SIGGRAPH Asia 2022 Papers

In this paper, we propose to compute Voronoi diagrams over mesh surfaces driven by an arbitrary geodesic distance solver, assuming that the input is a triangle mesh as well as a collection of sites P = {Pi}mi=1 on the surface. We propose two key techniques to solve this problem. First, as the partition is determined by minimizing the m distance fields, each of which rooted at a source site, we suggest keeping one or more distance triples, for each triangle, that may help determine the Voronoi bisectors when one uses a mark-and-sweep geodesic algorithm to predict the multi-source distance field. Second, rather than keep the distance itself at a mesh vertex, we use the squared distance to characterize the linear change of distance field restricted in a triangle, which is proved to induce an exact VD when the base surface reduces to a planar triangle mesh. Specially, our algorithm also supports the Euclidean distance, which can handle thin-sheet models (e.g. leaf) and runs faster than the traditional restricted Voronoi diagram (RVD) algorithm. It is very extensible to deal with various variants of surface-based Voronoi diagrams including (1) surface-based power diagram, (2) constrained Voronoi diagram with curve-type breaklines, and (3) curve-type generators. We conduct extensive experimental results to validate the ability to approximate the exact VD in different distance-driven scenarios.

In this paper we present StyleBin—an approach to example-based stylization of videos that can produce consistent binocular depiction of stylized content on stereoscopic displays. Given the target sequence and a set of stylized keyframes accompanied by information about depth in the scene, we formulate an optimization problem that converts the target video into a pair of stylized sequences, in which each frame consists of a set of seamlessly stitched patches taken from the original stylized keyframe. The aim of the optimization process is to align the individual patches so that they respect the semantics of the given target scene, while at the same time also following the prescribed local disparity in the corresponding viewpoints and being consistent in time. In contrast to previous depth-aware style transfer techniques, our approach is the first that can deliver semantically meaningful stylization and preserve essential visual characteristics of the given artistic media. We demonstrate the practical utility of the proposed method in various stylization use cases.

We introduce a statistical extension of the classic Poisson Surface Reconstruction algorithm for recovering shapes from 3D point clouds. Instead of outputting an implicit function, we represent the reconstructed shape as a modified Gaussian Process, which allows us to conduct statistical queries (e.g., the likelihood of a point in space being on the surface or inside a solid). We show that this perspective: improves PSR's integration into the online scanning process, broadens its application realm, and opens the door to other lines of research such as applying task-specific priors.

The ability of Generative Adversarial Networks to encode rich semantics within their latent space has been widely adopted for facial image editing. However, replicating their success with videos has proven challenging. Applying StyleGAN editing to real videos introduces two main challenges: (i) StyleGAN operates over aligned crops. When editing videos, these crops need to be pasted back into the frame, resulting in a spatial inconsistency. (ii) Videos introduce a fundamental barrier to overcome — temporal coherency. To address the first challenge, we propose a novel stitching-tuning procedure. The generator is carefully tuned to overcome the spatial artifacts at crop borders, resulting in smooth transitions even when difficult backgrounds are involved. Turning to temporal coherence, we propose that this challenge is largely artificial. The source video is already temporally coherent, and deviations arise in part due to careless treatment of individual components in the editing pipeline. We leverage the natural alignment of StyleGAN and the tendency of neural networks to learn low-frequency functions, and demonstrate that they provide a strongly consistent prior. These components are combined in an end-to-end framework for semantic editing of facial videos. We compare our pipeline to the current state-of-the-art and demonstrate significant improvements. Our method produces meaningful manipulations and maintains greater spatial and temporal consistency, even on challenging talking head videos which current methods struggle with. Our code and videos are available at https://stitch-time.github.io/.

We present an approach to decompose cartoon animation videos into a set of "sprites" --- the basic units of digital cartoons that depict the contents and transforms of each animated object. The sprites in real-world cartoons are unique: artists may draw arbitrary sprite animations for expressiveness, where the animated content is often complicated, irregular, and challenging; alternatively, artists may also reduce their workload by tweening and adjusting sprites, or even reuse static sprites, in which case the transformations are relatively regular and simple. Based on these observations, we propose a sprite decomposition framework using Pixel Multilayer Perceptrons (Pixel MLPs) where the estimation of each sprite is conditioned on and guided by all other sprites. In this way, once those relatively regular and simple sprites are resolved, the decomposition of the remaining "challenging" sprites can simplified and eased with the guidance of other sprites. We call this method "sprite-from-sprite" cartoon decomposition. We study ablative architectures of our framework, and the user study demonstrates that our results are the most preferred ones in 19/20 cases.

We propose a novel technique to compose new 3D animated models, such as videogame characters, by combining pieces from existing ones. Our method works on production-ready rigged, skinned, and animated 3D models to reassemble new ones. We exploit mix-and-match operations on the skeletons to trigger the automatic creation of a new mesh, linked to the new skeleton by a set of skinning weights and complete with a set of animations. The resulting model preserves the quality of the input meshings (which can be quad-dominant and semi-regular), skinning weights (inducing believable deformation), and animations, featuring coherent movements of the new skeleton. Our method enables content creators to reuse valuable, carefully designed assets by assembling new ready-to-use characters while preserving most of the hand-crafted subtleties of models authored by digital artists. As shown in the accompanying video, it allows for drastically cutting the time needed to obtain the final result.

Precision modeling of the hand internal musculoskeletal anatomy has been largely limited to individual poses, and has not been connected into continuous volumetric motion of the hand anatomy actuating across the hand's entire range of motion. This is for a good reason, as hand anatomy and its motion are extremely complex and cannot be predicted merely from the anatomy in a single pose. We give a method to simulate the volumetric shape of hand's musculoskeletal organs to any pose in the hand's range of motion, producing external hand shapes and internal organ shapes that match ground truth optical scans and medical images (MRI) in multiple scanned poses. We achieve this by combining MRI images in multiple hand poses with FEM multibody nonlinear elastoplastic simulation. Our system models bones, muscles, tendons, joint ligaments and fat as separate volumetric organs that mechanically interact through contact and attachments, and whose shape matches medical images (MRI) in the MRI-scanned hand poses. The match to MRI is achieved by incorporating pose-space deformation and plastic strains into the simulation. We show how to do this in a non-intrusive manner that still retains all the simulation benefits, namely the ability to prescribe realistic material properties, generalize to arbitrary poses, preserve volume and obey contacts and attachments. We use our method to produce volumetric renders of the internal anatomy of the human hand in motion, and to compute and render highly realistic hand surface shapes. We evaluate our method by comparing it to optical scans, and demonstrate that we qualitatively and quantitatively substantially decrease the error compared to previous work. We test our method on five complex hand sequences, generated either using keyframe animation or performance animation using modern hand tracking techniques.

Objects with different shapes can dissolve in significantly different ways inside a solution. Predicting different shapes' dissolution dynamics is an important problem especially in pharmaceutics. More important and challenging, however, is controlling the dissolution via shape, i.e., designing shapes that lead to a desired release behavior of materials in a solvent over a specific time. Here, we tackle this challenge by introducing a computational inverse design pipeline. We begin by introducing a simple, physically-inspired differentiable forward model of dissolution. We then formulate our inverse design as a PDE-constrained topology optimization that has access to analytical derivatives obtained via sensitivity analysis. Furthermore, we incorporate fabricability terms in the optimization objective that enable physically realizing our designs. We thoroughly analyze our approach on a diverse set of examples via both simulation and fabrication.

Single-view point cloud completion aims to recover the full geometry of an object based on only limited observation, which is extremely hard due to the data sparsity and occlusion. The core challenge is to generate plausible geometries to fill the unobserved part of the object based on a partial scan, which is under-constrained and suffers from a huge solution space. Inspired by the classic shadow volume technique in computer graphics, we propose a new method to reduce the solution space effectively. Our method considers the camera a light source that casts rays toward the object. Such light rays build a reasonably constrained but sufficiently expressive basis for completion. The completion process is then formulated as a point displacement optimization problem. Points are initialized at the partial scan and then moved to their goal locations with two types of movements for each point: directional movements along the light rays and constrained local movement for shape refinement. We design neural networks to predict the ideal point movements to get the completion results. We demonstrate that our method is accurate, robust, and generalizable through exhaustive evaluation and comparison. Moreover, it outperforms state-of-the-art methods qualitatively and quantitatively on MVP datasets.

Large-scale capture of human motion with diverse, complex scenes, while immensely useful, is often considered prohibitively costly. Meanwhile, human motion alone contains rich information about the scene they reside in and interact with. For example, a sitting human suggests the existence of a chair, and their leg position further implies the chair’s pose. In this paper, we propose to synthesize diverse, semantically reasonable, and physically plausible scenes based on human motion. Our framework, Scene Synthesis from HUMan MotiON (SUMMON), includes two steps. It first uses ContactFormer, our newly introduced contact predictor, to obtain temporally consistent contact labels from human motion. Based on these predictions, SUMMON then chooses interacting objects and optimizes physical plausibility losses; it further populates the scene with objects that do not interact with humans. Experimental results demonstrate that SUMMON synthesizes feasible, plausible, and diverse scenes and has the potential to generate extensive human-scene interaction data for the community.

We propose a multi-class point optimization formulation based on continuous Wasserstein barycenters. Our formulation is designed to handle hundreds to thousands of optimization objectives and comes with a practical optimization scheme. We demonstrate the effectiveness of our framework on various sampling applications like stippling, object placement, and Monte-Carlo integration. We a derive multi-class error bound for perceptual rendering error which can be minimized using our optimization. We provide source code at https://github.com/iribis/filtered-sliced-optimal-transport.

We present SHRED, a method for 3D SHape REgion Decomposition. SHRED takes a 3D point cloud as input and uses learned local operations to produce a segmentation that approximates fine-grained part instances. We endow SHRED with three decomposition operations: splitting regions, fixing the boundaries between regions, and merging regions together. Modules are trained independently and locally, allowing SHRED to generate high-quality segmentations for categories not seen during training. We train and evaluate SHRED with fine-grained segmentations from PartNet; using its merge-threshold hyperparameter, we show that SHRED produces segmentations that better respect ground-truth annotations compared with baseline methods, at any desired decomposition granularity. Finally, we demonstrate that SHRED is useful for downstream applications, out-performing all baselines on zero-shot fine-grained part instance segmentation and few-shot finegrained semantic segmentation when combined with methods that learn to label shape regions.

Recent years have seen growing interest in 3D human face modeling due to its wide applications in digital human, character generation and animation. Existing approaches overwhelmingly emphasized on modeling the exterior shapes, textures and skin properties of faces, ignoring the inherent correlation between inner skeletal structures and appearance. In this paper, we present SCULPTOR, 3D face creations with Skeleton Consistency Using a Learned Parametric facial generaTOR, aiming to facilitate the easy creation of both anatomically correct and visually convincing face models via a hybrid parametric-physical representation. At the core of SCULPTOR is LUCY, the first large-scale shape-skeleton face dataset in collaboration with plastic surgeons. Named after the fossils of one of the oldest known human ancestors, our LUCY dataset contains high-quality Computed Tomography (CT) scans of the complete human head before and after orthognathic surgeries, which are critical for evaluating surgery results. LUCY consists of 144 scans of 72 subjects (31 male and 41 female), where each subject has two CT scans taken pre- and post-orthognathic operations. Based on our LUCY dataset, we learned a novel skeleton consistent parametric facial generator, SCULPTOR, which can create unique and nuanced facial features that help define a character and at the same time maintain physiological soundness. Our SCULPTOR jointly models the skull, face geometry and face appearance under a unified data-driven framework by separating the depiction of a 3D face into shape blend shape, pose blend shape and facial expression blend shape. SCULPTOR preserves both anatomic correctness and visual realism in facial generation tasks compared with existing methods. Finally, we showcase the robustness and effectiveness of SCULPTOR in various fancy applications unseen before, like archaeological skeletal facial completion, bone-aware character fusion, skull inference from images, face generation with lipo-Level change and facial animations, etc.

Figure 1: Comparison of reconstruction results of large-scale indoor scene with high ambiguity and repeated structures. (a) Result of COLMAP [Schönberger and Frahm 2016], (b) result of [Su et al. 2020], and (c) result of our method. Both (a) and (b) indicate failure to reconstruct some ambiguous areas and floor collapse. By contrast, our method could successfully construct a complete model, and all parts were connected correctly. ACM Reference Format: Chia-Hung Yu and Kuan-Wen Chen. 2022. Robust and Efficient Structurefrom-Motion Method for Ambiguous Large-Scale Indoor Scene. In SIGGRAPH Asia 2022 Posters (SA ’22 Posters), December 06-09, 2022. ACM, New York, NY, USA, 2 pages. https://doi.org/10.1145/3550082.3564199

In this work, we propose a robust pipeline to create vectorized models from LiDAR point clouds without the assumption of watertight polygonal surfaces. The core idea behind our method is combining the hierarchical 2D projection with the pairwise intersections of clipped planes to precisely hypothesize faces of an object inside and outside while enhancing the robustness of different scenes. Moreover, to generate concise polygon meshes efficiently, Adaptive K-means++ (AKM++) is used to smooth the 2D rasterized height map followed by the Levenberg-Marquardt (LM) algorithm to optimize the projection primitive with planar intersections jointly. The final model could be easily obtained by merging the derived neighbouring facets above. Our experimental results show that the proposed method obtains compact models with high fidelity and efficiency on either precise or defect-laden data compared with other state-of-the-art approaches.

We use existing machine learning neural style transfer model, differential rasterizer, for colored font design. The input of the proposed system is an existing TrueType font and the output is an neural style transferred OpenType-SVG color font. Each character glyph contains a series of vector graphics path elements. A neural style transferred glyph consists of dozens of random Bézier curves initially distributed among the glyph space, gradually converging to glyph stokes of a given character. In contract, the process of designing a font manually requires specialized skills for designers. They use mouse cursor to adjust strokes and glyph kerning for each character. It require hours to achieve a specific style. A Chinese font contains thousands of characters. Neural style transfer techniques can be used to speed up the process for designing decorative fonts. In addition, we add different colors to the curves in a an neural style transfer character for visual appealing. In order to support colors in a font, we choose OpenType-SVG format, allowing displaying colors in software like Illustrator or Inkscape. We open-source our code at https://github.com/su8691/ribbon.

Automatic synthesis of realistic co-speech gestures is an increasingly important yet challenging task in artificial embodied agent creation. Previous systems mainly focus on generating gestures in an end-to-end manner, which leads to difficulties in mining the clear rhythm and semantics due to the complex yet subtle harmony between speech and gestures. We present a novel co-speech gesture synthesis method that achieves convincing results both on the rhythm and semantics. For the rhythm, our system contains a robust rhythm-based segmentation pipeline to ensure the temporal coherence between the vocalization and gestures explicitly. For the gesture semantics, we devise a mechanism to effectively disentangle both low- and high-level neural embeddings of speech and motion based on linguistic theory. The high-level embedding corresponds to semantics, while the low-level embedding relates to subtle variations. Lastly, we build correspondence between the hierarchical embeddings of the speech and the motion, resulting in rhythm- and semantics-aware gesture synthesis. Evaluations with existing objective metrics, a newly proposed rhythmic metric, and human feedback show that our method outperforms state-of-the-art systems by a clear margin.

In recent years, most productions of 3D video games dealing with cars have represented automobile damage due to collisions. However, the cracks peculiar to FRP materials have not been reproduced in previous works. Therefore, in this research, we devised a method of expressing cracks in FRP materials. In addition, we will conduct experiments to determine the realism of the visual representation of breakage as well as the processing cost and consider whether it is possible to incorporate it into actual video game works.

We propose a model that extracts a sketch from a colorized image in such a way that the extracted sketch has a line style similar to a given reference sketch while preserving the visual content identically to the colorized image. Authentic sketches drawn by artists have various sketch styles to add visual interest and contribute feeling to the sketch. However, existing sketch-extraction methods generate sketches with only one style. Moreover, existing style transfer models fail to transfer sketch styles because they are mostly designed to transfer textures of a source style image instead of transferring the sparse line styles from a reference sketch. Lacking the necessary volumes of data for standard training of translation systems, at the core of our GAN-based solution is a self-reference sketch style generator that produces various reference sketches with a similar style but different spatial layouts. We use independent attention modules to detect the edges of a colorized image and reference sketch as well as the visual correspondences between them. We apply several loss terms to imitate the style and enforce sparsity in the extracted sketches. Our sketch-extraction method results in a close imitation of a reference sketch style drawn by an artist and outperforms all baseline methods. Using our method, we produce a synthetic dataset representing various sketch styles and improve the performance of auto-colorization models, in high demand in comics. The validity of our approach is confirmed via qualitative and quantitative evaluations.