We consider the problem of face swapping in images, where an input identity is transformed into a target identity while preserving pose, facial expression, and lighting. To perform this mapping, we use convolutional neural networks trained to capture the appearance of the target identity from an unstructured collection of his her photographs.This approach is enabled by framing the face swapping problem in terms of style transfer, where the goal is to render an image in the style of another one. Building on recent advances in this area, we devise a new loss function that enables the network to produce highly photorealistic results. By combining neural networks with simple pre- and post-processing steps, we aim at making face swap work in real-time with no input from the user.
A more difficult problem was addressed by Dale al @cite_15 . Their work focused on the replacement of faces in videos, where video footage of two subjects performing similar roles are available. Compared to static images, sequential data poses extra difficulties of temporal alignment, tracking facial performance and ensuring temporal consistency of the resulting footage. The resulting system is complex and still requires a substantial amount of time and user guidance.
@cite_15
1995712965 2963887950 2796292145 2620105270
We present a method for replacing facial performances in video. Our approach accounts for differences in identity, visual appearance, speech, and timing between source and target videos. Unlike prior work, it does not require substantial manual operation or complex acquisition hardware, only single-camera video. We use a 3D multilinear model to track the facial performance in both videos. Using the corresponding 3D geometry, we warp the source to the target face and retime the source to match the target performance. We then compute an optimal seam through the video volume that maintains temporal consistency in the final composite. We showcase the use of our method on a variety of examples and present the result of a user study that suggests our results are difficult to distinguish from real video footage. We introduce a seemingly impossible task: given only an audio clip of someone speaking, decide which of two face images is the speaker. In this paper we study this, and a number of related cross-modal tasks, aimed at answering the question: how much can we infer from the voice about the face and vice versa? We study this task "in the wild", employing the datasets that are now publicly available for face recognition from static images (VGGFace) and speaker identification from audio (VoxCeleb). These provide training and testing scenarios for both static and dynamic testing of cross-modal matching. We make the following contributions: (i) we introduce CNN architectures for both binary and multi-way cross-modal face and audio matching: (ii) we compare dynamic testing (where video information is available, but the audio is not from the same video) with static testing (where only a single still image is available): and (iii) we use human testing as a baseline to calibrate the difficulty of the task. We show that a CNN can indeed be trained to solve this task in both the static and dynamic scenarios, and is even well above chance on 10-way classification of the face given the voice. The CNN matches human performance on easy examples (e.g. different gender across faces) but exceeds human performance on more challenging examples (e.g. faces with the same gender, age and nationality). We introduce a seemingly impossible task: given only an audio clip of someone speaking, decide which of two face images is the speaker. In this paper we study this, and a number of related cross-modal tasks, aimed at answering the question: how much can we infer from the voice about the face and vice versa? We study this task "in the wild", employing the datasets that are now publicly available for face recognition from static images (VGGFace) and speaker identification from audio (VoxCeleb). These provide training and testing scenarios for both static and dynamic testing of cross-modal matching. We make the following contributions: (i) we introduce CNN architectures for both binary and multi-way cross-modal face and audio matching, (ii) we compare dynamic testing (where video information is available, but the audio is not from the same video) with static testing (where only a single still image is available), and (iii) we use human testing as a baseline to calibrate the difficulty of the task. We show that a CNN can indeed be trained to solve this task in both the static and dynamic scenarios, and is even well above chance on 10-way classification of the face given the voice. The CNN matches human performance on easy examples (e.g. different gender across faces) but exceeds human performance on more challenging examples (e.g. faces with the same gender, age and nationality). In this paper we propose an approach for articulated tracking of multiple people in unconstrained videos. Our starting point is a model that resembles existing architectures for single-frame pose estimation but is substantially faster. We achieve this in two ways: (1) by simplifying and sparsifying the body-part relationship graph and leveraging recent methods for faster inference, and (2) by offloading a substantial share of computation onto a feed-forward convolutional architecture that is able to detect and associate body joints of the same person even in clutter. We use this model to generate proposals for body joint locations and formulate articulated tracking as spatio-temporal grouping of such proposals. This allows to jointly solve the association problem for all people in the scene by propagating evidence from strong detections through time and enforcing constraints that each proposal can be assigned to one person only. We report results on a public MPII Human Pose benchmark and on a new MPII Video Pose dataset of image sequences with multiple people. We demonstrate that our model achieves state-of-the-art results while using only a fraction of time and is able to leverage temporal information to improve state-of-the-art for crowded scenes.