We have measured 3D face geometry, skin reflectance, and subsurface scattering using custom-built devices for 149 subjects of varying age, gender, and race. We developed a novel skin reflectance model whose parameters can be estimated from measurements. The model decomposes the large amount of measured skin data into a spatially-varying analytic BRDF, a diffuse albedo map, and diffuse subsurface scattering. Our model is intuitive, physically plausible, and -- since we do not use the original measured data -- easy to edit as well. High-quality renderings come close to reproducing real photographs. The analysis of the model parameters for our sample population reveals variations according to subject age, gender, skin type, and external factors (e.g., sweat, cold, or makeup). Using our statistics, a user can edit the overall appearance of a face (e.g., changing skin type and age) or change small-scale features using texture synthesis (e.g., adding moles and freckles). We are making the collected statistics publicly available to the research community for applications in face synthesis and analysis.

/pdf/analysis-of-human-faces-using-a-measurement-based-skin-1ozt3jyxfd.pdf

Analysis of human faces using a measurement-based skin reflectance model

This paper describes a passive stereo system for capturing the 3D geometry of a face in a single-shot under standard light sources. The system is low-cost and easy to deploy. Results are submillimeter accurate and commensurate with those from state-of-the-art systems based on active lighting, and the models meet the quality requirements of a demanding domain like the movie industry. Recovered models are shown for captures from both high-end cameras in a studio setting and from a consumer binocular-stereo camera, demonstrating scalability across a spectrum of camera deployments, and showing the potential for 3D face modeling to move beyond the professional arena and into the emerging consumer market in stereoscopic photography. Our primary technical contribution is a modification of standard stereo refinement methods to capture pore-scale geometry, using a qualitative approach that produces visually realistic results. The second technical contribution is a calibration method suited to face capture systems. The systemic contribution includes multiple demonstrations of system robustness and quality. These include capture in a studio setup, capture off a consumer binocular-stereo camera, scanning of faces of varying gender and ethnicity and age, capture of highly-transient facial expression, and scanning a physical mask to provide ground-truth validation.

High-quality single-shot capture of facial geometry

Synthesizing photo-realistic images and videos is at the heart of computer graphics and has been the focus of decades of research. Traditionally, synthetic images of a scene are generated using rendering algorithms such as rasterization or ray tracing, which take specifically defined representations of geometry and material properties as input. Collectively, these inputs define the actual scene and what is rendered, and are referred to as the scene representation (where a scene consists of one or more objects). Example scene representations are triangle meshes with accompanied textures (e.g., created by an artist), point clouds (e.g., from a depth sensor), volumetric grids (e.g., from a CT scan), or implicit surface functions (e.g., truncated signed distance fields). The reconstruction of such a scene representation from observations using differentiable rendering losses is known as inverse graphics or inverse rendering. Neural rendering is closely related, and combines ideas from classical computer graphics and machine learning to create algorithms for synthesizing images from real-world observations. Neural rendering is a leap forward towards the goal of synthesizing photo-realistic image and video content. In recent years, we have seen immense progress in this field through hundreds of publications that show different ways to inject learnable components into the rendering pipeline. This state-of-the-art report on advances in neural rendering focuses on methods that combine classical rendering principles with learned 3D scene representations, often now referred to as neural scene representations. A key advantage of these methods is that they are 3D-consistent by design, enabling applications such as novel viewpoint synthesis of a captured scene. In addition to methods that handle static scenes, we cover neural scene representations for modeling non-rigidly deforming objects... 

/pdf/advances-in-neural-rendering-2a6te3qa.pdf

Advances in Neural Rendering

Point sets become an increasingly popular shape representation. Most shape processing and rendering tasks require the approximation of a continuous surface from the point data. We present a surface approximation that is motivated by an efficient iterative ray intersection computation. On each point on a ray, a local normal direction is estimated as the direction of smallest weighted co-variances of the points. The normal direction is used to build a local polynomial approximation to the surface, which is then intersected with the ray. The distance to the polynomials essentially defines a distance field, whose zero-set is computed by repeated ray intersection. Requiring the distance field to be smooth leads to an intuitive and natural sampling criterion, namely, that normals derived from the weighted co-variances are well defined in a tubular neighborhood of the surface. For certain, well-chosen weight functions we can show that well-sampled surfaces lead to smooth distance fields with non-zero gradients and, thus, the surface is a continuously differentiable manifold. We detail spatial data structures and efficient algorithms to compute ray-surface intersections for fast ray casting and ray tracing of the surface.

/pdf/approximating-and-intersecting-surfaces-from-points-27ddt7aav9.pdf

Approximating and intersecting surfaces from points

With the increase in popularity of stereoscopic 3D imagery for film, TV, and interactive entertainment, an urgent need for editing tools to support stereo content creation has become apparent. In this paper we present an end-to-end system for object copy & paste in a stereoscopic setting to address this need. There is no straightforward extension of 2D copy & paste to support the addition of the third dimension as we show in this paper. For stereoscopic copy & paste we need to handle depth, and our core objective is to obtain a convincing 3D viewing experience. As one of the main contributions of our system, we introduce a stereo billboard method for stereoscopic rendering of the copied selection. Our approach preserves the stereo volume and is robust to the inevitable inaccuracies of the depth maps computed from a stereo pair of images. Our system also includes an interactive stereoscopic segmentation tool to achieve high quality object selection. Hence, we focus on intuitive and minimal user interaction, and our editing operations perform within interactive rates to provide immediate feedback.

Stereoscopic 3D copy & paste

We present a framework for high quality splatting based on elliptical Gaussian kernels. To avoid aliasing artifacts, we introduce the concept of a resampling filter, combining a reconstruction kernel with a low-pass filter. Because of the similarity to Heckbert's (1989) EWA (elliptical weighted average) filter for texture mapping, we call our technique EWA splatting. Our framework allows us to derive EWA splat primitives for volume data and for point-sampled surface data. It provides high image quality without aliasing artifacts or excessive blurring for volume data and, additionally, features anisotropic texture filtering for point-sampled surfaces. It also handles nonspherical volume kernels efficiently; hence, it is suitable for regular, rectilinear, and irregular volume datasets. Moreover, our framework introduces a novel approach to compute the footprint function, facilitating efficient perspective projection of arbitrary elliptical kernels at very little additional cost. Finally, we show that EWA volume reconstruction kernels can be reduced to surface reconstruction kernels. This makes our splat primitive universal in rendering surface and volume data.

EWA splatting

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EWA splatting