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Introduction: Facial paralysis (FP) is a neuromuscular disorder caused by facial nerve injury. There are two main types of FP (which can be either primary or secondary): central and peripheral; Procedure of cases: This case series presents five patients with facial paralysis with different etiologies. In all cases, we assessed the facial disability index and a clinical test registering the electromyographic activity, with and without biofeedback generated by Specular Face, a new software program; Discussion: After performing the appropriate tests, we checked the patients’ ability to change certain expressions when the Specular Face program was added. We can confirm that the mirror visual feedback therapy changes the behavior of synkinesis and the muscle function in these patients; Conclusion: The use of mirror therapy using a computerized treatment system of facial images yields promising results in modulating the muscle activity of patients with FP.

The following work presents a self-regulating filter that is capable of performing accurate upsampling of dynamic point cloud data sequences captured using wide-baseline multi-view camera setups. This is achieved by using two-way temporal projection of edge-aware upsampled point clouds while imposing coherence and noise filtering via a windowed, self-regulating noise filter. We use a state of the art Spatio-Temporal Edge-Aware scene flow estimation to accurately model the motion of points across a sequence and then, leveraging the spatio-temporal inconsistency of unstructured noise, we perform a weighted Hausdorff distance-based noise filter over a given window. Our results demonstrate that this approach produces temporally coherent, upsampled point clouds while mitigating both additive and unstructured noise. In addition to filtering noise, the algorithm is able to greatly reduce intermittent loss of pertinent geometry. The system performs well in dynamic real world scenarios with both stationary and non-stationary cameras as well as synthetically rendered environments for baseline study.

As a rapidly growing medium, volumetric video is gaining attention beyond academia, reaching industry and creative communities alike. This brings new challenges to reduce the barrier to entry from a technical and economical point of view. We present a system for robustly and autonomously performing temporally coherent tracking for volumetric sequences, specifically targeting those from sparse setups or with noisy output. Our system will detect and recover missing pertinent geometry across highly incoherent sequences as well as provide users the option of propagating drastic topology edits. In this way, affordable multi-view setups can leverage temporal consistency to reduce processing and compression overheads while also generating more aesthetically pleasing volumetric sequences.

We present a method for augmenting hand-drawn characters and creatures with global illumination effects. Given a single view drawing only, we use a novel CNN to predict a high-quality normal map of the same resolution. The predicted normals are then used as guide to inflate a surface into a 3D proxy mesh visually consistent and suitable to augment the input 2D art with convincing global illumination effects while keeping the hand-drawn look and feel. Along with this paper, a new high resolution dataset of line drawings with corresponding ground-truth normal and depth maps will be shared. We validate our CNN, comparing our neural predictions qualitatively and quantitatively with the recent state-of-the art, show results for various hand-drawn images and animations, and compare with alternative modeling approaches.

We present 2DToonShade: a semi-automatic method for creating shades and self-shadows in cel animation. Besides producing attractive images, shades and shadows provide important visual cues about depth, shapes, movement and lighting of the scene. In conventional cel animation, shades and shadows are drawn by hand. As opposed to previous approaches, this method does not rely on a complex 3D reconstruction of the scene: its key advantages are simplicity and ease of use. The tool was designed to stay as close as possible to the natural 2D creative environment and therefore provides an intuitive and user-friendly interface. Our system creates shading based on hand-drawn objects or characters, given very limited guidance from the user. The method employs simple yet very efficient algorithms to create shading directly out of drawn strokes. We evaluate our system through a subjective user study and provide qualitative comparison of our method versus existing professional tools and recent state of the art. Keywords: Toon shading, Cel shading, Hand-drawn animation, Image-based rendering, Non-photorealistic-rendering

We present a semi-automatic method for creating shades and self-shadows in cel animation. Besides producing attractive images, shades and shadows provide important visual cues about depth, shapes, movement and lighting of the scene. In conventional cel animation, shades and shadows are drawn by hand. As opposed to previous approaches, this method does not rely on a complex 3D reconstruction of the scene: its key advantages are simplicity and ease of use. The tool was designed to stay as close as possible to the natural 2D creative environment and therefore provides an intuitive and user-friendly interface. Our system creates shading based on hand-drawn objects or characters, given very limited guidance from the user. The method employs simple yet very efficient algorithms to create shading directly out of drawn strokes. We evaluate our system through a subjective user study and provide qualitative comparison of our method versus existing professional tools and state of the art.

Since the early years of the twenty-first century, the performing arts have been party to an increasing number of digital media projects that bring renewed attention to questions about, on one hand, new working processes involving capture and distribution techniques, and on the other hand, how particular works—with bespoke hard and software—can exert an efficacy over how work is created by the artist/producer or received by the audience. The evolution of author/audience criteria demand that digital arts practice modify aesthetic and storytelling strategies, to types that are more appropriate to communicating ideas over interactive digital networks, wherein AR/VR technologies are rapidly becoming the dominant interface. This project explores these redefined criteria through a reimagining of Samuel Becketts Play (1963) for digital culture. This paper offers an account of the working processes, the aesthetic and technical considerations that guide artistic decisions and how we attempt to place the overall work in the state of the art.

In the context of 3D reconstruction, we present a static multi-texturing system yielding a seamless texture atlas calculated by combining the colour information from several photos from the same subject covering most of its surface. These pictures can be provided by shooting just one camera several times when reconstructing a static object, or a set of synchronized cameras, when dealing with a human or any other moving object. We suppress the colour seams due to image misalignments and irregular lighting conditions that multi-texturing approaches typically suffer from, while minimizing the blurring effect introduced by colour blending techniques. Our system is robust enough to compensate for the almost inevitable inaccuracies of 3D meshes obtained with visual hull-based techniques: errors in silhouette segmentation, inherently bad handling of concavities, etc.

Structure from motion is a very popular technique for obtaining three-dimensional point cloud-based reconstructions of objects from un-organised sets of images by analysing the correspondences between feature points detected in those images. However, the point clouds stemming from usual feature point extractors such as SIFT are frequently too sparse for reliable surface recovery. In this paper we show that alternate feature descriptors such as A-KAZE, which provide denser coverage of images, yield better results and more detailed point clouds. Unfortunately, the use of a dramatically increased number of points per image poses a computational challenge. We propose a technique based on epipolar geometry restrictions to significantly cut down on processing time and an efficient implementation thereof on a GPU.

The present paper presents a fully automatic low-cost system for generating animatable and statically multi-textured avatars of real people captured with several standard cameras. Our system features a novel technique for generating view-independent texture atlases computed from the original images, and two proposals for improving the quality of the facial region of the 3D mesh: a purely passive one implying no additional cost, and another based on active techniques such as structured light projection.

We propose a novel technique for modeling and rendering a 3D point cloud obtained from a set of photographs of a real 3D scene as a set of textured elliptical splats. We first obtain the base splat model by calculating, for each point of the cloud, an ellipse approximating locally the underlying surface. We then refine the base model by removing redundant splats to minimize overlaps, and merging splats covering flat regions of the point cloud into larger ellipses. We later apply a multi-texturing process to generate a single texture atlas from the set of photographs, by blending information from multiple cameras for every splat. Finally, we render this multi-textured, splat-based 3D model with an efficient implementation of OpenGL ES 2.0 vertex and fragment shaders which guarantees its fluid display on handheld devices.

We propose a hybrid 3D modeling and rendering approach called SPLASH to combine the modeling flexibility and robustness of SPLAts together with the rendering simplicity and maturity of meSHes. Together with this novel SPLASH concept, we also propose a system turning a 3D point cloud, obtained for example through an SfM (Structure from Motion) approach, into a multi-textured hybrid 3D model whose shape is described by a triangle mesh plus a collection of elliptical splats.

We propose a new method to automatically refine a facial disparity map obtained with standard cameras and under conventional illumination conditions by using a smart combination of traditional computer vision and 3D graphics techniques. Our system inputs two stereo images acquired with standard (calibrated) cameras and uses dense disparity estimation strategies to obtain a coarse initial disparity map, and SIFT to detect and match several feature points in the subject's face. We then use these points as anchors to modify the disparity in the facial area by building a Delaunay triangulation of their convex hull and interpolating their disparity values inside each triangle. We thus obtain a refined disparity map providing a much more accurate representation of the the subject's facial features. This refined facial disparity map may be easily transformed, through the camera calibration parameters, into a depth map to be used, also automatically, to improve the facial mesh of a 3D avatar to match the subject's real human features.

There is an increasing need of easy and affordable technologies to automatically generate virtual 3D models from their real counterparts. In particular, 3D human reconstruction has driven the creation of many clever techniques, most of them based on the visual hull (VH) concept. Such techniques do not require expensive hardware; however, they tend to yield 3D humanoids with realistic bodies but mediocre faces, since VH cannot handle concavities. On the other hand, structured light projectors allow to capture very accurate depth data, and thus to reconstruct realistic faces, but they are too expensive to use several of them. We have developed a technique to merge a VH-based 3D mesh of a reconstructed humanoid and the depth data of its face, captured by a single structured light projector. By combining the advantages of both systems in a simple setting, we are able to reconstruct realistic 3D human models with believable faces.

We introduce an innovative, semi-automatic method to transform low resolution facial meshes into high definition ones, based on the tailoring of a generic, neutral human head model, designed by an artist, to fit the facial features of a specific person. To determine these facial features we need to select a set of "control points" (corners of eyes, lips, etc.) in at least two photographs of the subject's face. The neutral head mesh is then automatically reshaped according to the relation between the control points in the original subject's mesh through a set of transformation pyramids. The last step consists in merging both meshes and filling the gaps that appear in the previous process. This algorithm avoids the use of expensive and complicated technologies to obtain depth maps, which also need to be meshed later.

We introduce a simple and innovative method to compare any two texture maps, regardless of their sizes, aspect ratios, or even masks, as long as they are both meant to be mapped onto the same 3D mesh. Our system is based on a zero-distortion 3D mesh unwrapping technique which compares two new adapted texture atlases with the same mask but different texel colors, and whose every texel covers the same area in 3D. Once these adapted atlases are created, we measure their difference with ITEM-RMSE, a slightly modified version of the standard RMSE defined for images. ITEM-RMSE is more meaningful and reliable than RMSE because it only takes into account the texels inside the mask, since they are the only ones that will actually be used during rendering. Our method is not only very useful to compare the space efficiency of different texture atlas generation algorithms, but also to quantify texture loss in compression schemes for multi-resolution textured 3D meshes.