Andrew Lippman

Amy Smith, Hope Schroeder, Ziv Epstein et al.

Text-to-image generative models have recently exploded in popularity and accessibility. Yet so far, use of these models in creative tasks that bridge the 2D digital world and the creation of physical artefacts has been understudied. We conduct a pilot study to investigate if and how text-to-image models can be used to assist in upstream tasks within the creative process, such as ideation and visualization, prior to a sculpture-making activity. Thirty participants selected sculpture-making materials and generated three images using the Stable Diffusion text-to-image generator, each with text prompts of their choice, with the aim of informing and then creating a physical sculpture. The majority of participants (23/30) reported that the generated images informed their sculptures, and 28/30 reported interest in using text-to-image models to help them in a creative task in the future. We identify several prompt engineering strategies and find that a participant's prompting strategy relates to their stage in the creative process. We discuss how our findings can inform support for users at different stages of the design process and for using text-to-image models for physical artefact design.

Mehul Agarwal, Gauri Agarwal, Santiago Benoit et al.

Music is a deeply personal experience and our aim is to enhance this with a fully-automated pipeline for personalized music video generation. Our work allows listeners to not just be consumers but co-creators in the music video generation process by creating personalized, consistent and context-driven visuals based on lyrics, rhythm and emotion in the music. The pipeline combines multimodal translation and generation techniques and utilizes low-rank adaptation on listeners' images to create immersive music videos that reflect both the music and the individual. To ensure the ethical use of users' identity, we also introduce CHARCHA (patent pending), a facial identity verification protocol that protects people against unauthorized use of their face while at the same time collecting authorized images from users for personalizing their videos. This paper thus provides a secure and innovative framework for creating deeply personalized music videos.

Matthew Groh, Aruna Sankaranarayanan, Nikhil Singh et al.

Recent advances in technology for hyper-realistic visual and audio effects provoke the concern that deepfake videos of political speeches will soon be indistinguishable from authentic video recordings. The conventional wisdom in communication theory predicts people will fall for fake news more often when the same version of a story is presented as a video versus text. We conduct 5 pre-registered randomized experiments with 2,215 participants to evaluate how accurately humans distinguish real political speeches from fabrications across base rates of misinformation, audio sources, question framings, and media modalities. We find base rates of misinformation minimally influence discernment and deepfakes with audio produced by the state-of-the-art text-to-speech algorithms are harder to discern than the same deepfakes with voice actor audio. Moreover across all experiments, we find audio and visual information enables more accurate discernment than text alone: human discernment relies more on how something is said, the audio-visual cues, than what is said, the speech content.

Ian Magnusson, Aruna Sankaranarayanan, Andrew Lippman

We present Wav2Lip-Emotion, a video-to-video translation architecture that modifies facial expressions of emotion in videos of speakers. Previous work modifies emotion in images, uses a single image to produce a video with animated emotion, or puppets facial expressions in videos with landmarks from a reference video. However, many use cases such as modifying an actor's performance in post-production, coaching individuals to be more animated speakers, or touching up emotion in a teleconference require a video-to-video translation approach. We explore a method to maintain speakers' lip movements, identity, and pose while translating their expressed emotion. Our approach extends an existing multi-modal lip synchronization architecture to modify the speaker's emotion using L1 reconstruction and pre-trained emotion objectives. We also propose a novel automated emotion evaluation approach and corroborate it with a user study. These find that we succeed in modifying emotion while maintaining lip synchronization. Visual quality is somewhat diminished, with a trade off between greater emotion modification and visual quality between model variants. Nevertheless, we demonstrate (1) that facial expressions of emotion can be modified with nothing other than L1 reconstruction and pre-trained emotion objectives and (2) that our automated emotion evaluation approach aligns with human judgements.