Brian Curless, Michael Gowanlock
Modern GPUs are equipped with tensor cores (TCs) that are commonly used for matrix multiplication in artificial intelligence workloads. However, because they have high computational throughput, they can lead to significant performance gains in other algorithms if they can be successfully exploited. We examine using TCs to compute Euclidean distance calculations, which are used in many data analytics applications. Prior work has only investigated using 64 bit floating point (FP64) data for computation; however, TCs can operate on lower precision floating point data (i.e., 16 bit matrix multiplication and 32 bit accumulation), which we refer to as FP16-32. FP16-32 TC peak throughput is so high that TCs are easily starved of data. We propose a Fast and Scalable Tensor core Euclidean Distance (FaSTED) algorithm. To achieve high computational throughput, we design FaSTED for significant hierarchical reuse of data and maximize memory utilization at every level (global memory, shared memory, and registers). We apply FaSTED to the application of similarity searches, which typically employ an indexing data structure to eliminate superfluous Euclidean distance calculations. We compare to the state-of-the-art (SOTA) TC Euclidean distance algorithm in the literature that employs FP64, as well as to two single precision (FP32) CUDA core algorithms that both employ an index. We find that across four real-world high-dimensional datasets spanning 128-960 dimensions, the mixed-precision brute force approach achieves a speedup over the SOTA algorithms of 2.5-51x. We also quantify the accuracy loss of our mixed precision algorithm to be less than <0.06% when compared to the FP64 baseline.
Soumyadip Sengupta, Vivek Jayaram, Brian Curless, Steve Seitz, Ira Kemelmacher-Shlizerman
We propose a method for creating a matte -- the per-pixel foreground color and alpha -- of a person by taking photos or videos in an everyday setting with a handheld camera. Most existing matting methods require a green screen background or a manually created trimap to produce a good matte. Automatic, trimap-free methods are appearing, but are not of comparable quality. In our trimap free approach, we ask the user to take an additional photo of the background without the subject at the time of capture. This step requires a small amount of foresight but is far less time-consuming than creating a trimap. We train a deep network with an adversarial loss to predict the matte. We first train a matting network with supervised loss on ground truth data with synthetic composites. To bridge the domain gap to real imagery with no labeling, we train another matting network guided by the first network and by a discriminator that judges the quality of composites. We demonstrate results on a wide variety of photos and videos and show significant improvement over the state of the art.
James Noeckel, Haisen Zhao, Brian Curless, Adriana Schulz
We propose a novel method to generate fabrication blueprints from images of carpentered items. While 3D reconstruction from images is a well-studied problem, typical approaches produce representations that are ill-suited for computer-aided design and fabrication applications. Our key insight is that fabrication processes define and constrain the design space for carpentered objects, and can be leveraged to develop novel reconstruction methods. Our method makes use of domain-specific constraints to recover not just valid geometry, but a semantically valid assembly of parts, using a combination of image-based and geometric optimization techniques. We demonstrate our method on a variety of wooden objects and furniture, and show that we can automatically obtain designs that are both easy to edit and accurate recreations of the ground truth. We further illustrate how our method can be used to fabricate a physical replica of the captured object as well as a customized version, which can be produced by directly editing the reconstructed model in CAD software.
Chung-Yi Weng, Brian Curless, Pratul P. Srinivasan, Jonathan T. Barron, Ira Kemelmacher-Shlizerman
We introduce a free-viewpoint rendering method -- HumanNeRF -- that works on a given monocular video of a human performing complex body motions, e.g. a video from YouTube. Our method enables pausing the video at any frame and rendering the subject from arbitrary new camera viewpoints or even a full 360-degree camera path for that particular frame and body pose. This task is particularly challenging, as it requires synthesizing photorealistic details of the body, as seen from various camera angles that may not exist in the input video, as well as synthesizing fine details such as cloth folds and facial appearance. Our method optimizes for a volumetric representation of the person in a canonical T-pose, in concert with a motion field that maps the estimated canonical representation to every frame of the video via backward warps. The motion field is decomposed into skeletal rigid and non-rigid motions, produced by deep networks. We show significant performance improvements over prior work, and compelling examples of free-viewpoint renderings from monocular video of moving humans in challenging uncontrolled capture scenarios.
Mengyi Shan, Brian Curless, Ira Kemelmacher-Shlizerman, Steve Seitz
We present a system that automatically brings street view imagery to life by populating it with naturally behaving, animated pedestrians and vehicles. Our approach is to remove existing people and vehicles from the input image, insert moving objects with proper scale, angle, motion, and appearance, plan paths and traffic behavior, as well as render the scene with plausible occlusion and shadowing effects. The system achieves these by reconstructing the still image street scene, simulating crowd behavior, and rendering with consistent lighting, visibility, occlusions, and shadows. We demonstrate results on a diverse range of street scenes including regular still images and panoramas.
Qianqian Wang, Zhengqi Li, David Salesin, Noah Snavely, Brian Curless, Janne Kontkanen
We introduce 3D Moments, a new computational photography effect. As input we take a pair of near-duplicate photos, i.e., photos of moving subjects from similar viewpoints, common in people's photo collections. As output, we produce a video that smoothly interpolates the scene motion from the first photo to the second, while also producing camera motion with parallax that gives a heightened sense of 3D. To achieve this effect, we represent the scene as a pair of feature-based layered depth images augmented with scene flow. This representation enables motion interpolation along with independent control of the camera viewpoint. Our system produces photorealistic space-time videos with motion parallax and scene dynamics, while plausibly recovering regions occluded in the original views. We conduct extensive experiments demonstrating superior performance over baselines on public datasets and in-the-wild photos. Project page: https://3d-moments.github.io/
Luyang Zhu, Konstantinos Rematas, Brian Curless, Steve Seitz, Ira Kemelmacher-Shlizerman
Great progress has been made in 3D body pose and shape estimation from a single photo. Yet, state-of-the-art results still suffer from errors due to challenging body poses, modeling clothing, and self occlusions. The domain of basketball games is particularly challenging, as it exhibits all of these challenges. In this paper, we introduce a new approach for reconstruction of basketball players that outperforms the state-of-the-art. Key to our approach is a new method for creating poseable, skinned models of NBA players, and a large database of meshes (derived from the NBA2K19 video game), that we are releasing to the research community. Based on these models, we introduce a new method that takes as input a single photo of a clothed player in any basketball pose and outputs a high resolution mesh and 3D pose for that player. We demonstrate substantial improvement over state-of-the-art, single-image methods for body shape reconstruction.
Varun Jampani, Huiwen Chang, Kyle Sargent, Abhishek Kar, Richard Tucker, Michael Krainin, Dominik Kaeser, William T. Freeman, David Salesin, Brian Curless, Ce Liu
Single image 3D photography enables viewers to view a still image from novel viewpoints. Recent approaches combine monocular depth networks with inpainting networks to achieve compelling results. A drawback of these techniques is the use of hard depth layering, making them unable to model intricate appearance details such as thin hair-like structures. We present SLIDE, a modular and unified system for single image 3D photography that uses a simple yet effective soft layering strategy to better preserve appearance details in novel views. In addition, we propose a novel depth-aware training strategy for our inpainting module, better suited for the 3D photography task. The resulting SLIDE approach is modular, enabling the use of other components such as segmentation and matting for improved layering. At the same time, SLIDE uses an efficient layered depth formulation that only requires a single forward pass through the component networks to produce high quality 3D photos. Extensive experimental analysis on three view-synthesis datasets, in combination with user studies on in-the-wild image collections, demonstrate superior performance of our technique in comparison to existing strong baselines while being conceptually much simpler. Project page: https://varunjampani.github.io/slide
James Noeckel, Benjamin T. Jones, Karl Willis, Brian Curless, Adriana Schulz
We describe our work on inferring the degrees of freedom between mated parts in mechanical assemblies using deep learning on CAD representations. We train our model using a large dataset of real-world mechanical assemblies consisting of CAD parts and mates joining them together. We present methods for re-defining these mates to make them better reflect the motion of the assembly, as well as narrowing down the possible axes of motion. We also conduct a user study to create a motion-annotated test set with more reliable labels.
Aleksander Holynski, Brian Curless, Steven M. Seitz, Richard Szeliski
In this paper, we demonstrate a fully automatic method for converting a still image into a realistic animated looping video. We target scenes with continuous fluid motion, such as flowing water and billowing smoke. Our method relies on the observation that this type of natural motion can be convincingly reproduced from a static Eulerian motion description, i.e. a single, temporally constant flow field that defines the immediate motion of a particle at a given 2D location. We use an image-to-image translation network to encode motion priors of natural scenes collected from online videos, so that for a new photo, we can synthesize a corresponding motion field. The image is then animated using the generated motion through a deep warping technique: pixels are encoded as deep features, those features are warped via Eulerian motion, and the resulting warped feature maps are decoded as images. In order to produce continuous, seamlessly looping video textures, we propose a novel video looping technique that flows features both forward and backward in time and then blends the results. We demonstrate the effectiveness and robustness of our method by applying it to a large collection of examples including beaches, waterfalls, and flowing rivers.
David Futschik, Kelvin Ritland, James Vecore, Sean Fanello, Sergio Orts-Escolano, Brian Curless, Daniel Sýkora, Rohit Pandey
We introduce light diffusion, a novel method to improve lighting in portraits, softening harsh shadows and specular highlights while preserving overall scene illumination. Inspired by professional photographers' diffusers and scrims, our method softens lighting given only a single portrait photo. Previous portrait relighting approaches focus on changing the entire lighting environment, removing shadows (ignoring strong specular highlights), or removing shading entirely. In contrast, we propose a learning based method that allows us to control the amount of light diffusion and apply it on in-the-wild portraits. Additionally, we design a method to synthetically generate plausible external shadows with sub-surface scattering effects while conforming to the shape of the subject's face. Finally, we show how our approach can increase the robustness of higher level vision applications, such as albedo estimation, geometry estimation and semantic segmentation.
Bowei Chen, Brian Curless, Ira Kemelmacher-Shlizerman, Steven M. Seitz
We present a method to generate full-body selfies from photographs originally taken at arms length. Because self-captured photos are typically taken close up, they have limited field of view and exaggerated perspective that distorts facial shapes. We instead seek to generate the photo some one else would take of you from a few feet away. Our approach takes as input four selfies of your face and body, a background image, and generates a full-body selfie in a desired target pose. We introduce a novel diffusion-based approach to combine all of this information into high-quality, well-composed photos of you with the desired pose and background.
Xiaojuan Wang, Aleksander Holynski, Brian Curless, Ira Kemelmacher, Steve Seitz
We present a framework for generating music-synchronized, choreography aware animal dance videos. Our framework introduces choreography patterns -- structured sequences of motion beats that define the long-range structure of a dance -- as a novel high-level control signal for dance video generation. These patterns can be automatically estimated from human dance videos. Starting from a few keyframes representing distinct animal poses, generated via text-to-image prompting or GPT-4o, we formulate dance synthesis as a graph optimization problem that seeks the optimal keyframe structure to satisfy a specified choreography pattern of beats. We also introduce an approach for mirrored pose image generation, essential for capturing symmetry in dance. In-between frames are synthesized using an video diffusion model. With as few as six input keyframes, our method can produce up to 30 seconds dance videos across a wide range of animals and music tracks.
Susung Hong, Brian Curless, Ira Kemelmacher-Shlizerman, Steve Seitz
We propose a fully automated AI system that produces short comedic videos similar to sketch shows such as Saturday Night Live. Starting with character references, the system employs a population of agents loosely based on real production studio roles, structured to optimize the quality and diversity of ideas and outputs through iterative competition, evaluation, and improvement. A key contribution is the introduction of LLM critics aligned with real viewer preferences through the analysis of a corpus of comedy videos on YouTube to automatically evaluate humor. Our experiments show that our framework produces results approaching the quality of professionally produced sketches while demonstrating state-of-the-art performance in video generation.
Edward Zhang, Ricardo Martin-Brualla, Janne Kontkanen, Brian Curless
Removing objects from images is a challenging problem that is important for many applications, including mixed reality. For believable results, the shadows that the object casts should also be removed. Current inpainting-based methods only remove the object itself, leaving shadows behind, or at best require specifying shadow regions to inpaint. We introduce a deep learning pipeline for removing a shadow along with its caster. We leverage rough scene models in order to remove a wide variety of shadows (hard or soft, dark or subtle, large or thin) from surfaces with a wide variety of textures. We train our pipeline on synthetically rendered data, and show qualitative and quantitative results on both synthetic and real scenes.
Chung-Yi Weng, Brian Curless, Ira Kemelmacher-Shlizerman
We present a method and application for animating a human subject from a single photo. E.g., the character can walk out, run, sit, or jump in 3D. The key contributions of this paper are: 1) an application of viewing and animating humans in single photos in 3D, 2) a novel 2D warping method to deform a posable template body model to fit the person's complex silhouette to create an animatable mesh, and 3) a method for handling partial self occlusions. We compare to state-of-the-art related methods and evaluate results with human studies. Further, we present an interactive interface that allows re-posing the person in 3D, and an augmented reality setup where the animated 3D person can emerge from the photo into the real world. We demonstrate the method on photos, posters, and art.
Alice Gao, Samyukta Jayakumar, Marcello Maniglia, Brian Curless, Ira Kemelmacher-Shlizerman, Aaron R. Seitz, Steven M. Seitz
We consider the question of how to best achieve the perception of eye contact when a person is captured by camera and then rendered on a 2D display. For single subjects photographed by a camera, conventional wisdom tells us that looking directly into the camera achieves eye contact. Through empirical user studies, we show that it is instead preferable to {\em look just below the camera lens}. We quantitatively assess where subjects should direct their gaze relative to a camera lens to optimize the perception that they are making eye contact.
Bowei Chen, Yifan Wang, Brian Curless, Ira Kemelmacher-Shlizerman, Steven M. Seitz
Given an input painting, we reconstruct a time-lapse video of how it may have been painted. We formulate this as an autoregressive image generation problem, in which an initially blank "canvas" is iteratively updated. The model learns from real artists by training on many painting videos. Our approach incorporates text and region understanding to define a set of painting "instructions" and updates the canvas with a novel diffusion-based renderer. The method extrapolates beyond the limited, acrylic style paintings on which it has been trained, showing plausible results for a wide range of artistic styles and genres.
Xiaojuan Wang, Janne Kontkanen, Brian Curless, Steve Seitz, Ira Kemelmacher, Ben Mildenhall, Pratul Srinivasan, Dor Verbin, Aleksander Holynski
We present a method that uses a text-to-image model to generate consistent content across multiple image scales, enabling extreme semantic zooms into a scene, e.g., ranging from a wide-angle landscape view of a forest to a macro shot of an insect sitting on one of the tree branches. We achieve this through a joint multi-scale diffusion sampling approach that encourages consistency across different scales while preserving the integrity of each individual sampling process. Since each generated scale is guided by a different text prompt, our method enables deeper levels of zoom than traditional super-resolution methods that may struggle to create new contextual structure at vastly different scales. We compare our method qualitatively with alternative techniques in image super-resolution and outpainting, and show that our method is most effective at generating consistent multi-scale content.
Mengyi Shan, Brian Curless, Ira Kemelmacher-Shlizerman, Steve Seitz
We challenge text-to-image models with generating escape room puzzle images that are visually appealing, logically solid, and intellectually stimulating. While base image models struggle with spatial relationships and affordance reasoning, we propose a hierarchical multi-agent framework that decomposes this task into structured stages: functional design, symbolic scene graph reasoning, layout synthesis, and local image editing. Specialized agents collaborate through iterative feedback to ensure the scene is visually coherent and functionally solvable. Experiments show that agent collaboration improves output quality in terms of solvability, shortcut avoidance, and affordance clarity, while maintaining visual quality.