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Morph target animation

Morph target animation, also known as blend shape animation, is a technique in 3D computer graphics for deforming polygonal meshes by linearly interpolating vertex positions between a base mesh and one or more pre-defined target meshes that represent specific deformations of the base.^[1] This method allows for smooth transitions between shapes, such as facial expressions or body poses, by adjusting blending weights that sum to one and remain non-negative to ensure geometric invariance.^[1] Originating in the early 1970s with foundational work on computer-generated facial animation, it has become a standard approach for keyframe-based deformations due to its computational efficiency and artist-friendly workflow.^[1] In practice, morph targets are created by manually sculpting or scanning deformed versions of a base model, often using digital content creation tools like Autodesk Maya, and storing the differences (deltas) from the base as compact data for real-time or offline rendering.^[2] The resulting animation is generated via convex combinations of these targets, enabling localized control over regions like the face or clothing without relying on skeletal rigging.^[1] Advantages include low runtime costs and the ability to capture a wide range of expressions with relatively few targets—typically 10 to 50 for basic facial sets—though limitations arise with complex interactions requiring hundreds of targets, such as the 946 used for Gollum in The Lord of the Rings films.^[2] Widely applied in film, video games, and virtual reality, morph target animation excels in performance-driven facial animation, where expressions are transferred from motion capture data to digital characters, as seen in productions like The Curious Case of Benjamin Button.^[2] It also corrects issues in linear blend skinning, such as joint distortions, and supports nonlinear extensions like corrective blend shapes for enhanced realism.^[2] Research continues to advance automated creation and segmentation, building on early techniques from Frederic I. Parke and later works like those synthesizing expressions from photographs.^[1]

History

Origins and early development

Morph target animation, a technique involving per-vertex deformations of 3D meshes stored as series of vertex positions for interpolation between shapes, emerged from foundational research in computer graphics during the 1970s and 1980s. Early experiments with linear blending of entire facial shapes were conducted by Fred Parke in parametric modeling work, laying the groundwork for deformable mesh animations. By the late 1980s, the "delta" method—representing deformations as offsets from a base mesh—gained traction in commercial software for efficient shape-based animation.^[2] Precursors to 3D morph targets trace back to 2D digital morphing techniques popularized in Hollywood films of the 1980s. The 1988 film Willow, directed by Ron Howard, featured the first credible use of computer-generated morphing by Industrial Light & Magic, where 2D images of animals were seamlessly transformed into other forms, such as a goat morphing into a tiger. This 2D image interpolation demonstrated the visual appeal of fluid transitions, inspiring the shift to 3D mesh-based methods that could handle volumetric deformations in real-time graphics.^[3] Key milestones in the technique's development occurred through advancements in professional 3D software during the early 1990s. Wavefront Technologies' Advanced Visualizer, initially released in the mid-1980s and refined through the decade, introduced tools for model deformation and animation transfer, enabling artists to morph shapes for character rigging and expression. The merger forming Alias|Wavefront in 1995 further integrated morphing features, culminating in Maya 1.0 (1998), which standardized blend shape tools for production workflows.^[4]^[5] Early applications of morph targets appeared in mid-1990s video games, marking their transition from high-end workstations to real-time rendering. Id Software's Quake (1996) employed per-vertex animation for all character movements, storing sequential vertex position sets per frame and interpolating between them to achieve smooth deformations without skeletal rigs. This approach allowed efficient playback on period hardware, influencing subsequent game engines. While mathematical interpolation underpinned these implementations, the focus remained on practical vertex offsets for accessible animation creation.^[6]^[2]

Adoption in industry

Morph target animation saw significant integration into major 3D modeling and animation software during the early 2000s, enabling broader professional use in film and game production. Autodesk Maya introduced blend shapes—a term for morph targets in its ecosystem—as a core feature in its early releases around this period, facilitating vertex-based deformations for facial and body animations. Similarly, Autodesk's 3ds Max supported morph targets via the Morpher modifier, which has been available since the software's foundational versions and became a standard tool for interpolating between mesh shapes. Blender, the open-source alternative, implemented shape keys (its equivalent to morph targets) starting in version 2.0 around 2008, with enhancements in subsequent updates to support relative and absolute key deformation for animation workflows.^[7]^[8]^[9] Industry milestones highlighted the technique's growing adoption in high-profile productions. In film, Pixar employed morph targets for facial expressions and subtle deformations in early 2000s features, such as "Monsters, Inc." (2001), contributing to more expressive character animations within their proprietary Presto system. In video games, morph targets became widespread during the PlayStation 2 era for efficient facial and lip-sync animations on limited hardware, exemplified in titles like Final Fantasy X (2001), where they enabled dynamic character expressions without excessive skeletal rigging. These applications demonstrated morph targets' efficiency for real-time rendering and pre-rendered sequences, influencing pipelines at studios like Square Enix and Pixar Animation Studios.^[2]^[10] Standardization efforts in the 2010s addressed interoperability challenges, particularly export issues between disparate software. The FBX file format, developed by Autodesk, incorporated full support for morph targets, allowing seamless transfer of blend shapes, weights, and animations across tools like Maya, 3ds Max, and game engines such as Unreal Engine. Complementing this, the glTF 2.0 specification (released in 2017 by the Khronos Group) standardized morph target data for web and runtime environments, including sparse storage for weights and targets to optimize file size and loading, thus resolving topology mismatches during imports. These formats became industry benchmarks, used in over 90% of professional 3D pipelines for animation exchange by the late 2010s.^[11] By the 2020s, the evolution of morph target creation shifted from labor-intensive manual vertex editing to automated and AI-assisted tools, streamlining production in complex pipelines. Retopology workflows in software like Maya and Blender now automate mesh optimization for target compatibility, reducing preparation time by up to 50% in facial rigging tasks. AI-driven methods further advanced this, with deep learning models generating blend shapes automatically from input scans or expressions; for instance, a 2023 system uses neural networks to produce FACS-based targets for stylized characters in real-time retargeting applications. Commercial tools like Polywink's Blendshapes on Demand exemplify this, creating up to 157 adaptive morph targets tailored to character topology without manual sculpting. These innovations have made morph targets more accessible, particularly for indie developers and rapid prototyping in VR/AR.^[12]^[13]

Fundamentals

Definition and principles

Morph target animation is a technique in 3D computer graphics for animating deformable objects, particularly useful for creating expressive facial movements or subtle shape changes in characters and models. At its core, it involves deforming a base 3D mesh by interpolating between this neutral form and one or more predefined target meshes that represent specific deformations, such as a smile or frown. This method, also referred to as blend shapes, shape keys, or per-vertex animation, relies on the shared topology of the meshes to ensure smooth and efficient transitions without requiring skeletal rigging.^[2]^[9] The foundational element of morph target animation is the 3D mesh, which represents the surface of an object through a connected set of geometric primitives. A 3D mesh consists of vertices (points in 3D space), edges (lines connecting pairs of vertices), and faces (polygons, often triangles, bounded by edges), forming a polygonal approximation of the object's geometry. These components provide the structural basis for deformation, as all vertices in the base and target meshes must correspond topologically to allow precise blending.^[14]^[2] The operating principles center on storing deformations efficiently relative to a neutral base mesh, which serves as the reference pose. Deformations are captured as delta vertex positions—the offsets or differences in vertex coordinates between the base mesh and each target mesh—rather than full copies of the targets, reducing memory usage while preserving detail. Animation is achieved through interpolation of blending weights over time or across keyframes, enabling gradual shifts from one expression to another for fluid motion. For instance, in facial animation, weights can simultaneously adjust multiple targets, like combining a slight eye squint with a mouth curl, to produce nuanced expressions.^[2] Key components include the base mesh, which defines the rest or neutral state; target meshes, artist-sculpted variants that encode specific poses or expressions; and blending weights, scalar values (typically between 0 and 1) that control the influence of each target on the final rendered mesh. By varying these weights dynamically, animators can create complex sequences from a compact set of targets, making the technique intuitive for direct manipulation in tools like digital sculpting software.^[2]

Mathematical basis

The mathematical foundation of morph target animation relies on linear algebra principles to interpolate vertex positions between a base mesh and one or more target meshes, enabling smooth deformations. For a vertex \mathbf{v} in the final rendered mesh, the position is computed as \mathbf{v}_{\text{final}} = \mathbf{v}_{\text{base}} + \sum_i w_i \Delta \mathbf{v}_i, where \mathbf{v}_{\text{base}} is the vertex position in the neutral or base mesh, w_i \in [0, 1] is the blend weight for the i-th target, and \Delta \mathbf{v}_i = \mathbf{v}_i - \mathbf{v}_{\text{base}} represents the per-vertex delta offset from the base to the i-th target mesh.^[15] This relative encoding stores only the differences \Delta \mathbf{v}_i, reducing memory usage compared to absolute positions.^[16] For animations involving a single target, the formulation simplifies to linear interpolation between the base and one target: \mathbf{v}(t) = (1 - t) \mathbf{v}_0 + t \mathbf{v}_1, where t \in [0, 1] is the interpolation parameter, \mathbf{v}_0 is the base position, and \mathbf{v}_1 is the target position.^[17] This is equivalent to setting w = t in the single-target case of the general formula, producing a straight-line path in vertex space.^[16] In multi-target blending, weights w_i are often normalized such that \sum_i w_i = 1 to ensure the deformation remains a convex combination of the targets, preventing extrapolation beyond the defined shapes and maintaining additive consistency.^[18] This normalization can be achieved by dividing each w_i by the sum of all active weights, clamping the neutral weight to [0, 1] if needed.^[16] However, linear blending can introduce non-linear artifacts, such as unnatural distortions during simultaneous activation of multiple targets; these are addressed using corrective targets, which are additional shapes designed to compensate for specific combinations (e.g., w_j w_k) and added to the sum.^[19] To support proper shading, vertex normals must also be blended, as deformations alter surface geometry. The final normal is typically computed as \mathbf{N}_{\text{final}} = \text{normalize}\left( \sum_i w_i \mathbf{N}_i \right), where \mathbf{N}_i is the normal from the i-th target (or base for i=0), followed by renormalization to unit length for consistent lighting calculations.^[16] Tangents for normal mapping follow a similar interpolated and orthogonalized process, though exact recomputation may vary by rendering pipeline.^[15]

Implementation

Creating morph targets

Creating morph targets begins with establishing a base mesh, typically through modeling or sculpting in 3D software, which serves as the neutral or rest pose for the character or object. Target shapes are then generated by deforming copies of this base mesh to represent desired variations, such as facial expressions or muscle flexions, through manual vertex manipulation or sculpting brushes. These deformations capture the differences, or deltas, from the base positions, enabling later interpolation during animation.^[20]^[9] Key techniques for generating morph targets include direct vertex editing, which allows precise control over individual or groups of vertices using transformation tools to adjust positions, rotations, or scales. Wrap deformers facilitate the transfer of shapes from high-resolution scanned data or detailed sculpts to a lower-resolution base mesh by conforming the target geometry to the influence object's deformations, preserving complex details without altering topology. For facial targets, symmetry tools ensure bilateral consistency by mirroring edits across the model's central axis, reducing manual adjustments and maintaining anatomical accuracy during sculpting or editing sessions.^[21]^[22] Best practices emphasize maintaining identical topology across the base and all targets, including the same vertex count and order, to prevent blending artifacts; this is achieved by duplicating the base mesh before deformation and avoiding topology changes like edge loops or decimation post-creation. Corrective shapes are recommended to address deformation issues, such as joint artifacts in skinned meshes, by creating post-deformation targets that counteract unwanted distortions at specific poses, applied after primary deformers like skin clusters. Renaming targets and deformers descriptively, such as "smile_left" or "flex_bicep," aids organization in complex rigs.^[9]^[23]^[24] In Autodesk Maya, the Blend Shape Editor provides a dedicated interface for adding and managing targets, supporting options like in-between shapes for smooth transitions and topology checks during creation. Blender utilizes the Shape Keys panel in the Object Data Properties to author relative or absolute keys, with features like New Shape from Mix for combining influences and vertex groups for localized control. ZBrush excels in high-detail sculpting for morph targets via its Morph Target sub-palette, where users store a pre-sculpt base and use the Morph brush to blend back to it during asymmetric detailing, ideal for organic forms before exporting to other tools.^[25]^[26]^[27]

Blending and animation

Blending morph targets involves applying scalar weights to each target to interpolate vertex positions from the base mesh toward the deformed shapes. These weights, typically ranging from 0 to 1, are adjusted using sliders in tools like the Shape Editor or via animation curves in timelines, allowing animators to create intermediate poses through linear combinations.^[18]^[23] Support for layered blending enables multiple targets to influence the mesh simultaneously; in parallel mode, effects are additive, summing deformations for composite expressions like a smile with raised eyebrows, while series mode applies targets sequentially for replace-like transitions between shapes.^[23]^[1] Animation techniques for morph targets center on keyframing these weights over time to produce sequences, often using curve editors for non-linear interpolation that provides smooth easing or overshoot for natural motion, such as gradually opening a character's mouth during speech.^[28] Integration with skeletal rigs allows hybrid animation, where bone-driven deformations handle broad body movements and morph targets refine localized details like facial expressions, blending both systems in a single pipeline without conflicts.^[28]^[29] At runtime, morph target blending is accelerated on the GPU through vertex shaders, which compute weighted vertex offsets in a single pass for real-time performance, supporting dozens of targets as seen in facial animation systems with up to 54 shapes.^[15]^[18] To optimize memory, compression methods like delta encoding store only the differences between the base mesh and targets, reducing data size while preserving deformation fidelity during playback.^[30] For export and compatibility, animations are baked into sequences within formats such as glTF or FBX, enabling seamless transfer between engines like Unity and [Unreal Engine](/page/Unreal Engine); this involves keyframing weights and ensuring vertex order consistency across targets during export from authoring tools.^[28]^[31]^[32]

Advantages and limitations

Benefits

Morph target animation, also known as blend shapes, provides precise control over deformations through direct per-vertex manipulation, enabling animators to achieve subtle details such as facial micro-expressions or cloth folds without the constraints imposed by skeletal rigging systems.^[2] This approach allows for intuitive adjustments via semantic parameters, like sliders for specific features (e.g., "raise-right-eyebrow"), ensuring predictable and targeted outcomes that maintain the model's fidelity.^[33] For certain applications, morph targets offer simplicity in setup, particularly for localized deformations in areas like lips or eyes, which require less complex rigging compared to full skeletal systems.^[2] The technique's reliance on linear weighted sums results in low computational overhead when using a limited number of targets, making it efficient for real-time rendering in resource-constrained environments.^[33] Animation transfer is facilitated reliably through morph targets, as vertex data can be exported and imported across software pipelines without loss of detail, addressing interoperability challenges in production workflows.^[2] This is achieved via methods like parallel parameterization, which clones expressions between models seamlessly.^[33] In terms of visual quality, morph targets produce smooth, artifact-free blends for organic shapes, as the linear interpolation avoids distortions common in other methods.^[2] They are particularly effective as corrective offsets in hybrid animation systems, enhancing overall consistency and keeping deformations "on model" for high-fidelity results.^[33] Blending weights further allow fine-tuned control over these transitions.^[2]

Drawbacks

One significant drawback of morph target animation is the high authoring effort required, as creating each target typically involves manual sculpting of vertex positions on a base mesh, which becomes increasingly time-consuming for complex models with thousands of vertices. For instance, developing a comprehensive facial blendshape model can demand hundreds of targets, often taking skilled artists months or even a year of dedicated work. Recent research has explored automated generation methods using deep learning to reduce this effort.^[2]^[34] Scalability poses another challenge, with practical implementations limited to a small number of targets—typically 10 to 50—due to the memory overhead of storing complete vertex copies or deltas for each one, making it unsuitable for extensive full-body animations that would require far more targets. A model with 1,000 targets and 10,000 vertices, for example, can consume over 120 MB of memory without compression techniques.^[2]^[15] Blending multiple targets can introduce visual artifacts, such as mesh distortions or unnatural "shaking" effects, particularly when topologies between targets do not align perfectly or when interpolating high-dimensional combinations, leading to sudden corrective deformations. Additionally, morphing affects vertex normals and tangents, necessitating recalculation during runtime to maintain lighting accuracy, which introduces computational overhead.^[2] In real-time applications like video games, performance is further impacted by elevated VRAM usage from the additional geometry data and increased draw calls for processing blends, rendering the technique less efficient for dynamic, procedural modifications compared to more parametric approaches. The blending process itself, often involving memory-bound matrix-vector multiplications, can bottleneck GPU performance when handling numerous active targets.^[15]^[2]

Applications

In video games

Morph target animation is widely employed in video games for creating expressive facial animations on non-player characters (NPCs) and player characters, particularly for lip-syncing dialogue systems where blend shapes adjust mouth positions to match audio phonemes in real time.^[35] This technique enables subtle emotional expressions, such as smiles or frowns, by interpolating between predefined vertex deformations on the character's face mesh. Beyond facial details, morph targets enhance localized effects like muscle flexing during exertion or injury deformations to simulate wounds and tissue damage, adding realism to combat or physical interactions without full skeletal rigging.^[36]^[37] Major game engines provide robust integration for morph targets, supporting runtime blending for interactive scenarios. In Unity, the SkinnedMeshRenderer component handles blend shapes (Unity's term for morph targets), allowing developers to dynamically adjust weights via scripting for seamless animation during gameplay.^[38] Unreal Engine includes the Morph Target Previewer tool within the Skeletal Mesh editor to visualize and test deformations, with runtime support through animation blueprints and curves that blend morphs in real time via shaders for efficient GPU processing.^[39] Godot's AnimationPlayer features dedicated blend shape tracks optimized for MeshInstance3D nodes, enabling imported morph targets to animate facial or detail changes with low overhead in 3D scenes.^[40] Notable examples include The Last of Us Part II (2020), where morph targets contribute to highly expressive facial animations, blending sculpted emotional states like joy or sadness to convey narrative depth in real-time interactions.^[41] More recently, Senua's Saga: Hellblade II (2024) leverages morph targets through Unreal Engine 5's MetaHuman Animator for photorealistic facial performances, capturing subtle expressions from performance capture data to enhance psychological depth in real-time rendering.^[42] For mobile optimization, developers often reduce morph target counts or generate level-of-detail (LOD) variants, such as simplifying vertex deltas on lower LODs to maintain frame rates on resource-constrained devices while preserving key expressions.^[43] This approach is common in titles targeting Android and iOS, where tools like Unreal's LOD recipes automatically cull unnecessary morph data for distant or low-priority characters.^[44] In game development, key challenges involve balancing visual quality with performance, as each active morph target increases vertex processing costs, potentially dropping frame rates in scenes with multiple animated characters.^[45] To address this, hybrid systems combine morph targets for high-fidelity areas like faces and cloth with skeletal animation for the body, leveraging the former's precision for localized details while relying on the latter's efficiency for broader movements.^[46] Real-time blending via shaders helps mitigate these issues by offloading computations to the GPU, though careful LOD management remains essential for consistent 60 FPS gameplay.^[47]

In film and visual effects

Morph target animation plays a crucial role in film and visual effects for achieving detailed facial performances in computer-generated characters, particularly for expressions and subtle organic deformations in creatures. A prominent example is Gollum in The Lord of the Rings trilogy (2001-2003), where Weta Digital utilized blendshapes as the foundation of the facial rigging system to capture nuanced emotions and movements, integrating motion capture data from actor Andy Serkis with keyframe adjustments for photorealistic results.^[48] This approach allowed for precise control over Gollum's skeletal frame and skin deformations, enabling organic shifts that enhanced the character's lifelike quality during offline rendering.^[49] In VFX pipelines, morph targets are created and rigged using specialized software such as Houdini for procedural blend shape deformation and Nuke for final compositing and integration with live-action footage. Actor performances captured via scanning or motion capture are often transferred to digital doubles through these tools, facilitating the mapping of real human expressions onto CG models while accommodating high-detail topology.^[50] This integration supports complex workflows where multiple morph targets handle subtle facial and body variations, such as muscle contractions or skin folds, without real-time limitations. Notable applications include the Na'vi characters in Avatar (2009), where Weta Digital employed blend shapes to simulate volume-preserving facial movements based on the Facial Action Coding System (FACS), enabling expressive alien features with thousands of targeted deformations for emotional depth.^[51] In Marvel Cinematic Universe films, such as Avengers: Endgame (2019), blend shapes combined with motion capture data refined facial animations for characters like Hulk, adding layers of subtlety to joint-based rigs for polished, realistic blends in crowd and action sequences.^[52] Continuing this legacy, Avatar: The Way of Water (2022) advanced the technique with a new Maya-based facial rig incorporating blend shapes derived from muscle simulations and FACS, allowing animators to achieve more nuanced Na'vi expressions integrated with performance capture for enhanced emotional realism.^[53] Film production benefits from morph targets' compatibility with offline rendering, which tolerates extensive vertex counts and dozens of targets per model to achieve intricate details unattainable in real-time environments. This capability is particularly valuable for final polishing of skeletal animations, where additional morph layers correct deformations and enhance organic fluidity in high-resolution outputs.^[54]

Comparisons with other techniques

Versus skeletal animation

Morph target animation, also known as blend shape animation, deforms vertices directly by interpolating between predefined mesh shapes, making it particularly suitable for localized, non-rigid deformations such as facial expressions or subtle surface details like muscle bulging and wrinkling.^[55]^[56] In contrast, skeletal animation employs a hierarchical system of bones and joints to drive rigid-body transformations across the mesh via skinning weights, excelling in hierarchical motions like limb articulation and overall body poses.^[55]^[56] This fundamental difference positions morph targets as ideal for unconstrained, artist-driven precision in soft tissue simulations, while skeletal animation provides structured control for scalable, kinematic movements.^[56] The strengths of each method highlight complementary trade-offs: morph targets offer high fidelity for complex, nonlinear deformations without requiring rigging, but they scale poorly for full-character animation due to the need for extensive precomputed shapes, leading to higher memory demands per deformation.^[55]^[56] Skeletal animation, however, is computationally efficient for large-scale motions—achieving real-time performance through linear blend skinning—and supports advanced features like inverse kinematics, though it often produces artifacts such as joint pinching and struggles with soft, detailed tissue rendering.^[56]^[57] In practice, hybrid approaches are prevalent, combining skeletal animation for primary body locomotion with morph targets for secondary details like facial expressions or cloth simulations, as seen in interactive applications where skeletal handles global efficiency and morphs enhance localized realism.^[56] This integration mitigates individual limitations, though it requires careful setup to avoid conflicts in deformation blending.^[55]

Versus other deformation methods

Morph target animation, also known as blend shape animation, differs from physics-based deformation methods in its approach to generating motion. Morph targets rely on precomputed, artist-authored vertex displacements that are blended linearly to create deterministic deformations, offering high-speed playback suitable for real-time applications like facial expressions.^[58] In contrast, physics simulations, such as those using finite element methods or mass-spring systems (e.g., NVIDIA PhysX for cloth or soft body dynamics), compute deformations dynamically based on physical laws, enabling emergent behaviors like tissue jiggle or environmental interactions.^[58] However, physics-based methods are computationally intensive, often requiring multiple iterations per frame (e.g., 10 Newton iterations for convergence), making them less viable for interactive scenarios without optimization.^[58] Compared to procedural deformation techniques, morph targets provide static, per-vertex fidelity through fixed target meshes, emphasizing artist-driven control for precise, repeatable outcomes. Procedural methods, such as lattice or wire deformers in tools like Autodesk Maya, apply parametric transformations (e.g., bending along a curve via wire influence) that can be adjusted at runtime, allowing flexible adaptations to varying conditions without pre-baking multiple targets. Yet, these procedural approaches often sacrifice fine-grained vertex control, leading to approximations that may not match the detailed subtlety of morph targets for localized changes like lip movements.^[59] For instance, pose space deformation—a procedural extension—interpolates shapes based on skeletal poses using radial basis functions, improving smoothness over basic morph interpolation but requiring additional setup for pose-specific adjustments.^[59] Morph targets can incorporate corrective shapes as dedicated targets to refine deformations, blending them alongside expressive ones for comprehensive animation. Standalone corrective shapes, however, typically serve as simple offsets applied post-deformation (e.g., to mitigate joint artifacts in skinned meshes), lacking the multi-target blending system that enables complex interactions in morph target setups. This limits standalone correctives to targeted fixes without the expressive range of full morph systems.^[23] Morph target animation is preferable for authored, predictable sequences where artistic precision and low computational overhead are paramount, such as scripted facial performances. Physics simulations excel in dynamic, interaction-heavy contexts like environmental responses, while procedural methods suit adjustable, non-authoritative deformations; hybrid approaches often combine them for optimal results in production pipelines.^[58]^[59]

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Muscle Flex geometry node - SideFX
This node sets up and animates the muscletension point attribute on input solid muscle geometry which drives the flexing action of your muscles during their ...Missing: injury | Show results with:injury
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Rendering Wounds on Characters - Tom Looman
Aug 14, 2017 · Wounds are rendered using SphereMasks, transforming the hit location to the reference pose, and scaling the mask over time to simulate blood ...
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Unity - Manual: Skinned Mesh Renderer component reference
### Summary: Blend Shapes/Morph Targets in SkinnedMeshRenderer
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Morph Target Previewer - Epic Games Developers
The Morph Target Previewer previews any Morph Targets (sometimes called "morphs" or "blend shapes") that are applied to a Skeletal Mesh.
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Animation Track types - Godot Docs
A blend shape track is optimized for animating blend shape in MeshInstance3D. It is designed for animations imported from external 3D models and can reduce ...
[41]
The story behind The Last of Us Part II's staggeringly realistic in ...
Aug 28, 2020 · The illusion is carefully crafted from multiple game systems working simultaneously. All built to depict the most realistic rendering of in-game character ...
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Morph Target Performance for Mobile - Unreal Engine Forums
Oct 21, 2016 · My first question is, will having this many morph targets present cause significant performance issues on mobile (esp. low-end to med devices), even if most of ...Morph target performance question. - Character & AnimationMorph target performance question. - Page 2 - Character & AnimationMore results from forums.unrealengine.comMissing: LOD | Show results with:LOD
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Creating LODs with Morph Targets in Unreal Engine - YouTube
Dec 2, 2024 · ... targets, only some targets and remove morph targets when using a LOD Recipe. More info about Simplygon's morph target support: https ...Missing: animation optimization
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Morph target performance question. - Character & Animation
May 11, 2015 · Our rig guy told me that the eyes and mouth need to be rigged and that the rest can be customized with blend shapes. All of that being said, ...
[45]
Morphs V/S Bones for Facial Rigging - Unreal Engine Forums
May 24, 2018 · Blended morph targets give summed value, and blended bones give average value. Morphs are good for blending between layers, for example, to combine facial ...
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Animation Curves | Unreal Engine 4.27 Documentation
Animation Curves provide a way to change the value of a Material parameter or a Morph Target while an animation is playing back.Missing: techniques | Show results with:techniques
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Of Gollum and Wargs and Goblins, Oh My! | Computer Graphics World
You end up with a new model, organically solved, with a new facial rig; it creates the complete blendshape tree.” And, because a hero character is the starting ...
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The Two Towers: Face to Face With Gollum | Animation World Network
Mar 17, 2003 · The Lord of the Rings' Gollum is one of the most talked about performances of the year. Greg Singer goes behind the scenes with the Weta ...
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Using Houdini and Nuke to Create Fantastic VFX - 80 Level
Oct 7, 2021 · Andrea Sbabo talked about being a Houdini FX Artist, explained why the Houdini is his go-to tool, and shared a detailed breakdown of some of the projects.
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CG In Another World | Computer Graphics World
He, like all Na'vi, is blue. A 10-foot-tall biped with a stretched, cat-like body. Almond-shaped eyes. Tail. Pointed ears. Through his avatar, ...
[51]
Facing the Endgame: The Remarkable Faces of Avengers: Hulk
May 21, 2019 · In simple rigs, a joint based system can be advantageous for jaw bones, as blend shapes can be spatially linear. Movement, especially around the ...
[52]
'Avatar': The Game Changer | Animation World Network
At any one time, we could swap in a muscle system and see what it looked like, but any of the blend-shapes went much faster.".
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[PDF] Comparing and evaluating real-time character engines for virtual ...
Morph Targets, though present, are somewhat less well supported than skeletal animation. They are not supported in the file format or the hardware skinning.
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[PDF] Animation, Simulation, and Control of Soft Characters using Layered ...
Dynamic morph targets are au- tomatically generated from traditional geometric morph targets, and skeletal animation is supported at runtime through kinematic ...
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(PDF) A Comparative Study of Four 3D Facial Animation Methods
Oct 25, 2025 · Blend shapes interpolate predefined poses for efficiency, skeletal-based systems use bone hierarchies for flexibility, and physics-based ...<|control11|><|separator|>
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[PDF] Enriching Facial Blendshape Rigs with Physical Simulation
[LAR∗14] LEWIS J. P., ANJYO K., RHEE T., ZHANG M., PIGHIN F.,. DENG Z.: Practice and theory of blendshape facial models. In EG 2014. - State of the Art ...<|control11|><|separator|>
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https://www.researchgate.net/publication/369767309_A_Comparative_Study_of_Four_3D_Facial_Animation_Methods_Skeleton_Blendshape_Audio-Driven_and_Vision-Based_Capture