1978, FACS defines 46 basic facial Action Units (AUs). A major group of these Action Units represent primitive movements of facial muscles in actions such as raising brows, winking, and talking. Eight AU's are for rigid three-dimensional head movements, (i.e. turning and tilting left and right and going up, down, forward and backward). FACS has been successfully used for describing desired movements of synthetic faces and also in tracking facial activities. The early-1980s saw the development of the first physically based muscle-controlled face model by Platt and the development of techniques for facial caricatures by Brennan. In 1985, the animated short film Tony de Peltrie was a landmark for facial animation. This marked the first time computer facial expression and speech animation were a fundamental part of telling the story. The late-1980s saw the development of a new muscle-based model by Waters, the development of an abstract muscle action model by Magnenat-Thalmann and colleagues, and approaches to automatic speech synchronization by Lewis and Hill. The 1990s have seen increasing activity in the development of facial animation techniques and the use of computer facial animation as a key storytelling component as illustrated in animated films such as Toy Story (1995), Antz (1998), Shrek, and Monsters, Inc. (both 2001), and computer games such as Sims. Casper (1995), a milestone in this decade, was the first movie in which a lead actor was produced exclusively using digital facial animation. The sophistication of the films increased after 2000. In The Matrix Reloaded and The Matrix Revolutions, dense optical flow from several high-definition cameras was used to capture realistic facial movement at every point on the face. Polar Express (film) used a large Vicon system to capture upward of 150 points. Although these systems are automated, a large amount of manual clean-up effort is still needed to make the data usable. Another milestone in facial animation was reached by The Lord of the Rings, where a character specific shape base system was developed. Mark Sagar pioneered the use of FACS in entertainment facial animation, and FACS based systems developed by Sagar were used on Monster House, King Kong, and other films. Techniques Generating facial animation data The generation of facial animation data can be approached in different ways: 1.) marker-based motion capture on points or marks on the face of a performer, 2.) markerless motion capture techniques using different type of cameras, 3.) audio-driven techniques,