15 accepted papers
High-quality 3D avatar modeling faces a critical trade-off between fidelity and generalization. On the one hand, multi-view studio data enables high-fidelity modeling of humans with precise control over expressions and poses, but it struggles to generalize to real-world data due to limited scale and
We introduce a doubly hierarchical generative representation for strand-based 3D hairstyle geometry that progresses from coarse, low-pass filtered guide hair to densely populated hair strands rich in high-frequency details. We employ the Discrete Cosine Transform (DCT) to separate low-frequency stru…
"The advancement in deep implicit modeling and articulated models has significantly enhanced the process of digitizing human figures in 3D from just a single image. While state-of-the-art methods have greatly improved geometric precision, the challenge of accurately inferring texture remains, partic…
In this paper, we study a novel problem in egocentric action recognition, which we term as "Multimodal Generalization" (MMG). MMG aims to study how systems can generalize when data from certain modalities is limited or even completely missing. We thoroughly investigate MMG in the context of standard…
Generative models such as StyleGAN2 and Stable Diffusion have achieved state-of-the-art performance in computer vision tasks such as image synthesis, inpainting, and de-noising. However, current generative models for face inpainting often fail to preserve fine facial details and the identity of the…
We present a new linear method for RGB-D based simultaneous localization and mapping (SLAM). Compared to existing techniques relying on the Manhattan world assumption defined by three orthogonal directions, our approach is designed for the more general scenario of the Atlanta world. It consists of a…
Given a set of 3D-to-2D point correspondences corrupted by outliers, we aim to robustly estimate the absolute camera pose. Existing methods robust to outliers either fail to guarantee high robustness and efficiency simultaneously, or require an appropriate initial pose and thus lack generality. In c…
A wide range of man-made environments can be abstracted as the Atlanta world. It consists of a set of Atlanta frames with a common vertical (gravitational) axis and multiple horizontal axes orthogonal to this vertical axis. This paper focuses on leveraging the regularity of Atlanta world for monocul…
3D lines in structured environments encode particular regularity like parallelism and orthogonality. We leverage this structural regularity to estimate the absolute and relative camera poses. We decouple the rotation and translation, and propose a novel rotation estimation method. We decompose the a…
The image lines projected from parallel 3D lines intersect at a common point called the vanishing point (VP). Manhattan world holds for the scenes with three orthogonal VPs. In Manhattan world, given several lines in a calibrated image, we aim at clustering them by three unknown-but-sought VPs. The…
The structural features in Manhattan world encode useful geometric information of parallelism, orthogonality and/or coplanarity in the scene. By fully exploiting these structural features, we propose a novel monocular SLAM system which provides accurate estimation of camera poses and 3D map. The for…
In this work, we describe man-made structures via an appropriate structure assumption, called Atlanta world, which contains a vertical direction (typically the gravity direction) and a set of horizontal directions orthogonal to the vertical direction. Contrary to the commonly used Manhattan world as…
Estimating the camera pose requires point correspondences. However, in practice, correspondences are inevitably corrupted by outliers, which affects the pose estimation. We propose a general and accurate outlier removal strategy for robust camera pose estimation. The proposed strategy can detect out…
We present a method to continuously blend between multiple facial performances of an actor, which can contain different facial expressions or emotional states. As an example, given sad and angry video takes of a scene, our method empowers the movie director to specify arbitrary weighted combinations…
We present a method for intrinsic image decomposition, which aims to decompose images into reflectance and shading layers. Our input is a sequence of images with varying illumination acquired by a static camera, e.g. an indoor scene with a moving light source or an outdoor timelapse. We leverage the…