We propose $\textbf{VidStyleODE}$, a spatiotemporally continuous disentangled $\textbf{Vid}$eo representation based upon $\textbf{Style}$GAN and Neural-$\textbf{ODE}$s. Effective traversal of the latent space learned by Generative Adversarial Networks (GANs) has been the basis for recent breakthroughs in image editing. However, the applicability of such advancements to the video domain has been hindered by the difficulty of representing and controlling videos in the latent space of GANs. In particular, videos are composed of content (i.e., appearance) and complex motion components that require a special mechanism to disentangle and control. To achieve this, VidStyleODE encodes the video content in a pre-trained StyleGAN $\mathcal{W}_+$ space and benefits from a latent ODE component to summarize the spatiotemporal dynamics of the input video. Our novel continuous video generation process then combines the two to generate high-quality and temporally consistent videos with varying frame rates. We show that our proposed method enables a variety of applications on real videos: text-guided appearance manipulation, motion manipulation, image animation, and video interpolation and extrapolation. Project website: https://cyberiada.github.io/VidStyleODE
We present 3D Cinemagraphy, a new technique that marries 2D image animation with 3D photography. Given a single still image as input, our goal is to generate a video that contains both visual content animation and camera motion. We empirically find that naively combining existing 2D image animation and 3D photography methods leads to obvious artifacts or inconsistent animation. Our key insight is that representing and animating the scene in 3D space offers a natural solution to this task. To this end, we first convert the input image into feature-based layered depth images using predicted depth values, followed by unprojecting them to a feature point cloud. To animate the scene, we perform motion estimation and lift the 2D motion into the 3D scene flow. Finally, to resolve the problem of hole emergence as points move forward, we propose to bidirectionally displace the point cloud as per the scene flow and synthesize novel views by separately projecting them into target image planes and blending the results. Extensive experiments demonstrate the effectiveness of our method. A user study is also conducted to validate the compelling rendering results of our method.
Text-driven image and video diffusion models have recently achieved unprecedented generation realism. While diffusion models have been successfully applied for image editing, very few works have done so for video editing. We present the first diffusion-based method that is able to perform text-based motion and appearance editing of general videos. Our approach uses a video diffusion model to combine, at inference time, the low-resolution spatio-temporal information from the original video with new, high resolution information that it synthesized to align with the guiding text prompt. As obtaining high-fidelity to the original video requires retaining some of its high-resolution information, we add a preliminary stage of finetuning the model on the original video, significantly boosting fidelity. We propose to improve motion editability by a new, mixed objective that jointly finetunes with full temporal attention and with temporal attention masking. We further introduce a new framework for image animation. We first transform the image into a coarse video by simple image processing operations such as replication and perspective geometric projections, and then use our general video editor to animate it. As a further application, we can use our method for subject-driven video generation. Extensive qualitative and numerical experiments showcase the remarkable editing ability of our method and establish its superior performance compared to baseline methods.
Nerf-based Generative models have shown impressive capacity in generating high-quality images with consistent 3D geometry. Despite successful synthesis of fake identity images randomly sampled from latent space, adopting these models for generating face images of real subjects is still a challenging task due to its so-called inversion issue. In this paper, we propose a universal method to surgically fine-tune these NeRF-GAN models in order to achieve high-fidelity animation of real subjects only by a single image. Given the optimized latent code for an out-of-domain real image, we employ 2D loss functions on the rendered image to reduce the identity gap. Furthermore, our method leverages explicit and implicit 3D regularizations using the in-domain neighborhood samples around the optimized latent code to remove geometrical and visual artifacts. Our experiments confirm the effectiveness of our method in realistic, high-fidelity, and 3D consistent animation of real faces on multiple NeRF-GAN models across different datasets.
Generating talking head videos through a face image and a piece of speech audio still contains many challenges. ie, unnatural head movement, distorted expression, and identity modification. We argue that these issues are mainly because of learning from the coupled 2D motion fields. On the other hand, explicitly using 3D information also suffers problems of stiff expression and incoherent video. We present SadTalker, which generates 3D motion coefficients (head pose, expression) of the 3DMM from audio and implicitly modulates a novel 3D-aware face render for talking head generation. To learn the realistic motion coefficients, we explicitly model the connections between audio and different types of motion coefficients individually. Precisely, we present ExpNet to learn the accurate facial expression from audio by distilling both coefficients and 3D-rendered faces. As for the head pose, we design PoseVAE via a conditional VAE to synthesize head motion in different styles. Finally, the generated 3D motion coefficients are mapped to the unsupervised 3D keypoints space of the proposed face render, and synthesize the final video. We conducted extensive experiments to demonstrate the superiority of our method in terms of motion and video quality.
We present a new implicit warping framework for image animation using sets of source images through the transfer of the motion of a driving video. A single cross- modal attention layer is used to find correspondences between the source images and the driving image, choose the most appropriate features from different source images, and warp the selected features. This is in contrast to the existing methods that use explicit flow-based warping, which is designed for animation using a single source and does not extend well to multiple sources. The pick-and-choose capability of our framework helps it achieve state-of-the-art results on multiple datasets for image animation using both single and multiple source images. The project website is available at https://deepimagination.cc/implicit warping/
Image animation aims to animate a source image by using motion learned from a driving video. Current state-of-the-art methods typically use convolutional neural networks (CNNs) to predict motion information, such as motion keypoints and corresponding local transformations. However, these CNN based methods do not explicitly model the interactions between motions; as a result, the important underlying motion relationship may be neglected, which can potentially lead to noticeable artifacts being produced in the generated animation video. To this end, we propose a new method, the motion transformer, which is the first attempt to build a motion estimator based on a vision transformer. More specifically, we introduce two types of tokens in our proposed method: i) image tokens formed from patch features and corresponding position encoding; and ii) motion tokens encoded with motion information. Both types of tokens are sent into vision transformers to promote underlying interactions between them through multi-head self attention blocks. By adopting this process, the motion information can be better learned to boost the model performance. The final embedded motion tokens are then used to predict the corresponding motion keypoints and local transformations. Extensive experiments on benchmark datasets show that our proposed method achieves promising results to the state-of-the-art baselines. Our source code will be public available.
Virtual try-on aims to generate a photo-realistic fitting result given an in-shop garment and a reference person image. Existing methods usually build up multi-stage frameworks to deal with clothes warping and body blending respectively, or rely heavily on intermediate parser-based labels which may be noisy or even inaccurate. To solve the above challenges, we propose a single-stage try-on framework by developing a novel Deformable Attention Flow (DAFlow), which applies the deformable attention scheme to multi-flow estimation. With pose keypoints as the guidance only, the self- and cross-deformable attention flows are estimated for the reference person and the garment images, respectively. By sampling multiple flow fields, the feature-level and pixel-level information from different semantic areas are simultaneously extracted and merged through the attention mechanism. It enables clothes warping and body synthesizing at the same time which leads to photo-realistic results in an end-to-end manner. Extensive experiments on two try-on datasets demonstrate that our proposed method achieves state-of-the-art performance both qualitatively and quantitatively. Furthermore, additional experiments on the other two image editing tasks illustrate the versatility of our method for multi-view synthesis and image animation.
Sign language is the window for people differently-abled to express their feelings as well as emotions. However, it remains challenging for people to learn sign language in a short time. To address this real-world challenge, in this work, we study the motion transfer system, which can transfer the user photo to the sign language video of specific words. In particular, the appearance content of the output video comes from the provided user image, while the motion of the video is extracted from the specified tutorial video. We observe two primary limitations in adopting the state-of-the-art motion transfer methods to sign language generation:(1) Existing motion transfer works ignore the prior geometrical knowledge of the human body. (2) The previous image animation methods only take image pairs as input in the training stage, which could not fully exploit the temporal information within videos. In an attempt to address the above-mentioned limitations, we propose Structure-aware Temporal Consistency Network (STCNet) to jointly optimize the prior structure of human with the temporal consistency for sign language video generation. There are two main contributions in this paper. (1) We harness a fine-grained skeleton detector to provide prior knowledge of the body keypoints. In this way, we ensure the keypoint movement in a valid range and make the model become more explainable and robust. (2) We introduce two cycle-consistency losses, i.e., short-term cycle loss and long-term cycle loss, which are conducted to assure the continuity of the generated video. We optimize the two losses and keypoint detector network in an end-to-end manner.
Image animation brings life to the static object in the source image according to the driving video. Recent works attempt to perform motion transfer on arbitrary objects through unsupervised methods without using a priori knowledge. However, it remains a significant challenge for current unsupervised methods when there is a large pose gap between the objects in the source and driving images. In this paper, a new end-to-end unsupervised motion transfer framework is proposed to overcome such issue. Firstly, we propose thin-plate spline motion estimation to produce a more flexible optical flow, which warps the feature maps of the source image to the feature domain of the driving image. Secondly, in order to restore the missing regions more realistically, we leverage multi-resolution occlusion masks to achieve more effective feature fusion. Finally, additional auxiliary loss functions are designed to ensure that there is a clear division of labor in the network modules, encouraging the network to generate high-quality images. Our method can animate a variety of objects, including talking faces, human bodies, and pixel animations. Experiments demonstrate that our method performs better on most benchmarks than the state of the art with visible improvements in pose-related metrics.
Millions of images of human faces are captured every single day; but these photographs portray the likeness of an individual with a fixed pose, expression, and appearance. Portrait image animation enables the post-capture adjustment of these attributes from a single image while maintaining a photorealistic reconstruction of the subject's likeness or identity. Still, current methods for portrait image animation are typically based on 2D warping operations or manipulations of a 2D generative adversarial network (GAN) and lack explicit mechanisms to enforce multi-view consistency. Thus these methods may significantly alter the identity of the subject, especially when the viewpoint relative to the camera is changed. In this work, we leverage newly developed 3D GANs, which allow explicit control over the pose of the image subject with multi-view consistency. We propose a supervision strategy to flexibly manipulate expressions with 3D morphable models, and we show that the proposed method also supports editing appearance attributes, such as age or hairstyle, by interpolating within the latent space of the GAN. The proposed technique for portrait image animation outperforms previous methods in terms of image quality, identity preservation, and pose transfer while also supporting attribute editing.
Creative image animations are attractive in e-commerce applications, where motion transfer is one of the import ways to generate animations from static images. However, existing methods rarely transfer motion to objects other than human body or human face, and even fewer apply motion transfer in practical scenarios. In this work, we apply motion transfer on the Taobao product images in real e-commerce scenario to generate creative animations, which are more attractive than static images and they will bring more benefits. We animate the Taobao products of dolls, copper running horses and toy dinosaurs based on motion transfer method for demonstration.
Motion transfer is the task of synthesizing future video frames of a single source image according to the motion from a given driving video. This task is challenging due to the complexity of motion representation and the unknown relations between the driving video and the source image. Despite this difficulty, this problem attracted great interests from researches at the recent years, with gradual improvements. The problem can be thought as decoupling of motion and appearance, which is often solved by extracting the motion from keypoint movement. We chose to tackle the generic, unsupervised setting, where we need to apply animation to any arbitrary object, without any domain specific model for the structure of the input. In this work, we extract the structure from a keypoint heatmap, without an explicit motion representation. Then, the structures from the image and the video are extracted to warp the image according to the video, by a deep generator.
Recent advances in machine learning have created increasing interest in solving visual computing problems using a class of coordinate-based neural networks that parametrize physical properties of scenes or objects across space and time. These methods, which we call neural fields, have seen successful application in the synthesis of 3D shapes and image, animation of human bodies, 3D reconstruction, and pose estimation. However, due to rapid progress in a short time, many papers exist but a comprehensive review and formulation of the problem has not yet emerged. In this report, we address this limitation by providing context, mathematical grounding, and an extensive review of literature on neural fields. This report covers research along two dimensions. In Part I, we focus on techniques in neural fields by identifying common components of neural field methods, including different representations, architectures, forward mapping, and generalization methods. In Part II, we focus on applications of neural fields to different problems in visual computing, and beyond (e.g., robotics, audio). Our review shows the breadth of topics already covered in visual computing, both historically and in current incarnations, demonstrating the improved quality, flexibility, and capability brought by neural fields methods. Finally, we present a companion website that contributes a living version of this review that can be continually updated by the community.
Image animation is the task of transferring the motion of a driving video to a given object in a source image. While great progress has recently been made in unsupervised motion transfer, requiring no labeled data or domain priors, many current unsupervised approaches still struggle to capture the motion deformations when large motion/view discrepancies occur between the source and driving domains. Under such conditions, there is simply not enough information to capture the motion field properly. We introduce DiME (Differential Motion Evolution), an end-to-end unsupervised motion transfer framework integrating differential refinement for motion estimation. Key findings are twofold: (1) by capturing the motion transfer with an ordinary differential equation (ODE), it helps to regularize the motion field, and (2) by utilizing the source image itself, we are able to inpaint occluded/missing regions arising from large motion changes. Additionally, we also propose a natural extension to the ODE idea, which is that DiME can easily leverage multiple different views of the source object whenever they are available by modeling an ODE per view. Extensive experiments across 9 benchmarks show DiME outperforms the state-of-the-arts by a significant margin and generalizes much better to unseen objects.
Face image animation from a single image has achieved remarkable progress. However, it remains challenging when only sparse landmarks are available as the driving signal. Given a source face image and a sequence of sparse face landmarks, our goal is to generate a video of the face imitating the motion of landmarks. We develop an efficient and effective method for motion transfer from sparse landmarks to the face image. We then combine global and local motion estimation in a unified model to faithfully transfer the motion. The model can learn to segment the moving foreground from the background and generate not only global motion, such as rotation and translation of the face, but also subtle local motion such as the gaze change. We further improve face landmark detection on videos. With temporally better aligned landmark sequences for training, our method can generate temporally coherent videos with higher visual quality. Experiments suggest we achieve results comparable to the state-of-the-art image driven method on the same identity testing and better results on cross identity testing.
The DeepFakes, which are the facial manipulation techniques, is the emerging threat to digital society. Various DeepFake detection methods and datasets are proposed for detecting such data, especially for face-swapping. However, recent researches less consider facial animation, which is also important in the DeepFake attack side. It tries to animate a face image with actions provided by a driving video, which also leads to a concern about the security of recent payment systems that reply on liveness detection to authenticate real users via recognising a sequence of user facial actions. However, our experiments show that the existed datasets are not sufficient to develop reliable detection methods. While the current liveness detector cannot defend such videos as the attack. As a response, we propose a new human face animation dataset, called DeepFake MNIST+, generated by a SOTA image animation generator. It includes 10,000 facial animation videos in ten different actions, which can spoof the recent liveness detectors. A baseline detection method and a comprehensive analysis of the method is also included in this paper. In addition, we analyze the proposed dataset's properties and reveal the difficulty and importance of detecting animation datasets under different types of motion and compression quality.
Image reenactment is a task where the target object in the source image imitates the motion represented in the driving image. One of the most common reenactment tasks is face image animation. The major challenge in the current face reenactment approaches is to distinguish between facial motion and identity. For this reason, the previous models struggle to produce high-quality animations if the driving and source identities are different (cross-person reenactment). We propose a new (face) reenactment model that learns shape-independent motion features in a self-supervised setup. The motion is represented using a set of paired feature points extracted from the source and driving images simultaneously. The model is generalised to multiple reenactment tasks including faces and non-face objects using only a single source image. The extensive experiments show that the model faithfully transfers the driving motion to the source while retaining the source identity intact.
Image animation generates a video of a source image following the motion of a driving video. State-of-the-art self-supervised image animation approaches warp the source image according to the motion of the driving video and recover the warping artifacts by inpainting. These approaches mostly use vanilla convolution for inpainting, and vanilla convolution does not distinguish between valid and invalid pixels. As a result, visual artifacts are still noticeable after inpainting. CutMix is a state-of-the-art regularization strategy that cuts and mixes patches of images and is widely studied in different computer vision tasks. Among the remaining computer vision tasks, warp-based image animation is one of the fields that the effects of CutMix have yet to be studied. This paper first presents a preliminary study on the effects of CutMix on warp-based image animation. We observed in our study that CutMix helps improve only pixel values, but disturbs the spatial relationships between pixels. Based on such observation, we propose PriorityCut, a novel augmentation approach that uses the top-k percent occluded pixels of the foreground to regularize warp-based image animation. By leveraging the domain knowledge in warp-based image animation, PriorityCut significantly reduces the warping artifacts in state-of-the-art warp-based image animation models on diverse datasets.
In this work we propose a novel deep learning approach for ultra-low bitrate video compression for video conferencing applications. To address the shortcomings of current video compression paradigms when the available bandwidth is extremely limited, we adopt a model-based approach that employs deep neural networks to encode motion information as keypoint displacement and reconstruct the video signal at the decoder side. The overall system is trained in an end-to-end fashion minimizing a reconstruction error on the encoder output. Objective and subjective quality evaluation experiments demonstrate that the proposed approach provides an average bitrate reduction for the same visual quality of more than 80% compared to HEVC.