FACSGen: A Tool to Synthesize Emotional Facial Expressions Through Systematic Manipulation of Facial Action Units

Roesch, Etienne B.; Tamarit, Lucas; Revéret, Lionel; Grandjean, Didier; Sander, David; Scherer, Klaus R.

doi:10.1007/s10919-010-0095-9

Cited by 116 publications

(124 citation statements)

References 39 publications

(42 reference statements)

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“…For instance, Swiss Centre for Affective Science of the Geneva University developed a software FACSGen v2.0 25 as an extension of the commercial software FaceGen®, and according the authors, it provides limited control over the manipulation of facial expressions, while FACSGen allow creating facial expressions as provided by the Facial Action Coding System-FACS 26 .…”

Section: Discussionmentioning

confidence: 99%

Facial emotional recognition in schizophrenia: preliminary results of the virtual reality program for facial emotional recognition

Souto¹,

Baptista²,

Tavares³

et al. 2013

Rev. psiquiatr. clín.

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Background: Significant deficits in emotional recognition and social perception characterize patients with schizophrenia and have direct negative impact both in inter-personal relationships and in social functioning. Virtual reality, as a methodological resource, might have a high potential for assessment and training skills in people suffering from mental illness. Objectives: To present preliminary results of a facial emotional recognition assessment designed for patients with schizophrenia, using 3D avatars and virtual reality. Methods: Presentation of 3D avatars which reproduce images developed with the FaceGen® software and integrated in a three-dimensional virtual environment. Each avatar was presented to a group of 12 patients with schizophrenia and a reference group of 12 subjects without psychiatric pathology. Results: The results show that the facial emotions of happiness and anger are better recognized by both groups and that the major difficulties arise in fear and disgust recognition. Frontal alpha electroencephalography variations were found during the presentation of anger and disgust stimuli among patients with schizophrenia. Discussion: The developed program evaluation module can be of surplus value both for patient and therapist, providing the task execution in a non anxiogenic environment, however similar to the actual experience.

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Section: Discussionmentioning

confidence: 99%

Facial emotional recognition in schizophrenia: preliminary results of the virtual reality program for facial emotional recognition

Souto¹,

Baptista²,

Tavares³

et al. 2013

Rev. psiquiatr. clín.

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“…The virtual audience was composed of high quality agents with realistic facial expressions and behaviors. An agent is created using four different components: (1) realistic body from a 3D scan of real actors; (2) realistic body animations created from motion capture footage; (3) accurate and controllable facial expressions based on FACSGen [65,66]; and (4) expressive behavior and social interaction modeling. The audience behavior could smoothly change from engaged to disengaged behaviors.…”

Section: Recording Sessionmentioning

confidence: 99%

Playing for a Virtual Audience: The Impact of a Social Factor on Gestures, Sounds and Expressive Intents

2017

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Can we measure the impact of the presence of an audience on musicians' performances? By exploring both acoustic and motion features for performances in Immersive Virtual Environments (IVEs), this study highlights the impact of the presence of a virtual audience on both the performance and the perception of authenticity and emotional intensity by listeners. Gestures and sounds produced were impacted differently when musicians performed at different expressive intents. The social factor made features converge towards values related to a habitual way of playing regardless of the expressive intent. This could be due to musicians' habits to perform in a certain way in front of a crowd. On the listeners' side, when comparing different expressive conditions, only one congruent condition (projected expressive intent in front of an audience) boosted the participants' ratings for both authenticity and emotional intensity. At different values for kinetic energy and metrical centroid, stimuli recorded with an audience showed a different distribution of ratings, challenging the ecological validity of artificially created expressive intents. Finally, this study highlights the use of IVEs as a research tool and a training assistant for musicians who are eager to learn how to cope with their anxiety in front of an audience.

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“…Participants wore Philips SBC HP250 headphones, allowing us to present them with auditory feedback when they made a mistake. Stimuli, elaborated with FACSGen software (Roesch, Reveret, Grandjean, & Sander, 2006;Roesch et al, 2011), consisted of 3D colored avatar faces of four men and four women expressing anger or being neutral. They were taken from the study of Roesch et al (2011), in which 44 participants evaluated them with 69 other FACSgen stimuli in terms of gender, believability, and intrinsic emotionality.…”

Section: Apparatus and Stimulimentioning

confidence: 99%

“…Stimuli, elaborated with FACSGen software (Roesch, Reveret, Grandjean, & Sander, 2006;Roesch et al, 2011), consisted of 3D colored avatar faces of four men and four women expressing anger or being neutral. They were taken from the study of Roesch et al (2011), in which 44 participants evaluated them with 69 other FACSgen stimuli in terms of gender, believability, and intrinsic emotionality. In the same study they were also rated by 20 participants in terms of emotion intensity on a scale from 0 ("not intense") to 100 ("very intense").…”

Section: Apparatus and Stimulimentioning

confidence: 99%

Visuomotor integration of relevant and irrelevant angry and fearful facial expressions

Coll

Grandjean

2016

Acta Psychologica

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Our brain codes the features of perceptual events in a distributed fashion, raising the question of how information belonging to one event is processed without any interference of features from other events. Hommel (1998) suggested the "event file" concept to elucidate these mechanisms: an episodic memory trace "binding" together perceptual features and actions related to an object. Using a similar paradigm, we designed a pilot experiment and four additional experiments to investigate whether emotion, similarly than perceptual features, could bind with a motor response when the emotion was relevant and irrelevant for the task. Few studies have revealed this to be the case. We investigated how angry and fearful faces expressed by avatars and humans might be subject to a binding phenomenon. Our results show that at least three degrees of visuomotor binding seem to coexist: one implicating the relevant feature of the task with a strong effect on behavior, another implicating the location with a smaller behavioral effect (even if not task related), and a third implicating non-task-related features with behavioral effects only under specific conditions in which emotion could play a role. Our adaptation of Hommel's paradigm showed that emotional percepts can be subject to visuomotor binding effects even if the emotion is not task related confirming the important role of emotional information for the central nervous system. These findings offer new perspective in the investigation of the emotion-action binding at the neuronal level.

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FACSGen: A Tool to Synthesize Emotional Facial Expressions Through Systematic Manipulation of Facial Action Units

Cited by 116 publications

References 39 publications

Facial emotional recognition in schizophrenia: preliminary results of the virtual reality program for facial emotional recognition

Facial emotional recognition in schizophrenia: preliminary results of the virtual reality program for facial emotional recognition

Playing for a Virtual Audience: The Impact of a Social Factor on Gestures, Sounds and Expressive Intents

Visuomotor integration of relevant and irrelevant angry and fearful facial expressions

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