We present a new method for reconstructing the appearance properties of human faces from a lightweight capture procedure in an unconstrained environment. Our method recovers the surface geometry, diffuse albedo, specular intensity and specular roughness from a monocular video containing a simple head rotation in-the-wild. Notably, we make no simplifying assumptions on the environment lighting, and we explicitly take visibility and occlusions into account. As a result, our method can produce facial appearance maps that approach the fidelity of studio-based multi-view captures, but with a far easier and cheaper procedure.

We present a new method for multimodal conditional 3D face geometry generation that allows user-friendly control over the output identity and expression via a number of different conditioning signals. Within a single model, we demonstrate 3D faces generated from artistic sketches, portrait photos, Canny edges, FLAME face model parameters, 2D face landmarks, or text prompts. Our approach is based on a diffusion process that generates 3D geometry in a 2D parameterized UV domain. Geometry generation passes each conditioning signal through a set of cross-attention layers (IP-Adapter), one set for each user-defined conditioning signal. The result is an easy-to-use 3D face generation tool that produces topology-consistent, high-quality geometry with fine-grain user control. • We present a new method for 3D face geometry generation from 6 different types of conditionings (prompts) within a single model. • We propose a comprehensive solution for training such a method from scratch, with 3D geometry data augmentations and by representing 3D geometry as position maps to better fit existing diffusion pipelines. • We show that our method supports face generation with expressions, sketch-based editing for 3D face design, stochastic variations of details conditioned on low resolution FLAME faces, generalization to in-the-wild data and dynamic face generation from videos.

Coordinate based implicit neural representations have gained rapid popularity in recent years as they have been successfully used in image, geometry and scene modeling tasks. In this work, we present a novel use case for such implicit representations in the context of learning anatomi-cally constrained face models. Actor specific anatomically constrainedface models are the state of the art in bothfacial performance capture and performance retargeting. Despite their practical success, these anatomical models are slow to evaluate and often require extensive data capture to be built. We propose the anatomical implicit face model; an ensem-ble of implicit neural networks that jointly learn to model the facial anatomy and the skin surface with high-fidelity, and can readily be used as a drop in replacement to con-ventional blendshape models. Given an arbitrary set of skin surface meshes of an actor and only a neutral shape with estimated skull and jaw bones, our method can recover a dense anatomical substructure which constrains every point on the facial surface. We demonstrate the usefulness of our approach in several tasks ranging from shape fitting, shape editing, and performance retargeting.

An increasingly common approach for creating photo-realistic digital avatars is through the use of volumetric neural fields. The original neural radiance field (NeRF) allowed for impressive novel view synthesis of static heads when trained on a set of multi-view images, and follow up methods showed that these neural representations can be extended to dynamic avatars. Recently, new variants also surpassed the usual drawback of baked-in illumination in neural representations, showing that static neural avatars can be relit in any environment. In this work we simultaneously tackle both the motion and illumination problem, proposing a new method for relightable and animatable neural heads. Our method builds on a proven dynamic avatar approach based on a mixture of volumetric primitives, combined with a recently-proposed lightweight hardware setup for relightable neural fields, and includes a novel architecture that allows relighting dynamic neural avatars performing unseen expressions in any environment, even with nearfield illumination and viewpoints.

Abstract In this paper, we examine three important issues in the practical use of state‐of‐the‐art facial landmark detectors and show how a combination of specific architectural modifications can directly improve their accuracy and temporal stability. First, many facial landmark detectors require a face normalization step as a pre‐process, often accomplished by a separately trained neural network that crops and resizes the face in the input image. There is no guarantee that this pre‐trained network performs optimal face normalization for the task of landmark detection. Thus, we instead analyse the use of a spatial transformer network that is trained alongside the landmark detector in an unsupervised manner, jointly learning an optimal face normalization and landmark detection by a single neural network. Second, we show that modifying the output head of the landmark predictor to infer landmarks in a canonical 3D space rather than directly in 2D can further improve accuracy. To convert the predicted 3D landmarks into screen‐space, we additionally predict the camera intrinsics and head pose from the input image. As a side benefit, this allows to predict the 3D face shape from a given image only using 2D landmarks as supervision, which is useful in determining landmark visibility among other things. Third, when training a landmark detector on multiple datasets at the same time, annotation inconsistencies across datasets forces the network to produce a sub‐optimal average. We propose to add a semantic correction network to address this issue. This additional lightweight neural network is trained alongside the landmark detector, without requiring any additional supervision. While the insights of this paper can be applied to most common landmark detectors, we specifically target a recently proposed continuous 2D landmark detector to demonstrate how each of our additions leads to meaningful improvements over the state‐of‐the‐art on standard benchmarks.

Abstract Modeling realistic human skin with pores and wrinkles down to the milli‐ and micrometer resolution is a challenging task. Prior work showed that such micro geometry can be efficiently generated through simulation methods, or in specialized cases via 3D scanning of real skin. Simulation methods allow to highly customize the wrinkles on the face, but can lead to a synthetic look. Scanning methods can lead to a more organic look for the micro details, however these methods are only applicable to small skin patches due to the required image resolution. In this work we aim to overcome the gap between synthetic simulation and real skin scanning, by proposing a method that can be applied to large skin regions (e.g. an entire face) with the controllability of simulation and the organic look of real micro details. Our method is based on style transfer at its core, where we use scanned displacement maps of real skin patches as style images and displacement maps from an artist‐friendly simulation method as content images. We build a library of displacement maps as style images by employing a simplified scanning setup that can capture high‐resolution patches of real skin. To create the content component for the style transfer and to facilitate parameter‐tuning for the simulation, we design a library of preset parameter values depicting different skin types, and present a new method to fit the simulation parameters to scanned skin patches. This allows fully‐automatic parameter generation, interpolation and stylization across entire faces. We evaluate our method by generating realistic skin micro details for various subjects of different ages and genders, and demonstrate that our approach achieves a more organic and natural look than simulation alone.

Physically-based simulation is a powerful approach for 3D facial animation as the resulting deformations are governed by physical constraints, allowing to easily resolve self-collisions, respond to external forces and perform realistic anatomy edits. Today's methods are data-driven, where the actuations for finite elements are inferred from captured skin geometry. Unfortunately, these approaches have not been widely adopted due to the complexity of initializing the material space and learning the deformation model for each character separately, which often requires a skilled artist followed by lengthy network training. In this work, we aim to make physics-based facial animation more accessible by proposing a generalized physical face model that we learn from a large 3D face dataset. Once trained, our model can be quickly fit to any unseen identity and produce a ready-to-animate physical face model automatically. Fitting is as easy as providing a single 3D face scan, or even a single face image. After fitting, we offer intuitive animation controls, as well as the ability to retarget animations across characters. All the while, the resulting animations allow for physical effects like collision avoidance, gravity, paralysis, bone reshaping and more.

Neural networks for facial landmark detection are notoriously limited to a fixed set of landmarks in a dedicated layout, which must be specified at training time. Dedicated datasets must also be hand-annotated with the corresponding landmark configuration for training. We propose the first facial landmark detection network that can predict continuous, unlimited landmarks, allowing to specify the number and location of the desired landmarks at inference time. Our method combines a simple image feature extractor with a queried landmark predictor, and the user can specify any continuous query points relative to a 3D template face mesh as input. As it is not tied to a fixed set of landmarks, our method is able to leverage all pre-existing 2D landmark datasets for training, even if they have inconsistent landmark configurations. As a result, we present a very powerful facial landmark detector that can be trained once, and can be used readily for numerous applications like 3D face reconstruction, arbitrary face segmentation, and is even compatible with helmeted mounted cameras, and therefore could vastly simplify face tracking workflows for media and entertainment applications.

Recent work on radiance fields and volumetric inverse rendering (e.g., NeRFs) has provided excellent results in building data-driven models of real scenes for novel view synthesis with high photorealism. While full control over viewpoint is achieved, scene lighting is typically "baked" into the model and cannot be changed; other methods only capture limited variation in lighting or make restrictive assumptions about the captured scene. These limitations prevent the application on arbitrary materials and novel 3D environments with complex, distinct lighting. In this paper, we target the application scenario of capturing high-fidelity assets for neural relighting in controlled studio conditions, but without requiring a dense light stage. Instead, we leverage a small number of area lights commonly used in photogrammetry. We propose ReNeRF, a relightable radiance field model based on the intuitive and powerful approach of image-based relighting, which implicitly captures global light transport (for arbitrary objects) without complex, error-prone simulations. Thus, our new method is simple and provides full control over viewpoint and lighting, without simplistic assumptions about how light interacts with the scene. In addition, ReNeRF does not rely on the usual assumption of distant lighting – during training, we explicitly account for the distance between 3D points in the volume and point samples on the light sources. Thus, at test time, we achieve better generalization to novel, continuous lighting directions, including nearfield lighting effects.

course Share on Next Generation 3D Face Models Author: Prashanth Chandran View Profile Authors Info & Claims SA '23: SIGGRAPH Asia 2023 CoursesDecember 2023Article No.: 11Pages 1–144https://doi.org/10.1145/3610538.3614649Published:06 December 2023Publication History 0citation148DownloadsMetricsTotal Citations0Total Downloads148Last 12 Months148Last 6 weeks52 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteGet Access

3D facial animation is often produced by manipulating facial deformation models (or rigs), that are traditionally parameterized by expression controls. A key component that is usually overlooked is expression “style", as in, how a particular expression is performed. Although it is common to define a semantic basis of expressions that characters can perform, most characters perform each expression in their own style. To date, style is usually entangled with the expression, and it is not possible to transfer the style of one character to another when considering facial animation. We present a new face model, based on a data-driven implicit neural physics model, that can be driven by both expression and style separately. At the core, we present a framework for learning implicit physics-based actuations for multiple subjects simultaneously, trained on a few arbitrary performance capture sequences from a small set of identities. Once trained, our method allows generalized physics-based facial animation for any of the trained identities, extending to unseen performances. Furthermore, it grants control over the animation style, enabling style transfer from one character to another or blending styles of different characters. Lastly, as a physics-based model, it is capable of synthesizing physical effects, such as collision handling, setting our method apart from conventional approaches.

Abstract Monocular 3D face reconstruction is a wide‐spread topic, and existing approaches tackle the problem either through fast neural network inference or offline iterative reconstruction of face geometry. In either case carefully‐designed energy functions are minimized, commonly including loss terms like a photometric loss, a landmark reprojection loss, and others. In this work we propose a new loss function for monocular face capture, inspired by how humans would perceive the quality of a 3D face reconstruction given a particular image. It is widely known that shading provides a strong indicator for 3D shape in the human visual system. As such, our new ‘perceptual’ shape loss aims to judge the quality of a 3D face estimate using only shading cues. Our loss is implemented as a discriminator‐style neural network that takes an input face image and a shaded render of the geometry estimate, and then predicts a score that perceptually evaluates how well the shaded render matches the given image. This ‘critic’ network operates on the RGB image and geometry render alone, without requiring an estimate of the albedo or illumination in the scene. Furthermore, our loss operates entirely in image space and is thus agnostic to mesh topology. We show how our new perceptual shape loss can be combined with traditional energy terms for monocular 3D face optimization and deep neural network regression, improving upon current state‐of‐the‐art results.

Abstract We present a novel graph‐based simulation approach for generating micro wrinkle geometry on human skin, which can easily scale up to the micro‐meter range and millions of wrinkles. The simulation first samples pores on the skin and treats them as nodes in a graph. These nodes are then connected and the resulting edges become candidate wrinkles. An iterative optimization inspired by pedestrian trail formation is then used to assign weights to those edges, i.e., to carve out the wrinkles. Finally, we convert the graph to a detailed skin displacement map using novel shape functions implemented in graphics shaders. Our simulation and displacement map creation steps expose fine controls over the appearance at real‐time framerates suitable for interactive exploration and design. We demonstrate the effectiveness of the generated wrinkles by enhancing state‐of‐art 3D reconstructions of real human subjects with simulated micro wrinkles, and furthermore propose an artist‐driven design flow for adding micro wrinkles to fictional characters.

Abstract Parametric 3D shape models are heavily utilized in computer graphics and vision applications to provide priors on the observed variability of an object's geometry (e.g., for faces). Original models were linear and operated on the entire shape at once. They were later enhanced to provide localized control on different shape parts separately. In deep shape models, nonlinearity was introduced via a sequence of fully‐connected layers and activation functions, and locality was introduced in recent models that use mesh convolution networks. As common limitations, these models often dictate, in one way or another, the allowed extent of spatial correlations and also require that a fixed mesh topology be specified ahead of time. To overcome these limitations, we present Shape Transformers, a new nonlinear parametric 3D shape model based on transformer architectures. A key benefit of this new model comes from using the transformer's self‐attention mechanism to automatically learn nonlinear spatial correlations for a class of 3D shapes. This is in contrast to global models that correlate everything and local models that dictate the correlation extent. Our transformer 3D shape autoencoder is a better alternative to mesh convolution models, which require specially‐crafted convolution, and down/up‐sampling operators that can be difficult to design. Our model is also topologically independent: it can be trained once and then evaluated on any mesh topology, unlike most previous methods. We demonstrate the application of our model to different datasets, including 3D faces, 3D hand shapes and full human bodies. Our experiments demonstrate the strong potential of our Shape Transformer model in several applications in computer graphics and vision.

Abstract We propose a 3D+time framework for modeling dynamic sequences of 3D facial shapes, representing realistic non‐rigid motion during a performance. Our work extends neural 3D morphable models by learning a motion manifold using a transformer architecture. More specifically, we derive a novel transformer‐based autoencoder that can model and synthesize 3D geometry sequences of arbitrary length. This transformer naturally determines frame‐to‐frame correlations required to represent the motion manifold, via the internal self‐attention mechanism. Furthermore, our method disentangles the constant facial identity from the time‐varying facial expressions in a performance, using two separate codes to represent neutral identity and the performance itself within separate latent subspaces. Thus, the model represents identity‐agnostic performances that can be paired with an arbitrary new identity code and fed through our new identity‐modulated performance decoder; the result is a sequence of 3D meshes for the performance with the desired identity and temporal length. We demonstrate how our disentangled motion model has natural applications in performance synthesis, performance retargeting, key‐frame interpolation and completion of missing data, performance denoising and retiming, and other potential applications that include full 3D body modeling.

Abstract Face swapping is the process of applying a source actor's appearance to a target actor's performance in a video. This is a challenging visual effect that has seen increasing demand in film and television production. Recent work has shown that data‐driven methods based on deep learning can produce compelling effects at production quality in a fraction of the time required for a traditional 3D pipeline. However, the dominant approach operates only on 2D imagery without reference to the underlying facial geometry or texture, resulting in poor generalization under novel viewpoints and little artistic control. Methods that do incorporate geometry rely on pre‐learned facial priors that do not adapt well to particular geometric features of the source and target faces. We approach the problem of face swapping from the perspective of learning simultaneous convolutional facial autoencoders for the source and target identities, using a shared encoder network with identity‐specific decoders. The key novelty in our approach is that each decoder first lifts the latent code into a 3D representation, comprising a dynamic face texture and a deformable 3D face shape, before projecting this 3D face back onto the input image using a differentiable renderer. The coupled autoencoders are trained only on videos of the source and target identities, without requiring 3D supervision. By leveraging the learned 3D geometry and texture, our method achieves face swapping with higher quality than when using off‐the‐shelf monocular 3D face reconstruction, and overall lower FID score than state‐of‐the‐art 2D methods. Furthermore, our 3D representation allows for efficient artistic control over the result, which can be hard to achieve with existing 2D approaches.

Generating realistic facial animation for CG characters and digital doubles is one of the hardest tasks in animation. A typical production workflow involves capturing the performance of a real actor using mo-cap technology, and transferring the captured motion to the target digital character. This process, known as retargeting , has been used for over a decade, and typically relies on either large blendshape rigs that are expensive to create, or direct deformation transfer algorithms that operate on individual geometric elements and are prone to artifacts. We present a new method for high-fidelity offline facial performance retargeting that is neither expensive nor artifact-prone. Our two step method first transfers local expression details to the target, and is followed by a global face surface prediction that uses anatomical constraints in order to stay in the feasible shape space of the target character. Our method also offers artists with familiar blendshape controls to perform fine adjustments to the retargeted animation. As such, our method is ideally suited for the complex task of human-to-human 3D facial performance retargeting, where the quality bar is extremely high in order to avoid the uncanny valley, while also being applicable for more common human-to-creature settings. We demonstrate the superior performance of our method over traditional deformation transfer algorithms, while achieving a quality comparable to current blendshape-based techniques used in production while requiring significantly fewer input shapes at setup time. A detailed user study corroborates the realistic and artifact free animations generated by our method in comparison to existing techniques.

Facial hair is a largely overlooked topic in facial performance capture. Most production pipelines in the entertainment industry do not have a way to automatically capture facial hair or track the skin underneath it. Thus, actors are asked to shave clean before face capture, which is very often undesirable. Capturing the geometry of individual facial hairs is very challenging, and their presence makes it harder to capture the deforming shape of the underlying skin surface. Some attempts have already been made at automating this task, but only for static faces with relatively sparse 3D hair reconstructions. In particular, current methods lack the temporal correspondence needed when capturing a sequence of video frames depicting facial performance. The problem of robustly tracking the skin underneath also remains unaddressed. In this paper, we propose the first multiview reconstruction pipeline that tracks both the dense 3D facial hair, as well as the underlying 3D skin for entire performances. Our method operates with standard setups for face photogrammetry, without requiring dense camera arrays. For a given capture subject, our algorithm first reconstructs a dense, high-quality neutral 3D facial hairstyle by registering sparser hair reconstructions over multiple frames that depict a neutral face under quasi-rigid motion. This custom-built, reference facial hairstyle is then tracked throughout a variety of changing facial expressions in a captured performance, and the result is used to constrain the tracking of the 3D skin surface underneath. We demonstrate the proposed capture pipeline on a variety of different facial hairstyles and lengths, ranging from sparse and short to dense full-beards.

Photorealistic digital re-aging of faces in video is becoming increasingly common in entertainment and advertising. But the predominant 2D painting workflow often requires frame-by-frame manual work that can take days to accomplish, even by skilled artists. Although research on facial image re-aging has attempted to automate and solve this problem, current techniques are of little practical use as they typically suffer from facial identity loss, poor resolution, and unstable results across subsequent video frames. In this paper, we present the first practical, fully-automatic and production-ready method for re-aging faces in video images. Our first key insight is in addressing the problem of collecting longitudinal training data for learning to re-age faces over extended periods of time, a task that is nearly impossible to accomplish for a large number of real people. We show how such a longitudinal dataset can be constructed by leveraging the current state-of-the-art in facial re-aging that, although failing on real images, does provide photoreal re-aging results on synthetic faces. Our second key insight is then to leverage such synthetic data and formulate facial re-aging as a practical image-to-image translation task that can be performed by training a well-understood U-Net architecture, without the need for more complex network designs. We demonstrate how the simple U-Net, surprisingly, allows us to advance the state of the art for re-aging real faces on video, with unprecedented temporal stability and preservation of facial identity across variable expressions, viewpoints, and lighting conditions. Finally, our new face re-aging network (FRAN) incorporates simple and intuitive mechanisms that provides artists with localized control and creative freedom to direct and fine-tune the re-aging effect, a feature that is largely important in real production pipelines and often overlooked in related research work.

Style transfer between images is an artistic application of CNNs, where the ‘style’ of one image is transferred onto another image while preserving the latter’s content. The state of the art in neural style transfer is based on Adaptive Instance Normalization (AdaIN), a technique that transfers the statistical properties of style features to a content image, and can transfer a large number of styles in real time. However, AdaIN is a global operation; thus local geometric structures in the style image are often ignored during the transfer. We propose Adaptive Convolutions (AdaConv), a generic extension of AdaIN, to allow for the simultaneous transfer of both statistical and structural styles in real time. Apart from style transfer, our method can also be readily extended to style-based image generation, and other tasks where AdaIN has already been adopted.

For several decades, researchers have been advancing techniques for creating and rendering 3D digital faces, where a lot of the effort has gone into geometry and appearance capture, modeling and rendering techniques. This body of research work has largely focused on facial skin, with much less attention devoted to peripheral components like hair, eyes and the interior of the mouth. As a result, even with the best technology for facial capture and rendering, in most high-end productions a lot of artist time is still spent modeling the missing components and fine-tuning the rendering parameters to combine everything into photo-real digital renders. In this work we propose to combine incomplete, high-quality renderings showing only facial skin with recent methods for neural rendering of faces, in order to automatically and seamlessly create photo-realistic full-head portrait renders from captured data without the need for artist intervention. Our method begins with traditional face rendering, where the skin is rendered with the desired appearance, expression, viewpoint, and illumination. These skin renders are then projected into the latent space of a pre-trained neural network that can generate arbitrary photo-real face images (StyleGAN2). The result is a sequence of realistic face images that match the identity and appearance of the 3D character at the skin level, but is completed naturally with synthesized hair, eyes, inner mouth and surroundings. Notably, we present the first method for multi-frame consistent projection into this latent space, allowing photo-realistic rendering and preservation of the identity of the digital human over an animated performance sequence, which can depict different expressions, lighting conditions and viewpoints. Our method can be used in new face rendering pipelines and, importantly, in other deep learning applications that require large amounts of realistic training data with ground-truth 3D geometry, appearance maps, lighting, and viewpoint.

Face models built from 3D face databases are often used in computer vision and graphics tasks such as face reconstruction, replacement, tracking and manipulation. For such tasks, commonly used multi-linear morphable models, which provide semantic control over facial identity and expression, often lack quality and expressivity due to their linear nature. Deep neural networks offer the possibility of non-linear face modeling, where so far most research has focused on generating realistic facial images with less focus on 3D geometry, and methods that do produce geometry have little or no notion of semantic control, thereby limiting their artistic applicability. We present a method for nonlinear 3D face modeling using neural architectures that provides intuitive semantic control over both identity and expression by disentangling these dimensions from each other, essentially combining the benefits of both multi-linear face models and nonlinear deep face networks. The result is a powerful, semantically controllable, nonlinear, parametric face model. We demonstrate the value of our semantic deep face model with applications of 3D face synthesis, facial performance transfer, performance editing, and 2D landmark-based performance retargeting.

Facial landmark detection is a fundamental task for many consumer and high-end applications and is almost entirely solved by machine learning methods today. Existing datasets used to train such algorithms are primarily made up of only low resolution images, and current algorithms are limited to inputs of comparable quality and resolution as the training dataset. On the other hand, high resolution imagery is becoming increasingly more common as consumer cameras improve in quality every year. Therefore, there is need for algorithms that can leverage the rich information available in high resolution imagery. Naively attempting to reuse existing network architectures on high resolution imagery is prohibitive due to memory bottlenecks on GPUs. The only current solution is to downsample the images, sacrificing resolution and quality. Building on top of recent progress in attention-based networks, we present a novel, fully convolutional regional architecture that is specially designed for predicting landmarks on very high resolution facial images without downsampling. We demonstrate the flexibility of our architecture by training the proposed model with images of resolutions ranging from 256 x 256 to 4K. In addition to being the first method for facial landmark detection on high resolution images, our approach achieves superior performance over traditional (holistic) state-of-the-art architectures across ALL resolutions, leading to a general-purpose, extremely flexible, high quality landmark detector.

We consider symbol timing recovery for continuous phase modulations (CPMs) with correlated data symbols. A popular example of such a scheme is shaped offset quadrature phase-shift keying (SOQPSK). We propose an extension to an existing non-data-aided (blind) timing error detector (TED) to make it compatible with such modulation schemes. The merits of the modified TED are demonstrated by comparing its performance with and without taking the data correlation into account. As a further modification, we show that a quantization scheme can be used to yield an extremely low-complexity version of the system with only negligible performance losses. The S-curve of the proposed quantized TED is given, which rules out the existence of false lock points. The proposed scheme shows great promise in a wide range of applications due to its low complexity, its lack of false lock points, and its blind nature; such applications include timing recovery for noncoherent detection schemes and false lock detectors.