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We present AIST++, a new multi-modal dataset of 3D dance motion and music, along with FACT, a Full-Attention Cross-modal Transformer network for generating 3D dance motion conditioned on music. The proposed AIST++ dataset contains 5.2 hours of 3D dance motion in 1408 sequences, covering 10 dance genres with multi-view videos with known camera poses -- the largest dataset of this kind to our knowledge. We show that naively applying sequence models such as transformers to this dataset for the task of music conditioned 3D motion generation does not produce satisfactory 3D motion that is well correlated with the input music. We overcome these shortcomings by introducing key changes in its architecture design and supervision: FACT model involves a deep cross-modal transformer block with full-attention that is trained to predict $N$ future motions. We empirically show that these changes are key factors in generating long sequences of realistic dance motion that are well-attuned to the input music. We conduct extensive experiments on AIST++ with user studies, where our method outperforms recent state-of-the-art methods both qualitatively and quantitatively.
We present a learning-based approach with pose perceptual loss for automatic music video generation. Our method can produce a realistic dance video that conforms to the beats and rhymes of almost any given music. To achieve this, we firstly generate
Synthesize human motions from music, i.e., music to dance, is appealing and attracts lots of research interests in recent years. It is challenging due to not only the requirement of realistic and complex human motions for dance, but more importantly,
Dance and music typically go hand in hand. The complexities in dance, music, and their synchronisation make them fascinating to study from a computational creativity perspective. While several works have looked at generating dance for a given music,
Choreography refers to creation of dance steps and motions for dances according to the latent knowledge in human mind, where the created dance motions are in general style-specific and consistent. So far, such latent style-specific knowledge about da
Action recognition is a relatively established task, where givenan input sequence of human motion, the goal is to predict its ac-tion category. This paper, on the other hand, considers a relativelynew problem, which could be thought of as an inverse