We present LumiereNet, a simple, modular, and completely deep-learning based architecture that synthesizes, high quality, full-pose headshot lecture videos from instructor's new audio narration of any length. Unlike prior works, LumiereNet is entirely composed of trainable neural network modules to learn mapping functions from the audio to video through (intermediate) estimated pose-based compact and abstract latent codes. Our video demos are available at [22] and [23].
* Visual speech synthesis Over the last two decades, there has been extensive study dedicated towards creating realistic animations for speech @cite_27 in 2D or 3D. 2D has the advantage that video cutouts of the mouth area can be used and combined leading to realistic visualizations @cite_0 @cite_19 . 3D approaches are much more versatile, as viewpoints and illumination can be changed at will @cite_16 . Given that our goal is to produce 2D animation based on audio, instead of formulating entire mapping as an end-to-end optimization task, we are inherently interested in the intermediate representations. Recent advances in this line were more or less focused on synthesizing only the parts of the face (around the mouth) and borrowing the rest of the subject from existing video footage @cite_9 @cite_8 @cite_24 .
@cite_8 @cite_9 @cite_0 @cite_19 @cite_27 @cite_24 @cite_16
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In this paper we present an audio driven system capable of videorealistic synthesis of a speaker uttering novel phrases. The audio input signal requires no phonetic labelling and is speaker independent. The system requires only a small training set of video and produces fully co-articulated realistic facial synthesis. Natural mouth and face dynamics are learned in training to allow new facial poses, unseen in the training video, to be rendered. To improve specificity and synthesis quality the appearance of a speakerâ€™s mouth and face are modelled separately and combined to produce the final video. To achieve this we have developed a novel approach which utilizes a hierarchical and non-linear PCA model which couples speech and appearance. The model is highly compact making it suitable for a wide range of real-time applications in multimedia and telecommunications using standard hardware. Data-driven approaches have been successfully used for realistic visual speech synthesis. However, little effort has been devoted to real-time lip-synching for interactive applications. In particular, algorithms that are based on a graph of motions are notorious for their exponential complexity. In this paper, we present a greedy graph search algorithm that yields vastly superior performance and allows real-time motion synthesis from a large database of motions. The time complexity of the algorithm is linear with respect to the size of an input utterance. In our experiments, the synthesis time for an input sentence of average length is under a second. We describe how to create with machine learning techniques a generative, speech animation module. A human subject is first recorded using a videocamera as he she utters a predetermined speech corpus. After processing the corpus automatically, a visual speech module is learned from the data that is capable of synthesizing the human subject's mouth uttering entirely novel utterances that were not recorded in the original video. The synthesized utterance is re-composited onto a background sequence which contains natural head and eye movement. The final output is videorealistic in the sense that it looks like a video camera recording of the subject. At run time, the input to the system can be either real audio sequences or synthetic audio produced by a text-to-speech system, as long as they have been phonetically aligned.The two key contributions of this paper are 1) a variant of the multidimensional morphable model (MMM) to synthesize new, previously unseen mouth configurations from a small set of mouth image prototypes; and 2) a trajectory synthesis technique based on regularization, which is automatically trained from the recorded video corpus, and which is capable of synthesizing trajectories in MMM space corresponding to any desired utterance. In this paper, we propose an HMM trajectory-guided, real image sample concatenation approach to photo-real talking head synthesis. It renders a smooth and natural video of articulators in sync with given speech signals. An audio-visual database is used to train a statistical Hidden Markov Model (HMM) of lips movement first and the trained model is then used to generate a visual parameter trajectory of lips movement for given speech signals, all in the maximum likelihood sense. The HMM generated trajectory is then used as a guide to select, in the original training database, an optimal sequence of mouth images which are then stitched back to a background head video. The whole procedure is fully automatic and data driven. With an audio video footage as short as 20 minutes from a speaker, the proposed system can synthesize a highly photo-real video in sync with the given speech signals. This system won the FIRST place in the Audio-Visual match contest in LIPS2009 Challenge, which was perceptually evaluated by recruited human subjects. Index Terms: visual speech synthesis, photo-real, talking head, trajectory-guided This paper presents an articulatory modelling approach to convert acoustic speech into realistic mouth animation. We directly model the movements of articulators, such as lips, tongue, and teeth, using a dynamic Bayesian network (DBN)-based audio-visual articulatory model (AVAM). A multiple-stream structure with a shared articulator layer is adopted in the model to synchronously associate the two building blocks of speech, i.e., audio and video. This model not only describes the synchronization between visual articulatory movements and audio speech, but also reflects the linguistic fact that different articulators evolve asynchronously. We also present a Baum-Welch DBN inversion (DBNI) algorithm to generate optimal facial parameters from audio given the trained AVAM under maximum likelihood (ML) criterion. Extensive objective and subjective evaluations on the JEWEL audio-visual dataset demonstrate that compared with phonemic HMM approaches, facial parameters estimated by our approach follow the true parameters more accurately, and the synthesized facial animation sequences are so lively that 38 of them are undistinguishable We propose a three-stage pixel-based visual front end for automatic speechreading (lipreading) that results in significantly improved recognition performance of spoken words or phonemes. The proposed algorithm is a cascade of three transforms applied on a three-dimensional video region-of-interest that contains the speaker's mouth area. The first stage is a typical image compression transform that achieves a high-energy, reduced-dimensionality representation of the video data. The second stage is a linear discriminant analysis-based data projection, which is applied on a concatenation of a small amount of consecutive image transformed video data. The third stage is a data rotation by means of a maximum likelihood linear transform that optimizes the likelihood of the observed data under the assumption of their class-conditional multivariate normal distribution with diagonal covariance. We applied the algorithm to visual-only 52-class phonetic and 27-class visemic classification on a 162-subject, 8-hour long, large vocabulary, continuous speech audio-visual database. We demonstrated significant classification accuracy gains by each added stage of the proposed algorithm which, when combined, can achieve up to 27 improvement. Overall, we achieved a 60 (49 ) visual-only frame-level visemic classification accuracy with (without) use of test set viseme boundaries. In addition, we report improved audio-visual phonetic classification over the use of a single-stage image transform visual front end. Finally, we discuss preliminary speech recognition results. In this paper, we propose an HMM trajectory-guided, real image sample concatenation approach to photo-realistic talking head synthesis. An audio-visual database of a person is recorded first for training a statistical Hidden Markov Model (HMM) of Lips movement. The HMM is then used to generate the dynamic trajectory of lips movement for given speech signals in the maximum probability sense. The generated trajectory is then used as a guide to select, from the original training database, an optimal sequence of lips images which are then stitched back to a background head video. We also propose a minimum generation error (MGE) training method to refine the audio-visual HMM to improve visual speech trajectory synthesis. Compared with the traditional maximum likelihood (ML) estimation, the proposed MGE training explicitly optimizes the quality of generated visual speech trajectory, where the audio-visual HMM modeling is jointly refined by using a heuristic method to find the optimal state alignment and a probabilistic descent algorithm to optimize the model parameters under the MGE criterion. In objective evaluation, compared with the ML-based method, the proposed MGE-based method achieves consistent improvement in the mean square error reduction, correlation increase, and recovery of global variance. For as short as 20 min recording of audio video footage, the proposed system can synthesize a highly photo-realistic talking head in sync with the given speech signals (natural or TTS synthesized). This system won the first place in the A V consistency contest in LIPS Challenge, perceptually evaluated by recruited human subjects. In this paper, we propose a complete pipeline of efficient and low-cost techniques to construct a realistic 3D text-driven emotive audio-visual avatar from a single 2D frontal-view face image of any person on the fly. This real-time conversion is achieved through three steps. First, a personalized 3D face model is built based on the 2D face image using a fully automatic 3D face shape and texture reconstruction framework. Second, using standard MPEG-4 FAPs (Facial Animation Parameters), the face model is animated by the Viseme and expression channels and is complemented by the visual prosody channel that controls head, eye and eyelid movements. Finally, the facial animation is combined and synchronized with the emotive synthetic speech generated by incorporating an emotion transformer into a Festival-MBROLA text to neutral speech synthesizer. We propose a new 3D photo-realistic talking head with a personalized, photo realistic appearance. Different head motions and facial expressions can be freely controlled and rendered. It extends our prior, high-quality, 2D photo-realistic talking head to 3D. Around 20-minutes of audio-visual 2D video are first recorded with read prompted sentences spoken by a speaker. We use a 2D-to-3D reconstruction algorithm to automatically adapt a general 3D head mesh model to the individual. In training, super feature vectors consisting of 3D geometry, texture and speech are formed to train a statistical, multi-streamed, Hidden Markov Model (HMM). The HMM is then used to synthesize both the trajectories of geometry animation and dynamic texture. The 3D talking head animation can be controlled by the rendered geometric trajectory while the facial expressions and articulator movements are rendered with the dynamic 2D image sequences. Head motions and facial expression can also be separately controlled by manipulating corresponding parameters. The new 3D talking head has many useful applications such as voice-agent, tele-presence, gaming, social networking, etc. Index Terms: audio visual synthesis, 3D, photo-realistic, talking head This paper proposes a deep bidirectional long short-term memory approach in modeling the long contextual, nonlinear mapping between audio and visual streams for video-realistic talking head. In training stage, an audio-visual stereo database is firstly recorded as a subject talking to a camera. The audio streams are converted into acoustic feature, i.e. Mel-Frequency Cepstrum Coefficients (MFCCs), and their textual labels are also extracted. The visual streams, in particular, the lower face region, are compactly represented by active appearance model (AAM) parameters by which the shape and texture variations can be jointly modeled. Given pairs of the audio and visual parameter sequence, a DBLSTM model is trained to learn the sequence mapping from audio to visual space. For any unseen speech audio, whether it is original recorded or synthesized by text-to-speech (TTS), the trained DBLSTM model can predict a convincing AAM parameter trajectory for the lower face animation. To further improve the realism of the proposed talking head, the trajectory tiling method is adopted to use the DBLSTM predicted AAM trajectory as a guide to select a smooth real sample image sequence from the recorded database. We then stitch the selected lower face image sequence back to a background face video of the same subject, resulting in a video-realistic talking head. Experimental results show that the proposed DBLSTM approach outperforms the existing HMM-based approach in both objective and subjective evaluations. We study the problem of video-to-video synthesis, whose goal is to learn a mapping function from an input source video (e.g., a sequence of semantic segmentation masks) to an output photorealistic video that precisely depicts the content of the source video. While its image counterpart, the image-to-image synthesis problem, is a popular topic, the video-to-video synthesis problem is less explored in the literature. Without understanding temporal dynamics, directly applying existing image synthesis approaches to an input video often results in temporally incoherent videos of low visual quality. In this paper, we propose a novel approach for the video-to-video synthesis problem under adversarial learning framework. Through the introduction of new generator and discriminator architectures, coupled with a spatial-temporal adversarial objective, we achieve high-resolution, photorealistic, temporally coherent video results. Experiments on multiple benchmarks show the advantage of our method compared to strong baselines. In particular, our model is capable of synthesizing 2K resolution videos of street scenes up to 30 seconds long, not possible before our work. Finally, we apply our approach to future video prediction, outperforming several state-of-the-art competing systems. (Note: using Adobe Reader is highly recommended to view the paper.) This paper describes our initial work in developing a real-time audio-visual Chinese speech synthesizer with a 3D expressive avatar. The avatar model is parameterized according to the MPEG-4 facial animation standard [1]. This standard offers a compact set of facial animation parameters (FAPs) and feature points (FPs) to enable realization of 20 Chinese visemes and 7 facial expressions (i.e. 27 target facial configurations). The Xface [2] open source toolkit enables us to define the influence zone for each FP and the deformation function that relates them. Hence we can easily animate a large number of coordinates in the 3D model by specifying values for a small set of FAPs and their FPs. FAP values for 27 target facial configurations were estimated from available corpora. We extended the dominance blending approach to effect animations for coarticulated visemes superposed with expression changes. We selected six sentiment-carrying text messages and synthesized expressive visual speech (for all expressions, in randomized order) with neutral audio speech. A perceptual experiment involving 11 subjects shows that they can identify the facial expression that matches the text message’s sentiment 85 of the time. We study the problem of video-to-video synthesis, whose goal is to learn a mapping function from an input source video (e.g., a sequence of semantic segmentation masks) to an output photorealistic video that precisely depicts the content of the source video. While its image counterpart, the image-to-image synthesis problem, is a popular topic, the video-to-video synthesis problem is less explored in the literature. Without understanding temporal dynamics, directly applying existing image synthesis approaches to an input video often results in temporally incoherent videos of low visual quality. In this paper, we propose a novel video-to-video synthesis approach under the generative adversarial learning framework. Through carefully-designed generator and discriminator architectures, coupled with a spatio-temporal adversarial objective, we achieve high-resolution, photorealistic, temporally coherent video results on a diverse set of input formats including segmentation masks, sketches, and poses. Experiments on multiple benchmarks show the advantage of our method compared to strong baselines. In particular, our model is capable of synthesizing 2K resolution videos of street scenes up to 30 seconds long, which significantly advances the state-of-the-art of video synthesis. Finally, we apply our approach to future video prediction, outperforming several state-of-the-art competing systems. Talking heads synthesis with expressions from speech is proposed in this paper. Talking heads synthesis can be considered as a learning problem of sequence-to-sequence mapping, which consists of audio as input and video as output. To synthesize talking heads, we use SAVEE database which consists of videos of multiple sentences speeches recorded from front of face. Audiovisual data can be considered as two parallel sequential data of audio and visual features and it is composed of continuous value. Thus, audio and visual features of our dataset are represented by a regression model. In this research, the regression model is trained with long short-term memory (LSTM) by minimizing mean squared error (MSE). Then, audio features are used as input and visual features are used as target of LSTM. Thereby, talking heads are synthesized from speech. Our method is proposed to use lower level audio features than phonemes and it enables to synthesize talking heads with expressions while existing researches which use phonemes as audio features only can synthesize neutral expression talking heads. With SAVEE database, we achieved the minimum MSE 17.03 on our testing dataset. In experiment, we use mel-frequency cepstral coefficient (MFCC), AMFCC and A2 MFCC with energy as audio feature and active appearance model (AAM) on entire face region as visual feature. Image-based videorealistic speech animation achieves significant visual realism at the cost of the collection of a large 5- to 10-minute video corpus from the specific person to be animated. This requirement hinders its use in broad applications, since a large video corpus for a specific person under a controlled recording setup may not be easily obtained In this paper, we propose a model transfer and adaptation algorithm which allows for a novel person to be animated using only a small video corpus. The algorithm starts with a multidimensional morphable model (MMM) previously trained from a different speaker with a large corpus, and transfers it to the novel speaker with a much smaller corpus. The algorithm consists of 1) a novel matching-by-synthesis algorithm which semi-automatically selects new MMM prototype images from the new video corpus and 2) a novel gradient descent linear regression algorithm which adapts the MMM phoneme models to the data in the novel video corpus. Encouraging experimental results are presented in which a morphable model trained from a performer with a 10-minute corpus is transferred to a novel person using a 15-second movie clip of him as the adaptation video corpus. The rich signals we extract from facial expressions imposes high expectations for the science and art of facial animation. While the advent of high-resolution performance capture has greatly improved realism, the utility of procedural animation warrants a prominent place in facial animation workflow. We present a system that, given an input audio soundtrack and speech transcript, automatically generates expressive lip-synchronized facial animation that is amenable to further artistic refinement, and that is comparable with both performance capture and professional animator output. Because of the diversity of ways we produce sound, the mapping from phonemes to visual depictions as visemes is many-valued. We draw from psycholinguistics to capture this variation using two visually distinct anatomical actions: Jaw and Lip, wheresound is primarily controlled by jaw articulation and lower-face muscles, respectively. We describe the construction of a transferable template jali 3D facial rig, built upon the popular facial muscle action unit representation facs. We show that acoustic properties in a speech signal map naturally to the dynamic degree of jaw and lip in visual speech. We provide an array of compelling animation clips, compare against performance capture and existing procedural animation, and report on a brief user study. This paper presents a method for photo-realistic animation of any face shown in a single image or a video. The technique does not require example data of the person’s mouth movements, and the image to be animated is not restricted in pose and illumination. Video reanimation allows for head rotations and speech in the original sequence, yet neither of these motions is required. In order to animate novel faces, the system transfers mouth movements and expressions across individuals, based a common representation of different identities and facial expressions in a vector space of 3D shapes and textures. This space is computed from 3D scans of different neutral faces, and scans of facial expressions. The 3D model’s versatility with respect to pose and illumination is conveyed to photo-realistic image and video processing by a framework of analysis and synthesis algorithms: The system automatically estimates 3D shape, pose and other rendering parameters from single images, and tracks head pose and mouth movements in video. Reanimated with new mouth movements, the 3D face is rendered into the original images. We present a hierarchical image based facial model which is driven from speech. It incorporates a novel modelling and synthesis algorithm for learning and producing coarticulated mouth animation. We demonstrate using the hierarchical model how animation of the entire face may be created solely from animations of the mouth and how colour may be reincorporated and reproduced compactly without explicitly being modelled. We then consider and evaluate methods of merging animations from several different facial areas for delivery of output. We present a novel algorithm for view synthesis that utilizes a soft 3D reconstruction to improve quality, continuity and robustness. Our main contribution is the formulation of a soft 3D representation that preserves depth uncertainty through each stage of 3D reconstruction and rendering. We show that this representation is beneficial throughout the view synthesis pipeline. During view synthesis, it provides a soft model of scene geometry that provides continuity across synthesized views and robustness to depth uncertainty. During 3D reconstruction, the same robust estimates of scene visibility can be applied iteratively to improve depth estimation around object edges. Our algorithm is based entirely on O(1) filters, making it conducive to acceleration and it works with structured or unstructured sets of input views. We compare with recent classical and learning-based algorithms on plenoptic lightfields, wide baseline captures, and lightfield videos produced from camera arrays. We present a new method for generating a dynamic, concatenative, unit of visual speech that can generate realistic visual speech animation. We redefine visemes as temporal units that describe distinctive speech movements of the visual speech articulators. Traditionally visemes have been surmized as the set of static mouth shapes representing clusters of contrastive phonemes (e.g. p, b, m , and f, v ). In this work, the motion of the visual speech articulators are used to generate discrete, dynamic visual speech gestures. These gestures are clustered, providing a finite set of movements that describe visual speech, the visemes. Dynamic visemes are applied to speech animation by simply concatenating viseme units. We compare to static visemes using subjective evaluation. We find that dynamic visemes are able to produce more accurate and visually pleasing speech animation given phonetically annotated audio, reducing the amount of time that an animator needs to spend manually refining the animation.