Synthesising 3D facial motion from speech is a crucial problem manifesting in a multitude of applications such as computer games and movies. Recently proposed methods tackle this problem in controlled conditions of speech. In this paper, we introduce the first methodology for 3D facial motion synthesis from speech captured in arbitrary recording conditions ("in-the-wild") and independent of the speaker. For our purposes, we captured 4D sequences of people uttering 500 words, contained in the Lip Reading Words (LRW) a publicly available large-scale in-the-wild dataset, and built a set of 3D blendshapes appropriate for speech. We correlate the 3D shape parameters of the speech blendshapes to the LRW audio samples by means of a novel time-warping technique, named Deep Canonical Attentional Warping (DCAW), that can simultaneously learn hierarchical non-linear representations and a warping path in an end-to-end manner. We thoroughly evaluate our proposed methods, and show the ability of a deep learning model to synthesise 3D facial motion in handling different speakers and continuous speech signals in uncontrolled conditions.
. Language-based methods take advantage of the mapping between phonemes and their visual counterpart visemes. For example, @cite_34 proposed the JAw and LIp (JALI) model, a two-dimensional space that represents the jaw and lip movements of a facial animation based on psycholinguistic considerations. The main disadvantage of their study is the need for the speech signal, its text transcript and their alignment to create the facial animation. In another study, @cite_18 first proposed generating dynamic units for visual speech for realistic visual speech animation. In a more recent study, the authors @cite_27 initially transcribe the speech signal to phoneme labels, which are then fed to a deep fully connected network to predict person-specific shape and appearance parameters obtained by Active Appearance Model (AAM). A main limitation of this work is the need for speech to phoneme labels conversion.
@cite_27 @cite_18 @cite_34
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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 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 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 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.