Computing accurate depth from multiple views is a fundamental and longstanding challenge in computer vision. However, most existing approaches do not generalize well across different domains and scene types (e.g. indoor vs. outdoor). Training a general-purpose multi-view stereo model is challenging and raises several questions, e.g. how to best make use of transformer-based architectures, how to incorporate additional metadata when there is a variable number of input views, and how to estimate the range of valid depths which can vary considerably across different scenes and is typically not known a priori? To address these issues, we introduce MVSA, a novel and versatile Multi-View Stereo architecture that aims to work Anywhere by generalizing across diverse domains and depth ranges. MVSA combines monocular and multi-view cues with an adaptive cost volume to deal with scale-related issues. We demonstrate state-of-the-art zero-shot depth estimation on the Robust Multi-View Depth Benchmark, surpassing existing multi-view stereo and monocular baselines.

Exploring real-world spaces using novel-view synthesis is fun, and reimagining those worlds in a different style adds another layer of excitement. Stylized worlds can also be used for downstream tasks where there is limited training data and a need to expand a model’s training distribution. Most current novel-view synthesis stylization techniques lack the ability to convincingly change geometry. This is because editing geometry while maintaining multi-view consistency is very challenging. In this work, we propose a new autoregressive 3D Gaussian Splatting stylization method. As part of this method, we contribute a new RGBD diffusion model that allows for strength control over appearance and shape stylization. To ensure consistency across stylized frames, we use a combination of novel depth-guided cross attention, feature injection, and a ControlNet conditioned on composite frames for guiding the stylization of new frames. We validate our method via extensive qualitative results, quantitative experiments, and a user study.

People are increasingly using their smartphones to 3D scan objects and landmarks. On one hand, users have intrinsic motivations to scan well, i.e. keeping the object in-frame while walking around it to achieve coverage. On the other, users can lose interest when filming inanimate objects, and feel rushed and uncertain of their progress when watching their step in public, seeking to avoid attention.

Extracting planes from a 3D scene is useful for downstream tasks in robotics and augmented reality. In this paper we tackle the problem of estimating the planar surfaces in a scene from posed images. Our first finding is that a surprisingly competitive baseline results from combining popular clustering algorithms with recent improvements in 3D geometry estimation. However, such purely geometric methods are understandably oblivious to plane semantics, which are crucial to discerning distinct planes. To overcome this limitation, we propose a method that predicts multi-view consistent plane embeddings that complement geometry when clustering points into planes. We show through extensive evaluation on the ScanNetV2 dataset that our new method outperforms existing approaches and our strong geometric baseline for the task of plane estimation.

For augmented reality (AR), it is important that virtual assets appear to ‘sit among’ real world objects. The virtual element should variously occlude and be occluded by real matter, based on a plausible depth ordering. This occlusion should be consistent over time as the viewer's camera moves. Unfortunately, small mistakes in the estimated scene depth can ruin the downstream occlusion mask, and thereby the AR illusion. Especially in real-time settings, depths inferred near boundaries or across time can be inconsistent. In this paper, we challenge the need for depth-regression as an intermediate step. We instead propose an implicit model for depth and use that to predict the occlusion mask directly. The inputs to our network are one or more color images, plus the known depths of any virtual geometry. We show how our occlusion predictions are more accurate and more temporally stable than predictions derived from traditional depth-estimation models. We obtain state-of-the-art occlusion results on the challenging ScanNetv2 dataset and superior qualitative results on real scenes.

It can be easy and even fun to sketch humans in different poses. In contrast, creating those same poses on a 3D graphics “mannequin” is comparatively tedious. Yet 3D body poses are necessary for various downstream applications. We seek to preserve the convenience of 2D sketching while giving users of different skill levels the flexibility to accurately and more quickly pose/refine a 3D mannequin. At the core of the interactive system, we propose a machine-learning model for inferring the 3D pose of a CG mannequin from sketches of humans drawn in a cylinder-person style. Training such a model is challenging because of artist variability, a lack of sketch training data with corresponding ground truth 3D poses, and the high dimensionality of human pose-space. Our unique approach to synthesizing vector graphics training data underpins our integrated ML-and-kinematics system. We validate the system by tightly coupling it with a user interface, and by performing a user study, in addition to quantitative comparisons.

The job of a camera operator is challenging, and potentially dangerous, when filming long moving camera shots. Broadly, the operator must keep the actors in frame while safely navigating around obstacles and while fulfilling an artistic vision. We propose a unified hardware and software system that distributes some of the camera operator’s burden, freeing the operator up to focus on safety and aesthetics during a take. Our real-time system provides solo operators with end-to-end control so that they can balance on-set responsiveness to action against planned storyboards and framing while looking where they are going. By default, we film without a field monitor. Our LookOut system is built around a lightweight commodity camera gimbal mechanism, with heavy modifications to the controller, which would normally just provide active stabilization. Our control algorithm reacts to speech commands, video, and a premade script. Specifically, our automatic monitoring of the live video feed saves the operator from distractions. In preproduction, an artist uses our graphical user interface (GUI) to design a sequence of high-level camera “behaviors.” Those can be specific, based on a storyboard, or looser objectives, such as “frame both actors.” Then, during filming, a machine-readable script, exported from the GUI, ties together with the sensor readings to drive the gimbal. To validate our algorithm, we compared tracking strategies, interfaces, and hardware protocols and collected impressions from (a) filmmakers who used all aspects of our system and (b) filmmakers who watched footage filmed using LookOut.

We wish to detect specific categories of objects, for on-line vision systems that will run in the real world. Object detection is already very challenging. It is even harder when the images are blurred, from the camera being in a car or a hand-held phone. Most existing efforts either focused on sharp images, with easy to label ground truth, or they have treated motion blur as one of many generic corruptions.Instead, we focus especially on the details of egomotion induced blur. We explore five classes of remedies, where each targets different potential causes for the performance gap between sharp and blurred images. For example, first deblurring an image changes its human interpretability, but at present, only partly improves object detection. The other four classes of remedies address multi-scale texture, out-of-distribution testing, label generation, and conditioning by blur-type. Surprisingly, we discover that custom label generation aimed at resolving spatial ambiguity, ahead of all others, markedly improves object detection. Also, in contrast to findings from classification, we see a noteworthy boost by conditioning our model on bespoke categories of motion blur.We validate and cross-breed the different remedies experimentally on blurred COCO images and real-world blur datasets, producing an easy and practical favorite model with superior detection rates.