This paper presents a generic method for generating full facial 3D animation from speech. Existing approaches to audio-driven facial animation exhibit uncanny or static upper face animation, fail to produce accurate and plausible co-articulation or r
ely on person-specific models that limit their scalability. To improve upon existing models, we propose a generic audio-driven facial animation approach that achieves highly realistic motion synthesis results for the entire face. At the core of our approach is a categorical latent space for facial animation that disentangles audio-correlated and audio-uncorrelated information based on a novel cross-modality loss. Our approach ensures highly accurate lip motion, while also synthesizing plausible animation of the parts of the face that are uncorrelated to the audio signal, such as eye blinks and eye brow motion. We demonstrate that our approach outperforms several baselines and obtains state-of-the-art quality both qualitatively and quantitatively. A perceptual user study demonstrates that our approach is deemed more realistic than the current state-of-the-art in over 75% of cases. We recommend watching the supplemental video before reading the paper: https://research.fb.com/wp-content/uploads/2021/04/mesh_talk.mp4
We propose a novel approach for 3D video synthesis that is able to represent multi-view video recordings of a dynamic real-world scene in a compact, yet expressive representation that enables high-quality view synthesis and motion interpolation. Our
approach takes the high quality and compactness of static neural radiance fields in a new direction: to a model-free, dynamic setting. At the core of our approach is a novel time-conditioned neural radiance fields that represents scene dynamics using a set of compact latent codes. To exploit the fact that changes between adjacent frames of a video are typically small and locally consistent, we propose two novel strategies for efficient training of our neural network: 1) An efficient hierarchical training scheme, and 2) an importance sampling strategy that selects the next rays for training based on the temporal variation of the input videos. In combination, these two strategies significantly boost the training speed, lead to fast convergence of the training process, and enable high quality results. Our learned representation is highly compact and able to represent a 10 second 30 FPS multi-view video recording by 18 cameras with a model size of just 28MB. We demonstrate that our method can render high-fidelity wide-angle novel views at over 1K resolution, even for highly complex and dynamic scenes. We perform an extensive qualitative and quantitative evaluation that shows that our approach outperforms the current state of the art. We include additional video and information at: https://neural-3d-video.github.io/
While deep learning has reshaped the classical motion capture pipeline, generative, analysis-by-synthesis elements are still in use to recover fine details if a high-quality 3D model of the user is available. Unfortunately, obtaining such a model for
every user a priori is challenging, time-consuming, and limits the application scenarios. We propose a novel test-time optimization approach for monocular motion capture that learns a volumetric body model of the user in a self-supervised manner. To this end, our approach combines the advantages of neural radiance fields with an articulated skeleton representation. Our proposed skeleton embedding serves as a common reference that links constraints across time, thereby reducing the number of required camera views from traditionally dozens of calibrated cameras, down to a single uncalibrated one. As a starting point, we employ the output of an off-the-shelf model that predicts the 3D skeleton pose. The volumetric body shape and appearance is then learned from scratch, while jointly refining the initial pose estimate. Our approach is self-supervised and does not require any additional ground truth labels for appearance, pose, or 3D shape. We demonstrate that our novel combination of a discriminative pose estimation technique with surface-free analysis-by-synthesis outperforms purely discriminative monocular pose estimation approaches and generalizes well to multiple views.
Acquisition and rendering of photo-realistic human heads is a highly challenging research problem of particular importance for virtual telepresence. Currently, the highest quality is achieved by volumetric approaches trained in a person specific mann
er on multi-view data. These models better represent fine structure, such as hair, compared to simpler mesh-based models. Volumetric models typically employ a global code to represent facial expressions, such that they can be driven by a small set of animation parameters. While such architectures achieve impressive rendering quality, they can not easily be extended to the multi-identity setting. In this paper, we devise a novel approach for predicting volumetric avatars of the human head given just a small number of inputs. We enable generalization across identities by a novel parameterization that combines neural radiance fields with local, pixel-aligned features extracted directly from the inputs, thus sidestepping the need for very deep or complex networks. Our approach is trained in an end-to-end manner solely based on a photometric re-rendering loss without requiring explicit 3D supervision.We demonstrate that our approach outperforms the existing state of the art in terms of quality and is able to generate faithful facial expressions in a multi-identity setting.
We propose the first approach for the decomposition of a monocular color video into direct and indirect illumination components in real time. We retrieve, in separate layers, the contribution made to the scene appearance by the scene reflectance, the
light sources and the reflections from various coherent scene regions to one another. Existing techniques that invert global light transport require image capture under multiplexed controlled lighting, or only enable the decomposition of a single image at slow off-line frame rates. In contrast, our approach works for regular videos and produces temporally coherent decomposition layers at real-time frame rates. At the core of our approach are several sparsity priors that enable the estimation of the per-pixel direct and indirect illumination layers based on a small set of jointly estimated base reflectance colors. The resulting variational decomposition problem uses a new formulation based on sparse and dense sets of non-linear equations that we solve efficiently using a novel alternating data-parallel optimization strategy. We evaluate our approach qualitatively and quantitatively, and show improvements over the state of the art in this field, in both quality and runtime. In addition, we demonstrate various real-time appearance editing applications for videos with consistent illumination.
We present the first end to end approach for real time material estimation for general object shapes with uniform material that only requires a single color image as input. In addition to Lambertian surface properties, our approach fully automaticall
y computes the specular albedo, material shininess, and a foreground segmentation. We tackle this challenging and ill posed inverse rendering problem using recent advances in image to image translation techniques based on deep convolutional encoder decoder architectures. The underlying core representations of our approach are specular shading, diffuse shading and mirror images, which allow to learn the effective and accurate separation of diffuse and specular albedo. In addition, we propose a novel highly efficient perceptual rendering loss that mimics real world image formation and obtains intermediate results even during run time. The estimation of material parameters at real time frame rates enables exciting mixed reality applications, such as seamless illumination consistent integration of virtual objects into real world scenes, and virtual material cloning. We demonstrate our approach in a live setup, compare it to the state of the art, and demonstrate its effectiveness through quantitative and qualitative evaluation.
