CNN-based Real-time Dense Face Reconstruction with Inverse-rendered Photo-realistic Face Images

With the powerfulness of convolution neural networks (CNN), CNN based face reconstruction has recently shown promising performance in reconstructing detailed face shape from 2D face images. The success of CNN-based methods relies on a large number of labeled data. The state-of-the-art synthesizes such data using a coarse morphable face model, which however has difficulty to generate detailed photo-realistic images of faces (with wrinkles). This paper presents a novel face data generation method. Specifically, we render a large number of photo-realistic face images with different attributes based on inverse rendering. Furthermore, we construct a fine-detailed face image dataset by transferring different scales of details from one image to another. We also construct a large number of video-type adjacent frame pairs by simulating the distribution of real video data. With these nicely constructed datasets, we propose a coarse-to-fine learning framework consisting of three convolutional networks. The networks are trained for real-time detailed 3D face reconstruction from monocular video as well as from a single image. Extensive experimental results demonstrate that our framework can produce high-quality reconstruction but with much less computation time compared to the state-of-the-art. Moreover, our method is robust to pose, expression and lighting due to the diversity of data.Comment: Accepted by IEEE Transactions on Pattern Analysis and Machine Intelligence, 201

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation