Text-guided diffusion models such as DALLE-2, Imagen, and Stable Diffusion are able to generate an effectively endless variety of images given only a short text prompt describing the desired image content. In many cases the images are of very high quality. However, these models often struggle to compose scenes containing several key objects such as characters in specified positional relationships. The missing capability to ``direct'' the placement of characters and objects both within and across images is crucial in storytelling, as recognized in the literature on film and animation theory. In this work, we take a particularly straightforward approach to providing the needed direction. Drawing on the observation that the cross-attention maps for prompt words reflect the spatial layout of objects denoted by those words, we introduce an optimization objective that produces ``activation'' at desired positions in these cross-attention maps. The resulting approach is a step toward generalizing the applicability of text-guided diffusion models beyond single images to collections of related images, as in storybooks. Directed Diffusion provides easy high-level positional control over multiple objects, while making use of an existing pre-trained model and maintaining a coherent blend between the positioned objects and the background. Moreover, it requires only a few lines to implement.

We present Animatomy, a novel anatomic+animator centric representation of the human face. Present FACS-based systems are plagued with problems of face muscle separation, coverage, opposition, and redundancy. We, therefore, propose a collection of muscle fiber curves as an anatomic basis, whose contraction and relaxation provide us with a fine-grained parameterization of human facial expression. We build an end-to-end modular deformation architecture using this representation that enables: automatic optimization of the parameters of a specific face from high-quality dynamic facial scans; face animation driven by performance capture, keyframes, or dynamic simulation; interactive and direct manipulation of facial expression; and animation transfer from an actor to a character. We validate our facial system by showing compelling animated results, applications, and a quantitative comparison of our facial reconstruction to ground truth performance capture. Our system is being intensively used by a large creative team on Avatar: The Way of Water. We report feedback from these users as qualitative evaluation of our system.