Relating Objective and Subjective Performance Measures for AAM-based Visual Speech Synthesizers

We compare two approaches for synthesizing visual speech using Active Appearance Models (AAMs): one that utilizes acoustic features as input, and one that utilizes a phonetic transcription as input. Both synthesizers are trained using the same data and the performance is measured using both objective and subjective testing. We investigate the impact of likely sources of error in the synthesized visual speech by introducing typical errors into real visual speech sequences and subjectively measuring the perceived degradation. When only a small region (e.g. a single syllable) of ground-truth visual speech is incorrect we find that the subjective score for the entire sequence is subjectively lower than sequences generated by our synthesizers. This observation motivates further consideration of an often ignored issue, which is to what extent are subjective measures correlated with objective measures of performance? Significantly, we find that the most commonly used objective measures of performance are not necessarily the best indicator of viewer perception of quality. We empirically evaluate alternatives and show that the cost of a dynamic time warp of synthesized visual speech parameters to the respective ground-truth parameters is a better indicator of subjective quality

A biomechanical model of the face including muscles for the prediction of deformations during speech production

A 3D biomechanical finite element model of the face is presented. Muscles are represented by piece-wise uniaxial tension cable elements linking the insertion points. Such insertion points are specific entities differing from nodes of the finite element mesh, which makes possible to change either the mesh or the muscle implementation totally independently of each other. Lip/teeth and upper lip/lower lip contacts are also modeled. Simulations of smiling and of an Orbicularis Oris activation are presented and interpreted. The importance of a proper account of contacts and of an accurate anatomical description is show

Towards a comprehensive 3D dynamic facial expression database

Human faces play an important role in everyday life, including the expression of person identity, emotion and intentionality, along with a range of biological functions. The human face has also become the subject of considerable research effort, and there has been a shift towards understanding it using stimuli of increasingly more realistic formats. In the current work, we outline progress made in the production of a database of facial expressions in arguably the most realistic format, 3D dynamic. A suitable architecture for capturing such 3D dynamic image sequences is described and then used to record seven expressions (fear, disgust, anger, happiness, surprise, sadness and pain) by 10 actors at 3 levels of intensity (mild, normal and extreme). We also present details of a psychological experiment that was used to formally evaluate the accuracy of the expressions in a 2D dynamic format. The result is an initial, validated database for researchers and practitioners. The goal is to scale up the work with more actors and expression types