Daily Papers

Voice directors often iteratively refine voice actors' performances by providing feedback to achieve the desired outcome. While this iterative feedback-based refinement process is important in actual recordings, it has been overlooked in text-to-speech synthesis (TTS). As a result, fine-grained style refinement after the initial synthesis is not possible, even though the synthesized speech often deviates from the user's intended style. To address this issue, we propose a TTS method with multi-step interaction that allows users to intuitively and rapidly refine synthesized speech. Our approach models the interaction between the TTS model and its user to emulate the relationship between voice actors and voice directors. Experiments show that the proposed model with its corresponding dataset enables iterative style refinements in accordance with users' directions, thus demonstrating its multi-interaction capability. Sample audios are available: https://ntt-hilab-gensp.github.io/ssw13multiinteractiontts/

The advancement of text-to-speech and audio generation models necessitates robust benchmarks for evaluating the emotional understanding capabilities of AI systems. Current speech emotion recognition (SER) datasets often exhibit limitations in emotional granularity, privacy concerns, or reliance on acted portrayals. This paper introduces EmoNet-Voice, a new resource for speech emotion detection, which includes EmoNet-Voice Big, a large-scale pre-training dataset (featuring over 4,500 hours of speech across 11 voices, 40 emotions, and 4 languages), and EmoNet-Voice Bench, a novel benchmark dataset with human expert annotations. EmoNet-Voice is designed to evaluate SER models on a fine-grained spectrum of 40 emotion categories with different levels of intensities. Leveraging state-of-the-art voice generation, we curated synthetic audio snippets simulating actors portraying scenes designed to evoke specific emotions. Crucially, we conducted rigorous validation by psychology experts who assigned perceived intensity labels. This synthetic, privacy-preserving approach allows for the inclusion of sensitive emotional states often absent in existing datasets. Lastly, we introduce Empathic Insight Voice models that set a new standard in speech emotion recognition with high agreement with human experts. Our evaluations across the current model landscape exhibit valuable findings, such as high-arousal emotions like anger being much easier to detect than low-arousal states like concentration.

In this paper, we present a database of emotional speech intended to be open-sourced and used for synthesis and generation purpose. It contains data for male and female actors in English and a male actor in French. The database covers 5 emotion classes so it could be suitable to build synthesis and voice transformation systems with the potential to control the emotional dimension in a continuous way. We show the data's efficiency by building a simple MLP system converting neutral to angry speech style and evaluate it via a CMOS perception test. Even though the system is a very simple one, the test show the efficiency of the data which is promising for future work.

Movie dubbing is the task of synthesizing speech from scripts conditioned on video scenes, requiring accurate lip sync, faithful timbre transfer, and proper modeling of character identity and emotion. However, existing methods face two major limitations: (1) high-quality multimodal dubbing datasets are limited in scale, suffer from high word error rates, contain sparse annotations, rely on costly manual labeling, and are restricted to monologue scenes, all of which hinder effective model training; (2) existing dubbing models rely solely on the lip region to learn audio-visual alignment, which limits their applicability to complex live-action cinematic scenes, and exhibit suboptimal performance in lip sync, speech quality, and emotional expressiveness. To address these issues, we propose FunCineForge, which comprises an end-to-end production pipeline for large-scale dubbing datasets and an MLLM-based dubbing model designed for diverse cinematic scenes. Using the pipeline, we construct the first Chinese television dubbing dataset with rich annotations, and demonstrate the high quality of these data. Experiments across monologue, narration, dialogue, and multi-speaker scenes show that our dubbing model consistently outperforms SOTA methods in audio quality, lip sync, timbre transfer, and instruction following. Code and demos are available at https://anonymous.4open.science/w/FunCineForge.

Audio Description (AD) is the task of generating descriptions of visual content, at suitable time intervals, for the benefit of visually impaired audiences. For movies, this presents notable challenges -- AD must occur only during existing pauses in dialogue, should refer to characters by name, and ought to aid understanding of the storyline as a whole. To this end, we develop a new model for automatically generating movie AD, given CLIP visual features of the frames, the cast list, and the temporal locations of the speech; addressing all three of the 'who', 'when', and 'what' questions: (i) who -- we introduce a character bank consisting of the character's name, the actor that played the part, and a CLIP feature of their face, for the principal cast of each movie, and demonstrate how this can be used to improve naming in the generated AD; (ii) when -- we investigate several models for determining whether an AD should be generated for a time interval or not, based on the visual content of the interval and its neighbours; and (iii) what -- we implement a new vision-language model for this task, that can ingest the proposals from the character bank, whilst conditioning on the visual features using cross-attention, and demonstrate how this improves over previous architectures for AD text generation in an apples-to-apples comparison.

Visual dubbing is the process of generating lip motions of an actor in a video to synchronise with given audio. Recent advances have made progress towards this goal but have not been able to produce an approach suitable for mass adoption. Existing methods are split into either person-generic or person-specific models. Person-specific models produce results almost indistinguishable from reality but rely on long training times using large single-person datasets. Person-generic works have allowed for the visual dubbing of any video to any audio without further training, but these fail to capture the person-specific nuances and often suffer from visual artefacts. Our method, based on data-efficient neural rendering priors, overcomes the limitations of existing approaches. Our pipeline consists of learning a deferred neural rendering prior network and actor-specific adaptation using neural textures. This method allows for high-quality visual dubbing with just a few seconds of data, that enables video dubbing for any actor - from A-list celebrities to background actors. We show that we achieve state-of-the-art in terms of visual quality and recognisability both quantitatively, and qualitatively through two user studies. Our prior learning and adaptation method generalises to limited data better and is more scalable than existing person-specific models. Our experiments on real-world, limited data scenarios find that our model is preferred over all others. The project page may be found at https://dubbingforeveryone.github.io/

Current state-of-the-art (SOTA) methods for audio-driven character animation demonstrate promising performance for scenarios primarily involving speech and singing. However, they often fall short in more complex film and television productions, which demand sophisticated elements such as nuanced character interactions, realistic body movements, and dynamic camera work. To address this long-standing challenge of achieving film-level character animation, we propose an audio-driven model, which we refere to as Wan-S2V, built upon Wan. Our model achieves significantly enhanced expressiveness and fidelity in cinematic contexts compared to existing approaches. We conducted extensive experiments, benchmarking our method against cutting-edge models such as Hunyuan-Avatar and Omnihuman. The experimental results consistently demonstrate that our approach significantly outperforms these existing solutions. Additionally, we explore the versatility of our method through its applications in long-form video generation and precise video lip-sync editing.

We investigate how humans perform the task of dubbing video content from one language into another, leveraging a novel corpus of 319.57 hours of video from 54 professionally produced titles. This is the first such large-scale study we are aware of. The results challenge a number of assumptions commonly made in both qualitative literature on human dubbing and machine-learning literature on automatic dubbing, arguing for the importance of vocal naturalness and translation quality over commonly emphasized isometric (character length) and lip-sync constraints, and for a more qualified view of the importance of isochronic (timing) constraints. We also find substantial influence of the source-side audio on human dubs through channels other than the words of the translation, pointing to the need for research on ways to preserve speech characteristics, as well as semantic transfer such as emphasis/emotion, in automatic dubbing systems.

The growing capabilities of large language models and multimodal systems have spurred interest in voice-first AI assistants, yet existing benchmarks are inadequate for evaluating the full range of these systems' capabilities. We introduce VoiceAssistant-Eval, a comprehensive benchmark designed to assess AI assistants across listening, speaking, and viewing. VoiceAssistant-Eval comprises 10,497 curated examples spanning 13 task categories. These tasks include natural sounds, music, and spoken dialogue for listening; multi-turn dialogue, role-play imitation, and various scenarios for speaking; and highly heterogeneous images for viewing. To demonstrate its utility, we evaluate 21 open-source models and GPT-4o-Audio, measuring the quality of the response content and speech, as well as their consistency. The results reveal three key findings: (1) proprietary models do not universally outperform open-source models; (2) most models excel at speaking tasks but lag in audio understanding; and (3) well-designed smaller models can rival much larger ones. Notably, the mid-sized Step-Audio-2-mini (7B) achieves more than double the listening accuracy of LLaMA-Omni2-32B-Bilingual. However, challenges remain: multimodal (audio plus visual) input and role-play voice imitation tasks are difficult for current models, and significant gaps persist in robustness and safety alignment. VoiceAssistant-Eval identifies these gaps and establishes a rigorous framework for evaluating and guiding the development of next-generation AI assistants. Code and data will be released at https://mathllm.github.io/VoiceAssistantEval/ .

Movie Audio Description (AD) aims to narrate visual content during dialogue-free segments, particularly benefiting blind and visually impaired (BVI) audiences. Compared with general video captioning, AD demands plot-relevant narration with explicit character name references, posing unique challenges in movie understanding.To identify active main characters and focus on storyline-relevant regions, we propose FocusedAD, a novel framework that delivers character-centric movie audio descriptions. It includes: (i) a Character Perception Module(CPM) for tracking character regions and linking them to names; (ii) a Dynamic Prior Module(DPM) that injects contextual cues from prior ADs and subtitles via learnable soft prompts; and (iii) a Focused Caption Module(FCM) that generates narrations enriched with plot-relevant details and named characters. To overcome limitations in character identification, we also introduce an automated pipeline for building character query banks. FocusedAD achieves state-of-the-art performance on multiple benchmarks, including strong zero-shot results on MAD-eval-Named and our newly proposed Cinepile-AD dataset. Code and data will be released at https://github.com/Thorin215/FocusedAD .

In this paper, we experimented with the SpeechT5 model pre-trained on large-scale datasets. We pre-trained the foundation model from scratch and fine-tuned it on a large-scale robust multi-speaker text-to-speech (TTS) task. We tested the model capabilities in a zero- and few-shot scenario. Based on two listening tests, we evaluated the synthetic audio quality and the similarity of how synthetic voices resemble real voices. Our results showed that the SpeechT5 model can generate a synthetic voice for any speaker using only one minute of the target speaker's data. We successfully demonstrated the high quality and similarity of our synthetic voices on publicly known Czech politicians and celebrities.

This research introduces an innovative AI-driven multi-agent framework specifically designed for creating immersive audiobooks. Leveraging neural text-to-speech synthesis with FastSpeech 2 and VALL-E for expressive narration and character-specific voices, the framework employs advanced language models to automatically interpret textual narratives and generate realistic spatial audio effects. These sound effects are dynamically synchronized with the storyline through sophisticated temporal integration methods, including Dynamic Time Warping (DTW) and recurrent neural networks (RNNs). Diffusion-based generative models combined with higher-order ambisonics (HOA) and scattering delay networks (SDN) enable highly realistic 3D soundscapes, substantially enhancing listener immersion and narrative realism. This technology significantly advances audiobook applications, providing richer experiences for educational content, storytelling platforms, and accessibility solutions for visually impaired audiences. Future work will address personalization, ethical management of synthesized voices, and integration with multi-sensory platforms.

Speech-driven 3D facial animation has been widely explored, with applications in gaming, character animation, virtual reality, and telepresence systems. State-of-the-art methods deform the face topology of the target actor to sync the input audio without considering the identity-specific speaking style and facial idiosyncrasies of the target actor, thus, resulting in unrealistic and inaccurate lip movements. To address this, we present Imitator, a speech-driven facial expression synthesis method, which learns identity-specific details from a short input video and produces novel facial expressions matching the identity-specific speaking style and facial idiosyncrasies of the target actor. Specifically, we train a style-agnostic transformer on a large facial expression dataset which we use as a prior for audio-driven facial expressions. Based on this prior, we optimize for identity-specific speaking style based on a short reference video. To train the prior, we introduce a novel loss function based on detected bilabial consonants to ensure plausible lip closures and consequently improve the realism of the generated expressions. Through detailed experiments and a user study, we show that our approach produces temporally coherent facial expressions from input audio while preserving the speaking style of the target actors.

The automatic movie dubbing model generates vivid speech from given scripts, replicating a speaker's timbre from a brief timbre prompt while ensuring lip-sync with the silent video. Existing approaches simulate a simplified workflow where actors dub directly without preparation, overlooking the critical director-actor interaction. In contrast, authentic workflows involve a dynamic collaboration: directors actively engage with actors, guiding them to internalize the context cues, specifically emotion, before performance. To address this issue, we propose a new Retrieve-Augmented Director-Actor Interaction Learning scheme to achieve authentic movie dubbing, termed Authentic-Dubber, which contains three novel mechanisms: (1) We construct a multimodal Reference Footage library to simulate the learning footage provided by directors. Note that we integrate Large Language Models (LLMs) to achieve deep comprehension of emotional representations across multimodal signals. (2) To emulate how actors efficiently and comprehensively internalize director-provided footage during dubbing, we propose an Emotion-Similarity-based Retrieval-Augmentation strategy. This strategy retrieves the most relevant multimodal information that aligns with the target silent video. (3) We develop a Progressive Graph-based speech generation approach that incrementally incorporates the retrieved multimodal emotional knowledge, thereby simulating the actor's final dubbing process. The above mechanisms enable the Authentic-Dubber to faithfully replicate the authentic dubbing workflow, achieving comprehensive improvements in emotional expressiveness. Both subjective and objective evaluations on the V2C Animation benchmark dataset validate the effectiveness. The code and demos are available at https://github.com/AI-S2-Lab/Authentic-Dubber.

Many classical fairy tales, fiction, and screenplays leverage dialogue to advance story plots and establish characters. We present the first study to explore whether machines can understand and generate dialogue in stories, which requires capturing traits of different characters and the relationships between them. To this end, we propose two new tasks including Masked Dialogue Generation and Dialogue Speaker Recognition, i.e., generating missing dialogue turns and predicting speakers for specified dialogue turns, respectively. We build a new dataset DialStory, which consists of 105k Chinese stories with a large amount of dialogue weaved into the plots to support the evaluation. We show the difficulty of the proposed tasks by testing existing models with automatic and manual evaluation on DialStory. Furthermore, we propose to learn explicit character representations to improve performance on these tasks. Extensive experiments and case studies show that our approach can generate more coherent and informative dialogue, and achieve higher speaker recognition accuracy than strong baselines.

Producing synthetic voice, similar to human-like sound, is an emerging novelty of modern interactive media systems. Text-To-Speech (TTS) systems try to generate synthetic and authentic voices via text input. Besides, well known and familiar dubbing, announcing and narrating voices, as valuable possessions of any media organization, can be kept forever by utilizing TTS and Voice Conversion (VC) algorithms . The emergence of deep learning approaches has made such TTS systems more accurate and accessible. To understand TTS systems better, this paper investigates the key components of such systems including text analysis, acoustic modelling and vocoding. The paper then provides details of important state-of-the-art TTS systems based on deep learning. Finally, a comparison is made between recently released systems in term of backbone architecture, type of input and conversion, vocoder used and subjective assessment (MOS). Accordingly, Tacotron 2, Transformer TTS, WaveNet and FastSpeech 1 are among the most successful TTS systems ever released. In the discussion section, some suggestions are made to develop a TTS system with regard to the intended application.

This paper introduces RyanSpeech, a new speech corpus for research on automated text-to-speech (TTS) systems. Publicly available TTS corpora are often noisy, recorded with multiple speakers, or lack quality male speech data. In order to meet the need for a high quality, publicly available male speech corpus within the field of speech recognition, we have designed and created RyanSpeech which contains textual materials from real-world conversational settings. These materials contain over 10 hours of a professional male voice actor's speech recorded at 44.1 kHz. This corpus's design and pipeline make RyanSpeech ideal for developing TTS systems in real-world applications. To provide a baseline for future research, protocols, and benchmarks, we trained 4 state-of-the-art speech models and a vocoder on RyanSpeech. The results show 3.36 in mean opinion scores (MOS) in our best model. We have made both the corpus and trained models for public use.

Recent advancements in video generation have achieved impressive motion realism, yet they often overlook character-driven storytelling, a crucial task for automated film, animation generation. We introduce Talking Characters, a more realistic task to generate talking character animations directly from speech and text. Unlike talking head, Talking Characters aims at generating the full portrait of one or more characters beyond the facial region. In this paper, we propose MoCha, the first of its kind to generate talking characters. To ensure precise synchronization between video and speech, we propose a speech-video window attention mechanism that effectively aligns speech and video tokens. To address the scarcity of large-scale speech-labeled video datasets, we introduce a joint training strategy that leverages both speech-labeled and text-labeled video data, significantly improving generalization across diverse character actions. We also design structured prompt templates with character tags, enabling, for the first time, multi-character conversation with turn-based dialogue-allowing AI-generated characters to engage in context-aware conversations with cinematic coherence. Extensive qualitative and quantitative evaluations, including human preference studies and benchmark comparisons, demonstrate that MoCha sets a new standard for AI-generated cinematic storytelling, achieving superior realism, expressiveness, controllability and generalization.

Recent advancements in generative artificial intelligence have significantly transformed the field of style-captioned text-to-speech synthesis (CapTTS). However, adapting CapTTS to real-world applications remains challenging due to the lack of standardized, comprehensive datasets and limited research on downstream tasks built upon CapTTS. To address these gaps, we introduce CapSpeech, a new benchmark designed for a series of CapTTS-related tasks, including style-captioned text-to-speech synthesis with sound events (CapTTS-SE), accent-captioned TTS (AccCapTTS), emotion-captioned TTS (EmoCapTTS), and text-to-speech synthesis for chat agent (AgentTTS). CapSpeech comprises over 10 million machine-annotated audio-caption pairs and nearly 0.36 million human-annotated audio-caption pairs. In addition, we introduce two new datasets collected and recorded by a professional voice actor and experienced audio engineers, specifically for the AgentTTS and CapTTS-SE tasks. Alongside the datasets, we conduct comprehensive experiments using both autoregressive and non-autoregressive models on CapSpeech. Our results demonstrate high-fidelity and highly intelligible speech synthesis across a diverse range of speaking styles. To the best of our knowledge, CapSpeech is the largest available dataset offering comprehensive annotations for CapTTS-related tasks. The experiments and findings further provide valuable insights into the challenges of developing CapTTS systems.

Interactions with virtual assistants typically start with a trigger phrase followed by a command. In this work, we explore the possibility of making these interactions more natural by eliminating the need for a trigger phrase. Our goal is to determine whether a user addressed the virtual assistant based on signals obtained from the streaming audio recorded by the device microphone. We address this task by combining 1-best hypotheses and decoder signals from an automatic speech recognition system with acoustic representations from an audio encoder as input features to a large language model (LLM). In particular, we are interested in data and resource efficient systems that require only a small amount of training data and can operate in scenarios with only a single frozen LLM available on a device. For this reason, our model is trained on 80k or less examples of multimodal data using a combination of low-rank adaptation and prefix tuning. We compare the proposed system to unimodal baselines and show that the multimodal approach achieves lower equal-error-rates (EERs), while using only a fraction of the training data. We also show that low-dimensional specialized audio representations lead to lower EERs than high-dimensional general audio representations.

Audio-driven one-shot talking face generation methods are usually trained on video resources of various persons. However, their created videos often suffer unnatural mouth shapes and asynchronous lips because those methods struggle to learn a consistent speech style from different speakers. We observe that it would be much easier to learn a consistent speech style from a specific speaker, which leads to authentic mouth movements. Hence, we propose a novel one-shot talking face generation framework by exploring consistent correlations between audio and visual motions from a specific speaker and then transferring audio-driven motion fields to a reference image. Specifically, we develop an Audio-Visual Correlation Transformer (AVCT) that aims to infer talking motions represented by keypoint based dense motion fields from an input audio. In particular, considering audio may come from different identities in deployment, we incorporate phonemes to represent audio signals. In this manner, our AVCT can inherently generalize to audio spoken by other identities. Moreover, as face keypoints are used to represent speakers, AVCT is agnostic against appearances of the training speaker, and thus allows us to manipulate face images of different identities readily. Considering different face shapes lead to different motions, a motion field transfer module is exploited to reduce the audio-driven dense motion field gap between the training identity and the one-shot reference. Once we obtained the dense motion field of the reference image, we employ an image renderer to generate its talking face videos from an audio clip. Thanks to our learned consistent speaking style, our method generates authentic mouth shapes and vivid movements. Extensive experiments demonstrate that our synthesized videos outperform the state-of-the-art in terms of visual quality and lip-sync.

Dubbing is a type of audiovisual translation where dialogues are translated and enacted so that they give the impression that the media is in the target language. It requires a careful alignment of dubbed recordings with the lip movements of performers in order to achieve visual coherence. In this paper, we deal with the specific problem of prosodic phrase synchronization within the framework of machine dubbing. Our methodology exploits the attention mechanism output in neural machine translation to find plausible phrasing for the translated dialogue lines and then uses them to condition their synthesis. Our initial work in this field records comparable speech rate ratio to professional dubbing translation, and improvement in terms of lip-syncing of long dialogue lines.

This work aims to promote Chinese opera research in both musical and speech domains, with a primary focus on overcoming the data limitations. We introduce KunquDB, a relatively large-scale, well-annotated audio-visual dataset comprising 339 speakers and 128 hours of content. Originating from the Kunqu Opera Art Canon (Kunqu yishu dadian), KunquDB is meticulously structured by dialogue lines, providing explicit annotations including character names, speaker names, gender information, vocal manner classifications, and accompanied by preliminary text transcriptions. KunquDB provides a versatile foundation for role-centric acoustic studies and advancements in speech-related research, including Automatic Speaker Verification (ASV). Beyond enriching opera research, this dataset bridges the gap between artistic expression and technological innovation. Pioneering the exploration of ASV in Chinese opera, we construct four test trials considering two distinct vocal manners in opera voices: stage speech (ST) and singing (S). Implementing domain adaptation methods effectively mitigates domain mismatches induced by these vocal manner variations while there is still room for further improvement as a benchmark.

For conversational AI and virtual assistants to communicate with humans in a realistic way, they must exhibit human characteristics such as expression of emotion and personality. Current attempts toward constructing human-like dialogue agents have presented significant difficulties. We propose Human Level Attributes (HLAs) based on tropes as the basis of a method for learning dialogue agents that can imitate the personalities of fictional characters. Tropes are characteristics of fictional personalities that are observed recurrently and determined by viewers' impressions. By combining detailed HLA data with dialogue data for specific characters, we present a dataset, HLA-Chat, that models character profiles and gives dialogue agents the ability to learn characters' language styles through their HLAs. We then introduce a three-component system, ALOHA (which stands for Artificial Learning of Human Attributes), that combines character space mapping, character community detection, and language style retrieval to build a character (or personality) specific language model. Our preliminary experiments demonstrate that two variations of ALOHA, combined with our proposed dataset, can outperform baseline models at identifying the correct dialogue responses of chosen target characters, and are stable regardless of the character's identity, the genre of the show, and the context of the dialogue.

Imagine an interesting multimodal interactive scenario that you can see, hear, and chat with an AI-generated digital character, who is capable of behaving like Sheldon from The Big Bang Theory, as a DEEP copy from appearance to personality. Towards this fantastic multimodal chatting scenario, we propose a novel task, named Deep Personalized Character Creation (DPCC): creating multimodal chat personalized characters from multimodal data such as TV shows. Specifically, given a single- or multi-modality input (text, audio, video), the goal of DPCC is to generate a multi-modality (text, audio, video) response, which should be well-matched the personality of a specific character such as Sheldon, and of high quality as well. To support this novel task, we further collect a character centric multimodal dialogue dataset, named Deep Personalized Character Dataset (DPCD), from TV shows. DPCD contains character-specific multimodal dialogue data of ~10k utterances and ~6 hours of audio/video per character, which is around 10 times larger compared to existing related datasets.On DPCD, we present a baseline method for the DPCC task and create 5 Deep personalized digital Characters (DeepCharacters) from Big Bang TV Shows. We conduct both subjective and objective experiments to evaluate the multimodal response from DeepCharacters in terms of characterization and quality. The results demonstrates that, on our collected DPCD dataset, the proposed baseline can create personalized digital characters for generating multimodal response.Our collected DPCD dataset, the code of data collection and our baseline will be published soon.

Speech-driven 3D facial animation has recently garnered attention due to its cost-effective usability in multimedia production. However, most current advances overlook the intelligibility of lip movements, limiting the realism of facial expressions. In this paper, we introduce a method for speech-driven 3D facial animation to generate accurate lip movements, proposing an audio-visual multimodal perceptual loss. This loss provides guidance to train the speech-driven 3D facial animators to generate plausible lip motions aligned with the spoken transcripts. Furthermore, to incorporate the proposed audio-visual perceptual loss, we devise an audio-visual lip reading expert leveraging its prior knowledge about correlations between speech and lip motions. We validate the effectiveness of our approach through broad experiments, showing noticeable improvements in lip synchronization and lip readability performance. Codes are available at https://3d-talking-head-avguide.github.io/.

Given a script, the challenge in Movie Dubbing (Visual Voice Cloning, V2C) is to generate speech that aligns well with the video in both time and emotion, based on the tone of a reference audio track. Existing state-of-the-art V2C models break the phonemes in the script according to the divisions between video frames, which solves the temporal alignment problem but leads to incomplete phoneme pronunciation and poor identity stability. To address this problem, we propose StyleDubber, which switches dubbing learning from the frame level to phoneme level. It contains three main components: (1) A multimodal style adaptor operating at the phoneme level to learn pronunciation style from the reference audio, and generate intermediate representations informed by the facial emotion presented in the video; (2) An utterance-level style learning module, which guides both the mel-spectrogram decoding and the refining processes from the intermediate embeddings to improve the overall style expression; And (3) a phoneme-guided lip aligner to maintain lip sync. Extensive experiments on two of the primary benchmarks, V2C and Grid, demonstrate the favorable performance of the proposed method as compared to the current state-of-the-art. The source code and trained models will be released to the public.

Some speech recognition tasks, such as automatic speech recognition (ASR), are approaching or have reached human performance in many reported metrics. Yet, they continue to struggle in complex, real-world, situations, such as with distanced speech. Previous challenges have released datasets to address the issue of distanced ASR, however, the focus remains primarily on distance, specifically relying on multi-microphone array systems. Here we present the B(asic) E(motion) R(andom phrase) S(hou)t(s) (BERSt) dataset. The dataset contains almost 4 hours of English speech from 98 actors with varying regional and non-native accents. The data was collected on smartphones in the actors homes and therefore includes at least 98 different acoustic environments. The data also includes 7 different emotion prompts and both shouted and spoken utterances. The smartphones were places in 19 different positions, including obstructions and being in a different room than the actor. This data is publicly available for use and can be used to evaluate a variety of speech recognition tasks, including: ASR, shout detection, and speech emotion recognition (SER). We provide initial benchmarks for ASR and SER tasks, and find that ASR degrades both with an increase in distance and shout level and shows varied performance depending on the intended emotion. Our results show that the BERSt dataset is challenging for both ASR and SER tasks and continued work is needed to improve the robustness of such systems for more accurate real-world use.

A demonstration of a real-time and continuous turn-taking prediction system is presented. The system is based on a voice activity projection (VAP) model, which directly maps dialogue stereo audio to future voice activities. The VAP model includes contrastive predictive coding (CPC) and self-attention transformers, followed by a cross-attention transformer. We examine the effect of the input context audio length and demonstrate that the proposed system can operate in real-time with CPU settings, with minimal performance degradation.

Sound designers and Foley artists usually sonorize a scene, such as from a movie or video game, by manually annotating and sonorizing each action of interest in the video. In our case, the intent is to leave full creative control to sound designers with a tool that allows them to bypass the more repetitive parts of their work, thus being able to focus on the creative aspects of sound production. We achieve this presenting Stable-V2A, a two-stage model consisting of: an RMS-Mapper that estimates an envelope representative of the audio characteristics associated with the input video; and Stable-Foley, a diffusion model based on Stable Audio Open that generates audio semantically and temporally aligned with the target video. Temporal alignment is guaranteed by the use of the envelope as a ControlNet input, while semantic alignment is achieved through the use of sound representations chosen by the designer as cross-attention conditioning of the diffusion process. We train and test our model on Greatest Hits, a dataset commonly used to evaluate V2A models. In addition, to test our model on a case study of interest, we introduce Walking The Maps, a dataset of videos extracted from video games depicting animated characters walking in different locations. Samples and code available on our demo page at https://ispamm.github.io/Stable-V2A.

Language models that are sensitive to external context can more effectively capture the speaking patterns of individuals with specific characteristics or in particular environments. However, obtaining and leveraging such annotations can be challenging. In this work, we show how to leverage rich character and film annotations to personalise language models in a scalable manner. Our best model can reduce perplexity by up to 6.5% compared to a parameter-matched language model. Our approach performs on par with speaker-specific fine-tuning when the fine-tuning data (i.e. past dialogue) for individual speakers is available. On top of that, it also generalises well to a scenario with no such data, relying on combinations of demographic characteristics expressed via metadata. Our findings are consistent across two corpora, one of which is also a contribution of this paper: Cornell-rich contains rich manual annotations for 863 speaking characters from the Cornell Movie Dialog Corpus, including features such as characteristic quotes and character descriptions, along with six automatically extracted metadata features for over 95% of the featured films. Finally, we also present a cost-benefit analysis highlighting which annotations are most cost-effective in reducing perplexity.

Recent advances in diffusion models have significantly improved audio-driven human video generation, surpassing traditional methods in both quality and controllability. However, existing approaches still face challenges in lip-sync accuracy, temporal coherence for long video generation, and multi-character animation. In this work, we propose a diffusion transformer (DiT)-based framework for generating lifelike talking videos of arbitrary length, and introduce a training-free method for multi-character audio-driven animation. First, we employ a LoRA-based training strategy combined with a position shift inference approach, which enables efficient long video generation while preserving the capabilities of the foundation model. Moreover, we combine partial parameter updates with reward feedback to enhance both lip synchronization and natural body motion. Finally, we propose a training-free approach, Mask Classifier-Free Guidance (Mask-CFG), for multi-character animation, which requires no specialized datasets or model modifications and supports audio-driven animation for three or more characters. Experimental results demonstrate that our method outperforms existing state-of-the-art approaches, achieving high-quality, temporally coherent, and multi-character audio-driven video generation in a simple, efficient, and cost-effective manner.

We present MagicInfinite, a novel diffusion Transformer (DiT) framework that overcomes traditional portrait animation limitations, delivering high-fidelity results across diverse character types-realistic humans, full-body figures, and stylized anime characters. It supports varied facial poses, including back-facing views, and animates single or multiple characters with input masks for precise speaker designation in multi-character scenes. Our approach tackles key challenges with three innovations: (1) 3D full-attention mechanisms with a sliding window denoising strategy, enabling infinite video generation with temporal coherence and visual quality across diverse character styles; (2) a two-stage curriculum learning scheme, integrating audio for lip sync, text for expressive dynamics, and reference images for identity preservation, enabling flexible multi-modal control over long sequences; and (3) region-specific masks with adaptive loss functions to balance global textual control and local audio guidance, supporting speaker-specific animations. Efficiency is enhanced via our innovative unified step and cfg distillation techniques, achieving a 20x inference speed boost over the basemodel: generating a 10 second 540x540p video in 10 seconds or 720x720p in 30 seconds on 8 H100 GPUs, without quality loss. Evaluations on our new benchmark demonstrate MagicInfinite's superiority in audio-lip synchronization, identity preservation, and motion naturalness across diverse scenarios. It is publicly available at https://www.hedra.com/, with examples at https://magicinfinite.github.io/.

Zero-shot voice conversion aims to transfer the voice of a source speaker to that of a speaker unseen during training, while preserving the content information. Although various methods have been proposed to reconstruct speaker information in generated speech, there is still room for improvement in achieving high similarity between generated and ground truth recordings. Furthermore, zero-shot voice conversion for speech in specific domains, such as whispered, remains an unexplored area. To address this problem, we propose a SpeakerVC model that can effectively perform zero-shot speech conversion in both voiced and whispered domains, while being lightweight and capable of running in streaming mode without significant quality degradation. In addition, we explore methods to improve the quality of speaker identity transfer and demonstrate their effectiveness for a variety of voice conversion systems.

Recent advances in AI-generated content (AIGC) have significantly accelerated animation production. To produce engaging animations, it is essential to generate coherent multi-shot video clips with narrative scripts and character references. However, existing public datasets primarily focus on real-world scenarios with global descriptions, and lack reference images for consistent character guidance. To bridge this gap, we present AnimeShooter, a reference-guided multi-shot animation dataset. AnimeShooter features comprehensive hierarchical annotations and strong visual consistency across shots through an automated pipeline. Story-level annotations provide an overview of the narrative, including the storyline, key scenes, and main character profiles with reference images, while shot-level annotations decompose the story into consecutive shots, each annotated with scene, characters, and both narrative and descriptive visual captions. Additionally, a dedicated subset, AnimeShooter-audio, offers synchronized audio tracks for each shot, along with audio descriptions and sound sources. To demonstrate the effectiveness of AnimeShooter and establish a baseline for the reference-guided multi-shot video generation task, we introduce AnimeShooterGen, which leverages Multimodal Large Language Models (MLLMs) and video diffusion models. The reference image and previously generated shots are first processed by MLLM to produce representations aware of both reference and context, which are then used as the condition for the diffusion model to decode the subsequent shot. Experimental results show that the model trained on AnimeShooter achieves superior cross-shot visual consistency and adherence to reference visual guidance, which highlight the value of our dataset for coherent animated video generation.