Image-based Material Editing

Photo editing software allows digital images to be blurred, warped or re-colored at the touch of a button. However, it is not currently possible to change the material appearance of an object except by painstakingly painting over the appropriate pixels. Here we present a set of methods for automatically replacing one material with another, completely different material, starting with only a single high dynamic range image, and an alpha matte specifying the object. Our approach exploits the fact that human vision is surprisingly tolerant of certain (sometimes enormous) physical inaccuracies. Thus, it may be possible to produce a visually compelling illusion of material transformations, without fully reconstructing the lighting or geometry. We employ a range of algorithms depending on the target material. First, an approximate depth map is derived from the image intensities using bilateral filters. The resulting surface normals are then used to map data onto the surface of the object to specify its material appearance. To create transparent or translucent materials, the mapped data are derived from the object\u27s background. To create textured materials, the mapped data are a texture map. The surface normals can also be used to apply arbitrary bidirectional reflectance distribution functions to the surface, allowing us to simulate a wide range of materials. To facilitate the process of material editing, we generate the HDR image with a novel algorithm, that is robust against noise in individual exposures. This ensures that any noise, which would possibly have affected the shape recovery of the objects adversely, will be removed. We also present an algorithm to automatically generate alpha mattes. This algorithm requires as input two images--one where the object is in focus, and one where the background is in focus--and then automatically produces an approximate matte, indicating which pixels belong to the object. The result is then improved by a second algorithm to generate an accurate alpha matte, which can be given as input to our material editing techniques

Band-Sifting Decomposition for Image-Based Material Editing

Photographers often "prep" their subjects to achieve various effects; for example, toning down overly shiny skin, covering blotches, etc. Making such adjustments digitally after a shoot is possible, but difficult without good tools and good skills. Making such adjustments to video footage is harder still. We describe and study a set of 2D image operations, based on multiscale image analysis, that are easy and straightforward and that can consistently modify perceived material properties. These operators first build a subband decomposition of the image and then selectively modify the coefficients within the subbands. We call this selection process band sifting. We show that different siftings of the coefficients can be used to modify the appearance of properties such as gloss, smoothness, pigmentation, or weathering. The band-sifting operators have particularly striking effects when applied to faces; they can provide "knobs" to make a face look wetter or drier, younger or older, and with heavy or light variation in pigmentation. Through user studies, we identify a set of operators that yield consistent subjective effects for a variety of materials and scenes. We demonstrate that these operators are also useful for processing video sequences

A generative framework for image-based editing of material appearance using perceptual attributes

Single-image appearance editing is a challenging task, traditionally requiring the estimation of additional scene properties such as geometry or illumination. Moreover, the exact interaction of light, shape and material reflectance that elicits a given perceptual impression is still not well understood. We present an image-based editing method that allows to modify the material appearance of an object by increasing or decreasing high-level perceptual attributes, using a single image as input. Our framework relies on a two-step generative network, where the first step drives the change in appearance and the second produces an image with high-frequency details. For training, we augment an existing material appearance dataset with perceptual judgements of high-level attributes, collected through crowd-sourced experiments, and build upon training strategies that circumvent the cumbersome need for original-edited image pairs. We demonstrate the editing capabilities of our framework on a variety of inputs, both synthetic and real, using two common perceptual attributes (Glossy and Metallic), and validate the perception of appearance in our edited images through a user study

In-the-wild Material Appearance Editing using Perceptual Attributes

Intuitively editing the appearance of materials from a single image is a challenging task given the complexity of the interactions between light and matter, and the ambivalence of human perception. This problem has been traditionally addressed by estimating additional factors of the scene like geometry or illumination, thus solving an inverse rendering problem and subduing the final quality of the results to the quality of these estimations. We present a single-image appearance editing framework that allows us to intuitively modify the material appearance of an object by increasing or decreasing high-level perceptual attributes describing such appearance (e.g., glossy or metallic). Our framework takes as input an in-the-wild image of a single object, where geometry, material, and illumination are not controlled, and inverse rendering is not required. We rely on generative models and devise a novel architecture with Selective Transfer Unit (STU) cells that allow to preserve the high-frequency details from the input image in the edited one. To train our framework we leverage a dataset with pairs of synthetic images rendered with physically-based algorithms, and the corresponding crowd-sourced ratings of high-level perceptual attributes. We show that our material editing framework outperforms the state of the art, and showcase its applicability on synthetic images, in-the-wild real-world photographs, and video sequences

Medium practices

In this essay I develop a topic addressed in my book, Film Art Phenomena: the question of medium specificity. Rosalind Krauss's essay 'Art In the Age of the Post-Medium Condition' has catalysed a move away from medium specificity to hybridity. I propose that questions of medium cannot be ignored, since they carry their own history and give rise to specific formal traits and possibilities. The research involves close critical analysis of four moving image works that have not previously been written about: two made with film, and one each with computer and mobile phone. The analyses are conducted by reference to my ideas about how technological peculiarities inform and inflect practice: I see the work's material composition, its form and final meaning as intricately bound up with each other. Film, video and the computer give rise to specific forms of moving image, partly because artists exploit a medium’s peculiarities, and because certain media lend themselves to some methodologies and not others. I do not seek hard distinctions between these media, but discuss them in terms of predispositions. For example, I discuss a 16mm cine film in which the shifting visibility of grain raises ideas around movement and stillness. The aim is to develop a definition of medium specificity, in relation to the moving image, that is not essentialist in the way previous versions were criticised for being, that is, based on ideas of "material substrate" (Wollen). I argue that film is a medium of stages, in contrast to the modern tapeless camcorder, in which all functions of recording, storage, playback and even editing are contained in a single device. Supported by a travel grant, I presented a version of this essay at the International Conference of Experimental Media Congress, Toronto, in April 2011, along with a selection of works: http://www.experimentalcongress.org/full-schedule

Text-driven Editing of 3D Scenes without Retraining

Numerous diffusion models have recently been applied to image synthesis and editing. However, editing 3D scenes is still in its early stages. It poses various challenges, such as the requirement to design specific methods for different editing types, retraining new models for various 3D scenes, and the absence of convenient human interaction during editing. To tackle these issues, we introduce a text-driven editing method, termed DN2N, which allows for the direct acquisition of a NeRF model with universal editing capabilities, eliminating the requirement for retraining. Our method employs off-the-shelf text-based editing models of 2D images to modify the 3D scene images, followed by a filtering process to discard poorly edited images that disrupt 3D consistency. We then consider the remaining inconsistency as a problem of removing noise perturbation, which can be solved by generating training data with similar perturbation characteristics for training. We further propose cross-view regularization terms to help the generalized NeRF model mitigate these perturbations. Our text-driven method allows users to edit a 3D scene with their desired description, which is more friendly, intuitive, and practical than prior works. Empirical results show that our method achieves multiple editing types, including but not limited to appearance editing, weather transition, material changing, and style transfer. Most importantly, our method generalizes well with editing abilities shared among a set of model parameters without requiring a customized editing model for some specific scenes, thus inferring novel views with editing effects directly from user input. The project website is available at http://sk-fun.fun/DN2NComment: Project Website: http://sk-fun.fun/DN2

A Precomputed Polynomial Representation for Interactive BRDF Editing with Global Illumination

The ability to interactively edit BRDFs in their final placement within a computer graphics scene is vital to making informed choices for material properties. We significantly extend previous work on BRDF editing for static scenes (with fixed lighting and view), by developing a precomputed polynomial representation that enables interactive BRDF editing with global illumination. Unlike previous recomputation based rendering techniques, the image is not linear in the BRDF when considering interreflections. We introduce a framework for precomputing a multi-bounce tensor of polynomial coefficients, that encapsulates the nonlinear nature of the task. Significant reductions in complexity are achieved by leveraging the low-frequency nature of indirect light. We use a high-quality representation for the BRDFs at the first bounce from the eye, and lower-frequency (often diffuse) versions for further bounces. This approximation correctly captures the general global illumination in a scene, including color-bleeding, near-field object reflections, and even caustics. We adapt Monte Carlo path tracing for precomputing the tensor of coefficients for BRDF basis functions. At runtime, the high-dimensional tensors can be reduced to a simple dot product at each pixel for rendering. We present a number of examples of editing BRDFs in complex scenes, with interactive feedback rendered with global illumination

A Low-Dimensional Perceptual Space for Intuitive BRDF Editing

International audienceUnderstanding and characterizing material appearance based on human perception is challenging because of the highdimensionality and nonlinearity of reflectance data. We refer to the process of identifying specific characteristics of material appearance within the same category as material estimation, in contrast to material categorization which focuses on identifying inter-category differences [FNG15]. In this paper, we present a method to simulate the material estimation process based on human perception. We create a continuous perceptual space for measured tabulated data based on its underlying low-dimensional manifold. Unlike many previous works that only address individual perceptual attributes (such as gloss), we focus on extracting all possible dimensions that can explain the perceived differences between appearances. Additionally, we propose a new material editing interface that combines image navigation and sliders to visualize each perceptual dimension and facilitate the editing of tabulated BRDFs. We conduct a user study to evaluate the efficacy of the perceptual space and the interface in terms of appearance matching

{GAN2X}: {N}on-{L}ambertian Inverse Rendering of Image {GANs}

2D images are observations of the 3D physical world depicted with thegeometry, material, and illumination components. Recovering these underlyingintrinsic components from 2D images, also known as inverse rendering, usuallyrequires a supervised setting with paired images collected from multipleviewpoints and lighting conditions, which is resource-demanding. In this work,we present GAN2X, a new method for unsupervised inverse rendering that onlyuses unpaired images for training. Unlike previous Shape-from-GAN approachesthat mainly focus on 3D shapes, we take the first attempt to also recovernon-Lambertian material properties by exploiting the pseudo paired datagenerated by a GAN. To achieve precise inverse rendering, we devise aspecularity-aware neural surface representation that continuously models thegeometry and material properties. A shading-based refinement technique isadopted to further distill information in the target image and recover morefine details. Experiments demonstrate that GAN2X can accurately decompose 2Dimages to 3D shape, albedo, and specular properties for different objectcategories, and achieves the state-of-the-art performance for unsupervisedsingle-view 3D face reconstruction. We also show its applications in downstreamtasks including real image editing and lifting 2D GANs to decomposed 3D GANs.<br