HeadOn: Real-time Reenactment of Human Portrait Videos

We propose HeadOn, the first real-time source-to-target reenactment approach for complete human portrait videos that enables transfer of torso and head motion, face expression, and eye gaze. Given a short RGB-D video of the target actor, we automatically construct a personalized geometry proxy that embeds a parametric head, eye, and kinematic torso model. A novel real-time reenactment algorithm employs this proxy to photo-realistically map the captured motion from the source actor to the target actor. On top of the coarse geometric proxy, we propose a video-based rendering technique that composites the modified target portrait video via view- and pose-dependent texturing, and creates photo-realistic imagery of the target actor under novel torso and head poses, facial expressions, and gaze directions. To this end, we propose a robust tracking of the face and torso of the source actor. We extensively evaluate our approach and show significant improvements in enabling much greater flexibility in creating realistic reenacted output videos.Comment: Video: https://www.youtube.com/watch?v=7Dg49wv2c_g Presented at Siggraph'1

Animation of Hand-drawn Faces using Machine Learning

Today's research in artificial vision has brought us new and exciting possibilities for the production and analysis of multimedia content. Pose estimation is an artificial vision technology that detects and identifies a human body's position and orientation within a picture or video. It locates key points on the bodies, and uses them to create three-dimensional models. In digital animation, pose estimation has paved the way for new visual effects and 3D renderings. By detecting human movements, it is now possible to create fluid realistic animations from still images. This bachelor thesis discusses the development of a pose estimation based program that is able to animate hand-drawn faces -- in particular the caricatured faces in Papiri di Laurea -- using machine learning and image manipulation. Working off of existing techniques for motion capture and 3D animation and making use of existing computer vision libraries like \textit{OpenCV} or \textit{dlib}, the project gave a satisfying result in the form of a short video of a hand-drawn caricatured figure that assumes the facial expressions fed to the program through an input video. The \textit{First Order Motion Model} was used to create this facial animation. It is a model based on the idea of transferring the movement detected from a source video to an image. %This model works best on close-ups of faces; the larger the background, the more the image gets distorted in the background. Possible future developments could include the creation of a website: the user loads their drawing and a video of themselves to get a gif version of their papiro. This could make for a new feature to add to portraits and caricatures, and more specifically to this thesis, a new way to celebrate graduates in Padova.Today's research in artificial vision has brought us new and exciting possibilities for the production and analysis of multimedia content. Pose estimation is an artificial vision technology that detects and identifies a human body's position and orientation within a picture or video. It locates key points on the bodies, and uses them to create three-dimensional models. In digital animation, pose estimation has paved the way for new visual effects and 3D renderings. By detecting human movements, it is now possible to create fluid realistic animations from still images. This bachelor thesis discusses the development of a pose estimation based program that is able to animate hand-drawn faces -- in particular the caricatured faces in Papiri di Laurea -- using machine learning and image manipulation. Working off of existing techniques for motion capture and 3D animation and making use of existing computer vision libraries like \textit{OpenCV} or \textit{dlib}, the project gave a satisfying result in the form of a short video of a hand-drawn caricatured figure that assumes the facial expressions fed to the program through an input video. The \textit{First Order Motion Model} was used to create this facial animation. It is a model based on the idea of transferring the movement detected from a source video to an image. %This model works best on close-ups of faces; the larger the background, the more the image gets distorted in the background. Possible future developments could include the creation of a website: the user loads their drawing and a video of themselves to get a gif version of their papiro. This could make for a new feature to add to portraits and caricatures, and more specifically to this thesis, a new way to celebrate graduates in Padova

Intuitive Hand Teleoperation by Novice Operators Using a Continuous Teleoperation Subspace

Human-in-the-loop manipulation is useful in when autonomous grasping is not able to deal sufficiently well with corner cases or cannot operate fast enough. Using the teleoperator's hand as an input device can provide an intuitive control method but requires mapping between pose spaces which may not be similar. We propose a low-dimensional and continuous teleoperation subspace which can be used as an intermediary for mapping between different hand pose spaces. We present an algorithm to project between pose space and teleoperation subspace. We use a non-anthropomorphic robot to experimentally prove that it is possible for teleoperation subspaces to effectively and intuitively enable teleoperation. In experiments, novice users completed pick and place tasks significantly faster using teleoperation subspace mapping than they did using state of the art teleoperation methods.Comment: ICRA 2018, 7 pages, 7 figures, 2 table

Calipso: Physics-based Image and Video Editing through CAD Model Proxies

We present Calipso, an interactive method for editing images and videos in a physically-coherent manner. Our main idea is to realize physics-based manipulations by running a full physics simulation on proxy geometries given by non-rigidly aligned CAD models. Running these simulations allows us to apply new, unseen forces to move or deform selected objects, change physical parameters such as mass or elasticity, or even add entire new objects that interact with the rest of the underlying scene. In Calipso, the user makes edits directly in 3D; these edits are processed by the simulation and then transfered to the target 2D content using shape-to-image correspondences in a photo-realistic rendering process. To align the CAD models, we introduce an efficient CAD-to-image alignment procedure that jointly minimizes for rigid and non-rigid alignment while preserving the high-level structure of the input shape. Moreover, the user can choose to exploit image flow to estimate scene motion, producing coherent physical behavior with ambient dynamics. We demonstrate Calipso's physics-based editing on a wide range of examples producing myriad physical behavior while preserving geometric and visual consistency.Comment: 11 page

Skeleton2Humanoid: Animating Simulated Characters for Physically-plausible Motion In-betweening

Human motion synthesis is a long-standing problem with various applications in digital twins and the Metaverse. However, modern deep learning based motion synthesis approaches barely consider the physical plausibility of synthesized motions and consequently they usually produce unrealistic human motions. In order to solve this problem, we propose a system ``Skeleton2Humanoid'' which performs physics-oriented motion correction at test time by regularizing synthesized skeleton motions in a physics simulator. Concretely, our system consists of three sequential stages: (I) test time motion synthesis network adaptation, (II) skeleton to humanoid matching and (III) motion imitation based on reinforcement learning (RL). Stage I introduces a test time adaptation strategy, which improves the physical plausibility of synthesized human skeleton motions by optimizing skeleton joint locations. Stage II performs an analytical inverse kinematics strategy, which converts the optimized human skeleton motions to humanoid robot motions in a physics simulator, then the converted humanoid robot motions can be served as reference motions for the RL policy to imitate. Stage III introduces a curriculum residual force control policy, which drives the humanoid robot to mimic complex converted reference motions in accordance with the physical law. We verify our system on a typical human motion synthesis task, motion-in-betweening. Experiments on the challenging LaFAN1 dataset show our system can outperform prior methods significantly in terms of both physical plausibility and accuracy. Code will be released for research purposes at: https://github.com/michaelliyunhao/Skeleton2HumanoidComment: Accepted by ACMMM202

Doctor of Philosophy in Computing

dissertationPhysics-based animation has proven to be a powerful tool for creating compelling animations for film and games. Most techniques in graphics are based on methods developed for predictive simulation for engineering applications; however, the goals for graphics applications are dramatically different than the goals of engineering applications. As a result, most physics-based animation tools are difficult for artists to work with, providing little direct control over simulation results. In this thesis, we describe tools for physics-based animation designed with artist needs and expertise in mind. Most materials can be modeled as elastoplastic: they recover from small deformations, but large deformations permanently alter their rest shape. Unfortunately, large plastic deformations, common in graphical applications, cause simulation instabilities if not addressed. Most elastoplastic simulation techniques in graphics rely on a finite-element approach where objects are discretized into a tetrahedral mesh. Using these approaches, maintaining simulation stability during large plastic flows requires remeshing, a complex and computationally expensive process. We introduce a new point-based approach that does not rely on an explicit mesh and avoids the expense of remeshing. Our approach produces comparable results with much lower implementation complexity. Points are a ubiquitous primitive for many effects, so our approach also integrates well with existing artist pipelines. Next, we introduce a new technique for animating stylized images which we call Dynamic Sprites. Artists can use our tool to create digital assets that interact in a natural, but stylized, way in virtual environments. In order to support the types of nonphysical, exaggerated motions often desired by artists, our approach relies on a heavily modified deformable body simulator, equipped with a set of new intuitive controls and an example-based deformation model. Our approach allows artists to specify how the shape of the object should change as it moves and collides in interactive virtual environments. Finally, we introduce a new technique for animating destructive scenes. Our approach is built on the insight that the most important visual aspects of destruction are plastic deformation and fracture. Like with Dynamic Sprites, we use an example-based model of deformation for intuitive artist control. Our simulator treats objects as rigid when computing dynamics but allows them to deform plastically and fracture in between timesteps based on interactions with the other objects. We demonstrate that our approach can efficiently animate the types of destructive scenes common in film and games. These animation techniques are designed to exploit artist expertise to ease creation of complex animations. By using artist-friendly primitives and allowing artists to provide characteristic deformations as input, our techniques enable artists to create more compelling animations, more easily