Reconstructing realistic animal fur geometry from images is a challenging task due to the fine-scale details, selfocclusion, and view-dependent appearance of fur. In contrast to human hairstyle reconstruction, there are also no datasets that can be leveraged to learn a fur prior for different animals. In this work, we present a first multi-viewbased method for high-fidelity 3D fur modeling of animals using a strand-based representation, leveraging the general knowledge of a vision language model. Given multiview RGB images, we first reconstruct a coarse surface geometry using traditional multi-view stereo techniques. We then use a vision language model (VLM) system to retrieve information about the realistic length structure of the fur for each part of the body. We use this knowledge to construct the animal's furless geometry and grow strands atop it. The fur reconstruction is supervised with both geometric and photometric losses computed from multi-view images. To mitigate orientation ambiguities stemming from the Gabor filters that are applied to the input images, we additionally utilize the VLM to guide the strands' growth direction and their relation to the gravity vector that we incorporate as a loss. With this new schema of using a VLM to guide 3D reconstruction from multi-view inputs, we show generalization across a variety of animals with different fur types. For additional results and code, please refer to https://neuralfur.is.tue.mpg.de.

Inferring 3D human motion from video remains a challenging problem with many applications. While traditional methods estimate the human in image coordinates, many applications require human motion to be estimated in world coordinates. This is particularly challenging when there is both human and camera motion. Progress on this topic has been limited by the lack of rich video data with ground truth human and camera movement. We address this with BEDLAM2.0, a new dataset that goes beyond the popular BEDLAM dataset in important ways. In addition to introducing more diverse and realistic cameras and camera motions, BEDLAM2.0 increases diversity and realism of body shape, motions, clothing, hair, and 3D environments. Additionally, it adds shoes, which were missing in BEDLAM. BEDLAM has become a key resource for training 3D human pose and motion regressors today and we show that BEDLAM2.0 is significantly better, particularly for training methods that estimate humans in world coordinates. We compare state-of-the art methods trained on BEDLAM and BEDLAM2.0, and find that BEDLAM2.0 significantly improves accuracy over BEDLAM. For research purposes, we provide the rendered videos, ground truth body parameters, and camera motions. We also provide the 3D assets to which we have rights and links to those from third parties.

Synthesizing human motion with a global structure, such as a choreography, is a challenging task. Existing methods tend to concentrate on local smooth pose transitions and neglect the global context or the theme of the motion. In this work, we present a music-driven motion synthesis framework that generates long-term sequences of human motions which are synchronized with the input beats, and jointly form a global structure that respects a specific dance genre. In addition, our framework enables generation of diverse motions that are controlled by the content of the music, and not only by the beat. Our music-driven dance synthesis framework is a hierarchical system that consists of three levels: pose, motif, and choreography. The pose level consists of an LSTM component that generates temporally coherent sequences of poses. The motif level guides sets of consecutive poses to form a movement that belongs to a specific distribution using a novel motion perceptual-loss. And the choreography level selects the order of the performed movements and drives the system to follow the global structure of a dance genre. Our results demonstrate the effectiveness of our music-driven framework to generate natural and consistent movements on various dance types, having control over the content of the synthesized motions, and respecting the overall structure of the dance.