We present a deep learning framework for real-time speech-driven 3D facial animation from just raw waveforms. Our deep neural network directly maps an input sequence of speech audio to a series of micro facial action unit activations and head rotations to drive a 3D blendshape face model. In particular, our deep model is able to learn the latent representations of time-varying contextual information and affective states within the speech. Hence, our model not only activates appropriate facial action units at inference to depict different utterance generating actions, in the form of lip movements, but also, without any assumption, automatically estimates emotional intensity of the speaker and reproduces her ever-changing affective states by adjusting strength of facial unit activations. For example, in a happy speech, the mouth opens wider than normal, while other facial units are relaxed; or in a surprised state, both eyebrows raise higher. Experiments on a diverse audiovisual corpus of different actors across a wide range of emotional states show interesting and promising results of our approach. Being speaker-independent, our generalized model is readily applicable to various tasks in human-machine interaction and animation.
, is a research topic where an avatar is animated to imitate human talking. Various approaches have been developed to synthesize a face model driven by either speech audio @cite_32 @cite_26 @cite_3 or transcripts @cite_38 @cite_5 . Essentially, every talking head animation technique develops a mapping from an input speech to visual features, and can be formulated as a classification or regression task. Classification approaches usually identify phonetic unit (phonemes) from speech and map to visual units (visemes) based on specific rules, and animation is generated by morphing these key images. On the other hand, regression approaches can directly generate visual parameters and their trajectories from input features. Early research on talking head used Hidden Markov Models (HMMs) with some successes @cite_2 @cite_1 , despite certain limitations of HMM framework such as oversmoothing trajectory.
@cite_38 @cite_26 @cite_1 @cite_32 @cite_3 @cite_2 @cite_5
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In this paper we investigate the development of an expressive facial animation system from publicly available components. There is a great body of work on face modeling, facial animation and conversational agents. However, most of the current research either targets a specific aspect of a conversational agent or is tailored to systems that are not publicly available. We propose a high quality facial animation system that can be easily built based on affordable off-the-shelf components. The proposed system is modular, extensible, efficient and suitable for a wide range of applications that require expressive speaking avatars. We demonstrate the effectiveness of the system with two applications: (a) a text-to-speech synthesizer with expression control and (b) a conversational agent that can react to simple phrases. 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 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. Lifelike talking faces for interactive services are an exciting new modality for man-machine interactions. Recent developments in speech synthesis and computer animation enable the real-time synthesis of faces that look and behave like real people, opening opportunities to make interactions with computers more like face-to-face conversations. This paper focuses on the technologies for creating lifelike talking heads, illustrating the two main approaches: model-based animations and sample-based animations. The traditional model-based approach uses three-dimensional wire-frame models, which can be animated from high-level parameters such as muscle actions, lip postures, and facial expressions. The sample-based approach, on the other hand, concatenates segments of recorded videos, instead of trying to model the dynamics of the animations in detail. Recent advances in image analysis enable the creation of large databases of mouth and eye images, suited for sample-based animations. The sample-based approach tends to generate more naturally looking animations at the expense of a larger size and less flexibility than the model-based animations. Beside lip articulation, a talking head must show appropriate head movements, in order to appear natural. We illustrate how such "visual prosody" is analyzed and added to the animations. Finally, we present four applications where the use of face animation in interactive services results in engaging user interfaces and an increased level of trust between user and machine. Using an RTP-based protocol, face animation can be driven with only 800 bits s in addition to the rate for transmitting audio.