Pairwise pose estimation from images with little or no overlap is an open challenge in computer vision. Existing methods, even those trained on large-scale datasets, struggle in these scenarios due to the lack of identifiable correspondences or visual overlap. Inspired by the human ability to infer spatial relationships from diverse scenes, we propose a novel approach, InterPose, that leverages the rich priors encoded within pre-trained generative video models. We propose to use a video model to hallucinate intermediate frames between two input images, effectively creating a dense, visual transition, which significantly simplifies the problem of pose estimation. Since current video models can still produce implausible motion or inconsistent geometry, we introduce a self-consistency score that evaluates the consistency of pose predictions from sampled videos. We demonstrate that our approach generalizes among three state-of-the-art video models and show consistent improvements over the state-of-the-art DUSt3R baseline on four diverse datasets encompassing indoor, outdoor, and object-centric scenes. Our findings suggest a promising avenue for improving pose estimation models by leveraging large generative models trained on vast amounts of video data, which is more readily available than 3D data. See our project page for results: Inter-Pose.github.io.

Learning to understand dynamic 3D scenes from imagery is crucial for applications ranging from robotics to scene reconstruction. Yet, unlike other problems where large-scale supervised training has enabled rapid progress, directly supervising methods for recovering 3D motion remains challenging due to the fundamental difficulty of obtaining ground truth annotations. We present a system for mining high-quality 4D reconstructions from internet stereoscopic, wide-angle videos. Our system fuses and filters the outputs of camera pose estimation, stereo depth estimation, and temporal tracking methods into high-quality dynamic 3D reconstructions. We use this method to generate large-scale data in the form of world-consistent, pseudo-metric 3D point clouds with long-term motion trajectories. We demonstrate the utility of this data by training a variant of DUSt3R to predict structure and 3D motion from real-world image pairs, showing that training on our reconstructed data enables generalization to diverse real-world scenes. Project page and data at https://stereo4d.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.

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/

We introduce Self Forcing, a novel training paradigm for autoregressive video diffusion models. It addresses the longstanding issue of exposure bias, where models trained on ground-truth context must generate sequences conditioned on their own imperfect outputs during inference. Unlike prior methods that denoise future frames based on ground-truth context frames, Self Forcing conditions each frame's generation on previously self-generated outputs by performing autoregressive rollout with key-value (KV) caching during training. This strategy enables supervision through a holistic loss at the video level that directly evaluates the quality of the entire generated sequence, rather than relying solely on traditional frame-wise objectives. To ensure training efficiency, we employ a few-step diffusion model along with a stochastic gradient truncation strategy, effectively balancing computational cost and performance. We further introduce a rolling KV cache mechanism that enables efficient autoregressive video extrapolation. Extensive experiments demonstrate that our approach achieves real-time streaming video generation with sub-second latency on a single GPU, while matching or even surpassing the generation quality of significantly slower and non-causal diffusion models.

We present an approach to modeling an image-space prior on scene motion. Our prior is learned from a collection of motion trajectories extracted from real video sequences de-picting natural, oscillatory dynamics of objects such as trees, flowers, candles, and clothes swaying in the wind. We model dense, long-term motion in the Fourier domain as spectral volumes, which we find are well-suited to prediction with diffusion models. Given a single image, our trained model uses a frequency-coordinated diffusion sampling process to predict a spectral volume, which can be converted into a motion texture that spans an entire video. Along with an image-based rendering module, the predicted motion representation can be used for a number of downstream applications, such as turning still images into seamlessly looping videos, or allowing users to interact with objects in real images, producing realistic simulated dynamics (by interpreting the spectral volumes as image-space modal bases). See our project page for more results: generative-dynamics.github.io.

Despite increasingly realistic image quality, recent 3D image generative models often operate on 3D volumes of fixed extent with limited camera motions. We investigate the task of unconditionally synthesizing unbounded nature scenes, enabling arbitrarily large camera motion while maintaining a persistent 3D world model. Our scene representation consists of an extendable, planar scene layout grid, which can be rendered from arbitrary camera poses via a 3D decoder and volume rendering, and a panoramic sky-dome. Based on this representation, we learn a generative world model solely from single-view internet photos. Our method enables simulating long flights through 3D landscapes, while maintaining global scene consistency-for instance, returning to the starting point yields the same view of the scene. Our approach enables scene extrapolation beyond the fixed bounds of current 3D generative models, while also supporting a persistent, camera-independent world representation that stands in contrast to auto-regressive 3D prediction models. Our project page: https://chail.github.io/persistent-nature/.

We address the problem of synthesizing novel views from a monocular video depicting a complex dynamic scene. State-of-the-art methods based on temporally varying Neural Radiance Fields (aka dynamic NeRFs) have shown impressive results on this task. However, for long videos with complex object motions and uncontrolled camera trajectories, these methods can produce blurry or inaccurate renderings, hampering their use in real-world applications. Instead of encoding the entire dynamic scene within the weights of MLPs, we present a new approach that addresses these limitations by adopting a volumetric image-based rendering framework that synthesizes new viewpoints by aggregating features from nearby views in a scene motion-aware manner. Our system retains the advantages of prior methods in its ability to model complex scenes and view-dependent effects, but also enables synthesizing photo-realistic novel views from long videos featuring complex scene dynamics with unconstrained camera trajectories. We demonstrate significant improvements over state-of-the-art methods on dynamic scene datasets, and also apply our approach to in-the-wild videos with challenging camera and object motion, where prior methods fail to produce high-quality renderings.

We propose a method to decompose a video into a background and a set of foreground layers, where the background captures stationary elements while the foreground layers capture moving objects along with their associated effects (e.g. shadows and reflections). Our approach is designed for unconstrained monocular videos, with an arbitrary camera and object motion. Prior work that tackles this problem assumes that the video can be mapped onto a fixed 2D canvas, severely limiting the possible space of camera motion. Instead, our method applies recent progress in monocular camera pose and depth estimation to create a full, RGBD video layer for the background, along with a video layer for each foreground object. To solve the underconstrained decomposition problem, we propose a new loss formulation based on multi-view consistency. We test our method on challenging videos with complex camera motion and show significant qualitative improvement over current approaches.

We present a new test-time optimization method for estimating dense and long-range motion from a video sequence. Prior optical flow or particle video tracking algorithms typically operate within limited temporal windows, struggling to track through occlusions and maintain global consistency of estimated motion trajectories. We propose a complete and globally consistent motion representation, dubbed OmniMotion, that allows for accurate, full-length motion estimation of every pixel in a video. OmniMotion represents a video using a quasi-3D canonical volume and performs pixel-wise tracking via bijections between local and canonical space. This representation allows us to ensure global consistency, track through occlusions, and model any combination of camera and object motion. Extensive evaluations on the TAP-Vid benchmark and real-world footage show that our approach outperforms prior state-of-the-art methods by a large margin both quantitatively and qualitatively. See our project page for more results: omnimotion.github.io.

We introduce 3D Moments, a new computational photography effect. As input we take a pair of near-duplicate photos, i.e., photos of moving subjects from similar viewpoints, common in people's photo collections. As output, we produce a video that smoothly interpolates the scene motion from the first photo to the second, while also producing camera motion with parallax that gives a heightened sense of 3D. To achieve this effect, we represent the scene as a pair of feature-based layered depth images augmented with scene flow. This representation enables motion interpolation along with independent control of the camera viewpoint. Our system produces photorealistic space-time videos with motion parallax and scene dynamics, while plausibly recovering regions occluded in the original views. We conduct extensive experiments demonstrating superior performance over baselines on public datasets and in-the-wild photos. Project page: https://3d-moments.github.io/.

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 propose a neural inverse rendering pipeline called IRON that operates on photometric images and outputs high-quality 3D content in the format of triangle meshes and material textures readily deployable in existing graphics pipelines. Our method adopts neural representations for geometry as signed distance fields (SDFs) and materials during optimization to enjoy their flexibility and compactness, and features a hybrid optimization scheme for neural SDFs: first, optimize using a volumetric radiance field approach to recover correct topology, then optimize further using edgeaware physics-based surface rendering for geometry refinement and disentanglement of materials and lighting. In the second stage, we also draw inspiration from mesh-based differentiable rendering, and design a novel edge sampling algorithm for neural SDFs to further improve performance. We show that our IRON achieves significantly better inverse rendering quality compared to prior works.

We present a method to perform novel view and time synthesis of dynamic scenes, requiring only a monocular video with known camera poses as input. To do this, we introduce Neural Scene Flow Fields, a new representation that models the dynamic scene as a time-variant continuous function of appearance, geometry, and 3D scene motion. Our representation is optimized through a neural network to fit the observed input views. We show that our representation can be used for varieties of in-the-wild scenes, including thin structures, view-dependent effects, and complex degrees of motion. We conduct a number of experiments that demonstrate our approach significantly outperforms recent monocular view synthesis methods, and show qualitative results of space-time view synthesis on a variety of real-world videos.

We present a method for predicting dense depth in scenarios where both a monocular camera and people in the scene are freely moving (right). Existing methods for recovering depth for dynamic, non-rigid objects from monocular video impose strong assumptions on the objects' motion and may only recover sparse depth. In this paper, we take a data-driven approach and learn human depth priors from a new source of data: thousands of Internet videos of people imitating mannequins, i.e., freezing in diverse, natural poses, while a hand-held camera tours the scene (left). Because people are stationary, geometric constraints hold, thus training data can be generated using multi-view stereo reconstruction. At inference time, our method uses motion parallax cues from the static areas of the scenes to guide the depth prediction. We evaluate our method on real-world sequences of complex human actions captured by a moving hand-held camera, show improvement over state-of-the-art monocular depth prediction methods, and demonstrate various 3D effects produced using our predicted depth.

We present a method for predicting dense depth in scenarios where both a monocular camera and people in the scene are freely moving. Existing methods for recovering depth for dynamic, non-rigid objects from monocular video impose strong assumptions on the objects’ motion and may only recover sparse depth. In this paper, we take a data-driven approach and learn human depth priors from a new source of data: thousands of Internet videos of people imitating mannequins, i.e., freezing in diverse, natural poses, while a hand-held camera tours the scene. Since the people are stationary, training data can be created from these videos using multi-view stereo reconstruction. At inference time, our method uses motion parallax cues from the static areas of the scenes, and shows clear improvement over state-of-the-art monocular depth prediction methods. We demonstrate our method on real-world sequences of complex human actions captured by a moving hand-held camera, and show various 3D effects produced using our predicted depth.

We introduce UprightNet, a learning-based approach for estimating 2DoF camera orientation from a single RGB image of an indoor scene. Unlike recent methods that leverage deep learning to perform black-box regression from image to orientation parameters, we propose an end-to-end framework that incorporates explicit geometric reasoning. In particular, we design a network that predicts two representations of scene geometry, in both the local camera and global reference coordinate systems, and solves for the camera orientation as the rotation that best aligns these two predictions via a differentiable least squares module. This network can be trained end-to-end, and can be supervised with both ground truth camera poses and intermediate representations of surface geometry. We evaluate UprightNet on the single-image camera orientation task on synthetic and real datasets, and show significant improvements over prior state-of-the-art approaches.

Single-view depth prediction is a fundamental problem in computer vision. Recently, deep learning methods have led to significant progress, but such methods are limited by the available training data. Current datasets based on 3D sensors have key limitations, including indoor-only images (NYU), small numbers of training examples (Make3D), and sparse sampling (KITTI). We propose to use multi-view Internet photo collections, a virtually unlimited data source, to generate training data via modern structure-from-motion and multi-view stereo (MVS) methods, and present a large depth dataset called MegaDepth based on this idea. Data derived from MVS comes with its own challenges, including noise and unreconstructable objects. We address these challenges with new data cleaning methods, as well as automatically augmenting our data with ordinal depth relations generated using semantic segmentation. We validate the use of large amounts of Internet data by showing that models trained on MegaDepth exhibit strong generalization-not only to novel scenes, but also to other diverse datasets including Make3D, KITTI, and DIW, even when no images from those datasets are seen during training.

Single-view intrinsic image decomposition is a highly ill-posed problem, and so a promising approach is to learn from large amounts of data. However, it is difficult to collect ground truth training data at scale for intrinsic images. In this paper, we explore a different approach to learning intrinsic images: observing image sequences over time depicting the same scene under changing illumination, and learning single-view decompositions that are consistent with these changes. This approach allows us to learn without ground truth decompositions, and to instead exploit information available from multiple images when training. Our trained model can then be applied at test time to single views. We describe a new learning framework based on this idea, including new loss functions that can be efficiently evaluated over entire sequences. While prior learning-based methods achieve good performance on specific benchmarks, we show that our approach generalizes well to several diverse datasets, including MIT intrinsic images, Intrinsic Images in the Wild and Shading Annotations in the Wild.

Vehicle type recognition has many applications in video surveillance, urban traffic management and automatic driving. This paper presents a new vehicle type recognition method using feature encoding combined with Convolutional Neural Network (CNN). This method uses the CNN to learn the properties of the high-level image features. It is able to largely compensate the information loss if we use feature encoding solely. By contrast, to achieve satisfactory classification results, feature encoding algorithms do not need a large number of training samples. Thus, it can help CNN reduce the number of training samples. Therefore, we propose a hybrid algorithm by integrating method on vehicle type recognition in comparison to CNN, feature encoding algorithms and other competitive methods.