Daily Papers

In this work, we recover the underlying 3D structure of non-geometrically consistent scenes. We focus our analysis on hand-drawn images from cartoons and anime. Many cartoons are created by artists without a 3D rendering engine, which means that any new image of a scene is hand-drawn. The hand-drawn images are usually faithful representations of the world, but only in a qualitative sense, since it is difficult for humans to draw multiple perspectives of an object or scene 3D consistently. Nevertheless, people can easily perceive 3D scenes from inconsistent inputs! In this work, we correct for 2D drawing inconsistencies to recover a plausible 3D structure such that the newly warped drawings are consistent with each other. Our pipeline consists of a user-friendly annotation tool, camera pose estimation, and image deformation to recover a dense structure. Our method warps images to obey a perspective camera model, enabling our aligned results to be plugged into novel-view synthesis reconstruction methods to experience cartoons from viewpoints never drawn before. Our project page is https://toon3d.studio/.

Realistic shadow generation is a critical component for high-quality image compositing and visual effects, yet existing methods suffer from certain limitations: Physics-based approaches require a 3D scene geometry, which is often unavailable, while learning-based techniques struggle with control and visual artifacts. We introduce a novel method for fast, controllable, and background-free shadow generation for 2D object images. We create a large synthetic dataset using a 3D rendering engine to train a diffusion model for controllable shadow generation, generating shadow maps for diverse light source parameters. Through extensive ablation studies, we find that rectified flow objective achieves high-quality results with just a single sampling step enabling real-time applications. Furthermore, our experiments demonstrate that the model generalizes well to real-world images. To facilitate further research in evaluating quality and controllability in shadow generation, we release a new public benchmark containing a diverse set of object images and shadow maps in various settings. The project page is available at https://gojasper.github.io/controllable-shadow-generation-project/

Video object removal has achieved advanced performance due to the recent success of video generative models. However, when addressing the side effects of objects, e.g., their shadows and reflections, existing works struggle to eliminate these effects for the scarcity of paired video data as supervision. This paper presents ROSE, termed Remove Objects with Side Effects, a framework that systematically studies the object's effects on environment, which can be categorized into five common cases: shadows, reflections, light, translucency and mirror. Given the challenges of curating paired videos exhibiting the aforementioned effects, we leverage a 3D rendering engine for synthetic data generation. We carefully construct a fully-automatic pipeline for data preparation, which simulates a large-scale paired dataset with diverse scenes, objects, shooting angles, and camera trajectories. ROSE is implemented as an video inpainting model built on diffusion transformer. To localize all object-correlated areas, the entire video is fed into the model for reference-based erasing. Moreover, additional supervision is introduced to explicitly predict the areas affected by side effects, which can be revealed through the differential mask between the paired videos. To fully investigate the model performance on various side effect removal, we presents a new benchmark, dubbed ROSE-Bench, incorporating both common scenarios and the five special side effects for comprehensive evaluation. Experimental results demonstrate that ROSE achieves superior performance compared to existing video object erasing models and generalizes well to real-world video scenarios. The project page is https://rose2025-inpaint.github.io/.

Video relighting is a challenging yet valuable task, aiming to replace the background in videos while correspondingly adjusting the lighting in the foreground with harmonious blending. During translation, it is essential to preserve the original properties of the foreground, e.g., albedo, and propagate consistent relighting among temporal frames. In this paper, we propose Lumen, an end-to-end video relighting framework developed on large-scale video generative models, receiving flexible textual description for instructing the control of lighting and background. Considering the scarcity of high-qualified paired videos with the same foreground in various lighting conditions, we construct a large-scale dataset with a mixture of realistic and synthetic videos. For the synthetic domain, benefiting from the abundant 3D assets in the community, we leverage advanced 3D rendering engine to curate video pairs in diverse environments. For the realistic domain, we adapt a HDR-based lighting simulation to complement the lack of paired in-the-wild videos. Powered by the aforementioned dataset, we design a joint training curriculum to effectively unleash the strengths of each domain, i.e., the physical consistency in synthetic videos, and the generalized domain distribution in realistic videos. To implement this, we inject a domain-aware adapter into the model to decouple the learning of relighting and domain appearance distribution. We construct a comprehensive benchmark to evaluate Lumen together with existing methods, from the perspectives of foreground preservation and video consistency assessment. Experimental results demonstrate that Lumen effectively edit the input into cinematic relighted videos with consistent lighting and strict foreground preservation. Our project page: https://lumen-relight.github.io/

Researchers have used machine learning approaches to identify motion sickness in VR experience. These approaches demand an accurately-labeled, real-world, and diverse dataset for high accuracy and generalizability. As a starting point to address this need, we introduce `VR.net', a dataset offering approximately 12-hour gameplay videos from ten real-world games in 10 diverse genres. For each video frame, a rich set of motion sickness-related labels, such as camera/object movement, depth field, and motion flow, are accurately assigned. Building such a dataset is challenging since manual labeling would require an infeasible amount of time. Instead, we utilize a tool to automatically and precisely extract ground truth data from 3D engines' rendering pipelines without accessing VR games' source code. We illustrate the utility of VR.net through several applications, such as risk factor detection and sickness level prediction. We continuously expand VR.net and envision its next version offering 10X more data than the current form. We believe that the scale, accuracy, and diversity of VR.net can offer unparalleled opportunities for VR motion sickness research and beyond.

Current controls over diffusion models (e.g., through text or ControlNet) for image generation fall short in recognizing abstract, continuous attributes like illumination direction or non-rigid shape change. In this paper, we present an approach for allowing users of text-to-image models to have fine-grained control of several attributes in an image. We do this by engineering special sets of input tokens that can be transformed in a continuous manner -- we call them Continuous 3D Words. These attributes can, for example, be represented as sliders and applied jointly with text prompts for fine-grained control over image generation. Given only a single mesh and a rendering engine, we show that our approach can be adopted to provide continuous user control over several 3D-aware attributes, including time-of-day illumination, bird wing orientation, dollyzoom effect, and object poses. Our method is capable of conditioning image creation with multiple Continuous 3D Words and text descriptions simultaneously while adding no overhead to the generative process. Project Page: https://ttchengab.github.io/continuous_3d_words

Recently, there has been growing interest in developing learning-based methods to detect and utilize salient semi-global or global structures, such as junctions, lines, planes, cuboids, smooth surfaces, and all types of symmetries, for 3D scene modeling and understanding. However, the ground truth annotations are often obtained via human labor, which is particularly challenging and inefficient for such tasks due to the large number of 3D structure instances (e.g., line segments) and other factors such as viewpoints and occlusions. In this paper, we present a new synthetic dataset, Structured3D, with the aim of providing large-scale photo-realistic images with rich 3D structure annotations for a wide spectrum of structured 3D modeling tasks. We take advantage of the availability of professional interior designs and automatically extract 3D structures from them. We generate high-quality images with an industry-leading rendering engine. We use our synthetic dataset in combination with real images to train deep networks for room layout estimation and demonstrate improved performance on benchmark datasets.

We present layered ray intersections (LaRI), a new method for unseen geometry reasoning from a single image. Unlike conventional depth estimation that is limited to the visible surface, LaRI models multiple surfaces intersected by the camera rays using layered point maps. Benefiting from the compact and layered representation, LaRI enables complete, efficient, and view-aligned geometric reasoning to unify object- and scene-level tasks. We further propose to predict the ray stopping index, which identifies valid intersecting pixels and layers from LaRI's output. We build a complete training data generation pipeline for synthetic and real-world data, including 3D objects and scenes, with necessary data cleaning steps and coordination between rendering engines. As a generic method, LaRI's performance is validated in two scenarios: It yields comparable object-level results to the recent large generative model using 4% of its training data and 17% of its parameters. Meanwhile, it achieves scene-level occluded geometry reasoning in only one feed-forward.

Optical flow is the motion of a pixel between at least two consecutive video frames and can be estimated through an end-to-end trainable convolutional neural network. To this end, large training datasets are required to improve the accuracy of optical flow estimation. Our paper presents OmniFlow: a new synthetic omnidirectional human optical flow dataset. Based on a rendering engine we create a naturalistic 3D indoor environment with textured rooms, characters, actions, objects, illumination and motion blur where all components of the environment are shuffled during the data capturing process. The simulation has as output rendered images of household activities and the corresponding forward and backward optical flow. To verify the data for training volumetric correspondence networks for optical flow estimation we train different subsets of the data and test on OmniFlow with and without Test-Time-Augmentation. As a result we have generated 23,653 image pairs and corresponding forward and backward optical flow. Our dataset can be downloaded from: https://mytuc.org/byfs

We introduce SynthLight, a diffusion model for portrait relighting. Our approach frames image relighting as a re-rendering problem, where pixels are transformed in response to changes in environmental lighting conditions. Using a physically-based rendering engine, we synthesize a dataset to simulate this lighting-conditioned transformation with 3D head assets under varying lighting. We propose two training and inference strategies to bridge the gap between the synthetic and real image domains: (1) multi-task training that takes advantage of real human portraits without lighting labels; (2) an inference time diffusion sampling procedure based on classifier-free guidance that leverages the input portrait to better preserve details. Our method generalizes to diverse real photographs and produces realistic illumination effects, including specular highlights and cast shadows, while preserving the subject's identity. Our quantitative experiments on Light Stage data demonstrate results comparable to state-of-the-art relighting methods. Our qualitative results on in-the-wild images showcase rich and unprecedented illumination effects. Project Page: https://vrroom.github.io/synthlight/

Vision-Language Navigation (VLN) aims to guide agents through an environment by leveraging both language instructions and visual cues, playing a pivotal role in embodied AI. Indoor VLN has been extensively studied, whereas outdoor aerial VLN remains underexplored. The potential reason is that outdoor aerial view encompasses vast areas, making data collection more challenging, which results in a lack of benchmarks. To address this problem, we propose OpenFly, a platform comprising a versatile toolchain and large-scale benchmark for aerial VLN. Firstly, we develop a highly automated toolchain for data collection, enabling automatic point cloud acquisition, scene semantic segmentation, flight trajectory creation, and instruction generation. Secondly, based on the toolchain, we construct a large-scale aerial VLN dataset with 100k trajectories, covering diverse heights and lengths across 18 scenes. The corresponding visual data are generated using various rendering engines and advanced techniques, including Unreal Engine, GTA V, Google Earth, and 3D Gaussian Splatting (3D GS). All data exhibit high visual quality. Particularly, 3D GS supports real-to-sim rendering, further enhancing the realism of the dataset. Thirdly, we propose OpenFly-Agent, a keyframe-aware VLN model, which takes language instructions, current observations, and historical keyframes as input, and outputs flight actions directly. Extensive analyses and experiments are conducted, showcasing the superiority of our OpenFly platform and OpenFly-Agent. The toolchain, dataset, and codes will be open-sourced.

Scaling robot learning requires vast and diverse datasets. Yet the prevailing data collection paradigm-human teleoperation-remains costly and constrained by manual effort and physical robot access. We introduce Real2Render2Real (R2R2R), a novel approach for generating robot training data without relying on object dynamics simulation or teleoperation of robot hardware. The input is a smartphone-captured scan of one or more objects and a single video of a human demonstration. R2R2R renders thousands of high visual fidelity robot-agnostic demonstrations by reconstructing detailed 3D object geometry and appearance, and tracking 6-DoF object motion. R2R2R uses 3D Gaussian Splatting (3DGS) to enable flexible asset generation and trajectory synthesis for both rigid and articulated objects, converting these representations to meshes to maintain compatibility with scalable rendering engines like IsaacLab but with collision modeling off. Robot demonstration data generated by R2R2R integrates directly with models that operate on robot proprioceptive states and image observations, such as vision-language-action models (VLA) and imitation learning policies. Physical experiments suggest that models trained on R2R2R data from a single human demonstration can match the performance of models trained on 150 human teleoperation demonstrations. Project page: https://real2render2real.com

Imitation learning for end-to-end driving trains policies only on expert demonstrations. Once deployed in a closed loop, such policies lack recovery data: small mistakes cannot be corrected and quickly compound into failures. A promising direction is to generate alternative viewpoints and trajectories beyond the logged path. Prior work explores photorealistic digital twins via neural rendering or game engines, but these methods are prohibitively slow and costly, and thus mainly used for evaluation. In this work, we argue that photorealism is unnecessary for training end-to-end planners. What matters is semantic fidelity and scalability: driving depends on geometry and dynamics, not textures or lighting. Motivated by this, we propose 3D Rasterization, which replaces costly rendering with lightweight rasterization of annotated primitives, enabling augmentations such as counterfactual recovery maneuvers and cross-agent view synthesis. To transfer these synthetic views effectively to real-world deployment, we introduce a Raster-to-Real feature-space alignment that bridges the sim-to-real gap. Together, these components form Rasterization Augmented Planning (RAP), a scalable data augmentation pipeline for planning. RAP achieves state-of-the-art closed-loop robustness and long-tail generalization, ranking first on four major benchmarks: NAVSIM v1/v2, Waymo Open Dataset Vision-based E2E Driving, and Bench2Drive. Our results show that lightweight rasterization with feature alignment suffices to scale E2E training, offering a practical alternative to photorealistic rendering. Project page: https://alan-lanfeng.github.io/RAP/.

While 3D Gaussian Splatting has recently become popular for neural rendering, current methods rely on carefully engineered cloning and splitting strategies for placing Gaussians, which can lead to poor-quality renderings, and reliance on a good initialization. In this work, we rethink the set of 3D Gaussians as a random sample drawn from an underlying probability distribution describing the physical representation of the scene-in other words, Markov Chain Monte Carlo (MCMC) samples. Under this view, we show that the 3D Gaussian updates can be converted as Stochastic Gradient Langevin Dynamics (SGLD) updates by simply introducing noise. We then rewrite the densification and pruning strategies in 3D Gaussian Splatting as simply a deterministic state transition of MCMC samples, removing these heuristics from the framework. To do so, we revise the 'cloning' of Gaussians into a relocalization scheme that approximately preserves sample probability. To encourage efficient use of Gaussians, we introduce a regularizer that promotes the removal of unused Gaussians. On various standard evaluation scenes, we show that our method provides improved rendering quality, easy control over the number of Gaussians, and robustness to initialization.

Powered by large-scale text-to-image generation models, text-to-3D avatar generation has made promising progress. However, most methods fail to produce photorealistic results, limited by imprecise geometry and low-quality appearance. Towards more practical avatar generation, we present SEEAvatar, a method for generating photorealistic 3D avatars from text with SElf-Evolving constraints for decoupled geometry and appearance. For geometry, we propose to constrain the optimized avatar in a decent global shape with a template avatar. The template avatar is initialized with human prior and can be updated by the optimized avatar periodically as an evolving template, which enables more flexible shape generation. Besides, the geometry is also constrained by the static human prior in local parts like face and hands to maintain the delicate structures. For appearance generation, we use diffusion model enhanced by prompt engineering to guide a physically based rendering pipeline to generate realistic textures. The lightness constraint is applied on the albedo texture to suppress incorrect lighting effect. Experiments show that our method outperforms previous methods on both global and local geometry and appearance quality by a large margin. Since our method can produce high-quality meshes and textures, such assets can be directly applied in classic graphics pipeline for realistic rendering under any lighting condition. Project page at: https://seeavatar3d.github.io.

Reconstructing 3D scenes and synthesizing novel views has seen rapid progress in recent years. Neural Radiance Fields demonstrated that continuous volumetric radiance fields can achieve high-quality image synthesis, but their long training and rendering times limit practicality. 3D Gaussian Splatting (3DGS) addressed these issues by representing scenes with millions of Gaussians, enabling real-time rendering and fast optimization. However, Gaussian primitives are not natively compatible with the mesh-based pipelines used in VR headsets, and real-time graphics applications. Existing solutions attempt to convert Gaussians into meshes through post-processing or two-stage pipelines, which increases complexity and degrades visual quality. In this work, we introduce Triangle Splatting+, which directly optimizes triangles, the fundamental primitive of computer graphics, within a differentiable splatting framework. We formulate triangle parametrization to enable connectivity through shared vertices, and we design a training strategy that enforces opaque triangles. The final output is immediately usable in standard graphics engines without post-processing. Experiments on the Mip-NeRF360 and Tanks & Temples datasets show that Triangle Splatting+achieves state-of-the-art performance in mesh-based novel view synthesis. Our method surpasses prior splatting approaches in visual fidelity while remaining efficient and fast to training. Moreover, the resulting semi-connected meshes support downstream applications such as physics-based simulation or interactive walkthroughs. The project page is https://trianglesplatting2.github.io/trianglesplatting2/.

Despite recent advancements in text-to-image generation, most existing methods struggle to create images with multiple objects and complex spatial relationships in 3D world. To tackle this limitation, we introduce a generic AI system, namely MUSES, for 3D-controllable image generation from user queries. Specifically, our MUSES addresses this challenging task by developing a progressive workflow with three key components, including (1) Layout Manager for 2D-to-3D layout lifting, (2) Model Engineer for 3D object acquisition and calibration, (3) Image Artist for 3D-to-2D image rendering. By mimicking the collaboration of human professionals, this multi-modal agent pipeline facilitates the effective and automatic creation of images with 3D-controllable objects, through an explainable integration of top-down planning and bottom-up generation. Additionally, we find that existing benchmarks lack detailed descriptions of complex 3D spatial relationships of multiple objects. To fill this gap, we further construct a new benchmark of T2I-3DisBench (3D image scene), which describes diverse 3D image scenes with 50 detailed prompts. Extensive experiments show the state-of-the-art performance of MUSES on both T2I-CompBench and T2I-3DisBench, outperforming recent strong competitors such as DALL-E 3 and Stable Diffusion 3. These results demonstrate a significant step of MUSES forward in bridging natural language, 2D image generation, and 3D world. Our codes and models will be released soon.

General scene reconstruction refers to the task of estimating the full 3D geometry and texture of a scene containing previously unseen objects. In many practical applications such as AR/VR, autonomous navigation, and robotics, only a single view of the scene may be available, making the scene reconstruction task challenging. In this paper, we present a method for scene reconstruction by structurally breaking the problem into two steps: rendering novel views via inpainting and 2D to 3D scene lifting. Specifically, we leverage the generalization capability of large visual language models (Dalle-2) to inpaint the missing areas of scene color images rendered from different views. Next, we lift these inpainted images to 3D by predicting normals of the inpainted image and solving for the missing depth values. By predicting for normals instead of depth directly, our method allows for robustness to changes in depth distributions and scale. With rigorous quantitative evaluation, we show that our method outperforms multiple baselines while providing generalization to novel objects and scenes.