existingAI VideoMODELS HAVE BEEN ABLE TO MAKE VERY RICH FACES. THE ROLE FROWNS, SMILES, TEARS, AND COMPLETES VERY SMALL MOVEMENTS OF SIGHT, MOUTHS, HEADS, TURNS. BUT WHEN PEOPLE ACTUALLY START MAKING THEIR EMOTIONAL SCENES, MANY WILL FIND A STRANGE QUESTION: WHEN PEOPLE DO WHAT THEY DO, THE PICTURE THAT EVENTUALLY COMES OUT IS STILL CLEARLY “AI FEELING”。
This problem is even more evident, especially when it comes to stress, embarrassment, happiness and anger. People start to look right and right as soon as they get nervous, frown their eyes and smile as soon as they're happy. Seeing these movements alone seems to be all right, but after putting them together, the role is like reminding the audience that “I'm nervous now” and “I'm angry now” and “I'm happy now”。
The problem is not so much that the face is not very detailed, but that the person is so direct。
Many people are used to continuing to tear their emotions apart into more faces when they write character notes. For example, it was written that “persons are a bit nervous” and it was felt that the effects were not clear enough to add “frown, shiver, tight lips, slight tremors of fingers”. The hint seems to be more and more detailed, but all the moves of the person are pointing at the same emotion and, in the end, it is easier to become more deliberate。
Real natural person reactions often do not reveal all emotions directly. A person who is nervous may also try to remain calm; who is embarrassed but pretends to dress; and who is happy and may not laugh immediately。
So we don't continue to work on "How to add more micro-expressions" in this section, but instead we think about how to get people not to play their emotions directly, but to hide them in their actions and reactions。
This is also the three core approaches to be addressed this time。
Chapter 1: Why is it that the more faces are written, the more people look fake
Let's start with a very common hint。
The beginning might be just:
People are very nervous when they hear this。
The prompt words are as follows:
Figure 1 is female and figure 2 is male. The bright, sweet, light school love shorts feel that the main colours of the school corridor are mint green, light blue ash, cream white, pink and light yellow, and that the blue grey metal lockers are coloured with posters for school activities and yellow doors and natural spaces. Soft and high-profile lighting, natural and delicate skin of the person, shallow view, medium-focal segment, fixed mesoscope. The master stood in front of the locker, holding two books in his arms, and the man went from behind the picture to stop by her side, looking at her side, and naturally said, “The teacher just asked me to tell you to look for him in the office after school.” When she heard this sentence, she became clearly nervous, with a slight wrinkle of her eyebrow, her eyes moving to her left and right, and her lips squeezing, and her fingers in the textbooks were squeezing。
We may continue to modify the description after we feel that it is not specific enough:
When the person heard this, he became clearly nervous, his eyebrow wrinkled slightly, his eyes moved to his left and left, his lips were squeezed, and his fingers held on to the documents were pressed。
The prompt words are as follows:
Figure 1 is female and figure 2 is male. The bright, sweet, light school love shorts feel that the main colours of the school corridor are mint green, light blue ash, cream white, pink and light yellow, and that the blue grey metal lockers are coloured with posters for school activities and yellow doors and natural spaces. Soft and high-profile lighting, natural and delicate skin of the person, shallow view, medium-focal segment, fixed mesoscope. The master stood in front of the locker, holding two books in his arms, and the man went from behind the picture to stop by her side, looking at her side, and naturally said, “The teacher just asked me to tell you to look for him in the office after school.” The hostess was very nervous when she heard that. The camera remained stable and the two were still in the same picture and not in the mirror。
The second, of course, is much more detailed in terms of the hints themselves, but there is a very obvious problem here: the eyebrow, the eye, the lips and the finger are all carrying out the task of “expression stress”。
That's why some people who have a rich face are still not real people。
The problem is not that the model is insufficiently detailed, but rather that we only tell the model character what it is, but not what it's going to do with it。
If people are nervous, our first reaction is often to look for “pressure expression”; but the more natural idea is to think first: why are people nervous? Does he want to be seen? If not, what would he do with his emotions
When this information comes out, the person will not be left with a face to show emotions。
Thus, the first thing that a person's gesture really needs to change is not to equate “emotional” directly with “expression”. Emotions are only what happens inside the person, and what eventually happens in the picture should also be influenced by the purpose and current behaviour of the person。
CHAPTER TWO: METHOD ONE -- TELL AI WHAT HE WANTS TO BE, BESIDES THE REAL EMOTIONS OF THE PERSON
THE FIRST APPROACH IS ALSO THE CENTRAL POINT: NOT JUST TO TELL AI WHAT EMOTIONS ARE INSIDE, BUT TO ADD A PURPOSE TO THE HIDDEN EMOTIONS。
One: Writing people are nervous
For example, we wrote:
People are very nervous。
AI ONLY GOT ONE MESSAGE -- THIS GUY'S NERVOUS. SO THE MOST DIRECT WAY TO DEAL WITH IT IS NATURALLY TO MAKE THE FACES, EYES AND MOVEMENTS OF PEOPLE ALL TENSE。
It's working
video alert (wan3.0)
Figure 1 is female and figure 2 is male. It's a beautiful, sweet, easy school love play。
The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light。
With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play。
The woman was sitting at the side of the table, with a document in her arms, and the man was sitting opposite her and the two had a natural conversation. "Why did you just leave?"
The hostess is very nervous。
The lens remains stable, shallow, uncorruptible, allowing the person to perform his or her response naturally, without any additional specification of specific expression and movement。
If replaced by:
The character is very nervous inside, but still appears to be trying to remain calm in order not to be seen。
It's a little more productive, and the whole performance logic has changed。
video alert (wan3.0)
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. The woman sat at the side of the desk, with a document in her arms, and the man was sitting opposite her. "Why did you just leave?" The hostess are very nervous, but they still try to remain calm in order not to let the man sitting across the street discover it. She continues to be in a normal state of sit-in and natural communication, and does not clearly avoid the male master and does not exaggerate the tense expression. The lens remains stable, shallow, uncut。
THE PERSON'S REAL STATE OF MIND REMAINS TENSE, BUT THE PERSON WANTS TO BE SEEN AS CALM. IN THAT WAY, AI WOULD NO LONGER NEED TO ALLOW ALL ACTIONS TO EXPRESS TENSIONS DIRECTLY, BUT WOULD ALLOW THE PERSON TO REMAIN IN HIS OR HER NORMAL STATE, WHILE OCCASIONALLY SHOWING A REACTION THAT COULD NOT BE COMPLETELY CONCEALED。
For example, it can continue to be written:
It is clear that the person is nervous inside, but does not want the man sitting across the street to notice and therefore always try to maintain his normal state of speech. The response was preceded by a very short pause and a slight tightening of the fingers holding the document, but the sight did not escape and quickly reverted to its original state。
There is not much more complex expression here, but there is a greater sense of restraint。
video alert (wan3.0)
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light。
With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play。
In the school room, the woman sat at the side of the desk with a document in her hand and the man was sitting opposite her. The male master naturally looked to the female master and said, "Why did you just leave?"
It is clear that the woman is nervous, but does not want the man who sits across the street to notice it, so she always tries to keep her normal voice. She did not avoid the male lord's sight in a clear way, and the response was preceded by a very brief pause, a slight tightening of the finger holding the edge of the document, and then, naturally, she answered, “Nothing, something suddenly came to mind”. After that, the finger was relaxed and the look returned to its original state of calm。
The whole performance was conducted with natural restraint, with no apparent frown, no sharp evasiveness or exaggeration. The lens remains stable, shallow, uncut。
Because the person is no longer a single emotion, there is a difference between “real emotion” and “face state”。
It's not just about stress. For example, when a person is angry, it can be written as “manifestly disgruntled in his heart, but does not want an immediate conflict, so he may appear to remain polite”; and when a person is sad, it can be written as “manifestly affected when he hears the news, but does not want the next person to worry, so he does not appear immediately”。
THE CORE DOES NOT HAVE TO USE THE WORD “HIDDEN” BUT LET AI KNOW THAT WHAT HAPPENS IN A PERSON'S HEART DOES NOT NECESSARILY AMOUNT TO WHAT THE PERSON IMMEDIATELY SHOWS。
Two: Write about someone I haven't seen for a long time
For example, when a girl suddenly sees someone she hasn't seen for a long time, the normal writing may be:
The girls were surprised when they saw each other, with their eyes opened slightly, and then they had a happy smile。
It's clear, but it's direct。
If the words “the purpose of concealing emotions” were added, they could be replaced by the following:
The girls were already working on the table, and after finding a familiar person standing at the door, their movements were briefly suspended. She had recognized the other party, but did not want the next person to notice her anomaly and therefore did not look up immediately, but instead continued to organize what was in her hands and then naturally looked at the door. When the other side was identified, the sight remained brief and the expression remained largely calm。
The second formulation does not impose a visible look at the person, but the person ' s state is more natural。
video tip (wan3.0.):
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. The woman was standing in front of the locker and was bowing her head to prepare her books and signers, and the man gradually entered her view from a distance from the corridor. The hostess found a familiar figure at the door that had not been seen for a long time, and the movements on her hands were briefly suspended. She had identified herself as the man in charge, but did not want the students passing by to notice their abnormalities, so she did not immediately look up, but went on to clean up the textbooks in her hand and sign the last one. It was then natural to look at the male master, to confirm that he had stayed short, and his face remained largely calm and did not reveal a clear sense of surprise or pleasure. The man looked at her from afar. The camera remained stable, shallow, uncut, and focused on the mood of the hostess, but took the initiative to remain normal。
So, later on, you can add after the original "person is nervous" and "person is happy":
But he doesn't want anyone to find out
Or:
What's he supposed to do
By adding this layer of information, the way people perform can change significantly。
Chapter III: Method II - Do not specifically set up an “emotional action” to hide a small reaction into normal behaviour
THE SECOND COMMON AI FALSE SENSE COMES FROM PEOPLE WHO SPECIALIZE IN ACTING IN AN EMOTIONAL WAY。
For example:
The characters are nervously looking。
Logically, the sentence does not seem to be problematic, and there is a real possibility that people who are nervous can look around. But if there is no new voice, character, or something to be identified in the scene, then the "Four Eyes" will be very deliberate。
Because this move has almost one effect: to tell the audience it's nervous。
There's a more natural way to deal with it, with a big move to cover up a small move。
The “big move” here does not have to make the person run, wave or turn a large turn, but rather gives the person a more complete and normal act in the first place, as opposed to the subtle reactions of eyes, mouths and fingers。
For example, by sorting out clothes, drinking water, cleaning desktops, flipping documents, taking mobile phones and turning around to get things, these acts have their own real purpose. In the course of these moves, the characters can show the real emotions in detail。
One: for example, if you want to be embarrassed
The normal writing may be:
People are embarrassingly moving away。
It's very easy to make people turn their heads, and it's very obvious。
It can be replaced by:
After listening to each other, the person did not respond immediately, but continued to put his last book in the locker. Her vision naturally moved down with the books, avoiding each other for a short time by means of actions that were already under way. When the book was put in, the movement of the hand stopped slightly, and the textbooks were then moved and the cabinet door closed before looking back。
The prompt words are as follows:
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. At the beginning of the scene, the hostess stood in front of the lockers that had been opened and had prepared textbooks and placed a copy of the book in her hand. The man stood by and looked at her and said, "Did you just keep looking at me?" After hearing this, the hostess was clearly embarrassed, but did not respond immediately and did not make a direct appearance of obvious embarrassment. She continued to put her last book in her locker and naturally moved down the line of sight with the book, avoiding the male owner for a short time with the action that was already under way. When you put the book in, the movement on your hand stopped slightly, and then you went on to finish the book, close the door and look at the man again, so you said, "You're thinking too much." Throughout the process, the hostess has been completing the original “collating of textbooks” exercise, without the extra touching of hair, cuffing of sleeves, and sudden turning of the body to express embarrassment. The real emotions are only hidden in an instant stoppage when there is no immediate response, short evasive sight and book。
On the surface, the person simply continues to pack his books, but the real embarrassment is hidden in the absence of an immediate response, a brief evasive look and an instant stoppage in the book。
Two: The same way you can be happy。
Don't just write:
The girls laughed happyly when they heard the news。
You can write:
When the girls heard the news, they did not respond immediately and kept their heads down and their hands on the paper, and the pieces of information that had been scattered had been folded. The body swayed very gently to the right and left during the process, with a short smile in the mouth and then continued to do what it did。
Video Cue Words:
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. The woman was sitting at the table, and she was working on a stack of classroom materials, and the man was standing on the other side of the table looking at her, and naturally said, "For the weekend at school, I'll sign you up, and we'll go." When girls heard the news, it became clear that they were happy in their hearts, but did not respond immediately, nor did they show a clear smile. She still looked down at the paper in her hands and reworked several pieces of information that were scattered. The body swayed very softly to the right and left during the process, with a short, shallow smile on the mouth, and quickly collected, and then continued to complete the movement on hand. When the paper was ready, she looked up to the man and whispered, "Okay."
The main thing the characters do is still to sort out the paper, and “happiness” only affects the original behaviour of the characters。
This is more natural than having a “happy look” specifically。
It's not as good as the more action you need to be here。
In a normal behavior, only a small, truly useful response is left。
For example, “the movement of your hands when you're cleaning your sleeves has stopped”, or “the short-term view when you're drinking your water over the cup and looking at each other”, which is often enough to be felt。
Chapter 4: Method III - not just the end state, but the sequence of emotional change
The third approach is to add a clear sequence of emotions。
It's also a very easy issue to ignore in the micro-expressions of people。
We often write:
He's nervous。
She laughed。
The character showed a surprising look。
These sentences actually describe an end result。
AI KNEW THAT CHARACTERS SHOULD END UP BEING NERVOUS AND SMILING, BUT IT DID NOT KNOW HOW PEOPLE CHANGED FROM THEIR ORIGINAL STATE TO THE RESULT。
So it's easy for models to choose the most direct way: the person is already in that expression from the very beginning of the lens, or suddenly, in a very short period of time, in the target state。
THIS IS ONE OF THE REASONS WHY MANY AI FIGURES LOOK LIKE MOVING PHOTOS。
Real person reactions usually have a sequence. For example, when a person suddenly calls his or her name, the person may stop his or her actions, change his or her attention, then look at the source of the sound, then turn around and identify who he or she is, and change his or her last expression。
That is to say, what really matters is not just how the character "last laughs" didn't laugh, but how the smile slowly happened。
For example:
When the girl heard a familiar voice, she looked back and laughed。
May be replaced by:
The girl was cleaning up the table. When a familiar voice suddenly came behind her, the movement on her hands stopped and her eyes moved in the direction of the sound, but the body did not turn immediately. She turned her head slowly after the sound was confirmed. When the other side was seen, the sight stopped for a moment, and then there was a slight smile。
The prompt words are as follows:
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. At the beginning of the scene, the hostess stood at the desk at the door of the classroom and was looking down at the table for textbooks and paper. The male master appeared at the door of the classroom behind her, stopped at the door, looked at the woman, and naturally asked, "Are you still there?" When the familiar sound came from behind, the master stopped with half a beat of her hand, and neither the head nor the body immediately turned. Her eyes then moved slightly in the direction of the sound, and then slowly turned her head towards the door. After seeing the male lord, the sight remained in his face for a moment, with a slight smile on the previously calm mouth, but not always, and it was quickly taken. She looked at the man and said, "Well, leave right away." The line of view naturally falls back to the desktop, rearranges the rest of the paper, and the movement on hand gradually reverts to the rhythm just now。
The most important thing here is not how many expressions are used, but rather the sequence of “stop” and “read” and “confirm” and “close” before “clause”。
WHEN AI KNEW THAT THE ACTION WAS NOT OCCURRING AT THE SAME TIME, BUT THAT THERE WAS A CLEAR SEQUENCE, IT WAS NO LONGER AN END STATE, BUT A REACTION THAT WAS TAKING PLACE。
So when you write emotional dramas, you can consciously reduce the simple description of “very nervous” “manifestly surprised” “very happy” and instead write more about how the movement is taking place。
for example:
Stop and look。
The sight moves and then the head turns。
Only when the other side was identified did the expression begin to change。
These time relationships are often more important for video models than the continued increase in micro-expressions。
Chapter V: How should the character performance be written when three approaches are put together
The first three approaches are not, in fact, entirely independent。
The first solution is: why do people not express their emotions directly。
The second solution is what these emotions should be hidden in。
The third solution is the sequence in which these reactions occur。
So when we get to the real character show, we can put these three parts together. First, to determine what the person's inner emotions are and why she does not want to show them directly; then to allow the person to continue to perform a normal act that he or she is already doing and to hide a small number of real reactions; and finally to sequence his or her movements and emotions。
For example, we designed a campus like this:
Girls are buying drinks in front of vending machines, and there are a few other students who talk. The boy came over and handed her a bottle of her usual drink, saying he had bought an extra bottle. In fact, girls are somewhat happy because boys remember their preferences, but they do not want the students next door to see what's special between them。
If written directly:
Boys hand over drinks to girls, who are very surprised when they see it, look at the boys, have a little eyes open, and then laugh。
THERE IS NO DIFFICULTY IN UNDERSTANDING SUCH A HINT, AND AI CAN EASILY BE EXECUTED. THE PROBLEM IS THAT EVERY MOVE BY A CHARACTER IS A DIRECT EXPRESSION OF "HAPPINESS": SURPRISE, THEN LOOK AT THE BOYS, THEN SMILE, AND FINALLY PICK UP THE DRINKS. THE MOOD OF THE PERSON IS CLEAR, BUT THE WHOLE REACTION CAN EASILY APPEAR TO BE LIKE A “HAPPY” PERFORMANCE。
If the first three approaches were combined, they could be replaced by:
Girls were in the process of selecting drinks in front of cold cabinets at school convenience stores. The boy came from the side and delivered to her a bottle of her usual taste, saying, "Here you go, I just picked it up." When girls saw the drinks, the action they had chosen in the freezer was briefly suspended. In fact, she was happy, but did not want to show it to her fellow students, so instead of looking at the boys immediately, she continued to look at the drinks in the freezer and to remain in the situation where they had been chosen. After a moment of pause, she reached out to pick up the boys' beverages, and the sight fell short into the faces of the boys, with a slight smile on the mouth, which was quickly collected. She whispered “thank you” and then put the drinks in her shopping basket and proceeded to pick something else。
The prompt words are as follows:
Figure 1 is female and figure 2 is male. It's just that I've been trying to keep a bright, sweet and easy sense of school love. The main colours are mint green, light blue ash, cream white, pink and light yellow. The school corridor consists of a blue grey metal locker, colour tags, posters for school events, yellow door frames and natural space depths; the classroom contains light-colored walls, bulletin boards, tables and chairs, and soft and window light. With a soft, high-profile lighting, the person's skin is naturally fine, the shadows are clean and the whole body is slightly fine with a sense of commercial short play. The girls were standing in front of the freezer at the school convenience store and there were several other classmates. The boy came from the other side and handed her a bottle of her usual flavor, saying, "Here you go, I just picked it up." When girls saw the drinks, the action they had chosen in the freezer was briefly suspended. She was actually happy, but did not want to show it to her fellow students, so instead of looking at the boys immediately, she continued to look at the drinks in the freezer, which seemed like a normal selection. After a moment of pause, she reached out to pick up the boys' beverages, and the sight fell short into the faces of the boys, with a slight smile on the mouth, which was quickly collected. She whispered “thank you” and then put the beverage in her shopping basket and went on。
This hint actually corresponds to the first three approaches。
First of all, the person's real emotions are happy, but she doesn't want to show them to her fellow students, so she doesn't write all the surprises in her face。
Second, the person was taking a drink, twisting a bottle, and these are normal behaviours in the current scene. The pauses, the changes in vision and the short smiles all took place in these movements, rather than the sudden additions to show happiness。
Finally, there is a clear sequence of the whole response: first to see a drink, then to pause to pick something up, then to continue to twist the bottle cover, then to take the drink, to look at the boys, and then to take the smile, and then take it back, and then to continue the original move。
IN THIS WAY, WHAT AI GETS IS NO LONGER A SET OF DEMANDS FOR “WHAT TO LOOK LIKE WHEN HAPPY” BUT A REACTION OF PEOPLE WITH REASONS, DISGUISES, AND TIME。
An important difference can also be seen here。
Many of the tips concern:
The person should have some expression。
And what really changed in the first three ways is:
Why does the person have these reactions, what kind of behavior they hide and in what order。
When these three things are clearly written, the person usually does not have to pile many more complex micro-expressions。
Chapter 6: The nature of the person is not so obvious, but whether or not it is hidden
FIRST, WHEN WRITING ABOUT A PERSON'S EMOTIONS, LET'S NOT JUST TELL AI “PERSONS ARE NERVOUS” “PERSONS ARE HAPPY” BUT ADD TO WHAT THE PERSON WANTS TO SEE。
Second, don't let people do a little thing to express their emotions。
THIRDLY, DON'T JUST TELL THE AI CHARACTER WHAT IT TURNED OUT TO BE。
Therefore, the next time a person is created too deliberately, it is not necessary to add more face details immediately。
Let's see if we've got the following:
Nervous, so frown; sad, so tears; happy, so smile。
If so, try to replace it with:
The person has created some real emotion, but continues to do the original act in order not to be perceived; the real reaction is gradually revealed only through a small amount of detail, and there is a clear sequence of the whole change。
This is what this section calls a “reverse performance”。
IT DOESN'T MEAN THAT THE PERSON IN AI HAS NO FACE AT ALL, BUT RATHER THAT HE NO LONGER SHOWS EVERY EMOTION DIRECTLY TO THE AUDIENCE. THE FINAL EMPHASIS OF THE ORIGINAL VIDEO WAS ALSO THAT WHEN EMOTIONS BEGAN TO HIDE IN ACTION AND DETAIL, THE PERFORMANCE OF THE CHARACTERS BECAME NATURAL。
WHAT REALLY DESERVES TO BE PRACTICED FOR AI VIDEOS IS NOT HOW MUCH MORE “FROWNS, MOUTHS, EYES TO HIDE”, BUT LEARNING TO CONTROL WHY, WHERE AND IN WHAT ORDER THESE REACTIONS OCCUR。
When these three issues are gradually clarified, the person will not have a face, but will begin to have a real continuum of responses。