The lessons of Lucasfilm's habitat
Cyberspace
Virtual reality, art, and entertainment
Presence: Teleoperators and Virtual Environments - Premier issue
The role of emotion in believable agents
Communications of the ACM
The media equation: how people treat computers, television, and new media like real people and places
From Barbie to Mortal Kombat: gender and computer games
From Barbie to Mortal Kombat: gender and computer games
Embodied conversational interface agents
Communications of the ACM
The social life of small graphical chat spaces
Proceedings of the SIGCHI conference on Human Factors in Computing Systems
The art of 3-D computer animation and imaging (2nd ed.)
The art of 3-D computer animation and imaging (2nd ed.)
Measurement and evaluation of embodied conversational agents
Embodied conversational agents
The Prometheus Project — The Challenge of Disembodied and Dislocated Performances
BT Technology Journal
Proceedings of the Third International Workshop on Intelligent Virtual Agents
IVA '01 Proceedings of the Third International Workshop on Intelligent Virtual Agents
Human-Level AI's Killer Application: Interactive Computer Games
Proceedings of the Seventeenth National Conference on Artificial Intelligence and Twelfth Conference on Innovative Applications of Artificial Intelligence
Towards autonomous characters for interactive media
Intelligent agents for mobile and virtual media
Virtual People: Capturing Human Models to Populate Virtual Worlds
CA '99 Proceedings of the Computer Animation
Communicative humanoids: a computational model of psychosocial dialogue skills
Communicative humanoids: a computational model of psychosocial dialogue skills
The Prometheus Project — The Challenge of Disembodied and Dislocated Performances
BT Technology Journal
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One of the fundamental goals of graphics has always been to visually create a three-dimensional person that is indistinguishable from a real person. This target is only slightly short of being reached, as was demonstrated when Columbia Pictures released Final Fantasy in 2001, an animated science fiction film with high-definition emotive characters. Through what has been a cultural and technological convergence, we are now starting to see software tools and techniques that can generate life-like characters while not sacrificing the human judgement and artistic skills that are needed in character animation. Computer games, films, and the Internet are now starting to use virtual humans, which as our conclusion will show will become more realistic. However, a new challenge has been set — people now do not want to just play a computer game with a visually realistic character, or see a television programme with a vivid computer generated character — they want to see themselves in that computer game or film. The future is towards individuals having their own virtual clones, which they can utilise in computer-generated worlds an applications. This paper will discuss the advantages of having a personal computer-generated character, and also describe several systems that BTexact Technologies have successfully developed and deployed to generate them, as well as some of the applications for which they can be used. The paper will finish by glimpsing into the future of what we can expect to see in the next few years, with the advent of this new exciting technology.