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

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

Speech-Gesture Mapping and Engagement Evaluation in Human Robot Interaction

A robot needs contextual awareness, effective speech production and complementing non-verbal gestures for successful communication in society. In this paper, we present our end-to-end system that tries to enhance the effectiveness of non-verbal gestures. For achieving this, we identified prominently used gestures in performances by TED speakers and mapped them to their corresponding speech context and modulated speech based upon the attention of the listener. The proposed method utilized Convolutional Pose Machine [4] to detect the human gesture. Dominant gestures of TED speakers were used for learning the gesture-to-speech mapping. The speeches by them were used for training the model. We also evaluated the engagement of the robot with people by conducting a social survey. The effectiveness of the performance was monitored by the robot and it self-improvised its speech pattern on the basis of the attention level of the audience, which was calculated using visual feedback from the camera. The effectiveness of interaction as well as the decisions made during improvisation was further evaluated based on the head-pose detection and interaction survey.Comment: 8 pages, 9 figures, Under review in IRC 201

The Many Moods of Emotion

This paper presents a novel approach to the facial expression generation problem. Building upon the assumption of the psychological community that emotion is intrinsically continuous, we first design our own continuous emotion representation with a 3-dimensional latent space issued from a neural network trained on discrete emotion classification. The so-obtained representation can be used to annotate large in the wild datasets and later used to trained a Generative Adversarial Network. We first show that our model is able to map back to discrete emotion classes with a objectively and subjectively better quality of the images than usual discrete approaches. But also that we are able to pave the larger space of possible facial expressions, generating the many moods of emotion. Moreover, two axis in this space may be found to generate similar expression changes as in traditional continuous representations such as arousal-valence. Finally we show from visual interpretation, that the third remaining dimension is highly related to the well-known dominance dimension from psychology

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