Audio Generation

Current audio-visual separation methods share a standard architecture design where an audio encoder-decoder network is fused with visual encoding features at the encoder bottleneck. This design confounds the learning of multi-modal feature encoding with robust sound decoding for audio separation. To generalize to a new instrument, one must fine-tune the entire visual and audio network for all musical instruments. We re-formulate the visual-sound separation task and propose Instruments as Queries (iQuery) with a flexible query expansion mechanism. Our approach ensures cross-modal consistency and cross-instrument disentanglement. We utilize "visually named" queries to initiate the learning of audio queries and use cross-modal attention to remove potential sound source interference at the estimated waveforms. To generalize to a new instrument or event class, drawing inspiration from the text-prompt design, we insert additional queries as audio prompts while freezing the attention mechanism. Experimental results on three benchmarks demonstrate that our iQuery improves audio-visual sound source separation performance. Code is available at https://github.com/JiabenChen/iQuery.

Generating controllable and editable human motion sequences is a key challenge in 3D Avatar generation. It has been labor-intensive to generate and animate human motion for a long time until learning-based approaches have been developed and applied recently. However, these approaches are still task-specific or modality-specific. In this paper, we propose "UDE", the first unified driving engine that enables generating human motion sequences from natural language or audio sequences (see Fig. 1). Specifically, UDE consists of the following key components: 1) a motion quantization module based on VQVAE that represents continuous motion sequence as discrete latent code, 2) a modality-agnostic transformer encoder that learns to map modality-aware driving signals to a joint space, and 3) a unified token transformer (GPT-like) network to predict the quantized latent code index in an auto-regressive manner. 4) a diffusion motion decoder that takes as input the motion tokens and decodes them into motion sequences with high diversity. We evaluate our method on HumanML3D and AIST++ benchmarks, and the experiment results demonstrate our method achieves state-of-the-art performance.

Animating virtual avatars to make co-speech gestures facilitates various applications in human-machine interaction. The existing methods mainly rely on generative adversarial networks (GANs), which typically suffer from notorious mode collapse and unstable training, thus making it difficult to learn accurate audio-gesture joint distributions. In this work, we propose a novel diffusion-based framework, named Diffusion Co-Speech Gesture (DiffGesture), to effectively capture the cross-modal audio-to-gesture associations and preserve temporal coherence for high-fidelity audio-driven co-speech gesture generation. Specifically, we first establish the diffusion-conditional generation process on clips of skeleton sequences and audio to enable the whole framework. Then, a novel Diffusion Audio-Gesture Transformer is devised to better attend to the information from multiple modalities and model the long-term temporal dependency. Moreover, to eliminate temporal inconsistency, we propose an effective Diffusion Gesture Stabilizer with an annealed noise sampling strategy. Benefiting from the architectural advantages of diffusion models, we further incorporate implicit classifier-free guidance to trade off between diversity and gesture quality. Extensive experiments demonstrate that DiffGesture achieves state-of-the-art performance, which renders coherent gestures with better mode coverage and stronger audio correlations. Code is available at https://github.com/Advocate99/DiffGesture.

How does audio describe the world around us? In this paper, we propose a method for generating an image of a scene from sound. Our method addresses the challenges of dealing with the large gaps that often exist between sight and sound. We design a model that works by scheduling the learning procedure of each model component to associate audio-visual modalities despite their information gaps. The key idea is to enrich the audio features with visual information by learning to align audio to visual latent space. We translate the input audio to visual features, then use a pre-trained generator to produce an image. To further improve the quality of our generated images, we use sound source localization to select the audio-visual pairs that have strong cross-modal correlations. We obtain substantially better results on the VEGAS and VGGSound datasets than prior approaches. We also show that we can control our model's predictions by applying simple manipulations to the input waveform, or to the latent space.

Talking face generation, also known as speech-to-lip generation, reconstructs facial motions concerning lips given coherent speech input. The previous studies revealed the importance of lip-speech synchronization and visual quality. Despite much progress, they hardly focus on the content of lip movements i.e., the visual intelligibility of the spoken words, which is an important aspect of generation quality. To address the problem, we propose using a lip-reading expert to improve the intelligibility of the generated lip regions by penalizing the incorrect generation results. Moreover, to compensate for data scarcity, we train the lip-reading expert in an audio-visual self-supervised manner. With a lip-reading expert, we propose a novel contrastive learning to enhance lip-speech synchronization, and a transformer to encode audio synchronically with video, while considering global temporal dependency of audio. For evaluation, we propose a new strategy with two different lip-reading experts to measure intelligibility of the generated videos. Rigorous experiments show that our proposal is superior to other State-of-the-art (SOTA) methods, such as Wav2Lip, in reading intelligibility i.e., over 38% Word Error Rate (WER) on LRS2 dataset and 27.8% accuracy on LRW dataset. We also achieve the SOTA performance in lip-speech synchronization and comparable performances in visual quality.

Generating talking head videos through a face image and a piece of speech audio still contains many challenges. i.e., unnatural head movement, distorted expression, and identity modification. We argue that these issues are mainly caused by 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 to synthesize the final video. We conducted extensive experiments to show the superior of our method in terms of motion and video quality.

Audio-driven facial reenactment is a crucial technique that has a range of applications in film-making, virtual avatars and video conferences. Existing works either employ explicit intermediate face representations (e.g., 2D facial landmarks or 3D face models) or implicit ones (e.g., Neural Radiance Fields), thus suffering from the trade-offs between interpretability and expressive power, hence between controllability and quality of the results. In this work, we break these trade-offs with our novel parametric implicit face representation and propose a novel audio-driven facial reenactment framework that is both controllable and can generate high-quality talking heads. Specifically, our parametric implicit representation parameterizes the implicit representation with interpretable parameters of 3D face models, thereby taking the best of both explicit and implicit methods. In addition, we propose several new techniques to improve the three components of our framework, including i) incorporating contextual information into the audio-to-expression parameters encoding; ii) using conditional image synthesis to parameterize the implicit representation and implementing it with an innovative tri-plane structure for efficient learning; iii) formulating facial reenactment as a conditional image inpainting problem and proposing a novel data augmentation technique to improve model generalizability. Extensive experiments demonstrate that our method can generate more realistic results than previous methods with greater fidelity to the identities and talking styles of speakers.

Music-driven choreography is a challenging problem with a wide variety of industrial applications. Recently, many methods have been proposed to synthesize dance motions from music for a single dancer. However, generating dance motion for a group remains an open problem. In this paper, we present AIOZ-GDANCE, a new largescale dataset for music-driven group dance generation. Unlike existing datasets that only support single dance, our new dataset contains group dance videos, hence supporting the study of group choreography. We propose a semiautonomous labeling method with humans in the loop to obtain the 3D ground truth for our dataset. The proposed dataset consists of 16.7 hours of paired music and 3D motion from in-the-wild videos, covering 7 dance styles and 16 music genres. We show that naively applying single dance generation technique to creating group dance motion may lead to unsatisfactory results, such as inconsistent movements and collisions between dancers. Based on our new dataset, we propose a new method that takes an input music sequence and a set of 3D positions of dancers to efficiently produce multiple group-coherent choreographies. We propose new evaluation metrics for measuring group dance quality and perform intensive experiments to demonstrate the effectiveness of our method. Our project facilitates future research on group dance generation and is available at https://aioz-ai.github.io/AIOZ-GDANCE/.

We propose the first joint audio-video generation framework that brings engaging watching and listening experiences simultaneously, towards high-quality realistic videos. To generate joint audio-video pairs, we propose a novel Multi-Modal Diffusion model (i.e., MM-Diffusion), with two-coupled denoising autoencoders. In contrast to existing single-modal diffusion models, MM-Diffusion consists of a sequential multi-modal U-Net for a joint denoising process by design. Two subnets for audio and video learn to gradually generate aligned audio-video pairs from Gaussian noises. To ensure semantic consistency across modalities, we propose a novel random-shift based attention block bridging over the two subnets, which enables efficient cross-modal alignment, and thus reinforces the audio-video fidelity for each other. Extensive experiments show superior results in unconditional audio-video generation, and zero-shot conditional tasks (e.g., video-to-audio). In particular, we achieve the best FVD and FAD on Landscape and AIST++ dancing datasets. Turing tests of 10k votes further demonstrate dominant preferences for our model.

Generating a talking face video from the input audio sequence is a practical yet challenging task. Most existing methods either fail to capture fine facial details or need to train a specific model for each identity. We argue that a codebook pre-learned on high-quality face images can serve as a useful prior that facilitates high-fidelity and generalizable talking head synthesis. Thanks to the strong capability of the codebook in representing face textures, we simplify the talking face generation task as finding proper lip-codes to characterize the variation of lips during a portrait talking. To this end, we propose LipFormer, a transformer-based framework, to model the audio-visual coherence and predict the lip-codes sequence based on the input audio features. We further introduce an adaptive face warping module, which helps warp the reference face to the target pose in the feature space, to alleviate the difficulty of lip-code prediction under different poses. By this means, LipFormer can make better use of the pre-learned priors in images and is robust to posture change. Extensive experiments show that LipFormer can produce more realistic talking face videos compared to previous methods and faithfully generalize to unseen identities.

Generating talking face videos from audio attracts lots of research interest. A few person-specific methods can generate vivid videos but require the target speaker's videos for training or fine-tuning. Existing person-generic methods have difficulty in generating realistic and lip-synced videos while preserving identity information. To tackle this problem, we propose a two-stage framework consisting of audio-to-landmark generation and landmark-to-video rendering procedures. First, we devise a novel Transformer-based landmark generator to infer lip and jaw landmarks from the audio. Prior landmark characteristics of the speaker's face are employed to make the generated landmarks coincide with the facial outline of the speaker. Then, a video rendering model is built to translate the generated landmarks into face images. During this stage, prior appearance information is extracted from the lower-half occluded target face and static reference images, which helps generate realistic and identity-preserving visual content. For effectively exploring the prior information of static reference images, we align static reference images with the target face's pose and expression based on motion fields. Moreover, auditory features are reused to guarantee that the generated face images are well synchronized with the audio. Extensive experiments demonstrate that our method can produce more realistic, lip-synced, and identity-preserving videos than existing person-generic talking face generation methods.

Recently, emotional talking face generation has received considerable attention. However, existing methods only adopt one-hot coding, image, or audio as emotion conditions, thus lacking flexible control in practical applications and failing to handle unseen emotion styles due to limited semantics. They either ignore the one-shot setting or the quality of generated faces. In this paper, we propose a more flexible and generalized framework. Specifically, we supplement the emotion style in text prompts and use an Aligned Multi-modal Emotion encoder to embed the text, image, and audio emotion modality into a unified space, which inherits rich semantic prior from CLIP. Consequently, effective multi-modal emotion space learning helps our method support arbitrary emotion modality during testing and could generalize to unseen emotion styles. Besides, an Emotion-aware Audio-to-3DMM Convertor is proposed to connect the emotion condition and the audio sequence to structural representation. A followed style-based High-fidelity Emotional Face generator is designed to generate arbitrary high-resolution realistic identities. Our texture generator hierarchically learns flow fields and animated faces in a residual manner. Extensive experiments demonstrate the flexibility and generalization of our method in emotion control and the effectiveness of high-quality face synthesis.

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

The sound effects that designers add to videos are designed to convey a particular artistic effect and, thus, may be quite different from a scene's true sound. Inspired by the challenges of creating a soundtrack for a video that differs from its true sound, but that nonetheless matches the actions occurring on screen, we propose the problem of conditional Foley. We present the following contributions to address this problem. First, we propose a pretext task for training our model to predict sound for an input video clip using a conditional audio-visual clip sampled from another time within the same source video. Second, we propose a model for generating a soundtrack for a silent input video, given a user-supplied example that specifies what the video should "sound like". We show through human studies and automated evaluation metrics that our model successfully generates sound from video, while varying its output according to the content of a supplied example.

Incorporating the audio stream enables Video Saliency Prediction (VSP) to imitate the selective attention mechanism of human brain. By focusing on the benefits of joint auditory and visual information, most VSP methods are capable of exploiting semantic correlation between vision and audio modalities but ignoring the negative effects due to the temporal inconsistency of audio-visual intrinsics. Inspired by the biological inconsistency-correction within multi-sensory information, in this study, a consistency-aware audio-visual saliency prediction network (CASP-Net) is proposed, which takes a comprehensive consideration of the audio-visual semantic interaction and consistent perception. In addition a two-stream encoder for elegant association between video frames and corresponding sound source, a novel consistency-aware predictive coding is also designed to improve the consistency within audio and visual representations iteratively. To further aggregate the multi-scale audio-visual information, a saliency decoder is introduced for the final saliency map generation. Substantial experiments demonstrate that the proposed CASP-Net outperforms the other state-of-the-art methods on six challenging audio-visual eye-tracking datasets. For a demo of our system please see https://woshihaozhu.github.io/CASP-Net/.

Sound source localization is a typical and challenging task that predicts the location of sound sources in a video. Previous single-source methods mainly used the audio-visual association as clues to localize sounding objects in each frame. Due to the mixed property of multiple sound sources in the original space, there exist rare multi-source approaches to localizing multiple sources simultaneously, except for one recent work using a contrastive random walk in the graph with images and separated sound as nodes. Despite their promising performance, they can only handle a fixed number of sources, and they cannot learn compact class-aware representations for individual sources. To alleviate this shortcoming, in this paper, we propose a novel audio-visual grouping network, namely AVGN, that can directly learn category-wise semantic features for each source from the input audio mixture and frame to localize multiple sources simultaneously. Specifically, our AVGN leverages learnable audio-visual class tokens to aggregate class-aware source features. Then, the aggregated semantic features for each source can be used as guidance to localize the corresponding visual regions. Compared to existing multi-source methods, our new framework can localize a flexible number of sources and disentangle category-aware audio-visual representations for individual sound sources. We conduct extensive experiments on MUSIC, VGGSound-Instruments, and VGG-Sound Sources benchmarks. The results demonstrate that the proposed AVGN can achieve state-of-the-art sounding object localization performance on both single-source and multi-source scenarios.