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In this work we explore reconstructing hand-object interactions in the wild. The core challenge of this problem is the lack of appropriate 3D labeled data. To overcome this issue, we propose an optimization-based procedure which does not require direct 3D supervision. The general strategy we adopt is to exploit all available related data (2D bounding boxes, 2D hand keypoints, 2D instance masks, 3D object models, 3D in-the-lab MoCap) to provide constraints for the 3D reconstruction. Rather than optimizing the hand and object individually, we optimize them jointly which allows us to impose additional constraints based on hand-object contact, collision, and occlusion. Our method produces compelling reconstructions on the challenging in-the-wild data from the EPIC Kitchens and the 100 Days of Hands datasets, across a range of object categories. Quantitatively, we demonstrate that our approach compares favorably to existing approaches in the lab settings where ground truth 3D annotations are available.
Estimating 3D hand and object pose from a single image is an extremely challenging problem: hands and objects are often self-occluded during interactions, and the 3D annotations are scarce as even humans cannot directly label the ground-truths from a
Affordance detection refers to identifying the potential action possibilities of objects in an image, which is a crucial ability for robot perception and manipulation. To empower robots with this ability in unseen scenarios, we first study the challe
Gesture recognition is a fundamental tool to enable novel interaction paradigms in a variety of application scenarios like Mixed Reality environments, touchless public kiosks, entertainment systems, and more. Recognition of hand gestures can be nowad
This paper studies the object transfiguration problem in wild images. The generative network in classical GANs for object transfiguration often undertakes a dual responsibility: to detect the objects of interests and to convert the object from source
Digital images nowadays have various styles of appearance, in the aspects of color tones, contrast, vignetting, and etc. These picture styles are directly related to the scene radiance, image pipeline of the camera, and post processing functions. Due