Daily Papers

We introduce ShowRoom3D, a three-stage approach for generating high-quality 3D room-scale scenes from texts. Previous methods using 2D diffusion priors to optimize neural radiance fields for generating room-scale scenes have shown unsatisfactory quality. This is primarily attributed to the limitations of 2D priors lacking 3D awareness and constraints in the training methodology. In this paper, we utilize a 3D diffusion prior, MVDiffusion, to optimize the 3D room-scale scene. Our contributions are in two aspects. Firstly, we propose a progressive view selection process to optimize NeRF. This involves dividing the training process into three stages, gradually expanding the camera sampling scope. Secondly, we propose the pose transformation method in the second stage. It will ensure MVDiffusion provide the accurate view guidance. As a result, ShowRoom3D enables the generation of rooms with improved structural integrity, enhanced clarity from any view, reduced content repetition, and higher consistency across different perspectives. Extensive experiments demonstrate that our method, significantly outperforms state-of-the-art approaches by a large margin in terms of user study.

We present a diffusion-based model for 3D-aware generative novel view synthesis from as few as a single input image. Our model samples from the distribution of possible renderings consistent with the input and, even in the presence of ambiguity, is capable of rendering diverse and plausible novel views. To achieve this, our method makes use of existing 2D diffusion backbones but, crucially, incorporates geometry priors in the form of a 3D feature volume. This latent feature field captures the distribution over possible scene representations and improves our method's ability to generate view-consistent novel renderings. In addition to generating novel views, our method has the ability to autoregressively synthesize 3D-consistent sequences. We demonstrate state-of-the-art results on synthetic renderings and room-scale scenes; we also show compelling results for challenging, real-world objects.

Existing inverse rendering combined with neural rendering methods can only perform editable novel view synthesis on object-specific scenes, while we present intrinsic neural radiance fields, dubbed IntrinsicNeRF, which introduce intrinsic decomposition into the NeRF-based neural rendering method and can extend its application to room-scale scenes. Since intrinsic decomposition is a fundamentally under-constrained inverse problem, we propose a novel distance-aware point sampling and adaptive reflectance iterative clustering optimization method, which enables IntrinsicNeRF with traditional intrinsic decomposition constraints to be trained in an unsupervised manner, resulting in multi-view consistent intrinsic decomposition results. To cope with the problem that different adjacent instances of similar reflectance in a scene are incorrectly clustered together, we further propose a hierarchical clustering method with coarse-to-fine optimization to obtain a fast hierarchical indexing representation. It supports compelling real-time augmented applications such as recoloring and illumination variation. Extensive experiments and editing samples on both object-specific/room-scale scenes and synthetic/real-word data demonstrate that we can obtain consistent intrinsic decomposition results and high-fidelity novel view synthesis even for challenging sequences.

We propose L3DG, the first approach for generative 3D modeling of 3D Gaussians through a latent 3D Gaussian diffusion formulation. This enables effective generative 3D modeling, scaling to generation of entire room-scale scenes which can be very efficiently rendered. To enable effective synthesis of 3D Gaussians, we propose a latent diffusion formulation, operating in a compressed latent space of 3D Gaussians. This compressed latent space is learned by a vector-quantized variational autoencoder (VQ-VAE), for which we employ a sparse convolutional architecture to efficiently operate on room-scale scenes. This way, the complexity of the costly generation process via diffusion is substantially reduced, allowing higher detail on object-level generation, as well as scalability to large scenes. By leveraging the 3D Gaussian representation, the generated scenes can be rendered from arbitrary viewpoints in real-time. We demonstrate that our approach significantly improves visual quality over prior work on unconditional object-level radiance field synthesis and showcase its applicability to room-scale scene generation.

Implicit neural rendering, which uses signed distance function (SDF) representation with geometric priors (such as depth or surface normal), has led to impressive progress in the surface reconstruction of large-scale scenes. However, applying this method to reconstruct a room-level scene from images may miss structures in low-intensity areas or small and thin objects. We conducted experiments on three datasets to identify limitations of the original color rendering loss and priors-embedded SDF scene representation. We found that the color rendering loss results in optimization bias against low-intensity areas, causing gradient vanishing and leaving these areas unoptimized. To address this issue, we propose a feature-based color rendering loss that utilizes non-zero feature values to bring back optimization signals. Additionally, the SDF representation can be influenced by objects along a ray path, disrupting the monotonic change of SDF values when a single object is present. To counteract this, we explore using the occupancy representation, which encodes each point separately and is unaffected by objects along a querying ray. Our experimental results demonstrate that the joint forces of the feature-based rendering loss and Occ-SDF hybrid representation scheme can provide high-quality reconstruction results, especially in challenging room-level scenarios. The code would be released.

Understanding interior scenes has attracted enormous interest in computer vision community. However, few works focus on the understanding of furniture within the scenes and a large-scale dataset is also lacked to advance the field. In this paper, we first fill the gap by presenting DeepFurniture, a richly annotated large indoor scene dataset, including 24k indoor images, 170k furniture instances and 20k unique furniture identities. On the dataset, we introduce a new benchmark, named furniture set retrieval. Given an indoor photo as input, the task requires to detect all the furniture instances and search a matched set of furniture identities. To address this challenging task, we propose a feature and context embedding based framework. It contains 3 major contributions: (1) An improved Mask-RCNN model with an additional mask-based classifier is introduced for better utilizing the mask information to relieve the occlusion problems in furniture detection context. (2) A multi-task style Siamese network is proposed to train the feature embedding model for retrieval, which is composed of a classification subnet supervised by self-clustered pseudo attributes and a verification subnet to estimate whether the input pair is matched. (3) In order to model the relationship of the furniture entities in an interior design, a context embedding model is employed to re-rank the retrieval results. Extensive experiments demonstrate the effectiveness of each module and the overall system.

Given the steep learning curve of professional 3D software and the time-consuming process of managing large 3D assets, language-guided 3D scene editing has significant potential in fields such as virtual reality, augmented reality, and gaming. However, recent approaches to language-guided 3D scene editing either require manual interventions or focus only on appearance modifications without supporting comprehensive scene layout changes. In response, we propose Edit-Room, a unified framework capable of executing a variety of layout edits through natural language commands, without requiring manual intervention. Specifically, EditRoom leverages Large Language Models (LLMs) for command planning and generates target scenes using a diffusion-based method, enabling six types of edits: rotate, translate, scale, replace, add, and remove. To address the lack of data for language-guided 3D scene editing, we have developed an automatic pipeline to augment existing 3D scene synthesis datasets and introduced EditRoom-DB, a large-scale dataset with 83k editing pairs, for training and evaluation. Our experiments demonstrate that our approach consistently outperforms other baselines across all metrics, indicating higher accuracy and coherence in language-guided scene layout editing.

3D Vision-Language Pre-training (3D-VLP) aims to provide a pre-train model which can bridge 3D scenes with natural language, which is an important technique for embodied intelligence. However, current 3D-VLP datasets are hindered by limited scene-level diversity and insufficient fine-grained annotations (only 1.2K scenes and 280K textual annotations in ScanScribe), primarily due to the labor-intensive of collecting and annotating 3D scenes. To overcome these obstacles, we construct SynVL3D, a comprehensive synthetic scene-text corpus with 10K indoor scenes and 1M descriptions at object, view, and room levels, which has the advantages of diverse scene data, rich textual descriptions, multi-grained 3D-text associations, and low collection cost. Utilizing the rich annotations in SynVL3D, we pre-train a simple and unified Transformer for aligning 3D and language with multi-grained pretraining tasks. Moreover, we propose a synthetic-to-real domain adaptation in downstream task fine-tuning process to address the domain shift. Through extensive experiments, we verify the effectiveness of our model design by achieving state-of-the-art performance on downstream tasks including visual grounding, dense captioning, and question answering.

Text-driven 3D indoor scene generation could be useful for gaming, film industry, and AR/VR applications. However, existing methods cannot faithfully capture the room layout, nor do they allow flexible editing of individual objects in the room. To address these problems, we present Ctrl-Room, which is able to generate convincing 3D rooms with designer-style layouts and high-fidelity textures from just a text prompt. Moreover, Ctrl-Room enables versatile interactive editing operations such as resizing or moving individual furniture items. Our key insight is to separate the modeling of layouts and appearance. %how to model the room that takes into account both scene texture and geometry at the same time. To this end, Our proposed method consists of two stages, a `Layout Generation Stage' and an `Appearance Generation Stage'. The `Layout Generation Stage' trains a text-conditional diffusion model to learn the layout distribution with our holistic scene code parameterization. Next, the `Appearance Generation Stage' employs a fine-tuned ControlNet to produce a vivid panoramic image of the room guided by the 3D scene layout and text prompt. In this way, we achieve a high-quality 3D room with convincing layouts and lively textures. Benefiting from the scene code parameterization, we can easily edit the generated room model through our mask-guided editing module, without expensive editing-specific training. Extensive experiments on the Structured3D dataset demonstrate that our method outperforms existing methods in producing more reasonable, view-consistent, and editable 3D rooms from natural language prompts.

Indoor scene synthesis involves automatically picking and placing furniture appropriately on a floor plan, so that the scene looks realistic and is functionally plausible. Such scenes can serve as homes for immersive 3D experiences, or be used to train embodied agents. Existing methods for this task rely on labeled categories of furniture, e.g. bed, chair or table, to generate contextually relevant combinations of furniture. Whether heuristic or learned, these methods ignore instance-level visual attributes of objects, and as a result may produce visually less coherent scenes. In this paper, we introduce an auto-regressive scene model which can output instance-level predictions, using general purpose image embedding based on CLIP. This allows us to learn visual correspondences such as matching color and style, and produce more functionally plausible and aesthetically pleasing scenes. Evaluated on the 3D-FRONT dataset, our model achieves SOTA results in scene synthesis and improves auto-completion metrics by over 50%. Moreover, our embedding-based approach enables zero-shot text-guided scene synthesis and editing, which easily generalizes to furniture not seen during training.

The creation of complex 3D scenes tailored to user specifications has been a tedious and challenging task with traditional 3D modeling tools. Although some pioneering methods have achieved automatic text-to-3D generation, they are generally limited to small-scale scenes with restricted control over the shape and texture. We introduce SceneCraft, a novel method for generating detailed indoor scenes that adhere to textual descriptions and spatial layout preferences provided by users. Central to our method is a rendering-based technique, which converts 3D semantic layouts into multi-view 2D proxy maps. Furthermore, we design a semantic and depth conditioned diffusion model to generate multi-view images, which are used to learn a neural radiance field (NeRF) as the final scene representation. Without the constraints of panorama image generation, we surpass previous methods in supporting complicated indoor space generation beyond a single room, even as complicated as a whole multi-bedroom apartment with irregular shapes and layouts. Through experimental analysis, we demonstrate that our method significantly outperforms existing approaches in complex indoor scene generation with diverse textures, consistent geometry, and realistic visual quality. Code and more results are available at: https://orangesodahub.github.io/SceneCraft

The advancement of diffusion models has pushed the boundary of text-to-3D object generation. While it is straightforward to composite objects into a scene with reasonable geometry, it is nontrivial to texture such a scene perfectly due to style inconsistency and occlusions between objects. To tackle these problems, we propose a coarse-to-fine 3D scene texturing framework, referred to as RoomTex, to generate high-fidelity and style-consistent textures for untextured compositional scene meshes. In the coarse stage, RoomTex first unwraps the scene mesh to a panoramic depth map and leverages ControlNet to generate a room panorama, which is regarded as the coarse reference to ensure the global texture consistency. In the fine stage, based on the panoramic image and perspective depth maps, RoomTex will refine and texture every single object in the room iteratively along a series of selected camera views, until this object is completely painted. Moreover, we propose to maintain superior alignment between RGB and depth spaces via subtle edge detection methods. Extensive experiments show our method is capable of generating high-quality and diverse room textures, and more importantly, supporting interactive fine-grained texture control and flexible scene editing thanks to our inpainting-based framework and compositional mesh input. Our project page is available at https://qwang666.github.io/RoomTex/.

We address the problem of detecting and erasing furniture from a wide angle photograph of a room. Inpainting large regions of an indoor scene often results in geometric inconsistencies of background elements within the inpaint mask. To address this problem, we utilize perceptual information (e.g. instance segmentation, and room layout) to produce a geometrically consistent empty version of a room. We share important details to make this system viable, such as per-plane inpainting, automatic rectification, and texture refinement. We provide detailed ablation along with qualitative examples, justifying our design choices. We show an application of our system by removing real furniture from a room and redecorating it with virtual furniture.

Based on the Manhattan World assumption, most existing indoor layout estimation schemes focus on recovering layouts from vertically compressed 1D sequences. However, the compression procedure confuses the semantics of different planes, yielding inferior performance with ambiguous interpretability. To address this issue, we propose to disentangle this 1D representation by pre-segmenting orthogonal (vertical and horizontal) planes from a complex scene, explicitly capturing the geometric cues for indoor layout estimation. Considering the symmetry between the floor boundary and ceiling boundary, we also design a soft-flipping fusion strategy to assist the pre-segmentation. Besides, we present a feature assembling mechanism to effectively integrate shallow and deep features with distortion distribution awareness. To compensate for the potential errors in pre-segmentation, we further leverage triple attention to reconstruct the disentangled sequences for better performance. Experiments on four popular benchmarks demonstrate our superiority over existing SoTA solutions, especially on the 3DIoU metric. The code is available at https://github.com/zhijieshen-bjtu/DOPNet.

We present a method for creating 3D indoor scenes with a generative model learned from a collection of semantic-segmented depth images captured from different unknown scenes. Given a room with a specified size, our method automatically generates 3D objects in a room from a randomly sampled latent code. Different from existing methods that represent an indoor scene with the type, location, and other properties of objects in the room and learn the scene layout from a collection of complete 3D indoor scenes, our method models each indoor scene as a 3D semantic scene volume and learns a volumetric generative adversarial network (GAN) from a collection of 2.5D partial observations of 3D scenes. To this end, we apply a differentiable projection layer to project the generated 3D semantic scene volumes into semantic-segmented depth images and design a new multiple-view discriminator for learning the complete 3D scene volume from 2.5D semantic-segmented depth images. Compared to existing methods, our method not only efficiently reduces the workload of modeling and acquiring 3D scenes for training, but also produces better object shapes and their detailed layouts in the scene. We evaluate our method with different indoor scene datasets and demonstrate the advantages of our method. We also extend our method for generating 3D indoor scenes from semantic-segmented depth images inferred from RGB images of real scenes.

This paper focuses on the task of room layout estimation from a monocular RGB image. Prior works break the problem into two sub-tasks: semantic segmentation of floor, walls, ceiling to produce layout hypotheses, followed by an iterative optimization step to rank these hypotheses. In contrast, we adopt a more direct formulation of this problem as one of estimating an ordered set of room layout keypoints. The room layout and the corresponding segmentation is completely specified given the locations of these ordered keypoints. We predict the locations of the room layout keypoints using RoomNet, an end-to-end trainable encoder-decoder network. On the challenging benchmark datasets Hedau and LSUN, we achieve state-of-the-art performance along with 200x to 600x speedup compared to the most recent work. Additionally, we present optional extensions to the RoomNet architecture such as including recurrent computations and memory units to refine the keypoint locations under the same parametric capacity.

The techniques for 3D indoor scene capturing are widely used, but the meshes produced leave much to be desired. In this paper, we propose "RoomDreamer", which leverages powerful natural language to synthesize a new room with a different style. Unlike existing image synthesis methods, our work addresses the challenge of synthesizing both geometry and texture aligned to the input scene structure and prompt simultaneously. The key insight is that a scene should be treated as a whole, taking into account both scene texture and geometry. The proposed framework consists of two significant components: Geometry Guided Diffusion and Mesh Optimization. Geometry Guided Diffusion for 3D Scene guarantees the consistency of the scene style by applying the 2D prior to the entire scene simultaneously. Mesh Optimization improves the geometry and texture jointly and eliminates the artifacts in the scanned scene. To validate the proposed method, real indoor scenes scanned with smartphones are used for extensive experiments, through which the effectiveness of our method is demonstrated.

We introduce 3D-FRONT (3D Furnished Rooms with layOuts and semaNTics), a new, large-scale, and comprehensive repository of synthetic indoor scenes highlighted by professionally designed layouts and a large number of rooms populated by high-quality textured 3D models with style compatibility. From layout semantics down to texture details of individual objects, our dataset is freely available to the academic community and beyond. Currently, 3D-FRONT contains 18,968 rooms diversely furnished by 3D objects, far surpassing all publicly available scene datasets. In addition, the 13,151 furniture objects all come with high-quality textures. While the floorplans and layout designs are directly sourced from professional creations, the interior designs in terms of furniture styles, color, and textures have been carefully curated based on a recommender system we develop to attain consistent styles as expert designs. Furthermore, we release Trescope, a light-weight rendering tool, to support benchmark rendering of 2D images and annotations from 3D-FRONT. We demonstrate two applications, interior scene synthesis and texture synthesis, that are especially tailored to the strengths of our new dataset. The project page is at: https://tianchi.aliyun.com/specials/promotion/alibaba-3d-scene-dataset.

Camera-based 3D occupancy prediction has recently garnered increasing attention in outdoor driving scenes. However, research in indoor scenes remains relatively unexplored. The core differences in indoor scenes lie in the complexity of scene scale and the variance in object size. In this paper, we propose a novel method, named ISO, for predicting indoor scene occupancy using monocular images. ISO harnesses the advantages of a pretrained depth model to achieve accurate depth predictions. Furthermore, we introduce the Dual Feature Line of Sight Projection (D-FLoSP) module within ISO, which enhances the learning of 3D voxel features. To foster further research in this domain, we introduce Occ-ScanNet, a large-scale occupancy benchmark for indoor scenes. With a dataset size 40 times larger than the NYUv2 dataset, it facilitates future scalable research in indoor scene analysis. Experimental results on both NYUv2 and Occ-ScanNet demonstrate that our method achieves state-of-the-art performance. The dataset and code are made publicly at https://github.com/hongxiaoy/ISO.git.

Designing high-quality indoor 3D scenes is important in many practical applications, such as room planning or game development. Conventionally, this has been a time-consuming process which requires both artistic skill and familiarity with professional software, making it hardly accessible for layman users. However, recent advances in generative AI have established solid foundation for democratizing 3D design. In this paper, we propose a pioneering approach for text-based 3D room design. Given a prompt in natural language describing the object placement in the room, our method produces a high-quality 3D scene corresponding to it. With an additional text prompt the users can change the appearance of the entire scene or of individual objects in it. Built using in-context learning, CAD model retrieval and 3D-Gaussian-Splatting-based stylization, our turnkey pipeline produces state-of-the-art 3D scenes, while being easy to use even for novices. Our project page is available at https://sceneteller.github.io/.

We present a system for generating indoor scenes in response to text prompts. The prompts are not limited to a fixed vocabulary of scene descriptions, and the objects in generated scenes are not restricted to a fixed set of object categories -- we call this setting indoor scene generation. Unlike most prior work on indoor scene generation, our system does not require a large training dataset of existing 3D scenes. Instead, it leverages the world knowledge encoded in pre-trained large language models (LLMs) to synthesize programs in a domain-specific layout language that describe objects and spatial relations between them. Executing such a program produces a specification of a constraint satisfaction problem, which the system solves using a gradient-based optimization scheme to produce object positions and orientations. To produce object geometry, the system retrieves 3D meshes from a database. Unlike prior work which uses databases of category-annotated, mutually-aligned meshes, we develop a pipeline using vision-language models (VLMs) to retrieve meshes from massive databases of un-annotated, inconsistently-aligned meshes. Experimental evaluations show that our system outperforms generative models trained on 3D data for traditional, closed-universe scene generation tasks; it also outperforms a recent LLM-based layout generation method on open-universe scene generation.

Computer vision was long a tool used for aiding visually impaired people to move around their environment and avoid obstacles and falls. Solutions are limited to either indoor or outdoor scenes, which limits the kind of places and scenes visually disabled people can be in, including entertainment places such as theatres. Furthermore, most of the proposed computer-vision-based methods rely on RGB benchmarks to train their models resulting in a limited performance due to the absence of the depth modality. In this paper, we propose a novel RGB-D dataset containing theatre scenes with ground truth human actions and dense captions annotations for image captioning and human action recognition: TS-RGBD dataset. It includes three types of data: RGB, depth, and skeleton sequences, captured by Microsoft Kinect. We test image captioning models on our dataset as well as some skeleton-based human action recognition models in order to extend the range of environment types where a visually disabled person can be, by detecting human actions and textually describing appearances of regions of interest in theatre scenes.

Scaling up the size of vision models has been the de facto standard to obtain more powerful visual representations. In this work, we discuss the point beyond which larger vision models are not necessary. First, we demonstrate the power of Scaling on Scales (S^2), whereby a pre-trained and frozen smaller vision model (e.g., ViT-B or ViT-L), run over multiple image scales, can outperform larger models (e.g., ViT-H or ViT-G) on classification, segmentation, depth estimation, Multimodal LLM (MLLM) benchmarks, and robotic manipulation. Notably, S^2 achieves state-of-the-art performance in detailed understanding of MLLM on the V* benchmark, surpassing models such as GPT-4V. We examine the conditions under which S^2 is a preferred scaling approach compared to scaling on model size. While larger models have the advantage of better generalization on hard examples, we show that features of larger vision models can be well approximated by those of multi-scale smaller models. This suggests most, if not all, of the representations learned by current large pre-trained models can also be obtained from multi-scale smaller models. Our results show that a multi-scale smaller model has comparable learning capacity to a larger model, and pre-training smaller models with S^2 can match or even exceed the advantage of larger models. We release a Python package that can apply S^2 on any vision model with one line of code: https://github.com/bfshi/scaling_on_scales.

Controllable 3D indoor scene synthesis stands at the forefront of technological progress, offering various applications like gaming, film, and augmented/virtual reality. The capability to stylize and de-couple objects within these scenarios is a crucial factor, providing an advanced level of control throughout the editing process. This control extends not just to manipulating geometric attributes like translation and scaling but also includes managing appearances, such as stylization. Current methods for scene stylization are limited to applying styles to the entire scene, without the ability to separate and customize individual objects. Addressing the intricacies of this challenge, we introduce a unique pipeline designed for synthesis 3D indoor scenes. Our approach involves strategically placing objects within the scene, utilizing information from professionally designed bounding boxes. Significantly, our pipeline prioritizes maintaining style consistency across multiple objects within the scene, ensuring a cohesive and visually appealing result aligned with the desired aesthetic. The core strength of our pipeline lies in its ability to generate 3D scenes that are not only visually impressive but also exhibit features like photorealism, multi-view consistency, and diversity. These scenes are crafted in response to various natural language prompts, demonstrating the versatility and adaptability of our model.

In this paper, we address the problem of conditional scene decoration for 360-degree images. Our method takes a 360-degree background photograph of an indoor scene and generates decorated images of the same scene in the panorama view. To do this, we develop a 360-aware object layout generator that learns latent object vectors in the 360-degree view to enable a variety of furniture arrangements for an input 360-degree background image. We use this object layout to condition a generative adversarial network to synthesize images of an input scene. To further reinforce the generation capability of our model, we develop a simple yet effective scene emptier that removes the generated furniture and produces an emptied scene for our model to learn a cyclic constraint. We train the model on the Structure3D dataset and show that our model can generate diverse decorations with controllable object layout. Our method achieves state-of-the-art performance on the Structure3D dataset and generalizes well to the Zillow indoor scene dataset. Our user study confirms the immersive experiences provided by the realistic image quality and furniture layout in our generation results. Our implementation will be made available.

The reconstruction of indoor scenes remains challenging due to the inherent complexity of spatial structures and the prevalence of textureless regions. Recent advancements in 3D Gaussian Splatting have improved novel view synthesis with accelerated processing but have yet to deliver comparable performance in surface reconstruction. In this paper, we introduce 2DGS-Room, a novel method leveraging 2D Gaussian Splatting for high-fidelity indoor scene reconstruction. Specifically, we employ a seed-guided mechanism to control the distribution of 2D Gaussians, with the density of seed points dynamically optimized through adaptive growth and pruning mechanisms. To further improve geometric accuracy, we incorporate monocular depth and normal priors to provide constraints for details and textureless regions respectively. Additionally, multi-view consistency constraints are employed to mitigate artifacts and further enhance reconstruction quality. Extensive experiments on ScanNet and ScanNet++ datasets demonstrate that our method achieves state-of-the-art performance in indoor scene reconstruction.

This paper presents a new approach to recognize elements in floor plan layouts. Besides walls and rooms, we aim to recognize diverse floor plan elements, such as doors, windows and different types of rooms, in the floor layouts. To this end, we model a hierarchy of floor plan elements and design a deep multi-task neural network with two tasks: one to learn to predict room-boundary elements, and the other to predict rooms with types. More importantly, we formulate the room-boundary-guided attention mechanism in our spatial contextual module to carefully take room-boundary features into account to enhance the room-type predictions. Furthermore, we design a cross-and-within-task weighted loss to balance the multi-label tasks and prepare two new datasets for floor plan recognition. Experimental results demonstrate the superiority and effectiveness of our network over the state-of-the-art methods.

We present Text2Room, a method for generating room-scale textured 3D meshes from a given text prompt as input. To this end, we leverage pre-trained 2D text-to-image models to synthesize a sequence of images from different poses. In order to lift these outputs into a consistent 3D scene representation, we combine monocular depth estimation with a text-conditioned inpainting model. The core idea of our approach is a tailored viewpoint selection such that the content of each image can be fused into a seamless, textured 3D mesh. More specifically, we propose a continuous alignment strategy that iteratively fuses scene frames with the existing geometry to create a seamless mesh. Unlike existing works that focus on generating single objects or zoom-out trajectories from text, our method generates complete 3D scenes with multiple objects and explicit 3D geometry. We evaluate our approach using qualitative and quantitative metrics, demonstrating it as the first method to generate room-scale 3D geometry with compelling textures from only text as input.

Simulated virtual environments have been widely used to learn robotic agents that perform daily household tasks. These environments encourage research progress by far, but often provide limited object interactability, visual appearance different from real-world environments, or relatively smaller environment sizes. This prevents the learned models in the virtual scenes from being readily deployable. To bridge the gap between these learning environments and deploying (i.e., real) environments, we propose the ReALFRED benchmark that employs real-world scenes, objects, and room layouts to learn agents to complete household tasks by understanding free-form language instructions and interacting with objects in large, multi-room and 3D-captured scenes. Specifically, we extend the ALFRED benchmark with updates for larger environmental spaces with smaller visual domain gaps. With ReALFRED, we analyze previously crafted methods for the ALFRED benchmark and observe that they consistently yield lower performance in all metrics, encouraging the community to develop methods in more realistic environments. Our code and data are publicly available.

Recently, Vision Language Models (VLMs) have experienced significant advancements, yet these models still face challenges in spatial hierarchical reasoning within indoor scenes. In this study, we introduce ROOT, a VLM-based system designed to enhance the analysis of indoor scenes. Specifically, we first develop an iterative object perception algorithm using GPT-4V to detect object entities within indoor scenes. This is followed by employing vision foundation models to acquire additional meta-information about the scene, such as bounding boxes. Building on this foundational data, we propose a specialized VLM, SceneVLM, which is capable of generating spatial hierarchical scene graphs and providing distance information for objects within indoor environments. This information enhances our understanding of the spatial arrangement of indoor scenes. To train our SceneVLM, we collect over 610,000 images from various public indoor datasets and implement a scene data generation pipeline with a semi-automated technique to establish relationships and estimate distances among indoor objects. By utilizing this enriched data, we conduct various training recipes and finish SceneVLM. Our experiments demonstrate that \rootname facilitates indoor scene understanding and proves effective in diverse downstream applications, such as 3D scene generation and embodied AI. The code will be released at https://github.com/harrytea/ROOT.

Recent approaches representing 3D objects and scenes using Gaussian splats show increased rendering speed across a variety of platforms and devices. While rendering such representations is indeed extremely efficient, storing and transmitting them is often prohibitively expensive. To represent large-scale scenes, one often needs to store millions of 3D Gaussians, occupying gigabytes of disk space. This poses a very practical limitation, prohibiting widespread adoption.Several solutions have been proposed to strike a balance between disk size and rendering quality, noticeably reducing the visual quality. In this work, we propose a new representation that dramatically reduces the hard drive footprint while featuring similar or improved quality when compared to the standard 3D Gaussian splats. When compared to other compact solutions, ours offers higher quality renderings with significantly reduced storage, being able to efficiently run on a mobile device in real-time. Our key observation is that nearby points in the scene can share similar representations. Hence, only a small ratio of 3D points needs to be stored. We introduce an approach to identify such points which are called parent points. The discarded points called children points along with attributes can be efficiently predicted by tiny MLPs.

An image, especially with high-resolution, typically consists of numerous visual elements, ranging from dominant large objects to fine-grained detailed objects. When perceiving such images, multimodal large language models~(MLLMs) face limitations due to the restricted input resolution of the pretrained vision encoder and the cluttered, dense context of the image, resulting in a focus on primary objects while easily overlooking detailed ones. In this paper, we propose Zoom Eye, a tree search algorithm designed to navigate the hierarchical and visual nature of images to capture relevant information. Zoom Eye conceptualizes an image as a tree, with each children node representing a zoomed sub-patch of the parent node and the root represents the overall image. Moreover, Zoom Eye is model-agnostic and training-free, so it enables any MLLMs to simulate human zooming actions by searching along the image tree from root to leaf nodes, seeking out pertinent information, and accurately responding to related queries. We experiment on a series of elaborate high-resolution benchmarks and the results demonstrate that Zoom Eye not only consistently improves the performance of a series base MLLMs with large margin~(e.g., LLaVA-v1.5-7B increases by 34.57\% on V^* Bench and 17.88\% on HR-Bench), but also enables small 7B MLLMs to outperform strong large models such as GPT-4o. Our code is available at https://github.com/om-ai-lab/ZoomEye{https://github.com/om-ai-lab/ZoomEye}.

Estimating depth from a single image is a challenging visual task. Compared to relative depth estimation, metric depth estimation attracts more attention due to its practical physical significance and critical applications in real-life scenarios. However, existing metric depth estimation methods are typically trained on specific datasets with similar scenes, facing challenges in generalizing across scenes with significant scale variations. To address this challenge, we propose a novel monocular depth estimation method called ScaleDepth. Our method decomposes metric depth into scene scale and relative depth, and predicts them through a semantic-aware scale prediction (SASP) module and an adaptive relative depth estimation (ARDE) module, respectively. The proposed ScaleDepth enjoys several merits. First, the SASP module can implicitly combine structural and semantic features of the images to predict precise scene scales. Second, the ARDE module can adaptively estimate the relative depth distribution of each image within a normalized depth space. Third, our method achieves metric depth estimation for both indoor and outdoor scenes in a unified framework, without the need for setting the depth range or fine-tuning model. Extensive experiments demonstrate that our method attains state-of-the-art performance across indoor, outdoor, unconstrained, and unseen scenes. Project page: https://ruijiezhu94.github.io/ScaleDepth

We introduce the Scene Language, a visual scene representation that concisely and precisely describes the structure, semantics, and identity of visual scenes. It represents a scene with three key components: a program that specifies the hierarchical and relational structure of entities in the scene, words in natural language that summarize the semantic class of each entity, and embeddings that capture the visual identity of each entity. This representation can be inferred from pre-trained language models via a training-free inference technique, given text or image inputs. The resulting scene can be rendered into images using traditional, neural, or hybrid graphics renderers. Together, this forms a robust, automated system for high-quality 3D and 4D scene generation. Compared with existing representations like scene graphs, our proposed Scene Language generates complex scenes with higher fidelity, while explicitly modeling the scene structures to enable precise control and editing.

Learning-based methods have become increasingly popular in 3D indoor scene synthesis (ISS), showing superior performance over traditional optimization-based approaches. These learning-based methods typically model distributions on simple yet explicit scene representations using generative models. However, due to the oversimplified explicit representations that overlook detailed information and the lack of guidance from multimodal relationships within the scene, most learning-based methods struggle to generate indoor scenes with realistic object arrangements and styles. In this paper, we introduce a new method, Scene Implicit Neural Field (S-INF), for indoor scene synthesis, aiming to learn meaningful representations of multimodal relationships, to enhance the realism of indoor scene synthesis. S-INF assumes that the scene layout is often related to the object-detailed information. It disentangles the multimodal relationships into scene layout relationships and detailed object relationships, fusing them later through implicit neural fields (INFs). By learning specialized scene layout relationships and projecting them into S-INF, we achieve a realistic generation of scene layout. Additionally, S-INF captures dense and detailed object relationships through differentiable rendering, ensuring stylistic consistency across objects. Through extensive experiments on the benchmark 3D-FRONT dataset, we demonstrate that our method consistently achieves state-of-the-art performance under different types of ISS.

Can we relocalize in a scene represented by a single reference image? Standard visual relocalization requires hundreds of images and scale calibration to build a scene-specific 3D map. In contrast, we propose Map-free Relocalization, i.e., using only one photo of a scene to enable instant, metric scaled relocalization. Existing datasets are not suitable to benchmark map-free relocalization, due to their focus on large scenes or their limited variability. Thus, we have constructed a new dataset of 655 small places of interest, such as sculptures, murals and fountains, collected worldwide. Each place comes with a reference image to serve as a relocalization anchor, and dozens of query images with known, metric camera poses. The dataset features changing conditions, stark viewpoint changes, high variability across places, and queries with low to no visual overlap with the reference image. We identify two viable families of existing methods to provide baseline results: relative pose regression, and feature matching combined with single-image depth prediction. While these methods show reasonable performance on some favorable scenes in our dataset, map-free relocalization proves to be a challenge that requires new, innovative solutions.

Designing 3D indoor layouts is a crucial task with significant applications in virtual reality, interior design, and automated space planning. Existing methods for 3D layout design either rely on diffusion models, which utilize spatial relationship priors, or heavily leverage the inferential capabilities of proprietary Large Language Models (LLMs), which require extensive prompt engineering and in-context exemplars via black-box trials. These methods often face limitations in generalization and dynamic scene editing. In this paper, we introduce LLplace, a novel 3D indoor scene layout designer based on lightweight fine-tuned open-source LLM Llama3. LLplace circumvents the need for spatial relationship priors and in-context exemplars, enabling efficient and credible room layout generation based solely on user inputs specifying the room type and desired objects. We curated a new dialogue dataset based on the 3D-Front dataset, expanding the original data volume and incorporating dialogue data for adding and removing objects. This dataset can enhance the LLM's spatial understanding. Furthermore, through dialogue, LLplace activates the LLM's capability to understand 3D layouts and perform dynamic scene editing, enabling the addition and removal of objects. Our approach demonstrates that LLplace can effectively generate and edit 3D indoor layouts interactively and outperform existing methods in delivering high-quality 3D design solutions. Code and dataset will be released.

Image-based relighting of indoor rooms creates an immersive virtual understanding of the space, which is useful for interior design, virtual staging, and real estate. Relighting indoor rooms from a single image is especially challenging due to complex illumination interactions between multiple lights and cluttered objects featuring a large variety in geometrical and material complexity. Recently, generative models have been successfully applied to image-based relighting conditioned on a target image or a latent code, albeit without detailed local lighting control. In this paper, we introduce ScribbleLight, a generative model that supports local fine-grained control of lighting effects through scribbles that describe changes in lighting. Our key technical novelty is an Albedo-conditioned Stable Image Diffusion model that preserves the intrinsic color and texture of the original image after relighting and an encoder-decoder-based ControlNet architecture that enables geometry-preserving lighting effects with normal map and scribble annotations. We demonstrate ScribbleLight's ability to create different lighting effects (e.g., turning lights on/off, adding highlights, cast shadows, or indirect lighting from unseen lights) from sparse scribble annotations.

We address the dual problems of novel view synthesis and environment reconstruction from hand-held RGBD sensors. Our contributions include 1) modeling highly specular objects, 2) modeling inter-reflections and Fresnel effects, and 3) enabling surface light field reconstruction with the same input needed to reconstruct shape alone. In cases where scene surface has a strong mirror-like material component, we generate highly detailed environment images, revealing room composition, objects, people, buildings, and trees visible through windows. Our approach yields state of the art view synthesis techniques, operates on low dynamic range imagery, and is robust to geometric and calibration errors.

Inspired by cognitive theories, we introduce AnyHome, a framework that translates any text into well-structured and textured indoor scenes at a house-scale. By prompting Large Language Models (LLMs) with designed templates, our approach converts provided textual narratives into amodal structured representations. These representations guarantee consistent and realistic spatial layouts by directing the synthesis of a geometry mesh within defined constraints. A Score Distillation Sampling process is then employed to refine the geometry, followed by an egocentric inpainting process that adds lifelike textures to it. AnyHome stands out with its editability, customizability, diversity, and realism. The structured representations for scenes allow for extensive editing at varying levels of granularity. Capable of interpreting texts ranging from simple labels to detailed narratives, AnyHome generates detailed geometries and textures that outperform existing methods in both quantitative and qualitative measures.

Creating large-scale interactive 3D environments is essential for the development of Robotics and Embodied AI research. Current methods, including manual design, procedural generation, diffusion-based scene generation, and large language model (LLM) guided scene design, are hindered by limitations such as excessive human effort, reliance on predefined rules or training datasets, and limited 3D spatial reasoning ability. Since pre-trained 2D image generative models better capture scene and object configuration than LLMs, we address these challenges by introducing Architect, a generative framework that creates complex and realistic 3D embodied environments leveraging diffusion-based 2D image inpainting. In detail, we utilize foundation visual perception models to obtain each generated object from the image and leverage pre-trained depth estimation models to lift the generated 2D image to 3D space. Our pipeline is further extended to a hierarchical and iterative inpainting process to continuously generate placement of large furniture and small objects to enrich the scene. This iterative structure brings the flexibility for our method to generate or refine scenes from various starting points, such as text, floor plans, or pre-arranged environments.

Three-dimensional (3D) understanding of objects and scenes play a key role in humans' ability to interact with the world and has been an active area of research in computer vision, graphics, and robotics. Large scale synthetic and object-centric 3D datasets have shown to be effective in training models that have 3D understanding of objects. However, applying a similar approach to real-world objects and scenes is difficult due to a lack of large-scale data. Videos are a potential source for real-world 3D data, but finding diverse yet corresponding views of the same content has shown to be difficult at scale. Furthermore, standard videos come with fixed viewpoints, determined at the time of capture. This restricts the ability to access scenes from a variety of more diverse and potentially useful perspectives. We argue that large scale 360 videos can address these limitations to provide: scalable corresponding frames from diverse views. In this paper, we introduce 360-1M, a 360 video dataset, and a process for efficiently finding corresponding frames from diverse viewpoints at scale. We train our diffusion-based model, Odin, on 360-1M. Empowered by the largest real-world, multi-view dataset to date, Odin is able to freely generate novel views of real-world scenes. Unlike previous methods, Odin can move the camera through the environment, enabling the model to infer the geometry and layout of the scene. Additionally, we show improved performance on standard novel view synthesis and 3D reconstruction benchmarks.

Manually creating 3D environments for AR/VR applications is a complex process requiring expert knowledge in 3D modeling software. Pioneering works facilitate this process by generating room meshes conditioned on textual style descriptions. Yet, many of these automatically generated 3D meshes do not adhere to typical room layouts, compromising their plausibility, e.g., by placing several beds in one bedroom. To address these challenges, we present ControlRoom3D, a novel method to generate high-quality room meshes. Central to our approach is a user-defined 3D semantic proxy room that outlines a rough room layout based on semantic bounding boxes and a textual description of the overall room style. Our key insight is that when rendered to 2D, this 3D representation provides valuable geometric and semantic information to control powerful 2D models to generate 3D consistent textures and geometry that aligns well with the proxy room. Backed up by an extensive study including quantitative metrics and qualitative user evaluations, our method generates diverse and globally plausible 3D room meshes, thus empowering users to design 3D rooms effortlessly without specialized knowledge.

Light plays an important role in human well-being. However, most computer vision tasks treat pixels without considering their relationship to physical luminance. To address this shortcoming, we introduce the Laval Photometric Indoor HDR Dataset, the first large-scale photometrically calibrated dataset of high dynamic range 360{\deg} panoramas. Our key contribution is the calibration of an existing, uncalibrated HDR Dataset. We do so by accurately capturing RAW bracketed exposures simultaneously with a professional photometric measurement device (chroma meter) for multiple scenes across a variety of lighting conditions. Using the resulting measurements, we establish the calibration coefficients to be applied to the HDR images. The resulting dataset is a rich representation of indoor scenes which displays a wide range of illuminance and color, and varied types of light sources. We exploit the dataset to introduce three novel tasks, where: per-pixel luminance, per-pixel color and planar illuminance can be predicted from a single input image. Finally, we also capture another smaller photometric dataset with a commercial 360{\deg} camera, to experiment on generalization across cameras. We are optimistic that the release of our datasets and associated code will spark interest in physically accurate light estimation within the community. Dataset and code are available at https://lvsn.github.io/beyondthepixel/.

Convolutional Neural Networks (CNNs) have made remarkable progress on scene recognition, partially due to these recent large-scale scene datasets, such as the Places and Places2. Scene categories are often defined by multi-level information, including local objects, global layout, and background environment, thus leading to large intra-class variations. In addition, with the increasing number of scene categories, label ambiguity has become another crucial issue in large-scale classification. This paper focuses on large-scale scene recognition and makes two major contributions to tackle these issues. First, we propose a multi-resolution CNN architecture that captures visual content and structure at multiple levels. The multi-resolution CNNs are composed of coarse resolution CNNs and fine resolution CNNs, which are complementary to each other. Second, we design two knowledge guided disambiguation techniques to deal with the problem of label ambiguity. (i) We exploit the knowledge from the confusion matrix computed on validation data to merge ambiguous classes into a super category. (ii) We utilize the knowledge of extra networks to produce a soft label for each image. Then the super categories or soft labels are employed to guide CNN training on the Places2. We conduct extensive experiments on three large-scale image datasets (ImageNet, Places, and Places2), demonstrating the effectiveness of our approach. Furthermore, our method takes part in two major scene recognition challenges, and achieves the second place at the Places2 challenge in ILSVRC 2015, and the first place at the LSUN challenge in CVPR 2016. Finally, we directly test the learned representations on other scene benchmarks, and obtain the new state-of-the-art results on the MIT Indoor67 (86.7\%) and SUN397 (72.0\%). We release the code and models at~https://github.com/wanglimin/MRCNN-Scene-Recognition.

We introduce SceneScript, a method that directly produces full scene models as a sequence of structured language commands using an autoregressive, token-based approach. Our proposed scene representation is inspired by recent successes in transformers & LLMs, and departs from more traditional methods which commonly describe scenes as meshes, voxel grids, point clouds or radiance fields. Our method infers the set of structured language commands directly from encoded visual data using a scene language encoder-decoder architecture. To train SceneScript, we generate and release a large-scale synthetic dataset called Aria Synthetic Environments consisting of 100k high-quality in-door scenes, with photorealistic and ground-truth annotated renders of egocentric scene walkthroughs. Our method gives state-of-the art results in architectural layout estimation, and competitive results in 3D object detection. Lastly, we explore an advantage for SceneScript, which is the ability to readily adapt to new commands via simple additions to the structured language, which we illustrate for tasks such as coarse 3D object part reconstruction.

This paper introduces SceneCraft, a Large Language Model (LLM) Agent converting text descriptions into Blender-executable Python scripts which render complex scenes with up to a hundred 3D assets. This process requires complex spatial planning and arrangement. We tackle these challenges through a combination of advanced abstraction, strategic planning, and library learning. SceneCraft first models a scene graph as a blueprint, detailing the spatial relationships among assets in the scene. SceneCraft then writes Python scripts based on this graph, translating relationships into numerical constraints for asset layout. Next, SceneCraft leverages the perceptual strengths of vision-language foundation models like GPT-V to analyze rendered images and iteratively refine the scene. On top of this process, SceneCraft features a library learning mechanism that compiles common script functions into a reusable library, facilitating continuous self-improvement without expensive LLM parameter tuning. Our evaluation demonstrates that SceneCraft surpasses existing LLM-based agents in rendering complex scenes, as shown by its adherence to constraints and favorable human assessments. We also showcase the broader application potential of SceneCraft by reconstructing detailed 3D scenes from the Sintel movie and guiding a video generative model with generated scenes as intermediary control signal.

We present a method that uses a text-to-image model to generate consistent content across multiple image scales, enabling extreme semantic zooms into a scene, e.g., ranging from a wide-angle landscape view of a forest to a macro shot of an insect sitting on one of the tree branches. We achieve this through a joint multi-scale diffusion sampling approach that encourages consistency across different scales while preserving the integrity of each individual sampling process. Since each generated scale is guided by a different text prompt, our method enables deeper levels of zoom than traditional super-resolution methods that may struggle to create new contextual structure at vastly different scales. We compare our method qualitatively with alternative techniques in image super-resolution and outpainting, and show that our method is most effective at generating consistent multi-scale content.

We present ScanNet++, a large-scale dataset that couples together capture of high-quality and commodity-level geometry and color of indoor scenes. Each scene is captured with a high-end laser scanner at sub-millimeter resolution, along with registered 33-megapixel images from a DSLR camera, and RGB-D streams from an iPhone. Scene reconstructions are further annotated with an open vocabulary of semantics, with label-ambiguous scenarios explicitly annotated for comprehensive semantic understanding. ScanNet++ enables a new real-world benchmark for novel view synthesis, both from high-quality RGB capture, and importantly also from commodity-level images, in addition to a new benchmark for 3D semantic scene understanding that comprehensively encapsulates diverse and ambiguous semantic labeling scenarios. Currently, ScanNet++ contains 460 scenes, 280,000 captured DSLR images, and over 3.7M iPhone RGBD frames.

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 describe a method to parse a complex, cluttered indoor scene into primitives which offer a parsimonious abstraction of scene structure. Our primitives are simple convexes. Our method uses a learned regression procedure to parse a scene into a fixed number of convexes from RGBD input, and can optionally accept segmentations to improve the decomposition. The result is then polished with a descent method which adjusts the convexes to produce a very good fit, and greedily removes superfluous primitives. Because the entire scene is parsed, we can evaluate using traditional depth, normal, and segmentation error metrics. Our evaluation procedure demonstrates that the error from our primitive representation is comparable to that of predicting depth from a single image.

We address the problem of generating videos from unposed internet photos. A handful of input images serve as keyframes, and our model interpolates between them to simulate a path moving between the cameras. Given random images, a model's ability to capture underlying geometry, recognize scene identity, and relate frames in terms of camera position and orientation reflects a fundamental understanding of 3D structure and scene layout. However, existing video models such as Luma Dream Machine fail at this task. We design a self-supervised method that takes advantage of the consistency of videos and variability of multiview internet photos to train a scalable, 3D-aware video model without any 3D annotations such as camera parameters. We validate that our method outperforms all baselines in terms of geometric and appearance consistency. We also show our model benefits applications that enable camera control, such as 3D Gaussian Splatting. Our results suggest that we can scale up scene-level 3D learning using only 2D data such as videos and multiview internet photos.

The image relighting task of transferring illumination conditions between two images offers an interesting and difficult challenge with potential applications in photography, cinematography and computer graphics. In this report we present methods that we tried to achieve that goal. Our models are trained on a rendered dataset of artificial locations with varied scene content, light source location and color temperature. With this dataset, we used a network with illumination estimation component aiming to infer and replace light conditions in the latent space representation of the concerned scenes.

In this paper, we propose a multi-modal search engine for interior design that combines visual and textual queries. The goal of our engine is to retrieve interior objects, e.g. furniture or wall clocks, that share visual and aesthetic similarities with the query. Our search engine allows the user to take a photo of a room and retrieve with a high recall a list of items identical or visually similar to those present in the photo. Additionally, it allows to return other items that aesthetically and stylistically fit well together. To achieve this goal, our system blends the results obtained using textual and visual modalities. Thanks to this blending strategy, we increase the average style similarity score of the retrieved items by 11%. Our work is implemented as a Web-based application and it is planned to be opened to the public.

The generation of 3D scenes from user-specified conditions offers a promising avenue for alleviating the production burden in 3D applications. Previous studies required significant effort to realize the desired scene, owing to limited control conditions. We propose a method for controlling and generating 3D scenes under multimodal conditions using partial images, layout information represented in the top view, and text prompts. Combining these conditions to generate a 3D scene involves the following significant difficulties: (1) the creation of large datasets, (2) reflection on the interaction of multimodal conditions, and (3) domain dependence of the layout conditions. We decompose the process of 3D scene generation into 2D image generation from the given conditions and 3D scene generation from 2D images. 2D image generation is achieved by fine-tuning a pretrained text-to-image model with a small artificial dataset of partial images and layouts, and 3D scene generation is achieved by layout-conditioned depth estimation and neural radiance fields (NeRF), thereby avoiding the creation of large datasets. The use of a common representation of spatial information using 360-degree images allows for the consideration of multimodal condition interactions and reduces the domain dependence of the layout control. The experimental results qualitatively and quantitatively demonstrated that the proposed method can generate 3D scenes in diverse domains, from indoor to outdoor, according to multimodal conditions.

Measuring the acoustic characteristics of a space is often done by capturing its impulse response (IR), a representation of how a full-range stimulus sound excites it. This work generates an IR from a single image, which can then be applied to other signals using convolution, simulating the reverberant characteristics of the space shown in the image. Recording these IRs is both time-intensive and expensive, and often infeasible for inaccessible locations. We use an end-to-end neural network architecture to generate plausible audio impulse responses from single images of acoustic environments. We evaluate our method both by comparisons to ground truth data and by human expert evaluation. We demonstrate our approach by generating plausible impulse responses from diverse settings and formats including well known places, musical halls, rooms in paintings, images from animations and computer games, synthetic environments generated from text, panoramic images, and video conference backgrounds.

The increasing demand for immersive AR/VR applications and spatial intelligence has heightened the need to generate high-quality scene-level and 360{\deg} panoramic video. However, most video diffusion models are constrained by limited resolution and aspect ratio, which restricts their applicability to scene-level dynamic content synthesis. In this work, we propose the DynamicScaler, addressing these challenges by enabling spatially scalable and panoramic dynamic scene synthesis that preserves coherence across panoramic scenes of arbitrary size. Specifically, we introduce a Offset Shifting Denoiser, facilitating efficient, synchronous, and coherent denoising panoramic dynamic scenes via a diffusion model with fixed resolution through a seamless rotating Window, which ensures seamless boundary transitions and consistency across the entire panoramic space, accommodating varying resolutions and aspect ratios. Additionally, we employ a Global Motion Guidance mechanism to ensure both local detail fidelity and global motion continuity. Extensive experiments demonstrate our method achieves superior content and motion quality in panoramic scene-level video generation, offering a training-free, efficient, and scalable solution for immersive dynamic scene creation with constant VRAM consumption regardless of the output video resolution. Our project page is available at https://dynamic-scaler.pages.dev/.

Recent advances in diffusion models have revolutionized 2D and 3D content creation, yet generating photorealistic dynamic 4D scenes remains a significant challenge. Existing dynamic 4D generation methods typically rely on distilling knowledge from pre-trained 3D generative models, often fine-tuned on synthetic object datasets. Consequently, the resulting scenes tend to be object-centric and lack photorealism. While text-to-video models can generate more realistic scenes with motion, they often struggle with spatial understanding and provide limited control over camera viewpoints during rendering. To address these limitations, we present PaintScene4D, a novel text-to-4D scene generation framework that departs from conventional multi-view generative models in favor of a streamlined architecture that harnesses video generative models trained on diverse real-world datasets. Our method first generates a reference video using a video generation model, and then employs a strategic camera array selection for rendering. We apply a progressive warping and inpainting technique to ensure both spatial and temporal consistency across multiple viewpoints. Finally, we optimize multi-view images using a dynamic renderer, enabling flexible camera control based on user preferences. Adopting a training-free architecture, our PaintScene4D efficiently produces realistic 4D scenes that can be viewed from arbitrary trajectories. The code will be made publicly available. Our project page is at https://paintscene4d.github.io/

Image captioning models tend to describe images in an object-centric way, emphasising visible objects. But image descriptions can also abstract away from objects and describe the type of scene depicted. In this paper, we explore the potential of a state-of-the-art Vision and Language model, VinVL, to caption images at the scene level using (1) a novel dataset which pairs images with both object-centric and scene descriptions. Through (2) an in-depth analysis of the effect of the fine-tuning, we show (3) that a small amount of curated data suffices to generate scene descriptions without losing the capability to identify object-level concepts in the scene; the model acquires a more holistic view of the image compared to when object-centric descriptions are generated. We discuss the parallels between these results and insights from computational and cognitive science research on scene perception.

We present a unified representation for actionable spatial perception: 3D Dynamic Scene Graphs. Scene graphs are directed graphs where nodes represent entities in the scene (e.g. objects, walls, rooms), and edges represent relations (e.g. inclusion, adjacency) among nodes. Dynamic scene graphs (DSGs) extend this notion to represent dynamic scenes with moving agents (e.g. humans, robots), and to include actionable information that supports planning and decision-making (e.g. spatio-temporal relations, topology at different levels of abstraction). Our second contribution is to provide the first fully automatic Spatial PerceptIon eNgine(SPIN) to build a DSG from visual-inertial data. We integrate state-of-the-art techniques for object and human detection and pose estimation, and we describe how to robustly infer object, robot, and human nodes in crowded scenes. To the best of our knowledge, this is the first paper that reconciles visual-inertial SLAM and dense human mesh tracking. Moreover, we provide algorithms to obtain hierarchical representations of indoor environments (e.g. places, structures, rooms) and their relations. Our third contribution is to demonstrate the proposed spatial perception engine in a photo-realistic Unity-based simulator, where we assess its robustness and expressiveness. Finally, we discuss the implications of our proposal on modern robotics applications. 3D Dynamic Scene Graphs can have a profound impact on planning and decision-making, human-robot interaction, long-term autonomy, and scene prediction. A video abstract is available at https://youtu.be/SWbofjhyPzI

A room's acoustic properties are a product of the room's geometry, the objects within the room, and their specific positions. A room's acoustic properties can be characterized by its impulse response (RIR) between a source and listener location, or roughly inferred from recordings of natural signals present in the room. Variations in the positions of objects in a room can effect measurable changes in the room's acoustic properties, as characterized by the RIR. Existing datasets of RIRs either do not systematically vary positions of objects in an environment, or they consist of only simulated RIRs. We present SoundCam, the largest dataset of unique RIRs from in-the-wild rooms publicly released to date. It includes 5,000 10-channel real-world measurements of room impulse responses and 2,000 10-channel recordings of music in three different rooms, including a controlled acoustic lab, an in-the-wild living room, and a conference room, with different humans in positions throughout each room. We show that these measurements can be used for interesting tasks, such as detecting and identifying humans, and tracking their positions.

Visual scenes are composed of visual concepts and have the property of combinatorial explosion. An important reason for humans to efficiently learn from diverse visual scenes is the ability of compositional perception, and it is desirable for artificial intelligence to have similar abilities. Compositional scene representation learning is a task that enables such abilities. In recent years, various methods have been proposed to apply deep neural networks, which have been proven to be advantageous in representation learning, to learn compositional scene representations via reconstruction, advancing this research direction into the deep learning era. Learning via reconstruction is advantageous because it may utilize massive unlabeled data and avoid costly and laborious data annotation. In this survey, we first outline the current progress on reconstruction-based compositional scene representation learning with deep neural networks, including development history and categorizations of existing methods from the perspectives of the modeling of visual scenes and the inference of scene representations; then provide benchmarks, including an open source toolbox to reproduce the benchmark experiments, of representative methods that consider the most extensively studied problem setting and form the foundation for other methods; and finally discuss the limitations of existing methods and future directions of this research topic.

Perception is often viewed as a process that transforms physical variables, external to an observer, into internal psychological variables. Such a process can be modeled by a function coined perceptual scale. The perceptual scale can be deduced from psychophysical measurements that consist in comparing the relative differences between stimuli (i.e. difference scaling experiments). However, this approach is often overlooked by the modeling and experimentation communities. Here, we demonstrate the value of measuring the perceptual scale of classical (spatial frequency, orientation) and less classical physical variables (interpolation between textures) by embedding it in recent probabilistic modeling of perception. First, we show that the assumption that an observer has an internal representation of univariate parameters such as spatial frequency or orientation while stimuli are high-dimensional does not lead to contradictory predictions when following the theoretical framework. Second, we show that the measured perceptual scale corresponds to the transduction function hypothesized in this framework. In particular, we demonstrate that it is related to the Fisher information of the generative model that underlies perception and we test the predictions given by the generative model of different stimuli in a set a of difference scaling experiments. Our main conclusion is that the perceptual scale is mostly driven by the stimulus power spectrum. Finally, we propose that this measure of perceptual scale is a way to push further the notion of perceptual distances by estimating the perceptual geometry of images i.e. the path between images instead of simply the distance between those.

We address 2D floorplan reconstruction from 3D scans. Existing approaches typically employ heuristically designed multi-stage pipelines. Instead, we formulate floorplan reconstruction as a single-stage structured prediction task: find a variable-size set of polygons, which in turn are variable-length sequences of ordered vertices. To solve it we develop a novel Transformer architecture that generates polygons of multiple rooms in parallel, in a holistic manner without hand-crafted intermediate stages. The model features two-level queries for polygons and corners, and includes polygon matching to make the network end-to-end trainable. Our method achieves a new state-of-the-art for two challenging datasets, Structured3D and SceneCAD, along with significantly faster inference than previous methods. Moreover, it can readily be extended to predict additional information, i.e., semantic room types and architectural elements like doors and windows. Our code and models are available at: https://github.com/ywyue/RoomFormer.

Volumetric scene representations enable photorealistic view synthesis for static scenes and form the basis of several existing 6-DoF video techniques. However, the volume rendering procedures that drive these representations necessitate careful trade-offs in terms of quality, rendering speed, and memory efficiency. In particular, existing methods fail to simultaneously achieve real-time performance, small memory footprint, and high-quality rendering for challenging real-world scenes. To address these issues, we present HyperReel -- a novel 6-DoF video representation. The two core components of HyperReel are: (1) a ray-conditioned sample prediction network that enables high-fidelity, high frame rate rendering at high resolutions and (2) a compact and memory-efficient dynamic volume representation. Our 6-DoF video pipeline achieves the best performance compared to prior and contemporary approaches in terms of visual quality with small memory requirements, while also rendering at up to 18 frames-per-second at megapixel resolution without any custom CUDA code.

We investigate the problem of automatically placing an object into a background image for image compositing. Given a background image and a segmented object, the goal is to train a model to predict plausible placements (location and scale) of the object for compositing. The quality of the composite image highly depends on the predicted location/scale. Existing works either generate candidate bounding boxes or apply sliding-window search using global representations from background and object images, which fail to model local information in background images. However, local clues in background images are important to determine the compatibility of placing the objects with certain locations/scales. In this paper, we propose to learn the correlation between object features and all local background features with a transformer module so that detailed information can be provided on all possible location/scale configurations. A sparse contrastive loss is further proposed to train our model with sparse supervision. Our new formulation generates a 3D heatmap indicating the plausibility of all location/scale combinations in one network forward pass, which is over 10 times faster than the previous sliding-window method. It also supports interactive search when users provide a pre-defined location or scale. The proposed method can be trained with explicit annotation or in a self-supervised manner using an off-the-shelf inpainting model, and it outperforms state-of-the-art methods significantly. The user study shows that the trained model generalizes well to real-world images with diverse challenging scenes and object categories.

We present the Habitat-Matterport 3D (HM3D) dataset. HM3D is a large-scale dataset of 1,000 building-scale 3D reconstructions from a diverse set of real-world locations. Each scene in the dataset consists of a textured 3D mesh reconstruction of interiors such as multi-floor residences, stores, and other private indoor spaces. HM3D surpasses existing datasets available for academic research in terms of physical scale, completeness of the reconstruction, and visual fidelity. HM3D contains 112.5k m^2 of navigable space, which is 1.4 - 3.7x larger than other building-scale datasets such as MP3D and Gibson. When compared to existing photorealistic 3D datasets such as Replica, MP3D, Gibson, and ScanNet, images rendered from HM3D have 20 - 85% higher visual fidelity w.r.t. counterpart images captured with real cameras, and HM3D meshes have 34 - 91% fewer artifacts due to incomplete surface reconstruction. The increased scale, fidelity, and diversity of HM3D directly impacts the performance of embodied AI agents trained using it. In fact, we find that HM3D is `pareto optimal' in the following sense -- agents trained to perform PointGoal navigation on HM3D achieve the highest performance regardless of whether they are evaluated on HM3D, Gibson, or MP3D. No similar claim can be made about training on other datasets. HM3D-trained PointNav agents achieve 100% performance on Gibson-test dataset, suggesting that it might be time to retire that episode dataset.

Realistic video simulation has shown significant potential across diverse applications, from virtual reality to film production. This is particularly true for scenarios where capturing videos in real-world settings is either impractical or expensive. Existing approaches in video simulation often fail to accurately model the lighting environment, represent the object geometry, or achieve high levels of photorealism. In this paper, we propose Anything in Any Scene, a novel and generic framework for realistic video simulation that seamlessly inserts any object into an existing dynamic video with a strong emphasis on physical realism. Our proposed general framework encompasses three key processes: 1) integrating a realistic object into a given scene video with proper placement to ensure geometric realism; 2) estimating the sky and environmental lighting distribution and simulating realistic shadows to enhance the light realism; 3) employing a style transfer network that refines the final video output to maximize photorealism. We experimentally demonstrate that Anything in Any Scene framework produces simulated videos of great geometric realism, lighting realism, and photorealism. By significantly mitigating the challenges associated with video data generation, our framework offers an efficient and cost-effective solution for acquiring high-quality videos. Furthermore, its applications extend well beyond video data augmentation, showing promising potential in virtual reality, video editing, and various other video-centric applications. Please check our project website https://anythinginanyscene.github.io for access to our project code and more high-resolution video results.

Transformers have exhibited promising performance in computer vision tasks including image super-resolution (SR). However, popular transformer-based SR methods often employ window self-attention with quadratic computational complexity to window sizes, resulting in fixed small windows with limited receptive fields. In this paper, we present a general strategy to convert transformer-based SR networks to hierarchical transformers (HiT-SR), boosting SR performance with multi-scale features while maintaining an efficient design. Specifically, we first replace the commonly used fixed small windows with expanding hierarchical windows to aggregate features at different scales and establish long-range dependencies. Considering the intensive computation required for large windows, we further design a spatial-channel correlation method with linear complexity to window sizes, efficiently gathering spatial and channel information from hierarchical windows. Extensive experiments verify the effectiveness and efficiency of our HiT-SR, and our improved versions of SwinIR-Light, SwinIR-NG, and SRFormer-Light yield state-of-the-art SR results with fewer parameters, FLOPs, and faster speeds (sim7times).

We propose SceneTex, a novel method for effectively generating high-quality and style-consistent textures for indoor scenes using depth-to-image diffusion priors. Unlike previous methods that either iteratively warp 2D views onto a mesh surface or distillate diffusion latent features without accurate geometric and style cues, SceneTex formulates the texture synthesis task as an optimization problem in the RGB space where style and geometry consistency are properly reflected. At its core, SceneTex proposes a multiresolution texture field to implicitly encode the mesh appearance. We optimize the target texture via a score-distillation-based objective function in respective RGB renderings. To further secure the style consistency across views, we introduce a cross-attention decoder to predict the RGB values by cross-attending to the pre-sampled reference locations in each instance. SceneTex enables various and accurate texture synthesis for 3D-FRONT scenes, demonstrating significant improvements in visual quality and prompt fidelity over the prior texture generation methods.

Text-to-3D scene generation holds immense potential for the gaming, film, and architecture sectors. Despite significant progress, existing methods struggle with maintaining high quality, consistency, and editing flexibility. In this paper, we propose DreamScene, a 3D Gaussian-based novel text-to-3D scene generation framework, to tackle the aforementioned three challenges mainly via two strategies. First, DreamScene employs Formation Pattern Sampling (FPS), a multi-timestep sampling strategy guided by the formation patterns of 3D objects, to form fast, semantically rich, and high-quality representations. FPS uses 3D Gaussian filtering for optimization stability, and leverages reconstruction techniques to generate plausible textures. Second, DreamScene employs a progressive three-stage camera sampling strategy, specifically designed for both indoor and outdoor settings, to effectively ensure object-environment integration and scene-wide 3D consistency. Last, DreamScene enhances scene editing flexibility by integrating objects and environments, enabling targeted adjustments. Extensive experiments validate DreamScene's superiority over current state-of-the-art techniques, heralding its wide-ranging potential for diverse applications. Code and demos will be released at https://dreamscene-project.github.io .

One of the grand challenges of deep learning is the requirement to obtain large labeled training data sets. While synthesized data sets can be used to overcome this challenge, it is important that these data sets close the reality gap, i.e., a model trained on synthetic image data is able to generalize to real images. Whereas, the reality gap can be considered bridged in several application scenarios, training on synthesized images containing reflecting materials requires further research. Since the appearance of objects with reflecting materials is dominated by the surrounding environment, this interaction needs to be considered during training data generation. Therefore, within this paper we examine the effect of reflecting materials in the context of synthetic image generation for training object detectors. We investigate the influence of rendering approach used for image synthesis, the effect of domain randomization, as well as the amount of used training data. To be able to compare our results to the state-of-the-art, we focus on indoor scenes as they have been investigated extensively. Within this scenario, bathroom furniture is a natural choice for objects with reflecting materials, for which we report our findings on real and synthetic testing data.

Vision-and-Language Navigation (VLN) suffers from the limited diversity and scale of training data, primarily constrained by the manual curation of existing simulators. To address this, we introduce RoomTour3D, a video-instruction dataset derived from web-based room tour videos that capture real-world indoor spaces and human walking demonstrations. Unlike existing VLN datasets, RoomTour3D leverages the scale and diversity of online videos to generate open-ended human walking trajectories and open-world navigable instructions. To compensate for the lack of navigation data in online videos, we perform 3D reconstruction and obtain 3D trajectories of walking paths augmented with additional information on the room types, object locations and 3D shape of surrounding scenes. Our dataset includes sim100K open-ended description-enriched trajectories with sim200K instructions, and 17K action-enriched trajectories from 1847 room tour environments. We demonstrate experimentally that RoomTour3D enables significant improvements across multiple VLN tasks including CVDN, SOON, R2R, and REVERIE. Moreover, RoomTour3D facilitates the development of trainable zero-shot VLN agents, showcasing the potential and challenges of advancing towards open-world navigation.

Generating higher-resolution human-centric scenes with details and controls remains a challenge for existing text-to-image diffusion models. This challenge stems from limited training image size, text encoder capacity (limited tokens), and the inherent difficulty of generating complex scenes involving multiple humans. While current methods attempted to address training size limit only, they often yielded human-centric scenes with severe artifacts. We propose BeyondScene, a novel framework that overcomes prior limitations, generating exquisite higher-resolution (over 8K) human-centric scenes with exceptional text-image correspondence and naturalness using existing pretrained diffusion models. BeyondScene employs a staged and hierarchical approach to initially generate a detailed base image focusing on crucial elements in instance creation for multiple humans and detailed descriptions beyond token limit of diffusion model, and then to seamlessly convert the base image to a higher-resolution output, exceeding training image size and incorporating details aware of text and instances via our novel instance-aware hierarchical enlargement process that consists of our proposed high-frequency injected forward diffusion and adaptive joint diffusion. BeyondScene surpasses existing methods in terms of correspondence with detailed text descriptions and naturalness, paving the way for advanced applications in higher-resolution human-centric scene creation beyond the capacity of pretrained diffusion models without costly retraining. Project page: https://janeyeon.github.io/beyond-scene.

3D vision-language grounding, which focuses on aligning language with the 3D physical environment, stands as a cornerstone in the development of embodied agents. In comparison to recent advancements in the 2D domain, grounding language in 3D scenes faces several significant challenges: (i) the inherent complexity of 3D scenes due to the diverse object configurations, their rich attributes, and intricate relationships; (ii) the scarcity of paired 3D vision-language data to support grounded learning; and (iii) the absence of a unified learning framework to distill knowledge from grounded 3D data. In this work, we aim to address these three major challenges in 3D vision-language by examining the potential of systematically upscaling 3D vision-language learning in indoor environments. We introduce the first million-scale 3D vision-language dataset, SceneVerse, encompassing about 68K 3D indoor scenes and comprising 2.5M vision-language pairs derived from both human annotations and our scalable scene-graph-based generation approach. We demonstrate that this scaling allows for a unified pre-training framework, Grounded Pre-training for Scenes (GPS), for 3D vision-language learning. Through extensive experiments, we showcase the effectiveness of GPS by achieving state-of-the-art performance on all existing 3D visual grounding benchmarks. The vast potential of SceneVerse and GPS is unveiled through zero-shot transfer experiments in the challenging 3D vision-language tasks. Project website: https://scene-verse.github.io .

We introduce VividDream, a method for generating explorable 4D scenes with ambient dynamics from a single input image or text prompt. VividDream first expands an input image into a static 3D point cloud through iterative inpainting and geometry merging. An ensemble of animated videos is then generated using video diffusion models with quality refinement techniques and conditioned on renderings of the static 3D scene from the sampled camera trajectories. We then optimize a canonical 4D scene representation using an animated video ensemble, with per-video motion embeddings and visibility masks to mitigate inconsistencies. The resulting 4D scene enables free-view exploration of a 3D scene with plausible ambient scene dynamics. Experiments demonstrate that VividDream can provide human viewers with compelling 4D experiences generated based on diverse real images and text prompts.

A comprehensive semantic understanding of a scene is important for many applications - but in what space should diverse semantic information (e.g., objects, scene categories, material types, texture, etc.) be grounded and what should be its structure? Aspiring to have one unified structure that hosts diverse types of semantics, we follow the Scene Graph paradigm in 3D, generating a 3D Scene Graph. Given a 3D mesh and registered panoramic images, we construct a graph that spans the entire building and includes semantics on objects (e.g., class, material, and other attributes), rooms (e.g., scene category, volume, etc.) and cameras (e.g., location, etc.), as well as the relationships among these entities. However, this process is prohibitively labor heavy if done manually. To alleviate this we devise a semi-automatic framework that employs existing detection methods and enhances them using two main constraints: I. framing of query images sampled on panoramas to maximize the performance of 2D detectors, and II. multi-view consistency enforcement across 2D detections that originate in different camera locations.

We introduce a novel approach for keypoint detection task that combines handcrafted and learned CNN filters within a shallow multi-scale architecture. Handcrafted filters provide anchor structures for learned filters, which localize, score and rank repeatable features. Scale-space representation is used within the network to extract keypoints at different levels. We design a loss function to detect robust features that exist across a range of scales and to maximize the repeatability score. Our Key.Net model is trained on data synthetically created from ImageNet and evaluated on HPatches benchmark. Results show that our approach outperforms state-of-the-art detectors in terms of repeatability, matching performance and complexity.

Recent novel view synthesis methods obtain promising results for relatively small scenes, e.g., indoor environments and scenes with a few objects, but tend to fail for unbounded outdoor scenes with a single image as input. In this paper, we introduce SAMPLING, a Scene-adaptive Hierarchical Multiplane Images Representation for Novel View Synthesis from a Single Image based on improved multiplane images (MPI). Observing that depth distribution varies significantly for unbounded outdoor scenes, we employ an adaptive-bins strategy for MPI to arrange planes in accordance with each scene image. To represent intricate geometry and multi-scale details, we further introduce a hierarchical refinement branch, which results in high-quality synthesized novel views. Our method demonstrates considerable performance gains in synthesizing large-scale unbounded outdoor scenes using a single image on the KITTI dataset and generalizes well to the unseen Tanks and Temples dataset.The code and models will soon be made available.

The increasing demand for virtual reality applications has highlighted the significance of crafting immersive 3D assets. We present a text-to-3D 360^{circ} scene generation pipeline that facilitates the creation of comprehensive 360^{circ} scenes for in-the-wild environments in a matter of minutes. Our approach utilizes the generative power of a 2D diffusion model and prompt self-refinement to create a high-quality and globally coherent panoramic image. This image acts as a preliminary "flat" (2D) scene representation. Subsequently, it is lifted into 3D Gaussians, employing splatting techniques to enable real-time exploration. To produce consistent 3D geometry, our pipeline constructs a spatially coherent structure by aligning the 2D monocular depth into a globally optimized point cloud. This point cloud serves as the initial state for the centroids of 3D Gaussians. In order to address invisible issues inherent in single-view inputs, we impose semantic and geometric constraints on both synthesized and input camera views as regularizations. These guide the optimization of Gaussians, aiding in the reconstruction of unseen regions. In summary, our method offers a globally consistent 3D scene within a 360^{circ} perspective, providing an enhanced immersive experience over existing techniques. Project website at: http://dreamscene360.github.io/

Single-image room layout reconstruction aims to reconstruct the enclosed 3D structure of a room from a single image. Most previous work relies on the cuboid-shape prior. This paper considers a more general indoor assumption, i.e., the room layout consists of a single ceiling, a single floor, and several vertical walls. To this end, we first employ Convolutional Neural Networks to detect planes and vertical lines between adjacent walls. Meanwhile, estimating the 3D parameters for each plane. Then, a simple yet effective geometric reasoning method is adopted to achieve room layout reconstruction. Furthermore, we optimize the 3D plane parameters to reconstruct a geometrically consistent room layout between planes and lines. The experimental results on public datasets validate the effectiveness and efficiency of our method.

Diffusion-based methods have achieved prominent success in generating 2D media. However, accomplishing similar proficiencies for scene-level mesh texturing in 3D spatial applications, e.g., XR/VR, remains constrained, primarily due to the intricate nature of 3D geometry and the necessity for immersive free-viewpoint rendering. In this paper, we propose a novel indoor scene texturing framework, which delivers text-driven texture generation with enchanting details and authentic spatial coherence. The key insight is to first imagine a stylized 360{\deg} panoramic texture from the central viewpoint of the scene, and then propagate it to the rest areas with inpainting and imitating techniques. To ensure meaningful and aligned textures to the scene, we develop a novel coarse-to-fine panoramic texture generation approach with dual texture alignment, which both considers the geometry and texture cues of the captured scenes. To survive from cluttered geometries during texture propagation, we design a separated strategy, which conducts texture inpainting in confidential regions and then learns an implicit imitating network to synthesize textures in occluded and tiny structural areas. Extensive experiments and the immersive VR application on real-world indoor scenes demonstrate the high quality of the generated textures and the engaging experience on VR headsets. Project webpage: https://ybbbbt.com/publication/dreamspace

Graphics design is important for various applications, including movie production and game design. To create a high-quality scene, designers usually need to spend hours in software like Blender, in which they might need to interleave and repeat operations, such as connecting material nodes, hundreds of times. Moreover, slightly different design goals may require completely different sequences, making automation difficult. In this paper, we propose a system that leverages Vision-Language Models (VLMs), like GPT-4V, to intelligently search the design action space to arrive at an answer that can satisfy a user's intent. Specifically, we design a vision-based edit generator and state evaluator to work together to find the correct sequence of actions to achieve the goal. Inspired by the role of visual imagination in the human design process, we supplement the visual reasoning capabilities of VLMs with "imagined" reference images from image-generation models, providing visual grounding of abstract language descriptions. In this paper, we provide empirical evidence suggesting our system can produce simple but tedious Blender editing sequences for tasks such as editing procedural materials from text and/or reference images, as well as adjusting lighting configurations for product renderings in complex scenes.

We introduce TIDEE, an embodied agent that tidies up a disordered scene based on learned commonsense object placement and room arrangement priors. TIDEE explores a home environment, detects objects that are out of their natural place, infers plausible object contexts for them, localizes such contexts in the current scene, and repositions the objects. Commonsense priors are encoded in three modules: i) visuo-semantic detectors that detect out-of-place objects, ii) an associative neural graph memory of objects and spatial relations that proposes plausible semantic receptacles and surfaces for object repositions, and iii) a visual search network that guides the agent's exploration for efficiently localizing the receptacle-of-interest in the current scene to reposition the object. We test TIDEE on tidying up disorganized scenes in the AI2THOR simulation environment. TIDEE carries out the task directly from pixel and raw depth input without ever having observed the same room beforehand, relying only on priors learned from a separate set of training houses. Human evaluations on the resulting room reorganizations show TIDEE outperforms ablative versions of the model that do not use one or more of the commonsense priors. On a related room rearrangement benchmark that allows the agent to view the goal state prior to rearrangement, a simplified version of our model significantly outperforms a top-performing method by a large margin. Code and data are available at the project website: https://tidee-agent.github.io/.

Human perception of the world is shaped by a multitude of viewpoints and modalities. While many existing datasets focus on scene understanding from a certain perspective (e.g. egocentric or third-person views), our dataset offers a panoptic perspective (i.e. multiple viewpoints with multiple data modalities). Specifically, we encapsulate third-person panoramic and front views, as well as egocentric monocular/binocular views with rich modalities including video, multi-channel audio, directional binaural delay, location data and textual scene descriptions within each scene captured, presenting comprehensive observation of the world. Figure 1 offers a glimpse of all 28 scene categories of our 360+x dataset. To the best of our knowledge, this is the first database that covers multiple viewpoints with multiple data modalities to mimic how daily information is accessed in the real world. Through our benchmark analysis, we presented 5 different scene understanding tasks on the proposed 360+x dataset to evaluate the impact and benefit of each data modality and perspective in panoptic scene understanding. We hope this unique dataset could broaden the scope of comprehensive scene understanding and encourage the community to approach these problems from more diverse perspectives.

Recent advances in view synthesis and real-time rendering have achieved photorealistic quality at impressive rendering speeds. While Radiance Field-based methods achieve state-of-the-art quality in challenging scenarios such as in-the-wild captures and large-scale scenes, they often suffer from excessively high compute requirements linked to volumetric rendering. Gaussian Splatting-based methods, on the other hand, rely on rasterization and naturally achieve real-time rendering but suffer from brittle optimization heuristics that underperform on more challenging scenes. In this work, we present RadSplat, a lightweight method for robust real-time rendering of complex scenes. Our main contributions are threefold. First, we use radiance fields as a prior and supervision signal for optimizing point-based scene representations, leading to improved quality and more robust optimization. Next, we develop a novel pruning technique reducing the overall point count while maintaining high quality, leading to smaller and more compact scene representations with faster inference speeds. Finally, we propose a novel test-time filtering approach that further accelerates rendering and allows to scale to larger, house-sized scenes. We find that our method enables state-of-the-art synthesis of complex captures at 900+ FPS.

Both indoor and outdoor environments are inherently structured and repetitive. Traditional modeling pipelines keep an asset library storing unique object templates, which is both versatile and memory efficient in practice. Inspired by this observation, we propose AssetField, a novel neural scene representation that learns a set of object-aware ground feature planes to represent the scene, where an asset library storing template feature patches can be constructed in an unsupervised manner. Unlike existing methods which require object masks to query spatial points for object editing, our ground feature plane representation offers a natural visualization of the scene in the bird-eye view, allowing a variety of operations (e.g. translation, duplication, deformation) on objects to configure a new scene. With the template feature patches, group editing is enabled for scenes with many recurring items to avoid repetitive work on object individuals. We show that AssetField not only achieves competitive performance for novel-view synthesis but also generates realistic renderings for new scene configurations.

Research on 3D Vision-Language Models (3D-VLMs) is gaining increasing attention, which is crucial for developing embodied AI within 3D scenes, such as visual navigation and embodied question answering. Due to the high density of visual features, especially in large 3D scenes, accurately locating task-relevant visual information is challenging. Existing works attempt to segment all objects and consider their features as scene representations. However, these task-agnostic object features include much redundant information and missing details for the task-relevant area. To tackle these problems, we propose LSceneLLM, an adaptive framework that automatically identifies task-relevant areas by leveraging LLM's visual preference for different tasks, followed by a plug-and-play scene magnifier module to capture fine-grained details in focused areas. Specifically, a dense token selector examines the attention map of LLM to identify visual preferences for the instruction input. It then magnifies fine-grained details of the focusing area. An adaptive self-attention module is leveraged to fuse the coarse-grained and selected fine-grained visual information. To comprehensively evaluate the large scene understanding ability of 3D-VLMs, we further introduce a cross-room understanding benchmark, XR-Scene, which contains a series of large scene understanding tasks including XR-QA, XR-EmbodiedPlanning, and XR-SceneCaption. Experiments show that our method surpasses existing methods on both large scene understanding and existing scene understanding benchmarks. Plunging our scene magnifier module into the existing 3D-VLMs also brings significant improvement.

We introduce a novel problem, i.e., the localization of an input image within a multi-modal reference map represented by a database of 3D scene graphs. These graphs comprise multiple modalities, including object-level point clouds, images, attributes, and relationships between objects, offering a lightweight and efficient alternative to conventional methods that rely on extensive image databases. Given the available modalities, the proposed method SceneGraphLoc learns a fixed-sized embedding for each node (i.e., representing an object instance) in the scene graph, enabling effective matching with the objects visible in the input query image. This strategy significantly outperforms other cross-modal methods, even without incorporating images into the map embeddings. When images are leveraged, SceneGraphLoc achieves performance close to that of state-of-the-art techniques depending on large image databases, while requiring three orders-of-magnitude less storage and operating orders-of-magnitude faster. The code will be made public.

Today's video-conferencing tools support a rich range of professional and social activities, but their generic, grid-based environments cannot be easily adapted to meet the varying needs of distributed collaborators. To enable end-user customization, we developed BlendScape, a system for meeting participants to compose video-conferencing environments tailored to their collaboration context by leveraging AI image generation techniques. BlendScape supports flexible representations of task spaces by blending users' physical or virtual backgrounds into unified environments and implements multimodal interaction techniques to steer the generation. Through an evaluation with 15 end-users, we investigated their customization preferences for work and social scenarios. Participants could rapidly express their design intentions with BlendScape and envisioned using the system to structure collaboration in future meetings, but experienced challenges with preventing distracting elements. We implement scenarios to demonstrate BlendScape's expressiveness in supporting distributed collaboration techniques from prior work and propose composition techniques to improve the quality of environments.

The large abundance of perspective camera datasets facilitated the emergence of novel learning-based strategies for various tasks, such as camera localization, single image depth estimation, or view synthesis. However, panoramic or omnidirectional image datasets, including essential information, such as pose and depth, are mostly made with synthetic scenes. In this work, we introduce a large scale 360^{circ} videos dataset in the wild. This dataset has been carefully scraped from the Internet and has been captured from various locations worldwide. Hence, this dataset exhibits very diversified environments (e.g., indoor and outdoor) and contexts (e.g., with and without moving objects). Each of the 25K images constituting our dataset is provided with its respective camera's pose and depth map. We illustrate the relevance of our dataset for two main tasks, namely, single image depth estimation and view synthesis.

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

From whirling ceiling fans to ticking clocks, the sounds that we hear subtly vary as we move through a scene. We ask whether these ambient sounds convey information about 3D scene structure and, if so, whether they provide a useful learning signal for multimodal models. To study this, we collect a dataset of paired audio and RGB-D recordings from a variety of quiet indoor scenes. We then train models that estimate the distance to nearby walls, given only audio as input. We also use these recordings to learn multimodal representations through self-supervision, by training a network to associate images with their corresponding sounds. These results suggest that ambient sound conveys a surprising amount of information about scene structure, and that it is a useful signal for learning multimodal features.

There is increased interest in using generative AI to create 3D spaces for Virtual Reality (VR) applications. However, today's models produce artificial environments, falling short of supporting collaborative tasks that benefit from incorporating the user's physical context. To generate environments that support VR telepresence, we introduce SpaceBlender, a novel pipeline that utilizes generative AI techniques to blend users' physical surroundings into unified virtual spaces. This pipeline transforms user-provided 2D images into context-rich 3D environments through an iterative process consisting of depth estimation, mesh alignment, and diffusion-based space completion guided by geometric priors and adaptive text prompts. In a preliminary within-subjects study, where 20 participants performed a collaborative VR affinity diagramming task in pairs, we compared SpaceBlender with a generic virtual environment and a state-of-the-art scene generation framework, evaluating its ability to create virtual spaces suitable for collaboration. Participants appreciated the enhanced familiarity and context provided by SpaceBlender but also noted complexities in the generative environments that could detract from task focus. Drawing on participant feedback, we propose directions for improving the pipeline and discuss the value and design of blended spaces for different scenarios.

Existing dynamic scene generation methods mostly rely on distilling knowledge from pre-trained 3D generative models, which are typically fine-tuned on synthetic object datasets. As a result, the generated scenes are often object-centric and lack photorealism. To address these limitations, we introduce a novel pipeline designed for photorealistic text-to-4D scene generation, discarding the dependency on multi-view generative models and instead fully utilizing video generative models trained on diverse real-world datasets. Our method begins by generating a reference video using the video generation model. We then learn the canonical 3D representation of the video using a freeze-time video, delicately generated from the reference video. To handle inconsistencies in the freeze-time video, we jointly learn a per-frame deformation to model these imperfections. We then learn the temporal deformation based on the canonical representation to capture dynamic interactions in the reference video. The pipeline facilitates the generation of dynamic scenes with enhanced photorealism and structural integrity, viewable from multiple perspectives, thereby setting a new standard in 4D scene generation.

Recent progress in 3D scene understanding enables scalable learning of representations across large datasets of diverse scenes. As a consequence, generalization to unseen scenes and objects, rendering novel views from just a single or a handful of input images, and controllable scene generation that supports editing, is now possible. However, training jointly on a large number of scenes typically compromises rendering quality when compared to single-scene optimized models such as NeRFs. In this paper, we leverage recent progress in diffusion models to equip 3D scene representation learning models with the ability to render high-fidelity novel views, while retaining benefits such as object-level scene editing to a large degree. In particular, we propose DORSal, which adapts a video diffusion architecture for 3D scene generation conditioned on object-centric slot-based representations of scenes. On both complex synthetic multi-object scenes and on the real-world large-scale Street View dataset, we show that DORSal enables scalable neural rendering of 3D scenes with object-level editing and improves upon existing approaches.

In Marius von Senden's Space and Sight, a newly sighted blind patient describes the experience of a corner as lemon-like, because corners "prick" sight like lemons prick the tongue. Prickliness, here, is a dimension in the feature space of sensory experience, an effect of the perceived on the perceiver that arises where the two interact. In the account of the newly sighted, an effect familiar from one interaction translates to a novel context. Perception serves as the vehicle for generalization, in that an effect shared across different experiences produces a concrete abstraction grounded in those experiences. Cezanne and the post-impressionists, fluent in the language of experience translation, realized that the way to paint a concrete form that best reflected reality was to paint not what they saw, but what it was like to see. We envision a future of creation using AI where what it is like to see is replicable, transferrable, manipulable - part of the artist's palette that is both grounded in a particular context, and generalizable beyond it. An active line of research maps human-interpretable features onto directions in GAN latent space. Supervised and self-supervised approaches that search for anticipated directions or use off-the-shelf classifiers to drive image manipulation in embedding space are limited in the variety of features they can uncover. Unsupervised approaches that discover useful new directions show that the space of perceptually meaningful directions is nowhere close to being fully mapped. As this space is broad and full of creative potential, we want tools for direction discovery that capture the richness and generalizability of human perception. Our approach puts creators in the discovery loop during real-time tool use, in order to identify directions that are perceptually meaningful to them, and generate interpretable image translations along those directions.

The correct insertion of virtual objects in images of real-world scenes requires a deep understanding of the scene's lighting, geometry and materials, as well as the image formation process. While recent large-scale diffusion models have shown strong generative and inpainting capabilities, we find that current models do not sufficiently "understand" the scene shown in a single picture to generate consistent lighting effects (shadows, bright reflections, etc.) while preserving the identity and details of the composited object. We propose using a personalized large diffusion model as guidance to a physically based inverse rendering process. Our method recovers scene lighting and tone-mapping parameters, allowing the photorealistic composition of arbitrary virtual objects in single frames or videos of indoor or outdoor scenes. Our physically based pipeline further enables automatic materials and tone-mapping refinement.

Current scene graph datasets suffer from strong long-tail distributions of their predicate classes. Due to a very low number of some predicate classes in the test sets, no reliable metrics can be retrieved for the rarest classes. We construct a new panoptic scene graph dataset and a set of metrics that are designed as a benchmark for the predictive performance especially on rare predicate classes. To construct the new dataset, we propose a model-assisted annotation pipeline that efficiently finds rare predicate classes that are hidden in a large set of images like needles in a haystack. Contrary to prior scene graph datasets, Haystack contains explicit negative annotations, i.e. annotations that a given relation does not have a certain predicate class. Negative annotations are helpful especially in the field of scene graph generation and open up a whole new set of possibilities to improve current scene graph generation models. Haystack is 100% compatible with existing panoptic scene graph datasets and can easily be integrated with existing evaluation pipelines. Our dataset and code can be found here: https://lorjul.github.io/haystack/. It includes annotation files and simple to use scripts and utilities, to help with integrating our dataset in existing work.

3D Gaussian Splatting has recently emerged as a highly promising technique for modeling of static 3D scenes. In contrast to Neural Radiance Fields, it utilizes efficient rasterization allowing for very fast rendering at high-quality. However, the storage size is significantly higher, which hinders practical deployment, e.g.~on resource constrained devices. In this paper, we introduce a compact scene representation organizing the parameters of 3D Gaussian Splatting (3DGS) into a 2D grid with local homogeneity, ensuring a drastic reduction in storage requirements without compromising visual quality during rendering. Central to our idea is the explicit exploitation of perceptual redundancies present in natural scenes. In essence, the inherent nature of a scene allows for numerous permutations of Gaussian parameters to equivalently represent it. To this end, we propose a novel highly parallel algorithm that regularly arranges the high-dimensional Gaussian parameters into a 2D grid while preserving their neighborhood structure. During training, we further enforce local smoothness between the sorted parameters in the grid. The uncompressed Gaussians use the same structure as 3DGS, ensuring a seamless integration with established renderers. Our method achieves a reduction factor of 8x to 26x in size for complex scenes with no increase in training time, marking a substantial leap forward in the domain of 3D scene distribution and consumption. Additional information can be found on our project page: https://fraunhoferhhi.github.io/Self-Organizing-Gaussians/

Modern computer vision pipelines handle large images in one of two sub-optimal ways: down-sampling or cropping. These two methods incur significant losses in the amount of information and context present in an image. There are many downstream applications in which global context matters as much as high frequency details, such as in real-world satellite imagery; in such cases researchers have to make the uncomfortable choice of which information to discard. We introduce xT, a simple framework for vision transformers which effectively aggregates global context with local details and can model large images end-to-end on contemporary GPUs. We select a set of benchmark datasets across classic vision tasks which accurately reflect a vision model's ability to understand truly large images and incorporate fine details over large scales and assess our method's improvement on them. By introducing a nested tokenization scheme for large images in conjunction with long-sequence length models normally used for natural language processing, we are able to increase accuracy by up to 8.6% on challenging classification tasks and F_1 score by 11.6 on context-dependent segmentation in large images.

We target a 3D generative model for general natural scenes that are typically unique and intricate. Lacking the necessary volumes of training data, along with the difficulties of having ad hoc designs in presence of varying scene characteristics, renders existing setups intractable. Inspired by classical patch-based image models, we advocate for synthesizing 3D scenes at the patch level, given a single example. At the core of this work lies important algorithmic designs w.r.t the scene representation and generative patch nearest-neighbor module, that address unique challenges arising from lifting classical 2D patch-based framework to 3D generation. These design choices, on a collective level, contribute to a robust, effective, and efficient model that can generate high-quality general natural scenes with both realistic geometric structure and visual appearance, in large quantities and varieties, as demonstrated upon a variety of exemplar scenes.

Computer vision has a great potential to help our daily lives by searching for lost keys, watering flowers or reminding us to take a pill. To succeed with such tasks, computer vision methods need to be trained from real and diverse examples of our daily dynamic scenes. While most of such scenes are not particularly exciting, they typically do not appear on YouTube, in movies or TV broadcasts. So how do we collect sufficiently many diverse but boring samples representing our lives? We propose a novel Hollywood in Homes approach to collect such data. Instead of shooting videos in the lab, we ensure diversity by distributing and crowdsourcing the whole process of video creation from script writing to video recording and annotation. Following this procedure we collect a new dataset, Charades, with hundreds of people recording videos in their own homes, acting out casual everyday activities. The dataset is composed of 9,848 annotated videos with an average length of 30 seconds, showing activities of 267 people from three continents. Each video is annotated by multiple free-text descriptions, action labels, action intervals and classes of interacted objects. In total, Charades provides 27,847 video descriptions, 66,500 temporally localized intervals for 157 action classes and 41,104 labels for 46 object classes. Using this rich data, we evaluate and provide baseline results for several tasks including action recognition and automatic description generation. We believe that the realism, diversity, and casual nature of this dataset will present unique challenges and new opportunities for computer vision community.

Imaging systems consist of cameras to encode visual information about the world and perception models to interpret this encoding. Cameras contain (1) illumination sources, (2) optical elements, and (3) sensors, while perception models use (4) algorithms. Directly searching over all combinations of these four building blocks to design an imaging system is challenging due to the size of the search space. Moreover, cameras and perception models are often designed independently, leading to sub-optimal task performance. In this paper, we formulate these four building blocks of imaging systems as a context-free grammar (CFG), which can be automatically searched over with a learned camera designer to jointly optimize the imaging system with task-specific perception models. By transforming the CFG to a state-action space, we then show how the camera designer can be implemented with reinforcement learning to intelligently search over the combinatorial space of possible imaging system configurations. We demonstrate our approach on two tasks, depth estimation and camera rig design for autonomous vehicles, showing that our method yields rigs that outperform industry-wide standards. We believe that our proposed approach is an important step towards automating imaging system design.

Extracting useful visual cues for the downstream tasks is especially challenging under low-light vision. Prior works create enhanced representations by either correlating visual quality with machine perception or designing illumination-degrading transformation methods that require pre-training on synthetic datasets. We argue that optimizing enhanced image representation pertaining to the loss of the downstream task can result in more expressive representations. Therefore, in this work, we propose a novel module, FeatEnHancer, that hierarchically combines multiscale features using multiheaded attention guided by task-related loss function to create suitable representations. Furthermore, our intra-scale enhancement improves the quality of features extracted at each scale or level, as well as combines features from different scales in a way that reflects their relative importance for the task at hand. FeatEnHancer is a general-purpose plug-and-play module and can be incorporated into any low-light vision pipeline. We show with extensive experimentation that the enhanced representation produced with FeatEnHancer significantly and consistently improves results in several low-light vision tasks, including dark object detection (+5.7 mAP on ExDark), face detection (+1.5 mAPon DARK FACE), nighttime semantic segmentation (+5.1 mIoU on ACDC ), and video object detection (+1.8 mAP on DarkVision), highlighting the effectiveness of enhancing hierarchical features under low-light vision.

Scene understanding is an active research area. Commercial depth sensors, such as Kinect, have enabled the release of several RGB-D datasets over the past few years which spawned novel methods in 3D scene understanding. More recently with the launch of the LiDAR sensor in Apple's iPads and iPhones, high quality RGB-D data is accessible to millions of people on a device they commonly use. This opens a whole new era in scene understanding for the Computer Vision community as well as app developers. The fundamental research in scene understanding together with the advances in machine learning can now impact people's everyday experiences. However, transforming these scene understanding methods to real-world experiences requires additional innovation and development. In this paper we introduce ARKitScenes. It is not only the first RGB-D dataset that is captured with a now widely available depth sensor, but to our best knowledge, it also is the largest indoor scene understanding data released. In addition to the raw and processed data from the mobile device, ARKitScenes includes high resolution depth maps captured using a stationary laser scanner, as well as manually labeled 3D oriented bounding boxes for a large taxonomy of furniture. We further analyze the usefulness of the data for two downstream tasks: 3D object detection and color-guided depth upsampling. We demonstrate that our dataset can help push the boundaries of existing state-of-the-art methods and it introduces new challenges that better represent real-world scenarios.

The 3D CAD shapes in current 3D benchmarks are mostly collected from online model repositories. Thus, they typically have insufficient geometric details and less informative textures, making them less attractive for comprehensive and subtle research in areas such as high-quality 3D mesh and texture recovery. This paper presents 3D Furniture shape with TextURE (3D-FUTURE): a richly-annotated and large-scale repository of 3D furniture shapes in the household scenario. At the time of this technical report, 3D-FUTURE contains 20,240 clean and realistic synthetic images of 5,000 different rooms. There are 9,992 unique detailed 3D instances of furniture with high-resolution textures. Experienced designers developed the room scenes, and the 3D CAD shapes in the scene are used for industrial production. Given the well-organized 3D-FUTURE, we provide baseline experiments on several widely studied tasks, such as joint 2D instance segmentation and 3D object pose estimation, image-based 3D shape retrieval, 3D object reconstruction from a single image, and texture recovery for 3D shapes, to facilitate related future researches on our database.

Diffusion-based generative models have significantly advanced text-to-image generation but encounter challenges when processing lengthy and intricate text prompts describing complex scenes with multiple objects. While excelling in generating images from short, single-object descriptions, these models often struggle to faithfully capture all the nuanced details within longer and more elaborate textual inputs. In response, we present a novel approach leveraging Large Language Models (LLMs) to extract critical components from text prompts, including bounding box coordinates for foreground objects, detailed textual descriptions for individual objects, and a succinct background context. These components form the foundation of our layout-to-image generation model, which operates in two phases. The initial Global Scene Generation utilizes object layouts and background context to create an initial scene but often falls short in faithfully representing object characteristics as specified in the prompts. To address this limitation, we introduce an Iterative Refinement Scheme that iteratively evaluates and refines box-level content to align them with their textual descriptions, recomposing objects as needed to ensure consistency. Our evaluation on complex prompts featuring multiple objects demonstrates a substantial improvement in recall compared to baseline diffusion models. This is further validated by a user study, underscoring the efficacy of our approach in generating coherent and detailed scenes from intricate textual inputs.

The rapid advancement of Multimodal Large Language Models (MLLMs) has significantly impacted various multimodal tasks. However, these models face challenges in tasks that require spatial understanding within 3D environments. Efforts to enhance MLLMs, such as incorporating point cloud features, have been made, yet a considerable gap remains between the models' learned representations and the inherent complexity of 3D scenes. This discrepancy largely stems from the training of MLLMs on predominantly 2D data, which restricts their effectiveness in comprehending 3D spaces. To address this issue, in this paper, we propose a novel generalist model, i.e., Video-3D LLM, for 3D scene understanding. By treating 3D scenes as dynamic videos and incorporating 3D position encoding into these representations, our Video-3D LLM aligns video representations with real-world spatial contexts more accurately. Additionally, we have implemented a maximum coverage sampling technique to optimize the balance between computational costs and performance efficiency. Extensive experiments demonstrate that our model achieves state-of-the-art performance on several 3D scene understanding benchmarks, including ScanRefer, Multi3DRefer, Scan2Cap, ScanQA, and SQA3D.

In this paper, we introduce a novel geometry-aware self-training framework for room layout estimation models on unseen scenes with unlabeled data. Our approach utilizes a ray-casting formulation to aggregate multiple estimates from different viewing positions, enabling the computation of reliable pseudo-labels for self-training. In particular, our ray-casting approach enforces multi-view consistency along all ray directions and prioritizes spatial proximity to the camera view for geometry reasoning. As a result, our geometry-aware pseudo-labels effectively handle complex room geometries and occluded walls without relying on assumptions such as Manhattan World or planar room walls. Evaluation on publicly available datasets, including synthetic and real-world scenarios, demonstrates significant improvements in current state-of-the-art layout models without using any human annotation.

We introduce a method that simultaneously learns to explore new large environments and to reconstruct them in 3D from color images only. This is closely related to the Next Best View problem (NBV), where one has to identify where to move the camera next to improve the coverage of an unknown scene. However, most of the current NBV methods rely on depth sensors, need 3D supervision and/or do not scale to large scenes. Our method requires only a color camera and no 3D supervision. It simultaneously learns in a self-supervised fashion to predict a "volume occupancy field" from color images and, from this field, to predict the NBV. Thanks to this approach, our method performs well on new scenes as it is not biased towards any training 3D data. We demonstrate this on a recent dataset made of various 3D scenes and show it performs even better than recent methods requiring a depth sensor, which is not a realistic assumption for outdoor scenes captured with a flying drone.

Novel view synthesis of dynamic scenes has been an intriguing yet challenging problem. Despite recent advancements, simultaneously achieving high-resolution photorealistic results, real-time rendering, and compact storage remains a formidable task. To address these challenges, we propose Spacetime Gaussian Feature Splatting as a novel dynamic scene representation, composed of three pivotal components. First, we formulate expressive Spacetime Gaussians by enhancing 3D Gaussians with temporal opacity and parametric motion/rotation. This enables Spacetime Gaussians to capture static, dynamic, as well as transient content within a scene. Second, we introduce splatted feature rendering, which replaces spherical harmonics with neural features. These features facilitate the modeling of view- and time-dependent appearance while maintaining small size. Third, we leverage the guidance of training error and coarse depth to sample new Gaussians in areas that are challenging to converge with existing pipelines. Experiments on several established real-world datasets demonstrate that our method achieves state-of-the-art rendering quality and speed, while retaining compact storage. At 8K resolution, our lite-version model can render at 60 FPS on an Nvidia RTX 4090 GPU.

Recent advances in large vision-language models have revolutionized the image classification paradigm. Despite showing impressive zero-shot capabilities, a pre-defined set of categories, a.k.a. the vocabulary, is assumed at test time for composing the textual prompts. However, such assumption can be impractical when the semantic context is unknown and evolving. We thus formalize a novel task, termed as Vocabulary-free Image Classification (VIC), where we aim to assign to an input image a class that resides in an unconstrained language-induced semantic space, without the prerequisite of a known vocabulary. VIC is a challenging task as the semantic space is extremely large, containing millions of concepts, with hard-to-discriminate fine-grained categories. In this work, we first empirically verify that representing this semantic space by means of an external vision-language database is the most effective way to obtain semantically relevant content for classifying the image. We then propose Category Search from External Databases (CaSED), a method that exploits a pre-trained vision-language model and an external vision-language database to address VIC in a training-free manner. CaSED first extracts a set of candidate categories from captions retrieved from the database based on their semantic similarity to the image, and then assigns to the image the best matching candidate category according to the same vision-language model. Experiments on benchmark datasets validate that CaSED outperforms other complex vision-language frameworks, while being efficient with much fewer parameters, paving the way for future research in this direction.

Novel view synthesis and 3D modeling using implicit neural field representation are shown to be very effective for calibrated multi-view cameras. Such representations are known to benefit from additional geometric and semantic supervision. Most existing methods that exploit additional supervision require dense pixel-wise labels or localized scene priors. These methods cannot benefit from high-level vague scene priors provided in terms of scenes' descriptions. In this work, we aim to leverage the geometric prior of Manhattan scenes to improve the implicit neural radiance field representations. More precisely, we assume that only the knowledge of the indoor scene (under investigation) being Manhattan is known -- with no additional information whatsoever -- with an unknown Manhattan coordinate frame. Such high-level prior is used to self-supervise the surface normals derived explicitly in the implicit neural fields. Our modeling allows us to cluster the derived normals and exploit their orthogonality constraints for self-supervision. Our exhaustive experiments on datasets of diverse indoor scenes demonstrate the significant benefit of the proposed method over the established baselines. The source code will be available at https://github.com/nikola3794/normal-clustering-nerf.

Generating combined visual and auditory sensory experiences is critical for the consumption of immersive content. Recent advances in neural generative models have enabled the creation of high-resolution content across multiple modalities such as images, text, speech, and videos. Despite these successes, there remains a significant gap in the generation of high-quality spatial audio that complements generated visual content. Furthermore, current audio generation models excel in either generating natural audio or speech or music but fall short in integrating spatial audio cues necessary for immersive experiences. In this work, we introduce SEE-2-SOUND, a zero-shot approach that decomposes the task into (1) identifying visual regions of interest; (2) locating these elements in 3D space; (3) generating mono-audio for each; and (4) integrating them into spatial audio. Using our framework, we demonstrate compelling results for generating spatial audio for high-quality videos, images, and dynamic images from the internet, as well as media generated by learned approaches.

We introduce WonderJourney, a modularized framework for perpetual 3D scene generation. Unlike prior work on view generation that focuses on a single type of scenes, we start at any user-provided location (by a text description or an image) and generate a journey through a long sequence of diverse yet coherently connected 3D scenes. We leverage an LLM to generate textual descriptions of the scenes in this journey, a text-driven point cloud generation pipeline to make a compelling and coherent sequence of 3D scenes, and a large VLM to verify the generated scenes. We show compelling, diverse visual results across various scene types and styles, forming imaginary "wonderjourneys". Project website: https://kovenyu.com/WonderJourney/

We introduce RealmDreamer, a technique for generation of general forward-facing 3D scenes from text descriptions. Our technique optimizes a 3D Gaussian Splatting representation to match complex text prompts. We initialize these splats by utilizing the state-of-the-art text-to-image generators, lifting their samples into 3D, and computing the occlusion volume. We then optimize this representation across multiple views as a 3D inpainting task with image-conditional diffusion models. To learn correct geometric structure, we incorporate a depth diffusion model by conditioning on the samples from the inpainting model, giving rich geometric structure. Finally, we finetune the model using sharpened samples from image generators. Notably, our technique does not require video or multi-view data and can synthesize a variety of high-quality 3D scenes in different styles, consisting of multiple objects. Its generality additionally allows 3D synthesis from a single image.

Common editing operations performed by professional photographers include the cleanup operations: de-emphasizing distracting elements and enhancing subjects. These edits are challenging, requiring a delicate balance between manipulating the viewer's attention while maintaining photo realism. While recent approaches can boast successful examples of attention attenuation or amplification, most of them also suffer from frequent unrealistic edits. We propose a realism loss for saliency-guided image enhancement to maintain high realism across varying image types, while attenuating distractors and amplifying objects of interest. Evaluations with professional photographers confirm that we achieve the dual objective of realism and effectiveness, and outperform the recent approaches on their own datasets, while requiring a smaller memory footprint and runtime. We thus offer a viable solution for automating image enhancement and photo cleanup operations.

This paper asks whether current self-supervised learning methods, if sufficiently scaled up, would be able to reach human-level visual object recognition capabilities with the same type and amount of visual experience humans learn from. Previous work on this question only considered the scaling of data size. Here, we consider the simultaneous scaling of data size, model size, and image resolution. We perform a scaling experiment with vision transformers up to 633M parameters in size (ViT-H/14) trained with up to 5K hours of human-like video data (long, continuous, mostly egocentric videos) with image resolutions of up to 476x476 pixels. The efficiency of masked autoencoders (MAEs) as a self-supervised learning algorithm makes it possible to run this scaling experiment on an unassuming academic budget. We find that it is feasible to reach human-level object recognition capacity at sub-human scales of model size, data size, and image size, if these factors are scaled up simultaneously. To give a concrete example, we estimate that a 2.5B parameter ViT model trained with 20K hours (2.3 years) of human-like video data with a spatial resolution of 952x952 pixels should be able to reach roughly human-level accuracy on ImageNet. Human-level competence is thus achievable for a fundamental perceptual capability from human-like perceptual experience (human-like in both amount and type) with extremely generic learning algorithms and architectures and without any substantive inductive biases.

We propose a generative model that, given a coarsely edited image, synthesizes a photorealistic output that follows the prescribed layout. Our method transfers fine details from the original image and preserves the identity of its parts. Yet, it adapts it to the lighting and context defined by the new layout. Our key insight is that videos are a powerful source of supervision for this task: objects and camera motions provide many observations of how the world changes with viewpoint, lighting, and physical interactions. We construct an image dataset in which each sample is a pair of source and target frames extracted from the same video at randomly chosen time intervals. We warp the source frame toward the target using two motion models that mimic the expected test-time user edits. We supervise our model to translate the warped image into the ground truth, starting from a pretrained diffusion model. Our model design explicitly enables fine detail transfer from the source frame to the generated image, while closely following the user-specified layout. We show that by using simple segmentations and coarse 2D manipulations, we can synthesize a photorealistic edit faithful to the user's input while addressing second-order effects like harmonizing the lighting and physical interactions between edited objects.

Versatile and adaptive semantic understanding would enable autonomous systems to comprehend and interact with their surroundings. Existing fixed-class models limit the adaptability of indoor mobile and assistive autonomous systems. In this work, we introduce LEXIS, a real-time indoor Simultaneous Localization and Mapping (SLAM) system that harnesses the open-vocabulary nature of Large Language Models (LLMs) to create a unified approach to scene understanding and place recognition. The approach first builds a topological SLAM graph of the environment (using visual-inertial odometry) and embeds Contrastive Language-Image Pretraining (CLIP) features in the graph nodes. We use this representation for flexible room classification and segmentation, serving as a basis for room-centric place recognition. This allows loop closure searches to be directed towards semantically relevant places. Our proposed system is evaluated using both public, simulated data and real-world data, covering office and home environments. It successfully categorizes rooms with varying layouts and dimensions and outperforms the state-of-the-art (SOTA). For place recognition and trajectory estimation tasks we achieve equivalent performance to the SOTA, all also utilizing the same pre-trained model. Lastly, we demonstrate the system's potential for planning.

In Multimodal Large Language Models (MLLMs), a visual projector plays a crucial role in bridging pre-trained vision encoders with LLMs, enabling profound visual understanding while harnessing the LLMs' robust capabilities. Despite the importance of the visual projector, it has been relatively less explored. In this study, we first identify two essential projector properties: (i) flexibility in managing the number of visual tokens, crucial for MLLMs' overall efficiency, and (ii) preservation of local context from visual features, vital for spatial understanding. Based on these findings, we propose a novel projector design that is both flexible and locality-enhanced, effectively satisfying the two desirable properties. Additionally, we present comprehensive strategies to effectively utilize multiple and multifaceted instruction datasets. Through extensive experiments, we examine the impact of individual design choices. Finally, our proposed MLLM, Honeybee, remarkably outperforms previous state-of-the-art methods across various benchmarks, including MME, MMBench, SEED-Bench, and LLaVA-Bench, achieving significantly higher efficiency. Code and models are available at https://github.com/kakaobrain/honeybee.

Recently, several models based on deep neural networks have achieved great success in terms of both reconstruction accuracy and computational performance for single image super-resolution. In these methods, the low resolution (LR) input image is upscaled to the high resolution (HR) space using a single filter, commonly bicubic interpolation, before reconstruction. This means that the super-resolution (SR) operation is performed in HR space. We demonstrate that this is sub-optimal and adds computational complexity. In this paper, we present the first convolutional neural network (CNN) capable of real-time SR of 1080p videos on a single K2 GPU. To achieve this, we propose a novel CNN architecture where the feature maps are extracted in the LR space. In addition, we introduce an efficient sub-pixel convolution layer which learns an array of upscaling filters to upscale the final LR feature maps into the HR output. By doing so, we effectively replace the handcrafted bicubic filter in the SR pipeline with more complex upscaling filters specifically trained for each feature map, whilst also reducing the computational complexity of the overall SR operation. We evaluate the proposed approach using images and videos from publicly available datasets and show that it performs significantly better (+0.15dB on Images and +0.39dB on Videos) and is an order of magnitude faster than previous CNN-based methods.

Large-scale NLP models have been shown to significantly improve the performance on language tasks with no signs of saturation. They also demonstrate amazing few-shot capabilities like that of human beings. This paper aims to explore large-scale models in computer vision. We tackle three major issues in training and application of large vision models, including training instability, resolution gaps between pre-training and fine-tuning, and hunger on labelled data. Three main techniques are proposed: 1) a residual-post-norm method combined with cosine attention to improve training stability; 2) A log-spaced continuous position bias method to effectively transfer models pre-trained using low-resolution images to downstream tasks with high-resolution inputs; 3) A self-supervised pre-training method, SimMIM, to reduce the needs of vast labeled images. Through these techniques, this paper successfully trained a 3 billion-parameter Swin Transformer V2 model, which is the largest dense vision model to date, and makes it capable of training with images of up to 1,536times1,536 resolution. It set new performance records on 4 representative vision tasks, including ImageNet-V2 image classification, COCO object detection, ADE20K semantic segmentation, and Kinetics-400 video action classification. Also note our training is much more efficient than that in Google's billion-level visual models, which consumes 40 times less labelled data and 40 times less training time. Code is available at https://github.com/microsoft/Swin-Transformer.

We introduce a new family of video prediction models designed to support downstream control tasks. We call these models Video Occupancy models (VOCs). VOCs operate in a compact latent space, thus avoiding the need to make predictions about individual pixels. Unlike prior latent-space world models, VOCs directly predict the discounted distribution of future states in a single step, thus avoiding the need for multistep roll-outs. We show that both properties are beneficial when building predictive models of video for use in downstream control. Code is available at https://github.com/manantomar/video-occupancy-models{github.com/manantomar/video-occupancy-models}.

Scene-level novel view synthesis (NVS) is fundamental to many vision and graphics applications. Recently, pose-conditioned diffusion models have led to significant progress by extracting 3D information from 2D foundation models, but these methods are limited by the lack of scene-level training data. Common dataset choices either consist of isolated objects (Objaverse), or of object-centric scenes with limited pose distributions (DTU, CO3D). In this paper, we create a large-scale scene-level dataset from Internet photo collections, called MegaScenes, which contains over 100K structure from motion (SfM) reconstructions from around the world. Internet photos represent a scalable data source but come with challenges such as lighting and transient objects. We address these issues to further create a subset suitable for the task of NVS. Additionally, we analyze failure cases of state-of-the-art NVS methods and significantly improve generation consistency. Through extensive experiments, we validate the effectiveness of both our dataset and method on generating in-the-wild scenes. For details on the dataset and code, see our project page at https://megascenes.github.io.

Large Multimodal Models have demonstrated impressive capabilities in understanding general vision-language tasks. However, due to the limitation of supported input resolution (e.g., 448 x 448) as well as the inexhaustive description of the training image-text pair, these models often encounter challenges when dealing with intricate scene understandings and narratives. Here we address the problem by proposing the Monkey. Our contributions are two-fold: 1) without pretraining from the start, our method can be built upon an existing vision encoder (e.g., vit-BigHuge) to effectively improve the input resolution capacity up to 896 x 1344 pixels; 2) we propose a multi-level description generation method, which automatically provides rich information that can guide model to learn contextual association between scenes and objects. Our extensive testing across more than 16 distinct datasets reveals that Monkey achieves consistently competitive performance over the existing LMMs on fundamental tasks, such as Image Captioning, General Visual Question Answering (VQA), and Document-oriented VQA. Models, interactive demo, and the source code are provided at the following https://github.com/Yuliang-Liu/Monkey.

Understanding complex scenes at multiple levels of abstraction remains a formidable challenge in computer vision. To address this, we introduce Nested Neural Feature Fields (N2F2), a novel approach that employs hierarchical supervision to learn a single feature field, wherein different dimensions within the same high-dimensional feature encode scene properties at varying granularities. Our method allows for a flexible definition of hierarchies, tailored to either the physical dimensions or semantics or both, thereby enabling a comprehensive and nuanced understanding of scenes. We leverage a 2D class-agnostic segmentation model to provide semantically meaningful pixel groupings at arbitrary scales in the image space, and query the CLIP vision-encoder to obtain language-aligned embeddings for each of these segments. Our proposed hierarchical supervision method then assigns different nested dimensions of the feature field to distill the CLIP embeddings using deferred volumetric rendering at varying physical scales, creating a coarse-to-fine representation. Extensive experiments show that our approach outperforms the state-of-the-art feature field distillation methods on tasks such as open-vocabulary 3D segmentation and localization, demonstrating the effectiveness of the learned nested feature field.

The Scene Representation Transformer (SRT) is a recent method to render novel views at interactive rates. Since SRT uses camera poses with respect to an arbitrarily chosen reference camera, it is not invariant to the order of the input views. As a result, SRT is not directly applicable to large-scale scenes where the reference frame would need to be changed regularly. In this work, we propose Relative Pose Attention SRT (RePAST): Instead of fixing a reference frame at the input, we inject pairwise relative camera pose information directly into the attention mechanism of the Transformers. This leads to a model that is by definition invariant to the choice of any global reference frame, while still retaining the full capabilities of the original method. Empirical results show that adding this invariance to the model does not lead to a loss in quality. We believe that this is a step towards applying fully latent transformer-based rendering methods to large-scale scenes.

We introduce a method for the generation of images from an input scene graph. The method separates between a layout embedding and an appearance embedding. The dual embedding leads to generated images that better match the scene graph, have higher visual quality, and support more complex scene graphs. In addition, the embedding scheme supports multiple and diverse output images per scene graph, which can be further controlled by the user. We demonstrate two modes of per-object control: (i) importing elements from other images, and (ii) navigation in the object space, by selecting an appearance archetype. Our code is publicly available at https://www.github.com/ashual/scene_generation

Human visual imagination usually begins with analogies or rough sketches. For example, given an image with a girl playing guitar before a building, one may analogously imagine how it seems like if Iron Man playing guitar before Pyramid in Egypt. Nonetheless, visual condition may not be precisely aligned with the imaginary result indicated by text prompt, and existing layout-controllable text-to-image (T2I) generation models is prone to producing degraded generated results with obvious artifacts. To address this issue, we present a novel T2I generation method dubbed SmartControl, which is designed to modify the rough visual conditions for adapting to text prompt. The key idea of our SmartControl is to relax the visual condition on the areas that are conflicted with text prompts. In specific, a Control Scale Predictor (CSP) is designed to identify the conflict regions and predict the local control scales, while a dataset with text prompts and rough visual conditions is constructed for training CSP. It is worth noting that, even with a limited number (e.g., 1,000~2,000) of training samples, our SmartControl can generalize well to unseen objects. Extensive experiments on four typical visual condition types clearly show the efficacy of our SmartControl against state-of-the-arts. Source code, pre-trained models, and datasets are available at https://github.com/liuxiaoyu1104/SmartControl.

In this work, we aim to reconstruct a time-varying 3D model, capable of rendering photo-realistic renderings with independent control of viewpoint, illumination, and time, from Internet photos of large-scale landmarks. The core challenges are twofold. First, different types of temporal changes, such as illumination and changes to the underlying scene itself (such as replacing one graffiti artwork with another) are entangled together in the imagery. Second, scene-level temporal changes are often discrete and sporadic over time, rather than continuous. To tackle these problems, we propose a new scene representation equipped with a novel temporal step function encoding method that can model discrete scene-level content changes as piece-wise constant functions over time. Specifically, we represent the scene as a space-time radiance field with a per-image illumination embedding, where temporally-varying scene changes are encoded using a set of learned step functions. To facilitate our task of chronology reconstruction from Internet imagery, we also collect a new dataset of four scenes that exhibit various changes over time. We demonstrate that our method exhibits state-of-the-art view synthesis results on this dataset, while achieving independent control of viewpoint, time, and illumination.

A proper scene representation is central to the pursuit of spatial intelligence where agents can robustly reconstruct and efficiently understand 3D scenes. A scene representation is either metric, such as landmark maps in 3D reconstruction, 3D bounding boxes in object detection, or voxel grids in occupancy prediction, or topological, such as pose graphs with loop closures in SLAM or visibility graphs in SfM. In this work, we propose to build Multiview Scene Graphs (MSG) from unposed images, representing a scene topologically with interconnected place and object nodes. The task of building MSG is challenging for existing representation learning methods since it needs to jointly address both visual place recognition, object detection, and object association from images with limited fields of view and potentially large viewpoint changes. To evaluate any method tackling this task, we developed an MSG dataset and annotation based on a public 3D dataset. We also propose an evaluation metric based on the intersection-over-union score of MSG edges. Moreover, we develop a novel baseline method built on mainstream pretrained vision models, combining visual place recognition and object association into one Transformer decoder architecture. Experiments demonstrate our method has superior performance compared to existing relevant baselines.

We introduce a novel sequential modeling approach which enables learning a Large Vision Model (LVM) without making use of any linguistic data. To do this, we define a common format, "visual sentences", in which we can represent raw images and videos as well as annotated data sources such as semantic segmentations and depth reconstructions without needing any meta-knowledge beyond the pixels. Once this wide variety of visual data (comprising 420 billion tokens) is represented as sequences, the model can be trained to minimize a cross-entropy loss for next token prediction. By training across various scales of model architecture and data diversity, we provide empirical evidence that our models scale effectively. Many different vision tasks can be solved by designing suitable visual prompts at test time.

Deep learning based single image super-resolution models have been widely studied and superb results are achieved in upscaling low-resolution images with fixed scale factor and downscaling degradation kernel. To improve real world applicability of such models, there are growing interests to develop models optimized for arbitrary upscaling factors. Our proposed method is the first to treat arbitrary rescaling, both upscaling and downscaling, as one unified process. Using joint optimization of both directions, the proposed model is able to learn upscaling and downscaling simultaneously and achieve bidirectional arbitrary image rescaling. It improves the performance of current arbitrary upscaling models by a large margin while at the same time learns to maintain visual perception quality in downscaled images. The proposed model is further shown to be robust in cycle idempotence test, free of severe degradations in reconstruction accuracy when the downscaling-to-upscaling cycle is applied repetitively. This robustness is beneficial for image rescaling in the wild when this cycle could be applied to one image for multiple times. It also performs well on tests with arbitrary large scales and asymmetric scales, even when the model is not trained with such tasks. Extensive experiments are conducted to demonstrate the superior performance of our model.

Scene image editing is crucial for entertainment, photography, and advertising design. Existing methods solely focus on either 2D individual object or 3D global scene editing. This results in a lack of a unified approach to effectively control and manipulate scenes at the 3D level with different levels of granularity. In this work, we propose 3DitScene, a novel and unified scene editing framework leveraging language-guided disentangled Gaussian Splatting that enables seamless editing from 2D to 3D, allowing precise control over scene composition and individual objects. We first incorporate 3D Gaussians that are refined through generative priors and optimization techniques. Language features from CLIP then introduce semantics into 3D geometry for object disentanglement. With the disentangled Gaussians, 3DitScene allows for manipulation at both the global and individual levels, revolutionizing creative expression and empowering control over scenes and objects. Experimental results demonstrate the effectiveness and versatility of 3DitScene in scene image editing. Code and online demo can be found at our project homepage: https://zqh0253.github.io/3DitScene/.

What constitutes the "vibe" of a particular scene? What should one find in "a busy, dirty city street", "an idyllic countryside", or "a crime scene in an abandoned living room"? The translation from abstract scene descriptions to stylized scene elements cannot be done with any generality by extant systems trained on rigid and limited indoor datasets. In this paper, we propose to leverage the knowledge captured by foundation models to accomplish this translation. We present a system that can serve as a tool to generate stylized assets for 3D scenes described by a short phrase, without the need to enumerate the objects to be found within the scene or give instructions on their appearance. Additionally, it is robust to open-world concepts in a way that traditional methods trained on limited data are not, affording more creative freedom to the 3D artist. Our system demonstrates this using a foundation model "team" composed of a large language model, a vision-language model and several image diffusion models, which communicate using an interpretable and user-editable intermediate representation, thus allowing for more versatile and controllable stylized asset generation for 3D artists. We introduce novel metrics for this task, and show through human evaluations that in 91% of the cases, our system outputs are judged more faithful to the semantics of the input scene description than the baseline, thus highlighting the potential of this approach to radically accelerate the 3D content creation process for 3D artists.

Biological systems perceive the world by simultaneously processing high-dimensional inputs from modalities as diverse as vision, audition, touch, proprioception, etc. The perception models used in deep learning on the other hand are designed for individual modalities, often relying on domain-specific assumptions such as the local grid structures exploited by virtually all existing vision models. These priors introduce helpful inductive biases, but also lock models to individual modalities. In this paper we introduce the Perceiver - a model that builds upon Transformers and hence makes few architectural assumptions about the relationship between its inputs, but that also scales to hundreds of thousands of inputs, like ConvNets. The model leverages an asymmetric attention mechanism to iteratively distill inputs into a tight latent bottleneck, allowing it to scale to handle very large inputs. We show that this architecture is competitive with or outperforms strong, specialized models on classification tasks across various modalities: images, point clouds, audio, video, and video+audio. The Perceiver obtains performance comparable to ResNet-50 and ViT on ImageNet without 2D convolutions by directly attending to 50,000 pixels. It is also competitive in all modalities in AudioSet.

This report presents the dataset and the evaluation setup of the Sound Event Localization & Detection (SELD) task for the DCASE 2020 Challenge. The SELD task refers to the problem of trying to simultaneously classify a known set of sound event classes, detect their temporal activations, and estimate their spatial directions or locations while they are active. To train and test SELD systems, datasets of diverse sound events occurring under realistic acoustic conditions are needed. Compared to the previous challenge, a significantly more complex dataset was created for DCASE 2020. The two key differences are a more diverse range of acoustical conditions, and dynamic conditions, i.e. moving sources. The spatial sound scenes are created using real room impulse responses captured in a continuous manner with a slowly moving excitation source. Both static and moving sound events are synthesized from them. Ambient noise recorded on location is added to complete the generation of scene recordings. A baseline SELD method accompanies the dataset, based on a convolutional recurrent neural network, to provide benchmark scores for the task. The baseline is an updated version of the one used in the previous challenge, with input features and training modifications to improve its performance.

Because of the diversity in lighting environments, existing illumination estimation techniques have been designed explicitly on indoor or outdoor environments. Methods have focused specifically on capturing accurate energy (e.g., through parametric lighting models), which emphasizes shading and strong cast shadows; or producing plausible texture (e.g., with GANs), which prioritizes plausible reflections. Approaches which provide editable lighting capabilities have been proposed, but these tend to be with simplified lighting models, offering limited realism. In this work, we propose to bridge the gap between these recent trends in the literature, and propose a method which combines a parametric light model with 360{\deg} panoramas, ready to use as HDRI in rendering engines. We leverage recent advances in GAN-based LDR panorama extrapolation from a regular image, which we extend to HDR using parametric spherical gaussians. To achieve this, we introduce a novel lighting co-modulation method that injects lighting-related features throughout the generator, tightly coupling the original or edited scene illumination within the panorama generation process. In our representation, users can easily edit light direction, intensity, number, etc. to impact shading while providing rich, complex reflections while seamlessly blending with the edits. Furthermore, our method encompasses indoor and outdoor environments, demonstrating state-of-the-art results even when compared to domain-specific methods.

We present a generalizable novel view synthesis method which enables modifying the visual appearance of an observed scene so rendered views match a target weather or lighting condition without any scene specific training or access to reference views at the target condition. Our method is based on a pretrained generalizable transformer architecture and is fine-tuned on synthetically generated scenes under different appearance conditions. This allows for rendering novel views in a consistent manner for 3D scenes that were not included in the training set, along with the ability to (i) modify their appearance to match the target condition and (ii) smoothly interpolate between different conditions. Experiments on real and synthetic scenes show that our method is able to generate 3D consistent renderings while making realistic appearance changes, including qualitative and quantitative comparisons. Please refer to our project page for video results: https://ava-nvs.github.io/

We present WonderWorld, a novel framework for interactive 3D scene generation that enables users to interactively specify scene contents and layout and see the created scenes in low latency. The major challenge lies in achieving fast generation of 3D scenes. Existing scene generation approaches fall short of speed as they often require (1) progressively generating many views and depth maps, and (2) time-consuming optimization of the scene geometry representations. We introduce the Fast Layered Gaussian Surfels (FLAGS) as our scene representation and an algorithm to generate it from a single view. Our approach does not need multiple views, and it leverages a geometry-based initialization that significantly reduces optimization time. Another challenge is generating coherent geometry that allows all scenes to be connected. We introduce the guided depth diffusion that allows partial conditioning of depth estimation. WonderWorld generates connected and diverse 3D scenes in less than 10 seconds on a single A6000 GPU, enabling real-time user interaction and exploration. We demonstrate the potential of WonderWorld for user-driven content creation and exploration in virtual environments. We will release full code and software for reproducibility. Project website: https://kovenyu.com/WonderWorld/.

3D immersive scene generation is a challenging yet critical task in computer vision and graphics. A desired virtual 3D scene should 1) exhibit omnidirectional view consistency, and 2) allow for free exploration in complex scene hierarchies. Existing methods either rely on successive scene expansion via inpainting or employ panorama representation to represent large FOV scene environments. However, the generated scene suffers from semantic drift during expansion and is unable to handle occlusion among scene hierarchies. To tackle these challenges, we introduce LayerPano3D, a novel framework for full-view, explorable panoramic 3D scene generation from a single text prompt. Our key insight is to decompose a reference 2D panorama into multiple layers at different depth levels, where each layer reveals the unseen space from the reference views via diffusion prior. LayerPano3D comprises multiple dedicated designs: 1) we introduce a novel text-guided anchor view synthesis pipeline for high-quality, consistent panorama generation. 2) We pioneer the Layered 3D Panorama as underlying representation to manage complex scene hierarchies and lift it into 3D Gaussians to splat detailed 360-degree omnidirectional scenes with unconstrained viewing paths. Extensive experiments demonstrate that our framework generates state-of-the-art 3D panoramic scene in both full view consistency and immersive exploratory experience. We believe that LayerPano3D holds promise for advancing 3D panoramic scene creation with numerous applications.

This paper introduces MIDI, a novel paradigm for compositional 3D scene generation from a single image. Unlike existing methods that rely on reconstruction or retrieval techniques or recent approaches that employ multi-stage object-by-object generation, MIDI extends pre-trained image-to-3D object generation models to multi-instance diffusion models, enabling the simultaneous generation of multiple 3D instances with accurate spatial relationships and high generalizability. At its core, MIDI incorporates a novel multi-instance attention mechanism, that effectively captures inter-object interactions and spatial coherence directly within the generation process, without the need for complex multi-step processes. The method utilizes partial object images and global scene context as inputs, directly modeling object completion during 3D generation. During training, we effectively supervise the interactions between 3D instances using a limited amount of scene-level data, while incorporating single-object data for regularization, thereby maintaining the pre-trained generalization ability. MIDI demonstrates state-of-the-art performance in image-to-scene generation, validated through evaluations on synthetic data, real-world scene data, and stylized scene images generated by text-to-image diffusion models.

Large Vision Language Models have achieved fine-grained object perception, but the limitation of image resolution remains a significant obstacle to surpass the performance of task-specific experts in complex and dense scenarios. Such limitation further restricts the model's potential to achieve nuanced visual and language referring in domains such as GUI Agents, Counting and \etc. To address this issue, we introduce a unified high-resolution generalist model, Griffon v2, enabling flexible object referring with visual and textual prompts. To efficiently scaling up image resolution, we design a simple and lightweight down-sampling projector to overcome the input tokens constraint in Large Language Models. This design inherently preserves the complete contexts and fine details, and significantly improves multimodal perception ability especially for small objects. Building upon this, we further equip the model with visual-language co-referring capabilities through a plug-and-play visual tokenizer. It enables user-friendly interaction with flexible target images, free-form texts and even coordinates. Experiments demonstrate that Griffon v2 can localize any objects of interest with visual and textual referring, achieve state-of-the-art performance on REC, phrase grounding, and REG tasks, and outperform expert models in object detection and object counting. Data, codes and models will be released at https://github.com/jefferyZhan/Griffon.

We present an approach to enhancing the realism of synthetic images. The images are enhanced by a convolutional network that leverages intermediate representations produced by conventional rendering pipelines. The network is trained via a novel adversarial objective, which provides strong supervision at multiple perceptual levels. We analyze scene layout distributions in commonly used datasets and find that they differ in important ways. We hypothesize that this is one of the causes of strong artifacts that can be observed in the results of many prior methods. To address this we propose a new strategy for sampling image patches during training. We also introduce multiple architectural improvements in the deep network modules used for photorealism enhancement. We confirm the benefits of our contributions in controlled experiments and report substantial gains in stability and realism in comparison to recent image-to-image translation methods and a variety of other baselines.

For robots to perform a wide variety of tasks, they require a 3D representation of the world that is semantically rich, yet compact and efficient for task-driven perception and planning. Recent approaches have attempted to leverage features from large vision-language models to encode semantics in 3D representations. However, these approaches tend to produce maps with per-point feature vectors, which do not scale well in larger environments, nor do they contain semantic spatial relationships between entities in the environment, which are useful for downstream planning. In this work, we propose ConceptGraphs, an open-vocabulary graph-structured representation for 3D scenes. ConceptGraphs is built by leveraging 2D foundation models and fusing their output to 3D by multi-view association. The resulting representations generalize to novel semantic classes, without the need to collect large 3D datasets or finetune models. We demonstrate the utility of this representation through a number of downstream planning tasks that are specified through abstract (language) prompts and require complex reasoning over spatial and semantic concepts. (Project page: https://concept-graphs.github.io/ Explainer video: https://youtu.be/mRhNkQwRYnc )

We present PACE, a novel method for modifying motion-captured virtual agents to interact with and move throughout dense, cluttered 3D scenes. Our approach changes a given motion sequence of a virtual agent as needed to adjust to the obstacles and objects in the environment. We first take the individual frames of the motion sequence most important for modeling interactions with the scene and pair them with the relevant scene geometry, obstacles, and semantics such that interactions in the agents motion match the affordances of the scene (e.g., standing on a floor or sitting in a chair). We then optimize the motion of the human by directly altering the high-DOF pose at each frame in the motion to better account for the unique geometric constraints of the scene. Our formulation uses novel loss functions that maintain a realistic flow and natural-looking motion. We compare our method with prior motion generating techniques and highlight the benefits of our method with a perceptual study and physical plausibility metrics. Human raters preferred our method over the prior approaches. Specifically, they preferred our method 57.1% of the time versus the state-of-the-art method using existing motions, and 81.0% of the time versus a state-of-the-art motion synthesis method. Additionally, our method performs significantly higher on established physical plausibility and interaction metrics. Specifically, we outperform competing methods by over 1.2% in terms of the non-collision metric and by over 18% in terms of the contact metric. We have integrated our interactive system with Microsoft HoloLens and demonstrate its benefits in real-world indoor scenes. Our project website is available at https://gamma.umd.edu/pace/.

Images produced by text-to-image diffusion models might not always faithfully represent the semantic intent of the provided text prompt, where the model might overlook or entirely fail to produce certain objects. Existing solutions often require customly tailored functions for each of these problems, leading to sub-optimal results, especially for complex prompts. Our work introduces a novel perspective by tackling this challenge in a contrastive context. Our approach intuitively promotes the segregation of objects in attention maps while also maintaining that pairs of related attributes are kept close to each other. We conduct extensive experiments across a wide variety of scenarios, each involving unique combinations of objects, attributes, and scenes. These experiments effectively showcase the versatility, efficiency, and flexibility of our method in working with both latent and pixel-based diffusion models, including Stable Diffusion and Imagen. Moreover, we publicly share our source code to facilitate further research.

We propose a new method for realistic real-time novel-view synthesis (NVS) of large scenes. Existing neural rendering methods generate realistic results, but primarily work for small scale scenes (<50 square meters) and have difficulty at large scale (>10000 square meters). Traditional graphics-based rasterization rendering is fast for large scenes but lacks realism and requires expensive manually created assets. Our approach combines the best of both worlds by taking a moderate-quality scaffold mesh as input and learning a neural texture field and shader to model view-dependant effects to enhance realism, while still using the standard graphics pipeline for real-time rendering. Our method outperforms existing neural rendering methods, providing at least 30x faster rendering with comparable or better realism for large self-driving and drone scenes. Our work is the first to enable real-time rendering of large real-world scenes.

We present LoD-NeuS, an efficient neural representation for high-frequency geometry detail recovery and anti-aliased novel view rendering. Drawing inspiration from voxel-based representations with the level of detail (LoD), we introduce a multi-scale tri-plane-based scene representation that is capable of capturing the LoD of the signed distance function (SDF) and the space radiance. Our representation aggregates space features from a multi-convolved featurization within a conical frustum along a ray and optimizes the LoD feature volume through differentiable rendering. Additionally, we propose an error-guided sampling strategy to guide the growth of the SDF during the optimization. Both qualitative and quantitative evaluations demonstrate that our method achieves superior surface reconstruction and photorealistic view synthesis compared to state-of-the-art approaches.

We present EchoScene, an interactive and controllable generative model that generates 3D indoor scenes on scene graphs. EchoScene leverages a dual-branch diffusion model that dynamically adapts to scene graphs. Existing methods struggle to handle scene graphs due to varying numbers of nodes, multiple edge combinations, and manipulator-induced node-edge operations. EchoScene overcomes this by associating each node with a denoising process and enables collaborative information exchange, enhancing controllable and consistent generation aware of global constraints. This is achieved through an information echo scheme in both shape and layout branches. At every denoising step, all processes share their denoising data with an information exchange unit that combines these updates using graph convolution. The scheme ensures that the denoising processes are influenced by a holistic understanding of the scene graph, facilitating the generation of globally coherent scenes. The resulting scenes can be manipulated during inference by editing the input scene graph and sampling the noise in the diffusion model. Extensive experiments validate our approach, which maintains scene controllability and surpasses previous methods in generation fidelity. Moreover, the generated scenes are of high quality and thus directly compatible with off-the-shelf texture generation. Code and trained models are open-sourced.

We propose a method for converting a single RGB-D input image into a 3D photo - a multi-layer representation for novel view synthesis that contains hallucinated color and depth structures in regions occluded in the original view. We use a Layered Depth Image with explicit pixel connectivity as underlying representation, and present a learning-based inpainting model that synthesizes new local color-and-depth content into the occluded region in a spatial context-aware manner. The resulting 3D photos can be efficiently rendered with motion parallax using standard graphics engines. We validate the effectiveness of our method on a wide range of challenging everyday scenes and show fewer artifacts compared with the state of the arts.

Contemporary 3D research, particularly in reconstruction and generation, heavily relies on 2D images for inputs or supervision. However, current designs for these 2D-3D mapping are memory-intensive, posing a significant bottleneck for existing methods and hindering new applications. In response, we propose a pair of highly scalable components for 3D neural fields: Lightplane Render and Splatter, which significantly reduce memory usage in 2D-3D mapping. These innovations enable the processing of vastly more and higher resolution images with small memory and computational costs. We demonstrate their utility in various applications, from benefiting single-scene optimization with image-level losses to realizing a versatile pipeline for dramatically scaling 3D reconstruction and generation. Code: https://github.com/facebookresearch/lightplane.

Reconstructing dynamic 3D scenes from 2D images and generating diverse views over time is challenging due to scene complexity and temporal dynamics. Despite advancements in neural implicit models, limitations persist: (i) Inadequate Scene Structure: Existing methods struggle to reveal the spatial and temporal structure of dynamic scenes from directly learning the complex 6D plenoptic function. (ii) Scaling Deformation Modeling: Explicitly modeling scene element deformation becomes impractical for complex dynamics. To address these issues, we consider the spacetime as an entirety and propose to approximate the underlying spatio-temporal 4D volume of a dynamic scene by optimizing a collection of 4D primitives, with explicit geometry and appearance modeling. Learning to optimize the 4D primitives enables us to synthesize novel views at any desired time with our tailored rendering routine. Our model is conceptually simple, consisting of a 4D Gaussian parameterized by anisotropic ellipses that can rotate arbitrarily in space and time, as well as view-dependent and time-evolved appearance represented by the coefficient of 4D spherindrical harmonics. This approach offers simplicity, flexibility for variable-length video and end-to-end training, and efficient real-time rendering, making it suitable for capturing complex dynamic scene motions. Experiments across various benchmarks, including monocular and multi-view scenarios, demonstrate our 4DGS model's superior visual quality and efficiency.

In the field of image processing, applying intricate semantic modifications within existing images remains an enduring challenge. This paper introduces a pioneering framework that integrates viewpoint information to enhance the control of image editing tasks, especially for interior design scenes. By surveying existing object editing methodologies, we distill three essential criteria -- consistency, controllability, and harmony -- that should be met for an image editing method. In contrast to previous approaches, our framework takes the lead in satisfying all three requirements for addressing the challenge of image synthesis. Through comprehensive experiments, encompassing both quantitative assessments and qualitative comparisons with contemporary state-of-the-art methods, we present compelling evidence of our framework's superior performance across multiple dimensions. This work establishes a promising avenue for advancing image synthesis techniques and empowering precise object modifications while preserving the visual coherence of the entire composition.

We show how perceptual embeddings of the visual system can be constructed at inference-time with no training data or deep neural network features. Our perceptual embeddings are solutions to a weighted least squares (WLS) problem, defined at the pixel-level, and solved at inference-time, that can capture global and local image characteristics. The distance in embedding space is used to define a perceptual similarity metric which we call LASI: Linear Autoregressive Similarity Index. Experiments on full-reference image quality assessment datasets show LASI performs competitively with learned deep feature based methods like LPIPS (Zhang et al., 2018) and PIM (Bhardwaj et al., 2020), at a similar computational cost to hand-crafted methods such as MS-SSIM (Wang et al., 2003). We found that increasing the dimensionality of the embedding space consistently reduces the WLS loss while increasing performance on perceptual tasks, at the cost of increasing the computational complexity. LASI is fully differentiable, scales cubically with the number of embedding dimensions, and can be parallelized at the pixel-level. A Maximum Differentiation (MAD) competition (Wang & Simoncelli, 2008) between LASI and LPIPS shows that both methods are capable of finding failure points for the other, suggesting these metrics can be combined.

3D scene understanding is a long-standing challenge in computer vision and a key component in enabling mixed reality, wearable computing, and embodied AI. Providing a solution to these applications requires a multifaceted approach that covers scene-centric, object-centric, as well as interaction-centric capabilities. While there exist numerous datasets approaching the former two problems, the task of understanding interactable and articulated objects is underrepresented and only partly covered by current works. In this work, we address this shortcoming and introduce (1) an expertly curated dataset in the Universal Scene Description (USD) format, featuring high-quality manual annotations, for instance, segmentation and articulation on 280 indoor scenes; (2) a learning-based model together with a novel baseline capable of predicting part segmentation along with a full specification of motion attributes, including motion type, articulated and interactable parts, and motion parameters; (3) a benchmark serving to compare upcoming methods for the task at hand. Overall, our dataset provides 8 types of annotations - object and part segmentations, motion types, movable and interactable parts, motion parameters, connectivity, and object mass annotations. With its broad and high-quality annotations, the data provides the basis for holistic 3D scene understanding models. All data is provided in the USD format, allowing interoperability and easy integration with downstream tasks. We provide open access to our dataset, benchmark, and method's source code.

Scene flow enables an understanding of the motion characteristics of the environment in the 3D world. It gains particular significance in the long-range, where object-based perception methods might fail due to sparse observations far away. Although significant advancements have been made in scene flow pipelines to handle large-scale point clouds, a gap remains in scalability with respect to long-range. We attribute this limitation to the common design choice of using dense feature grids, which scale quadratically with range. In this paper, we propose Sparse Scene Flow (SSF), a general pipeline for long-range scene flow, adopting a sparse convolution based backbone for feature extraction. This approach introduces a new challenge: a mismatch in size and ordering of sparse feature maps between time-sequential point scans. To address this, we propose a sparse feature fusion scheme, that augments the feature maps with virtual voxels at missing locations. Additionally, we propose a range-wise metric that implicitly gives greater importance to faraway points. Our method, SSF, achieves state-of-the-art results on the Argoverse2 dataset, demonstrating strong performance in long-range scene flow estimation. Our code will be released at https://github.com/KTH-RPL/SSF.git.

Hallucination poses a challenge to the deployment of large vision-language models (LVLMs) in applications. Unlike in large language models (LLMs), hallucination in LVLMs often arises from misalignments between visual inputs and textual outputs. This paper investigates the underlying mechanisms of hallucination, focusing on the unique structure of LVLMs that distinguishes them from large language models (LLMs). We identify that hallucinations often arise from the sensitivity of text decoders to vision inputs, a natural phenomenon when image encoders and text decoders are pre-trained separately. Inspired by this, we introduce Visual and Textual Intervention (VTI), a novel technique designed to reduce hallucinations by steering latent space representations during inference to enhance the stability of vision features. As a task-agnostic test-time intervention, VTI can be easily applied to any problem without additional cost. Extensive experiments demonstrate that it can effectively reduce hallucinations and outperform baseline methods across multiple metrics, highlighting the critical role of vision feature stability in LVLMs.

A major challenge in monocular 3D object detection is the limited diversity and quantity of objects in real datasets. While augmenting real scenes with virtual objects holds promise to improve both the diversity and quantity of the objects, it remains elusive due to the lack of an effective 3D object insertion method in complex real captured scenes. In this work, we study augmenting complex real indoor scenes with virtual objects for monocular 3D object detection. The main challenge is to automatically identify plausible physical properties for virtual assets (e.g., locations, appearances, sizes, etc.) in cluttered real scenes. To address this challenge, we propose a physically plausible indoor 3D object insertion approach to automatically copy virtual objects and paste them into real scenes. The resulting objects in scenes have 3D bounding boxes with plausible physical locations and appearances. In particular, our method first identifies physically feasible locations and poses for the inserted objects to prevent collisions with the existing room layout. Subsequently, it estimates spatially-varying illumination for the insertion location, enabling the immersive blending of the virtual objects into the original scene with plausible appearances and cast shadows. We show that our augmentation method significantly improves existing monocular 3D object models and achieves state-of-the-art performance. For the first time, we demonstrate that a physically plausible 3D object insertion, serving as a generative data augmentation technique, can lead to significant improvements for discriminative downstream tasks such as monocular 3D object detection. Project website: https://gyhandy.github.io/3D-Copy-Paste/

With the advent of vision-language models (VLMs) that can perform in-context and prompt-based learning, how can we design prompting approaches that robustly generalize to distribution shift and can be used on novel classes outside the support set of the prompts? In this work, we first define two types of robustness to distribution shift on VLMs, namely, robustness on base classes (the classes included in the support set of prompts) and robustness on novel classes. Then, we study the robustness of existing in-context learning and prompt learning approaches, where we find that prompt learning performs robustly on test images from base classes, while it does not generalize well on images from novel classes. We propose robust prompt learning by integrating multiple-scale image features into the prompt, which improves both types of robustness. Comprehensive experiments are conducted to study the defined robustness on six benchmarks and show the effectiveness of our proposal.

This paper aims to address the challenge of reconstructing long volumetric videos from multi-view RGB videos. Recent dynamic view synthesis methods leverage powerful 4D representations, like feature grids or point cloud sequences, to achieve high-quality rendering results. However, they are typically limited to short (1~2s) video clips and often suffer from large memory footprints when dealing with longer videos. To solve this issue, we propose a novel 4D representation, named Temporal Gaussian Hierarchy, to compactly model long volumetric videos. Our key observation is that there are generally various degrees of temporal redundancy in dynamic scenes, which consist of areas changing at different speeds. Motivated by this, our approach builds a multi-level hierarchy of 4D Gaussian primitives, where each level separately describes scene regions with different degrees of content change, and adaptively shares Gaussian primitives to represent unchanged scene content over different temporal segments, thus effectively reducing the number of Gaussian primitives. In addition, the tree-like structure of the Gaussian hierarchy allows us to efficiently represent the scene at a particular moment with a subset of Gaussian primitives, leading to nearly constant GPU memory usage during the training or rendering regardless of the video length. Extensive experimental results demonstrate the superiority of our method over alternative methods in terms of training cost, rendering speed, and storage usage. To our knowledge, this work is the first approach capable of efficiently handling minutes of volumetric video data while maintaining state-of-the-art rendering quality. Our project page is available at: https://zju3dv.github.io/longvolcap.

Large-scale pre-trained vision models are becoming increasingly prevalent, offering expressive and generalizable visual representations that benefit various downstream tasks. Recent studies on the emergent properties of these models have revealed their high-level geometric understanding, in particular in the context of depth perception. However, it remains unclear how depth perception arises in these models without explicit depth supervision provided during pre-training. To investigate this, we examine whether the monocular depth cues, similar to those used by the human visual system, emerge in these models. We introduce a new benchmark, DepthCues, designed to evaluate depth cue understanding, and present findings across 20 diverse and representative pre-trained vision models. Our analysis shows that human-like depth cues emerge in more recent larger models. We also explore enhancing depth perception in large vision models by fine-tuning on DepthCues, and find that even without dense depth supervision, this improves depth estimation. To support further research, our benchmark and evaluation code will be made publicly available for studying depth perception in vision models.

Following the success of Large Language Models (LLMs), expanding their boundaries to new modalities represents a significant paradigm shift in multimodal understanding. Human perception is inherently multimodal, relying not only on text but also on auditory and visual cues for a complete understanding of the world. In recognition of this fact, audio-visual LLMs have recently emerged. Despite promising developments, the lack of dedicated benchmarks poses challenges for understanding and evaluating models. In this work, we show that audio-visual LLMs struggle to discern subtle relationships between audio and visual signals, leading to hallucinations, underscoring the need for reliable benchmarks. To address this, we introduce AVHBench, the first comprehensive benchmark specifically designed to evaluate the perception and comprehension capabilities of audio-visual LLMs. Our benchmark includes tests for assessing hallucinations, as well as the cross-modal matching and reasoning abilities of these models. Our results reveal that most existing audio-visual LLMs struggle with hallucinations caused by cross-interactions between modalities, due to their limited capacity to perceive complex multimodal signals and their relationships. Additionally, we demonstrate that simple training with our AVHBench improves robustness of audio-visual LLMs against hallucinations.

Humans view the world through many sensory channels, e.g., the long-wavelength light channel, viewed by the left eye, or the high-frequency vibrations channel, heard by the right ear. Each view is noisy and incomplete, but important factors, such as physics, geometry, and semantics, tend to be shared between all views (e.g., a "dog" can be seen, heard, and felt). We investigate the classic hypothesis that a powerful representation is one that models view-invariant factors. We study this hypothesis under the framework of multiview contrastive learning, where we learn a representation that aims to maximize mutual information between different views of the same scene but is otherwise compact. Our approach scales to any number of views, and is view-agnostic. We analyze key properties of the approach that make it work, finding that the contrastive loss outperforms a popular alternative based on cross-view prediction, and that the more views we learn from, the better the resulting representation captures underlying scene semantics. Our approach achieves state-of-the-art results on image and video unsupervised learning benchmarks. Code is released at: http://github.com/HobbitLong/CMC/.

We present Multiscale Vision Transformers (MViT) for video and image recognition, by connecting the seminal idea of multiscale feature hierarchies with transformer models. Multiscale Transformers have several channel-resolution scale stages. Starting from the input resolution and a small channel dimension, the stages hierarchically expand the channel capacity while reducing the spatial resolution. This creates a multiscale pyramid of features with early layers operating at high spatial resolution to model simple low-level visual information, and deeper layers at spatially coarse, but complex, high-dimensional features. We evaluate this fundamental architectural prior for modeling the dense nature of visual signals for a variety of video recognition tasks where it outperforms concurrent vision transformers that rely on large scale external pre-training and are 5-10x more costly in computation and parameters. We further remove the temporal dimension and apply our model for image classification where it outperforms prior work on vision transformers. Code is available at: https://github.com/facebookresearch/SlowFast

Recently, "visual o1" began to enter people's vision, with expectations that this slow-thinking design can solve visual reasoning tasks, especially geometric math problems. However, the reality is that current LVLMs (Large Vision Language Models) can hardly even accurately copy a geometric figure, let alone truly understand the complex inherent logic and spatial relationships within geometric shapes. We believe accurate copying (strong perception) is the first step to visual o1. Accordingly, we introduce the concept of "slow perception" (SP), which guides the model to gradually perceive basic point-line combinations, as our humans, reconstruct complex geometric structures progressively. There are two-fold stages in SP: a) perception decomposition. Perception is not instantaneous. In this stage, complex geometric figures are broken down into basic simple units to unify geometry representation. b) perception flow, which acknowledges that accurately tracing a line is not an easy task. This stage aims to avoid "long visual jumps" in regressing line segments by using a proposed "perceptual ruler" to trace each line stroke-by-stroke. Surprisingly, such a human-like perception manner enjoys an inference time scaling law -- the slower, the better. Researchers strive to speed up the model's perception in the past, but we slow it down again, allowing the model to read the image step-by-step and carefully.

This work presents Depth Anything V2. Without pursuing fancy techniques, we aim to reveal crucial findings to pave the way towards building a powerful monocular depth estimation model. Notably, compared with V1, this version produces much finer and more robust depth predictions through three key practices: 1) replacing all labeled real images with synthetic images, 2) scaling up the capacity of our teacher model, and 3) teaching student models via the bridge of large-scale pseudo-labeled real images. Compared with the latest models built on Stable Diffusion, our models are significantly more efficient (more than 10x faster) and more accurate. We offer models of different scales (ranging from 25M to 1.3B params) to support extensive scenarios. Benefiting from their strong generalization capability, we fine-tune them with metric depth labels to obtain our metric depth models. In addition to our models, considering the limited diversity and frequent noise in current test sets, we construct a versatile evaluation benchmark with precise annotations and diverse scenes to facilitate future research.

Text-to-3D generation has achieved remarkable success via large-scale text-to-image diffusion models. Nevertheless, there is no paradigm for scaling up the methodology to urban scale. Urban scenes, characterized by numerous elements, intricate arrangement relationships, and vast scale, present a formidable barrier to the interpretability of ambiguous textual descriptions for effective model optimization. In this work, we surmount the limitations by introducing a compositional 3D layout representation into text-to-3D paradigm, serving as an additional prior. It comprises a set of semantic primitives with simple geometric structures and explicit arrangement relationships, complementing textual descriptions and enabling steerable generation. Upon this, we propose two modifications -- (1) We introduce Layout-Guided Variational Score Distillation to address model optimization inadequacies. It conditions the score distillation sampling process with geometric and semantic constraints of 3D layouts. (2) To handle the unbounded nature of urban scenes, we represent 3D scene with a Scalable Hash Grid structure, incrementally adapting to the growing scale of urban scenes. Extensive experiments substantiate the capability of our framework to scale text-to-3D generation to large-scale urban scenes that cover over 1000m driving distance for the first time. We also present various scene editing demonstrations, showing the powers of steerable urban scene generation. Website: https://urbanarchitect.github.io.

Despite advances in Large Multi-modal Models, applying them to long and untrimmed video content remains challenging due to limitations in context length and substantial memory overhead. These constraints often lead to significant information loss and reduced relevance in the model responses. With the exponential growth of video data across web platforms, understanding long-form video is crucial for advancing generalized intelligence. In this paper, we introduce SALOVA: Segment-Augmented LOng Video Assistant, a novel video-LLM framework designed to enhance the comprehension of lengthy video content through targeted retrieval process. We address two main challenges to achieve it: (i) We present the SceneWalk dataset, a high-quality collection of 87.8K long videos, each densely captioned at the segment level to enable models to capture scene continuity and maintain rich descriptive context. (ii) We develop robust architectural designs integrating dynamic routing mechanism and spatio-temporal projector to efficiently retrieve and process relevant video segments based on user queries. Our framework mitigates the limitations of current video-LMMs by allowing for precise identification and retrieval of relevant video segments in response to queries, thereby improving the contextual relevance of the generated responses. Through extensive experiments, SALOVA demonstrates enhanced capability in processing complex long-form videos, showing significant capability to maintain contextual integrity across extended sequences.

Building 3D scene graphs has recently emerged as a topic in scene representation for several embodied AI applications to represent the world in a structured and rich manner. With their increased use in solving downstream tasks (eg, navigation and room rearrangement), can we leverage and recycle them for creating 3D maps of environments, a pivotal step in agent operation? We focus on the fundamental problem of aligning pairs of 3D scene graphs whose overlap can range from zero to partial and can contain arbitrary changes. We propose SGAligner, the first method for aligning pairs of 3D scene graphs that is robust to in-the-wild scenarios (ie, unknown overlap -- if any -- and changes in the environment). We get inspired by multi-modality knowledge graphs and use contrastive learning to learn a joint, multi-modal embedding space. We evaluate on the 3RScan dataset and further showcase that our method can be used for estimating the transformation between pairs of 3D scenes. Since benchmarks for these tasks are missing, we create them on this dataset. The code, benchmark, and trained models are available on the project website.

In this work, we share three insights for achieving state-of-the-art aesthetic quality in text-to-image generative models. We focus on three critical aspects for model improvement: enhancing color and contrast, improving generation across multiple aspect ratios, and improving human-centric fine details. First, we delve into the significance of the noise schedule in training a diffusion model, demonstrating its profound impact on realism and visual fidelity. Second, we address the challenge of accommodating various aspect ratios in image generation, emphasizing the importance of preparing a balanced bucketed dataset. Lastly, we investigate the crucial role of aligning model outputs with human preferences, ensuring that generated images resonate with human perceptual expectations. Through extensive analysis and experiments, Playground v2.5 demonstrates state-of-the-art performance in terms of aesthetic quality under various conditions and aspect ratios, outperforming both widely-used open-source models like SDXL and Playground v2, and closed-source commercial systems such as DALLE 3 and Midjourney v5.2. Our model is open-source, and we hope the development of Playground v2.5 provides valuable guidelines for researchers aiming to elevate the aesthetic quality of diffusion-based image generation models.

Text-driven large scene image synthesis has made significant progress with diffusion models, but controlling it is challenging. While using additional spatial controls with corresponding texts has improved the controllability of large scene synthesis, it is still challenging to faithfully reflect detailed text descriptions without user-provided controls. Here, we propose DetText2Scene, a novel text-driven large-scale image synthesis with high faithfulness, controllability, and naturalness in a global context for the detailed human-centric text description. Our DetText2Scene consists of 1) hierarchical keypoint-box layout generation from the detailed description by leveraging large language model (LLM), 2) view-wise conditioned joint diffusion process to synthesize a large scene from the given detailed text with LLM-generated grounded keypoint-box layout and 3) pixel perturbation-based pyramidal interpolation to progressively refine the large scene for global coherence. Our DetText2Scene significantly outperforms prior arts in text-to-large scene synthesis qualitatively and quantitatively, demonstrating strong faithfulness with detailed descriptions, superior controllability, and excellent naturalness in a global context.