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.
 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 In this paper, a new technique for modeling textured 3D faces is introduced. 3D faces can either be generated automatically from one or more photographs, or modeled directly through an intuitive user interface. Users are assisted in two key problems of computer aided face modeling. First, new face images or new 3D face models can be registered automatically by computing dense one-to-one correspondence to an internal face model. Second, the approach regulates the naturalness of modeled faces avoiding faces with an “unlikely” appearance. Starting from an example set of 3D face models, we derive a morphable face model by transforming the shape and texture of the examples into a vector space representation. New faces and expressions can be modeled by forming linear combinations of the prototypes. Shape and texture constraints derived from the statistics of our example faces are used to guide manual modeling or automated matching algorithms. We show 3D face reconstructions from single images and their applications for photo-realistic image manipulations. We also demonstrate face manipulations according to complex parameters such as gender, fullness of a face or its distinctiveness. This paper presents a deep neural network (DNN) approach for head motion synthesis, which can automatically predict head movement of a speaker from his her speech. Specifically, we realize speech-to-head-motion mapping by learning a DNN from audio-visual broadcast news data. We first show that a generatively pre-trained neural network significantly outperforms a conventional randomly initialized network. We then demonstrate that filter bank (FBank) features outperform mel frequency cepstral coefficients (MFCC) and linear prediction coefficients (LPC) in head motion prediction. Finally, we discover that extra training data from other speakers used in the pre-training stage can improve the head motion prediction performance of a target speaker. Our promising results in speech-to-head-motion prediction can be used in talking avatar animation. We introduce a long short-term memory recurrent neural network (LSTM-RNN) approach for real-time facial animation, which automatically estimates head rotation and facial action unit activations of a speaker from just her speech. Specifically, the time-varying contextual non-linear mapping between audio stream and visual facial movements is realized by training a LSTM neural network on a large audio-visual data corpus. In this work, we extract a set of acoustic features from input audio, including Mel-scaled spectrogram, Mel frequency cepstral coefficients and chromagram that can effectively represent both contextual progression and emotional intensity of the speech. Output facial movements are characterized by 3D rotation and blending expression weights of a blendshape model, which can be used directly for animation. Thus, even though our model does not explicitly predict the affective states of the target speaker, her emotional manifestation is recreated via expression weights of the face model. Experiments on an evaluation dataset of different speakers across a wide range of affective states demonstrate promising results of our approach in real-time speech-driven facial animation. 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. 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. 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 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. We present FaceWarehouse, a database of 3D facial expressions for visual computing applications. We use Kinect, an off-the-shelf RGBD camera, to capture 150 individuals aged 7-80 from various ethnic backgrounds. For each person, we captured the RGBD data of her different expressions, including the neutral expression and 19 other expressions such as mouth-opening, smile, kiss, etc. For every RGBD raw data record, a set of facial feature points on the color image such as eye corners, mouth contour, and the nose tip are automatically localized, and manually adjusted if better accuracy is required. We then deform a template facial mesh to fit the depth data as closely as possible while matching the feature points on the color image to their corresponding points on the mesh. Starting from these fitted face meshes, we construct a set of individual-specific expression blendshapes for each person. These meshes with consistent topology are assembled as a rank-3 tensor to build a bilinear face model with two attributes: identity and expression. Compared with previous 3D facial databases, for every person in our database, there is a much richer matching collection of expressions, enabling depiction of most human facial actions. We demonstrate the potential of FaceWarehouse for visual computing with four applications: facial image manipulation, face component transfer, real-time performance-based facial image animation, and facial animation retargeting from video to image.  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. Video Rewrite uses existing footage to create automatically new video of a person mouthing words that she did not speak in the original footage. This technique is useful in movie dubbing, for example, where the movie sequence can be modified to sync the actors’ lip motions to the new soundtrack. Video Rewrite automatically labels the phonemes in the training data and in the new audio track. Video Rewrite reorders the mouth images in the training footage to match the phoneme sequence of the new audio track. When particular phonemes are unavailable in the training footage, Video Rewrite selects the closest approximations. The resulting sequence of mouth images is stitched into the background footage. This stitching process automatically corrects for differences in head position and orientation between the mouth images and the background footage. Video Rewrite uses computer-vision techniques to track points on the speaker’s mouth in the training footage, and morphing techniques to combine these mouth gestures into the final video sequence. The new video combines the dynamics of the original actor’s articulations with the mannerisms and setting dictated by the background footage. Video Rewrite is the first facial-animation system to automate all the labeling and assembly tasks required to resync existing footage to a new soundtrack. 