The 3D Avatar Store is an Automated 3D Avatar Creation Service, based upon a proprietary automated, photo-to-geometry 3D Reconstruction technology. Submit a photo and get back a 3D Avatar looking like the person in the photo. If you want, you can export avatars for commercial or non-commercial use in a range of formats, including Maya. Our technology can be licensed and integrated via our WebAPI into Apps, Games and other Software Products. From simply wanting to see yourself in 3D, to having professional ambitions with realistic, auto-generated avatars of real people, the 3D Avatar Store is here to serve your needs.
Site visitors can make 3D avatars of themselves and friends, and whet their appetite for creating 3D animations with our site's tools. As interest graduates to enthusiast, there's no better tool to learn professional facial animation than with our professional quality animation rig attached to your own avatars built from your friends' photos. With the 3D Avatar Store's WebAPI, professional software and media developers gain the ability to auto-generate 3D Avatars from user-supplied photos of themselves and people they know within their own products.
The 3D Avatar Store technology stems from the following four disciplines: neural net driven 3D Reconstruction, feature film 3D animation production, interactive real-time 3D games, and advanced web API and infrastructure capacity scaling.
Given random photos of varying quality of the same person, we generate a best guess of their true appearance as 3D geometry and texture maps. The output of our 3D Reconstructions is an expression-neutralized geometry, which is the perfect basis for adding animated expressions via software control.
Our WebAPI offers 3D avatar creation and animation support within your own software. Essentially, we enable games, apps, software, still imagery and video to include user supplied photo-real characters created from people they know. And with our state-of-the-art data center in Los Angeles, our WebAPI can give your users media they are embedded, within the instant gratification window they demand.
Blake Senftner, CEO
(click name to see more)
Blake was one of those computer whizkids back in the early 80's as the personal computer industry began to ignite. He started taking programming classes while in 5th grade at his local college, before the advent of the Apple II or other home PCs. By age 17, the era of the affordable home PC was in full bloom, and Blake had his own video game company selling Commodore Vic-20 and Commodore 64 games thru Sears and Kmart. Continuing his education at Boston University's School of Management, in 1988 he earned a BS/BA degree in Management Information Systems. However, during this same period, 3D Computer Graphics was in transition out of the research labs and towards its current place in the entertainment industry. This was the real reason Blake attended B.U.: at the time, their 3D graphics lab was the only one in the US that allowed undergrads to use the lab. Even better, Blake worked at the Boston University 3D Computer Graphics Lab. Unlike the mainstream technology it is today, 3D Graphics was research in 1984. At the B.U. 3D Graphics Lab, Blake wrote his first ray tracer in 1984, participated in Artificial Intelligence and Fractal Mathematics research, and graduated with an AI based 3D computer animation language he developed.
Upon earning his degree, Blake's first job was the creation of a Mac-like GUI for PacTel's internal use. He then became lead engineer at Philips Interactive Media, creating a production system for interactive documentaries covering famous artists. Blake then became an operating systems engineer for the 3DO game console and a team member for the successful Road Rash 3DO title. Upon completion of this project, Blake joined Sony Computer Entertainment, relocated to Tokyo, and helped the original PSX operating system team finalize the development suite for PlayStation game production. Blake returned to the USA and joined the Hollywood visual effects firm Rhythm & Hues Studios to found their Games Division. After the R&H Games Division matured, Blake moved on to Sennari Games to become their Managing Technical Director. While here, Blake worked on multiple high profile console games such as Tiger Woods Golf and NCAA Football. By this time, the late 1990's, the Internet was booming and Blake became the Director of Research for Rotor Communications, a live streaming video over the Internet startup. With the dotcom bust, Blake returned to games briefly at Pandemic Studios, but soon chose to leave the games industry altogether, returning to Rhythm & Hues Studios, but this time as a digital artist while attending an MBA program. During the course of his MBA, Blake joined the Rhythm & Hues Finance department as a production analyst. With deep software development, digital production experience, and now graduate leval financial analysis skills, Blake was uniquely suited to the analysis and resolution of studio production issues and resource forecasting.
One such production issue Blake worked on became the topic of his graduate thesis: actor replacement. However, in Blake's thesis he outlines an automated actor replacement system, and the resulting Personalized Media and Advertising such a system enables. After graduating 2nd in his MBA class at Chapman with Beta Gamma Sigma International Business honors, Blake and his thesis consultant team formed a company to pursue Personalized Media. Today, that company is the patent holding entity for US and international patents covering the automated replacement, insertion, and removal of actors, objects and environment elements in film and video media. This web site is a part of Blake's overall vision of highly personalized media where you, your family and your friends are the stars of the media you consume.
Chris Ross, Business Development
(click name to see more)
Chris Ross has a 20+ year career as a Licensing Agent, is considered an expert in the field, and has managed the IP licensing and business development for such diverse clients as The Weather Channel, Westinghouse, DuPont, Lockheed Martin, Skunk Works, and General Motors Corporation. Responsibilities included all aspects of managing and growing international licensing programs, including development of marketing initiatives, new license development, contract negotiation, licensee fulfillment and product development. Chris has developed over 300 license agreements during his career and is now focused on creating successful and strategic business partnerships with companies that are positioned to benefit by our exclusive and cutting edge technology.