This performance contains small but abrupt head rotations along the frontal axis, i.e. side-to-side head tilting along the coronal plane. Note, especially when the subject turns their lips downs and tilts the head at the same time, the method UNPOSE introduces a spurious global motion where the chin appears to draw inwards to compensate for the neck rotation.

The subject conitnuously moves and rotates their head as they are speaking, and this global motion is correctly undone by al the methods. However, note that when the subject blinks, the method CMAP subtly yet visibly rotates the head upwards which, when focusing on the texture, appears as if the subject raised their eyeborows or the forehead. However, it is evident from the input RGB video that no such motion happened in reality.

Over the course of the utterance, the subject mildly but continuously rotates and moves their head. The performance represents a neutral speech and there are no extreme expressions, thus there should not appear any strong motion of the ears. However, by focusing on the right ear of the stabilized sequences, one can notice that when compared to the other methods, UNPOSE manifests much more visible global motion.

Over the course of the utterance, the subject is quite abruptly rotating and moving their head. Note that as the head tilts side-to-side along the coronal plane, the method UNPOSE wrongly compensates by a global head rotation. During the whole performance, when focusing on the forehead region and the occlusion boundary of the head scalp, one can notice subtle but continuous spurious global motion introduced by the method CMAP.

The performance contains high-frequency low-anplitude global head motion. When focusing on the nose bridge area of the stabilized meshes, a small spurious leftover motion is visible in the UNPOSE method.

Similarly to the video above, the nose bridge area of the stabilized meshes reveals a subtle unwanted motion left by the method UNPOSE.