Learning Controllable 3D Diffusion Models from Single-view Images

Diffusion models have recently become the de-facto approach for generative modeling in the 2D domain. However, extending diffusion models to 3D is challenging due to the difficulties in acquiring 3D ground truth data for training. On the other hand, 3D GANs that integrate implicit 3D representations into GANs have shown remarkable 3D-aware generation when trained only on single-view image datasets. However, 3D GANs do not provide straightforward ways to precisely control image synthesis. To address these challenges, We present Control3Diff, a 3D diffusion model that combines the strengths of diffusion models and 3D GANs for versatile, controllable 3D-aware image synthesis for single-view datasets. Control3Diff explicitly models the underlying latent distribution (optionally conditioned on external inputs), thus enabling direct control during the diffusion process. Moreover, our approach is general and applicable to any type of controlling input, allowing us to train it with the same diffusion objective without any auxiliary supervision. We validate the efficacy of Control3Diff on standard image generation benchmarks, including FFHQ, AFHQ, and ShapeNet, using various conditioning inputs such as images, sketches, and text prompts. Please see the project website (\url{https://jiataogu.me/control3diff}) for video comparisons.Comment: work in progres

GP-GAN: Gender Preserving GAN for Synthesizing Faces from Landmarks

Facial landmarks constitute the most compressed representation of faces and are known to preserve information such as pose, gender and facial structure present in the faces. Several works exist that attempt to perform high-level face-related analysis tasks based on landmarks. In contrast, in this work, an attempt is made to tackle the inverse problem of synthesizing faces from their respective landmarks. The primary aim of this work is to demonstrate that information preserved by landmarks (gender in particular) can be further accentuated by leveraging generative models to synthesize corresponding faces. Though the problem is particularly challenging due to its ill-posed nature, we believe that successful synthesis will enable several applications such as boosting performance of high-level face related tasks using landmark points and performing dataset augmentation. To this end, a novel face-synthesis method known as Gender Preserving Generative Adversarial Network (GP-GAN) that is guided by adversarial loss, perceptual loss and a gender preserving loss is presented. Further, we propose a novel generator sub-network UDeNet for GP-GAN that leverages advantages of U-Net and DenseNet architectures. Extensive experiments and comparison with recent methods are performed to verify the effectiveness of the proposed method.Comment: 6 pages, 5 figures, this paper is accepted as 2018 24th International Conference on Pattern Recognition (ICPR2018

Artificial Intelligence in the Creative Industries: A Review

This paper reviews the current state of the art in Artificial Intelligence (AI) technologies and applications in the context of the creative industries. A brief background of AI, and specifically Machine Learning (ML) algorithms, is provided including Convolutional Neural Network (CNNs), Generative Adversarial Networks (GANs), Recurrent Neural Networks (RNNs) and Deep Reinforcement Learning (DRL). We categorise creative applications into five groups related to how AI technologies are used: i) content creation, ii) information analysis, iii) content enhancement and post production workflows, iv) information extraction and enhancement, and v) data compression. We critically examine the successes and limitations of this rapidly advancing technology in each of these areas. We further differentiate between the use of AI as a creative tool and its potential as a creator in its own right. We foresee that, in the near future, machine learning-based AI will be adopted widely as a tool or collaborative assistant for creativity. In contrast, we observe that the successes of machine learning in domains with fewer constraints, where AI is the `creator', remain modest. The potential of AI (or its developers) to win awards for its original creations in competition with human creatives is also limited, based on contemporary technologies. We therefore conclude that, in the context of creative industries, maximum benefit from AI will be derived where its focus is human centric -- where it is designed to augment, rather than replace, human creativity