In this paper, we propose a novel framework for music-driven dance motion synthesis with controllable key pose constraint. In contrast to methods that generate dance motion sequences only based on music without any other controllable conditions, this work targets on synthesizing high-quality dance motion driven by music as well as customized poses performed by users. Our model involves two single-modal transformer encoders for music and motion representations and a cross-modal transformer decoder for dance motions generation. The cross-modal transformer decoder achieves the capability of synthesizing smooth dance motion sequences, which keeps a consistency with key poses at corresponding positions, by introducing the local neighbor position embedding. Such mechanism makes the decoder more sensitive to key poses and the corresponding positions. Our dance synthesis model achieves satisfactory performance both on quantitative and qualitative evaluations with extensive experiments, which demonstrates the effectiveness of our proposed method.
Although audio-visual representation has been proved to be applicable in many downstream tasks, the representation of dancing videos, which is more specific and always accompanied by music with complex auditory contents, remains challenging and uninvestigated. Considering the intrinsic alignment between the cadent movement of dancer and music rhythm, we introduce MuDaR, a novel Music-Dance Representation learning framework to perform the synchronization of music and dance rhythms both in explicit and implicit ways. Specifically, we derive the dance rhythms based on visual appearance and motion cues inspired by the music rhythm analysis. Then the visual rhythms are temporally aligned with the music counterparts, which are extracted by the amplitude of sound intensity. Meanwhile, we exploit the implicit coherence of rhythms implied in audio and visual streams by contrastive learning. The model learns the joint embedding by predicting the temporal consistency between audio-visual pairs. The music-dance representation, together with the capability of detecting audio and visual rhythms, can further be applied to three downstream tasks: (a) dance classification, (b) music-dance retrieval, and (c) music-dance retargeting. Extensive experiments demonstrate that our proposed framework outperforms other self-supervised methods by a large margin.
Despite existing pioneering works on sign language translation (SLT), there is a non-trivial obstacle, i.e., the limited quantity of parallel sign-text data. To tackle this parallel data bottleneck, we propose a sign back-translation (SignBT) approach, which incorporates massive spoken language texts into SLT training. With a text-to-gloss translation model, we first back-translate the monolingual text to its gloss sequence. Then, the paired sign sequence is generated by splicing pieces from an estimated gloss-to-sign bank at the feature level. Finally, the synthetic parallel data serves as a strong supplement for the end-to-end training of the encoder-decoder SLT framework. To promote the SLT research, we further contribute CSL-Daily, a large-scale continuous SLT dataset. It provides both spoken language translations and gloss-level annotations. The topic revolves around people's daily lives (e.g., travel, shopping, medical care), the most likely SLT application scenario. Extensive experimental results and analysis of SLT methods are reported on CSL-Daily. With the proposed sign back-translation method, we obtain a substantial improvement over previous state-of-the-art SLT methods.
Continuous sign language recognition (SLR) deals with unaligned video-text pair and uses the word error rate (WER), i.e., edit distance, as the main evaluation metric. Since it is not differentiable, we usually instead optimize the learning model with the connectionist temporal classification (CTC) objective loss, which maximizes the posterior probability over the sequential alignment. Due to the optimization gap, the predicted sentence with the highest decoding probability may not be the best choice under the WER metric. To tackle this issue, we propose a novel architecture with cross modality augmentation. Specifically, we first augment cross-modal data by simulating the calculation procedure of WER, i.e., substitution, deletion and insertion on both text label and its corresponding video. With these real and generated pseudo video-text pairs, we propose multiple loss terms to minimize the cross modality distance between the video and ground truth label, and make the network distinguish the difference between real and pseudo modalities. The proposed framework can be easily extended to other existing CTC based continuous SLR architectures. Extensive experiments on two continuous SLR benchmarks, i.e., RWTH-PHOENIX-Weather and CSL, validate the effectiveness of our proposed method.
Sign language recognition (SLR) is a challenging problem, involving complex manual features, i.e., hand gestures, and fine-grained non-manual features (NMFs), i.e., facial expression, mouth shapes, etc. Although manual features are dominant, non-manual features also play an important role in the expression of a sign word. Specifically, many sign words convey different meanings due to non-manual features, even though they share the same hand gestures. This ambiguity introduces great challenges in the recognition of sign words. To tackle the above issue, we propose a simple yet effective architecture called Global-local Enhancement Network (GLE-Net), including two mutually promoted streams towards different crucial aspects of SLR. Of the two streams, one captures the global contextual relationship, while the other models the discriminative fine-grained cues. Moreover, due to the lack of datasets explicitly focusing on this kind of features, we introduce the first non-manual features-aware isolated Chinese sign language dataset (NMFs-CSL) with a total vocabulary size of 1,067 sign words in daily life. Extensive experiments on NMFs-CSL and SLR500 datasets demonstrate the effectiveness of our method.