Interactions between human and objects are influenced not only by the object's pose and shape, but also by physical attributes such as object mass and surface friction. They introduce important motion nuances that are essential for diversity and realism. Despite advancements in recent human-object interaction methods, this aspect has been overlooked. Generating nuanced human motion presents two challenges. First, it is non-trivial to learn from multi-modal human and object information derived from both the physical and non-physical attributes. Second, there exists no dataset capturing nuanced human interactions with objects of varying physical properties, hampering model development. This work addresses the gap by introducing the FORCE model, an approach for synthesizing diverse, nuanced human-object interactions by modeling physical attributes. Our key insight is that human motion is dictated by the interrelation between the force exerted by the human and the perceived resistance. Guided by a novel intuitive physics encoding, the model captures the interplay between human force and resistance. Experiments also demonstrate incorporating human force facilitates learning multi-class motion. Accompanying our model, we contribute a dataset, which features diverse, different-styled motion through interactions with varying resistances.

This work addresses the problem of real-time rendering of photorealistic human body avatars learned from multi-view videos. While the classical approaches to model and render virtual humans generally use a textured mesh, recent research has developed neural body representations that achieve impressive visual quality. However, these models are difficult to render in real-time and their quality degrades when the character is animated with body poses different than the training observations. We propose an animatable human model based on 3D Gaussian Splatting, that has recently emerged as a very efficient alternative to neural radiance fields. The body is represented by a set of gaussian primitives in a canonical space which is deformed with a coarse to fine approach that combines forward skinning and local non-rigid refinement. We describe how to learn our Human Gaussian Splatting (HuGS) model in an end-to-end fashion from multi-view observations, and evaluate it against the state-of-the-art approaches for novel pose synthesis of clothed body. Our method achieves 1.5 dB PSNR improvement over the state-of-the-art on THuman4 dataset while being able to render in real-time (≈ 80 fps for$512 \times 512$resolution).

Controllable scene synthesis consists of generating 3D information that satisfy underlying specifications. Thereby, these specifications should be abstract, i.e. allowing easy user interaction, whilst providing enough interface for detailed control. Scene graphs are representations of a scene, composed of objects (nodes) and inter-object relationships (edges), proven to be particularly suited for this task, as they allow for semantic control on the generated content. Previous works tackling this task often rely on synthetic data, and retrieve object meshes, which naturally limits the generation capabilities. To circumvent this issue, we instead propose the first work that directly generates shapes from a scene graph in an end-to-end manner. In addition, we show that the same model supports scene modification, using the respective scene graph as interface. Leveraging Graph Convolutional Networks (GCN) we train a variational Auto-Encoder on top of the object and edge categories, as well as 3D shapes and scene layouts, allowing latter sampling of new scenes and shapes.

Despite recent advancements in single-domain or single-object image generation, it is still challenging to generate complex scenes containing diverse, multiple objects and their interactions. Scene graphs, composed of nodes as objects and directed-edges as relationships among objects, offer an alternative representation of a scene that is more semantically grounded than images. We hypothesize that a generative model for scene graphs might be able to learn the underlying semantic structure of real-world scenes more effectively than images, and hence, generate realistic novel scenes in the form of scene graphs. In this work, we explore a new task for the unconditional generation of semantic scene graphs. We develop a deep auto-regressive model called SceneGraphGen which can directly learn the probability distribution over labelled and directed graphs using a hierarchical recurrent architecture. The model takes a seed object as input and generates a scene graph in a sequence of steps, each step generating an object node, followed by a sequence of relationship edges connecting to the previous nodes. We show that the scene graphs generated by SceneGraphGen are diverse and follow the semantic patterns of real-world scenes. Additionally, we demonstrate the application of the generated graphs in image synthesis, anomaly detection and scene graph completion.

Image manipulation can be considered a special case of image generation where the image to be produced is a modification of an existing image. Image generation and manipulation have been, for the most part, tasks that operate on raw pixels. However, the remarkable progress in learning rich image and object representations has opened the way for tasks such as text-to-image or layout-to-image generation that are mainly driven by semantics. In our work, we address the novel problem of image manipulation from scene graphs, in which a user can edit images by merely applying changes in the nodes or edges of a semantic graph that is generated from the image. Our goal is to encode image information in a given constellation and from there on generate new constellations, such as replacing objects or even changing relationships between objects, while respecting the semantics and style from the original image. We introduce a spatio-semantic scene graph network that does not require direct supervision for constellation changes or image edits. This makes it possible to train the system from existing real-world datasets with no additional annotation effort.

Scene understanding has been of high interest in computer vision. It encompasses not only identifying objects in a scene, but also their relationships within the given context. With this goal, a recent line of works tackles 3D semantic segmentation and scene layout prediction. In our work we focus on scene graphs, a data structure that organizes the entities of a scene in a graph, where objects are nodes and their relationships modeled as edges. We leverage inference on scene graphs as a way to carry out 3D scene understanding, mapping objects and their relationships. In particular, we propose a learned method that regresses a scene graph from the point cloud of a scene. Our novel architecture is based on PointNet and Graph Convolutional Networks (GCN). In addition, we introduce 3DSSG, a semiautomatically generated dataset, that contains semantically rich scene graphs of 3D scenes. We show the application of our method in a domain-agnostic retrieval task, where graphs serve as an intermediate representation for 3D-3D and 2D-3D matching.

We present a method that tackles the challenge of predicting color and depth behind the visible content of an image. Our approach aims at building up a Layered Depth Image (LDI) from a single RGB input, which is an efficient representation that arranges the scene in layers, including originally occluded regions. Unlike previous work, we enable an adaptive scheme for the number of layers and incorporate semantic encoding for better hallucination of partly occluded objects. Additionally, our approach is object-driven, which especially boosts the accuracy for the occluded intermediate objects. The framework consists of two steps. First, we individually complete each object in terms of color and depth, while estimating the scene layout. Second, we rebuild the scene based on the regressed layers and enforce the recomposed image to resemble the structure of the original input. The learned representation enables various applications, such as 3D photography and diminished reality, all from a single RGB image.