We present Drivable 3D Gaussian Avatars (D3GA), a multi-layered 3D controllable model for human bodies that utilizes 3D Gaussian primitives embedded into tetrahedral cages. The advantage of using cages compared to commonly employed linear blend skinning (LBS) is that primitives like 3D Gaussians are naturally re-oriented and their kernels are stretched via the deformation gradients of the encapsulating tetrahedron. Additional offsets are modeled for the tetrahedron vertices, effectively decoupling the low-dimensional driving poses from the extensive set of primitives to be rendered. This separation is achieved through the localized influence of each tetrahedron on 3D Gaussians, resulting in improved optimization. Using the cage-based deformation model, we introduce a compositional pipeline that decomposes an avatar into layers, such as garments, hands, or faces, improving the modeling of phenomena like garment sliding. These parts can be conditioned on different driving signals, such as keypoints for facial expressions or joint-angle vectors for garments and the body. Our experiments on two multi-view datasets with varied body shapes, clothes, and motions show higher-quality results. They surpass PSNR and SSIM metrics of other SOTA methods using the same data while offering greater flexibility and compactness.

We present a novel method for reconstructing personalized 3D human avatars with realistic animation from only a few images. Due to the large variations in body shapes, poses, and cloth types, existing methods mostly require hours of per-subject optimization during inference, which limits their practical applications. In contrast, we learn a universal prior from over a thousand clothed humans to achieve instant feedforward generation and zero-shot generalization. Specifically, instead of rigging the avatar with shared skinning weights, we jointly infer personalized avatar shape, skinning weights, and pose-dependent deformations, which effectively improves overall geometric fidelity and reduces deformation artifacts. Moreover, to normalize pose variations and resolve coupled ambiguity between canonical shapes and skinning weights, we design a 3D canonicalization process to produce pixel-aligned initial conditions, which helps to reconstruct fine-grained geometric details. We then propose a multi-frame feature aggregation to robustly reduce artifacts introduced in canonicalization and fuse a plausible avatar preserving person-specific identities. Finally, we train the model in an end-to-end framework on a large-scale capture dataset, which contains diverse human subjects paired with high-quality 3D scans. Extensive experiments show that our method generates more authentic reconstruction and animation than state-of-the- arts, and can be directly generalized to inputs from casually taken phone photos. Project page and code is available at https://github.com/rongakowang/FRESA.

Traditionally, creating photo-realistic 3D head avatars requires a studio-level multi-view capture setup and expensive optimization during test-time, limiting the use of digital human doubles to the VFX industry or offline renderings. To address this shortcoming, we present Avat3r, which regresses a high-quality and animatable 3D head avatar from just a few input images, vastly reducing compute requirements during inference. More specifically, we make Large Reconstruction Models animatable and learn a powerful prior over 3D human heads from a large multi-view video dataset. For better 3D head reconstructions, we employ position maps from DUSt3R and generalized feature maps from the human foundation model Sapiens. To animate the 3D head, our key discovery is that simple cross-attention to an expression code is already sufficient. Finally, we increase robustness by feeding input images with different expressions to our model during training, enabling the reconstruction of 3D head avatars from inconsistent inputs, e.g., an imperfect phone capture with accidental movement, or frames from a monocular video. We compare Avat3r with current state-of-the-art methods for few-input and single-input scenarios, and find that our method has a competitive advantage in both tasks. Finally, we demonstrate the wide applicability of our proposed model, creating 3D head avatars from images of different sources, smartphone captures, single images, and even out-of-domain inputs like antique busts. Project website: https://tobias-kirschstein.github.io/avat3r/

Parametric body models offer expressive 3D representation of humans across a wide range of poses, shapes, and facial expressions, typically derived by learning a basis over registered 3D meshes. However, existing human mesh modeling approaches struggle to capture detailed variations across diverse body poses and shapes, largely due to limited training data diversity and restrictive modeling assumptions. Moreover, the common paradigm first optimizes the external body surface using a linear basis, then regresses internal skeletal joints from surface vertices. This approach introduces problematic dependencies between internal skeleton and outer soft tissue, limiting direct control over body height and bone lengths. To address these issues, we present ATLAS, a high-fidelity body model learned from 600k high-resolution scans captured using 240 synchronized cameras. Unlike previous methods, we explicitly decouple the shape and skeleton bases by grounding our mesh representation in the human skeleton. This decoupling enables enhanced shape expressivity, fine-grained customization of body attributes, and keypoint fitting independent of external soft-tissue characteristics. ATLAS outperforms existing methods by fitting unseen subjects in diverse poses more accurately, and quantitative evaluations show that our non-linear pose correctives more effectively capture complex poses compared to linear models.

We present 3DGH, an unconditional generative model for 3D human heads with composable hair and face components. Unlike previous work that entangles the modeling of hair and face, we propose to separate them using a novel data representation with template-based 3D Gaussian Splatting, in which deformable hair geometry is introduced to capture the geometric variations across different hairstyles. Based on this data representation, we design a 3D GAN-based architecture with dual generators and employ a cross-attention mechanism to model the inherent correlation between hair and face. The model is trained on synthetic renderings using carefully designed objectives to stabilize training and facilitate hair-face separation. We conduct extensive experiments to validate the design choice of 3DGH, and evaluate it both qualitatively and quantitatively by comparing with several state-of-the-art 3D GAN methods, demonstrating its effectiveness in unconditional full-head image synthesis and composable 3D hairstyle editing. More details will be available on our project page: https://c-he.github.io/projects/3dgh/.

Registering clothes from 4D scans with vertex-accurate correspondence is challenging, yet important for dynamic appearance modeling and physics parameter estimation from real-world data. However, previous methods either rely on texture information, which is not always reliable, or achieve only coarse-level alignment. In this work, we present a novel approach to enabling accurate surface registration of texture-less clothes with large deformation. Our key idea is to effectively leverage a shape prior learned from pre-captured clothing using diffusion models. We also propose a multi-stage guidance scheme based on learned functional maps, which stabilizes registration for large-scale deformation even when they vary significantly from training data. Using high-fidelity real captured clothes, our experiments show that the proposed approach based on diffusion models generalizes better than surface registration with VAE or PCA-based priors, outperforming both optimization-based and learning-based non-rigid registration methods for both interpolation and extrapolation tests.

Existing photorealistic relightable hand models require extensive identity-specific observations in different views, poses, and illuminations, and face challenges in generalizing to natural illuminations and novel identities. To bridge this gap, we present URHand, the first universal relightable hand model that generalizes across viewpoints, poses, illuminations, and identities. Our model allows few-shot personalization using images captured with a mobile phone, and is ready to be photorealistically rendered under novel illuminations. To simplify the personalization process while retaining photorealism, we build a powerful universal relightable prior based on neural relighting from multi-view images of hands captured in a light stage with hundreds of identities. The key challenge is scaling the cross-identity training while maintaining personalized fidelity and sharp details without compromising generalization under natural illuminations. To this end, we propose a spatially varying linear lighting model as the neural renderer that takes physics-inspired shading as input feature. By removing non-linear activations and bias, our specifically designed lighting model explicitly keeps the linearity of light transport. This enables single-stage training from light-stage data while generalizing to real-time rendering under arbitrary continuous illuminations across diverse identities. In addition, we introduce the joint learning of a physically based model and our neural relighting model, which further improves fidelity and generalization. Extensive experiments show that our approach achieves superior performance over existing methods in terms of both quality and generalizability. We also demonstrate quick personalization of URHand from a short phone scan of an unseen identity.

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.

To build photorealistic avatars that users can embody, human modelling must be complete (cover the full body), driveable (able to reproduce the current motion and appearance from the user), and generalizable (i.e., easily adaptable to novel identities).Towards these goals, paired captures, that is, captures of the same subject obtained from systems of diverse quality and availability, are crucial.However, paired captures are rarely available to researchers outside of dedicated industrial labs: Codec Avatar Studio is our proposal to close this gap.Towards generalization and driveability, we introduce a dataset of 256 subjects captured in two modalities: high resolution multi-view scans of their heads, and video from the internal cameras of a headset.Towards completeness, we introduce a dataset of 4 subjects captured in eight modalities: high quality relightable multi-view captures of heads and hands, full body multi-view captures with minimal and regular clothes, and corresponding head, hands and body phone captures.Together with our data, we also provide code and pre-trained models for different state-of-the-art human generation models.Our datasets and code are available at https://github.com/facebookresearch/ava-256 and https://github.com/facebookresearch/goliath.

We present a Body Measurement network (BMnet) for estimating 3D anthropomorphic measurements of the human body shape from silhouette images. Training of BMnet is performed on data from real human subjects, and augmented with a novel adversarial body simulator (ABS) that finds and synthesizes challenging body shapes. ABS is based on the skinned multiperson linear (SMPL) body model, and aims to maximize BMnet measurement prediction error with respect to latent SMPL shape parameters. ABS is fully differentiable with respect to these parameters, and trained end-to-end via backpropagation with BMnet in the loop. Experiments show that ABS effectively discovers adversarial examples, such as bodies with extreme body mass indices (BMI), consistent with the rarity of extreme-BMI bodies in BMnet's training set. Thus ABS is able to reveal gaps in training data and potential failures in predicting under-represented body shapes. Results show that training BMnet with ABS improves measurement prediction accuracy on real bodies by up to 10%, when compared to no augmentation or random body shape sampling. Furthermore, our method significantly outperforms SOTA measurement estimation methods by as much as 3x. Finally, we release BodyM, the first challenging, large-scale dataset of photo silhouettes and body measurements of real human subjects, to further promote research in this area. Project website: https://adversarialbodysim.github.io.

Despite recent progress in developing animatable full-body avatars, realistic modeling of clothing - one of the core aspects of human self-expression - remains an open challenge. State-of-the-art physical simulation methods can generate realistically behaving clothing geometry at interactive rates. Modeling photorealistic appearance, however, usually requires physically-based rendering which is too expensive for interactive applications. On the other hand, data-driven deep appearance models are capable of efficiently producing realistic appearance, but struggle at synthesizing geometry of highly dynamic clothing and handling challenging body-clothing configurations. To this end, we introduce pose-driven avatars with explicit modeling of clothing that exhibit both photorealistic appearance learned from real-world data and realistic clothing dynamics. The key idea is to introduce a neural clothing appearance model that operates on top of explicit geometry: at training time we use high-fidelity tracking, whereas at animation time we rely on physically simulated geometry. Our core contribution is a physically-inspired appearance network, capable of generating photorealistic appearance with view-dependent and dynamic shadowing effects even for unseen body-clothing configurations. We conduct a thorough evaluation of our model and demonstrate diverse animation results on several subjects and different types of clothing. Unlike previous work on photorealistic full-body avatars, our approach can produce much richer dynamics and more realistic deformations even for many examples of loose clothing. We also demonstrate that our formulation naturally allows clothing to be used with avatars of different people while staying fully animatable, thus enabling, for the first time, photorealistic avatars with novel clothing.

Synthesizing images of a person in novel poses from a single image is a highly ambiguous task. Most existing approaches require paired training images; i.e. images of the same person with the same clothing in different poses. However, obtaining sufficiently large datasets with paired data is challenging and costly. Previous methods that forego paired supervision lack realism. We propose a self-supervised framework named SPICE (Self-supervised Person Image CrEation) that closes the image quality gap with supervised methods. The key insight enabling self-supervision is to exploit 3D information about the human body in several ways. First, the 3D body shape must remain unchanged when reposing. Second, representing body pose in 3D enables reasoning about self occlusions. Third, 3D body parts that are visible before and after reposing, should have similar appearance features. Once trained, SPICE takes an image of a person and generates a new image of that person in a new target pose. SPICE achieves state-of-the-art performance on the DeepFashion dataset, improving the FID score from 29.9 to 7.8 compared with previous unsupervised methods, and with performance similar to the state-of-the-art supervised method (6.4). SPICE also generates temporally coherent videos given an input image and a sequence of poses, despite being trained on static images only.

Recent advances in deep generative models have led to an unprecedented level of realism for synthetically generated images of humans. However, one of the remaining fundamental limitations of these models is the ability to flexibly control the generative process, e.g. change the camera and human pose while retaining the subject identity. At the same time, deformable human body models like SMPL [34] and its successors provide full control over pose and shape, but rely on classic computer graphics pipelines for rendering. Such rendering pipelines require explicit mesh rasterization that (a) does not have the potential to fix artifacts or lack of realism in the original 3D geometry and (b) until recently, were not fully incorporated into deep learning frameworks. In this work, we propose to bridge the gap between classic geometry-based rendering and the latest generative networks operating in pixel space. We train a network that directly converts a sparse set of 3D mesh vertices into photorealistic images, alleviating the need for traditional rasterization mechanism. We train our model on a large corpus of human 3D models and corresponding real photos, and show the advantage over conventional differentiable renderers both in terms of the level of photorealism and rendering efficiency.

Abstract The optical flow of humans is well known to be useful for the analysis of human action. Recent optical flow methods focus on training deep networks to approach the problem. However, the training data used by them does not cover the domain of human motion. Therefore, we develop a dataset of multi-human optical flow and train optical flow networks on this dataset. We use a 3D model of the human body and motion capture data to synthesize realistic flow fields in both single- and multi-person images. We then train optical flow networks to estimate human flow fields from pairs of images. We demonstrate that our trained networks are more accurate than a wide range of top methods on held-out test data and that they can generalize well to real image sequences. The code, trained models and the dataset are available for research.

With an increased availability of 3D scanning technology, point clouds are moving into the focus of computer vision as a rich representation of everyday scenes. However, they are hard to handle for machine learning algorithms due to the unordered structure. One common approach is to apply voxelization, which dramatically increases the amount of data stored and at the same time loses details through discretization. Recently, deep learning models with hand-tailored architectures were proposed to handle point clouds directly and achieve input permutation invariance. However, these architectures use an increased number of parameters and are computationally inefficient. In this work we propose basis point sets as a highly efficient and fully general way to process point clouds with machine learning algorithms. Basis point sets are a residual representation that can be computed efficiently and can be used with standard neural network architectures. Using the proposed representation as the input to a relatively simple network allows us to match the performance of PointNet on a shape classification task while using three order of magnitudes less floating point operations. In a second experiment, we show how proposed representation can be used for obtaining high resolution meshes from noisy 3D scans. Here, our network achieves performance comparable to the state-of-the-art computationally intense multi-step frameworks, in one network pass that can be done in less than 1ms.

Current methods for body shape estimation either lack detail or require many images. They are usually architecturally complex and computationally expensive. We propose FACSIMILE (FAX), a method that estimates a detailed body from a single photo, lowering the bar for creating virtual representations of humans. Our approach is easy to implement and fast to execute, making it easily deployable. FAX uses an image-translation network which recovers geometry at the original resolution of the image. Counterintuitively, the main loss which drives FAX is on per-pixel surface normals instead of per-pixel depth, making it possible to estimate detailed body geometry without any depth supervision. We evaluate our approach both qualitatively and quantitatively, and compare with a state-of-the-art method.

Abstract Motion capture is often retargeted to new, and sometimes drastically different, characters. When the characters take on realistic human shapes, however, we become more sensitive to the motion looking right. This means adapting it to be consistent with the physical constraints imposed by different body shapes. We show how to take realistic 3D human shapes, approximate them using a simplified representation, and animate them so that they move realistically using physically‐based retargeting. We develop a novel spacetime optimization approach that learns and robustly adapts physical controllers to new bodies and constraints. The approach automatically adapts the motion of the mocap subject to the body shape of a target subject. This motion respects the physical properties of the new body and every body shape results in a different and appropriate movement. This makes it easy to create a varied set of motions from a single mocap sequence by simply varying the characters. In an interactive environment, successful retargeting requires adapting the motion to unexpected external forces. We achieve robustness to such forces using a novel LQR‐tree formulation. We show that the simulated motions look appropriate to each character's anatomy and their actions are robust to perturbations.

While the ready availability of 3D scan data has influenced research throughout computer vision, less attention has focused on 4D data, that is 3D scans of moving non-rigid objects, captured over time. To be useful for vision research, such 4D scans need to be registered, or aligned, to a common topology. Consequently, extending mesh registration methods to 4D is important. Unfortunately, no ground-truth datasets are available for quantitative evaluation and comparison of 4D registration methods. To address this we create a novel dataset of high-resolution 4D scans of human subjects in motion, captured at 60 fps. We propose a new mesh registration method that uses both 3D geometry and texture information to register all scans in a sequence to a common reference topology. The approach exploits consistency in texture over both short and long time intervals and deals with temporal offsets between shape and texture capture. We show how using geometry alone results in significant errors in alignment when the motions are fast and non-rigid. We evaluate the accuracy of our registration and provide a dataset of 40,000 raw and aligned meshes. Dynamic FAUST extends the popular FAUST dataset to dynamic 4D data, and is available for research purposes at http://dfaust.is.tue.mpg.de.

3D models provide a common ground for different representations of human bodies. In turn, robust 2D estimation has proven to be a powerful tool to obtain 3D fits in-the-wild. However, depending on the level of detail, it can be hard to impossible to acquire labeled data for training 2D estimators on large scale. We propose a hybrid approach to this problem: with an extended version of the recently introduced SMPLify method, we obtain high quality 3D body model fits for multiple human pose datasets. Human annotators solely sort good and bad fits. This procedure leads to an initial dataset, UP-3D, with rich annotations. With a comprehensive set of experiments, we show how this data can be used to train discriminative models that produce results with an unprecedented level of detail: our models predict 31 segments and 91 landmark locations on the body. Using the 91 landmark pose estimator, we present state-of-the art results for 3D human pose and shape estimation using an order of magnitude less training data and without assumptions about gender or pose in the fitting procedure. We show that UP-3D can be enhanced with these improved fits to grow in quantity and quality, which makes the system deployable on large scale. The data, code and models are available for research purposes.

Human motion modelling is a classical problem at the intersection of graphics and computer vision, with applications spanning human-computer interaction, motion synthesis, and motion prediction for virtual and augmented reality. Following the success of deep learning methods in several computer vision tasks, recent work has focused on using deep recurrent neural networks (RNNs) to model human motion, with the goal of learning time-dependent representations that perform tasks such as short-term motion prediction and long-term human motion synthesis. We examine recent work, with a focus on the evaluation methodologies commonly used in the literature, and show that, surprisingly, state of the art performance can be achieved by a simple baseline that does not attempt to model motion at all. We investigate this result, and analyze recent RNN methods by looking at the architectures, loss functions, and training procedures used in state-of-the-art approaches. We propose three changes to the standard RNN models typically used for human motion, which results in a simple and scalable RNN architecture that obtains state-of-the-art performance on human motion prediction.

Estimating human pose, shape, and motion from images and videos are fundamental challenges with many applications. Recent advances in 2D human pose estimation use large amounts of manually-labeled training data for learning convolutional neural networks (CNNs). Such data is time consuming to acquire and difficult to extend. Moreover, manual labeling of 3D pose, depth and motion is impractical. In this work we present SURREAL (Synthetic hUmans foR REAL tasks): a new large-scale dataset with synthetically-generated but realistic images of people rendered from 3D sequences of human motion capture data. We generate more than 6 million frames together with ground truth pose, depth maps, and segmentation masks. We show that CNNs trained on our synthetic dataset allow for accurate human depth estimation and human part segmentation in real RGB images. Our results and the new dataset open up new possibilities for advancing person analysis using cheap and large-scale synthetic data.

Following the success of deep convolutional networks, state-of-the-art methods for 3d human pose estimation have focused on deep end-to-end systems that predict 3d joint locations given raw image pixels. Despite their excellent performance, it is often not easy to understand whether their remaining error stems from a limited 2dpose (visual) understanding, or from a failure to map 2d poses into 3dimensional positions. With the goal of understanding these sources of error, we set out to build a system that given 2d joint locations predicts 3d positions. Much to our surprise, we have found that, with current technology, “lifting” ground truth 2djoint locations to 3d space is a task that can be solved with a remarkably low error rate: a relatively simple deep feedforward network outperforms the best reported result by about 30% on Human3.6M, the largest publicly available 3d pose estimation benchmark. Furthermore, training our system on the output of an off-the-shelf state-of-the-art 2d detector (i.e., using images as input) yields state of the art results - this includes an array of systems that have been trained end-to-end specifically for this task. Our results indicate that a large portion of the error of modern deep 3d pose estimation systems stems from their visual analysis, and suggests directions to further advance the state of the art in 3d human pose estimation.

Humans move their hands and bodies together to communicate and solve tasks. Capturing and replicating such coordinated activity is critical for virtual characters that behave realistically. Surprisingly, most methods treat the 3D modeling and tracking of bodies and hands separately. Here we formulate a model of hands and bodies interacting together and fit it to full-body 4D sequences. When scanning or capturing the full body in 3D, hands are small and often partially occluded, making their shape and pose hard to recover. To cope with low-resolution, occlusion, and noise, we develop a new model called MANO ( hand Model with Articulated and Non-rigid defOrmations ). MANO is learned from around 1000 high-resolution 3D scans of hands of 31 subjects in a wide variety of hand poses. The model is realistic, low-dimensional, captures non-rigid shape changes with pose, is compatible with standard graphics packages, and can fit any human hand. MANO provides a compact mapping from hand poses to pose blend shape corrections and a linear manifold of pose synergies. We attach MANO to a standard parameterized 3D body shape model (SMPL), resulting in a fully articulated body and hand model (SMPL+H). We illustrate SMPL+H by fitting complex, natural, activities of subjects captured with a 4D scanner. The fitting is fully automatic and results in full body models that move naturally with detailed hand motions and a realism not seen before in full body performance capture. The models and data are freely available for research purposes at http://mano.is.tue.mpg.de.

The field of 3D face modeling has a large gap between high-end and low-end methods. At the high end, the best facial animation is indistinguishable from real humans, but this comes at the cost of extensive manual labor. At the low end, face capture from consumer depth sensors relies on 3D face models that are not expressive enough to capture the variability in natural facial shape and expression. We seek a middle ground by learning a facial model from thousands of accurately aligned 3D scans. Our FLAME model (Faces Learned with an Articulated Model and Expressions) is designed to work with existing graphics software and be easy to fit to data. FLAME uses a linear shape space trained from 3800 scans of human heads. FLAME combines this linear shape space with an articulated jaw, neck, and eyeballs, pose-dependent corrective blendshapes, and additional global expression blendshapes. The pose and expression dependent articulations are learned from 4D face sequences in the D3DFACS dataset along with additional 4D sequences. We accurately register a template mesh to the scan sequences and make the D3DFACS registrations available for research purposes. In total the model is trained from over 33, 000 scans. FLAME is low-dimensional but more expressive than the FaceWarehouse model and the Basel Face Model. We compare FLAME to these models by fitting them to static 3D scans and 4D sequences using the same optimization method. FLAME is significantly more accurate and is available for research purposes (http://flame.is.tue.mpg.de).

In this paper, we analyze and compare existing human grasp taxonomies and synthesize them into a single new taxonomy (dubbed “The GRASP Taxonomy” after the GRASP project funded by the European Commission). We consider only static and stable grasps performed by one hand. The goal is to extract the largest set of different grasps that were referenced in the literature and arrange them in a systematic way. The taxonomy provides a common terminology to define human hand configurations and is important in many domains such as human-computer interaction and tangible user interfaces where an understanding of the human is basis for a proper interface. Overall, 33 different grasp types are found and arranged into the GRASP taxonomy. Within the taxonomy, grasps are arranged according to 1) opposition type, 2) the virtual finger assignments, 3) type in terms of power, precision, or intermediate grasp, and 4) the position of the thumb. The resulting taxonomy incorporates all grasps found in the reviewed taxonomies that complied with the grasp definition. We also show that due to the nature of the classification, the 33 grasp types might be reduced to a set of 17 more general grasps if only the hand configuration is considered without the object shape/size.

We accurately estimate the 3D geometry and appearance of the human body from a monocular RGB-D sequence of a user moving freely in front of the sensor. Range data in each frame is first brought into alignment with a multi-resolution 3D body model in a coarse-to-fine process. The method then uses geometry and image texture over time to obtain accurate shape, pose, and appearance information despite unconstrained motion, partial views, varying resolution, occlusion, and soft tissue deformation. Our novel body model has variable shape detail, allowing it to capture faces with a high-resolution deformable head model and body shape with lower-resolution. Finally we combine range data from an entire sequence to estimate a high-resolution displacement map that captures fine shape details. We compare our recovered models with high-resolution scans from a professional system and with avatars created by a commercial product. We extract accurate 3D avatars from challenging motion sequences and even capture soft tissue dynamics.

We present a learned model of human body shape and pose-dependent shape variation that is more accurate than previous models and is compatible with existing graphics pipelines. Our Skinned Multi-Person Linear model (SMPL) is a skinned vertex-based model that accurately represents a wide variety of body shapes in natural human poses. The parameters of the model are learned from data including the rest pose template, blend weights, pose-dependent blend shapes, identity-dependent blend shapes, and a regressor from vertices to joint locations. Unlike previous models, the pose-dependent blend shapes are a linear function of the elements of the pose rotation matrices. This simple formulation enables training the entire model from a relatively large number of aligned 3D meshes of different people in different poses. We quantitatively evaluate variants of SMPL using linear or dual-quaternion blend skinning and show that both are more accurate than a Blend-SCAPE model trained on the same data. We also extend SMPL to realistically model dynamic soft-tissue deformations. Because it is based on blend skinning, SMPL is compatible with existing rendering engines and we make it available for research purposes.

To look human, digital full-body avatars need to have soft-tissue deformations like those of real people. We learn a model of soft-tissue deformations from examples using a high-resolution 4D capture system and a method that accurately registers a template mesh to sequences of 3D scans. Using over 40,000 scans of ten subjects, we learn how soft-tissue motion causes mesh triangles to deform relative to a base 3D body model. Our Dyna model uses a low-dimensional linear subspace to approximate soft-tissue deformation and relates the subspace coefficients to the changing pose of the body. Dyna uses a second-order auto-regressive model that predicts soft-tissue deformations based on previous deformations, the velocity and acceleration of the body, and the angular velocities and accelerations of the limbs. Dyna also models how deformations vary with a person's body mass index (BMI), producing different deformations for people with different shapes. Dyna realistically represents the dynamics of soft tissue for previously unseen subjects and motions. We provide tools for animators to modify the deformations and apply them to new stylized characters.

New scanning technologies are increasing the importance of 3D mesh data and the need for algorithms that can reliably align it. Surface registration is important for building full 3D models from partial scans, creating statistical shape models, shape retrieval, and tracking. The problem is particularly challenging for non-rigid and articulated objects like human bodies. While the challenges of real-world data registration are not present in existing synthetic datasets, establishing ground-truth correspondences for real 3D scans is difficult. We address this with a novel mesh registration technique that combines 3D shape and appearance information to produce high-quality alignments. We define a new dataset called FAUST that contains 300 scans of 10 people in a wide range of poses together with an evaluation methodology. To achieve accurate registration, we paint the subjects with high-frequency textures and use an extensive validation process to ensure accurate ground truth. We find that current shape registration methods have trouble with this real-world data. The dataset and evaluation website are available for research purposes at http://faust.is.tue.mpg.de.

We propose to frame the problem of marker-less robot arm pose estimation as a pixel-wise part classification problem. As input, we use a depth image in which each pixel is classified to be either from a particular robot part or the background. The classifier is a random decision forest trained on a large number of synthetically generated and labeled depth images. From all the training samples ending up at a leaf node, a set of offsets is learned that votes for relative joint positions. Pooling these votes over all foreground pixels and subsequent clustering gives us an estimate of the true joint positions. Due to the intrinsic parallelism of pixel-wise classification, this approach can run in super real-time and is more efficient than previous ICP-like methods. We quantitatively evaluate the accuracy of this approach on synthetic data. We also demonstrate that the method produces accurate joint estimates on real data despite being purely trained on synthetic data.

The goal of this research was to investigate women's sensitivity to changes in their perceived weight by altering the body mass index (BMI) of the participants' personalized avatars displayed on a large-screen immersive display. We created the personalized avatars with a full-body 3D scanner that records the participants' body geometry and texture. We altered the weight of the personalized avatars to produce changes in BMI while keeping height, arm length, and inseam fixed and exploited the correlation between body geometry and anthropometric measurements encapsulated in a statistical body shape model created from thousands of body scans. In a 2 × 2 psychophysical experiment, we investigated the relative importance of visual cues, namely shape (own shape vs. an average female body shape with equivalent height and BMI to the participant) and texture (own photo-realistic texture or checkerboard pattern texture) on the ability to accurately perceive own current body weight (by asking the participant, “Is it the same weight as you?”). Our results indicate that shape (where height and BMI are fixed) had little effect on the perception of body weight. Interestingly, the participants perceived their body weight veridically when they saw their own photo-realistic texture. As compared to avatars with photo-realistic texture, the avatars with checkerboard texture needed to be significantly thinner in order to represent the participants' current weight. This suggests that in general the avatars with checkerboard texture appeared bigger. The range that the participants accepted as their own current weight was approximately a 0.83% to − 6.05% BMI change tolerance range around their perceived weight. Both the shape and the texture had an effect on the reported similarity of the body parts and the whole avatar to the participant's body. This work has implications for new measures for patients with body image disorders, as well as researchers interested in creating personalized avatars for games, training applications, or virtual reality.

We address the problem of upper-body human pose estimation in uncontrolled monocular video sequences, without manual initialization. Most current methods focus on isolated video frames and often fail to correctly localize arms and hands. Inferring pose over a video sequence is advantageous because poses of people in adjacent frames exhibit properties of smooth variation due to the nature of human and camera motion. To exploit this, previous methods have used prior knowledge about distinctive actions or generic temporal priors combined with static image likelihoods to track people in motion. Here we take a different approach based on a simple observation: Information about how a person moves from frame to frame is present in the optical flow field. We develop an approach for tracking articulated motions that "links" articulated shape models of people in adjacent frames through the dense optical flow. Key to this approach is a 2D shape model of the body that we use to compute how the body moves over time. The resulting "flowing puppets" provide a way of integrating image evidence across frames to improve pose inference. We apply our method on a challenging dataset of TV video sequences and show state-of-the-art performance.

We propose a metric for comparing the anthropomorphic motion capability of robotic and prosthetic hands. The metric is based on the evaluation of how many different postures or configurations a hand can perform by studying the reachable set of fingertip poses. To define a benchmark for comparison, we first generate data with human subjects based on an extensive grasp taxonomy. We then develop a methodology for comparison using generative, nonlinear dimensionality reduction techniques. We assess the performance of different hands with respect to the human hand and with respect to each other. The method can be used to compare other types of kinematic structures.

We address the problem of representing and encoding human hand motion data using nonlinear dimensionality reduction methods. We build our work on the notion of postural synergies being typically based on a linear embedding of the data. In addition to addressing the encoding of postural synergies using nonlinear methods, we relate our work to control strategies of combined reaching and grasping movements. We show the drawbacks of the (commonly made) causality assumption and propose methods that model the data as being generated from an inferred latent manifold to cope with the problem. Another important contribution is a thorough analysis of the parameters used in the employed dimensionality reduction techniques. Finally, we provide an experimental evaluation that shows how the proposed methods outperform the standard techniques, both in terms of recognition and generation of motion patterns.

This paper presents a method for vision based estimation of the pose of human hands in interaction with objects. Despite the fact that most robotics applications of human hand tracking involve grasping and manipulation of objects, the majority of methods in the literature assume a free hand, isolated from the surrounding environment. Our hand tracking method is non-parametric, performing a nearest neighbor search in a large database (100000 entries) of hand poses with and without grasped objects. The system operates in real time, it is robust to self occlusions, object occlusions and segmentation errors, and provides full hand pose reconstruction from markerless video. Temporal consistency in hand pose is taken into account, without explicitly tracking the hand in the high dimensional pose space.

Understanding the spatial dimensionality and temporal context of human hand actions can provide representations for programming grasping actions in robots and inspire design of new robotic and prosthetic hands. The natural representation of human hand motion has high dimensionality. For specific activities such as handling and grasping of objects, the commonly observed hand motions lie on a lower-dimensional non-linear manifold in hand posture space. Although full body human motion is well studied within Computer Vision and Biomechanics, there is very little work on the analysis of hand motion with nonlinear dimensionality reduction techniques. In this paper we use Gaussian Process Latent Variable Models (GPLVMs) to model the lower dimensional manifold of human hand motions during object grasping. We show how the technique can be used to embed high-dimensional grasping actions in a lower-dimensional space suitable for modeling, recognition and mapping.

We show how matching and reconstruction of contour points can be performed using dynamic time warping (DTW) for the purpose of 3D hand contour tracking. We evaluate the performance of the proposed algorithm in object manipulation activities and perform comparison with the iterative closest point (ICP) method.

This paper presents a vision based method for grasp classification. It is developed as part of a Programming by Demonstration (PbD) system for which recognition of objects and pick-and-place actions represent basic building blocks for task learning. In contrary to earlier approaches, no articulated 3D reconstruction of the hand over time is taking place. The indata consists of a single image of the human hand. A 2D representation of the hand shape, based on gradient orientation histograms, is extracted from the image. The hand shape is then classified as one of six grasps by finding similar hand shapes in a large database of grasp images. The database search is performed using Locality Sensitive Hashing (LSH), an approximate k-nearest neighbor approach. The nearest neighbors also give an estimated hand orientation with respect to the camera. The six human grasps are mapped to three Barret hand grasps. Depending on the type of robot grasp, a precomputed grasp strategy is selected. The strategy is further parameterized by the orientation of the hand relative to the object. To evaluate the potential for the method to be part of a robust vision system, experiments were performed, comparing classification results to a baseline of human classification performance. The experiments showed the LSH recognition performance to be comparable to human performance.