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Recent advancements in diffusion models have significantly enhanced the quality of video generation. However, fine-grained control over camera pose remains a challenge. While U-Net-based models have shown promising results for camera control, transformer-based diffusion models (DiT)-the preferred architecture for large-scale video generation - suffer from severe degradation in camera motion accuracy. In this paper, we investigate the underlying causes of this issue and propose solutions tailored to DiT architectures. Our study reveals that camera control performance depends heavily on the choice of conditioning methods rather than camera pose representations that is commonly believed. To address the persistent motion degradation in DiT, we introduce Camera Motion Guidance (CMG), based on classifier-free guidance, which boosts camera control by over 400%. Additionally, we present a sparse camera control pipeline, significantly simplifying the process of specifying camera poses for long videos. Our method universally applies to both U-Net and DiT models, offering improved camera control for video generation tasks.

Remarkable strides have been made in reconstructing static scenes or human bodies from monocular videos. Yet, the two problems have largely been approached independently, without much synergy. Most visual SLAM methods can only reconstruct camera trajectories and scene structures up to scale, while most HMR methods reconstruct human meshes in metric scale but fall short in reasoning with cameras and scenes. This work introduces Synergistic Camera and Human Reconstruction (SynCHMR) to marry the best of both worlds. Specifically, we design Human-aware Metric SLAM to reconstruct metric-scale camera poses and scene point clouds using camera-frame HMR as a strong prior, addressing depth, scale, and dynamic ambiguities. Conditioning on the dense scene recovered, we further learn a Scene-aware SMPL Denoiser to enhance world-frame HMR by incorporating spatio-temporal coherency and dynamic scene constraints. Together, they lead to consistent reconstructions of camera trajectories, human meshes, and dense scene point clouds in a common world frame. Project page: https://paulchhuang.github.io/synchmr, Comment: CVPR 2024

We present MatAtlas, a method for consistent text-guided 3D model texturing. Following recent progress we leverage a large scale text-to-image generation model (e.g., Stable Diffusion) as a prior to texture a 3D model. We carefully design an RGB texturing pipeline that leverages a grid pattern diffusion, driven by depth and edges. By proposing a multi-step texture refinement process, we significantly improve the quality and 3D consistency of the texturing output. To further address the problem of baked-in lighting, we move beyond RGB colors and pursue assigning parametric materials to the assets. Given the high-quality initial RGB texture, we propose a novel material retrieval method capitalized on Large Language Models (LLM), enabling editabiliy and relightability. We evaluate our method on a wide variety of geometries and show that our method significantly outperform prior arts. We also analyze the role of each component through a detailed ablation study.

Generating video background that tailors to foreground subject motion is an important problem for the movie industry and visual effects community. This task involves synthesizing background that aligns with the motion and appearance of the foreground subject, while also complies with the artist's creative intention. We introduce ActAnywhere, a generative model that automates this process which traditionally requires tedious manual efforts. Our model leverages the power of large-scale video diffusion models, and is specifically tailored for this task. ActAnywhere takes a sequence of foreground subject segmentation as input and an image that describes the desired scene as condition, to produce a coherent video with realistic foreground-background interactions while adhering to the condition frame. We train our model on a large-scale dataset of human-scene interaction videos. Extensive evaluations demonstrate the superior performance of our model, significantly outperforming baselines. Moreover, we show that ActAnywhere generalizes to diverse out-of-distribution samples, including non-human subjects. Please visit our project webpage at https://actanywhere.github.io.

Modeling the interaction between humans and objects has been an emerging research direction in recent years. Capturing human-object interaction is however a very challenging task due to heavy occlusion and complex dynamics, which requires understanding not only 3D human pose, and object pose but also the interaction between them. Reconstruction of 3D humans and objects has been two separate research fields in computer vision for a long time. We hence proposed the first RHOBIN challenge: reconstruction of human-object interactions in conjunction with the RHOBIN workshop. It was aimed at bringing the research communities of human and object reconstruction as well as interaction modeling together to discuss techniques and exchange ideas. Our challenge consists of three tracks of 3D reconstruction from monocular RGB images with a focus on dealing with challenging interaction scenarios. Our challenge attracted more than 100 participants with more than 300 submissions, indicating the broad interest in the research communities. This paper describes the settings of our challenge and discusses the winning methods of each track in more detail. We observe that the human reconstruction task is becoming mature even under heavy occlusion settings while object pose estimation and joint reconstruction remain challenging tasks. With the growing interest in interaction modeling, we hope this report can provide useful insights and foster future research in this direction. Our workshop website can be found at \href{https://rhobin-challenge.github.io/}{https://rhobin-challenge.github.io/}., Comment: 14 pages, 5 tables, 7 figure. Technical report of the CVPR'23 workshop: RHOBIN challenge (https://rhobin-challenge.github.io/)

Traditional 3D content creation tools empower users to bring their imagination to life by giving them direct control over a scene's geometry, appearance, motion, and camera path. Creating computer-generated videos, however, is a tedious manual process, which can be automated by emerging text-to-video diffusion models. Despite great promise, video diffusion models are difficult to control, hindering a user to apply their own creativity rather than amplifying it. To address this challenge, we present a novel approach that combines the controllability of dynamic 3D meshes with the expressivity and editability of emerging diffusion models. For this purpose, our approach takes an animated, low-fidelity rendered mesh as input and injects the ground truth correspondence information obtained from the dynamic mesh into various stages of a pre-trained text-to-image generation model to output high-quality and temporally consistent frames. We demonstrate our approach on various examples where motion can be obtained by animating rigged assets or changing the camera path., Comment: Project page: https://primecai.github.io/generative_rendering/

Morphable models are fundamental to numerous human-centered processes as they offer a simple yet expressive shape space. Creating such morphable models, however, is both tedious and expensive. The main challenge is establishing dense correspondences across raw scans that capture sufficient shape variation. This is often addressed using a mix of significant manual intervention and non-rigid registration. We observe that creating a shape space and solving for dense correspondence are tightly coupled -- while dense correspondence is needed to build shape spaces, an expressive shape space provides a reduced dimensional space to regularize the search. We introduce BLiSS, a method to solve both progressively. Starting from a small set of manually registered scans to bootstrap the process, we enrich the shape space and then use that to get new unregistered scans into correspondence automatically. The critical component of BLiSS is a non-linear deformation model that captures details missed by the low-dimensional shape space, thus allowing progressive enrichment of the space., Comment: 12 pages, 10 figures

Sign language (SL) is the primary method of communication for the 70 million Deaf people around the world. Video dictionaries of isolated signs are a core SL learning tool. Replacing these with 3D avatars can aid learning and enable AR/VR applications, improving access to technology and online media. However, little work has attempted to estimate expressive 3D avatars from SL video; occlusion, noise, and motion blur make this task difficult. We address this by introducing novel linguistic priors that are universally applicable to SL and provide constraints on 3D hand pose that help resolve ambiguities within isolated signs. Our method, SGNify, captures fine-grained hand pose, facial expression, and body movement fully automatically from in-the-wild monocular SL videos. We evaluate SGNify quantitatively by using a commercial motion-capture system to compute 3D avatars synchronized with monocular video. SGNify outperforms state-of-the-art 3D body-pose- and shape-estimation methods on SL videos. A perceptual study shows that SGNify's 3D reconstructions are significantly more comprehensible and natural than those of previous methods and are on par with the source videos. Code and data are available at $\href{http://sgnify.is.tue.mpg.de}{\text{sgnify.is.tue.mpg.de}}$.

Estimating 3D humans from images often produces implausible bodies that lean, float, or penetrate the floor. Such methods ignore the fact that bodies are typically supported by the scene. A physics engine can be used to enforce physical plausibility, but these are not differentiable, rely on unrealistic proxy bodies, and are difficult to integrate into existing optimization and learning frameworks. In contrast, we exploit novel intuitive-physics (IP) terms that can be inferred from a 3D SMPL body interacting with the scene. Inspired by biomechanics, we infer the pressure heatmap on the body, the Center of Pressure (CoP) from the heatmap, and the SMPL body's Center of Mass (CoM). With these, we develop IPMAN, to estimate a 3D body from a color image in a "stable" configuration by encouraging plausible floor contact and overlapping CoP and CoM. Our IP terms are intuitive, easy to implement, fast to compute, differentiable, and can be integrated into existing optimization and regression methods. We evaluate IPMAN on standard datasets and MoYo, a new dataset with synchronized multi-view images, ground-truth 3D bodies with complex poses, body-floor contact, CoM and pressure. IPMAN produces more plausible results than the state of the art, improving accuracy for static poses, while not hurting dynamic ones. Code and data are available for research at https://ipman.is.tue.mpg.de., Comment: Accepted in CVPR'23. Project page: https://ipman.is.tue.mpg.de

Image diffusion models, trained on massive image collections, have emerged as the most versatile image generator model in terms of quality and diversity. They support inverting real images and conditional (e.g., text) generation, making them attractive for high-quality image editing applications. We investigate how to use such pre-trained image models for text-guided video editing. The critical challenge is to achieve the target edits while still preserving the content of the source video. Our method works in two simple steps: first, we use a pre-trained structure-guided (e.g., depth) image diffusion model to perform text-guided edits on an anchor frame; then, in the key step, we progressively propagate the changes to the future frames via self-attention feature injection to adapt the core denoising step of the diffusion model. We then consolidate the changes by adjusting the latent code for the frame before continuing the process. Our approach is training-free and generalizes to a wide range of edits. We demonstrate the effectiveness of the approach by extensive experimentation and compare it against four different prior and parallel efforts (on ArXiv). We demonstrate that realistic text-guided video edits are possible, without any compute-intensive preprocessing or video-specific finetuning.

Cinemagraphs are short looping videos created by adding subtle motions to a static image. This kind of media is popular and engaging. However, automatic generation of cinemagraphs is an underexplored area and current solutions require tedious low-level manual authoring by artists. In this paper, we present an automatic method that allows generating human cinemagraphs from single RGB images. We investigate the problem in the context of dressed humans under the wind. At the core of our method is a novel cyclic neural network that produces looping cinemagraphs for the target loop duration. To circumvent the problem of collecting real data, we demonstrate that it is possible, by working in the image normal space, to learn garment motion dynamics on synthetic data and generalize to real data. We evaluate our method on both synthetic and real data and demonstrate that it is possible to create compelling and plausible cinemagraphs from single RGB images.

Generating realistic 3D worlds occupied by moving humans has many applications in games, architecture, and synthetic data creation. But generating such scenes is expensive and labor intensive. Recent work generates human poses and motions given a 3D scene. Here, we take the opposite approach and generate 3D indoor scenes given 3D human motion. Such motions can come from archival motion capture or from IMU sensors worn on the body, effectively turning human movement in a "scanner" of the 3D world. Intuitively, human movement indicates the free-space in a room and human contact indicates surfaces or objects that support activities such as sitting, lying or touching. We propose MIME (Mining Interaction and Movement to infer 3D Environments), which is a generative model of indoor scenes that produces furniture layouts that are consistent with the human movement. MIME uses an auto-regressive transformer architecture that takes the already generated objects in the scene as well as the human motion as input, and outputs the next plausible object. To train MIME, we build a dataset by populating the 3D FRONT scene dataset with 3D humans. Our experiments show that MIME produces more diverse and plausible 3D scenes than a recent generative scene method that does not know about human movement. Code and data will be available for research at https://mime.is.tue.mpg.de., Comment: Project Page: https://mime.is.tue.mpg.de

Markerless human motion capture (mocap) from multiple RGB cameras is a widely studied problem. Existing methods either need calibrated cameras or calibrate them relative to a static camera, which acts as the reference frame for the mocap system. The calibration step has to be done a priori for every capture session, which is a tedious process, and re-calibration is required whenever cameras are intentionally or accidentally moved. In this paper, we propose a mocap method which uses multiple static and moving extrinsically uncalibrated RGB cameras. The key components of our method are as follows. First, since the cameras and the subject can move freely, we select the ground plane as a common reference to represent both the body and the camera motions unlike existing methods which represent bodies in the camera coordinate. Second, we learn a probability distribution of short human motion sequences ($\sim$1sec) relative to the ground plane and leverage it to disambiguate between the camera and human motion. Third, we use this distribution as a motion prior in a novel multi-stage optimization approach to fit the SMPL human body model and the camera poses to the human body keypoints on the images. Finally, we show that our method can work on a variety of datasets ranging from aerial cameras to smartphones. It also gives more accurate results compared to the state-of-the-art on the task of monocular human mocap with a static camera. Our code is available for research purposes on https://github.com/robot-perception-group/SmartMocap.

Inferring human-scene contact (HSC) is the first step toward understanding how humans interact with their surroundings. While detecting 2D human-object interaction (HOI) and reconstructing 3D human pose and shape (HPS) have enjoyed significant progress, reasoning about 3D human-scene contact from a single image is still challenging. Existing HSC detection methods consider only a few types of predefined contact, often reduce body and scene to a small number of primitives, and even overlook image evidence. To predict human-scene contact from a single image, we address the limitations above from both data and algorithmic perspectives. We capture a new dataset called RICH for "Real scenes, Interaction, Contact and Humans." RICH contains multiview outdoor/indoor video sequences at 4K resolution, ground-truth 3D human bodies captured using markerless motion capture, 3D body scans, and high resolution 3D scene scans. A key feature of RICH is that it also contains accurate vertex-level contact labels on the body. Using RICH, we train a network that predicts dense body-scene contacts from a single RGB image. Our key insight is that regions in contact are always occluded so the network needs the ability to explore the whole image for evidence. We use a transformer to learn such non-local relationships and propose a new Body-Scene contact TRansfOrmer (BSTRO). Very few methods explore 3D contact; those that do focus on the feet only, detect foot contact as a post-processing step, or infer contact from body pose without looking at the scene. To our knowledge, BSTRO is the first method to directly estimate 3D body-scene contact from a single image. We demonstrate that BSTRO significantly outperforms the prior art. The code and dataset are available at https://rich.is.tue.mpg.de., Comment: CVPR 2022

While methods that regress 3D human meshes from images have progressed rapidly, the estimated body shapes often do not capture the true human shape. This is problematic since, for many applications, accurate body shape is as important as pose. The key reason that body shape accuracy lags pose accuracy is the lack of data. While humans can label 2D joints, and these constrain 3D pose, it is not so easy to "label" 3D body shape. Since paired data with images and 3D body shape are rare, we exploit two sources of information: (1) we collect internet images of diverse "fashion" models together with a small set of anthropometric measurements; (2) we collect linguistic shape attributes for a wide range of 3D body meshes and the model images. Taken together, these datasets provide sufficient constraints to infer dense 3D shape. We exploit the anthropometric measurements and linguistic shape attributes in several novel ways to train a neural network, called SHAPY, that regresses 3D human pose and shape from an RGB image. We evaluate SHAPY on public benchmarks, but note that they either lack significant body shape variation, ground-truth shape, or clothing variation. Thus, we collect a new dataset for evaluating 3D human shape estimation, called HBW, containing photos of "Human Bodies in the Wild" for which we have ground-truth 3D body scans. On this new benchmark, SHAPY significantly outperforms state-of-the-art methods on the task of 3D body shape estimation. This is the first demonstration that 3D body shape regression from images can be trained from easy-to-obtain anthropometric measurements and linguistic shape attributes. Our model and data are available at: shapy.is.tue.mpg.de, Comment: First two authors contributed equally

Humans are in constant contact with the world as they move through it and interact with it. This contact is a vital source of information for understanding 3D humans, 3D scenes, and the interactions between them. In fact, we demonstrate that these human-scene interactions (HSIs) can be leveraged to improve the 3D reconstruction of a scene from a monocular RGB video. Our key idea is that, as a person moves through a scene and interacts with it, we accumulate HSIs across multiple input images, and optimize the 3D scene to reconstruct a consistent, physically plausible and functional 3D scene layout. Our optimization-based approach exploits three types of HSI constraints: (1) humans that move in a scene are occluded or occlude objects, thus, defining the depth ordering of the objects, (2) humans move through free space and do not interpenetrate objects, (3) when humans and objects are in contact, the contact surfaces occupy the same place in space. Using these constraints in an optimization formulation across all observations, we significantly improve the 3D scene layout reconstruction. Furthermore, we show that our scene reconstruction can be used to refine the initial 3D human pose and shape (HPS) estimation. We evaluate the 3D scene layout reconstruction and HPS estimation qualitatively and quantitatively using the PROX and PiGraphs datasets. The code and data are available for research purposes at https://mover.is.tue.mpg.de/., Comment: Accepted by CVPR2022

Due to the lack of camera parameter information for in-the-wild images, existing 3D human pose and shape (HPS) estimation methods make several simplifying assumptions: weak-perspective projection, large constant focal length, and zero camera rotation. These assumptions often do not hold and we show, quantitatively and qualitatively, that they cause errors in the reconstructed 3D shape and pose. To address this, we introduce SPEC, the first in-the-wild 3D HPS method that estimates the perspective camera from a single image and employs this to reconstruct 3D human bodies more accurately. First, we train a neural network to estimate the field of view, camera pitch, and roll given an input image. We employ novel losses that improve the calibration accuracy over previous work. We then train a novel network that concatenates the camera calibration to the image features and uses these together to regress 3D body shape and pose. SPEC is more accurate than the prior art on the standard benchmark (3DPW) as well as two new datasets with more challenging camera views and varying focal lengths. Specifically, we create a new photorealistic synthetic dataset (SPEC-SYN) with ground truth 3D bodies and a novel in-the-wild dataset (SPEC-MTP) with calibration and high-quality reference bodies. Both qualitative and quantitative analysis confirm that knowing camera parameters during inference regresses better human bodies. Code and datasets are available for research purposes at https://spec.is.tue.mpg.de.

While the accuracy of 3D human pose estimation from images has steadily improved on benchmark datasets, the best methods still fail in many real-world scenarios. This suggests that there is a domain gap between current datasets and common scenes containing people. To obtain ground-truth 3D pose, current datasets limit the complexity of clothing, environmental conditions, number of subjects, and occlusion. Moreover, current datasets evaluate sparse 3D joint locations corresponding to the major joints of the body, ignoring the hand pose and the face shape. To evaluate the current state-of-the-art methods on more challenging images, and to drive the field to address new problems, we introduce AGORA, a synthetic dataset with high realism and highly accurate ground truth. Here we use 4240 commercially-available, high-quality, textured human scans in diverse poses and natural clothing; this includes 257 scans of children. We create reference 3D poses and body shapes by fitting the SMPL-X body model (with face and hands) to the 3D scans, taking into account clothing. We create around 14K training and 3K test images by rendering between 5 and 15 people per image using either image-based lighting or rendered 3D environments, taking care to make the images physically plausible and photoreal. In total, AGORA consists of 173K individual person crops. We evaluate existing state-of-the-art methods for 3D human pose estimation on this dataset and find that most methods perform poorly on images of children. Hence, we extend the SMPL-X model to better capture the shape of children. Additionally, we fine-tune methods on AGORA and show improved performance on both AGORA and 3DPW, confirming the realism of the dataset. We provide all the registered 3D reference training data, rendered images, and a web-based evaluation site at https://agora.is.tue.mpg.de/.

Despite significant progress, we show that state of the art 3D human pose and shape estimation methods remain sensitive to partial occlusion and can produce dramatically wrong predictions although much of the body is observable. To address this, we introduce a soft attention mechanism, called the Part Attention REgressor (PARE), that learns to predict body-part-guided attention masks. We observe that state-of-the-art methods rely on global feature representations, making them sensitive to even small occlusions. In contrast, PARE's part-guided attention mechanism overcomes these issues by exploiting information about the visibility of individual body parts while leveraging information from neighboring body-parts to predict occluded parts. We show qualitatively that PARE learns sensible attention masks, and quantitative evaluation confirms that PARE achieves more accurate and robust reconstruction results than existing approaches on both occlusion-specific and standard benchmarks. The code and data are available for research purposes at {\small \url{https://pare.is.tue.mpg.de/}}

People touch their face 23 times an hour, they cross their arms and legs, put their hands on their hips, etc. While many images of people contain some form of self-contact, current 3D human pose and shape (HPS) regression methods typically fail to estimate this contact. To address this, we develop new datasets and methods that significantly improve human pose estimation with self-contact. First, we create a dataset of 3D Contact Poses (3DCP) containing SMPL-X bodies fit to 3D scans as well as poses from AMASS, which we refine to ensure good contact. Second, we leverage this to create the Mimic-The-Pose (MTP) dataset of images, collected via Amazon Mechanical Turk, containing people mimicking the 3DCP poses with selfcontact. Third, we develop a novel HPS optimization method, SMPLify-XMC, that includes contact constraints and uses the known 3DCP body pose during fitting to create near ground-truth poses for MTP images. Fourth, for more image variety, we label a dataset of in-the-wild images with Discrete Self-Contact (DSC) information and use another new optimization method, SMPLify-DC, that exploits discrete contacts during pose optimization. Finally, we use our datasets during SPIN training to learn a new 3D human pose regressor, called TUCH (Towards Understanding Contact in Humans). We show that the new self-contact training data significantly improves 3D human pose estimates on withheld test data and existing datasets like 3DPW. Not only does our method improve results for self-contact poses, but it also improves accuracy for non-contact poses. The code and data are available for research purposes at https://tuch.is.tue.mpg.de., Comment: Accepted in CVPR'21 (oral). Project page: https://tuch.is.tue.mpg.de/