Capture, Learning, and Synthesis of 3D Speaking Styles

Audio-driven 3D facial animation has been widely explored, but achieving realistic, human-like performance is still unsolved. This is due to the lack of available 3D datasets, models, and standard evaluation metrics. To address this, we introduce a unique 4D face dataset with about 29 minutes of 4D scans captured at 60 fps and synchronized audio from 12 speakers. We then train a neural network on our dataset that factors identity from facial motion. The learned model, VOCA (Voice Operated Character Animation) takes any speech signal as input - even speech in languages other than English - and realistically animates a wide range of adult faces. Conditioning on subject labels during training allows the model to learn a variety of realistic speaking styles. VOCA also provides animator controls to alter speaking style, identity-dependent facial shape, and pose (i.e. head, jaw, and eyeball rotations) during animation. To our knowledge, VOCA is the only realistic 3D facial animation model that is readily applicable to unseen subjects without retargeting. This makes VOCA suitable for tasks like in-game video, virtual reality avatars, or any scenario in which the speaker, speech, or language is not known in advance. We make the dataset and model available for research purposes at http://voca.is.tue.mpg.de.Comment: To appear in CVPR 201

HeadOn: Real-time Reenactment of Human Portrait Videos

We propose HeadOn, the first real-time source-to-target reenactment approach for complete human portrait videos that enables transfer of torso and head motion, face expression, and eye gaze. Given a short RGB-D video of the target actor, we automatically construct a personalized geometry proxy that embeds a parametric head, eye, and kinematic torso model. A novel real-time reenactment algorithm employs this proxy to photo-realistically map the captured motion from the source actor to the target actor. On top of the coarse geometric proxy, we propose a video-based rendering technique that composites the modified target portrait video via view- and pose-dependent texturing, and creates photo-realistic imagery of the target actor under novel torso and head poses, facial expressions, and gaze directions. To this end, we propose a robust tracking of the face and torso of the source actor. We extensively evaluate our approach and show significant improvements in enabling much greater flexibility in creating realistic reenacted output videos.Comment: Video: https://www.youtube.com/watch?v=7Dg49wv2c_g Presented at Siggraph'1

A Comprehensive Performance Evaluation of Deformable Face Tracking "In-the-Wild"

Recently, technologies such as face detection, facial landmark localisation and face recognition and verification have matured enough to provide effective and efficient solutions for imagery captured under arbitrary conditions (referred to as "in-the-wild"). This is partially attributed to the fact that comprehensive "in-the-wild" benchmarks have been developed for face detection, landmark localisation and recognition/verification. A very important technology that has not been thoroughly evaluated yet is deformable face tracking "in-the-wild". Until now, the performance has mainly been assessed qualitatively by visually assessing the result of a deformable face tracking technology on short videos. In this paper, we perform the first, to the best of our knowledge, thorough evaluation of state-of-the-art deformable face tracking pipelines using the recently introduced 300VW benchmark. We evaluate many different architectures focusing mainly on the task of on-line deformable face tracking. In particular, we compare the following general strategies: (a) generic face detection plus generic facial landmark localisation, (b) generic model free tracking plus generic facial landmark localisation, as well as (c) hybrid approaches using state-of-the-art face detection, model free tracking and facial landmark localisation technologies. Our evaluation reveals future avenues for further research on the topic.Comment: E. Antonakos and P. Snape contributed equally and have joint second authorshi

Speech2Lip: High-fidelity Speech to Lip Generation by Learning from a Short Video

Synthesizing realistic videos according to a given speech is still an open challenge. Previous works have been plagued by issues such as inaccurate lip shape generation and poor image quality. The key reason is that only motions and appearances on limited facial areas (e.g., lip area) are mainly driven by the input speech. Therefore, directly learning a mapping function from speech to the entire head image is prone to ambiguity, particularly when using a short video for training. We thus propose a decomposition-synthesis-composition framework named Speech to Lip (Speech2Lip) that disentangles speech-sensitive and speech-insensitive motion/appearance to facilitate effective learning from limited training data, resulting in the generation of natural-looking videos. First, given a fixed head pose (i.e., canonical space), we present a speech-driven implicit model for lip image generation which concentrates on learning speech-sensitive motion and appearance. Next, to model the major speech-insensitive motion (i.e., head movement), we introduce a geometry-aware mutual explicit mapping (GAMEM) module that establishes geometric mappings between different head poses. This allows us to paste generated lip images at the canonical space onto head images with arbitrary poses and synthesize talking videos with natural head movements. In addition, a Blend-Net and a contrastive sync loss are introduced to enhance the overall synthesis performance. Quantitative and qualitative results on three benchmarks demonstrate that our model can be trained by a video of just a few minutes in length and achieve state-of-the-art performance in both visual quality and speech-visual synchronization. Code: https://github.com/CVMI-Lab/Speech2Lip

Deep Person Generation: A Survey from the Perspective of Face, Pose and Cloth Synthesis

Deep person generation has attracted extensive research attention due to its wide applications in virtual agents, video conferencing, online shopping and art/movie production. With the advancement of deep learning, visual appearances (face, pose, cloth) of a person image can be easily generated or manipulated on demand. In this survey, we first summarize the scope of person generation, and then systematically review recent progress and technical trends in deep person generation, covering three major tasks: talking-head generation (face), pose-guided person generation (pose) and garment-oriented person generation (cloth). More than two hundred papers are covered for a thorough overview, and the milestone works are highlighted to witness the major technical breakthrough. Based on these fundamental tasks, a number of applications are investigated, e.g., virtual fitting, digital human, generative data augmentation. We hope this survey could shed some light on the future prospects of deep person generation, and provide a helpful foundation for full applications towards digital human

That's What I Said: Fully-Controllable Talking Face Generation

The goal of this paper is to synthesise talking faces with controllable facial motions. To achieve this goal, we propose two key ideas. The first is to establish a canonical space where every face has the same motion patterns but different identities. The second is to navigate a multimodal motion space that only represents motion-related features while eliminating identity information. To disentangle identity and motion, we introduce an orthogonality constraint between the two different latent spaces. From this, our method can generate natural-looking talking faces with fully controllable facial attributes and accurate lip synchronisation. Extensive experiments demonstrate that our method achieves state-of-the-art results in terms of both visual quality and lip-sync score. To the best of our knowledge, we are the first to develop a talking face generation framework that can accurately manifest full target facial motions including lip, head pose, and eye movements in the generated video without any additional supervision beyond RGB video with audio

The TRECVID 2007 BBC rushes summarization evaluation pilot

This paper provides an overview of a pilot evaluation of video summaries using rushes from several BBC dramatic series. It was carried out under the auspices of TRECVID. Twenty-two research teams submitted video summaries of up to 4% duration, of 42 individual rushes video files aimed at compressing out redundant and insignificant material. The output of two baseline systems built on straightforward content reduction techniques was contributed by Carnegie Mellon University as a control. Procedures for developing ground truth lists of important segments from each video were developed at Dublin City University and applied to the BBC video. At NIST each summary was judged by three humans with respect to how much of the ground truth was included, how easy the summary was to understand, and how much repeated material the summary contained. Additional objective measures included: how long it took the system to create the summary, how long it took the assessor to judge it against the ground truth, and what the summary's duration was. Assessor agreement on finding desired segments averaged 78% and results indicate that while it is difficult to exceed the performance of baselines, a few systems did