We introduce a novel approach to modeling the dynamics of human facial motion induced by the action of speech for the purpose of synthesis. We represent the trajectories of a number of salient features on the human face as the output of a dynamical system made up of two subsystems, one driven by the deterministic speech input, and a second driven by an unknown stochastic input. Inference of the model (learning) is performed automatically and involves an extension of independent component analysis to time-depentend data. Using a shapetexture decompositional representation for the face, we generate facial image sequences reconstructed from synthesized feature point positions.

We introduce a novel approach to modeling the dynamics of human facial motion induced by the action of speech for the purpose of synthesis. We represent the trajectories of a number of salient features on the human face as the output of a dynamical system made up of two subsystems, one driven by the deterministic speech input, and a second driven by an unknown stochastic input. Inference of the model (learning) is performed automatically and involves an extension of independent component analysis to time-depentend data. Using a shape-texture decompositional representation for the face, we generate facial image sequences reconstructed from synthesized feature point positions.

Dynamic textures are sequences of images of moving scenes that exhibit certain stationarity properties in time; these include sea-waves, smoke, foliage, whirlwind etc. We present a novel characterization of dynamic textures that poses the problems of modeling, learning, recognizing and synthesizing dynamic textures on a firm analytical footing. We borrow tools from system identification to capture the “essence” of dynamic textures; we do so by learning (i.e. identifying) models that are optimal in the sense of maximum likelihood or minimum prediction error variance. For the special case of second-order stationary processes, we identify the model sub-optimally in closed-form. Once learned, a model has predictive power and can be used for extrapolating synthetic sequences to infinite length with negligible computa- tional cost. We present experimental evidence that, within our framework, even low-dimensional models can capture very complex visual phenomena.