We present Fillerbuster, a unified model that completes unknown regions of a 3D scene with a multi-view latent diffusion transformer. Casual captures are often sparse and miss surrounding content behind objects or above the scene. Existing methods are not suitable for this challenge as they focus on making known pixels look good with sparse-view priors, or on creating missing sides of objects from just one or two photos. In reality, we often have hundreds of input frames and want to complete areas that are missing and unobserved from the input frames. Our solution is to train a generative model that can consume a large context of input frames while generating unknown target views and recovering image poses when camera parameters are unknown. We show results where we complete partial captures on two existing datasets. We also present an uncalibrated scene completion task where our unified model predicts both poses and creates new content. We open-source our framework for integration into popular reconstruction platforms like Nerfstudio or Gsplat. We present a flexible, unified inpainting framework to predict many images and poses together, where all inputs are jointly inpainted, and it could be extended to predict more modalities such as depth.

We recover the underlying 3D structure from images of cartoons and anime depicting the same scene. This is an interesting problem domain because images in creative media are often depicted without explicit geometric consistency for storytelling and creative expression-they are only 3D in a qualitative sense. While humans can easily perceive the underlying 3D scene from these images, existing Structure-from-Motion (SfM) methods that assume 3D consistency fail catastrophically. We present Toon3D for reconstructing geometrically inconsistent images. Our key insight is to deform the input images while recovering camera poses and scene geometry, effectively explaining away geometrical inconsistencies to achieve consistency. This process is guided by the structure inferred from monocular depth predictions. We curate a dataset with multi-view imagery from cartoons and anime that we annotate with reliable sparse correspondences using our user-friendly annotation tool. Our recovered point clouds can be plugged into novel-view synthesis methods to experience cartoons from viewpoints never drawn before. We evaluate against classical and recent learning-based SfM methods, where Toon3D is able to obtain more reliable camera poses and scene geometry.

As humans move around, performing their daily tasks, they are able to recall where they have positioned objects in their environment, even if these objects are currently out of their sight. In this paper, we aim to mimic this spatial cognition ability. We thus formulate the task of Out of Sight, Not Out of Mind - 3D tracking active objects using observations captured through an egocentric camera. We introduce a simple but effective approach to address this challenging problem, called Lift, Match, and Keep (LMK). LMK lifts partial 2D observations to 3D world coordinates, matches them over time using visual appearance, 3D location and interactions to form object tracks, and keeps these object tracks even when they go out-of-view of the camera. We benchmark LMK on 100 long videos from EPICKITCHENS. Our results demonstrate that spatial cognition is critical for correctly locating objects over short and long time scales. E.g., for one long egocentric video, we estimate the 3D location of 50 active objects. After 120 seconds, 57 % of the objects are correctly localised by LMK, compared to just 33% by a recent 3D method for egocentric videos and 17 % by a general 2D tracking method.

Moving object segmentation is a crucial task for achieving a high-level understanding of visual scenes and has numerous downstream applications. Humans can effortlessly segment moving objects in videos. Previous work has largely relied on optical flow to provide motion cues; however, this approach often results in imperfect predictions due to challenges such as partial motion, complex deformations, motion blur and background distractions. We propose a novel approach for moving object segmentation that combines long-range trajectory motion cues with DINO-based semantic features and leverages SAM2 for pixel-level mask densification through an iterative prompting strategy. Our model employs Spatio-Temporal Trajectory Attention and Motion-Semantic Decoupled Embedding to prioritize motion while integrating semantic support. Extensive testing on diverse datasets demonstrates state-of-the-art performance, excelling in challenging scenarios and fine-grained segmentation of multiple objects. Our code is available at https://motion-seg.github.io/.

We present a system that allows for accurate, fast, and robust estimation of camera parameters and depth maps from casual monocular videos of dynamic scenes. Most conventional structure from motion and monocular SLAM techniques assume input videos that feature predominantly static scenes with large amounts of parallax. Such methods tend to produce erroneous estimates in the absence of these conditions. Recent neural network-based approaches attempt to overcome these challenges; however, such methods are either computationally expensive or brittle when run on dynamic videos with uncontrolled camera motion or unknown field of view. We demonstrate the surprising effectiveness of a deep visual SLAM framework: with careful modifications to its training and inference schemes, this system can scale to real-world videos of complex dynamic scenes with unconstrained camera paths, including videos with little camera parallax. Extensive experiments on both synthetic and real videos demonstrate that our system is significantly more accurate and robust at camera pose and depth estimation when compared with prior and concurrent work, with faster or comparable running times. See interactive results on our project page: mega-sam.github.io.

Large-scale AI model training divides work across thousands of GPUs, then synchronizes gradients across them at each step. This incurs a significant network burden that only centralized, monolithic clusters can support, driving up infrastructure costs and straining power systems. We propose Decentralized Diffusion Models, a scalable framework for distributing diffusion model training across independent clusters or datacenters by eliminating the dependence on a centralized, high-bandwidth networking fabric. Our method trains a set of expert diffusion models over partitions of the dataset, each in full isolation from one another. At inference time, the experts ensemble through a lightweight router. We show that the ensemble collectively optimizes the same objective as a single model trained over the whole dataset. This means we can divide the training burden among a number of “compute islands,” lowering infrastructure costs and improving resilience to localized GPU failures. Decentralized diffusion models empower researchers to take advantage of smaller, more cost-effective and more readily available compute like on-demand GPU nodes rather than central integrated systems. We conduct extensive experiments on ImageNet and LAION Aesthetics, showing that decentralized diffusion models FLOP-for-FLOP outperform standard diffusion models. We finally scale our approach to 24 billion parameters, demonstrating that high-quality diffusion models can now be trained with just eight individual GPU nodes in less than a week.

We present "Humans and Structure from Motion" (HSfM), a method for jointly reconstructing multiple human meshes, scene point clouds, and camera parameters in a metric world coordinate system from a sparse set of uncalibrated multi-view images featuring people. Our approach combines data-driven scene reconstruction with the traditional Structure-From-Motion (SfM) framework to achieve more accurate scene reconstruction and camera estimation while simultaneously recovering human meshes. In con trast to existing scene reconstruction and SfM methods that lack metric scale information, our method estimates approximate metric scale by leveraging the human statistical model. Furthermore, our method reconstructs multiple human meshes within the same world coordinate system with the scene point cloud, effectively capturing spatial relationships among individuals and their positions in the environment. We initialize the reconstruction of humans, scenes, and cameras using robust foundational models and jointly optimize these elements. This joint optimization synergistically improves the accuracy of each component. We compare our method with existing methods on two challenging benchmarks, EgoHumans and EgoExo4D, demonstrating significant improvements in human localization accuracy within the world coordinate frame (reducing error from 3.59m to 1.04m in EgoHumans and from 3.01m to 0.50m in EgoExo4D). Notably, our results show that incorporating human data into the SfM pipeline improves camera pose estimation (e.g., increasing RRA@15 by 20.3% on EgoHumans). Additionally, qualitative results show that our approach improves scene reconstruction quality. Our code is available at muelea.github.io/hsfm.

We present a unified framework capable of solving a broad range of 3D tasks. Our approach features a stateful recurrent model that continuously updates its state representation with each new observation. Given a stream of images, this evolving state can be used to generate metric-scale pointmaps (per-pixel 3D points) for each new input in an online fashion. These pointmaps reside within a common coordinate system, and can be accumulated into a coherent, dense scene reconstruction that updates as new images arrive. Our model, called CUT3R (Continuous Updating Transformer for 3D Reconstruction), captures rich priors of real-world scenes: not only can it predict accurate pointmaps from image observations, but it can also infer unseen regions of the scene by probing at virtual, unobserved views. Our method is simple yet highly flexible, naturally accepting varying length of images that may be either video streams or unordered photo collections, containing both static and dynamic content. We evaluate our method on various 3D/4D tasks and demonstrate competitive or state-of-the-art performance in each. Project page: https://cut3r.github.io/.

We present EgoAllo, a system for human motion estimation from a head-mounted device. Using only egocentric SLAM poses and images, EgoAllo guides sampling from a conditional diffusion model to estimate 3D body pose, height, and hand parameters that capture a device wearer's actions in the allocentric coordinate frame of the scene. To achieve this, our key insight is in representation: we propose spatial and temporal invariance criteria for improving model performance, from which we derive a head motion conditioning parameterization that improves estimation by up to 18%. We also show how the bodies estimated by our system can improve hand estimation: the resulting kinematic and temporal constraints can reduce world-frame errors in single-frame estimates by 40%.

Dynamic 3D reconstruction and point tracking in videos are typically treated as separate tasks, despite their deep connection. We propose St4RTrack, a feed-forward framework that simultaneously reconstructs and tracks dynamic video content in a world coordinate frame from RGB inputs. This is achieved by predicting two appropriately defined pointmaps for a pair of frames captured at different moments. Specifically, we predict both pointmaps at the same moment, in the same world, capturing both static and dynamic scene geometry while maintaining 3D correspondences. Chaining these predictions through the video sequence with respect to a reference frame naturally computes long-range correspondences, effectively combining 3D reconstruction with 3D tracking. Unlike prior methods that rely heavily on 4D ground truth supervision, we employ a novel adaptation scheme based on a reprojection loss. We establish a new extensive benchmark for world-frame reconstruction and tracking, demonstrating the effectiveness and efficiency of our unified, data-driven framework. Our code, model, and benchmark will be released.

Monocular dynamic reconstruction is a challenging and long-standing vision problem due to the highly ill-posed nature of the task. Existing approaches depend on templates, are effective only in quasi-static scenes, or fail to model 3D motion explicitly. We introduce a method for reconstructing generic dynamic scenes, featuring explicit, persistent 3D motion trajectories in the world coordinate frame, from casually captured monocular videos. We tackle the problem with two key insights: First, we exploit the low-dimensional structure of 3D motion by representing scene motion with a compact set of SE(3) motion bases. Each point's motion is expressed as a linear combination of these bases, facilitating soft decomposition of the scene into multiple rigidly-moving groups. Second, we take advantage of off-the-shelf data-driven priors such as monocular depth maps and long-range 2D tracks, and devise a method to effectively consolidate these noisy supervisory signals, resulting in a globally consistent representation of the dynamic scene. Experiments show that our method achieves state-of-the-art performance for both long-range 3D/2D motion estimation and novel view synthesis on dynamic scenes. Project Page: https://shape-of-motion.github.io/

Humans can resort to long-form inspection to build intuition on predicting the 3D configurations of unseen objects. The more we observe the object motion, the better we get at predicting its 3D state immediately. Existing systems either optimize underlying representations from multi-view observations or train a feed-forward predictor from supervised datasets. We introduce Predict-Optimize-Distill (POD), a self-improving framework that interleaves prediction and optimization in a mutually reinforcing cycle to achieve better 4D object understanding with increasing observation time. Given a multi-view object scan and a long-form monocular video of human-object interaction, POD iteratively trains a neural network to predict local part poses from RGB frames, uses this predictor to initialize a global optimization which refines output poses through inverse rendering, then finally distills the results of optimization back into the model by generating synthetic self-labeled training data from novel viewpoints. Each iteration improves both the predictive model and the optimized motion trajectory, creating a virtuous cycle that bootstraps its own training data to learn about the pose configurations of an object. We also introduce a quasi-multiview mining strategy for reducing depth ambiguity by leveraging long video. We evaluate POD on 14 real-world and 5 synthetic objects with various joint types, including revolute and prismatic joints as well as multi-body configurations where parts detach or reattach independently. POD demonstrates significant improvement over a pure optimization baseline which gets stuck in local minima, particularly for longer videos. We also find that POD's performance improves with both video length and successive iterations of the self-improving cycle, highlighting its ability to scale performance with additional observations and looped refinement.

We present Agent-to-Sim (ATS), a framework for learning interactive behavior models of 3D agents from casual longitudinal video collections. Different from prior works that rely on marker-based tracking and multiview cameras, ATS learns natural behaviors of animal agents non-invasively through video observations recorded over a long time-span (e.g. a month) in a single environment. Modeling 3D behavior of an agent requires persistent 3D tracking (e.g., knowing which point corresponds to which) over a long time period. To obtain such data, we develop a coarse-to-fine registration method that tracks the agent and the camera over time through a canonical 3D space, resulting in a complete and persistent spacetime 4D representation. We then train a generative model of agent behaviors using paired data of perception and motion of an agent queried from the 4D reconstruction. ATS enables real-to-sim transfer from video recordings of an agent to an interactive behavior simulator. We demonstrate results on animals given monocular RGBD videos captured by a smartphone. Project page: gengshan-y.github.io/agent2sim-www.

Robot motion can have many goals. Depending on the task, we might optimize for pose error, speed, collision, or similarity to a human demonstration. Motivated by this, we present PyRoki: a modular, extensible, and deviceagnostic toolkit for solving kinematic optimization problems. PyRoki couples an interface for specifying kinematic variables and costs with an efficient nonlinear least squares optimizer. Unlike existing tools, it is also device-agnostic: optimization runs natively on CPU, GPU, and TPU. In this paper, we present (i) the design and implementation of PyRoki, (ii) motion retargeting and planning case studies that highlight the advantages of PyRoki’s modularity, and (iii) optimization benchmarking, where PyRoki can be 1.4-1.7x faster and converges to lower errors than cuRobo, an existing GPU-accelerated inverse kinematics library. The code is open-sourced at https://pyroki-toolkit.github.io.

Transformers are increasingly prevalent for multiview computer vision tasks, where geometric relationships between viewpoints are critical for 3D perception. To leverage these relationships, multiview transformers must use camera geometry to ground visual tokens in 3D space. In this work, we compare techniques for conditioning transformers on cameras: token-level raymap encodings, attention-level relative pose encodings, and a new relative encoding we propose—Projective Positional Encoding (PRoPE)—that captures complete camera frustums, both intrinsics and extrinsics, as a relative positional encoding. Our experiments begin by showing how relative conditioning methods improve performance in feedforward novel view synthesis, with further gains from PRoPE. This holds across settings: scenes with both shared and varying intrinsics, when combining token- and attention-level conditioning, and for generalization to inputs with out-of-distribution sequence lengths and camera intrinsics. We then verify that these benefits persist for different tasks, stereo depth estimation and discriminative spatial cognition, as well as larger model sizes.

gsplat is an open-source library designed for training and developing Gaussian Splatting methods. It features a front-end with Python bindings compatible with the PyTorch library and a back-end with highly optimized CUDA kernels. gsplat offers numerous features that enhance the optimization of Gaussian Splatting models, which include optimization improvements for speed, memory, and convergence times. Experimental results demonstrate that gsplat achieves up to 10% less training time and 4x less memory than the original implementation. Utilized in several research projects, gsplat is actively maintained on GitHub. Source code is available at https://github.com/nerfstudio-project/gsplat under Apache License 2.0. We welcome contributions from the open-source community.

We introduce a method to synthesize animator guided human motion across 3D scenes. Given a set of sparse (3 or 4) joint locations (such as the location of a person’s hand and two feet) and a seed motion sequence in a 3D scene, our method generates a plausible motion sequence starting from the seed motion while satisfying the constraints imposed by the provided keypoints. We decompose the continual motion synthesis problem into walking along paths and transitioning in and out of the actions specified by the keypoints, which enables long generation of motions that satisfy scene constraints without explicitly incorporating scene information. Our method is trained only using scene agnostic mocap data. As a result, our approach is deployable across 3D scenes with various geometries. For achieving plausible continual motion synthesis without drift, our key contribution is to iteratively generate motion in a goal-centric canonical coordinate frame where the next immediate target is situated at the origin. Our model can generate long sequences of diverse actions such as grabbing, sitting and leaning chained together in arbitrary order, demonstrated on scenes of varying geometry: HPS, Replica, Matterport, ScanNet scenes. Several experiments demonstrate that our method outperforms existing methods that navigate paths in 3D scenes.

Humans can infer 3D structure from 2D images of an object based on past experience and improve their 3D understanding as they see more images. Inspired by this be-havior, we introduce SAP3D, a system for 3D reconstruction and novel view synthesis from an arbitrary number of un-posed images. Given a few unposed images of an object, we adapt a pre-trained view-conditioned diffusion model together with the camera poses of the images via test-time fine-tuning. The adapted diffusion model and the obtained camera poses are then utilized as instance-specific priors for 3D reconstruction and novel view synthesis. We show that as the number of input images increases, the performance of our approach improves, bridging the gap between optimization-based prior-less 3D reconstruction methods and single-image-to-3D diffusion-based methods. We demon-strate our system on real images as well as standard synthetic benchmarks. Our ablation studies confirm that this adaption behavior is key for more accurate 3D understanding.1

Grouping is inherently ambiguous due to the multiple levels of granularity in which one can decompose a sceneshould the wheels of an excavator be considered separate or part of the whole? We propose Group Anything with Radiance Fields (GARField), an approach for decomposing 3D scenes into a hierarchy of semantically meaningful groups from posed image inputs. To do this we embrace group ambiguity through physical scale: by optimizing a scaleconditioned 3D affinity feature field, a point in the world can belong to different groups of different sizes. We optimize this field from a set of 2D masks provided by Segment Anything (SAM) in a way that respects coarse-to-fine hierarchy, using scale to consistently fuse conflicting masks from different viewpoints. From this field we can derive a hierarchy of possible groupings via automatic tree construction or user interaction. We evaluate GARField on a variety of in-the-wild scenes and find it effectively extracts groups at many levels: clusters of objects, objects, and various subparts. GARField inherently represents multi-view consistent groupings and produces higher fidelity groups than the input SAM masks. GARField's hierarchical grouping could have exciting downstream applications such as 3D asset extraction or dynamic scene understanding. Project site: https://www.garfield.studio/

Social interaction is a fundamental aspect of human behavior and communication. The way individuals position themselves in relation to others, also known as proxemics, conveys social cues and affects the dynamics of social interaction. Reconstructing such interaction from images presents challenges because of mutual occlusion and the limited availability of large training datasets. To address this, we present a novel approach that learns a prior over the 3D proxemics two people in close social interaction and demonstrate its use for single-view 3D reconstruction. We start by creating 3D training data of interacting people using image datasets with contact annotations. We then model the proxemics using a novel denoising diffusion model called BUDDI that learns the joint distribution over the poses of two people in close social interaction. Sampling from our generative proxemics model produces realistic 3D human interactions, which we validate through a perceptual study. We use BUDDI in reconstructing two people in close proximity from an image without any contact annotation via an optimization approach that uses the diffusion model as a prior. Our approach recovers accurate 3D social interactions from noisy initial estimates, outperforming state-of-the-art methods. Our code, data, and model are available at: muelea. github.io/buddi.

We present a framework for generating full-bodied pho-torealistic avatars that gesture according to the conversational dynamics of a dyadic interaction. Given speech au-dio, we output multiple possibilities of gestural motion for an individual, including face, body, and hands. The key be-hind our method is in combining the benefits of sample di-versity from vector quantization with the high-frequency de-tails obtained through diffusion to generate more dynamic, expressive motion. We visualize the generated motion using highly photorealistic avatars that can express crucial nu-ances in gestures (e.g. sneers and smirks). To facilitate this line of research, we introduce a first-of-its-kind multi-view conversational dataset that allows for photorealistic reconstruction. Experiments show our model generates appropri-ate and diverse gestures, outperforming both diffusion- and VQ-only methods. Furthermore, our perceptual evaluation highlights the importance of photorealism (vs. meshes) in accurately assessing subtle motion details in conversational gestures. Code and dataset available on project page.

We present an approach that can reconstruct hands in 3D from monocular input. Our approach for Hand Mesh Recovery, HaMeR, follows a fully transformer-based architecture and can analyze hands with significantly increased accuracy and robustness compared to previous work. The key to HaMeR's success lies in scaling up both the data used for training and the capacity of the deep network for hand reconstruction. For training data, we combine multiple datasets that contain 2D or 3D hand annotations. For the deep model, we use a large scale Vision Transformer architecture. Our final model consistently outperforms the previous baselines on popular 3D hand pose benchmarks. To further evaluate the effect of our design in non-controlled settings, we annotate existing in-the-wild datasets with 2D hand keypoint annotations. On this newly collected dataset of annotations, HInt, we demonstrate significant improvements over existing baselines. We will make our code, data and models publicly available upon publication. We make our code, data and models available on the project website: https://geopavlakos.github.io/hamer/. “It is because of his being armed with hands that man is the most intelligent animal.” Anaxagoras

We propose NeRFiller, an approach that completes missing portions of a 3D capture via generative 3D inpainting using off-the-shelf 2D visual generative models. Often parts of a captured 3D scene or object are missing due to mesh reconstruction failures or a lack of observations (e.g., contact regions, such as the bottom of objects, or hard-to-reach areas). We approach this challenging 3D inpainting problem by leveraging a 2D inpainting diffusion model. We identify a surprising behavior of these models, where they generate more 3D consistent inpaints when images form a 2 x 2 grid, and show how to generalize this behavior to more than four images. We then present an iterative framework to distill these inpainted regions into a single consistent 3D scene. In contrast to related works, we focus on completing scenes rather than deleting foreground objects, and our approach does not require tight 2D object masks or text. We compare our approach to relevant baselines adapted to our setting on a variety of scenes, where NeRFiller creates the most 3D consistent and plausible scene completions. Our project page is at https://ethanweber.melnerfiller.

Score distillation sampling (SDS) has proven to be an important tool, enabling the use of large-scale diffusion priors for tasks operating in data-poor domains. Unfortunately, SDS has a number of characteristic artifacts that limit its utility in general-purpose applications. In this paper, we make progress toward understanding the behavior of SDS and its variants by viewing them as solving an optimal-cost transport path from some current source distribution to a target distribution. Under this new interpretation, we argue that these methods' characteristic artifacts are caused by (1) linear approximation of the optimal path and (2) poor estimates of the source distribution. We show that by calibrating the text conditioning of the source distribution, we can produce high-quality generation and translation results with little extra overhead. Our method can be easily applied across many domains, matching or beating the performance of specialized methods. We demonstrate its utility in text-to-2D, text-to-3D, translating paintings to real images, optical illusion generation, and 3D sketch-to-real. We compare our method to existing approaches for score distillation sampling and show that it can produce high-frequency details with realistic colors.

Abstract The field of visual computing is rapidly advancing due to the emergence of generative artificial intelligence (AI), which unlocks unprecedented capabilities for the generation, editing, and reconstruction of images, videos, and 3D scenes. In these domains, diffusion models are the generative AI architecture of choice. Within the last year alone, the literature on diffusion‐based tools and applications has seen exponential growth and relevant papers are published across the computer graphics, computer vision, and AI communities with new works appearing daily on arXiv. This rapid growth of the field makes it difficult to keep up with all recent developments. The goal of this state‐of‐the‐art report (STAR) is to introduce the basic mathematical concepts of diffusion models, implementation details and design choices of the popular Stable Diffusion model, as well as overview important aspects of these generative AI tools, including personalization, conditioning, inversion, among others. Moreover, we give a comprehensive overview of the rapidly growing literature on diffusion‐based generation and editing, categorized by the type of generated medium, including 2D images, videos, 3D objects, locomotion, and 4D scenes. Finally, we discuss available datasets, metrics, open challenges, and social implications. This STAR provides an intuitive starting point to explore this exciting topic for researchers, artists, and practitioners alike.

We introduce k-planes, a white-box model for radiance fields in arbitrary dimensions. Our model uses planes to represent a d-dimensional scene, providing a seamless way to go from static (d = 3) to dynamic (d= 4) scenes. This planar factorization makes adding dimension-specific priors easy, e.g. temporal smoothness and multi-resolution spatial structure, and induces a natural decomposition of static and dynamic components of a scene. We use a linear feature decoder with a learned color basis that yields similar performance as a nonlinear black-box MLP decoder. Across a range of synthetic and real, static and dynamic, fixed and varying appearance scenes, k-planes yields competitive and often state-of-the-art recon- struction fidelity with low memory usage, achieving 1000x compression over a full 4D grid, and fast optimization with a pure PyTorch implementation. For video results and code, please see sarafridov.github.io/K-Planes.

In this work we study the benefits of using tracking and 3D poses for action recognition. To achieve this, we take the Lagrangian view on analysing actions over a trajectory of human motion rather than at a fixed point in space. Taking this stand allows us to use the tracklets of people to predict their actions. In this spirit, first we show the benefits of using 3D pose to infer actions, and study person-person in-teractions. Subsequently, we propose a Lagrangian Action Recognition model by fusing 3D pose and contextualized appearance over tracklets. To this end, our method achieves state-of-the-art performance on the AVA v2.2 dataset on both pose only settings and on standard benchmark settings. When reasoning about the action using only pose cues, our pose model achieves +10.0 mAP gain over the corresponding state-of-the-art while our fused model has a gain of +2.8 mAP over the best state-of-the-art model. Code and results are available at: https://brjathu.github.io/LART

We propose a method to reconstruct global human trajectories from videos in the wild. Our optimization method decouples the camera and human motion, which allows us to place people in the same world coordinate frame. Most existing methods do not model the camera motion; methods that rely on the background pixels to infer 3D human motion usually require a full scene reconstruction, which is often not possible for in-the-wild videos. However, even when existing SLAM systems cannot recover accurate scene reconstructions, the background pixel motion still provides enough signal to constrain the camera motion. We show that relative camera estimates along with data-driven human motion priors can resolve the scene scale ambiguity and recover global human trajectories. Our method robustly recovers the global 3D trajectories of people in challenging in-the-wild videos, such as PoseTrack. We quantify our improvement over existing methods on 3D human dataset Egobody. We further demonstrate that our recovered camera scale allows us to reason about motion of multiple people in a shared coordinate frame, which improves performance of downstream tracking in PoseTrack.

We present an approach to reconstruct humans and track them over time. At the core of our approach, we propose a fully "transformerized" version of a network for human mesh recovery. This network, HMR 2.0, advances the state of the art and shows the capability to analyze unusual poses that have in the past been difficult to reconstruct from single images. To analyze video, we use 3D reconstructions from HMR 2.0 as input to a tracking system that operates in 3D. This enables us to deal with multiple people and maintain identities through occlusion events. Our complete approach, 4DHumans, achieves state-of-the-art results for tracking people from monocular video. Furthermore, we demonstrate the effectiveness of HMR 2.0 on the downstream task of action recognition, achieving significant improvements over previous pose-based action recognition approaches. Our code and models are available on the project website: https://shubham-goel.github.io/4dhumans/.

We propose a method for editing NeRF scenes with text-instructions. Given a NeRF of a scene and the collection of images used to reconstruct it, our method uses an image-conditioned diffusion model (InstructPix2Pix) to iteratively edit the input images while optimizing the underlying scene, resulting in an optimized 3D scene that respects the edit instruction. We demonstrate that our proposed method is able to edit large-scale, real-world scenes, and is able to accomplish more realistic, targeted edits than prior work. Result videos can be found on the project website: https://instruct-nerf2nerf.github.io.

Humans describe the physical world using natural language to refer to specific 3D locations based on a vast range of properties: visual appearance, semantics, abstract associations, or actionable affordances. In this work we propose Language Embedded Radiance Fields (LERFs), a method for grounding language embeddings from off-the-shelf models like CLIP into NeRF, which enable these types of open-ended language queries in 3D. LERF learns a dense, multi-scale language field inside NeRF by volume rendering CLIP embeddings along training rays, supervising these embeddings across training views to provide multi-view consistency and smooth the underlying language field. After optimization, LERF can extract 3D relevancy maps for a broad range of language prompts interactively in real-time, which has potential use cases in robotics, understanding vision-language models, and interacting with 3D scenes. LERF enables pixel-aligned, zero-shot queries on the distilled 3D CLIP embeddings without relying on region proposals or masks, supporting long-tail open-vocabulary queries hierarchically across the volume. See the project website at: https://lerf.io.

Optimizing and rendering Neural Radiance Fields is computationally expensive due to the vast number of samples required by volume rendering. Recent works have included alternative sampling approaches to help accelerate their methods, however, they are often not the focus of the work. In this paper, we investigate and compare multiple sampling approaches and demonstrate that improved sampling is generally applicable across NeRF variants under an unified concept of transmittance estimator. To facilitate future experiments, we develop NerfAcc, a Python toolbox that provides flexible APIs for incorporating advanced sampling methods into NeRF related methods. We demonstrate its flexibility by showing that it can reduce the training time of several recent NeRF methods by 1.5× to 20× with minimal modifications to the existing codebase. Additionally, highly customized NeRFs, such as Instant-NGP, can be implemented in native PyTorch using NerfAcc. Our code are open-sourced at https://www.nerfacc.com.

We present a framework for generating appropriate facial responses from a listener in dyadic social interactions based on the speaker’s words. Given an input transcription of the speaker’s words with their timestamps, our approach autoregressively predicts a response of a listener: a sequence of listener facial gestures, quantized using a VQ-VAE. Since gesture is a language component, we propose treating the quantized atomic motion elements as additional language token inputs to a transformer-based large language model. Initializing our transformer with the weights of a language model pre-trained only on text results in significantly higher quality listener responses than training a transformer from scratch. We show that our generated listener motion is fluent and reflective of language semantics through quantitative metrics and a qualitative user study. In our evaluation, we analyze the model’s ability to utilize temporal and semantic aspects of spoken text.

Casually captured Neural Radiance Fields (NeRFs) suffer from artifacts such as floaters or flawed geometry when rendered outside the input camera trajectory. Existing evaluation protocols often do not capture these effects, since they usually only assess image quality at every 8th frame of the training capture. To aid in the development and evaluation of new methods in novel-view synthesis, we propose a new dataset and evaluation procedure, where two camera trajectories are recorded of the scene: one used for training, and the other for evaluation. In this more challenging in-the-wild setting, we find that existing hand-crafted regularizers do not remove floaters nor improve scene geometry. Thus, we propose a 3D diffusion-based method that leverages local 3D priors and a novel density-based score distillation sampling loss to discourage artifacts during NeRF optimization. We show that this data-driven prior removes floaters and improves scene geometry for casual captures.

Given a set of calibrated images of a scene, we present an approach that produces a simple, compact, and actionable 3D world representation by means of 3D primitives. While many approaches focus on recovering high-fidelity 3D scenes, we focus on parsing a scene into mid-level 3D representations made of a small set of textured primitives. Such representations are interpretable, easy to manipulate and suited for physics-based simulations. Moreover, unlike existing primitive decomposition methods that rely on 3D input data, our approach operates directly on images through differentiable rendering. Specifically, we model primitives as textured superquadric meshes and optimize their parameters from scratch with an image rendering loss. We highlight the importance of modeling transparency for each primitive, which is critical for optimization and also enables handling varying numbers of primitives. We show that the resulting textured primitives faithfully reconstruct the input images and accurately model the visible 3D points, while providing amodal shape completions of unseen object regions. We compare our approach to the state of the art on diverse scenes from DTU, and demonstrate its robustness on real-life captures from BlendedMVS and Nerfstudio. We also showcase how our results can be used to effortlessly edit a scene or perform physical simulations. Code and video results are available at https://www.tmonnier.com/DBW.

The ability to perceive 3D human bodies from a single image has a multitude of applications ranging from entertainment and robotics to neuroscience and healthcare. A fundamental challenge in human mesh recovery is in collecting the ground truth 3D mesh targets required for training, which requires burdensome motion capturing systems and is often limited to indoor laboratories. As a result, while progress is made on benchmark datasets collected in these restrictive settings, models fail to generalize to real-world "in-the-wild" scenarios due to distribution shifts. We propose Domain Adaptive 3D Pose Augmentation (DAPA), a data augmentation method that enhances the model's generalization ability in in-the-wild scenarios. DAPA combines the strength of methods based on synthetic datasets by getting direct supervision from the synthesized meshes, and domain adaptation methods by using ground truth 2D keypoints from the target dataset. We show quantitatively that finetuning with DAPA effectively improves results on benchmarks 3DPW [38]and AGORA[32]. We further demonstrate the utility of DAPA on a challenging dataset curated from videos of real-world parent-child interaction.

We introduce Plenoxels (plenoptic voxels), a systemfor photorealistic view synthesis. Plenoxels represent a scene as a sparse 3D grid with spherical harmonics. This representation can be optimized from calibrated images via gradient methods and regularization without any neural components. On standard, benchmark tasks, Plenoxels are optimized two orders of magnitude faster than Neural Radiance Fields with no loss in visual quality. For video and code, please see https://alexyu.net/plenoxels.

We present a framework for modeling interactional communication in dyadic conversations: given multimodal inputs of a speaker, we autoregressively output multiple possibilities of corresponding listener motion. We combine the motion and speech audio of the speaker using a motion-audio cross attention transformer. Furthermore, we enable non-deterministic prediction by learning a discrete latent representation of realistic listener motion with a novel motion-encoding VQ-VAE. Our method organically captures the multimodal and non-deterministic nature of nonverbal dyadic interactions. Moreover, it produces realistic 3D listener facial motion synchronous with the speaker (see video). We demonstrate that our method outperforms baselines qualitatively and quantitatively via a rich suite of experiments. To facilitate this line of research, we introduce a novel and large in-the-wild dataset of dyadic conversations. Code, data, and videos available at https://evonneng.github.io/learning2listen/

Videos from edited media like movies are a useful, yet underexplored source of information, with rich variety of appearance and interactions between humans depicted over a large temporal context. However, the richness of data comes at the expense of fundamental challenges such as abrupt shot changes and close up shots of actors with heavy truncation, which limits the applicability of existing 3D human understanding methods. In this paper, we address these limitations with the insight that while shot changes of the same scene incur a discontinuity between frames, the 3D structure of the scene still changes smoothly. This allows us to handle frames before and after the shot change as multi-view signal that provide strong cues to recover the 3D state of the actors. We propose a multi-shot optimization framework that realizes this insight, leading to improved 3D reconstruction and mining of sequences with pseudo-ground truth 3D human mesh. We treat this data as valuable supervision for models that enable human mesh recovery from movies; both from single image and from video, where we propose a transformer-based temporal encoder that can naturally handle missing observations due to shot changes in the input frames. We demonstrate the importance of our insight and proposed models through extensive experiments. The tools we develop open the door to processing and analyzing in 3D content from a large library of edited media, which could be helpful for many downstream applications. Code, models and data are available at: https://geopavlakos.github.io/multishot/.

We present an approach for tracking people in monocular videos by predicting their future 3D representations. To achieve this, we first lift people to 3D from a single frame in a robust manner. This lifting includes information about the 3D pose of the person, their location in the 3D space, and the 3D appearance. As we track a person, we collect 3D observations over time in a tracklet representation. Given the 3D nature of our observations, we build temporal models for each one of the previous attributes. We use these models to predict the future state of the tracklet, including 3D appearance, 3D location, and 3D pose. For a future frame, we compute the similarity between the predicted state of a tracklet and the single frame observations in a probabilistic manner. Association is solved with simple Hungarian matching, and the matches are used to update the respective tracklets. We evaluate our approach on various benchmarks and report state-of-the-art results. Code and models are available at: https://brjathu.github.io/PHALP.

We describe a method to extract persistent elements of a dynamic scene from an input video. We represent each scene element as a Deformable Sprite consisting of three components: 1) a 2D texture image for the entire video, 2) per-frame masks for the element, and 3) non-rigid deformations that map the texture image into each video frame. The resulting decomposition allows for applications such as consistent video editing. Deformable Sprites are a type of video auto-encoder model that is optimized on individual videos, and does not require training on a large dataset, nor does it rely on pretrained models. Moreover, our method does not require object masks or other user input, and discovers moving objects of a wider variety than previous work. We evaluate our approach on standard video datasets and show qualitative results on a diverse array of Internet videos.

We study the recent progress on dynamic view synthesis (DVS) from monocular video. Though existing approaches have demonstrated impressive results, we show a discrepancy between the practical capture process and the existing experimental protocols, which effectively leaks in multi-view signals during training. We define effective multi-view factors (EMFs) to quantify the amount of multi-view signal present in the input capture sequence based on the relative camera-scene motion. We introduce two new metrics: co-visibility masked image metrics and correspondence accuracy, which overcome the issue in existing protocols. We also propose a new iPhone dataset that includes more diverse real-life deformation sequences. Using our proposed experimental protocol, we show that the state-of-the-art approaches observe a 1-2 dB drop in masked PSNR in the absence of multi-view cues and 4-5 dB drop when modeling complex motion. Code and data can be found at http://hangg7.com/dycheck.

We present SfSNet, an end-to-end learning framework for producing an accurate decomposition of an unconstrained human face image into shape, reflectance and illuminance. SfSNet is designed to reflect a physical lambertian rendering model. SfSNet learns from a mixture of labeled synthetic and unlabeled real-world images. This allows the network to capture low-frequency variations from synthetic and high-frequency details from real images through the photometric reconstruction loss. SfSNet consists of a new decomposition architecture with residual blocks that learns a complete separation of albedo and normal. This is used along with the original image to predict lighting. SfSNet produces significantly better quantitative and qualitative results than state-of-the-art methods for inverse rendering and independent normal and illumination estimation. We also introduce a companion network, SfSMesh, that utilizes normals estimated by SfSNet to reconstruct a 3D face mesh. We demonstrate that SfSMesh produces face meshes with greater accuracy than state-of-the-art methods on real-world images.

We introduce KeypointDeformer, a novel unsupervised method for shape control through automatically discovered 3D keypoints. We cast this as the problem of aligning a source 3D object to a target 3D object from the same object category. Our method analyzes the difference between the shapes of the two objects by comparing their latent representations. This latent representation is in the form of 3D keypoints that are learned in an unsupervised way. The difference between the 3D keypoints of the source and the target objects then informs the shape deformation algorithm that deforms the source object into the target object. The whole model is learned end-to-end and simultaneously discovers 3D keypoints while learning to use them for deforming object shapes. Our approach produces intuitive and semantically consistent control of shape deformations. Moreover, our discovered 3D keypoints are consistent across object category instances despite large shape variations. As our method is unsupervised, it can be readily deployed to new object categories without requiring annotations for 3D keypoints and deformations. Project page: http://tomasjakab.github.io/KeypointDeformer.

Recent works have shown exciting results in unsupervised image de-rendering—learning to decompose 3D shape, appearance, and lighting from single-image collections without explicit supervision. However, many of these assume simplistic material and lighting models. We propose a method, termed RADAR, that can recover environment illumination and surface materials from real single-image collections, relying neither on explicit 3D supervision, nor on multi-view or multi-light images. Specifically, we focus on rotationally symmetric artefacts that exhibit challenging surface properties including specular reflections, such as vases. We introduce a novel self-supervised albedo discriminator, which allows the model to recover plausible albedo without requiring any ground-truth during training. In conjunction with a shape reconstruction module exploiting rotational symmetry, we present an end-to-end learning framework that is able to de-render the world’s revolutionary artefacts. We conduct experiments on a real vase dataset and demonstrate compelling decomposition results, allowing for applications including free-viewpoint rendering and relighting. More results and code at: https://sorderender.github.io/.

We propose pixelNeRF, a learning framework that predicts a continuous neural scene representation conditioned on one or few input images. The existing approach for constructing neural radiance fields [27] involves optimizing the representation to every scene independently, requiring many calibrated views and significant compute time. We take a step towards resolving these shortcomings by introducing an architecture that conditions a NeRF on image inputs in a fully convolutional manner. This allows the network to be trained across multiple scenes to learn a scene prior, enabling it to perform novel view synthesis in a feed-forward manner from a sparse set of views (as few as one). Leveraging the volume rendering approach of NeRF, our model can be trained directly from images with no explicit 3D supervision. We conduct extensive experiments on ShapeNet benchmarks for single image novel view synthesis tasks with held-out objects as well as entire unseen categories. We further demonstrate the flexibility of pixelNeRF by demonstrating it on multi-object ShapeNet scenes and real scenes from the DTU dataset. In all cases, pixelNeRF outperforms current state-of-the-art baselines for novel view synthesis and single image 3D reconstruction. For the video and code, please visit the project website:https://alexyu.net/pixelnerf.

We study the problem of understanding hand-object interactions from 2D images in the wild. This requires reconstructing both the hand and the object in 3D, which is challenging because of the mutual occlusion between the hand and the object. In this paper we make two main contributions: (1) a novel reconstruction technique, RHO (Reconstructing Hands and Objects), which reconstructs 3D models of both the hand and the object leveraging the 2D image cues and 3D contact priors; (2) a dataset MOW (Manipulating Objects in the Wild) of 500 examples of hand-object interaction images that have been "3Dfied" with the help of the RHO technique. Overall our dataset contains 121 distinct object categories, with a much greater diversity of manipulation actions, than in previous datasets.

We present AIST++, a new multi-modal dataset of 3D dance motion and music, along with FACT, a Full-Attention Cross-modal Transformer network for generating 3D dance motion conditioned on music. The proposed AIST++ dataset contains 5.2 hours of 3D dance motion in 1408 sequences, covering 10 dance genres with multi-view videos with known camera poses—the largest dataset of this kind to our knowledge. We show that naively applying sequence models such as transformers to this dataset for the task of music conditioned 3D motion generation does not produce satisfactory 3D motion that is well correlated with the input music. We overcome these shortcomings by introducing key changes in its architecture design and supervision: FACT model involves a deep cross-modal transformer block with full-attention that is trained to predict N future motions. We empirically show that these changes are key factors in generating long sequences of realistic dance motion that are well-attuned to the input music. We conduct extensive experiments on AIST++ with user studies, where our method outperforms recent state-of-the-art methods both qualitatively and quantitatively. The code and the dataset can be found at: https://google.github.io/aichoreographer.

We introduce the problem of perpetual view generation— long-range generation of novel views corresponding to an arbitrarily long camera trajectory given a single image. This is a challenging problem that goes far beyond the capabilities of current view synthesis methods, which quickly degenerate when presented with large camera motions. Methods for video generation also have limited ability to produce long sequences and are often agnostic to scene geometry. We take a hybrid approach that integrates both geometry and image synthesis in an iterative ‘render, refine and repeat’ framework, allowing for long-range generation that cover large distances after hundreds of frames. Our approach can be trained from a set of monocular video sequences. We propose a dataset of aerial footage of coastal scenes, and compare our method with recent view synthesis and conditional video generation baselines, showing that it can generate plausible scenes for much longer time horizons over large camera trajectories compared to existing methods. Project page at https://infinite-nature.github.io.

We introduce a method to render Neural Radiance Fields (NeRFs) in real time using PlenOctrees, an octree-based 3D representation which supports view-dependent effects. Our method can render 800×800 images at more than 150 FPS, which is over 3000 times faster than conventional NeRFs. We do so without sacrificing quality while preserving the ability of NeRFs to perform free-viewpoint rendering of scenes with arbitrary geometry and view-dependent effects. Real-time performance is achieved by pre-tabulating the NeRF into a PlenOctree. In order to preserve view-dependent effects such as specularities, we factorize the appearance via closed-form spherical basis functions. Specifically, we show that it is possible to train NeRFs to predict a spherical harmonic representation of radiance, removing the viewing direction as an input to the neural network. Furthermore, we show that PlenOctrees can be directly optimized to further minimize the reconstruction loss, which leads to equal or better quality compared to competing methods. Moreover, this octree optimization step can be used to reduce the training time, as we no longer need to wait for the NeRF training to converge fully. Our real-time neural rendering approach may potentially enable new applications such as 6-DOF industrial and product visualizations, as well as next generation AR/VR systems. PlenOctrees are amenable to in-browser rendering as well; please visit the project page for the interactive online demo, as well as video and code: https://alexyu.net/plenoctrees.

We present a novel approach for tracking multiple people in video. Unlike past approaches which employ 2D representations, we focus on using 3D representations of people, located in three-dimensional space. To this end, we develop a method, Human Mesh and Appearance Recovery (HMAR) which in addition to extracting the 3D geometry of the person as a SMPL mesh, also extracts appearance as a texture map on the triangles of the mesh. This serves as a 3D representation for appearance that is robust to viewpoint and pose changes. Given a video clip, we first detect bounding boxes corresponding to people, and for each one, we extract 3D appearance, pose, and location information using HMAR. These embedding vectors are then sent to a transformer, which performs spatio-temporal aggregation of the representations over the duration of the sequence. The similarity of the resulting representations is used to solve for associations that assigns each person to a tracklet. We evaluate our approach on the Posetrack, MuPoTs and AVA datasets. We find that 3D representations are more effective than 2D representations for tracking in these settings, and we obtain state-of-the-art performance. Code and results are available at: https://brjathu.github.io/T3DP.

Synthesizing graceful and life-like behaviors for physically simulated characters has been a fundamental challenge in computer animation. Data-driven methods that leverage motion tracking are a prominent class of techniques for producing high fidelity motions for a wide range of behaviors. However, the effectiveness of these tracking-based methods often hinges on carefully designed objective functions, and when applied to large and diverse motion datasets, these methods require significant additional machinery to select the appropriate motion for the character to track in a given scenario. In this work, we propose to obviate the need to manually design imitation objectives and mechanisms for motion selection by utilizing a fully automated approach based on adversarial imitation learning. High-level task objectives that the character should perform can be specified by relatively simple reward functions, while the low-level style of the character's behaviors can be specified by a dataset of unstructured motion clips, without any explicit clip selection or sequencing. For example, a character traversing an obstacle course might utilize a task-reward that only considers forward progress, while the dataset contains clips of relevant behaviors such as running, jumping, and rolling. These motion clips are used to train an adversarial motion prior, which specifies style-rewards for training the character through reinforcement learning (RL). The adversarial RL procedure automatically selects which motion to perform, dynamically interpolating and generalizing from the dataset. Our system produces high-quality motions that are comparable to those achieved by state-of-the-art tracking-based techniques, while also being able to easily accommodate large datasets of unstructured motion clips. Composition of disparate skills emerges automatically from the motion prior, without requiring a high-level motion planner or other task-specific annotations of the motion clips. We demonstrate the effectiveness of our framework on a diverse cast of complex simulated characters and a challenging suite of motor control tasks.

Symmetric orthogonalization via SVD, and closely related procedures, are well-known techniques for projecting matrices onto O(n) or SO(n). These tools have long been used for applications in computer vision, for example optimal 3D alignment problems solved by orthogonal Procrustes, rotation averaging, or Essential matrix decomposition. Despite its utility in different settings, SVD orthogonalization as a procedure for producing rotation matrices is typically overlooked in deep learning models, where the preferences tend toward classic representations like unit quaternions, Euler angles, and axis-angle, or more recently-introduced methods. Despite the importance of 3D rotations in computer vision and robotics, a single universally effective representation is still missing. Here, we explore the viability of SVD orthogonalization for 3D rotations in neural networks. We present a theoretical analysis of SVD as used for projection onto the rotation group. Our extensive quantitative analysis shows simply replacing existing representations with the SVD orthogonalization procedure obtains state of the art performance in many deep learning applications covering both supervised and unsupervised training.

From an image of a person in action, we can easily guess the 3D motion of the person in the immediate past and future. This is because we have a mental model of 3D human dynamics that we have acquired from observing visual sequences of humans in motion. We present a framework that can similarly learn a representation of 3D dynamics of humans from video via a simple but effective temporal encoding of image features. At test time, from video, the learned temporal representation give rise to smooth 3D mesh predictions. From a single image, our model can recover the current 3D mesh as well as its 3D past and future motion. Our approach is designed so it can learn from videos with 2D pose annotations in a semi-supervised manner. Though annotated data is always limited, there are millions of videos uploaded daily on the Internet. In this work, we harvest this Internet-scale source of unlabeled data by training our model on unlabeled video with pseudo-ground truth 2D pose obtained from an off-the-shelf 2D pose detector. Our experiments show that adding more videos with pseudo-ground truth 2D pose monotonically improves 3D prediction performance. We evaluate our model on the recent challenging dataset of 3D Poses in the Wild and obtain state-of-the-art performance on the 3D prediction task without any fine-tuning. The project website with video can be found at https://akanazawa.github.io/human_dynamics/.

We introduce Pixel-aligned Implicit Function (PIFu), an implicit representation that locally aligns pixels of 2D images with the global context of their corresponding 3D object. Using PIFu, we propose an end-to-end deep learning method for digitizing highly detailed clothed humans that can infer both 3D surface and texture from a single image, and optionally, multiple input images. Highly intricate shapes, such as hairstyles, clothing, as well as their variations and deformations can be digitized in a unified way. Compared to existing representations used for 3D deep learning, PIFu produces high-resolution surfaces including largely unseen regions such as the back of a person. In particular, it is memory efficient unlike the voxel representation, can handle arbitrary topology, and the resulting surface is spatially aligned with the input image. Furthermore, while previous techniques are designed to process either a single image or multiple views, PIFu extends naturally to arbitrary number of views. We demonstrate high-resolution and robust reconstructions on real world images from the DeepFashion dataset, which contains a variety of challenging clothing types. Our method achieves state-of-the-art performance on a public benchmark and outperforms the prior work for clothed human digitization from a single image.

Given a video of a person in action, we can easily guess the 3D future motion of the person. In this work, we present perhaps the first approach for predicting a future 3D mesh model sequence of a person from past video input. We do this for periodic motions such as walking and also actions like bowling and squatting seen in sports or workout videos. While there has been a surge of future prediction problems in computer vision, most approaches predict 3D future from 3D past or 2D future from 2D past inputs. In this work, we focus on the problem of predicting 3D future motion from past image sequences, which has a plethora of practical applications in autonomous systems that must operate safely around people from visual inputs. Inspired by the success of autoregressive models in language modeling tasks, we learn an intermediate latent space on which we predict the future. This effectively facilitates autoregressive predictions when the input differs from the output domain. Our approach can be trained on video sequences obtained in-the-wild without 3D ground truth labels. The project website with videos can be found at https://jasonyzhang.com/phd.

We present the first method to perform automatic 3D pose, shape and texture capture of animals from images acquired in-the-wild. In particular, we focus on the problem of capturing 3D information about Grevy's zebras from a collection of images. The Grevy's zebra is one of the most endangered species in Africa, with only a few thousand individuals left. Capturing the shape and pose of these animals can provide biologists and conservationists with information about animal health and behavior. In contrast to research on human pose, shape and texture estimation, training data for endangered species is limited, the animals are in complex natural scenes with occlusion, they are naturally camouflaged, travel in herds, and look similar to each other. To overcome these challenges, we integrate the recent SMAL animal model into a network-based regression pipeline, which we train end-to-end on synthetically generated images with pose, shape, and background variation. Going beyond state-of-the-art methods for human shape and pose estimation, our method learns a shape space for zebras during training. Learning such a shape space from images using only a photometric loss is novel, and the approach can be used to learn shape in other settings with limited 3D supervision. Moreover, we couple 3D pose and shape prediction with the task of texture synthesis, obtaining a full texture map of the animal from a single image. We show that the predicted texture map allows a novel per-instance unsupervised optimization over the network features. This method, SMALST (SMAL with learned Shape and Texture) goes beyond previous work, which assumed manual keypoints and/or segmentation, to regress directly from pixels to 3D animal shape, pose and texture.

We describe Human Mesh Recovery (HMR), an end-to-end framework for reconstructing a full 3D mesh of a human body from a single RGB image. In contrast to most current methods that compute 2D or 3D joint locations, we produce a richer and more useful mesh representation that is parameterized by shape and 3D joint angles. The main objective is to minimize the reprojection loss of keypoints, which allows our model to be trained using in-the-wild images that only have ground truth 2D annotations. However, the reprojection loss alone is highly underconstrained. In this work we address this problem by introducing an adversary trained to tell whether human body shape and pose parameters are real or not using a large database of 3D human meshes. We show that HMR can be trained with and without using any paired 2D-to-3D supervision. We do not rely on intermediate 2D keypoint detections and infer 3D pose and shape parameters directly from image pixels. Our model runs in real-time given a bounding box containing the person. We demonstrate our approach on various images in-the-wild and out-perform previous optimization-based methods that output 3D meshes and show competitive results on tasks such as 3D joint location estimation and part segmentation.

We present SfSNet, an end-to-end learning framework for producing an accurate decomposition of an unconstrained human face image into shape, reflectance and illuminance. SfSNet is designed to reflect a physical lambertian rendering model. SfSNet learns from a mixture of labeled synthetic and unlabeled real world images. This allows the network to capture low frequency variations from synthetic and high frequency details from real images through the photometric reconstruction loss. SfSNet consists of a new decomposition architecture with residual blocks that learns a complete separation of albedo and normal. This is used along with the original image to predict lighting. SfSNet produces significantly better quantitative and qualitative results than state-of-the-art methods for inverse rendering and independent normal and illumination estimation.

Animals are widespread in nature and the analysis of their shape and motion is important in many fields and industries. Modeling 3D animal shape, however, is difficult because the 3D scanning methods used to capture human shape are not applicable to wild animals or natural settings. Consequently, we propose a method to capture the detailed 3D shape of animals from images alone. The articulated and deformable nature of animals makes this problem extremely challenging, particularly in unconstrained environments with moving and uncalibrated cameras. To make this possible, we use a strong prior model of articulated animal shape that we fit to the image data. We then deform the animal shape in a canonical reference pose such that it matches image evidence when articulated and projected into multiple images. Our method extracts significantly more 3D shape detail than previous methods and is able to model new species, including the shape of an extinct animal, using only a few video frames. Additionally, the projected 3D shapes are accurate enough to facilitate the extraction of a realistic texture map from multiple frames.

Data-driven character animation based on motion capture can produce highly naturalistic behaviors and, when combined with physics simulation, can provide for natural procedural responses to physical perturbations, environmental changes, and morphological discrepancies. Motion capture remains the most popular source of motion data, but collecting mocap data typically requires heavily instrumented environments and actors. In this paper, we propose a method that enables physically simulated characters to learn skills from videos (SFV). Our approach, based on deep pose estimation and deep reinforcement learning, allows data-driven animation to leverage the abundance of publicly available video clips from the web, such as those from YouTube. This has the potential to enable fast and easy design of character controllers simply by querying for video recordings of the desired behavior. The resulting controllers are robust to perturbations, can be adapted to new settings, can perform basic object interactions, and can be retargeted to new morphologies via reinforcement learning. We further demonstrate that our method can predict potential human motions from still images, by forward simulation of learned controllers initialized from the observed pose. Our framework is able to learn a broad range of dynamic skills, including locomotion, acrobatics, and martial arts. (Video 1 )

There has been significant work on learning realistic, articulated, 3D models of the human body. In contrast, there are few such models of animals, despite many applications. The main challenge is that animals are much less cooperative than humans. The best human body models are learned from thousands of 3D scans of people in specific poses, which is infeasible with live animals. Consequently, we learn our model from a small set of 3D scans of toy figurines in arbitrary poses. We employ a novel part-based shape model to compute an initial registration to the scans. We then normalize their pose, learn a statistical shape model, and refine the registrations and the model together. In this way, we accurately align animal scans from different quadruped families with very different shapes and poses. With the registration to a common template we learn a shape space representing animals including lions, cats, dogs, horses, cows and hippos. Animal shapes can be sampled from the model, posed, animated, and fit to data. We demonstrate generalization by fitting it to images of real animals including species not seen in training.

We present an approach to matching images of objects in fine-grained datasets without using part annotations, with an application to the challenging problem of weakly supervised single-view reconstruction. This is in contrast to prior works that require part annotations, since matching objects across class and pose variations is challenging with appearance features alone. We overcome this challenge through a novel deep learning architecture, WarpNet, that aligns an object in one image with a different object in another. We exploit the structure of the fine-grained dataset to create artificial data for training this network in an unsupervised-discriminative learning approach. The output of the network acts as a spatial prior that allows generalization at test time to match real images across variations in appearance, viewpoint and articulation. On the CUB-200-2011 dataset of bird categories, we improve the AP over an appearance-only network by 13.6%. We further demonstrate that our WarpNet matches, together with the structure of fine-grained datasets, allow single-view reconstructions with quality comparable to using annotated point correspondences.

Abstract Understanding how an animal can deform and articulate is essential for a realistic modification of its 3D model. In this paper, we show that such information can be learned from user‐clicked 2D images and a template 3D model of the target animal. We present a volumetric deformation framework that produces a set of new 3D models by deforming a template 3D model according to a set of user‐clicked images. Our framework is based on a novel locally‐bounded deformation energy, where every local region has its own stiffness value that bounds how much distortion is allowed at that location. We jointly learn the local stiffness bounds as we deform the template 3D mesh to match each user‐clicked image. We show that this seemingly complex task can be solved as a sequence of convex optimization problems. We demonstrate the effectiveness of our approach on cats and horses, which are highly deformable and articulated animals. Our framework produces new 3D models of animals that are significantly more plausible than methods without learned stiffness.