Abstract Facial animation is one of the most labor‐intensive aspects of animation and VFX, as traditional rigging consumes weeks of expert time and forces animators to spend countless hours manipulating hundreds of controls to achieve varied expressions. This technical complexity creates a barrier between artistic vision and execution, limiting creative exploration and iteration. In this paper, we introduce CANRig , a fully automated neural facial rigging approach that simplifies the process of creating and editing facial poses by benefiting from global correlations learned from data. Unlike existing neural face models that either sacrifice local control or demand extensive manual region setup, our method introduces continuous local control through a novel conditioning mechanism that operates on a variable region. By modeling deformation as cross‐attention between control handles and mesh vertices—modulated by a user‐defined region—we enable seamless transitions from precise local adjustments to broad global changes. We further expand our method with a shape‐preserving workflow that enables iterative edits, guaranteeing that changes remain untouched even as controls are reconfigured. Our method delivers the best of both worlds: the automation and naturalness of neural methods with the granular control that professional animators demand, and we demonstrate its effectiveness across multiple applications in both animation and high‐end visual effects pipelines.

We present a new method for reconstructing the appearance properties of human faces from a lightweight capture procedure in an unconstrained environment. Our method recovers the surface geometry, diffuse albedo, specular intensity and specular roughness from a monocular video containing a simple head rotation in-the-wild. Notably, we make no simplifying assumptions on the environment lighting, and we explicitly take visibility and occlusions into account. As a result, our method can produce facial appearance maps that approach the fidelity of studio-based multi-view captures, but with a far easier and cheaper procedure.

We present a new method for multimodal conditional 3D face geometry generation that allows user-friendly control over the output identity and expression via a number of different conditioning signals. Within a single model, we demonstrate 3D faces generated from artistic sketches, portrait photos, Canny edges, FLAME face model parameters, 2D face landmarks, or text prompts. Our approach is based on a diffusion process that generates 3D geometry in a 2D parameterized UV domain. Geometry generation passes each conditioning signal through a set of cross-attention layers (IP-Adapter), one set for each user-defined conditioning signal. The result is an easy-to-use 3D face generation tool that produces topology-consistent, high-quality geometry with fine-grain user control. • We present a new method for 3D face geometry generation from 6 different types of conditionings (prompts) within a single model. • We propose a comprehensive solution for training such a method from scratch, with 3D geometry data augmentations and by representing 3D geometry as position maps to better fit existing diffusion pipelines. • We show that our method supports face generation with expressions, sketch-based editing for 3D face design, stochastic variations of details conditioned on low resolution FLAME faces, generalization to in-the-wild data and dynamic face generation from videos.

An increasingly common approach for creating photo-realistic digital avatars is through the use of volumetric neural fields. The original neural radiance field (NeRF) allowed for impressive novel view synthesis of static heads when trained on a set of multi-view images, and follow up methods showed that these neural representations can be extended to dynamic avatars. Recently, new variants also surpassed the usual drawback of baked-in illumination in neural representations, showing that static neural avatars can be relit in any environment. In this work we simultaneously tackle both the motion and illumination problem, proposing a new method for relightable and animatable neural heads. Our method builds on a proven dynamic avatar approach based on a mixture of volumetric primitives, combined with a recently-proposed lightweight hardware setup for relightable neural fields, and includes a novel architecture that allows relighting dynamic neural avatars performing unseen expressions in any environment, even with nearfield illumination and viewpoints.

While conditional diffusion models are known to have good coverage of the data distribution, they still face limitations in output diversity, particularly when sampled with a high classifier-free guidance scale for optimal image quality or when trained on small datasets. We attribute this problem to the role of the conditioning signal in inference and offer an improved sampling strategy for diffusion models that can increase generation diversity, especially at high guidance scales, with minimal loss of sample quality. Our sampling strategy anneals the conditioning signal by adding scheduled, monotonically decreasing Gaussian noise to the conditioning vector during inference to balance diversity and condition alignment. Our Condition-Annealed Diffusion Sampler (CADS) can be used with any pretrained model and sampling algorithm, and we show that it boosts the diversity of diffusion models in various conditional generation tasks. Further, using an existing pretrained diffusion model, CADS achieves a new state-of-the-art FID of 1.70 and 2.31 for class-conditional ImageNet generation at 256$\times$256 and 512$\times$512 respectively.

Advances in latent diffusion models (LDMs) have revolutionized high-resolution image generation, but the design space of the autoencoder that is central to these systems remains underexplored. In this paper, we introduce LiteVAE, a new autoencoder design for LDMs, which leverages the 2D discrete wavelet transform to enhance scalability and computational efficiency over standard variational autoencoders (VAEs) with no sacrifice in output quality. We investigate the training methodologies and the decoder architecture of LiteVAE and propose several enhancements that improve the training dynamics and reconstruction quality. Our base LiteVAE model matches the quality of the established VAEs in current LDMs with a six-fold reduction in encoder parameters, leading to faster training and lower GPU memory requirements, while our larger model outperforms VAEs of comparable complexity across all evaluated metrics (rFID, LPIPS, PSNR, and SSIM).

Abstract In this paper, we examine three important issues in the practical use of state‐of‐the‐art facial landmark detectors and show how a combination of specific architectural modifications can directly improve their accuracy and temporal stability. First, many facial landmark detectors require a face normalization step as a pre‐process, often accomplished by a separately trained neural network that crops and resizes the face in the input image. There is no guarantee that this pre‐trained network performs optimal face normalization for the task of landmark detection. Thus, we instead analyse the use of a spatial transformer network that is trained alongside the landmark detector in an unsupervised manner, jointly learning an optimal face normalization and landmark detection by a single neural network. Second, we show that modifying the output head of the landmark predictor to infer landmarks in a canonical 3D space rather than directly in 2D can further improve accuracy. To convert the predicted 3D landmarks into screen‐space, we additionally predict the camera intrinsics and head pose from the input image. As a side benefit, this allows to predict the 3D face shape from a given image only using 2D landmarks as supervision, which is useful in determining landmark visibility among other things. Third, when training a landmark detector on multiple datasets at the same time, annotation inconsistencies across datasets forces the network to produce a sub‐optimal average. We propose to add a semantic correction network to address this issue. This additional lightweight neural network is trained alongside the landmark detector, without requiring any additional supervision. While the insights of this paper can be applied to most common landmark detectors, we specifically target a recently proposed continuous 2D landmark detector to demonstrate how each of our additions leads to meaningful improvements over the state‐of‐the‐art on standard benchmarks.

Abstract Modeling realistic human skin with pores and wrinkles down to the milli‐ and micrometer resolution is a challenging task. Prior work showed that such micro geometry can be efficiently generated through simulation methods, or in specialized cases via 3D scanning of real skin. Simulation methods allow to highly customize the wrinkles on the face, but can lead to a synthetic look. Scanning methods can lead to a more organic look for the micro details, however these methods are only applicable to small skin patches due to the required image resolution. In this work we aim to overcome the gap between synthetic simulation and real skin scanning, by proposing a method that can be applied to large skin regions (e.g. an entire face) with the controllability of simulation and the organic look of real micro details. Our method is based on style transfer at its core, where we use scanned displacement maps of real skin patches as style images and displacement maps from an artist‐friendly simulation method as content images. We build a library of displacement maps as style images by employing a simplified scanning setup that can capture high‐resolution patches of real skin. To create the content component for the style transfer and to facilitate parameter‐tuning for the simulation, we design a library of preset parameter values depicting different skin types, and present a new method to fit the simulation parameters to scanned skin patches. This allows fully‐automatic parameter generation, interpolation and stylization across entire faces. We evaluate our method by generating realistic skin micro details for various subjects of different ages and genders, and demonstrate that our approach achieves a more organic and natural look than simulation alone.

Physically-based simulation is a powerful approach for 3D facial animation as the resulting deformations are governed by physical constraints, allowing to easily resolve self-collisions, respond to external forces and perform realistic anatomy edits. Today's methods are data-driven, where the actuations for finite elements are inferred from captured skin geometry. Unfortunately, these approaches have not been widely adopted due to the complexity of initializing the material space and learning the deformation model for each character separately, which often requires a skilled artist followed by lengthy network training. In this work, we aim to make physics-based facial animation more accessible by proposing a generalized physical face model that we learn from a large 3D face dataset. Once trained, our model can be quickly fit to any unseen identity and produce a ready-to-animate physical face model automatically. Fitting is as easy as providing a single 3D face scan, or even a single face image. After fitting, we offer intuitive animation controls, as well as the ability to retarget animations across characters. All the while, the resulting animations allow for physical effects like collision avoidance, gravity, paralysis, bone reshaping and more.

Neural networks for facial landmark detection are notoriously limited to a fixed set of landmarks in a dedicated layout, which must be specified at training time. Dedicated datasets must also be hand-annotated with the corresponding landmark configuration for training. We propose the first facial landmark detection network that can predict continuous, unlimited landmarks, allowing to specify the number and location of the desired landmarks at inference time. Our method combines a simple image feature extractor with a queried landmark predictor, and the user can specify any continuous query points relative to a 3D template face mesh as input. As it is not tied to a fixed set of landmarks, our method is able to leverage all pre-existing 2D landmark datasets for training, even if they have inconsistent landmark configurations. As a result, we present a very powerful facial landmark detector that can be trained once, and can be used readily for numerous applications like 3D face reconstruction, arbitrary face segmentation, and is even compatible with helmeted mounted cameras, and therefore could vastly simplify face tracking workflows for media and entertainment applications.

Recent work on radiance fields and volumetric inverse rendering (e.g., NeRFs) has provided excellent results in building data-driven models of real scenes for novel view synthesis with high photorealism. While full control over viewpoint is achieved, scene lighting is typically "baked" into the model and cannot be changed; other methods only capture limited variation in lighting or make restrictive assumptions about the captured scene. These limitations prevent the application on arbitrary materials and novel 3D environments with complex, distinct lighting. In this paper, we target the application scenario of capturing high-fidelity assets for neural relighting in controlled studio conditions, but without requiring a dense light stage. Instead, we leverage a small number of area lights commonly used in photogrammetry. We propose ReNeRF, a relightable radiance field model based on the intuitive and powerful approach of image-based relighting, which implicitly captures global light transport (for arbitrary objects) without complex, error-prone simulations. Thus, our new method is simple and provides full control over viewpoint and lighting, without simplistic assumptions about how light interacts with the scene. In addition, ReNeRF does not rely on the usual assumption of distant lighting – during training, we explicitly account for the distance between 3D points in the volume and point samples on the light sources. Thus, at test time, we achieve better generalization to novel, continuous lighting directions, including nearfield lighting effects.

3D facial animation is often produced by manipulating facial deformation models (or rigs), that are traditionally parameterized by expression controls. A key component that is usually overlooked is expression “style", as in, how a particular expression is performed. Although it is common to define a semantic basis of expressions that characters can perform, most characters perform each expression in their own style. To date, style is usually entangled with the expression, and it is not possible to transfer the style of one character to another when considering facial animation. We present a new face model, based on a data-driven implicit neural physics model, that can be driven by both expression and style separately. At the core, we present a framework for learning implicit physics-based actuations for multiple subjects simultaneously, trained on a few arbitrary performance capture sequences from a small set of identities. Once trained, our method allows generalized physics-based facial animation for any of the trained identities, extending to unseen performances. Furthermore, it grants control over the animation style, enabling style transfer from one character to another or blending styles of different characters. Lastly, as a physics-based model, it is capable of synthesizing physical effects, such as collision handling, setting our method apart from conventional approaches.

Abstract Monocular 3D face reconstruction is a wide‐spread topic, and existing approaches tackle the problem either through fast neural network inference or offline iterative reconstruction of face geometry. In either case carefully‐designed energy functions are minimized, commonly including loss terms like a photometric loss, a landmark reprojection loss, and others. In this work we propose a new loss function for monocular face capture, inspired by how humans would perceive the quality of a 3D face reconstruction given a particular image. It is widely known that shading provides a strong indicator for 3D shape in the human visual system. As such, our new ‘perceptual’ shape loss aims to judge the quality of a 3D face estimate using only shading cues. Our loss is implemented as a discriminator‐style neural network that takes an input face image and a shaded render of the geometry estimate, and then predicts a score that perceptually evaluates how well the shaded render matches the given image. This ‘critic’ network operates on the RGB image and geometry render alone, without requiring an estimate of the albedo or illumination in the scene. Furthermore, our loss operates entirely in image space and is thus agnostic to mesh topology. We show how our new perceptual shape loss can be combined with traditional energy terms for monocular 3D face optimization and deep neural network regression, improving upon current state‐of‐the‐art results.

Abstract We present a novel graph‐based simulation approach for generating micro wrinkle geometry on human skin, which can easily scale up to the micro‐meter range and millions of wrinkles. The simulation first samples pores on the skin and treats them as nodes in a graph. These nodes are then connected and the resulting edges become candidate wrinkles. An iterative optimization inspired by pedestrian trail formation is then used to assign weights to those edges, i.e., to carve out the wrinkles. Finally, we convert the graph to a detailed skin displacement map using novel shape functions implemented in graphics shaders. Our simulation and displacement map creation steps expose fine controls over the appearance at real‐time framerates suitable for interactive exploration and design. We demonstrate the effectiveness of the generated wrinkles by enhancing state‐of‐art 3D reconstructions of real human subjects with simulated micro wrinkles, and furthermore propose an artist‐driven design flow for adding micro wrinkles to fictional characters.

Abstract Parametric 3D shape models are heavily utilized in computer graphics and vision applications to provide priors on the observed variability of an object's geometry (e.g., for faces). Original models were linear and operated on the entire shape at once. They were later enhanced to provide localized control on different shape parts separately. In deep shape models, nonlinearity was introduced via a sequence of fully‐connected layers and activation functions, and locality was introduced in recent models that use mesh convolution networks. As common limitations, these models often dictate, in one way or another, the allowed extent of spatial correlations and also require that a fixed mesh topology be specified ahead of time. To overcome these limitations, we present Shape Transformers, a new nonlinear parametric 3D shape model based on transformer architectures. A key benefit of this new model comes from using the transformer's self‐attention mechanism to automatically learn nonlinear spatial correlations for a class of 3D shapes. This is in contrast to global models that correlate everything and local models that dictate the correlation extent. Our transformer 3D shape autoencoder is a better alternative to mesh convolution models, which require specially‐crafted convolution, and down/up‐sampling operators that can be difficult to design. Our model is also topologically independent: it can be trained once and then evaluated on any mesh topology, unlike most previous methods. We demonstrate the application of our model to different datasets, including 3D faces, 3D hand shapes and full human bodies. Our experiments demonstrate the strong potential of our Shape Transformer model in several applications in computer graphics and vision.

Abstract We propose a 3D+time framework for modeling dynamic sequences of 3D facial shapes, representing realistic non‐rigid motion during a performance. Our work extends neural 3D morphable models by learning a motion manifold using a transformer architecture. More specifically, we derive a novel transformer‐based autoencoder that can model and synthesize 3D geometry sequences of arbitrary length. This transformer naturally determines frame‐to‐frame correlations required to represent the motion manifold, via the internal self‐attention mechanism. Furthermore, our method disentangles the constant facial identity from the time‐varying facial expressions in a performance, using two separate codes to represent neutral identity and the performance itself within separate latent subspaces. Thus, the model represents identity‐agnostic performances that can be paired with an arbitrary new identity code and fed through our new identity‐modulated performance decoder; the result is a sequence of 3D meshes for the performance with the desired identity and temporal length. We demonstrate how our disentangled motion model has natural applications in performance synthesis, performance retargeting, key‐frame interpolation and completion of missing data, performance denoising and retiming, and other potential applications that include full 3D body modeling.

Abstract Face swapping is the process of applying a source actor's appearance to a target actor's performance in a video. This is a challenging visual effect that has seen increasing demand in film and television production. Recent work has shown that data‐driven methods based on deep learning can produce compelling effects at production quality in a fraction of the time required for a traditional 3D pipeline. However, the dominant approach operates only on 2D imagery without reference to the underlying facial geometry or texture, resulting in poor generalization under novel viewpoints and little artistic control. Methods that do incorporate geometry rely on pre‐learned facial priors that do not adapt well to particular geometric features of the source and target faces. We approach the problem of face swapping from the perspective of learning simultaneous convolutional facial autoencoders for the source and target identities, using a shared encoder network with identity‐specific decoders. The key novelty in our approach is that each decoder first lifts the latent code into a 3D representation, comprising a dynamic face texture and a deformable 3D face shape, before projecting this 3D face back onto the input image using a differentiable renderer. The coupled autoencoders are trained only on videos of the source and target identities, without requiring 3D supervision. By leveraging the learned 3D geometry and texture, our method achieves face swapping with higher quality than when using off‐the‐shelf monocular 3D face reconstruction, and overall lower FID score than state‐of‐the‐art 2D methods. Furthermore, our 3D representation allows for efficient artistic control over the result, which can be hard to achieve with existing 2D approaches.

Generating realistic facial animation for CG characters and digital doubles is one of the hardest tasks in animation. A typical production workflow involves capturing the performance of a real actor using mo-cap technology, and transferring the captured motion to the target digital character. This process, known as retargeting , has been used for over a decade, and typically relies on either large blendshape rigs that are expensive to create, or direct deformation transfer algorithms that operate on individual geometric elements and are prone to artifacts. We present a new method for high-fidelity offline facial performance retargeting that is neither expensive nor artifact-prone. Our two step method first transfers local expression details to the target, and is followed by a global face surface prediction that uses anatomical constraints in order to stay in the feasible shape space of the target character. Our method also offers artists with familiar blendshape controls to perform fine adjustments to the retargeted animation. As such, our method is ideally suited for the complex task of human-to-human 3D facial performance retargeting, where the quality bar is extremely high in order to avoid the uncanny valley, while also being applicable for more common human-to-creature settings. We demonstrate the superior performance of our method over traditional deformation transfer algorithms, while achieving a quality comparable to current blendshape-based techniques used in production while requiring significantly fewer input shapes at setup time. A detailed user study corroborates the realistic and artifact free animations generated by our method in comparison to existing techniques.

Facial hair is a largely overlooked topic in facial performance capture. Most production pipelines in the entertainment industry do not have a way to automatically capture facial hair or track the skin underneath it. Thus, actors are asked to shave clean before face capture, which is very often undesirable. Capturing the geometry of individual facial hairs is very challenging, and their presence makes it harder to capture the deforming shape of the underlying skin surface. Some attempts have already been made at automating this task, but only for static faces with relatively sparse 3D hair reconstructions. In particular, current methods lack the temporal correspondence needed when capturing a sequence of video frames depicting facial performance. The problem of robustly tracking the skin underneath also remains unaddressed. In this paper, we propose the first multiview reconstruction pipeline that tracks both the dense 3D facial hair, as well as the underlying 3D skin for entire performances. Our method operates with standard setups for face photogrammetry, without requiring dense camera arrays. For a given capture subject, our algorithm first reconstructs a dense, high-quality neutral 3D facial hairstyle by registering sparser hair reconstructions over multiple frames that depict a neutral face under quasi-rigid motion. This custom-built, reference facial hairstyle is then tracked throughout a variety of changing facial expressions in a captured performance, and the result is used to constrain the tracking of the 3D skin surface underneath. We demonstrate the proposed capture pipeline on a variety of different facial hairstyles and lengths, ranging from sparse and short to dense full-beards.

Photorealistic digital re-aging of faces in video is becoming increasingly common in entertainment and advertising. But the predominant 2D painting workflow often requires frame-by-frame manual work that can take days to accomplish, even by skilled artists. Although research on facial image re-aging has attempted to automate and solve this problem, current techniques are of little practical use as they typically suffer from facial identity loss, poor resolution, and unstable results across subsequent video frames. In this paper, we present the first practical, fully-automatic and production-ready method for re-aging faces in video images. Our first key insight is in addressing the problem of collecting longitudinal training data for learning to re-age faces over extended periods of time, a task that is nearly impossible to accomplish for a large number of real people. We show how such a longitudinal dataset can be constructed by leveraging the current state-of-the-art in facial re-aging that, although failing on real images, does provide photoreal re-aging results on synthetic faces. Our second key insight is then to leverage such synthetic data and formulate facial re-aging as a practical image-to-image translation task that can be performed by training a well-understood U-Net architecture, without the need for more complex network designs. We demonstrate how the simple U-Net, surprisingly, allows us to advance the state of the art for re-aging real faces on video, with unprecedented temporal stability and preservation of facial identity across variable expressions, viewpoints, and lighting conditions. Finally, our new face re-aging network (FRAN) incorporates simple and intuitive mechanisms that provides artists with localized control and creative freedom to direct and fine-tune the re-aging effect, a feature that is largely important in real production pipelines and often overlooked in related research work.

Style transfer between images is an artistic application of CNNs, where the ‘style’ of one image is transferred onto another image while preserving the latter’s content. The state of the art in neural style transfer is based on Adaptive Instance Normalization (AdaIN), a technique that transfers the statistical properties of style features to a content image, and can transfer a large number of styles in real time. However, AdaIN is a global operation; thus local geometric structures in the style image are often ignored during the transfer. We propose Adaptive Convolutions (AdaConv), a generic extension of AdaIN, to allow for the simultaneous transfer of both statistical and structural styles in real time. Apart from style transfer, our method can also be readily extended to style-based image generation, and other tasks where AdaIN has already been adopted.

For several decades, researchers have been advancing techniques for creating and rendering 3D digital faces, where a lot of the effort has gone into geometry and appearance capture, modeling and rendering techniques. This body of research work has largely focused on facial skin, with much less attention devoted to peripheral components like hair, eyes and the interior of the mouth. As a result, even with the best technology for facial capture and rendering, in most high-end productions a lot of artist time is still spent modeling the missing components and fine-tuning the rendering parameters to combine everything into photo-real digital renders. In this work we propose to combine incomplete, high-quality renderings showing only facial skin with recent methods for neural rendering of faces, in order to automatically and seamlessly create photo-realistic full-head portrait renders from captured data without the need for artist intervention. Our method begins with traditional face rendering, where the skin is rendered with the desired appearance, expression, viewpoint, and illumination. These skin renders are then projected into the latent space of a pre-trained neural network that can generate arbitrary photo-real face images (StyleGAN2). The result is a sequence of realistic face images that match the identity and appearance of the 3D character at the skin level, but is completed naturally with synthesized hair, eyes, inner mouth and surroundings. Notably, we present the first method for multi-frame consistent projection into this latent space, allowing photo-realistic rendering and preservation of the identity of the digital human over an animated performance sequence, which can depict different expressions, lighting conditions and viewpoints. Our method can be used in new face rendering pipelines and, importantly, in other deep learning applications that require large amounts of realistic training data with ground-truth 3D geometry, appearance maps, lighting, and viewpoint.

Face models built from 3D face databases are often used in computer vision and graphics tasks such as face reconstruction, replacement, tracking and manipulation. For such tasks, commonly used multi-linear morphable models, which provide semantic control over facial identity and expression, often lack quality and expressivity due to their linear nature. Deep neural networks offer the possibility of non-linear face modeling, where so far most research has focused on generating realistic facial images with less focus on 3D geometry, and methods that do produce geometry have little or no notion of semantic control, thereby limiting their artistic applicability. We present a method for nonlinear 3D face modeling using neural architectures that provides intuitive semantic control over both identity and expression by disentangling these dimensions from each other, essentially combining the benefits of both multi-linear face models and nonlinear deep face networks. The result is a powerful, semantically controllable, nonlinear, parametric face model. We demonstrate the value of our semantic deep face model with applications of 3D face synthesis, facial performance transfer, performance editing, and 2D landmark-based performance retargeting.

Facial landmark detection is a fundamental task for many consumer and high-end applications and is almost entirely solved by machine learning methods today. Existing datasets used to train such algorithms are primarily made up of only low resolution images, and current algorithms are limited to inputs of comparable quality and resolution as the training dataset. On the other hand, high resolution imagery is becoming increasingly more common as consumer cameras improve in quality every year. Therefore, there is need for algorithms that can leverage the rich information available in high resolution imagery. Naively attempting to reuse existing network architectures on high resolution imagery is prohibitive due to memory bottlenecks on GPUs. The only current solution is to downsample the images, sacrificing resolution and quality. Building on top of recent progress in attention-based networks, we present a novel, fully convolutional regional architecture that is specially designed for predicting landmarks on very high resolution facial images without downsampling. We demonstrate the flexibility of our architecture by training the proposed model with images of resolutions ranging from 256 x 256 to 4K. In addition to being the first method for facial landmark detection on high resolution images, our approach achieves superior performance over traditional (holistic) state-of-the-art architectures across ALL resolutions, leading to a general-purpose, extremely flexible, high quality landmark detector.

Abstract Many problems in computer graphics and vision can be formulated as a nonlinear least squares optimization problem, for which numerous off‐the‐shelf solvers are readily available. Depending on the structure of the problem, however, existing solvers may be more or less suitable, and in some cases the solution comes at the cost of lengthy convergence times. One such case is semi‐sparse optimization problems, emerging for example in localized facial performance reconstruction, where the nonlinear least squares problem can be composed of hundreds of thousands of cost functions, each one involving many of the optimization parameters. While such problems can be solved with existing solvers, the computation time can severely hinder the applicability of these methods. We introduce a novel iterative solver for nonlinear least squares optimization of large‐scale semi‐sparse problems. We use the nonlinear Levenberg‐Marquardt method to locally linearize the problem in parallel, based on its first‐order approximation. Then, we decompose the linear problem in small blocks, using the local Schur complement, leading to a more compact linear system without loss of information. The resulting system is dense but its size is small enough to be solved using a parallel direct method in a short amount of time. The main benefit we get by using such an approach is that the overall optimization process is entirely parallel and scalable, making it suitable to be mapped onto graphics hardware (GPU). By using our minimizer, results are obtained up to one order of magnitude faster than other existing solvers, without sacrificing the generality and the accuracy of the model. We provide a detailed analysis of our approach and validate our results with the application of performance‐based facial capture using a recently‐proposed anatomical local face deformation model.

Abstract Digitally sculpting 3D human faces is a very challenging task. It typically requires either 1) highly‐skilled artists using complex software packages for high quality results, or 2) highly‐constrained simple interfaces for consumer‐level avatar creation, such as in game engines. We propose a novel interactive method for the creation of digital faces that is simple and intuitive to use, even for novice users, while consistently producing plausible 3D face geometry, and allowing editing freedom beyond traditional video game avatar creation. At the core of our system lies a specialized anatomical local face model (ALM), which is constructed from a dataset of several hundred 3D face scans. User edits are propagated to constraints for an optimization of our data‐driven ALM model, ensuring the resulting face remains plausible even for simple edits like clicking and dragging surface points. We show how several natural interaction methods can be implemented in our framework, including direct control of the surface, indirect control of semantic features like age, ethnicity, gender, and BMI, as well as indirect control through manipulating the underlying bony structures. The result is a simple new method for creating digital human faces, for artists and novice users alike. Our method is attractive for low‐budget VFX and animation productions, and our anatomical modeling paradigm can complement traditional game engine avatar design packages.

Abstract We present a practical method to synthesize plausible 3D facial expressions for a particular target subject. The ability to synthesize an entire facial rig from a single neutral expression has a large range of applications both in computer graphics and computer vision, ranging from the efficient and cost‐effective creation of CG characters to scalable data generation for machine learning purposes. Unlike previous methods based on multilinear models, the proposed approach is capable to extrapolate well outside the sample pool, which allows it to plausibly predict the identity of the target subject and create artifact free expression shapes while requiring only a small input dataset. We introduce global‐local multilinear models that leverage the strengths of expression‐specific and identity‐specific local models combined with coarse motion estimations from a global model. Experimental results show that we achieve high‐quality, plausible facial expression synthesis results for an individual that outperform existing methods both quantitatively and qualitatively.

Abstract 3D gaze tracking from a single RGB camera is very challenging due to the lack of information in determining the accurate gaze target from a monocular RGB sequence. The eyes tend to occupy only a small portion of the video, and even small errors in estimated eye orientations can lead to very large errors in the triangulated gaze target. We overcome these difficulties with a novel lightweight eyeball calibration scheme that determines the user‐specific visual axis, eyeball size and position in the head. Unlike the previous calibration techniques, we do not need the ground truth positions of the gaze points. In the online stage, gaze is tracked by a new gaze fitting algorithm, and refined by a 3D gaze regression method to correct for bias errors. Our regression is pre‐trained on several individuals and works well for novel users. After the lightweight one‐time user calibration, our method operates in real time. Experiments show that our technique achieves state‐of‐the‐art accuracy in gaze angle estimation, and we demonstrate applications of 3D gaze target tracking and gaze retargeting to an animated 3D character.

We propose a new light-weight face capture system capable of reconstructing both high-quality geometry and detailed appearance maps from a single exposure. Unlike currently employed appearance acquisition systems, the proposed technology does not require active illumination and hence can readily be integrated with passive photogrammetry solutions. These solutions are in widespread use for 3D scanning humans as they can be assembled from off-the-shelf hardware components, but lack the capability of estimating appearance. This paper proposes a solution to overcome this limitation, by adding appearance capture to photogrammetry systems. The only additional hardware requirement to these solutions is that a subset of the cameras are cross-polarized with respect to the illumination, and the remaining cameras are parallel-polarized. The proposed algorithm leverages the images with the two different polarization states to reconstruct the geometry and to recover appearance properties. We do so by means of an inverse rendering framework, which solves per texel diffuse albedo, specular intensity, and high-resolution normals, as well as global specular roughness considering the subsurface scattering nature of skin. We show results for a variety of human subjects of different ages and skin typology, illustrating how the captured fine-detail skin surface and subsurface scattering effects lead to realistic renderings of their digital doubles, also in different illumination conditions.

Performance capture of expressive subjects, particularly facial performances acquired with high spatial resolution, will inevitably incorporate some fraction of motion that is due to inertial effects and dynamic overshoot due to ballistic motion. This is true in most natural capture environments where the actor is able to move freely during their performance, rather than being tethered to a fixed position. Normally these secondary dynamic effects are unwanted, as the captured facial performance is often retargeted to different head motion, and sometimes to completely different characters, and in both cases the captured dynamic effects should be removed and new secondary effects should be added. This paper advances the hypothesis that for a highly constrained elastic medium such as the human face, these secondary inertial effects are predominantly due to the motion of the underlying bony structures (cranium and mandible). Our work aims to compute and characterize the difference between the captured dynamic facial performance, and a speculative quasistatic variant of the same motion should the inertial effects have been absent. This is used to either subtract parasitic secondary dynamics that resulted from unintentional motion during capture, or compose such effects on top of a quasistatic performance to simulate a new dynamic motion of the actor's body and skull, either artist-prescribed or acquired via motion capture. We propose a data-driven technique that comprises complementary removal and synthesis networks for secondary dynamics in facial performance capture. We show how such a system can be effectively trained from a collection of acquired dynamic deformations under varying expressions where the actor induces rigid head motion from walking and running, as well as forced oscillatory body motion in a controlled setting by external actuators.

Abstract We present a novel parametric eye rig for eye animation, including a new multi‐view imaging system that can reconstruct eye poses at submillimeter accuracy to which we fit our new rig. This allows us to accurately estimate person‐specific eyeball shape, rotation center, interocular distance, visual axis, and other rig parameters resulting in an animation‐ready eye rig. We demonstrate the importance of several aspects of eye modeling that are often overlooked, for example that the visual axis is not identical to the optical axis, that it is important to model rotation about the optical axis, and that the rotation center of the eye should be measured accurately for each person. Since accurate rig fitting requires hand annotation of multi‐view imagery for several eye gazes, we additionally propose a more user‐friendly “lightweight” fitting approach, which leverages an average rig created from several pre‐captured accurate rigs. Our lightweight rig fitting method allows for the estimation of eyeball shape and eyeball position given only a single pose with a known look‐at point (e.g. looking into a camera) and few manual annotations.

We present the first method to accurately track the invisible jaw based solely on the visible skin surface, without the need for any markers or augmentation of the actor. As such, the method can readily be integrated with off-the-shelf facial performance capture systems. The core idea is to learn a non-linear mapping from the skin deformation to the underlying jaw motion on a dataset where ground-truth jaw poses have been acquired, and then to retarget the mapping to new subjects. Solving for the jaw pose plays a central role in visual effects pipelines, since accurate jaw motion is required when retargeting to fantasy characters and for physical simulation. Currently, this task is performed mostly manually to achieve the desired level of accuracy, and the presented method has the potential to fully automate this labour intense and error prone process.

Abstract Facial performance capture is the primary method for generating facial animation in video games, feature films and virtual environments, and recent advances have produced very compelling results. Still, one of the most challenging regions is the mouth, which often contains systematic errors due to the complex appearance and occlusion/dis‐occlusion of the lips. We present a novel user‐guided approach to correcting these common lip shape errors present in traditional capture systems. Our approach is to allow a user to manually correct a small number of problematic frames, and then our system learns the types of corrections desired and automatically corrects the entire performance. As correcting even a single frame using traditional 3D sculpting tools can be time consuming and require great skill, we also propose a simple and fast 2D sketch‐based method for generating plausible lip corrections for the problematic key frames. We demonstrate our results on captured performances of three different subjects, and validate our method with an additional sequence that contains ground truth lip reconstructions.

Abstract The computer graphics and vision communities have dedicated long standing efforts in building computerized tools for reconstructing, tracking, and analyzing human faces based on visual input. Over the past years rapid progress has been made, which led to novel and powerful algorithms that obtain impressive results even in the very challenging case of reconstruction from a single RGB or RGB‐D camera. The range of applications is vast and steadily growing as these technologies are further improving in speed, accuracy, and ease of use. Motivated by this rapid progress, this state‐of‐the‐art report summarizes recent trends in monocular facial performance capture and discusses its applications, which range from performance‐based animation to real‐time facial reenactment. We focus our discussion on methods where the central task is to recover and track a three dimensional model of the human face using optimization‐based reconstruction algorithms. We provide an in‐depth overview of the underlying concepts of real‐world image formation, and we discuss common assumptions and simplifications that make these algorithms practical. In addition, we extensively cover the priors that are used to better constrain the under‐constrained monocular reconstruction problem, and discuss the optimization techniques that are employed to recover dense, photo‐geometric 3D face models from monocular 2D data. Finally, we discuss a variety of use cases for the reviewed algorithms in the context of motion capture, facial animation, as well as image and video editing.

We present a method to acquire dynamic properties of facial skin appearance, including dynamic diffuse albedo encoding blood flow, dynamic specular intensity, and per-frame high resolution normal maps for a facial performance sequence. The method reconstructs these maps from a purely passive multi-camera setup, without the need for polarization or requiring temporally multiplexed illumination. Hence, it is very well suited for integration with existing passive systems for facial performance capture. To solve this seemingly underconstrained problem, we demonstrate that albedo dynamics during a facial performance can be modeled as a combination of: (1) a static, high-resolution base albedo map, modeling full skin pigmentation; and (2) a dynamic, one-dimensional component in the CIE L*a*b* color space, which explains changes in hemoglobin concentration due to blood flow. We leverage this albedo subspace and additional constraints on appearance and surface geometry to also estimate specular reflection parameters and resolve high-resolution normal maps with unprecedented detail in a passive capture system. These constraints are built into an inverse rendering framework that minimizes the difference of the rendered face to the captured images, incorporating constraints from multiple views for every texel on the face. The presented method is the first system capable of capturing high-quality dynamic appearance maps at full resolution and video framerates, providing a major step forward in the area of facial appearance acquisition.

Recreating the appearance of humans in virtual environments for the purpose of movie, video game, or other types of production involves the acquisition of a geometric representation of the human body and its scattering parameters which express the interaction between the geometry and light propagated throughout the scene. Teeth appearance is defined not only by the light and surface interaction, but also by its internal geometry and the intra-oral environment, posing its own unique set of challenges. Therefore, we present a system specifically designed for capturing the optical properties of live human teeth such that they can be realistically re-rendered in computer graphics. We acquire our data in vivo in a conventional multiple camera and light source setup and use exact geometry segmented from intra-oral scans. To simulate the complex interaction of light in the oral cavity during inverse rendering we employ a novel pipeline based on derivative path tracing with respect to both optical properties and geometry of the inner dentin surface. The resulting estimates of the global derivatives are used to extract parameters in a joint numerical optimization. The final appearance faithfully recreates the acquired data and can be directly used in conventional path tracing frameworks for rendering virtual humans.

In computer graphics the motion of the jaw is commonly modelled by up-down and left-right rotation around a fixed pivot plus a forward-backward translation, yielding a three dimensional rig that is highly suited for intuitive artistic control. The anatomical motion of the jaw is, however, much more complex since the joints that connect the jaw to the skull exhibit both rotational and translational components. In reality the jaw does not move in a three dimensional subspace but on a constrained manifold in six dimensions. We analyze this manifold in the context of computer animation and show how the manifold can be parameterized with three degrees of freedom, providing a novel jaw rig that preserves the intuitive control while providing more accurate jaw positioning. The chosen parameterization furthermore places anatomically correct limits on the motion, preventing the rig from entering physiologically infeasible poses. Our new jaw rig is empirically designed from accurate capture data, and we provide a simple method to retarget the rig to new characters, both human and fantasy.

Physical simulation has long been the approach of choice for generating realistic hair animations in CG. A constant drawback of simulation, however, is the necessity to manually set the physical parameters of the simulation model in order to get the desired dynamic behavior. To alleviate this, researchers have begun to explore methods for reconstructing hair from the real world and even to estimate the corresponding simulation parameters through the process of inversion. So far, however, these methods have had limited applicability, because dynamic hair capture can only be played back without the ability to edit, and solving for simulation parameters can only be accomplished for static hairstyles, ignoring the dynamic behavior. We present the first method for capturing dynamic hair and automatically determining the physical properties for simulating the observed hairstyle in motion. Since our dynamic inversion is agnostic to the simulation model, the proposed method applies to virtually any hair simulation technique, which we demonstrate using two state-of-the-art hair simulation models. The output of our method is a fully simulation-ready hairstyle, consisting of both the static hair geometry as well as its physical properties. The hairstyle can be easily edited by adding additional external forces, changing the head motion, or re-simulating in completely different environments, all while remaining faithful to the captured hairstyle.

We present a real-time multi-view facial capture system facilitated by synthetic training imagery. Our method is able to achieve high-quality markerless facial performance capture in real-time from multi-view helmet camera data, employing an actor specific regressor. The regressor training is tailored to specified actor appearance and we further condition it for the expected illumination conditions and the physical capture rig by generating the training data synthetically. In order to leverage the information present in live imagery, which is typically provided by multiple cameras, we propose a novel multi-view regression algorithm that uses multi-dimensional random ferns. We show that higher quality can be achieved by regressing on multiple video streams than previous approaches that were designed to operate on only a single view. Furthermore, we evaluate possible camera placements and propose a novel camera configuration that allows to mount cameras outside the field of view of the actor, which is very beneficial as the cameras are then less of a distraction for the actor and allow for an unobstructed line of sight to the director and other actors. Our new real-time facial capture approach has immediate application in on-set virtual production, in particular with the ever-growing demand for motion-captured facial animation in visual effects and video games.

Oftentimes facial animation is created separately from overall body motion. Since convincing facial animation is challenging enough in itself, artists tend to create and edit the face motion in isolation. Or if the face animation is derived from motion capture, this is typically performed in a mo-cap booth while sitting relatively still. In either case, recombining the isolated face animation with body and head motion is non-trivial and often results in an uncanny result if the body dynamics are not properly reflected on the face (e.g. the bouncing of facial tissue when running). We tackle this problem by introducing a simple and intuitive system that allows to add physics to facial blendshape animation. Unlike previous methods that try to add physics to face rigs, our method preserves the original facial animation as closely as possible. To this end, we present a novel simulation framework that uses the original animation as per-frame rest-poses without adding spurious forces. As a result, in the absence of any external forces or rigid head motion, the facial performance will exactly match the artist-created blendshape animation. In addition we propose the concept of blendmaterials to give artists an intuitive means to account for changing material properties due to muscle activation. This system allows to automatically combine facial animation and head motion such that they are consistent, while preserving the original animation as closely as possible. The system is easy to use and readily integrates with existing animation pipelines.

Real-time facial performance capture has recently been gaining popularity in virtual film production, driven by advances in machine learning, which allows for fast inference of facial geometry from video streams. These learning-based approaches are significantly influenced by the quality and amount of labelled training data. Tedious construction of training sets from real imagery can be replaced by rendering a facial animation rig under on-set conditions expected at runtime. We learn a synthetic actor-specific prior by adapting a state-of-the-art facial tracking method. Synthetic training significantly reduces the capture and annotation burden and in theory allows generation of an arbitrary amount of data. But practical realities such as training time and compute resources still limit the size of any training set. We construct better and smaller training sets by investigating which facial image appearances are crucial for tracking accuracy, covering the dimensions of expression, viewpoint and illumination. A reduction of training data in 1-2 orders of magnitude is demonstrated whilst tracking accuracy is retained for challenging on-set footage.

In facial animation, the accurate shape and motion of the lips of virtual humans is of paramount importance, since subtle nuances in mouth expression strongly influence the interpretation of speech and the conveyed emotion. Unfortunately, passive photometric reconstruction of expressive lip motions, such as a kiss or rolling lips, is fundamentally hard even with multi-view methods in controlled studios. To alleviate this problem, we present a novel approach for fully automatic reconstruction of detailed and expressive lip shapes along with the dense geometry of the entire face, from just monocular RGB video. To this end, we learn the difference between inaccurate lip shapes found by a state-of-the-art monocular facial performance capture approach, and the true 3D lip shapes reconstructed using a high-quality multi-view system in combination with applied lip tattoos that are easy to track. A robust gradient domain regressor is trained to infer accurate lip shapes from coarse monocular reconstructions, with the additional help of automatically extracted inner and outer 2D lip contours. We quantitatively and qualitatively show that our monocular approach reconstructs higher quality lip shapes, even for complex shapes like a kiss or lip rolling, than previous monocular approaches. Furthermore, we compare the performance of person-specific and multi-person generic regression strategies and show that our approach generalizes to new individuals and general scenes, enabling high-fidelity reconstruction even from commodity video footage.

Facial scanning has become ubiquitous in digital media, but so far most efforts have focused on reconstructing the skin. Eye reconstruction, on the other hand, has received only little attention, and the current state-of-the-art method is cumbersome for the actor, time-consuming, and requires carefully setup and calibrated hardware. These constraints currently make eye capture impractical for general use. We present the first approach for high-quality lightweight eye capture, which leverages a database of pre-captured eyes to guide the reconstruction of new eyes from much less constrained inputs, such as traditional single-shot face scanners or even a single photo from the internet. This is accomplished with a new parametric model of the eye built from the database, and a novel image-based model fitting algorithm. Our method provides both automatic reconstructions of real eyes, as well as artistic control over the parameters to generate user-specific eyes.

In recent years, sophisticated image-based reconstruction methods for the human face have been developed. These methods capture highly detailed static and dynamic geometry of the whole face, or specific models of face regions, such as hair, eyes or eye lids. Unfortunately, image-based methods to capture the mouth cavity in general, and the teeth in particular, have received very little attention. The accurate rendering of teeth, however, is crucial for the realistic display of facial expressions, and currently high quality face animations resort to tooth row models created by tedious manual work. In dentistry, special intra-oral scanners for teeth were developed, but they are invasive, expensive, cumbersome to use, and not readily available. In this paper, we therefore present the first approach for non-invasive reconstruction of an entire person-specific tooth row from just a sparse set of photographs of the mouth region. The basis of our approach is a new parametric tooth row prior learned from high quality dental scans. A new model-based reconstruction approach fits teeth to the photographs such that visible teeth are accurately matched and occluded teeth plausibly synthesized. Our approach seamlessly integrates into photogrammetric multi-camera reconstruction setups for entire faces, but also enables high quality teeth modeling from normal uncalibrated photographs and even short videos captured with a mobile phone.

We present a new anatomically-constrained local face model and fitting approach for tracking 3D faces from 2D motion data in very high quality. In contrast to traditional global face models, often built from a large set of blendshapes, we propose a local deformation model composed of many small subspaces spatially distributed over the face. Our local model offers far more flexibility and expressiveness than global blendshape models, even with a much smaller model size. This flexibility would typically come at the cost of reduced robustness, in particular during the under-constrained task of monocular reconstruction. However, a key contribution of this work is that we consider the face anatomy and introduce subspace skin thickness constraints into our model, which constrain the face to only valid expressions and helps counteract depth ambiguities in monocular tracking. Given our new model, we present a novel fitting optimization that allows 3D facial performance reconstruction from a single view at extremely high quality, far beyond previous fitting approaches. Our model is flexible, and can be applied also when only sparse motion data is available, for example with marker-based motion capture or even face posing from artistic sketches. Furthermore, by incorporating anatomical constraints we can automatically estimate the rigid motion of the skull, obtaining a rigid stabilization of the performance for free. We demonstrate our model and single-view fitting method on a number of examples, including, for the first time, extreme local skin deformation caused by external forces such as wind, captured from a single high-speed camera.

We present a method to continuously blend between multiple facial performances of an actor, which can contain different facial expressions or emotional states. As an example, given sad and angry video takes of a scene, our method empowers the movie director to specify arbitrary weighted combinations and smooth transitions between the two takes in post-production. Our contributions include (1) a robust nonlinear audio-visual synchronization technique that exploits complementary properties of audio and visual cues to automatically determine robust, dense spatiotemporal correspondences between takes, and (2) a seamless facial blending approach that provides the director full control to interpolate timing, facial expression, and local appearance, in order to generate novel performances after filming. In contrast to most previous works, our approach operates entirely in image space, avoiding the need of 3D facial reconstruction. We demonstrate that our method can synthesize visually believable performances with applications in emotion transition, performance correction, and timing control.

Abstract Facial appearance capture is now firmly established within academic research and used extensively across various application domains, perhaps most prominently in the entertainment industry through the design of virtual characters in video games and films. While significant progress has occurred over the last two decades, no single survey currently exists that discusses the similarities, differences, and practical considerations of the available appearance capture techniques as applied to human faces. A central difficulty of facial appearance capture is the way light interacts with skin—which has a complex multi‐layered structure—and the interactions that occur below the skin surface can, by definition, only be observed indirectly. In this report, we distinguish between two broad strategies for dealing with this complexity. “Image‐based methods” try to exhaustively capture the exact face appearance under different lighting and viewing conditions, and then render the face through weighted image combinations. “Parametric methods” instead fit the captured reflectance data to some parametric appearance model used during rendering, allowing for a more lightweight and flexible representation but at the cost of potentially increased rendering complexity or inexact reproduction. The goal of this report is to provide an overview that can guide practitioners and researchers in assessing the tradeoffs between current approaches and identifying directions for future advances in facial appearance capture.

In recent years we have seen numerous improvements on 3D scanning and tracking of human faces, greatly advancing the creation of digital doubles for film and video games. However, despite the high-resolution quality of the reconstruction approaches available, current methods are unable to capture one of the most important regions of the face - the eye region. In this work we present the first method for detailed spatio-temporal reconstruction of eyelids. Tracking and reconstructing eyelids is extremely challenging, as this region exhibits very complex and unique skin deformation where skin is folded under while opening the eye. Furthermore, eyelids are often only partially visible and obstructed due to self-occlusion and eyelashes. Our approach is to combine a geometric deformation model with image data, leveraging multi-view stereo, optical flow, contour tracking and wrinkle detection from local skin appearance. Our deformation model serves as a prior that enables reconstruction of eyelids even under strong self-occlusions caused by rolling and folding skin as the eye opens and closes. The output is a person-specific, time-varying eyelid reconstruction with anatomically plausible deformations. Our high-resolution detailed eyelids couple naturally with current facial performance capture approaches. As a result, our method can largely increase the fidelity of facial capture and the creation of digital doubles.

We present the first real-time high-fidelity facial capture method. The core idea is to enhance a global real-time face tracker, which provides a low-resolution face mesh, with local regressors that add in medium-scale details, such as expression wrinkles. Our main observation is that although wrinkles appear in different scales and at different locations on the face, they are locally very self-similar and their visual appearance is a direct consequence of their local shape. We therefore train local regressors from high-resolution capture data in order to predict the local geometry from local appearance at runtime. We propose an automatic way to detect and align the local patches required to train the regressors and run them efficiently in real-time. Our formulation is particularly designed to enhance the low-resolution global tracker with exactly the missing expression frequencies, avoiding superimposing spatial frequencies in the result. Our system is generic and can be applied to any real-time tracker that uses a global prior, e.g. blend-shapes. Once trained, our online capture approach can be applied to any new user without additional training, resulting in high-fidelity facial performance reconstruction with person-specific wrinkle details from a monocular video camera in real-time.

Facial scanning has become the industry-standard approach for creating digital doubles in movies and video games. This involves capturing an actor while they perform different expressions that span their range of facial motion. Unfortunately, the scans typically contain a superposition of the desired expression on top of un-wanted rigid head movement. In order to extract true expression deformations, it is essential to factor out the rigid head movement for each expression, a process referred to as rigid stabilization . In order to achieve production-quality in industry, face stabilization is usually performed through a tedious and error-prone manual process. In this paper we present the first automatic face stabilization method that achieves professional-quality results on large sets of facial expressions. Since human faces can undergo a wide range of deformation, there is not a single point on the skin surface that moves rigidly with the underlying skull. Consequently, computing the rigid transformation from direct observation, a common approach in previous methods, is error prone and leads to inaccurate results. Instead, we propose to indirectly stabilize the expressions by explicitly aligning them to an estimate of the underlying skull using anatomically-motivated constraints. We show that the proposed method not only outperforms existing techniques but is also on par with manual stabilization, yet requires less than a second of computation time.

Even though the human eye is one of the central features of individual appearance, its shape has so far been mostly approximated in our community with gross simplifications. In this paper we demonstrate that there is a lot of individuality to every eye, a fact that common practices for 3D eye generation do not consider. To faithfully reproduce all the intricacies of the human eye we propose a novel capture system that is capable of accurately reconstructing all the visible parts of the eye: the white sclera , the transparent cornea and the non-rigidly deforming colored iris . These components exhibit very different appearance properties and thus we propose a hybrid reconstruction method that addresses them individually, resulting in a complete model of both spatio-temporal shape and texture at an unprecedented level of detail, enabling the creation of more believable digital humans. Finally, we believe that the findings of this paper will alter our community's current assumptions regarding human eyes, and our work has the potential to significantly impact the way that eyes will be modelled in the future.

The facial performance of an individual is inherently rich in subtle deformation and timing details. Although these subtleties make the performance realistic and compelling, they often elude both motion capture and hand animation. We present a technique for adding fine-scale details and expressiveness to low-resolution art-directed facial performances, such as those created manually using a rig, via marker-based capture, by fitting a morphable model to a video, or through Kinect reconstruction using recent faceshift technology. We employ a high-resolution facial performance capture system to acquire a representative performance of an individual in which he or she explores the full range of facial expressiveness. From the captured data, our system extracts an expressiveness model that encodes subtle spatial and temporal deformation details specific to that particular individual. Once this model has been built, these details can be transferred to low-resolution art-directed performances. We demonstrate results on various forms of input; after our enhancement, the resulting animations exhibit the same nuances and fine spatial details as the captured performance, with optional temporal enhancement to match the dynamics of the actor. Finally, we show that our technique outperforms the current state-of-the-art in example-based facial animation.

Recently, we have seen a growing trend in the design and fabrication of personalized figurines, created by scanning real people and then physically reproducing miniature statues with 3D printers. This is currently a hot topic both in academia and industry, and the printed figurines are gaining more and more realism, especially with state-of-the-art facial scanning technology improving. However, current systems all contain the same limitation - no previous method is able to suitably capture personalized hair-styles for physical reproduction. Typically, the subject's hair is approximated very coarsely or replaced completely with a template model. In this paper we present the first method for stylized hair capture, a technique to reconstruct an individual's actual hair-style in a manner suitable for physical reproduction. Inspired by centuries-old artistic sculptures, our method generates hair as a closed-manifold surface, yet contains the structural and color elements stylized in a way that captures the defining characteristics of the hair-style. The key to our approach is a novel multi-view stylization algorithm, which extends feature-preserving color filtering from 2D images to irregular manifolds in 3D, and introduces abstract geometric details that are coherent with the color stylization. The proposed technique fits naturally in traditional pipelines for figurine reproduction, and we demonstrate the robustness and versatility of our approach by capturing several subjects with widely varying hair-styles.

Correspondence matching is one of the most common problems in computer vision, and it is often solved using photo-consistency of local regions. These approaches typically assume that the frequency content in the local region is consistent in the image pair, such that matching is performed on similar signals. However, in many practical situations this is not the case, for example with low depth of field cameras a scene point may be out of focus in one view and in-focus in the other, causing a mismatch of frequency signals. Furthermore, this mismatch can vary spatially over the entire image. In this paper we propose a local signal equalization approach for correspondence matching. Using a measure of local image frequency, we equalize local signals using an efficient scale-space image representation such that their frequency contents are optimally suited for matching. Our approach allows better correspondence matching, which we demonstrate with a number of stereo reconstruction examples on synthetic and real datasets.

Flora is an element in many computer-generated scenes. But trees, bushes and plants have complex geometry and appearance, and are difficult to model manually. One way to address this is to capture models directly from the real world. Existing techniques have focused on extracting macro structure such as the branching structure of trees, or the structure of broad-leaved plants with a relatively small number of surfaces. This paper presents a finer scale technique to demonstrate for the first time the processing of densely leaved foliage - computation of 3D structure, plus extraction of statistics for leaf shape and the configuration of neighboring leaves. Our method starts with a mesh of a single exemplar leaf of the target foliage. Using a small number of images, point cloud data is obtained from multi-view stereo, and the exemplar leaf mesh is fitted non-rigidly to the point cloud over several iterations. In addition, our method learns a statistical model of leaf shape and appearance during the reconstruction phase, and a model of the transformations between neighboring leaves. This information is useful in two ways - to augment and increase leaf density in reconstructions of captured foliage, and to synthesize new foliage that conforms to a user-specified layout and density. The result of our technique is a dense set of captured leaves with realistic appearance, and a method for leaf synthesis. Our approach excels at reconstructing plants and bushes that are primarily defined by dense leaves and is demonstrated with multiple examples.

Force-deformation measurements of cloth exhibit significant hysteresis, and many researchers have identified internal friction as the source of this effect. However, it has not been incorporated into computer animation models of cloth. In this paper, we propose a model of internal friction based on an augmented reparameterization of Dahl's model, and we show that this model provides a good match to several important features of cloth hysteresis even with a minimal set of parameters. We also propose novel parameter estimation procedures that are based on simple and inexpensive setups and need only sparse data, as opposed to the complex hardware and dense data acquisition of previous methods. Finally, we provide an algorithm for the efficient simulation of internal friction, and we demonstrate it on simulation examples that show disparate behavior with and without internal friction.

Abstract We present a practical and inexpensive method for creating physical objects that cast different color shadow images when illuminated by prescribed lighting configurations. The input to our system is a number of lighting configurations and corresponding desired shadow images. Our approach computes attenuation masks, which are then printed on transparent materials and stacked to form a single multi‐layer attenuator. When illuminated with the input lighting configurations, this multi‐layer attenuator casts the prescribed color shadow images. Alternatively, our method can compute layers so that their permutations produce different prescribed shadow images under fixed lighting. Each multi‐layer attenuator is quick and inexpensive to produce, can generate multiple full‐color shadows, and can be designed to respond to different types of natural or synthetic lighting setups. We illustrate the effectiveness of our multi‐layer attenuators in simulation and in reality, with the sun as a light source.

Abstract Progress in cloth simulation for computer animation and apparel design has led to a multitude of deformation models, each with its own way of relating geometry, deformation, and forces. As simulators improve, differences between these models become more important, but it is difficult to choose a model and a set of parameters to match a given real material simply by looking at simulation results. This paper provides measurement and fitting methods that allow nonlinear models to be fit to the observed deformation of a particular cloth sample. Unlike standard textile testing, our system measures complex 3D deformations of a sheet of cloth, not just one‐dimensional force‐displacement curves, so it works under a wider range of deformation conditions. The fitted models are then evaluated by comparison to measured deformations with motions very different from those used for fitting.

We propose a complete process for designing, simulating, and fabricating synthetic skin for an animatronics character that mimics the face of a given subject and its expressions. The process starts with measuring the elastic properties of a material used to manufacture synthetic soft tissue. Given these measurements we use physics-based simulation to predict the behavior of a face when it is driven by the underlying robotic actuation. Next, we capture 3D facial expressions for a given target subject. As the key component of our process, we present a novel optimization scheme that determines the shape of the synthetic skin as well as the actuation parameters that provide the best match to the target expressions. We demonstrate this computational skin design by physically cloning a real human face onto an animatronics figure.

We present a new technique for passive and markerless facial performance capture based on anchor frames . Our method starts with high resolution per-frame geometry acquisition using state-of-the-art stereo reconstruction, and proceeds to establish a single triangle mesh that is propagated through the entire performance. Leveraging the fact that facial performances often contain repetitive subsequences, we identify anchor frames as those which contain similar facial expressions to a manually chosen reference expression. Anchor frames are automatically computed over one or even multiple performances. We introduce a robust image-space tracking method that computes pixel matches directly from the reference frame to all anchor frames, and thereby to the remaining frames in the sequence via sequential matching. This allows us to propagate one reconstructed frame to an entire sequence in parallel, in contrast to previous sequential methods. Our anchored reconstruction approach also limits tracker drift and robustly handles occlusions and motion blur. The parallel tracking and mesh propagation offer low computation times. Our technique will even automatically match anchor frames across different sequences captured on different occasions, propagating a single mesh to all performances.

Abstract Most objects deform gradually over time, without abrupt changes in geometry or topology, such as changes in genus. Correct space‐time reconstruction of such objects should satisfy this gradual change prior. This requirement necessitates a globally consistent interpretation of spatial adjacency. Consider the capture of a surface that comes in contact with itself during the deformation process, such as a hand with different fingers touching one another in parts of the sequence. Naive reconstruction would glue the contact regions together for the duration of each contact and keep them apart in other parts of the sequence. However such reconstruction violates the gradual change prior as it enforces a drastic intrinsic change in the object's geometry at the transition between the glued and unglued sub‐sequences. Instead consistent global reconstruction should keep the surfaces separate throughout the entire sequence. We introduce a new method for globally consistent space‐time geometry and motion reconstruction from video capture. We use the gradual change prior to resolve inconsistencies and faithfully reconstruct the geometry and motion of the scanned objects. In contrast to most previous methods our algorithm doesn't require a strong shape prior such as a template and provides better results than other template‐free approaches.

We introduce a purely passive facial capture approach that uses only an array of video cameras, but requires no template facial geometry, no special makeup or markers, and no active lighting. We obtain initial geometry using multi-view stereo, and then use a novel approach for automatically tracking texture detail across the frames. As a result, we obtain a high-resolution sequence of compatibly triangulated and parameterized meshes. The resulting sequence can be rendered with dynamically captured textures, while also consistently applying texture changes such as virtual makeup.

Abstract The presence of characteristic fine folds is important for modeling realistic looking virtual garments. While recent garment capture techniques are quite successful at capturing the low‐frequency garment shape and motion over time, they often fail to capture the numerous high‐frequency folds, reducing the realism of the reconstructed space‐time models. In our work we propose a method for reintroducing fine folds into the captured models using data‐driven dynamic wrinkling. We first estimate the shape and position of folds based on the original video footage used for capture and then wrinkle the surface based on those estimates using space‐time deformation. Both steps utilize the unique geometric characteristics of garments in general, and garment folds specifically, to facilitate the modeling of believable folds. We demonstrate the effectiveness of our wrinkling method on a variety of garments that have been captured using several recent techniques.

This paper presents a new algorithm for multi-view reconstruction that demonstrates both accuracy and efficiency. Our method is based on robust binocular stereo matching, followed by adaptive point-based filtering of the merged point clouds, and efficient, high-quality mesh generation. All aspects of our method are designed to be highly scalable with the number of views. Our technique produces the most accurate results among current algorithms for a sparse number of viewpoints according to the Middlebury datasets. Additionally, we prove to be the most efficient method among non-GPU algorithms for the same datasets. Finally, our scaled-window matching technique also excels at reconstructing deformable objects with high-curvature surfaces, which we demonstrate with a number of examples.

Fluid simulation is one of the most active research areas in computer graphics. However, it remains difficult to obtain measurements of real fluid flows for validation of the simulated data. In this paper, we take a step in the direction of capturing flow data for such purposes. Specifically, we present the first time-resolved Schlieren tomography system for capturing full 3D, non-stationary gas flows on a dense volumetric grid. Schlieren tomography uses 2D ray deflection measurements to reconstruct a time-varying grid of 3D refractive index values, which directly correspond to physical properties of the flow. We derive a new solution for this reconstruction problem that lends itself to efficient algorithms that robustly work with relatively small numbers of cameras. Our physical system is easy to set up, and consists of an array of relatively low cost rolling-shutter camcorders that are synchronized with a new approach. We demonstrate our method with real measurements, and analyze precision with synthetic data for which ground truth information is available.

A lot of research has recently focused on the problem of capturing the geometry and motion of garments. Such work usually relies on special markers printed on the fabric to establish temporally coherent correspondences between points on the garment's surface at different times. Unfortunately, this approach is tedious and prevents the capture of off-the-shelf clothing made from interesting fabrics. In this paper, we describe a marker-free approach to capturing garment motion that avoids these downsides. We establish temporally coherent parameterizations between incomplete geometries that we extract at each timestep with a multiview stereo algorithm. We then fill holes in the geometry using a template. This approach, for the first time, allows us to capture the geometry and motion of unpatterned, off-the-shelf garments made from a range of different fabrics.

Visualizing the growth process of botanical trees over the spring, summer, fall and winter seasons along with the natural effects of wind, ice and rain on the trees can be a useful tool for scientific research or even artistic display. This paper presents a method for