You are provided with the abstract of a scientific paper and the abstracts of the papers it references. Your task is to write a Related Work section for the main paper. This section should concisely summarize and integrate the key points from the cited abstracts, reflecting how they relate to the main paper's contributions and context. In your summary, use numerical citation markers like [1], [2], etc., to refer to the corresponding papers.

Main Abstract:
We propose an image-based, facial reenactment system that replaces the face of an actor in an existing target video with the face of a user from a source video, while preserving the original target performance. Our system is fully automatic and does not require a database of source expressions. Instead, it is able to produce convincing reenactment results from a short source video captured with an off-the-shelf camera, such as a webcam, where the user performs arbitrary facial gestures. Our reenactment pipeline is conceived as part image retrieval and part face transfer: The image retrieval is based on temporal clustering of target frames and a novel image matching metric that combines appearance and motion to select candidate frames from the source video, while the face transfer uses a 2D warping strategy that preserves the user's identity. Our system excels in simplicity as it does not rely on a 3D face model, it is robust under head motion and does not require the source and target performance to be similar. We show convincing reenactment results for videos that we recorded ourselves and for low-quality footage taken from the Internet.

Cited Abstract(s):
[1]: Pasting somebody’s face into an existing image with traditional photo retouching and digital image processing tools has only been possible if both images show the face from the same viewpoint and with the same illumination. However, this is rarely the case for given pairs of images. We present a system that exchanges faces across large differences in viewpoint and illumination. It is based on an algorithm that estimates 3D shape and texture along with all relevant scene parameters, such as pose and lighting, from single images. Manual interaction is reduced to clicking on a set of about 7 feature points, and marking the hairline in the target image. The system can be used for image processing, virtual try-on of hairstyles, and face recognition. By separating face identity from imaging conditions, our approach provides an abstract representation of images and a novel, high-level tool for image manipulation.

[2]: In this paper, we present a complete system for automatic face replacement in images. Our system uses a large library of face images created automatically by downloading images from the internet, extracting faces using face detection software, and aligning each extracted face to a common coordinate system. This library is constructed off-line, once, and can be efficiently accessed during face replacement. Our replacement algorithm has three main stages. First, given an input image, we detect all faces that are present, align them to the coordinate system used by our face library, and select candidate face images from our face library that are similar to the input face in appearance and pose. Second, we adjust the pose, lighting, and color of the candidate face images to match the appearance of those in the input image, and seamlessly blend in the results. Third, we rank the blended candidate replacements by computing a match distance over the overlap region. Our approach requires no 3D model, is fully automatic, and generates highly plausible results across a wide range of skin tones, lighting conditions, and viewpoints. We show how our approach can be used for a variety of applications including face de-identification and the creation of appealing group photographs from a set of images. We conclude with a user study that validates the high quality of our replacement results, and a discussion on the current limitations of our system.

[3]: A real time facial puppetry system is presented. Compared with existing systems, the proposed method requires no special hardware, runs in real time (23 frames-per-second), and requires only a single image of the avatar and user. The user's facial expression is captured through a real-time 3D non-rigid tracking system. Expression transfer is achieved by combining a generic expression model with synthetically generated examples that better capture person specific characteristics. Performance of the system is evaluated on avatars of real people as well as masks and cartoon characters.

[4]: This paper presents a method to synthesize a realistic facial animation of a target person, driven by a facial performance video of another person. Different from traditional facial animation approaches, our system takes advantage of an existing facial performance database of the target person, and generates the final video by retrieving frames from the database that have similar expressions to the input ones. To achieve this we develop an expression similarity metric for accurately measuring the expression difference between two video frames. To enforce temporal coherence, our system employs a shortest path algorithm to choose the optimal image for each frame from a set of candidate frames determined by the similarity metric. Finally, our system adopts an expression mapping method to further minimize the expression difference between the input and retrieved frames. Experimental results show that our system can generate high quality facial animation using the proposed data-driven approach.

[5]: 

[6]: We present a complete integrated system for live facial puppetry that enables high-resolution real-time facial expression tracking with transfer to another person's face. The system utilizes a real-time structured light scanner that provides dense 3D data and texture. A generic template mesh, fitted to a rigid reconstruction of the actor's face, is tracked offline in a training stage through a set of expression sequences. These sequences are used to build a person-specific linear face model that is subsequently used for online face tracking and expression transfer. Even with just a single rigid pose of the target face, convincing real-time facial animations are achievable. The actor becomes a puppeteer with complete and accurate control over a digital face.

[7]: Video Rewrite uses existing footage to create automatically new video of a person mouthing words that she did not speak in the original footage. This technique is useful in movie dubbing, for example, where the movie sequence can be modified to sync the actors’ lip motions to the new soundtrack. Video Rewrite automatically labels the phonemes in the training data and in the new audio track. Video Rewrite reorders the mouth images in the training footage to match the phoneme sequence of the new audio track. When particular phonemes are unavailable in the training footage, Video Rewrite selects the closest approximations. The resulting sequence of mouth images is stitched into the background footage. This stitching process automatically corrects for differences in head position and orientation between the mouth images and the background footage. Video Rewrite uses computer-vision techniques to track points on the speaker’s mouth in the training footage, and morphing techniques to combine these mouth gestures into the final video sequence. The new video combines the dynamics of the original actor’s articulations with the mannerisms and setting dictated by the background footage. Video Rewrite is the first facial-animation system to automate all the labeling and assembly tasks required to resync existing footage to a new soundtrack.

[8]: 

[9]: Nonverbal visual cues accompany speech to supplement the meaning of spoken words, signify emotional state, indicate position in discourse, and provide back-channel feedback. This visual information includes head movements, facial expressions and body gestures. In this article we describe techniques for manipulating both verbal and nonverbal facial gestures in video sequences of people engaged in conversation. We are developing a system for use in psychological experiments, where the effects of manipulating individual components of nonverbal visual behavior during live face-to-face conversation can be studied. In particular, the techniques we describe operate in real-time at video frame-rate and the manipulation can be applied so both participants in a conversation are kept blind to the experimental conditions.

[10]: This course describes how high-resolution face scanning, advanced character rigging, and performance-driven facial animation were combined to create Digital Emily, a believably photorealistic digital actor. Actress Emily O'Brien was scanned in the USC ICT light stage in 35 different facial poses using a new high-resolution face-scanning process capable of capturing geometry and textures down to the level of skin pores and fine wrinkles. These scans were assembled into a rigged digital character, which could then be driven by Image Metrics video-based facial animation technology. The real Emily was captured speaking on a small set, and her movements were used to drive a complete digital face replacement of her character, including its diffuse, specular, and animated displacement maps. HDRI lighting reconstruction techniques were used to reproduce the lighting on her original performance. The most recent results show new real-time animation and rendering research for the Digital Emily character.

[11]: Face Transfer is a method for mapping videorecorded performances of one individual to facial animations of another. It extracts visemes (speech-related mouth articulations), expressions, and three-dimensional (3D) pose from monocular video or film footage. These parameters are then used to generate and drive a detailed 3D textured face mesh for a target identity, which can be seamlessly rendered back into target footage. The underlying face model automatically adjusts for how the target performs facial expressions and visemes. The performance data can be easily edited to change the visemes, expressions, pose, or even the identity of the target---the attributes are separably controllable. This supports a wide variety of video rewrite and puppetry applications.Face Transfer is based on a multilinear model of 3D face meshes that separably parameterizes the space of geometric variations due to different attributes (e.g., identity, expression, and viseme). Separability means that each of these attributes can be independently varied. A multilinear model can be estimated from a Cartesian product of examples (identities × expressions × visemes) with techniques from statistical analysis, but only after careful preprocessing of the geometric data set to secure one-to-one correspondence, to minimize cross-coupling artifacts, and to fill in any missing examples. Face Transfer offers new solutions to these problems and links the estimated model with a face-tracking algorithm to extract pose, expression, and viseme parameters.

[12]: We present a method for replacing facial performances in video. Our approach accounts for differences in identity, visual appearance, speech, and timing between source and target videos. Unlike prior work, it does not require substantial manual operation or complex acquisition hardware, only single-camera video. We use a 3D multilinear model to track the facial performance in both videos. Using the corresponding 3D geometry, we warp the source to the target face and retime the source to match the target performance. We then compute an optimal seam through the video volume that maintains temporal consistency in the final composite. We showcase the use of our method on a variety of examples and present the result of a user study that suggests our results are difficult to distinguish from real video footage.
Face replacement for image and video can be roughly divided into two categories. A first category is [11] [9] [6] [5] [3] [4] , which aims to transfer expressions and emotions of a user (puppeteer) to a virtual character (puppet). Such methods are used to animate digital avatars in games, movies and video conferences. methods [7] [1] [2] [8] [10] [12] , on the other hand, try to exchange two faces in different images or videos such that the replaced result looks sufficiently realistic. Swapping different faces is useful for online identity protection, while swapping the same face (or parts of it) between different videos is interesting for dubbing, retargeting and video montage. At the intersection of both categories lies [12] , which replaces an actor's face by swapping it with that of a user, while at the same time preserving the actor's facial expressions and emotions. Here, the original facial performance needs to be accurately emulated (puppetry), and the new face with different identity needs to be inserted as naturally as possible in the original video (swapping).