3D View Optimization for Improving Image Aesthetics

Achieving aesthetically pleasing photography necessitates attention to multiple factors, including composition and capture conditions, which pose challenges to novices. Prior research has explored the enhancement of photo aesthetics post-capture through 2D manipulation techniques; however, these approaches offer limited search space for aesthetics. We introduce a pioneering method that employs 3D operations to simulate the conditions at the moment of capture retrospectively. Our approach extrapolates the input image and then reconstructs the 3D scene from the extrapolated image, followed by an optimization to identify camera parameters and image aspect ratios that yield the best 3D view with enhanced aesthetics. Comparative qualitative and quantitative assessments reveal that our method surpasses traditional 2D editing techniques with superior aesthetics.

Makeup Prior Models for 3D Facial Makeup Estimation and Applications

In this work, we introduce two types of makeup prior models to extend existing 3D face prior models: PCA-based and StyleGAN2-based priors. The PCA-based prior model is a linear model that is easy to construct and is computationally efficient. However, it retains only low-frequency information. Conversely, the StyleGAN2-based model can represent high-frequency information with relatively higher computational cost than the PCA-based model. Although there is a trade-off between the two models, both are applicable to 3D facial makeup estimation and related applications. By leveraging makeup prior models and designing a makeup consistency module, we effectively address the challenges that previous methods faced in robustly estimating makeup, particularly in the context of handling self-occluded faces. In experiments, we demonstrate that our approach reduces computational costs by several orders of magnitude, achieving speeds up to 180 times faster. In addition, by improving the accuracy of the estimated makeup, we confirm that our methods are highly advantageous for various 3D facial makeup applications such as 3D makeup face reconstruction, user-friendly makeup editing, makeup transfer, and interpolation.

DiffBody: Diffusion-based Pose and Shape Editing of Human Images

Pose and body shape editing in a human image has received increasing attention. However, current methods often struggle with dataset biases and deteriorate realism and the person's identity when users make large edits. We propose a one-shot approach that enables large edits with identity preservation. To enable large edits, we fit a 3D body model, project the input image onto the 3D model, and change the body's pose and shape. Because this initial textured body model has artifacts due to occlusion and the inaccurate body shape, the rendered image undergoes a diffusion-based refinement, in which strong noise destroys body structure and identity whereas insufficient noise does not help. We thus propose an iterative refinement with weak noise, applied first for the whole body and then for the face. We further enhance the realism by fine-tuning text embeddings via self-supervised learning. Our quantitative and qualitative evaluations demonstrate that our method outperforms other existing methods across various datasets.

StyleHumanCLIP: Text-guided Garment Manipulation for StyleGAN-Human

This paper tackles text-guided control of StyleGAN for editing garments in full-body human images. Existing StyleGAN-based methods suffer from handling the rich diversity of garments and body shapes and poses. We propose a framework for text-guided full-body human image synthesis via an attention-based latent code mapper, which enables more disentangled control of StyleGAN than existing mappers. Our latent code mapper adopts an attention mechanism that adaptively manipulates individual latent codes on different StyleGAN layers under text guidance. In addition, we introduce feature-space masking at inference time to avoid unwanted changes caused by text inputs. Our quantitative and qualitative evaluations reveal that our method can control generated images more faithfully to given texts than existing methods.

Makeup Extraction of 3D Representation via Illumination-Aware Image Decomposition

Facial makeup enriches the beauty of not only real humans but also virtual characters; therefore, makeup for 3D facial models is highly in demand in productions. However, painting directly on 3D faces and capturing real-world makeup are costly, and extracting makeup from 2D images often struggles with shading effects and occlusions. This paper presents the first method for extracting makeup for 3D facial models from a single makeup portrait. Our method consists of the following three steps. First, we exploit the strong prior of 3D morphable models via regression-based inverse rendering to extract coarse materials such as geometry and diffuse/specular albedos that are represented in the UV space. Second, we refine the coarse materials, which may have missing pixels due to occlusions. We apply inpainting and optimization. Finally, we extract the bare skin, makeup, and an alpha matte from the diffuse albedo. Our method offers various applications for not only 3D facial models but also 2D portrait images. The extracted makeup is well-aligned in the UV space, from which we build a large-scale makeup dataset and a parametric makeup model for 3D faces. Our disentangled materials also yield robust makeup transfer and illumination-aware makeup interpolation/removal without a reference image.

Diversifying Semantic Image Synthesis and Editing via Class- and Layer-wise VAEs

Semantic image synthesis is a process for generating photorealistic images from a single semantic mask. To enrich the diversity of multimodal image synthesis, previous methods have controlled the global appearance of an output image by learning a single latent space. However, a single latent code is often insufficient for capturing various object styles because object appearance depends on multiple factors. To handle individual factors that determine object styles, we propose a class- and layer-wise extension to the variational autoencoder (VAE) framework that allows flexible control over each object class at the local to global levels by learning multiple latent spaces. Furthermore, we demonstrate that our method generates images that are both plausible and more diverse compared to state-of-the-art methods via extensive experiments with real and synthetic datasets inthree different domains. We also show that our method enables a wide range of applications in image synthesis and editing tasks.

Few-shot Semantic Image Synthesis Using StyleGAN Prior

This paper tackles a challenging problem of generating photorealistic images from semantic layouts in few-shot scenarios where annotated training pairs are hardly available but pixel-wise annotation is quite costly. We present a training strategy that performs pseudo labeling of semantic masks using the StyleGAN prior. Our key idea is to construct a simple mapping between the StyleGAN feature and each semantic class from a few examples of semantic masks. With such mappings, we can generate an unlimited number of pseudo semantic masks from random noise to train an encoder for controlling a pre-trained StyleGAN generator. Although the pseudo semantic masks might be too coarse for previous approaches that require pixel-aligned masks, our framework can synthesize high-quality images from not only dense semantic masks but also sparse inputs such as landmarks and scribbles. Qualitative and quantitative results with various datasets demonstrate improvement over previous approaches with respect to layout fidelity and visual quality in as few as one- or five-shot settings.

Animating Landscape: Self-Supervised Learning of Decoupled Motion and Appearance for Single-Image Video Synthesis

Automatic generation of a high-quality video from a single image remains a challenging task despite the recent advances in deep generative models. This paper proposes a method that can create a high-resolution, long-term animation using convolutional neural networks (CNNs) from a single landscape image where we mainly focus on skies and waters. Our key observation is that the motion (e.g., moving clouds) and appearance (e.g., time-varying colors in the sky) in natural scenes have different time scales. We thus learn them separately and predict them with decoupled control while handling future uncertainty in both predictions by introducing latent codes. Unlike previous methods that infer output frames directly, our CNNs predict spatially-smooth intermediate data, i.e., for motion, flow fields for warping, and for appearance, color transfer maps, via self-supervised learning, i.e., without explicitly-provided ground truth. These intermediate data are applied not to each previous output frame, but to the input image only once for each output frame. This design is crucial to alleviate error accumulation in long-term predictions, which is the essential problem in previous recurrent approaches. The output frames can be looped like cinemagraph, and also be controlled directly by specifying latent codes or indirectly via visual annotations. We demonstrate the effectiveness of our method through comparisons with the state-of-the-arts on video prediction as well as appearance manipulation.

Relighting Humans: Occlusion-Aware Inverse Rendering for Full-Body Human Images

Relighting of human images has various applications in image synthesis. For relighting, we must infer albedo, shape, and illumination from a human portrait. Previous techniques rely on human faces for this inference, based on spherical harmonics (SH) lighting. However, because they often ignore light occlusion, inferred shapes are biased and relit images are unnaturally bright particularly at hollowed regions such as armpits, crotches, or garment wrinkles. This paper introduces the first attempt to infer light occlusion in the SH formulation directly. Based on supervised learning using convolutional neural networks (CNNs), we infer not only an albedo map, illumination but also a light transport map that encodes occlusion as nine SH coefficients per pixel. The main difficulty in this inference is the lack of training datasets compared to unlimited variations of human portraits. Surprisingly, geometric information including occlusion can be inferred plausibly even with a small dataset of synthesized human figures, by carefully preparing the dataset so that the CNNs can exploit the data coherency. Our method accomplishes more realistic relighting than the occlusion-ignored formulation.