Neural radiance fields (NeRF) and 3D Gaussian Splatting (3DGS) are popular techniques to reconstruct and render photorealistic images. However, the prerequisite of running Structure-from-Motion (SfM) to get camera poses limits their completeness. Although previous methods can reconstruct a few unposed images, they are not applicable when images are unordered or densely captured. In this work, we propose a method to train 3DGS from unposed images. Our method leverages a pre-trained 3D geometric foundation model as the neural scene representation. Since the accuracy of the predicted pointmaps does not suffice for accurate image registration and high-fidelity image rendering, we propose to mitigate the issue by initializing and fine-tuning the pre-trained model from a seed image. The images are then progressively registered and added to the training buffer, which is used to train the model further. We also propose to refine the camera poses and pointmaps by minimizing a point-to-camera ray consistency loss across multiple views. When evaluated on diverse challenging datasets, our method outperforms state-of-the-art pose-free NeRF/3DGS methods in terms of both camera pose accuracy and novel view synthesis, and even renders higher fidelity images than 3DGS trained with COLMAP poses.

Sign Languages (SL) serve as the primary mode of communication for the Deaf and Hard of Hearing communities. Deep learning methods for SL recognition and translation have achieved promising results. However, Sign Language Production (SLP) poses a challenge as the generated motions must be realistic and have precise semantic meaning. Most SLP methods rely on 2D data, which hinders their re-alism. In this work, a diffusion-based SLP model is trained on a curated large-scale dataset of 4D signing avatars and their corresponding text transcripts. The proposed method can generate dynamic sequences of 3D avatars from an un-constrained domain of discourse using a diffusion process formed on a novel and anatomically informed graph neu-ral network defined on the SMPL-X body skeleton. Through quantitative and qualitative experiments, we show that the proposed method considerably outperforms previous meth-ods of SLP. This work makes an important step towards re-alistic neural sign avatars, bridging the communication gap between Deaf and hearing communities.11Project page: https://baltatzisv.github.io/neural-sign-actors/

We present Free-HeadGAN, a person-generic neural talking head synthesis system. We show that modeling faces with sparse 3D facial landmarks is sufficient for achieving state-of-the-art generative performance, without relying on strong statistical priors of the face, such as 3D Morphable Models. Apart from 3D pose and facial expressions, our method is capable of fully transferring the eye gaze, from a driving actor to a source identity. Our complete pipeline consists of three components: a canonical 3D key-point estimator that regresses 3D pose and expression-related deformations, a gaze estimation network and a generator that is built upon the architecture of HeadGAN. We further experiment with an extension of our generator to accommodate few-shot learning using an attention mechanism, in case multiple source images are available. Compared to recent methods for reenactment and motion transfer, our system achieves higher photo-realism combined with superior identity preservation, while offering explicit gaze control.

Three-dimensional morphable models (3DMMs) are powerful statistical tools for representing the 3D shapes and textures of an object class. Here we present the most complete 3DMM of the human head to date that includes face, cranium, ears, eyes, teeth and tongue. To achieve this, we propose two methods for combining existing 3DMMs of different overlapping head parts: (i). use a regressor to complete missing parts of one model using the other, and (ii). use the Gaussian Process framework to blend covariance matrices from multiple models. Thus, we build a new combined face-and-head shape model that blends the variability and facial detail of an existing face model (the LSFM) with the full head modelling capability of an existing head model (the LYHM). Then we construct and fuse a highly-detailed ear model to extend the variation of the ear shape. Eye and eye region models are incorporated into the head model, along with basic models of the teeth, tongue and inner mouth cavity. The new model achieves state-of-the-art performance. We use our model to reconstruct full head representations from single, unconstrained images allowing us to parameterize craniofacial shape and texture, along with the ear shape, eye gaze and eye color.

Though tremendous strides have been made in uncontrolled face detection, accurate and efficient 2D face alignment and 3D face reconstruction in-the-wild remain an open challenge. In this paper, we present a novel single-shot, multi-level face localisation method, named RetinaFace, which unifies face box prediction, 2D facial landmark localisation and 3D vertices regression under one common target: point regression on the image plane. To fill the data gap, we manually annotated five facial landmarks on the WIDER FACE dataset and employed a semi-automatic annotation pipeline to generate 3D vertices for face images from the WIDER FACE, AFLW and FDDB datasets. Based on extra annotations, we propose a mutually beneficial regression target for 3D face reconstruction, that is predicting 3D vertices projected on the image plane constrained by a common 3D topology. The proposed 3D face reconstruction branch can be easily incorporated, without any optimisation difficulty, in parallel with the existing box and 2D landmark regression branches during joint training. Extensive experimental results show that RetinaFace can simultaneously achieve stable face detection, accurate 2D face alignment and robust 3D face reconstruction while being efficient through single-shot inference.

Abstract This paper presents a novel approach for synthesizing facial affect; either in terms of the six basic expressions (i.e., anger, disgust, fear, joy, sadness and surprise), or in terms of valence (i.e., how positive or negative is an emotion) and arousal (i.e., power of the emotion activation). The proposed approach accepts the following inputs:(i) a neutral 2D image of a person; (ii) a basic facial expression or a pair of valence-arousal (VA) emotional state descriptors to be generated, or a path of affect in the 2D VA space to be generated as an image sequence. In order to synthesize affect in terms of VA, for this person, 600,000 frames from the 4DFAB database were annotated. The affect synthesis is implemented by fitting a 3D Morphable Model on the neutral image, then deforming the reconstructed face and adding the inputted affect, and blending the new face with the given affect into the original image. Qualitative experiments illustrate the generation of realistic images, when the neutral image is sampled from fifteen well known lab-controlled or in-the-wild databases, including Aff-Wild, AffectNet, RAF-DB; comparisons with generative adversarial networks (GANs) show the higher quality achieved by the proposed approach. Then, quantitative experiments are conducted, in which the synthesized images are used for data augmentation in training deep neural networks to perform affect recognition over all databases; greatly improved performances are achieved when compared with state-of-the-art methods, as well as with GAN-based data augmentation, in all cases.

Abstract Image-to-image (i2i) translation is the dense regression problem of learning how to transform an input image into an output using aligned image pairs. Remarkable progress has been made in i2i translation with the advent of deep convolutional neural networks and particular using the learning paradigm of generative adversarial networks (GANs). In the absence of paired images, i2i translation is tackled with one or multiple domain transformations (i.e., CycleGAN, StarGAN etc.). In this paper, we study the problem of image-to-image translation, under a set of continuous parameters that correspond to a model describing a physical process. In particular, we propose the SliderGAN which transforms an input face image into a new one according to the continuous values of a statistical blendshape model of facial motion. We show that it is possible to edit a facial image according to expression and speech blendshapes, using sliders that control the continuous values of the blendshape model. This provides much more flexibility in various tasks, including but not limited to face editing, expression transfer and face neutralisation, comparing to models based on discrete expressions or action units.

In this article, we present the Menpo 2D and Menpo 3D benchmarks, two new datasets for multi-pose 2D and 3D facial landmark localisation and tracking. In contrast to the previous benchmarks such as 300W and 300VW, the proposed benchmarks contain facial images in both semi-frontal and profile pose. We introduce an elaborate semi-automatic methodology for providing high-quality annotations for both the Menpo 2D and Menpo 3D benchmarks. In Menpo 2D benchmark, different visible landmark configurations are designed for semi-frontal and profile faces, thus making the 2D face alignment full-pose. In Menpo 3D benchmark, a united landmark configuration is designed for both semi-frontal and profile faces based on the correspondence with a 3D face model, thus making face alignment not only full-pose but also corresponding to the real-world 3D space. Based on the considerable number of annotated images, we organised Menpo 2D Challenge and Menpo 3D Challenge for face alignment under large pose variations in conjunction with CVPR 2017 and ICCV 2017, respectively. The results of these challenges demonstrate that recent deep learning architectures, when trained with the abundant data, lead to excellent results. We also provide a very simple, yet effective solution, named Cascade Multi-view Hourglass Model, to 2D and 3D face alignment. In our method, we take advantage of all 2D and 3D facial landmark annotations in a joint way. We not only capitalise on the correspondences between the semi-frontal and profile 2D facial landmarks but also employ joint supervision from both 2D and 3D facial landmarks. Finally, we discuss future directions on the topic of face alignment.

3D Morphable Models (3DMMs) are powerful statistical models of 3D facial shape and texture, and are among the state-of-the-art methods for reconstructing facial shape from single images. With the advent of new 3D sensors, many 3D facial datasets have been collected containing both neutral as well as expressive faces. However, all datasets are captured under controlled conditions. Thus, even though powerful 3D facial shape models can be learnt from such data, it is difficult to build statistical texture models that are sufficient to reconstruct faces captured in unconstrained conditions ("in-the-wild"). In this paper, we propose the first "in-the-wild" 3DMM by combining a statistical model of facial identity and expression shape with an "in-the-wild" texture model. We show that such an approach allows for the development of a greatly simplified fitting procedure for images and videos, as there is no need to optimise with regards to the illumination parameters. We have collected three new benchmarks that combine "in-the-wild" images and video with ground truth 3D facial geometry, the first of their kind, and report extensive quantitative evaluations using them that demonstrate our method is state-of-the-art.

A set of images depicting faces with different expressions or in various ages consists of components that are shared across all images (i.e., joint components) imparting to the depicted object the properties of human faces as well as individual components that are related to different expressions or age groups. Discovering the common (joint) and individual components in facial images is crucial for applications such as facial expression transfer and age progression. The problem is rather challenging when dealing with images captured in unconstrained conditions in the presence of sparse non-Gaussian errors of large magnitude (i.e., sparse gross errors or outliers) and contain missing data. In this paper, we investigate the use of a method recently introduced in statistics, the so-called Joint and Individual Variance Explained (JIVE) method, for the robust recovery of joint and individual components in visual facial data consisting of an arbitrary number of views. Since the JIVE is not robust to sparse gross errors, we propose alternatives, which are (1) robust to sparse gross, non-Gaussian noise, (2) able to automatically find the individual components rank, and (3) can handle missing data. We demonstrate the effectiveness of the proposed methods to several computer vision applications, namely facial expression synthesis and 2D and 3D face age progression 'in-the-wild'.