Multi-angle Setup and Sprite Editor panels.
Render Style. Facial Animation Setup. Vector Grouping Tool and Sprite Editor panels. Mask Editor. Composer User Interface Introduction — Prop The composer user interface for props is divided into 7 parts. The characters. The facial fea- tures of a composed head are sprites. In CrazyTalk Animator. Composing Objects By composing different sprites together. Sort of like a slide show.
Sprite Concept What is a Sprite? A Sprite can be best understood as a group that consists of lots different media files. Though it can have multiple ele- ments. The sprites that compose a character The sprites that compose a head The sprites that compose a prop Since the facial-fitted head of a character has different structures.
The elements of a sprite can be media files with different formats: Multiple Angles Animations for Characters In CrazyTalk Animator, the character is capable of performing dimensional motions and expressions, which is gen- erated by displaying different components within sprites that compose the character's body and face. Please refer to the Sprite, Poses and Angles section for more information. The sprites on the bones changes in accordance with the angles in order to generate the dimensional anim- ations of the character.
Sprite, Poses and Angles A sprite can have multiple elements. These elements can be images or videos and are divided into two types according to the target the sprite is applied to.
Sprites of Props The images or videos in a sprite that builds up a prop are named Elements, as the vintage name in CrazyTalk Anim- ator 1. Sprites of Character Each CrazyTalk Animator character is composed of sprites stuck to the bones of body parts; every sprite can have one or more poses for creating sprite animations. Poses in Sprite The images or videos in a sprite that builds up a character are called Pose, no matter if the character is G1 or G2 ones. The upper body is composed of a sprite with multiple Change to different poses for creating sprite switch Poses.
Angles in Poses However, for G2 characters that are able to perform dimensional motions, the poses must contain more media rep- resent the pose from different 10 perspective views, and these media are thus called Angles. The angles from 10 perspectives are views from top, bottom, 0, 45, 90, , , , , and degrees. With these Angles, char- acter are able to perform not only the 2D flat motions, but also 3D dimensional motions.
The poses of a G2 character have their own Angle components for correctly performing all 3D motions. Preparing a Custom Sprite You can load different types of media, videos or images to create a sprite. When a sprite contains a series of image or videos, then you may create Image Replacement Animations in Stage mode with setting keys. Click the Prop button in the Create Media panel.
Two More Methods to Create a Sprite or to Add More Media to a Sprite If you want to create a sprite, or append more media onto an existing sprite, then you may use the two methods below: The added media in the sprite are named Poses.
Any sprite can have multiple poses so that you can use these pose to generate Sprite Animations. Using the Sprite Editor A.
Select an existing character. Click the Composer button on the Function Bar. Select a body part sprite. Click the Add New Sprite button. Load one or more media files. This body part is now a sprite with multiple poses. All the poses are now listed in the panel. If you want to create a character that is able to perform 3D dimensional motions, then you need to add up to 10 angles for the poses. Please refer to the sections below for more information: This sprite is now appended with multiple media files.
All the media files are now listed in the panel.
Click the Replace Current Sprite button to load a new file that will replace the selected one. Select multiple media files from the source folder in Stage Mode.
The media will then be converted into the poses of the sprite. Replacing an Existing Pose or Element in Sprite When you want to replace poses of a character's facial features or body parts or elements of props with prepared image-based or vector-based files by using the buttons at the bottom of the Sprite Editor panel, you may need to follow the steps below. Prop's Element and Character's Single Angle of Pose This method replaces only one element in the sprite of a prop; and a single angle pose for a character's facial fea- tures or body parts.
Select an object prop or character and enter the Composer Mode. Pick a sprite and open the Sprite Editor. Select the element for prop or one of the poses if there are multiple poses for the character. The element of the prop is selected The pose of a character's body part is selected 4. For the character, you are able to open the Angle Table, where you'll be able to see that only the content in the current angle slot has been replaced.
Complete Character Angle Profile Replacement Use this method to replace character poses that look identical at all 10 angle profiles. Select a character and enter the Composer Mode. Click the down arrow beside the button at the bottom of the panel. Choose the Replace Full Angle command. Each CrazyTalk Animator character is composed of sprites stuck to the bones of body parts; every sprite can have one or more poses for creating sprite animations.
However, for G2 characters that are able to perform dimensional motions, these poses must contain more media from different 10 perspective views, and these media are thus called Angles. CrazyTalk Animator provides Sprite-Angle panel so that you are able to view the angles of a pose. The benefits of using Sprite-Angle panel are: Examining Angles of Pose After you have created a G2 character, or convert a G1 character into a G2 character, you may use the Angle Table to examine if any angle is missing.
Select the character and enter the Composer Mode. Click the Full-angle Settings button to display the panel for listing the angle media. Switch to the Sprite tab. Pick the body part that you want to examine. Click the Validate Multi-angle Setup button to show the panel. Select a body part.
Missing angles in the table. Missing body part in motion. Apply a character and switch to the Composer Mode. Open the Sprite Angle as described in the previous section. The angles slots marked as Empty will cause a body part missing in motion.
This method assists you to save a lot of time for adding angles one by one and is useful for the body parts that appear identical in different per- spectives. If the body part can appears to be identical in different perspectives. The body part thus will not be missing in motion. When the cursor turns to an eyedropper. Repeat the same steps until every empty angle slot refers to the target one.
As the cursor turn to be a paint bucket. All the elements are listed in the panel. In the list. But if you need to align. Transforming Sprite Elements Each element in a sprite has different sizes and angles.
In the Composer Mode. Please select a prop and click the Composer button in Stage Mode. This task is helpful for Sprite Switch Animations. Please refer to the Preparing a Custom Sprite section for more information about adding more elements to the sprite. Modify the transform point of each elements until they are all aligned. Drag to relocate the element. Drag the rotation area outside the box to rotate the element.
The area for rotating 9. Elements aligned Note: Elements with different sizes and positions 5. You may see the green transform handle box shown around the element. Please note that the four corner points proportionally scale the element while the points on the sides do not.
Drag the eight control points around the box to scale the element. Move your cursor to the inside of the box. The area for moving 7. Edit the image and save. For Image-based elements. Editing Textures of Image-based Elements If you want to use an external image editor to modify an image-based element. Pick a character in the Stage Mode. Select one of the body parts and then click the Launch External Image Editor button. Photoshop with the texture opened in it ready for advanced modifications.
The data will then be automatically transferred into CrazyTalk Animator. Modifying the Texture of Body Parts If you want to change the texture of any element in a sprite. Click the Composer button to switch to the composer mode. If you want to modify the mask of an element. CrazyTalk Animator will then launch your specified image editor e. If the element is video or SWF-based. Click the Back to Stage button to update the character in the Stage Mode. Select the prop and then click the Launch External Image Editor button.
Modifying Texture of Prop Sprite Elements If you want to change the texture of any element in a sprite. Edit the image In this case. Pick a prop in the Stage Mode.
If the element is a video or SWF-based. Click the Back to Stage button to update the prop in the Stage Mode. Click the Sprite Editor button. Go to another time frame. Creating Sprite Switch Animations 1. Take note that this feature supports both characters and props. When it comes to the frame where the key is set. The Sprite Switch in the timeline displays in the form shown below: The Sprite Switch in the timeline will be displayed in the form shown below: Pick one of the media files in the Sprite Editor panel.
Please note that in this example. By select- ing one of the sprite's media in different time frames. A switch key is automatically set. Sprite Switch Animations Once you have a sprite that consists of multiple media. Play back the project.
Given a sprite with multiple elements. The sprite remains the same after the last switch until the end of the project. Set different sprite switches in various time frames. Release Key. The sprite displays the first element since the priority of the sprite track is forced to do so in the motion track ini- tial sprite status. It is highly recommended to refer to the Clip and Key Priority. CrazyTalk Animator provides the Release feature to eliminate the effect in the S sub track until another new switch is set.
Go to the time frame after the last switch and set a release key by clicking the Release button on the Sprite Editor panel. Motion section before you read this page.
The switch effect in the motion will be kept. If you want to dis- play the switch effects compacted in a motion clip. Apply a motion with switch effects in it. Set sprite switches before the motion.
You will see that the switch effect in the motion clip will be overridden by the last switch in the S track. Set a Release key at the start frame of the motion by clicking the Release button on the Sprite Editor panel. The default length for each project is frames. This method is used by most image editing software since Z-depth is unnecessary for them.
Shows the total length of the project in frame count. Project Settings In the Project Settings panel you may adjust the length of the project. Camera Setting The camera setting decides the viewing method of the camera. The maximum frame number is You may decide to display the time unit in either frame format or time format. This method shows the Z-depth relation of each item inside. Two items of identical size viewed 3D The farther item looks smaller than the front view one Perspective mode When the camera moves.
The size of the objects. This method shows the project regardless of the Z-depth of each object inside. Click the Project Settings button to open the Project Settings panel. This setting determines if you want the outlines to change along the scaling. Two items of identical size viewed in 3D The distance does not affect the size of view the item.
Please note that you may need to manually set the line width after one of these two settings is activated.
This setting determines if you want the outlines to change along the scaling of the objects. Orthographic mode When the camera moves. You ator 1. CrazyTalk Animator 3 User Manual.. Safe Area The Safe Area determines the exportable area on the stage. You can only see the objects inside of the are able to see and edit the objects outside of the stage.
It is shown in blue rectangle as shown below: External Files By default. CrazyTalk Animator compacts all loaded video files into a project file.
To prevent this. Only the objects within the Safe Area will be exported. This can solve the over-sized project issue. Background Setting In this section. Select from the Display Mode drop-down list to define the mapping method for the image background. Please refer to the following sections for more information: You can create them by loading and fitting with an image. And the Sprite-based head are divided into different types.
Morph-based and Sprite-Based. Morph-based Head New for v3 The Morph-based head is to project a face image onto a surface with dimensional and protruding shape of face. The eye- balls and teeth are then placed behind the surface as shown below: This type of head can be created or edited by the Face Creator. TGA formats. You are able to create and modify this type of head by means of the Sprite Editor in the Composer Mode. In SWF format.
Sprite-based Head New for v3 The Sprite-based head is composed of sprites of a face and different facial features. In JPG. MOV and popVideo formats. In AVI. Please note that the elements in each sprite can be: Vector or Mixed. Comical Style". Most of the G1 sprite-based heads of this type you see in the Content Library of CrazyTalk Animator version 2 or above are the heads being converted.
Please refer to the G2 Head with Multiple Angles section for more information. If you apply this type of head to CrazyTalk Animator Version 2 or above. The head will be put into different slots of 10 angles. It is designed only to single direction degrees by default. It is designed to have 10 angles in order to have the character face to different direction when you turn the character.
The thumbnails of this type of heads will be marked with G2 at the corner as shown below. It is designed to have 10 angles for the head in order to have the character face different directions when you turn the character. The expression poses for the G2 head are composed of different sprites with different images. This method saves you time from preparing many pose images. It is created by facing only one direction.
In addition to using the template from the Content Manager. The expression poses of a G3 head can have either individual sprites. G3 Head with instances derived from deformed expres-G3 Head with instances derived from transformed sion poses. Using Predefined Sprites to Compose a Face CrazyTalk Animator contains facial feature libraries with lots of templates predefined sprites inside for compositing faces. You must first select a character. Click the Composer button to switch to the Composer Mode.
You may also delete the entire head to create a new one. Apply desired template from the Face and Hair libraries. Please note that there is no specific order to applying the facial features. However, it is highly recommended that you first apply the Face before the others.
When the characters in your scene always face , talk and make any expression directly to the camera, you only need to cre- ate facial features that are single and frontal. To build up facial features for a G1 character, you need to follow the steps below. Make sure the pose is selected and click the Replace Current Sprite button. Select a prepared media file and click the OK button to replace the original one.
Pick any of the other poses and repeat step 6 to 8 until all prepared media are imported to replace the original ones. In order to have the eyes be able to roll, you need to create them in specific rules. How to Register Log in. Click the Back to Stage button to bring the new eyes back to the stage.
In order to have the facial feature match the angle of the character, especially when the character's head rotates, you need to create facial sprites with pose composed of multiple angle views. The workflow is much like how you create a multi- angle body part. Step 1: Applying Dummy Character for Replacement 1. Select one of the prepared media file that matches this angle and click the Open button.
Repeat steps 4 to 7 until media of different degrees are loaded to replace 5 angles in the table. Perform the same steps until the facial sprites of the character are completely replaced. Click the Add button under the Content Manager to save the custom character. Click the Back to Stage button to bring the new character back to the stage. If you are a Pipeline version user, you may also use the Validate Multi-angle Setup panel to quickly replace the media.
Attaching Accessories to a Face You can make accessories by attaching props to any part of a character's body. Now Animators can accessorize their char- acters at will. Drag and drop the prop onto the face.
Doing this will cause it to attach to the face and become an accessory. From the Scene item in the Scene Manager, you can see that the accessory is already a sub-node of the face. Click the Back to Stage button and update the character. Whenever the character performs, the accessory will move accordingly.
Mirroring Symmetrical Facial Features When you want to create facial features for G2 characters, you need to prepare a lot of files for filling up the poses and angle slots within the Sprite Editor and the Angle Table. However, if the character you want to create is left-right symmetrical, then you may use the Mirror function provided to quickly duplicate and copy one side to the other. The mirror method can only be applied to individual facial features or to the symmetrical facial features eyebrows, eyes and ears.
Mirror-creating Single Symmetrical Facial Features 1. Select one of the symmetrical facial features in this case, the left eye and load a prepared file to replace the ori- ginal one via the Sprite Editor.
Transform the element if necessary. Rotate the character to other angles 45, , and insert the prepared files for the facial feature at all angle profiles. Please open the Angle Table to make sure that necessary angle slots are filled. Since the facial feature contains multiple poses for creating expressions on the face, you need to repeat the same steps to fill up the angles for the other poses in the Sprite Editor.
Close the Sprite Editor. Click on the down arrow button next to the Mirror button to show its drop-down menu. Choose the Mirror Selected Sprite option from the menu. The selected facial feature will be duplicated and mirror to the sprite on other side of the face. You may then fill up them and perform the Mirror function again.
Mirroring Symmetrical Facial Features In addition to mirroring single sprites, you are able to mirror the symmetrical facial features and limbs of the characters simultaneously, which saves time when duplicating facial features and limbs. In this section, the symmetrical facial fea- tures are illustrated only, but after the function is executed, the limbs are duplicated and mirrored as well.
Replace the facial features of a side in this case, the left eyebrow, eye and ear with prepared files via the Sprite Editor. Rotate the character to other angles and insert the prepared files for the facial features of the same side. Choose the Mirror to Actor Left from the menu. If you customize the right limbs of the character, then choose Mirror to Actor Right and vice versa. The symmetrical facial features will be duplicated and mirror to the other side of the character.
You may then fill up them and perform the Mirror feature again. The Pose sharing method can be applied to the sprites that contain multiple poses for creating different expressions; However, it is suitable for the poses that have little or no changes.
Thus, this method can be best used for the eyebrows, nose or another facial features whose appearance does not change much with a character's expression. These particular facial features simulate expression changes by simply transforming their positions. Pose Sharing In this section, the eyebrow is taken as an example for describing the usage of the Pose Sharing feature. Select one of the eyebrows in this case, the left one , load and transform a prepared file to replace the original one via the Sprite Editor.
Rotate the character to other angles 45, , , insert and transform prepared files for the facial features. Please open the Angle Table to make sure that necessary angle slots are filled and you may need to transform them accordingly.
Click on the down arrow button next to the Copy Sprite button to show its drop-down menu. The cursor will turn to a paint bucket. The commands in the Copy Sprite drop-down menu determine the content to be shared: Click on the other pose slot s as targets for pasting the retrieved content from the source slot. Choose the Copy to Current Angle from the menu. While the cursor turns to an eyedropper. Repeat the same steps until each pose slot is replaced with the content from the source slot.
This command shares every angle of this pose to another pose slot. This command shares only the current angle of this pose to another pose slot.
Individual Transformation After the pose is shared to different slots. This is because the transform positions of each pose will be identical after the Copy Sprite function is performed. Make sure the Sprite Editor is opened. Sad and Happy Note: If you need to change the appearances of the facial features via transformation.
Transform move. Before transformation After transformation for Angry pose 4. Select one of the poses in this case. Repeat the same steps until every pose is ideally transformed. Automatic Image Fitting 3.
Image Processing 2. There are three steps in the Face Creator. The supported image formats are: Creating a Face from a Photo There are two methods for you to create a head face from an image. Please note that only image characters whose heads have been fully created will be able to have expressions on their face. Once a head is fully created in CrazyTalk Animator. Drag a marquee around the image by using the mouse to create a crop box. Click the Apply button when done.
This does not change the original image size. Image Processing The image processing tools allow you to enhance the quality of selected images. You may use the tools on the left side of the image processing menu to adjust the area. Click the Cancel button to cancel the current crop box and restart. CrazyTalk analyzes the color levels and adjusts the brightness.
This allows you to focus on facial details in order to create more accurate talking characters. Cropping the image allows you to remove the excess background area and enlarge the facial image you wish to work with.
Use the mouse to move the crop box across the image as desired. Use the corner handles of the marquee to rotate the crop box. Cropping an image Click the Crop Tool button to select the specific area. Automatically adjusting color levels Click the Smart Level button to automatically adjust the color levels of the image. Use the sliders in the menu box to adjust the values. You may rotate and crop them in order to work with a portion of the original image source. Mirroring an image Click the Mirror button to mirror the image on the horizontal axis.
Manually adjusting color levels Click the Color Level button to manually adjust the brightness. This can be useful when you want to crop a face from a group photo.
This function is useful for images obtained from scanners or cameras. The box next to each property shows positive and negative values. Select the Highlights radio button to apply color set- tings to the image's brighter areas. The center value is zero. Drag the sliders to adjust the Cyan. Click the Midtones radio button to apply color settings to the image's normal areas. Select the Shadows radio button to apply color settings to the image's darker areas.
Blue levels. Adjusting color balance Click the Color Balance button to manually adjust the color balance. Adjust the four points as accurate as possible to get the best fit for the eyes and mouth. This process is entirely automatic and requires no complex frame fitting techniques. Click the Reset button at any time to cancel your actions and start over. CrazyTalk Animator has its own embedded estimation of the four points which define the eye and mouth areas.
Once you create a basic frame to fit the face. Do this to adjust the fitting process as displayed in the reference image. Automatic Image Fitting The 4-point auto fitting for the basic anchor points allows you to create a CrazyTalk Animator model in just a few clicks. If you wish to move the positions. This button is pressed and activated by default. Click this button to zoom out the image for observing more of the image.
Basic Tools l Wireframe Color: Click this button and cycle through different wire frame colors. Click this button to pick and move components of the wire frame. The selec- ted control points will turn red.
Select a wire frame or multiple frame points and click this button to rotate them. Press down this button and drag a rectangle around the desired area of the image in order to zoom in to the area for better observing and modifying the details. Click this button so that the image will be zoom in or zoom out in order to just fit into the pre- view window.
Release the Ctrl key and then move the points to the desired location. Click this button so the image will be shown in its original resolution. Select a wire frame or multiple frame points and click this button to resize them. Click this button to zoom in the image for better observing and modifying the details. Face Fitting The Face Fitting step assists you to set wireframes to frame up the facial features as precise as possible since when the actor starts to talk and move.
This can be used if both the original image and the wire frames colors are the same color. Zoom Tools l Pan: After you zoom in the image.
Previewing with Calibration Buttons l s Click the Calibration buttons to play back a short script intended for calibration. Use the basic tools described in the last section to roughly frame up the wire frames as close to the facial-feature contours skull.
By default. Click to press the Detail Facial Mode button to show more wire frame control points. Wireframes for Opened Mouth If the character in the image you have loaded is with opened mouth. You may also drag the control points. If you want the actor to close up the mouth. Make sure that the Detail Facial Mode button is pressed down. Please refer to the Hair Mesh Layer section for more information. Press down the Open Mouth Points button.
Thoroughly move the control points to make the wire frames even closer to the facial features. Move the wire with Yellow control points to match the edge of the upper lip. Fine-Tuning the Wireframes 1. With this design. Even if the character's expres- sions are not exaggerated. Hair Mesh Layer Character heads in the photos may not always be oval-shaped due to hair styles or accessories like hats. Rotate the mesh to fit the face angle Selecting Appropriate Face Style 1. Select one of the 9 basic profiles to fit your character.
Press the Preview button and move your mouse to preview the head motion in the main viewport. The higher the value. This will ensure that the 3D mesh of the head will match the facial angle of the character in the photo. Then define the face orientation of the character: Drag the Strength slider to adjust the intensity of the profile.
If the motion is not as desired. You will see 5 categories of eye templates. Eyeball - White. Original eyes from the source image cannot roll. Using VividEye The six layers superimpose to create the appearance of natural eyes: Please refer to the Eye Template Gallery sec- tion for more information.
Eyelash and Makeup in the VividEye Settings greatly increase the realism of virtual eyes. Eye Shadow. Access into one of the folders. Eye Light.
The 6 Layers Eyeball. Double click on the desired template to add virtual eyes to the actor. Eye Template Gallery CrazyTalk provides a virtual eye template gallery to match the design style of the VividEye templates. Inside you will find more realistic samples made from real human images with different lighting conditions and makeup effects. Human This gallery contains natural eye templates for male. CrazyTalk Anim- ator 2 has enhanced visual results by taking advantage of FaceFilter's makeover techniques and content.
Iris or Eyeball. In the Transform section. White radio button. Eyeball Transform After applying an eye template. Choose the Eyeball. Left Right Both eye eye eyes 3. Eyeball size changed Eyeball position changed Note: You may click and keep the Check Eyes button pressed to compare with the original.
Hue and Saturation. Eyeball Iris Color and Eyeball Whites You may customize the color of the eyeball by changing the diffuse color of the iris and adjusting the whiteness. In the Color section. Eye-white color changed Iris color changed Note: This feature facilitates you in creating sparkling.
Eye Light The Eye Light simulates the specularity effect on the eyeballs. You can also use custom light shapes by loading a grayscale image into the Opacity channel. Left Right Both eye eye eyes 4. Choose the Eye Light radio button. Design the Light Shape There are three sections in the panel involved in the designing of light shapes.
You must apply an eye template from the eye gallery first. In the Opacity channel. The black part will get cut out. Set the Sphere Sense of the Eyeball If you need to set the sphere-feeling of the eyeball.
Eye Shadow The Eye Shadow features the strength of the sphere effect on the eyeballs. You may decide the size of the shadow. Choose the Eye Shadow radio button. You may apply the Eyelash effect to mimic mascara. Choose the Eyelash radio button. You may determine if you want the actor to have eyelash or not by activating or deactivating the Eyelash check box. Notice that female eye templates contain longer eyelashes. Without Eyelashes With Eyelashes 4. Eyelash CrazyTalk Animator offers you Eyelash effects to generate a more vivid appearance in the eyes.
Hue and Saturation to change the color of the eye- lashes. Click and keep the Click to Close Eyes button pressed in order to view the Eyelash with closed eyes. Length of Eyelash You can decide the length of the eyelashes by adjusting the Scale value.
You can also use it to conceal or cover creases or defects on the actors' eyelids. With the Makeup feature. Makeup CrazyTalk Animator offers Makeup effects to generate vivid eyes. You may determine if you want the actor to have makeup or not by activating or deactivating the Makeup check box. Distortions and stretching issues. Choose the Makeup radio button. Without Makeup With Makeup 4. Benefits of Makeup In Select Mode.
Click and keep the Click to Close Eyes button pressed in order to view the Makeup with closed eyes. The following example turns big eyes into natural-looking small eyes.
Use an actor with properly fitted wire frames. You may see the new eyelids mapped over the ori- ginal image. With the Makeup effect. The eyelid image stretches as the actor blinks Apply a makeup effect to conceal the without makeup.
Change eye shapes Result 3. Apply the Makeup effect to conceal the original eye image. Change the eyes' wires to change the shape of the eyes. Apply one of the templates from the Template library.
Applying Mouth Template There are various types of teeth templates designed for real human. Switch to the Head tab in the Content Manager. You may apply a virtual mouth with teeth. CrazyTalk Animator 2 has enhanced the visual results and provides more unique templates for different age group adult. Teeth Location and Angle 1. Teeth After you apply a virtual mouth.
To specify the position of the teeth in the mouth. Oversized Teeth Scaled Teeth 3. To set the size of the teeth. Use the Rotate value to decide the orientation of the teeth and match the angle of the mouth.
Move the Brightness. Location offset Location adjusted 4. Creating Custom Teeth You may create your own character's teeth by importing a custom teeth image: In the Diffuse channel. You must apply a teeth template from the teeth gallery first.
The part displayed in the check board pattern area Note: Choose the Teeth radio button. After you apply a virtual mouth. Throat CrazyTalk Animator lets you modify the inner mouth and throat color for when mouths need to be opened wide.
Choose the Throat radio button. Lips Most of the time. You may use the lip settings to lower the lip corners and keep the mouth line as flat as possible. This is because the height of the lip corners. Choose the Lips radio button. In the Lips corner section. Leveling the Lip Corners 1. Closing Actor's Mouth If the character in the original image is with opened mouth.
Make sure that the control points for the open lips are correctly specified when adjusting the wire frame. Activate the Force to Close box to close the character's mouth.
Original Image Force to Close: Transforming Facial Features In order to stylize your characters. You may rotate to preview the results in the Stage Mode. You may drag the eight control points around the box to change the size of the feature. A transform handle box will then appear around the selected feature. Please note that the four points on the corners will help change the size while maintaining the current ratio.
The rotation data will not be kept in the Composer Mode. Stylizing Facial Features The appearance of the character can be easily changed with transformed facial features. Then click the Composer button to enter the Composer Mode. The body part will later return to the initial angle once the character is defined.
Please note that this method only applies to the Sprite-based head. Characters with same parts may easily morph into different ones. Before starting to customize a character. Move your cursor to inside of the box. Click on any facial feature. You may use the same method to modify all facial features. For more information please refer to the Transforming Poses in Facial Features section.