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Modern transformation interacti of v static e applications 3D models increasingly into animated demand assets dyna constitutes mic 3D a content, significant yet botthe tleneck in content creation pipelines.

Audio-dri generation, ments and v appealing en hav human e made visua animation remarkable l quality methods, progress videos. in such Ho generating we as v talking er, existing synchronized head methods and talking facial primarily mo body vefocus facing on incorrect single binding human animation problems between and struggle audio with and persons.

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.

In this paper, we present RigAnyFace (RAF), a scalable neural auto-rigging framework for facial meshes of diverse topologies, including those with multiple disconnected components. RAF deforms a static neutral facial mesh into industry-standard FACS poses to form an expressive blendshape rig. Deformations are predicted by a triangulation-agnostic surface learning network augmented with our tailored architecture design to condition on FACS parameters and efficiently process disconnected components. For training, we curated a dataset of facial meshes, with a subset meticulously rigged by professional artists to serve as accurate 3D ground truth for deformation supervision. Due to the high cost of manual rigging, this subset is limited in size, constraining the generalization ability of models trained exclusively on it. To address this, we design a 2D supervision strategy for unlabeled neutral meshes without rigs. This strategy increases data diversity and allows for scaled training, thereby enhancing the generalization ability of models trained on this augmented data. Extensive experiments demonstrate that RAF is able to rig meshes of diverse topologies on not only our artist-crafted assets but also in-the-wild samples, outperforming previous works in accuracy and generalizability. Moreover, our method advances beyond prior work by supporting multiple disconnected components, such as eyeballs, for more detailed expression animation.

Consistent pose-driven character animation has achieved remarkable progress in single-character scenarios. However, extending these advances to multi-character settings is non-trivial, especially when position swap is involved. Beyond mere scaling, the core challenge lies in enforcing correct Identity Correspondence (IC) between characters in reference and generated frames. To address this, we introduce EverybodyDance, a systematic solution targeting IC correctness in multi-character animation. EverybodyDance is built around the Identity Matching Graph (IMG), which models characters in the generated and reference frames as two node sets in a weighted complete bipartite graph.

Enabling virtual humans to dynamically and realistically respond to diverse auditory stimuli remains a key challenge in character animation, demanding the integration of perceptual modeling and motion synthesis. Despite its significance, this task remains largely unexplored. Most previous works have primarily focused on mapping modalities like speech, audio, and music to generate human motion. As of yet, these models typically overlook the impact of spatial features encoded in spatial audio signals on human motion. To bridge this gap and enable high-quality modeling of human movements in response to spatial audio, we introduce the first comprehensive Spatial Audio-Driven Human Motion (SAM) dataset, which contains diverse and high-quality spatial audio and motion data. For benchmarking, we develop a simple yet effective diffusion-based generative framework for human MOtion generation driven by SPatial Audio, termed MOSPA, which faithfully captures the relationship between body motion and spatial audio through an effective fusion mechanism. Once trained, MOSPA can generate diverse realistic human motions conditioned on varying spatial audio inputs. We perform a thorough investigation of the proposed dataset and conduct extensive experiments for benchmarking, where our method achieves state-of-the-art performance on this task.

Amazon Is Making an AI-Animated TV Show. The company licensed the character for a new Amazon series--made with AI--without her consent. Author and illustrator Loryn Brantz never imagined that a popular cartoon character she created almost a decade ago would one day be the subject of an intellectual property dispute involving BuzzFeed, Amazon's video streaming service, and generative artificial intelligence. But that's exactly the situation she finds herself in today. "Nothing said in good faith by managers and executives was followed through with," Brantz says of BuzzFeed, her former employer.

We present DreamWaltz, a novel framework for generating and animating complex 3D avatars given text guidance and parametric human body prior. While recent methods objects, creating have sho high-quality wn encouraging and animatable results for 3D text-to-3D avatars remains generation challenging. of common To create high-quality 3D avatars, DreamWaltz proposes 3D-consistent occlusionaware Score Distillation Sampling (SDS) to optimize implicit neural representations with canonical poses. It provides view-aligned supervision via 3D-aware skeleton conditioning which enables complex avatar generation without artifacts and multiple faces. For animation, our method learns an animatable 3D avatar representation from abundant image priors of diffusion model conditioned on various poses, which could animate complex non-rigged avatars given arbitrary poses without retraining. Extensive evaluations demonstrate that DreamWaltz is an effective and robust approach for creating 3D avatars that can take on complex shapes and appearances as well as novel poses for animation. The proposed framework further enables the creation of complex scenes with diverse compositions, including avatar-avatar, avatar-object and avatar-scene interactions.

Garment animation is ubiquitous in various applications, such as virtual reality, gaming, and film producing. Recently, learning-based approaches obtain compelling performance in animating diverse garments under versatile scenarios. Nevertheless, to mimic the deformations of the observed garments, data-driven methods require large scale of garment data, which are both resource-wise expensive and time-consuming. In addition, forcing models to match the dynamics of observed garment animation may hinder the potentials to generalize to unseen cases. In this paper, instead of using garment-wise supervised-learning we adopt a disentangled scheme to learn how to animate observed garments: 1).