To stylize or not to stylize?

Virtual characters contribute strongly to the entire visuals of 3D animated films. However, designing believable characters remains a challenging task. Artists rely on stylization to increase appeal or expressivity, exaggerating or softening specific features. In this paper we analyze two of the most influential factors that define how a character looks: shape and material. With the help of artists, we design a set of carefully crafted stimuli consisting of different stylization levels for both parameters, and analyze how different combinations affect the perceived realism, appeal, eeriness, and familiarity of the characters. Moreover, we additionally investigate how this affects the perceived intensity of different facial expressions (sadness, anger, happiness, and surprise). Our experiments reveal that shape is the dominant factor when rating realism and expression intensity, while material is the key component for appeal. Furthermore our results show that realism alone is a bad predictor for appeal, eeriness, or attractiveness.

[1]  P. Ekman Universals and cultural differences in facial expressions of emotion. , 1972 .

[2]  M. Cunningham,et al.  Article Commentary: Averaged Faces Are Attractive, but Very Attractive Faces Are Not Average , 1991 .

[3]  A. Calder Facial Emotion Recognition after Bilateral Amygdala Damage: Differentially Severe Impairment of Fear , 1996 .

[4]  P. Hancock,et al.  The role of masculinity and distinctiveness in judgments of human male facial attractiveness. , 2002, British journal of psychology.

[5]  Erik Reinhard,et al.  Human facial illustrations: Creation and psychophysical evaluation , 2004, TOGS.

[6]  K. Grammer,et al.  Skin color distribution plays a role in the perception of age, attractiveness and health in female faces , 2006 .

[7]  K. MacDorman,et al.  Subjective Ratings of Robot Video Clips for Human Likeness, Familiarity, and Eeriness: An Exploration of the Uncanny Valley , 2006 .

[8]  Heinrich H. Bülthoff,et al.  Evaluation of real-world and computer-generated stylized facial expressions , 2007, TAP.

[9]  Jun'ichiro Seyama,et al.  The Uncanny Valley: Effect of Realism on the Impression of Artificial Human Faces , 2007, PRESENCE: Teleoperators and Virtual Environments.

[10]  Heloir,et al.  The Uncanny Valley , 2019, The Animation Studies Reader.

[11]  Yifan Wang,et al.  Exploring the Uncanny Valley with Japanese Video Game Characters , 2007, DiGRA Conference.

[12]  B. Fink,et al.  The effects of skin colour distribution and topography cues on the perception of female facial age and health , 2008, Journal of the European Academy of Dermatology and Venereology : JEADV.

[13]  Heinrich H. Bülthoff,et al.  Evaluating the perceptual realism of animated facial expressions , 2008, TAP.

[14]  Tom Geller,et al.  Overcoming the Uncanny Valley , 2008, IEEE Computer Graphics and Applications.

[15]  Karl F. MacDorman,et al.  Sensitivity to the proportions of faces that vary in human likeness , 2008, Comput. Hum. Behav..

[16]  Mark Grimshaw,et al.  Bridging the uncanny: an impossible traverse? , 2009, MindTrek '09.

[17]  Karl F. MacDorman,et al.  Too real for comfort? Uncanny responses to computer generated faces , 2009, Comput. Hum. Behav..

[18]  K. Nakayama,et al.  Crossing the 'uncanny valley': adaptation to cartoon faces can influence perception of human faces. , 2010, Perception.

[19]  Karl F. MacDorman,et al.  Revisiting the uncanny valley theory: Developing and validating an alternative to the Godspeed indices , 2010, Comput. Hum. Behav..

[20]  B. Nitzsche,et al.  Bodyshop: The Photoshop Retouching Guide for the Face and Body , 2010 .

[21]  Thabo Beeler,et al.  High-quality single-shot capture of facial geometry , 2010, ACM Trans. Graph..

[22]  Wan-Chun Ma,et al.  The Digital Emily Project: Achieving a Photorealistic Digital Actor , 2010, IEEE Computer Graphics and Applications.

[23]  Mark Grimshaw,et al.  The Uncanny Wall , 2011, Int. J. Arts Technol..

[24]  Christian Wallraven,et al.  Experimental Design: From User Studies to Psychophysics , 2011 .

[25]  Mark Pauly,et al.  Realtime performance-based facial animation , 2011, ACM Trans. Graph..

[26]  Mark Grimshaw,et al.  Facial expression of emotion and perception of the Uncanny Valley in virtual characters , 2011, Comput. Hum. Behav..

[27]  B. Fink,et al.  Visible skin colouration predicts perception of male facial age, health and attractiveness , 2012, International journal of cosmetic science.

[28]  H. Ishiguro,et al.  The thing that should not be: predictive coding and the uncanny valley in perceiving human and humanoid robot actions , 2011, Social cognitive and affective neuroscience.

[29]  H. Bülthoff,et al.  Render me real?: investigating the effect of render style on the perception of animated virtual humans , 2012, ACM Trans. Graph..

[30]  Jorge Jimenez Separable subsurface scattering , 2012, SIGGRAPH '12.

[31]  Jonathan S. Herberg,et al.  Real or Fake?: human judgments about photographs and computer-generated images of faces , 2012, SIGGRAPH 2012.

[32]  Karl F. MacDorman,et al.  The Uncanny Valley [From the Field] , 2012, IEEE Robotics Autom. Mag..

[33]  Soraia Raupp Musse,et al.  Evaluation of the Uncanny Valley in CG Characters , 2012, IVA.

[34]  Mario Botsch,et al.  ElastiFace: matching and blending textured faces , 2013, NPAR '13.

[35]  Guy L. Lacroix,et al.  Does the uncanny valley exist? An empirical test of the relationship between eeriness and the human likeness of digitally created faces , 2013, Comput. Hum. Behav..

[36]  Oliver G. B. Garrod,et al.  Dynamic Facial Expressions of Emotion Transmit an Evolving Hierarchy of Signals over Time , 2014, Current Biology.

[37]  Rachel McDonnell,et al.  Does render style affect perception of personality in virtual humans? , 2014, SAP.

[38]  Angela Tinwell The Uncanny Valley in Games and Animation , 2014 .

[39]  Derek Bradley,et al.  Recent Advances in Facial Appearance Capture , 2015, Comput. Graph. Forum.

[40]  Tyler J. Burleigh,et al.  Stimulus-category competition, inhibition, and affective devaluation: a novel account of the uncanny valley , 2015, Front. Psychol..