Daily Papers

We present a novel unsupervised domain adaption method for person re-identification (reID) that generalizes a model trained on a labeled source domain to an unlabeled target domain. We introduce a camera-driven curriculum learning (CaCL) framework that leverages camera labels of person images to transfer knowledge from source to target domains progressively. To this end, we divide target domain dataset into multiple subsets based on the camera labels, and initially train our model with a single subset (i.e., images captured by a single camera). We then gradually exploit more subsets for training, according to a curriculum sequence obtained with a camera-driven scheduling rule. The scheduler considers maximum mean discrepancies (MMD) between each subset and the source domain dataset, such that the subset closer to the source domain is exploited earlier within the curriculum. For each curriculum sequence, we generate pseudo labels of person images in a target domain to train a reID model in a supervised way. We have observed that the pseudo labels are highly biased toward cameras, suggesting that person images obtained from the same camera are likely to have the same pseudo labels, even for different IDs. To address the camera bias problem, we also introduce a camera-diversity (CD) loss encouraging person images of the same pseudo label, but captured across various cameras, to involve more for discriminative feature learning, providing person representations robust to inter-camera variations. Experimental results on standard benchmarks, including real-to-real and synthetic-to-real scenarios, demonstrate the effectiveness of our framework.

DSLR cameras can achieve multiple zoom levels via shifting lens distances or swapping lens types. However, these techniques are not possible on smartphone devices due to space constraints. Most smartphone manufacturers adopt a hybrid zoom system: commonly a Wide (W) camera at a low zoom level and a Telephoto (T) camera at a high zoom level. To simulate zoom levels between W and T, these systems crop and digitally upsample images from W, leading to significant detail loss. In this paper, we propose an efficient system for hybrid zoom super-resolution on mobile devices, which captures a synchronous pair of W and T shots and leverages machine learning models to align and transfer details from T to W. We further develop an adaptive blending method that accounts for depth-of-field mismatches, scene occlusion, flow uncertainty, and alignment errors. To minimize the domain gap, we design a dual-phone camera rig to capture real-world inputs and ground-truths for supervised training. Our method generates a 12-megapixel image in 500ms on a mobile platform and compares favorably against state-of-the-art methods under extensive evaluation on real-world scenarios.

We address the problem of dynamic scene reconstruction from sparse-view videos. Prior work often requires dense multi-view captures with hundreds of calibrated cameras (e.g. Panoptic Studio). Such multi-view setups are prohibitively expensive to build and cannot capture diverse scenes in-the-wild. In contrast, we aim to reconstruct dynamic human behaviors, such as repairing a bike or dancing, from a small set of sparse-view cameras with complete scene coverage (e.g. four equidistant inward-facing static cameras). We find that dense multi-view reconstruction methods struggle to adapt to this sparse-view setup due to limited overlap between viewpoints. To address these limitations, we carefully align independent monocular reconstructions of each camera to produce time- and view-consistent dynamic scene reconstructions. Extensive experiments on PanopticStudio and Ego-Exo4D demonstrate that our method achieves higher quality reconstructions than prior art, particularly when rendering novel views. Code, data, and data-processing scripts are available on https://github.com/ImNotPrepared/MonoFusion.

Scene inference under low-light is a challenging problem due to severe noise in the captured images. One way to reduce noise is to use longer exposure during the capture. However, in the presence of motion (scene or camera motion), longer exposures lead to motion blur, resulting in loss of image information. This creates a trade-off between these two kinds of image degradations: motion blur (due to long exposure) vs. noise (due to short exposure), also referred as a dual image corruption pair in this paper. With the rise of cameras capable of capturing multiple exposures of the same scene simultaneously, it is possible to overcome this trade-off. Our key observation is that although the amount and nature of degradation varies for these different image captures, the semantic content remains the same across all images. To this end, we propose a method to leverage these multi exposure captures for robust inference under low-light and motion. Our method builds on a feature consistency loss to encourage similar results from these individual captures, and uses the ensemble of their final predictions for robust visual recognition. We demonstrate the effectiveness of our approach on simulated images as well as real captures with multiple exposures, and across the tasks of object detection and image classification.

We propose a method for generating fly-through videos of a scene, from a single image and a given camera trajectory. We build upon an image-to-video latent diffusion model. We condition its UNet denoiser on the camera trajectory, using four techniques. (1) We condition the UNet's temporal blocks on raw camera extrinsics, similar to MotionCtrl. (2) We use images containing camera rays and directions, similar to CameraCtrl. (3) We reproject the initial image to subsequent frames and use the resulting video as a condition. (4) We use 2D<=>3D transformers to introduce a global 3D representation, which implicitly conditions on the camera poses. We combine all conditions in a ContolNet-style architecture. We then propose a metric that evaluates overall video quality and the ability to preserve details with view changes, which we use to analyze the trade-offs of individual and combined conditions. Finally, we identify an optimal combination of conditions. We calibrate camera positions in our datasets for scale consistency across scenes, and we train our scene exploration model, CamCtrl3D, demonstrating state-of-theart results.

We present a frame interpolation algorithm that synthesizes multiple intermediate frames from two input images with large in-between motion. Recent methods use multiple networks to estimate optical flow or depth and a separate network dedicated to frame synthesis. This is often complex and requires scarce optical flow or depth ground-truth. In this work, we present a single unified network, distinguished by a multi-scale feature extractor that shares weights at all scales, and is trainable from frames alone. To synthesize crisp and pleasing frames, we propose to optimize our network with the Gram matrix loss that measures the correlation difference between feature maps. Our approach outperforms state-of-the-art methods on the Xiph large motion benchmark. We also achieve higher scores on Vimeo-90K, Middlebury and UCF101, when comparing to methods that use perceptual losses. We study the effect of weight sharing and of training with datasets of increasing motion range. Finally, we demonstrate our model's effectiveness in synthesizing high quality and temporally coherent videos on a challenging near-duplicate photos dataset. Codes and pre-trained models are available at https://film-net.github.io.

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.

Spatio-temporal consistency is a critical research topic in video generation. A qualified generated video segment must ensure plot plausibility and coherence while maintaining visual consistency of objects and scenes across varying viewpoints. Prior research, especially in open-source projects, primarily focuses on either temporal or spatial consistency, or their basic combination, such as appending a description of a camera movement after a prompt without constraining the outcomes of this movement. However, camera movement may introduce new objects to the scene or eliminate existing ones, thereby overlaying and affecting the preceding narrative. Especially in videos with numerous camera movements, the interplay between multiple plots becomes increasingly complex. This paper introduces and examines integral spatio-temporal consistency, considering the synergy between plot progression and camera techniques, and the long-term impact of prior content on subsequent generation. Our research encompasses dataset construction through to the development of the model. Initially, we constructed a DropletVideo-10M dataset, which comprises 10 million videos featuring dynamic camera motion and object actions. Each video is annotated with an average caption of 206 words, detailing various camera movements and plot developments. Following this, we developed and trained the DropletVideo model, which excels in preserving spatio-temporal coherence during video generation. The DropletVideo dataset and model are accessible at https://dropletx.github.io.

Novel-view synthesis techniques achieve impressive results for static scenes but struggle when faced with the inconsistencies inherent to casual capture settings: varying illumination, scene motion, and other unintended effects that are difficult to model explicitly. We present an approach for leveraging generative video models to simulate the inconsistencies in the world that can occur during capture. We use this process, along with existing multi-view datasets, to create synthetic data for training a multi-view harmonization network that is able to reconcile inconsistent observations into a consistent 3D scene. We demonstrate that our world-simulation strategy significantly outperforms traditional augmentation methods in handling real-world scene variations, thereby enabling highly accurate static 3D reconstructions in the presence of a variety of challenging inconsistencies. Project page: https://alextrevithick.github.io/simvs

Camera calibration involves estimating camera parameters to infer geometric features from captured sequences, which is crucial for computer vision and robotics. However, conventional calibration is laborious and requires dedicated collection. Recent efforts show that learning-based solutions have the potential to be used in place of the repeatability works of manual calibrations. Among these solutions, various learning strategies, networks, geometric priors, and datasets have been investigated. In this paper, we provide a comprehensive survey of learning-based camera calibration techniques, by analyzing their strengths and limitations. Our main calibration categories include the standard pinhole camera model, distortion camera model, cross-view model, and cross-sensor model, following the research trend and extended applications. As there is no unified benchmark in this community, we collect a holistic calibration dataset that can serve as a public platform to evaluate the generalization of existing methods. It comprises both synthetic and real-world data, with images and videos captured by different cameras in diverse scenes. Toward the end of this paper, we discuss the challenges and provide further research directions. To our knowledge, this is the first survey for the learning-based camera calibration (spanned 10 years). The summarized methods, datasets, and benchmarks are available and will be regularly updated at https://github.com/KangLiao929/Awesome-Deep-Camera-Calibration.

Recent advancements in camera-trajectory-guided image-to-video generation offer higher precision and better support for complex camera control compared to text-based approaches. However, they also introduce significant usability challenges, as users often struggle to provide precise camera parameters when working with arbitrary real-world images without knowledge of their depth nor scene scale. To address these real-world application issues, we propose RealCam-I2V, a novel diffusion-based video generation framework that integrates monocular metric depth estimation to establish 3D scene reconstruction in a preprocessing step. During training, the reconstructed 3D scene enables scaling camera parameters from relative to absolute values, ensuring compatibility and scale consistency across diverse real-world images. In inference, RealCam-I2V offers an intuitive interface where users can precisely draw camera trajectories by dragging within the 3D scene. To further enhance precise camera control and scene consistency, we propose scene-constrained noise shaping, which shapes high-level noise and also allows the framework to maintain dynamic, coherent video generation in lower noise stages. RealCam-I2V achieves significant improvements in controllability and video quality on the RealEstate10K and out-of-domain images. We further enables applications like camera-controlled looping video generation and generative frame interpolation. We will release our absolute-scale annotation, codes, and all checkpoints. Please see dynamic results in https://zgctroy.github.io/RealCam-I2V.

Image-to-video (I2V) generation aims to use the initial frame (alongside a text prompt) to create a video sequence. A grand challenge in I2V generation is to maintain visual consistency throughout the video: existing methods often struggle to preserve the integrity of the subject, background, and style from the first frame, as well as ensure a fluid and logical progression within the video narrative. To mitigate these issues, we propose ConsistI2V, a diffusion-based method to enhance visual consistency for I2V generation. Specifically, we introduce (1) spatiotemporal attention over the first frame to maintain spatial and motion consistency, (2) noise initialization from the low-frequency band of the first frame to enhance layout consistency. These two approaches enable ConsistI2V to generate highly consistent videos. We also extend the proposed approaches to show their potential to improve consistency in auto-regressive long video generation and camera motion control. To verify the effectiveness of our method, we propose I2V-Bench, a comprehensive evaluation benchmark for I2V generation. Our automatic and human evaluation results demonstrate the superiority of ConsistI2V over existing methods.

We introduce CamMimic, an innovative algorithm tailored for dynamic video editing needs. It is designed to seamlessly transfer the camera motion observed in a given reference video onto any scene of the user's choice in a zero-shot manner without requiring any additional data. Our algorithm achieves this using a two-phase strategy by leveraging a text-to-video diffusion model. In the first phase, we develop a multi-concept learning method using a combination of LoRA layers and an orthogonality loss to capture and understand the underlying spatial-temporal characteristics of the reference video as well as the spatial features of the user's desired scene. The second phase proposes a unique homography-based refinement strategy to enhance the temporal and spatial alignment of the generated video. We demonstrate the efficacy of our method through experiments conducted on a dataset containing combinations of diverse scenes and reference videos containing a variety of camera motions. In the absence of an established metric for assessing camera motion transfer between unrelated scenes, we propose CameraScore, a novel metric that utilizes homography representations to measure camera motion similarity between the reference and generated videos. Extensive quantitative and qualitative evaluations demonstrate that our approach generates high-quality, motion-enhanced videos. Additionally, a user study reveals that 70.31% of participants preferred our method for scene preservation, while 90.45% favored it for motion transfer. We hope this work lays the foundation for future advancements in camera motion transfer across different scenes.

Existing camera motion-controlled video generation methods face computational bottlenecks in fine-tuning and inference. This paper proposes LightMotion, a light and tuning-free method for simulating camera motion in video generation. Operating in the latent space, it eliminates additional fine-tuning, inpainting, and depth estimation, making it more streamlined than existing methods. The endeavors of this paper comprise: (i) The latent space permutation operation effectively simulates various camera motions like panning, zooming, and rotation. (ii) The latent space resampling strategy combines background-aware sampling and cross-frame alignment to accurately fill new perspectives while maintaining coherence across frames. (iii) Our in-depth analysis shows that the permutation and resampling cause an SNR shift in latent space, leading to poor-quality generation. To address this, we propose latent space correction, which reintroduces noise during denoising to mitigate SNR shift and enhance video generation quality. Exhaustive experiments show that our LightMotion outperforms existing methods, both quantitatively and qualitatively.

Computational color constancy, or white balancing, is a key module in a camera's image signal processor (ISP) that corrects color casts from scene lighting. Because this operation occurs in the camera-specific raw color space, white balance algorithms must adapt to different cameras. This paper introduces a learning-based method for cross-camera color constancy that generalizes to new cameras without retraining. Our method leverages pre-calibrated color correction matrices (CCMs) available on ISPs that map the camera's raw color space to a standard space (e.g., CIE XYZ). Our method uses these CCMs to transform predefined illumination colors (i.e., along the Planckian locus) into the test camera's raw space. The mapped illuminants are encoded into a compact camera fingerprint embedding (CFE) that enables the network to adapt to unseen cameras. To prevent overfitting due to limited cameras and CCMs during training, we introduce a data augmentation technique that interpolates between cameras and their CCMs. Experimental results across multiple datasets and backbones show that our method achieves state-of-the-art cross-camera color constancy while remaining lightweight and relying only on data readily available in camera ISPs.

In recent years there have been remarkable breakthroughs in image-to-video generation. However, the 3D consistency and camera controllability of generated frames have remained unsolved. Recent studies have attempted to incorporate camera control into the generation process, but their results are often limited to simple trajectories or lack the ability to generate consistent videos from multiple distinct camera paths for the same scene. To address these limitations, we introduce Cavia, a novel framework for camera-controllable, multi-view video generation, capable of converting an input image into multiple spatiotemporally consistent videos. Our framework extends the spatial and temporal attention modules into view-integrated attention modules, improving both viewpoint and temporal consistency. This flexible design allows for joint training with diverse curated data sources, including scene-level static videos, object-level synthetic multi-view dynamic videos, and real-world monocular dynamic videos. To our best knowledge, Cavia is the first of its kind that allows the user to precisely specify camera motion while obtaining object motion. Extensive experiments demonstrate that Cavia surpasses state-of-the-art methods in terms of geometric consistency and perceptual quality. Project Page: https://ir1d.github.io/Cavia/

Long exposure photography produces stunning imagery, representing moving elements in a scene with motion-blur. It is generally employed in two modalities, producing either a foreground or a background blur effect. Foreground blur images are traditionally captured on a tripod-mounted camera and portray blurred moving foreground elements, such as silky water or light trails, over a perfectly sharp background landscape. Background blur images, also called panning photography, are captured while the camera is tracking a moving subject, to produce an image of a sharp subject over a background blurred by relative motion. Both techniques are notoriously challenging and require additional equipment and advanced skills. In this paper, we describe a computational burst photography system that operates in a hand-held smartphone camera app, and achieves these effects fully automatically, at the tap of the shutter button. Our approach first detects and segments the salient subject. We track the scene motion over multiple frames and align the images in order to preserve desired sharpness and to produce aesthetically pleasing motion streaks. We capture an under-exposed burst and select the subset of input frames that will produce blur trails of controlled length, regardless of scene or camera motion velocity. We predict inter-frame motion and synthesize motion-blur to fill the temporal gaps between the input frames. Finally, we composite the blurred image with the sharp regular exposure to protect the sharpness of faces or areas of the scene that are barely moving, and produce a final high resolution and high dynamic range (HDR) photograph. Our system democratizes a capability previously reserved to professionals, and makes this creative style accessible to most casual photographers. More information and supplementary material can be found on our project webpage: https://motion-mode.github.io/

High dynamic range (HDR) imaging is of fundamental importance in modern digital photography pipelines and used to produce a high-quality photograph with well exposed regions despite varying illumination across the image. This is typically achieved by merging multiple low dynamic range (LDR) images taken at different exposures. However, over-exposed regions and misalignment errors due to poorly compensated motion result in artefacts such as ghosting. In this paper, we present a new HDR imaging technique that specifically models alignment and exposure uncertainties to produce high quality HDR results. We introduce a strategy that learns to jointly align and assess the alignment and exposure reliability using an HDR-aware, uncertainty-driven attention map that robustly merges the frames into a single high quality HDR image. Further, we introduce a progressive, multi-stage image fusion approach that can flexibly merge any number of LDR images in a permutation-invariant manner. Experimental results show our method can produce better quality HDR images with up to 1.1dB PSNR improvement to the state-of-the-art, and subjective improvements in terms of better detail, colours, and fewer artefacts.

Exposure correction is one of the fundamental tasks in image processing and computational photography. While various methods have been proposed, they either fail to produce visually pleasing results, or only work well for limited types of image (e.g., underexposed images). In this paper, we present a novel automatic exposure correction method, which is able to robustly produce high-quality results for images of various exposure conditions (e.g., underexposed, overexposed, and partially under- and over-exposed). At the core of our approach is the proposed dual illumination estimation, where we separately cast the under- and over-exposure correction as trivial illumination estimation of the input image and the inverted input image. By performing dual illumination estimation, we obtain two intermediate exposure correction results for the input image, with one fixes the underexposed regions and the other one restores the overexposed regions. A multi-exposure image fusion technique is then employed to adaptively blend the visually best exposed parts in the two intermediate exposure correction images and the input image into a globally well-exposed image. Experiments on a number of challenging images demonstrate the effectiveness of the proposed approach and its superiority over the state-of-the-art methods and popular automatic exposure correction tools.

Pairwise pose estimation from images with little or no overlap is an open challenge in computer vision. Existing methods, even those trained on large-scale datasets, struggle in these scenarios due to the lack of identifiable correspondences or visual overlap. Inspired by the human ability to infer spatial relationships from diverse scenes, we propose a novel approach, InterPose, that leverages the rich priors encoded within pre-trained generative video models. We propose to use a video model to hallucinate intermediate frames between two input images, effectively creating a dense, visual transition, which significantly simplifies the problem of pose estimation. Since current video models can still produce implausible motion or inconsistent geometry, we introduce a self-consistency score that evaluates the consistency of pose predictions from sampled videos. We demonstrate that our approach generalizes among three state-of-the-art video models and show consistent improvements over the state-of-the-art DUSt3R on four diverse datasets encompassing indoor, outdoor, and object-centric scenes. Our findings suggest a promising avenue for improving pose estimation models by leveraging large generative models trained on vast amounts of video data, which is more readily available than 3D data. See our project page for results: https://inter-pose.github.io/.

Research on video generation has recently made tremendous progress, enabling high-quality videos to be generated from text prompts or images. Adding control to the video generation process is an important goal moving forward and recent approaches that condition video generation models on camera trajectories make strides towards it. Yet, it remains challenging to generate a video of the same scene from multiple different camera trajectories. Solutions to this multi-video generation problem could enable large-scale 3D scene generation with editable camera trajectories, among other applications. We introduce collaborative video diffusion (CVD) as an important step towards this vision. The CVD framework includes a novel cross-video synchronization module that promotes consistency between corresponding frames of the same video rendered from different camera poses using an epipolar attention mechanism. Trained on top of a state-of-the-art camera-control module for video generation, CVD generates multiple videos rendered from different camera trajectories with significantly better consistency than baselines, as shown in extensive experiments. Project page: https://collaborativevideodiffusion.github.io/.

Images as an artistic medium often rely on specific camera angles and lens distortions to convey ideas or emotions; however, such precise control is missing in current text-to-image models. We propose an efficient and general solution that allows precise control over the camera when generating both photographic and artistic images. Unlike prior methods that rely on predefined shots, we rely solely on four simple extrinsic and intrinsic camera parameters, removing the need for pre-existing geometry, reference 3D objects, and multi-view data. We also present a novel dataset with more than 57,000 images, along with their text prompts and ground-truth camera parameters. Our evaluation shows precise camera control in text-to-image generation, surpassing traditional prompt engineering approaches. Our data, model, and code are publicly available at https://graphics.unizar.es/projects/PreciseCam2024.

Novel view synthesis from a single input image is a challenging task, where the goal is to generate a new view of a scene from a desired camera pose that may be separated by a large motion. The highly uncertain nature of this synthesis task due to unobserved elements within the scene (i.e. occlusion) and outside the field-of-view makes the use of generative models appealing to capture the variety of possible outputs. In this paper, we propose a novel generative model capable of producing a sequence of photorealistic images consistent with a specified camera trajectory, and a single starting image. Our approach is centred on an autoregressive conditional diffusion-based model capable of interpolating visible scene elements, and extrapolating unobserved regions in a view, in a geometrically consistent manner. Conditioning is limited to an image capturing a single camera view and the (relative) pose of the new camera view. To measure the consistency over a sequence of generated views, we introduce a new metric, the thresholded symmetric epipolar distance (TSED), to measure the number of consistent frame pairs in a sequence. While previous methods have been shown to produce high quality images and consistent semantics across pairs of views, we show empirically with our metric that they are often inconsistent with the desired camera poses. In contrast, we demonstrate that our method produces both photorealistic and view-consistent imagery.

For improving image composition and aesthetic quality, most existing methods modulate the captured images by striking out redundant content near the image borders. However, such image cropping methods are limited in the range of image views. Some methods have been suggested to extrapolate the images and predict cropping boxes from the extrapolated image. Nonetheless, the synthesized extrapolated regions may be included in the cropped image, making the image composition result not real and potentially with degraded image quality. In this paper, we circumvent this issue by presenting a joint framework for both unbounded recommendation of camera view and image composition (i.e., UNIC). In this way, the cropped image is a sub-image of the image acquired by the predicted camera view, and thus can be guaranteed to be real and consistent in image quality. Specifically, our framework takes the current camera preview frame as input and provides a recommendation for view adjustment, which contains operations unlimited by the image borders, such as zooming in or out and camera movement. To improve the prediction accuracy of view adjustment prediction, we further extend the field of view by feature extrapolation. After one or several times of view adjustments, our method converges and results in both a camera view and a bounding box showing the image composition recommendation. Extensive experiments are conducted on the datasets constructed upon existing image cropping datasets, showing the effectiveness of our UNIC in unbounded recommendation of camera view and image composition. The source code, dataset, and pretrained models is available at https://github.com/liuxiaoyu1104/UNIC.

Camera control has been actively studied in text or image conditioned video generation tasks. However, altering camera trajectories of a given video remains under-explored, despite its importance in the field of video creation. It is non-trivial due to the extra constraints of maintaining multiple-frame appearance and dynamic synchronization. To address this, we present ReCamMaster, a camera-controlled generative video re-rendering framework that reproduces the dynamic scene of an input video at novel camera trajectories. The core innovation lies in harnessing the generative capabilities of pre-trained text-to-video models through a simple yet powerful video conditioning mechanism -- its capability often overlooked in current research. To overcome the scarcity of qualified training data, we construct a comprehensive multi-camera synchronized video dataset using Unreal Engine 5, which is carefully curated to follow real-world filming characteristics, covering diverse scenes and camera movements. It helps the model generalize to in-the-wild videos. Lastly, we further improve the robustness to diverse inputs through a meticulously designed training strategy. Extensive experiments tell that our method substantially outperforms existing state-of-the-art approaches and strong baselines. Our method also finds promising applications in video stabilization, super-resolution, and outpainting. Project page: https://jianhongbai.github.io/ReCamMaster/

One little-explored frontier of image generation and editing is the task of interpolating between two input images, a feature missing from all currently deployed image generation pipelines. We argue that such a feature can expand the creative applications of such models, and propose a method for zero-shot interpolation using latent diffusion models. We apply interpolation in the latent space at a sequence of decreasing noise levels, then perform denoising conditioned on interpolated text embeddings derived from textual inversion and (optionally) subject poses. For greater consistency, or to specify additional criteria, we can generate several candidates and use CLIP to select the highest quality image. We obtain convincing interpolations across diverse subject poses, image styles, and image content, and show that standard quantitative metrics such as FID are insufficient to measure the quality of an interpolation. Code and data are available at https://clintonjwang.github.io/interpolation.

Filmmaking and animation production often require sophisticated techniques for coordinating camera transitions and object movements, typically involving labor-intensive real-world capturing. Despite advancements in generative AI for video creation, achieving precise control over motion for interactive video asset generation remains challenging. To this end, we propose Image Conductor, a method for precise control of camera transitions and object movements to generate video assets from a single image. An well-cultivated training strategy is proposed to separate distinct camera and object motion by camera LoRA weights and object LoRA weights. To further address cinematographic variations from ill-posed trajectories, we introduce a camera-free guidance technique during inference, enhancing object movements while eliminating camera transitions. Additionally, we develop a trajectory-oriented video motion data curation pipeline for training. Quantitative and qualitative experiments demonstrate our method's precision and fine-grained control in generating motion-controllable videos from images, advancing the practical application of interactive video synthesis. Project webpage available at https://liyaowei-stu.github.io/project/ImageConductor/

Today, people can easily record memorable moments, ranging from concerts, sports events, lectures, family gatherings, and birthday parties with multiple consumer cameras. However, synchronizing these cross-camera streams remains challenging. Existing methods assume controlled settings, specific targets, manual correction, or costly hardware. We present VisualSync, an optimization framework based on multi-view dynamics that aligns unposed, unsynchronized videos at millisecond accuracy. Our key insight is that any moving 3D point, when co-visible in two cameras, obeys epipolar constraints once properly synchronized. To exploit this, VisualSync leverages off-the-shelf 3D reconstruction, feature matching, and dense tracking to extract tracklets, relative poses, and cross-view correspondences. It then jointly minimizes the epipolar error to estimate each camera's time offset. Experiments on four diverse, challenging datasets show that VisualSync outperforms baseline methods, achieving an median synchronization error below 50 ms.

Recent advancements in video diffusion models have shown exceptional abilities in simulating real-world dynamics and maintaining 3D consistency. This progress inspires us to investigate the potential of these models to ensure dynamic consistency across various viewpoints, a highly desirable feature for applications such as virtual filming. Unlike existing methods focused on multi-view generation of single objects for 4D reconstruction, our interest lies in generating open-world videos from arbitrary viewpoints, incorporating 6 DoF camera poses. To achieve this, we propose a plug-and-play module that enhances a pre-trained text-to-video model for multi-camera video generation, ensuring consistent content across different viewpoints. Specifically, we introduce a multi-view synchronization module to maintain appearance and geometry consistency across these viewpoints. Given the scarcity of high-quality training data, we design a hybrid training scheme that leverages multi-camera images and monocular videos to supplement Unreal Engine-rendered multi-camera videos. Furthermore, our method enables intriguing extensions, such as re-rendering a video from novel viewpoints. We also release a multi-view synchronized video dataset, named SynCamVideo-Dataset. Project page: https://jianhongbai.github.io/SynCamMaster/.

Recent advancements have integrated camera pose as a user-friendly and physics-informed condition in video diffusion models, enabling precise camera control. In this paper, we identify one of the key challenges as effectively modeling noisy cross-frame interactions to enhance geometry consistency and camera controllability. We innovatively associate the quality of a condition with its ability to reduce uncertainty and interpret noisy cross-frame features as a form of noisy condition. Recognizing that noisy conditions provide deterministic information while also introducing randomness and potential misguidance due to added noise, we propose applying epipolar attention to only aggregate features along corresponding epipolar lines, thereby accessing an optimal amount of noisy conditions. Additionally, we address scenarios where epipolar lines disappear, commonly caused by rapid camera movements, dynamic objects, or occlusions, ensuring robust performance in diverse environments. Furthermore, we develop a more robust and reproducible evaluation pipeline to address the inaccuracies and instabilities of existing camera control metrics. Our method achieves a 25.64% improvement in camera controllability on the RealEstate10K dataset without compromising dynamics or generation quality and demonstrates strong generalization to out-of-domain images. Training and inference require only 24GB and 12GB of memory, respectively, for 16-frame sequences at 256x256 resolution. We will release all checkpoints, along with training and evaluation code. Dynamic videos are best viewed at https://zgctroy.github.io/CamI2V.

Recently, image-to-video (I2V) diffusion models have demonstrated impressive scene understanding and generative quality, incorporating image conditions to guide generation. However, these models primarily animate static images without extending beyond their provided context. Introducing additional constraints, such as camera trajectories, can enhance diversity but often degrades visual quality, limiting their applicability for tasks requiring faithful scene representation. We propose CamContextI2V, an I2V model that integrates multiple image conditions with 3D constraints alongside camera control to enrich both global semantics and fine-grained visual details. This enables more coherent and context-aware video generation. Moreover, we motivate the necessity of temporal awareness for an effective context representation. Our comprehensive study on the RealEstate10K dataset demonstrates improvements in visual quality and camera controllability. We make our code and models publicly available at: https://github.com/LDenninger/CamContextI2V.

We introduce CameraBench, a large-scale dataset and benchmark designed to assess and improve camera motion understanding. CameraBench consists of ~3,000 diverse internet videos, annotated by experts through a rigorous multi-stage quality control process. One of our contributions is a taxonomy of camera motion primitives, designed in collaboration with cinematographers. We find, for example, that some motions like "follow" (or tracking) require understanding scene content like moving subjects. We conduct a large-scale human study to quantify human annotation performance, revealing that domain expertise and tutorial-based training can significantly enhance accuracy. For example, a novice may confuse zoom-in (a change of intrinsics) with translating forward (a change of extrinsics), but can be trained to differentiate the two. Using CameraBench, we evaluate Structure-from-Motion (SfM) and Video-Language Models (VLMs), finding that SfM models struggle to capture semantic primitives that depend on scene content, while VLMs struggle to capture geometric primitives that require precise estimation of trajectories. We then fine-tune a generative VLM on CameraBench to achieve the best of both worlds and showcase its applications, including motion-augmented captioning, video question answering, and video-text retrieval. We hope our taxonomy, benchmark, and tutorials will drive future efforts towards the ultimate goal of understanding camera motions in any video.

Recovering camera poses from a set of images is a foundational task in 3D computer vision, which powers key applications such as 3D scene/object reconstructions. Classic methods often depend on feature correspondence, such as keypoints, which require the input images to have large overlap and small viewpoint changes. Such requirements present considerable challenges in scenarios with sparse views. Recent data-driven approaches aim to directly output camera poses, either through regressing the 6DoF camera poses or formulating rotation as a probability distribution. However, each approach has its limitations. On one hand, directly regressing the camera poses can be ill-posed, since it assumes a single mode, which is not true under symmetry and leads to sub-optimal solutions. On the other hand, probabilistic approaches are capable of modeling the symmetry ambiguity, yet they sample the entire space of rotation uniformly by brute-force. This leads to an inevitable trade-off between high sample density, which improves model precision, and sample efficiency that determines the runtime. In this paper, we propose ADen to unify the two frameworks by employing a generator and a discriminator: the generator is trained to output multiple hypotheses of 6DoF camera pose to represent a distribution and handle multi-mode ambiguity, and the discriminator is trained to identify the hypothesis that best explains the data. This allows ADen to combine the best of both worlds, achieving substantially higher precision as well as lower runtime than previous methods in empirical evaluations.

This paper introduces an updated version of the well-known Virtual KITTI dataset which consists of 5 sequence clones from the KITTI tracking benchmark. In addition, the dataset provides different variants of these sequences such as modified weather conditions (e.g. fog, rain) or modified camera configurations (e.g. rotated by 15 degrees). For each sequence, we provide multiple sets of images containing RGB, depth, class segmentation, instance segmentation, flow, and scene flow data. Camera parameters and poses as well as vehicle locations are available as well. In order to showcase some of the dataset's capabilities, we ran multiple relevant experiments using state-of-the-art algorithms from the field of autonomous driving. The dataset is available for download at https://europe.naverlabs.com/Research/Computer-Vision/Proxy-Virtual-Worlds.

Camera control is crucial for generating expressive and cinematic videos. Existing methods rely on explicit sequences of camera parameters as control conditions, which can be cumbersome for users to construct, particularly for intricate camera movements. To provide a more intuitive camera control method, we propose CamCloneMaster, a framework that enables users to replicate camera movements from reference videos without requiring camera parameters or test-time fine-tuning. CamCloneMaster seamlessly supports reference-based camera control for both Image-to-Video and Video-to-Video tasks within a unified framework. Furthermore, we present the Camera Clone Dataset, a large-scale synthetic dataset designed for camera clone learning, encompassing diverse scenes, subjects, and camera movements. Extensive experiments and user studies demonstrate that CamCloneMaster outperforms existing methods in terms of both camera controllability and visual quality.

Although COLMAP has long remained the predominant method for camera parameter optimization in static scenes, it is constrained by its lengthy runtime and reliance on ground truth (GT) motion masks for application to dynamic scenes. Many efforts attempted to improve it by incorporating more priors as supervision such as GT focal length, motion masks, 3D point clouds, camera poses, and metric depth, which, however, are typically unavailable in casually captured RGB videos. In this paper, we propose a novel method for more accurate and efficient camera parameter optimization in dynamic scenes solely supervised by a single RGB video. Our method consists of three key components: (1) Patch-wise Tracking Filters, to establish robust and maximally sparse hinge-like relations across the RGB video. (2) Outlier-aware Joint Optimization, for efficient camera parameter optimization by adaptive down-weighting of moving outliers, without reliance on motion priors. (3) A Two-stage Optimization Strategy, to enhance stability and optimization speed by a trade-off between the Softplus limits and convex minima in losses. We visually and numerically evaluate our camera estimates. To further validate accuracy, we feed the camera estimates into a 4D reconstruction method and assess the resulting 3D scenes, and rendered 2D RGB and depth maps. We perform experiments on 4 real-world datasets (NeRF-DS, DAVIS, iPhone, and TUM-dynamics) and 1 synthetic dataset (MPI-Sintel), demonstrating that our method estimates camera parameters more efficiently and accurately with a single RGB video as the only supervision.

Visual instruction tuning has made considerable strides in enhancing the capabilities of Large Multimodal Models (LMMs). However, existing open LMMs largely focus on single-image tasks, their applications to multi-image scenarios remains less explored. Additionally, prior LMM research separately tackles different scenarios, leaving it impossible to generalize cross scenarios with new emerging capabilities. To this end, we introduce LLaVA-NeXT-Interleave, which simultaneously tackles Multi-image, Multi-frame (video), Multi-view (3D), and Multi-patch (single-image) scenarios in LMMs. To enable these capabilities, we regard the interleaved data format as a general template and compile the M4-Instruct dataset with 1,177.6k samples, spanning 4 primary domains with 14 tasks and 41 datasets. We also curate the LLaVA-Interleave Bench to comprehensively evaluate the multi-image performance of LMMs. Through extensive experiments, LLaVA-NeXT-Interleave achieves leading results in multi-image, video, and 3D benchmarks, while maintaining the performance of single-image tasks. Besides, our model also exhibits several emerging capabilities, e.g., transferring tasks across different settings and modalities. Code is available at https://github.com/LLaVA-VL/LLaVA-NeXT

We propose Framer for interactive frame interpolation, which targets producing smoothly transitioning frames between two images as per user creativity. Concretely, besides taking the start and end frames as inputs, our approach supports customizing the transition process by tailoring the trajectory of some selected keypoints. Such a design enjoys two clear benefits. First, incorporating human interaction mitigates the issue arising from numerous possibilities of transforming one image to another, and in turn enables finer control of local motions. Second, as the most basic form of interaction, keypoints help establish the correspondence across frames, enhancing the model to handle challenging cases (e.g., objects on the start and end frames are of different shapes and styles). It is noteworthy that our system also offers an "autopilot" mode, where we introduce a module to estimate the keypoints and refine the trajectory automatically, to simplify the usage in practice. Extensive experimental results demonstrate the appealing performance of Framer on various applications, such as image morphing, time-lapse video generation, cartoon interpolation, etc. The code, the model, and the interface will be released to facilitate further research.

We present AnyCalib, a method for calibrating the intrinsic parameters of a camera from a single in-the-wild image, that is agnostic to the camera model. Current methods are predominantly tailored to specific camera models and/or require extrinsic cues, such as the direction of gravity, to be visible in the image. In contrast, we argue that the perspective and distortion cues inherent in images are sufficient for model-agnostic camera calibration. To demonstrate this, we frame the calibration process as the regression of the rays corresponding to each pixel. We show, for the first time, that this intermediate representation allows for a closed-form recovery of the intrinsics for a wide range of camera models, including but not limited to: pinhole, Brown-Conrady and Kannala-Brandt. Our approach also applies to edited -- cropped and stretched -- images. Experimentally, we demonstrate that AnyCalib consistently outperforms alternative methods, including 3D foundation models, despite being trained on orders of magnitude less data. Code is available at https://github.com/javrtg/AnyCalib.

The raw-RGB colors of a camera sensor vary due to the spectral sensitivity differences across different sensor makes and models. This paper focuses on the task of mapping between different sensor raw-RGB color spaces. Prior work addressed this problem using a pairwise calibration to achieve accurate color mapping. Although being accurate, this approach is less practical as it requires: (1) capturing pair of images by both camera devices with a color calibration object placed in each new scene; (2) accurate image alignment or manual annotation of the color calibration object. This paper aims to tackle color mapping in the raw space through a more practical setup. Specifically, we present a semi-supervised raw-to-raw mapping method trained on a small set of paired images alongside an unpaired set of images captured by each camera device. Through extensive experiments, we show that our method achieves better results compared to other domain adaptation alternatives in addition to the single-calibration solution. We have generated a new dataset of raw images from two different smartphone cameras as part of this effort. Our dataset includes unpaired and paired sets for our semi-supervised training and evaluation.

High Dynamic Range Novel View Synthesis (HDR-NVS) aims to establish a 3D scene HDR model from Low Dynamic Range (LDR) imagery. Typically, multiple-exposure LDR images are employed to capture a wider range of brightness levels in a scene, as a single LDR image cannot represent both the brightest and darkest regions simultaneously. While effective, this multiple-exposure HDR-NVS approach has significant limitations, including susceptibility to motion artifacts (e.g., ghosting and blurring), high capture and storage costs. To overcome these challenges, we introduce, for the first time, the single-exposure HDR-NVS problem, where only single exposure LDR images are available during training. We further introduce a novel approach, Mono-HDR-3D, featuring two dedicated modules formulated by the LDR image formation principles, one for converting LDR colors to HDR counterparts, and the other for transforming HDR images to LDR format so that unsupervised learning is enabled in a closed loop. Designed as a meta-algorithm, our approach can be seamlessly integrated with existing NVS models. Extensive experiments show that Mono-HDR-3D significantly outperforms previous methods. Source code will be released.

Video generation technologies are developing rapidly and have broad potential applications. Among these technologies, camera control is crucial for generating professional-quality videos that accurately meet user expectations. However, existing camera control methods still suffer from several limitations, including control precision and the neglect of the control for subject motion dynamics. In this work, we propose I2VControl-Camera, a novel camera control method that significantly enhances controllability while providing adjustability over the strength of subject motion. To improve control precision, we employ point trajectory in the camera coordinate system instead of only extrinsic matrix information as our control signal. To accurately control and adjust the strength of subject motion, we explicitly model the higher-order components of the video trajectory expansion, not merely the linear terms, and design an operator that effectively represents the motion strength. We use an adapter architecture that is independent of the base model structure. Experiments on static and dynamic scenes show that our framework outperformances previous methods both quantitatively and qualitatively. The project page is: https://wanquanf.github.io/I2VControlCamera .

Inter-frame modeling is pivotal in generating intermediate frames for video frame interpolation (VFI). Current approaches predominantly rely on convolution or attention-based models, which often either lack sufficient receptive fields or entail significant computational overheads. Recently, Selective State Space Models (S6) have emerged, tailored specifically for long sequence modeling, offering both linear complexity and data-dependent modeling capabilities. In this paper, we propose VFIMamba, a novel frame interpolation method for efficient and dynamic inter-frame modeling by harnessing the S6 model. Our approach introduces the Mixed-SSM Block (MSB), which initially rearranges tokens from adjacent frames in an interleaved fashion and subsequently applies multi-directional S6 modeling. This design facilitates the efficient transmission of information across frames while upholding linear complexity. Furthermore, we introduce a novel curriculum learning strategy that progressively cultivates proficiency in modeling inter-frame dynamics across varying motion magnitudes, fully unleashing the potential of the S6 model. Experimental findings showcase that our method attains state-of-the-art performance across diverse benchmarks, particularly excelling in high-resolution scenarios. In particular, on the X-TEST dataset, VFIMamba demonstrates a noteworthy improvement of 0.80 dB for 4K frames and 0.96 dB for 2K frames.

Modern end-to-end image signal processors (ISPs) can learn complex mappings from RAW/XYZ data to sRGB (or inverse), opening new possibilities in image processing. However, as the diversity of camera models continues to expand, developing and maintaining individual ISPs is not sustainable in the long term, which inherently lacks versatility, hindering the adaptability to multiple camera models. In this paper, we propose a novel pipeline, Uni-ISP, which unifies the learning of ISPs from multiple cameras, offering an accurate and versatile processor to multiple camera models. The core of Uni-ISP is leveraging device-aware embeddings through learning inverse/forward ISPs and its special training scheme. By doing so, Uni-ISP not only improves the performance of inverse/forward ISPs but also unlocks a variety of new applications inaccessible to existing learned ISPs. Moreover, since there is no dataset synchronously captured by multiple cameras for training, we construct a real-world 4K dataset, FiveCam, comprising more than 2,400 pairs of sRGB-RAW images synchronously captured by five smartphones. We conducted extensive experiments demonstrating Uni-ISP's accuracy in inverse/forward ISPs (with improvements of +1.5dB/2.4dB PSNR), its versatility in enabling new applications, and its adaptability to new camera models.

We introduce a framework that enables both multi-view character consistency and 3D camera control in video diffusion models through a novel customization data pipeline. We train the character consistency component with recorded volumetric capture performances re-rendered with diverse camera trajectories via 4D Gaussian Splatting (4DGS), lighting variability obtained with a video relighting model. We fine-tune state-of-the-art open-source video diffusion models on this data to provide strong multi-view identity preservation, precise camera control, and lighting adaptability. Our framework also supports core capabilities for virtual production, including multi-subject generation using two approaches: joint training and noise blending, the latter enabling efficient composition of independently customized models at inference time; it also achieves scene and real-life video customization as well as control over motion and spatial layout during customization. Extensive experiments show improved video quality, higher personalization accuracy, and enhanced camera control and lighting adaptability, advancing the integration of video generation into virtual production. Our project page is available at: https://eyeline-labs.github.io/Virtually-Being.

Novel-view synthesis (NVS) can be tackled through different approaches, depending on the general setting: a single source image to a short video sequence, exact or noisy camera pose information, 3D-based information such as point clouds etc. The most challenging scenario, the one where we stand in this work, only considers a unique source image to generate a novel one from another viewpoint. However, in such a tricky situation, the latest learning-based solutions often struggle to integrate the camera viewpoint transformation. Indeed, the extrinsic information is often passed as-is, through a low-dimensional vector. It might even occur that such a camera pose, when parametrized as Euler angles, is quantized through a one-hot representation. This vanilla encoding choice prevents the learnt architecture from inferring novel views on a continuous basis (from a camera pose perspective). We claim it exists an elegant way to better encode relative camera pose, by leveraging 3D-related concepts such as the epipolar constraint. We, therefore, introduce an innovative method that encodes the viewpoint transformation as a 2D feature image. Such a camera encoding strategy gives meaningful insights to the network regarding how the camera has moved in space between the two views. By encoding the camera pose information as a finite number of coloured epipolar lines, we demonstrate through our experiments that our strategy outperforms vanilla encoding.

Panoramic image stitching provides a unified, wide-angle view of a scene that extends beyond the camera's field of view. Stitching frames of a panning video into a panoramic photograph is a well-understood problem for stationary scenes, but when objects are moving, a still panorama cannot capture the scene. We present a method for synthesizing a panoramic video from a casually-captured panning video, as if the original video were captured with a wide-angle camera. We pose panorama synthesis as a space-time outpainting problem, where we aim to create a full panoramic video of the same length as the input video. Consistent completion of the space-time volume requires a powerful, realistic prior over video content and motion, for which we adapt generative video models. Existing generative models do not, however, immediately extend to panorama completion, as we show. We instead apply video generation as a component of our panorama synthesis system, and demonstrate how to exploit the strengths of the models while minimizing their limitations. Our system can create video panoramas for a range of in-the-wild scenes including people, vehicles, and flowing water, as well as stationary background features.

Exposure-agnostic video frame interpolation (VFI) is a challenging task that aims to recover sharp, high-frame-rate videos from blurry, low-frame-rate inputs captured under unknown and dynamic exposure conditions. Event cameras are sensors with high temporal resolution, making them especially advantageous for this task. However, existing event-guided methods struggle to produce satisfactory results on severely low-frame-rate blurry videos due to the lack of temporal constraints. In this paper, we introduce a novel event-guided framework for exposure-agnostic VFI, addressing this limitation through two key components: a Target-adaptive Event Sampling (TES) and a Target-adaptive Importance Mapping (TIM). Specifically, TES samples events around the target timestamp and the unknown exposure time to better align them with the corresponding blurry frames. TIM then generates an importance map that considers the temporal proximity and spatial relevance of consecutive features to the target. Guided by this map, our framework adaptively blends consecutive features, allowing temporally aligned features to serve as the primary cues while spatially relevant ones offer complementary support. Extensive experiments on both synthetic and real-world datasets demonstrate the effectiveness of our approach in exposure-agnostic VFI scenarios.

High dynamic range (HDR) imaging involves capturing a series of frames of the same scene, each with different exposure settings, to broaden the dynamic range of light. This can be achieved through burst capturing or using staggered HDR sensors that capture long and short exposures simultaneously in the camera image signal processor (ISP). Within camera ISP pipeline, illuminant estimation is a crucial step aiming to estimate the color of the global illuminant in the scene. This estimation is used in camera ISP white-balance module to remove undesirable color cast in the final image. Despite the multiple frames captured in the HDR pipeline, conventional illuminant estimation methods often rely only on a single frame of the scene. In this paper, we explore leveraging information from frames captured with different exposure times. Specifically, we introduce a simple feature extracted from dual-exposure images to guide illuminant estimators, referred to as the dual-exposure feature (DEF). To validate the efficiency of DEF, we employed two illuminant estimators using the proposed DEF: 1) a multilayer perceptron network (MLP), referred to as exposure-based MLP (EMLP), and 2) a modified version of the convolutional color constancy (CCC) to integrate our DEF, that we call ECCC. Both EMLP and ECCC achieve promising results, in some cases surpassing prior methods that require hundreds of thousands or millions of parameters, with only a few hundred parameters for EMLP and a few thousand parameters for ECCC.

Calibrating large-scale camera arrays, such as those in dome-based setups, is time-intensive and typically requires dedicated captures of known patterns. While extrinsics in such arrays are fixed due to the physical setup, intrinsics often vary across sessions due to factors like lens adjustments or temperature changes. In this paper, we propose a dense-feature-driven multi-frame calibration method that refines intrinsics directly from scene data, eliminating the necessity for additional calibration captures. Our approach enhances traditional Structure-from-Motion (SfM) pipelines by introducing an extrinsics regularization term to progressively align estimated extrinsics with ground-truth values, a dense feature reprojection term to reduce keypoint errors by minimizing reprojection loss in the feature space, and an intrinsics variance term for joint optimization across multiple frames. Experiments on the Multiface dataset show that our method achieves nearly the same precision as dedicated calibration processes, and significantly enhances intrinsics and 3D reconstruction accuracy. Fully compatible with existing SfM pipelines, our method provides an efficient and practical plug-and-play solution for large-scale camera setups. Our code is publicly available at: https://github.com/YJJfish/Multi-Cali-Anything

360^circ videos offer a hyper-immersive experience that allows the viewers to explore a dynamic scene from full 360 degrees. To achieve more user-friendly and personalized content creation in 360^circ video format, we seek to lift standard perspective videos into 360^circ equirectangular videos. To this end, we introduce Imagine360, the first perspective-to-360^circ video generation framework that creates high-quality 360^circ videos with rich and diverse motion patterns from video anchors. Imagine360 learns fine-grained spherical visual and motion patterns from limited 360^circ video data with several key designs. 1) Firstly we adopt the dual-branch design, including a perspective and a panorama video denoising branch to provide local and global constraints for 360^circ video generation, with motion module and spatial LoRA layers fine-tuned on extended web 360^circ videos. 2) Additionally, an antipodal mask is devised to capture long-range motion dependencies, enhancing the reversed camera motion between antipodal pixels across hemispheres. 3) To handle diverse perspective video inputs, we propose elevation-aware designs that adapt to varying video masking due to changing elevations across frames. Extensive experiments show Imagine360 achieves superior graphics quality and motion coherence among state-of-the-art 360^circ video generation methods. We believe Imagine360 holds promise for advancing personalized, immersive 360^circ video creation.

Most novel view synthesis methods such as NeRF are unable to capture the true high dynamic range (HDR) radiance of scenes since they are typically trained on photos captured with standard low dynamic range (LDR) cameras. While the traditional exposure bracketing approach which captures several images at different exposures has recently been adapted to the multi-view case, we find such methods to fall short of capturing the full dynamic range of indoor scenes, which includes very bright light sources. In this paper, we present PanDORA: a PANoramic Dual-Observer Radiance Acquisition system for the casual capture of indoor scenes in high dynamic range. Our proposed system comprises two 360{\deg} cameras rigidly attached to a portable tripod. The cameras simultaneously acquire two 360{\deg} videos: one at a regular exposure and the other at a very fast exposure, allowing a user to simply wave the apparatus casually around the scene in a matter of minutes. The resulting images are fed to a NeRF-based algorithm that reconstructs the scene's full high dynamic range. Compared to HDR baselines from previous work, our approach reconstructs the full HDR radiance of indoor scenes without sacrificing the visual quality while retaining the ease of capture from recent NeRF-like approaches.

Amodal segmentation and amodal content completion require using object priors to estimate occluded masks and features of objects in complex scenes. Until now, no data has provided an additional dimension for object context: the possibility of multiple cameras sharing a view of a scene. We introduce MOVi-MC-AC: Multiple Object Video with Multi-Cameras and Amodal Content, the largest amodal segmentation and first amodal content dataset to date. Cluttered scenes of generic household objects are simulated in multi-camera video. MOVi-MC-AC contributes to the growing literature of object detection, tracking, and segmentation by including two new contributions to the deep learning for computer vision world. Multiple Camera (MC) settings where objects can be identified and tracked between various unique camera perspectives are rare in both synthetic and real-world video. We introduce a new complexity to synthetic video by providing consistent object ids for detections and segmentations between both frames and multiple cameras each with unique features and motion patterns on a single scene. Amodal Content (AC) is a reconstructive task in which models predict the appearance of target objects through occlusions. In the amodal segmentation literature, some datasets have been released with amodal detection, tracking, and segmentation labels. While other methods rely on slow cut-and-paste schemes to generate amodal content pseudo-labels, they do not account for natural occlusions present in the modal masks. MOVi-MC-AC provides labels for ~5.8 million object instances, setting a new maximum in the amodal dataset literature, along with being the first to provide ground-truth amodal content. The full dataset is available at https://huggingface.co/datasets/Amar-S/MOVi-MC-AC ,

3D scene reconstruction is a long-standing vision task. Existing approaches can be categorized into geometry-based and learning-based methods. The former leverages multi-view geometry but can face catastrophic failures due to the reliance on accurate pixel correspondence across views. The latter was proffered to mitigate these issues by learning 2D or 3D representation directly. However, without a large-scale video or 3D training data, it can hardly generalize to diverse real-world scenarios due to the presence of tens of millions or even billions of optimization parameters in the deep network. Recently, robust monocular depth estimation models trained with large-scale datasets have been proven to possess weak 3D geometry prior, but they are insufficient for reconstruction due to the unknown camera parameters, the affine-invariant property, and inter-frame inconsistency. Here, we propose a novel test-time optimization approach that can transfer the robustness of affine-invariant depth models such as LeReS to challenging diverse scenes while ensuring inter-frame consistency, with only dozens of parameters to optimize per video frame. Specifically, our approach involves freezing the pre-trained affine-invariant depth model's depth predictions, rectifying them by optimizing the unknown scale-shift values with a geometric consistency alignment module, and employing the resulting scale-consistent depth maps to robustly obtain camera poses and achieve dense scene reconstruction, even in low-texture regions. Experiments show that our method achieves state-of-the-art cross-dataset reconstruction on five zero-shot testing datasets.

We present TrajectoryCrafter, a novel approach to redirect camera trajectories for monocular videos. By disentangling deterministic view transformations from stochastic content generation, our method achieves precise control over user-specified camera trajectories. We propose a novel dual-stream conditional video diffusion model that concurrently integrates point cloud renders and source videos as conditions, ensuring accurate view transformations and coherent 4D content generation. Instead of leveraging scarce multi-view videos, we curate a hybrid training dataset combining web-scale monocular videos with static multi-view datasets, by our innovative double-reprojection strategy, significantly fostering robust generalization across diverse scenes. Extensive evaluations on multi-view and large-scale monocular videos demonstrate the superior performance of our method.

This paper introduces a LArge-scale Video Interpolation Benchmark (LAVIB) for the low-level video task of Video Frame Interpolation (VFI). LAVIB comprises a large collection of high-resolution videos sourced from the web through an automated pipeline with minimal requirements for human verification. Metrics are computed for each video's motion magnitudes, luminance conditions, frame sharpness, and contrast. The collection of videos and the creation of quantitative challenges based on these metrics are under-explored by current low-level video task datasets. In total, LAVIB includes 283K clips from 17K ultra-HD videos, covering 77.6 hours. Benchmark train, val, and test sets maintain similar video metric distributions. Further splits are also created for out-of-distribution (OOD) challenges, with train and test splits including videos of dissimilar attributes.

Traditional image stitching approaches tend to leverage increasingly complex geometric features (point, line, edge, etc.) for better performance. However, these hand-crafted features are only suitable for specific natural scenes with adequate geometric structures. In contrast, deep stitching schemes overcome the adverse conditions by adaptively learning robust semantic features, but they cannot handle large-parallax cases due to homography-based registration. To solve these issues, we propose UDIS++, a parallax-tolerant unsupervised deep image stitching technique. First, we propose a robust and flexible warp to model the image registration from global homography to local thin-plate spline motion. It provides accurate alignment for overlapping regions and shape preservation for non-overlapping regions by joint optimization concerning alignment and distortion. Subsequently, to improve the generalization capability, we design a simple but effective iterative strategy to enhance the warp adaption in cross-dataset and cross-resolution applications. Finally, to further eliminate the parallax artifacts, we propose to composite the stitched image seamlessly by unsupervised learning for seam-driven composition masks. Compared with existing methods, our solution is parallax-tolerant and free from laborious designs of complicated geometric features for specific scenes. Extensive experiments show our superiority over the SoTA methods, both quantitatively and qualitatively. The code is available at https://github.com/nie-lang/UDIS2.

Image generation today can produce somewhat realistic images from text prompts. However, if one asks the generator to synthesize a particular camera setting such as creating different fields of view using a 24mm lens versus a 70mm lens, the generator will not be able to interpret and generate scene-consistent images. This limitation not only hinders the adoption of generative tools in photography applications but also exemplifies a broader issue of bridging the gap between the data-driven models and the physical world. In this paper, we introduce the concept of Generative Photography, a framework designed to control camera intrinsic settings during content generation. The core innovation of this work are the concepts of Dimensionality Lifting and Contrastive Camera Learning, which achieve continuous and consistent transitions for different camera settings. Experimental results show that our method produces significantly more scene-consistent photorealistic images than state-of-the-art models such as Stable Diffusion 3 and FLUX.

Detecting object-level changes between two images across possibly different views is a core task in many applications that involve visual inspection or camera surveillance. Existing change-detection approaches suffer from three major limitations: (1) lack of evaluation on image pairs that contain no changes, leading to unreported false positive rates; (2) lack of correspondences (i.e., localizing the regions before and after a change); and (3) poor zero-shot generalization across different domains. To address these issues, we introduce a novel method that leverages change correspondences (a) during training to improve change detection accuracy, and (b) at test time, to minimize false positives. That is, we harness the supervision labels of where an object is added or removed to supervise change detectors, improving their accuracy over previous work by a large margin. Our work is also the first to predict correspondences between pairs of detected changes using estimated homography and the Hungarian algorithm. Our model demonstrates superior performance over existing methods, achieving state-of-the-art results in change detection and change correspondence accuracy across both in-distribution and zero-shot benchmarks.

We present a method for generating video sequences with coherent motion between a pair of input key frames. We adapt a pretrained large-scale image-to-video diffusion model (originally trained to generate videos moving forward in time from a single input image) for key frame interpolation, i.e., to produce a video in between two input frames. We accomplish this adaptation through a lightweight fine-tuning technique that produces a version of the model that instead predicts videos moving backwards in time from a single input image. This model (along with the original forward-moving model) is subsequently used in a dual-directional diffusion sampling process that combines the overlapping model estimates starting from each of the two keyframes. Our experiments show that our method outperforms both existing diffusion-based methods and traditional frame interpolation techniques.

The reconstruction of immersive and realistic 3D scenes holds significant practical importance in various fields of computer vision and computer graphics. Typically, immersive and realistic scenes should be free from obstructions by dynamic objects, maintain global texture consistency, and allow for unrestricted exploration. The current mainstream methods for image-driven scene construction involves iteratively refining the initial image using a moving virtual camera to generate the scene. However, previous methods struggle with visual discontinuities due to global texture inconsistencies under varying camera poses, and they frequently exhibit scene voids caused by foreground-background occlusions. To this end, we propose a novel layered 3D scene reconstruction framework from panoramic image, named Scene4U. Specifically, Scene4U integrates an open-vocabulary segmentation model with a large language model to decompose a real panorama into multiple layers. Then, we employs a layered repair module based on diffusion model to restore occluded regions using visual cues and depth information, generating a hierarchical representation of the scene. The multi-layer panorama is then initialized as a 3D Gaussian Splatting representation, followed by layered optimization, which ultimately produces an immersive 3D scene with semantic and structural consistency that supports free exploration. Scene4U outperforms state-of-the-art method, improving by 24.24% in LPIPS and 24.40% in BRISQUE, while also achieving the fastest training speed. Additionally, to demonstrate the robustness of Scene4U and allow users to experience immersive scenes from various landmarks, we build WorldVista3D dataset for 3D scene reconstruction, which contains panoramic images of globally renowned sites. The implementation code and dataset will be released at https://github.com/LongHZ140516/Scene4U .

We present a method for generating Streetscapes-long sequences of views through an on-the-fly synthesized city-scale scene. Our generation is conditioned by language input (e.g., city name, weather), as well as an underlying map/layout hosting the desired trajectory. Compared to recent models for video generation or 3D view synthesis, our method can scale to much longer-range camera trajectories, spanning several city blocks, while maintaining visual quality and consistency. To achieve this goal, we build on recent work on video diffusion, used within an autoregressive framework that can easily scale to long sequences. In particular, we introduce a new temporal imputation method that prevents our autoregressive approach from drifting from the distribution of realistic city imagery. We train our Streetscapes system on a compelling source of data-posed imagery from Google Street View, along with contextual map data-which allows users to generate city views conditioned on any desired city layout, with controllable camera poses. Please see more results at our project page at https://boyangdeng.com/streetscapes.

Many flagship smartphone cameras now use a dedicated neural image signal processor (ISP) to render noisy raw sensor images to the final processed output. Training nightmode ISP networks relies on large-scale datasets of image pairs with: (1) a noisy raw image captured with a short exposure and a high ISO gain; and (2) a ground truth low-noise raw image captured with a long exposure and low ISO that has been rendered through the ISP. Capturing such image pairs is tedious and time-consuming, requiring careful setup to ensure alignment between the image pairs. In addition, ground truth images are often prone to motion blur due to the long exposure. To address this problem, we propose a method that synthesizes nighttime images from daytime images. Daytime images are easy to capture, exhibit low-noise (even on smartphone cameras) and rarely suffer from motion blur. We outline a processing framework to convert daytime raw images to have the appearance of realistic nighttime raw images with different levels of noise. Our procedure allows us to easily produce aligned noisy and clean nighttime image pairs. We show the effectiveness of our synthesis framework by training neural ISPs for nightmode rendering. Furthermore, we demonstrate that using our synthetic nighttime images together with small amounts of real data (e.g., 5% to 10%) yields performance almost on par with training exclusively on real nighttime images. Our dataset and code are available at https://github.com/SamsungLabs/day-to-night.

Tremendous progress in deep generative models has led to photorealistic image synthesis. While achieving compelling results, most approaches operate in the two-dimensional image domain, ignoring the three-dimensional nature of our world. Several recent works therefore propose generative models which are 3D-aware, i.e., scenes are modeled in 3D and then rendered differentiably to the image plane. This leads to impressive 3D consistency, but incorporating such a bias comes at a price: the camera needs to be modeled as well. Current approaches assume fixed intrinsics and a predefined prior over camera pose ranges. As a result, parameter tuning is typically required for real-world data, and results degrade if the data distribution is not matched. Our key hypothesis is that learning a camera generator jointly with the image generator leads to a more principled approach to 3D-aware image synthesis. Further, we propose to decompose the scene into a background and foreground model, leading to more efficient and disentangled scene representations. While training from raw, unposed image collections, we learn a 3D- and camera-aware generative model which faithfully recovers not only the image but also the camera data distribution. At test time, our model generates images with explicit control over the camera as well as the shape and appearance of the scene.

Ensuring driving safety for autonomous vehicles has become increasingly crucial, highlighting the need for systematic tracking of on-road pedestrians. Most vehicles are equipped with visual sensors, however, the large-scale visual data has not been well studied yet. Multi-target multi-camera (MTMC) tracking systems are composed of two modules: single-camera tracking (SCT) and inter-camera tracking (ICT). To reliably coordinate between them, MTMC tracking has been a very complicated task, while tracking across multiple moving cameras makes it even more challenging. In this paper, we focus on multi-target multi-moving-camera (MTMMC) tracking, which is attracting increasing attention from the research community. Observing there are few datasets for MTMMC tracking, we collect a new dataset, called Multi-Moving-Camera Track (MMCT), which contains sequences under various driving scenarios. To address the common problems of identity switch easily faced by most existing SCT trackers, especially for moving cameras due to ego-motion between the camera and targets, a lightweight appearance-free global link model, called Linker, is proposed to mitigate the identity switch by associating two disjoint tracklets of the same target into a complete trajectory within the same camera. Incorporated with Linker, existing SCT trackers generally obtain a significant improvement. Moreover, to alleviate the impact of the image style variations caused by different cameras, a color transfer module is effectively incorporated to extract cross-camera consistent appearance features for pedestrian association across moving cameras for ICT, resulting in a much improved MTMMC tracking system, which can constitute a step further towards coordinated mining of multiple moving cameras. The project page is available at https://dhu-mmct.github.io/.

The image signal processor (ISP) pipeline in modern cameras consists of several modules that transform raw sensor data into visually pleasing images in a display color space. Among these, the auto white balance (AWB) module is essential for compensating for scene illumination. However, commercial AWB systems often strive to compute aesthetic white-balance preferences rather than accurate neutral color correction. While learning-based methods have improved AWB accuracy, they typically struggle to generalize across different camera sensors -- an issue for smartphones with multiple cameras. Recent work has explored cross-camera AWB, but most methods remain focused on achieving neutral white balance. In contrast, this paper is the first to address aesthetic consistency by learning a post-illuminant-estimation mapping that transforms neutral illuminant corrections into aesthetically preferred corrections in a camera-agnostic space. Once trained, our mapping can be applied after any neutral AWB module to enable consistent and stylized color rendering across unseen cameras. Our proposed model is lightweight -- containing only sim500 parameters -- and runs in just 0.024 milliseconds on a typical flagship mobile CPU. Evaluated on a dataset of 771 smartphone images from three different cameras, our method achieves state-of-the-art performance while remaining fully compatible with existing cross-camera AWB techniques, introducing minimal computational and memory overhead.

We introduce the simple idea of adaptive view planning to multi-view synthesis, aiming to improve both occlusion revelation and 3D consistency for single-view 3D reconstruction. Instead of producing an unordered set of views independently or simultaneously, we generate a sequence of views, leveraging temporal consistency to enhance 3D coherence. More importantly, our view sequence is not determined by a pre-determined and fixed camera setup. Instead, we compute an adaptive camera trajectory (ACT), forming an orbit, which seeks to maximize the visibility of occluded regions of the 3D object to be reconstructed. Once the best orbit is found, we feed it to a video diffusion model to generate novel views around the orbit, which can then be passed to any multi-view 3D reconstruction model to obtain the final result. Our multi-view synthesis pipeline is quite efficient since it involves no run-time training/optimization, only forward inferences by applying pre-trained models for occlusion analysis and multi-view synthesis. Our method predicts camera trajectories that reveal occlusions effectively and produce consistent novel views, significantly improving 3D reconstruction over SOTA alternatives on the unseen GSO dataset.

Text-guided diffusion models have greatly advanced image editing and generation. However, achieving physically consistent image retouching with precise parameter control (e.g., exposure, white balance, zoom) remains challenging. Existing methods either rely solely on ambiguous and entangled text prompts, which hinders precise camera control, or train separate heads/weights for parameter adjustment, which compromises scalability, multi-parameter composition, and sensitivity to subtle variations. To address these limitations, we propose CameraMaster, a unified camera-aware framework for image retouching. The key idea is to explicitly decouple the camera directive and then coherently integrate two critical information streams: a directive representation that captures the photographer's intent, and a parameter embedding that encodes precise camera settings. CameraMaster first uses the camera parameter embedding to modulate both the camera directive and the content semantics. The modulated directive is then injected into the content features via cross-attention, yielding a strongly camera-sensitive semantic context. In addition, the directive and camera embeddings are injected as conditioning and gating signals into the time embedding, enabling unified, layer-wise modulation throughout the denoising process and enforcing tight semantic-parameter alignment. To train and evaluate CameraMaster, we construct a large-scale dataset of 78K image-prompt pairs annotated with camera parameters. Extensive experiments show that CameraMaster produces monotonic and near-linear responses to parameter variations, supports seamless multi-parameter composition, and significantly outperforms existing methods.

Reliable depth estimation under real optical conditions remains a core challenge for camera vision in systems such as autonomous robotics and augmented reality. Despite recent progress in depth estimation and depth-of-field rendering, research remains constrained by the lack of large-scale, high-fidelity, real stereo DSLR datasets, limiting real-world generalization and evaluation of models trained on synthetic data as shown extensively in literature. We present the first high-resolution (5472times3648px) stereo DSLR dataset with 18000 images, systematically varying focal length and aperture across complex real scenes and capturing the optical realism and complexity of professional camera systems. For 9 scenes with varying scene complexity, lighting and background, images are captured with two identical camera assemblies at 10 focal lengths (28-70mm) and 5 apertures (f/2.8-f/22), spanning 50 optical configurations in 2000 images per scene. This full-range optics coverage enables controlled analysis of geometric and optical effects for monocular and stereo depth estimation, shallow depth-of-field rendering, deblurring, 3D scene reconstruction and novel view synthesis. Each focal configuration has a dedicated calibration image set, supporting evaluation of classical and learning based methods for intrinsic and extrinsic calibration. The dataset features challenging visual elements such as multi-scale optical illusions, reflective surfaces, mirrors, transparent glass walls, fine-grained details, and natural / artificial ambient light variations. This work attempts to bridge the realism gap between synthetic training data and real camera optics, and demonstrates challenges with the current state-of-the-art monocular, stereo depth and depth-of-field methods. We release the dataset, calibration files, and evaluation code to support reproducible research on real-world optical generalization.

Camera sensor simulation serves as a critical role for autonomous driving (AD), e.g. evaluating vision-based AD algorithms. While existing approaches have leveraged generative models for controllable image/video generation, they remain constrained to generating multi-view video sequences with fixed camera viewpoints and video frequency, significantly limiting their downstream applications. To address this, we present a generalizable camera simulation framework DriveCamSim, whose core innovation lies in the proposed Explicit Camera Modeling (ECM) mechanism. Instead of implicit interaction through vanilla attention, ECM establishes explicit pixel-wise correspondences across multi-view and multi-frame dimensions, decoupling the model from overfitting to the specific camera configurations (intrinsic/extrinsic parameters, number of views) and temporal sampling rates presented in the training data. For controllable generation, we identify the issue of information loss inherent in existing conditional encoding and injection pipelines, proposing an information-preserving control mechanism. This control mechanism not only improves conditional controllability, but also can be extended to be identity-aware to enhance temporal consistency in foreground object rendering. With above designs, our model demonstrates superior performance in both visual quality and controllability, as well as generalization capability across spatial-level (camera parameters variations) and temporal-level (video frame rate variations), enabling flexible user-customizable camera simulation tailored to diverse application scenarios. Code will be avaliable at https://github.com/swc-17/DriveCamSim for facilitating future research.

Deep learning is commonly used to reconstruct HDR images from LDR images. LDR stack-based methods are used for single-image HDR reconstruction, generating an HDR image from a deep learning-generated LDR stack. However, current methods generate the stack with predetermined exposure values (EVs), which may limit the quality of HDR reconstruction. To address this, we propose the continuous exposure value representation (CEVR), which uses an implicit function to generate LDR images with arbitrary EVs, including those unseen during training. Our approach generates a continuous stack with more images containing diverse EVs, significantly improving HDR reconstruction. We use a cycle training strategy to supervise the model in generating continuous EV LDR images without corresponding ground truths. Our CEVR model outperforms existing methods, as demonstrated by experimental results.

Recently, breakthroughs in video modeling have allowed for controllable camera trajectories in generated videos. However, these methods cannot be directly applied to user-provided videos that are not generated by a video model. In this paper, we present ReCapture, a method for generating new videos with novel camera trajectories from a single user-provided video. Our method allows us to re-generate the reference video, with all its existing scene motion, from vastly different angles and with cinematic camera motion. Notably, using our method we can also plausibly hallucinate parts of the scene that were not observable in the reference video. Our method works by (1) generating a noisy anchor video with a new camera trajectory using multiview diffusion models or depth-based point cloud rendering and then (2) regenerating the anchor video into a clean and temporally consistent reangled video using our proposed masked video fine-tuning technique.

Multi-resolution hash encoding has recently been proposed to reduce the computational cost of neural renderings, such as NeRF. This method requires accurate camera poses for the neural renderings of given scenes. However, contrary to previous methods jointly optimizing camera poses and 3D scenes, the naive gradient-based camera pose refinement method using multi-resolution hash encoding severely deteriorates performance. We propose a joint optimization algorithm to calibrate the camera pose and learn a geometric representation using efficient multi-resolution hash encoding. Showing that the oscillating gradient flows of hash encoding interfere with the registration of camera poses, our method addresses the issue by utilizing smooth interpolation weighting to stabilize the gradient oscillation for the ray samplings across hash grids. Moreover, the curriculum training procedure helps to learn the level-wise hash encoding, further increasing the pose refinement. Experiments on the novel-view synthesis datasets validate that our learning frameworks achieve state-of-the-art performance and rapid convergence of neural rendering, even when initial camera poses are unknown.

We propose a training-free and robust solution to offer camera movement control for off-the-shelf video diffusion models. Unlike previous work, our method does not require any supervised finetuning on camera-annotated datasets or self-supervised training via data augmentation. Instead, it can be plugged and played with most pretrained video diffusion models and generate camera controllable videos with a single image or text prompt as input. The inspiration of our work comes from the layout prior that intermediate latents hold towards generated results, thus rearranging noisy pixels in them will make output content reallocated as well. As camera move could also be seen as a kind of pixel rearrangement caused by perspective change, videos could be reorganized following specific camera motion if their noisy latents change accordingly. Established on this, we propose our method CamTrol, which enables robust camera control for video diffusion models. It is achieved by a two-stage process. First, we model image layout rearrangement through explicit camera movement in 3D point cloud space. Second, we generate videos with camera motion using layout prior of noisy latents formed by a series of rearranged images. Extensive experiments have demonstrated the robustness our method holds in controlling camera motion of generated videos. Furthermore, we show that our method can produce impressive results in generating 3D rotation videos with dynamic content. Project page at https://lifedecoder.github.io/CamTrol/.

Video frame interpolation (VFI) is a challenging task that aims to generate intermediate frames between two consecutive frames in a video. Existing learning-based VFI methods have achieved great success, but they still suffer from limited generalization ability due to the limited motion distribution of training datasets. In this paper, we propose a novel optimization-based VFI method that can adapt to unseen motions at test time. Our method is based on a cycle-consistency adaptation strategy that leverages the motion characteristics among video frames. We also introduce a lightweight adapter that can be inserted into the motion estimation module of existing pre-trained VFI models to improve the efficiency of adaptation. Extensive experiments on various benchmarks demonstrate that our method can boost the performance of two-frame VFI models, outperforming the existing state-of-the-art methods, even those that use extra input.

3D lookup tables (3D LUTs) are a key component for image enhancement. Modern image signal processors (ISPs) have dedicated support for these as part of the camera rendering pipeline. Cameras typically provide multiple options for picture styles, where each style is usually obtained by applying a unique handcrafted 3D LUT. Current approaches for learning and applying 3D LUTs are notably fast, yet not so memory-efficient, as storing multiple 3D LUTs is required. For this reason and other implementation limitations, their use on mobile devices is less popular. In this work, we propose a Neural Implicit LUT (NILUT), an implicitly defined continuous 3D color transformation parameterized by a neural network. We show that NILUTs are capable of accurately emulating real 3D LUTs. Moreover, a NILUT can be extended to incorporate multiple styles into a single network with the ability to blend styles implicitly. Our novel approach is memory-efficient, controllable and can complement previous methods, including learned ISPs. Code, models and dataset available at: https://github.com/mv-lab/nilut

3D inpainting often relies on multi-view 2D image inpainting, where the inherent inconsistencies across different inpainted views can result in blurred textures, spatial discontinuities, and distracting visual artifacts. These inconsistencies pose significant challenges when striving for accurate and realistic 3D object completion, particularly in applications that demand high fidelity and structural coherence. To overcome these limitations, we propose ObjFiller-3D, a novel method designed for the completion and editing of high-quality and consistent 3D objects. Instead of employing a conventional 2D image inpainting model, our approach leverages a curated selection of state-of-the-art video editing model to fill in the masked regions of 3D objects. We analyze the representation gap between 3D and videos, and propose an adaptation of a video inpainting model for 3D scene inpainting. In addition, we introduce a reference-based 3D inpainting method to further enhance the quality of reconstruction. Experiments across diverse datasets show that compared to previous methods, ObjFiller-3D produces more faithful and fine-grained reconstructions (PSNR of 26.6 vs. NeRFiller (15.9) and LPIPS of 0.19 vs. Instant3dit (0.25)). Moreover, it demonstrates strong potential for practical deployment in real-world 3D editing applications. Project page: https://objfiller3d.github.io/ Code: https://github.com/objfiller3d/ObjFiller-3D .

We propose a new problem, In-2-4D, for generative 4D (i.e., 3D + motion) inbetweening from a minimalistic input setting: two single-view images capturing an object in two distinct motion states. Given two images representing the start and end states of an object in motion, our goal is to generate and reconstruct the motion in 4D. We utilize a video interpolation model to predict the motion, but large frame-to-frame motions can lead to ambiguous interpretations. To overcome this, we employ a hierarchical approach to identify keyframes that are visually close to the input states and show significant motion, then generate smooth fragments between them. For each fragment, we construct the 3D representation of the keyframe using Gaussian Splatting. The temporal frames within the fragment guide the motion, enabling their transformation into dynamic Gaussians through a deformation field. To improve temporal consistency and refine 3D motion, we expand the self-attention of multi-view diffusion across timesteps and apply rigid transformation regularization. Finally, we merge the independently generated 3D motion segments by interpolating boundary deformation fields and optimizing them to align with the guiding video, ensuring smooth and flicker-free transitions. Through extensive qualitative and quantitiave experiments as well as a user study, we show the effectiveness of our method and its components. The project page is available at https://in-2-4d.github.io/

We present "Cross-Camera Convolutional Color Constancy" (C5), a learning-based method, trained on images from multiple cameras, that accurately estimates a scene's illuminant color from raw images captured by a new camera previously unseen during training. C5 is a hypernetwork-like extension of the convolutional color constancy (CCC) approach: C5 learns to generate the weights of a CCC model that is then evaluated on the input image, with the CCC weights dynamically adapted to different input content. Unlike prior cross-camera color constancy models, which are usually designed to be agnostic to the spectral properties of test-set images from unobserved cameras, C5 approaches this problem through the lens of transductive inference: additional unlabeled images are provided as input to the model at test time, which allows the model to calibrate itself to the spectral properties of the test-set camera during inference. C5 achieves state-of-the-art accuracy for cross-camera color constancy on several datasets, is fast to evaluate (~7 and ~90 ms per image on a GPU or CPU, respectively), and requires little memory (~2 MB), and thus is a practical solution to the problem of calibration-free automatic white balance for mobile photography.

This paper presents DualCamCtrl, a novel end-to-end diffusion model for camera-controlled video generation. Recent works have advanced this field by representing camera poses as ray-based conditions, yet they often lack sufficient scene understanding and geometric awareness. DualCamCtrl specifically targets this limitation by introducing a dual-branch framework that mutually generates camera-consistent RGB and depth sequences. To harmonize these two modalities, we further propose the Semantic Guided Mutual Alignment (SIGMA) mechanism, which performs RGB-depth fusion in a semantics-guided and mutually reinforced manner. These designs collectively enable DualCamCtrl to better disentangle appearance and geometry modeling, generating videos that more faithfully adhere to the specified camera trajectories. Additionally, we analyze and reveal the distinct influence of depth and camera poses across denoising stages and further demonstrate that early and late stages play complementary roles in forming global structure and refining local details. Extensive experiments demonstrate that DualCamCtrl achieves more consistent camera-controlled video generation, with over 40\% reduction in camera motion errors compared with prior methods. Our project page: https://soyouthinkyoucantell.github.io/dualcamctrl-page/

Significant progress has been made in photo-realistic scene reconstruction over recent years. Various disparate efforts have enabled capabilities such as multi-appearance or large-scale modeling; however, there lacks a welldesigned dataset that can evaluate the holistic progress of scene reconstruction. We introduce a collection of imagery of the Johns Hopkins Homewood Campus, acquired at different seasons, times of day, in multiple elevations, and across a large scale. We perform a multi-stage calibration process, which efficiently recover camera parameters from phone and drone cameras. This dataset can enable researchers to rigorously explore challenges in unconstrained settings, including effects of inconsistent illumination, reconstruction from large scale and from significantly different perspectives, etc.

This paper studies the problem of recovering cameras from a set of fundamental matrices. A set of fundamental matrices is said to be compatible if a set of cameras exists for which they are the fundamental matrices. We focus on the complete graph, where fundamental matrices for each pair of cameras are given. Previous work has established necessary and sufficient conditions for compatibility as rank and eigenvalue conditions on the n-view fundamental matrix obtained by concatenating the individual fundamental matrices. In this work, we show that the eigenvalue condition is redundant. We provide explicit homogeneous polynomials that describe necessary and sufficient conditions for compatibility in terms of the fundamental matrices and their epipoles. In this direction, we find that quadruple-wise compatibility is enough to ensure global compatibility for any number of cameras. We demonstrate that for four cameras, compatibility is generically described by triple-wise conditions and one additional equation involving all fundamental matrices.

Understanding visual differences between dynamic scenes requires the comparative perception of compositional, spatial, and temporal changes--a capability that remains underexplored in existing vision-language systems. While prior work on Image Difference Captioning (IDC) has enabled models to describe semantic changes between static images, these approaches fail to capture motion continuity, event evolution, or editing consistency over time. We introduce the ViDiC (Video Difference Captioning) task and its corresponding ViDiC-1K dataset, designed to evaluate the ability of Multimodal Large Language Models (MLLMs) to provide fine-grained descriptions of similarities and differences between video pairs. ViDiC-1K comprises 1,000 curated video pairs annotated with over 4,000 comparative checklist items, covering seven categories: subject, style, background, cinematography, motion, location, and playback techniques. To ensure reliable evaluation, we propose a dual-checklist framework that measures the accuracy of similarity and difference separately, based on the LLM-as-a-Judge protocol. Experiments on nineteen representative multimodal models reveal a significant performance gap in their comparative description and difference perception abilities. We hope ViDiC-1K can be a challenging benchmark that lays a solid foundation for advancing video understanding, edit awareness, and comparative reasoning in multimodal intelligence.

On a shutter press, modern handheld cameras capture multiple images in rapid succession and merge them to generate a single image. However, individual frames in a burst are misaligned due to inevitable motions and contain multiple degradations. The challenge is to properly align the successive image shots and merge their complimentary information to achieve high-quality outputs. Towards this direction, we propose Burstormer: a novel transformer-based architecture for burst image restoration and enhancement. In comparison to existing works, our approach exploits multi-scale local and non-local features to achieve improved alignment and feature fusion. Our key idea is to enable inter-frame communication in the burst neighborhoods for information aggregation and progressive fusion while modeling the burst-wide context. However, the input burst frames need to be properly aligned before fusing their information. Therefore, we propose an enhanced deformable alignment module for aligning burst features with regards to the reference frame. Unlike existing methods, the proposed alignment module not only aligns burst features but also exchanges feature information and maintains focused communication with the reference frame through the proposed reference-based feature enrichment mechanism, which facilitates handling complex motions. After multi-level alignment and enrichment, we re-emphasize on inter-frame communication within burst using a cyclic burst sampling module. Finally, the inter-frame information is aggregated using the proposed burst feature fusion module followed by progressive upsampling. Our Burstormer outperforms state-of-the-art methods on burst super-resolution, burst denoising and burst low-light enhancement. Our codes and pretrained models are available at https:// github.com/akshaydudhane16/Burstormer

With the increasing popularity of autonomous driving based on the powerful and unified bird's-eye-view (BEV) representation, a demand for high-quality and large-scale multi-view video data with accurate annotation is urgently required. However, such large-scale multi-view data is hard to obtain due to expensive collection and annotation costs. To alleviate the problem, we propose a spatial-temporal consistent diffusion framework DrivingDiffusion, to generate realistic multi-view videos controlled by 3D layout. There are three challenges when synthesizing multi-view videos given a 3D layout: How to keep 1) cross-view consistency and 2) cross-frame consistency? 3) How to guarantee the quality of the generated instances? Our DrivingDiffusion solves the problem by cascading the multi-view single-frame image generation step, the single-view video generation step shared by multiple cameras, and post-processing that can handle long video generation. In the multi-view model, the consistency of multi-view images is ensured by information exchange between adjacent cameras. In the temporal model, we mainly query the information that needs attention in subsequent frame generation from the multi-view images of the first frame. We also introduce the local prompt to effectively improve the quality of generated instances. In post-processing, we further enhance the cross-view consistency of subsequent frames and extend the video length by employing temporal sliding window algorithm. Without any extra cost, our model can generate large-scale realistic multi-camera driving videos in complex urban scenes, fueling the downstream driving tasks. The code will be made publicly available.

This paper presents a novel preconditioning strategy for the classic 8-point algorithm (8-PA) for estimating an essential matrix from 360-FoV images (i.e., equirectangular images) in spherical projection. To alleviate the effect of uneven key-feature distributions and outlier correspondences, which can potentially decrease the accuracy of an essential matrix, our method optimizes a non-rigid transformation to deform a spherical camera into a new spatial domain, defining a new constraint and a more robust and accurate solution for an essential matrix. Through several experiments using random synthetic points, 360-FoV, and fish-eye images, we demonstrate that our normalization can increase the camera pose accuracy by about 20% without significantly overhead the computation time. In addition, we present further benefits of our method through both a constant weighted least-square optimization that improves further the well known Gold Standard Method (GSM) (i.e., the non-linear optimization by using epipolar errors); and a relaxation of the number of RANSAC iterations, both showing that our normalization outcomes a more reliable, robust, and accurate solution.

With the rapid progress of video generation, demand for customized video editing is surging, where subject swapping constitutes a key component yet remains under-explored. Prevailing swapping approaches either specialize in narrow domains--such as human-body animation or hand-object interaction--or rely on some indirect editing paradigm or ambiguous text prompts that compromise final fidelity. In this paper, we propose DreamSwapV, a mask-guided, subject-agnostic, end-to-end framework that swaps any subject in any video for customization with a user-specified mask and reference image. To inject fine-grained guidance, we introduce multiple conditions and a dedicated condition fusion module that integrates them efficiently. In addition, an adaptive mask strategy is designed to accommodate subjects of varying scales and attributes, further improving interactions between the swapped subject and its surrounding context. Through our elaborate two-phase dataset construction and training scheme, our DreamSwapV outperforms existing methods, as validated by comprehensive experiments on VBench indicators and our first introduced DreamSwapV-Benchmark.

We present a video generation model that accurately reproduces object motion, changes in camera viewpoint, and new content that arises over time. Existing video generation methods often fail to produce new content as a function of time while maintaining consistencies expected in real environments, such as plausible dynamics and object persistence. A common failure case is for content to never change due to over-reliance on inductive biases to provide temporal consistency, such as a single latent code that dictates content for the entire video. On the other extreme, without long-term consistency, generated videos may morph unrealistically between different scenes. To address these limitations, we prioritize the time axis by redesigning the temporal latent representation and learning long-term consistency from data by training on longer videos. To this end, we leverage a two-phase training strategy, where we separately train using longer videos at a low resolution and shorter videos at a high resolution. To evaluate the capabilities of our model, we introduce two new benchmark datasets with explicit focus on long-term temporal dynamics.

Given a factorization of an image into a sum of linear components, we present a zero-shot method to control each individual component through diffusion model sampling. For example, we can decompose an image into low and high spatial frequencies and condition these components on different text prompts. This produces hybrid images, which change appearance depending on viewing distance. By decomposing an image into three frequency subbands, we can generate hybrid images with three prompts. We also use a decomposition into grayscale and color components to produce images whose appearance changes when they are viewed in grayscale, a phenomena that naturally occurs under dim lighting. And we explore a decomposition by a motion blur kernel, which produces images that change appearance under motion blurring. Our method works by denoising with a composite noise estimate, built from the components of noise estimates conditioned on different prompts. We also show that for certain decompositions, our method recovers prior approaches to compositional generation and spatial control. Finally, we show that we can extend our approach to generate hybrid images from real images. We do this by holding one component fixed and generating the remaining components, effectively solving an inverse problem.

We present 3D Cinemagraphy, a new technique that marries 2D image animation with 3D photography. Given a single still image as input, our goal is to generate a video that contains both visual content animation and camera motion. We empirically find that naively combining existing 2D image animation and 3D photography methods leads to obvious artifacts or inconsistent animation. Our key insight is that representing and animating the scene in 3D space offers a natural solution to this task. To this end, we first convert the input image into feature-based layered depth images using predicted depth values, followed by unprojecting them to a feature point cloud. To animate the scene, we perform motion estimation and lift the 2D motion into the 3D scene flow. Finally, to resolve the problem of hole emergence as points move forward, we propose to bidirectionally displace the point cloud as per the scene flow and synthesize novel views by separately projecting them into target image planes and blending the results. Extensive experiments demonstrate the effectiveness of our method. A user study is also conducted to validate the compelling rendering results of our method.

Inverse rendering of an object under entirely unknown capture conditions is a fundamental challenge in computer vision and graphics. Neural approaches such as NeRF have achieved photorealistic results on novel view synthesis, but they require known camera poses. Solving this problem with unknown camera poses is highly challenging as it requires joint optimization over shape, radiance, and pose. This problem is exacerbated when the input images are captured in the wild with varying backgrounds and illuminations. Standard pose estimation techniques fail in such image collections in the wild due to very few estimated correspondences across images. Furthermore, NeRF cannot relight a scene under any illumination, as it operates on radiance (the product of reflectance and illumination). We propose a joint optimization framework to estimate the shape, BRDF, and per-image camera pose and illumination. Our method works on in-the-wild online image collections of an object and produces relightable 3D assets for several use-cases such as AR/VR. To our knowledge, our method is the first to tackle this severely unconstrained task with minimal user interaction. Project page: https://markboss.me/publication/2022-samurai/ Video: https://youtu.be/LlYuGDjXp-8

Emerging video diffusion models achieve high visual fidelity but fundamentally couple scene dynamics with camera motion, limiting their ability to provide precise spatial and temporal control. We introduce a 4D-controllable video diffusion framework that explicitly decouples scene dynamics from camera pose, enabling fine-grained manipulation of both scene dynamics and camera viewpoint. Our framework takes continuous world-time sequences and camera trajectories as conditioning inputs, injecting them into the video diffusion model through a 4D positional encoding in the attention layer and adaptive normalizations for feature modulation. To train this model, we curate a unique dataset in which temporal and camera variations are independently parameterized; this dataset will be made public. Experiments show that our model achieves robust real-world 4D control across diverse timing patterns and camera trajectories, while preserving high generation quality and outperforming prior work in controllability. See our website for video results: https://19reborn.github.io/Bullet4D/

Recent progress in video diffusion models has spurred growing interest in camera-controlled novel-view video generation for dynamic scenes, aiming to provide creators with cinematic camera control capabilities in post-production. A key challenge in camera-controlled video generation is ensuring fidelity to the specified camera pose, while maintaining view consistency and reasoning about occluded geometry from limited observations. To address this, existing methods either train trajectory-conditioned video generation model on trajectory-video pair dataset, or estimate depth from the input video to reproject it along a target trajectory and generate the unprojected regions. Nevertheless, existing methods struggle to generate camera-pose-faithful, high-quality videos for two main reasons: (1) reprojection-based approaches are highly susceptible to errors caused by inaccurate depth estimation; and (2) the limited diversity of camera trajectories in existing datasets restricts learned models. To address these limitations, we present InfCam, a depth-free, camera-controlled video-to-video generation framework with high pose fidelity. The framework integrates two key components: (1) infinite homography warping, which encodes 3D camera rotations directly within the 2D latent space of a video diffusion model. Conditioning on this noise-free rotational information, the residual parallax term is predicted through end-to-end training to achieve high camera-pose fidelity; and (2) a data augmentation pipeline that transforms existing synthetic multiview datasets into sequences with diverse trajectories and focal lengths. Experimental results demonstrate that InfCam outperforms baseline methods in camera-pose accuracy and visual fidelity, generalizing well from synthetic to real-world data. Link to our project page:https://emjay73.github.io/InfCam/

Diffusion models have demonstrated exceptional capabilities in image generation and restoration, yet their application to video super-resolution faces significant challenges in maintaining both high fidelity and temporal consistency. We present DiffVSR, a diffusion-based framework for real-world video super-resolution that effectively addresses these challenges through key innovations. For intra-sequence coherence, we develop a multi-scale temporal attention module and temporal-enhanced VAE decoder that capture fine-grained motion details. To ensure inter-sequence stability, we introduce a noise rescheduling mechanism with an interweaved latent transition approach, which enhances temporal consistency without additional training overhead. We propose a progressive learning strategy that transitions from simple to complex degradations, enabling robust optimization despite limited high-quality video data. Extensive experiments demonstrate that DiffVSR delivers superior results in both visual quality and temporal consistency, setting a new performance standard in real-world video super-resolution.

We present iFusion, a novel 3D object reconstruction framework that requires only two views with unknown camera poses. While single-view reconstruction yields visually appealing results, it can deviate significantly from the actual object, especially on unseen sides. Additional views improve reconstruction fidelity but necessitate known camera poses. However, assuming the availability of pose may be unrealistic, and existing pose estimators fail in sparse view scenarios. To address this, we harness a pre-trained novel view synthesis diffusion model, which embeds implicit knowledge about the geometry and appearance of diverse objects. Our strategy unfolds in three steps: (1) We invert the diffusion model for camera pose estimation instead of synthesizing novel views. (2) The diffusion model is fine-tuned using provided views and estimated poses, turned into a novel view synthesizer tailored for the target object. (3) Leveraging registered views and the fine-tuned diffusion model, we reconstruct the 3D object. Experiments demonstrate strong performance in both pose estimation and novel view synthesis. Moreover, iFusion seamlessly integrates with various reconstruction methods and enhances them.

Generating consistent ground-view images from satellite imagery is challenging, primarily due to the large discrepancies in viewing angles and resolution between satellite and ground-level domains. Previous efforts mainly concentrated on single-view generation, often resulting in inconsistencies across neighboring ground views. In this work, we propose a novel cross-view synthesis approach designed to overcome these challenges by ensuring consistency across ground-view images generated from satellite views. Our method, based on a fixed latent diffusion model, introduces two conditioning modules: satellite-guided denoising, which extracts high-level scene layout to guide the denoising process, and satellite-temporal denoising, which captures camera motion to maintain consistency across multiple generated views. We further contribute a large-scale satellite-ground dataset containing over 100,000 perspective pairs to facilitate extensive ground scene or video generation. Experimental results demonstrate that our approach outperforms existing methods on perceptual and temporal metrics, achieving high photorealism and consistency in multi-view outputs.

Single-view novel view synthesis, the task of generating images from new viewpoints based on a single reference image, is an important but challenging task in computer vision. Recently, Denoising Diffusion Probabilistic Model (DDPM) has become popular in this area due to its strong ability to generate high-fidelity images. However, current diffusion-based methods directly rely on camera pose matrices as viewing conditions, globally and implicitly introducing 3D constraints. These methods may suffer from inconsistency among generated images from different perspectives, especially in regions with intricate textures and structures. In this work, we present Light Field Diffusion (LFD), a conditional diffusion-based model for single-view novel view synthesis. Unlike previous methods that employ camera pose matrices, LFD transforms the camera view information into light field encoding and combines it with the reference image. This design introduces local pixel-wise constraints within the diffusion models, thereby encouraging better multi-view consistency. Experiments on several datasets show that our LFD can efficiently generate high-fidelity images and maintain better 3D consistency even in intricate regions. Our method can generate images with higher quality than NeRF-based models, and we obtain sample quality similar to other diffusion-based models but with only one-third of the model size.

We introduce Structured 3D Features, a model based on a novel implicit 3D representation that pools pixel-aligned image features onto dense 3D points sampled from a parametric, statistical human mesh surface. The 3D points have associated semantics and can move freely in 3D space. This allows for optimal coverage of the person of interest, beyond just the body shape, which in turn, additionally helps modeling accessories, hair, and loose clothing. Owing to this, we present a complete 3D transformer-based attention framework which, given a single image of a person in an unconstrained pose, generates an animatable 3D reconstruction with albedo and illumination decomposition, as a result of a single end-to-end model, trained semi-supervised, and with no additional postprocessing. We show that our S3F model surpasses the previous state-of-the-art on various tasks, including monocular 3D reconstruction, as well as albedo and shading estimation. Moreover, we show that the proposed methodology allows novel view synthesis, relighting, and re-posing the reconstruction, and can naturally be extended to handle multiple input images (e.g. different views of a person, or the same view, in different poses, in video). Finally, we demonstrate the editing capabilities of our model for 3D virtual try-on applications.

With the development of video generation models has advanced significantly in recent years, we adopt large-scale image-to-video diffusion models for video frame interpolation. We present a conditional encoder designed to adapt an image-to-video model for large-motion frame interpolation. To enhance performance, we integrate a dual-branch feature extractor and propose a cross-frame attention mechanism that effectively captures both spatial and temporal information, enabling accurate interpolations of intermediate frames. Our approach demonstrates superior performance on the Fr\'echet Video Distance (FVD) metric when evaluated against other state-of-the-art approaches, particularly in handling large motion scenarios, highlighting advancements in generative-based methodologies.

We propose VideoRFSplat, a direct text-to-3D model leveraging a video generation model to generate realistic 3D Gaussian Splatting (3DGS) for unbounded real-world scenes. To generate diverse camera poses and unbounded spatial extent of real-world scenes, while ensuring generalization to arbitrary text prompts, previous methods fine-tune 2D generative models to jointly model camera poses and multi-view images. However, these methods suffer from instability when extending 2D generative models to joint modeling due to the modality gap, which necessitates additional models to stabilize training and inference. In this work, we propose an architecture and a sampling strategy to jointly model multi-view images and camera poses when fine-tuning a video generation model. Our core idea is a dual-stream architecture that attaches a dedicated pose generation model alongside a pre-trained video generation model via communication blocks, generating multi-view images and camera poses through separate streams. This design reduces interference between the pose and image modalities. Additionally, we propose an asynchronous sampling strategy that denoises camera poses faster than multi-view images, allowing rapidly denoised poses to condition multi-view generation, reducing mutual ambiguity and enhancing cross-modal consistency. Trained on multiple large-scale real-world datasets (RealEstate10K, MVImgNet, DL3DV-10K, ACID), VideoRFSplat outperforms existing text-to-3D direct generation methods that heavily depend on post-hoc refinement via score distillation sampling, achieving superior results without such refinement.

Personalized text-to-image (T2I) synthesis based on diffusion models has attracted significant attention in recent research. However, existing methods primarily concentrate on customizing subjects or styles, neglecting the exploration of global geometry. In this study, we propose an approach that focuses on the customization of 360-degree panoramas, which inherently possess global geometric properties, using a T2I diffusion model. To achieve this, we curate a paired image-text dataset specifically designed for the task and subsequently employ it to fine-tune a pre-trained T2I diffusion model with LoRA. Nevertheless, the fine-tuned model alone does not ensure the continuity between the leftmost and rightmost sides of the synthesized images, a crucial characteristic of 360-degree panoramas. To address this issue, we propose a method called StitchDiffusion. Specifically, we perform pre-denoising operations twice at each time step of the denoising process on the stitch block consisting of the leftmost and rightmost image regions. Furthermore, a global cropping is adopted to synthesize seamless 360-degree panoramas. Experimental results demonstrate the effectiveness of our customized model combined with the proposed StitchDiffusion in generating high-quality 360-degree panoramic images. Moreover, our customized model exhibits exceptional generalization ability in producing scenes unseen in the fine-tuning dataset. Code is available at https://github.com/littlewhitesea/StitchDiffusion.

Novel view synthesis from an in-the-wild video is difficult due to challenges like scene dynamics and lack of parallax. While existing methods have shown promising results with implicit neural radiance fields, they are slow to train and render. This paper revisits explicit video representations to synthesize high-quality novel views from a monocular video efficiently. We treat static and dynamic video content separately. Specifically, we build a global static scene model using an extended plane-based scene representation to synthesize temporally coherent novel video. Our plane-based scene representation is augmented with spherical harmonics and displacement maps to capture view-dependent effects and model non-planar complex surface geometry. We opt to represent the dynamic content as per-frame point clouds for efficiency. While such representations are inconsistency-prone, minor temporal inconsistencies are perceptually masked due to motion. We develop a method to quickly estimate such a hybrid video representation and render novel views in real time. Our experiments show that our method can render high-quality novel views from an in-the-wild video with comparable quality to state-of-the-art methods while being 100x faster in training and enabling real-time rendering.

In this paper, we retarget video stitching to an emerging issue, named warping shake, when extending image stitching to video stitching. It unveils the temporal instability of warped content in non-overlapping regions, despite image stitching having endeavored to preserve the natural structures. Therefore, in most cases, even if the input videos to be stitched are stable, the stitched video will inevitably cause undesired warping shakes and affect the visual experience. To eliminate the shakes, we propose StabStitch to simultaneously realize video stitching and video stabilization in a unified unsupervised learning framework. Starting from the camera paths in video stabilization, we first derive the expression of stitching trajectories in video stitching by elaborately integrating spatial and temporal warps. Then a warp smoothing model is presented to optimize them with a comprehensive consideration regarding content alignment, trajectory smoothness, spatial consistency, and online collaboration. To establish an evaluation benchmark and train the learning framework, we build a video stitching dataset with a rich diversity in camera motions and scenes. Compared with existing stitching solutions, StabStitch exhibits significant superiority in scene robustness and inference speed in addition to stitching and stabilization performance, contributing to a robust and real-time online video stitching system. The code and dataset are available at https://github.com/nie-lang/StabStitch.

Recent developments in differentiable and neural rendering have made impressive breakthroughs in a variety of 2D and 3D tasks, e.g. novel view synthesis, 3D reconstruction. Typically, differentiable rendering relies on a dense viewpoint coverage of the scene, such that the geometry can be disambiguated from appearance observations alone. Several challenges arise when only a few input views are available, often referred to as sparse or few-shot neural rendering. As this is an underconstrained problem, most existing approaches introduce the use of regularisation, together with a diversity of learnt and hand-crafted priors. A recurring problem in sparse rendering literature is the lack of an homogeneous, up-to-date, dataset and evaluation protocol. While high-resolution datasets are standard in dense reconstruction literature, sparse rendering methods often evaluate with low-resolution images. Additionally, data splits are inconsistent across different manuscripts, and testing ground-truth images are often publicly available, which may lead to over-fitting. In this work, we propose the Sparse Rendering (SpaRe) dataset and benchmark. We introduce a new dataset that follows the setup of the DTU MVS dataset. The dataset is composed of 97 new scenes based on synthetic, high-quality assets. Each scene has up to 64 camera views and 7 lighting configurations, rendered at 1600x1200 resolution. We release a training split of 82 scenes to foster generalizable approaches, and provide an online evaluation platform for the validation and test sets, whose ground-truth images remain hidden. We propose two different sparse configurations (3 and 9 input images respectively). This provides a powerful and convenient tool for reproducible evaluation, and enable researchers easy access to a public leaderboard with the state-of-the-art performance scores. Available at: https://sparebenchmark.github.io/

Modern smartphone camera quality heavily relies on the image signal processor (ISP) to enhance captured raw images, utilizing carefully designed modules to produce final output images encoded in a standard color space (e.g., sRGB). Neural-based end-to-end learnable ISPs offer promising advancements, potentially replacing traditional ISPs with their ability to adapt without requiring extensive tuning for each new camera model, as is often the case for nearly every module in traditional ISPs. However, the key challenge with the recent learning-based ISPs is the urge to collect large paired datasets for each distinct camera model due to the influence of intrinsic camera characteristics on the formation of input raw images. This paper tackles this challenge by introducing a novel method for unpaired learning of raw-to-raw translation across diverse cameras. Specifically, we propose Rawformer, an unsupervised Transformer-based encoder-decoder method for raw-to-raw translation. It accurately maps raw images captured by a certain camera to the target camera, facilitating the generalization of learnable ISPs to new unseen cameras. Our method demonstrates superior performance on real camera datasets, achieving higher accuracy compared to previous state-of-the-art techniques, and preserving a more robust correlation between the original and translated raw images. The codes and the pretrained models are available at https://github.com/gosha20777/rawformer.

We introduce Reangle-A-Video, a unified framework for generating synchronized multi-view videos from a single input video. Unlike mainstream approaches that train multi-view video diffusion models on large-scale 4D datasets, our method reframes the multi-view video generation task as video-to-videos translation, leveraging publicly available image and video diffusion priors. In essence, Reangle-A-Video operates in two stages. (1) Multi-View Motion Learning: An image-to-video diffusion transformer is synchronously fine-tuned in a self-supervised manner to distill view-invariant motion from a set of warped videos. (2) Multi-View Consistent Image-to-Images Translation: The first frame of the input video is warped and inpainted into various camera perspectives under an inference-time cross-view consistency guidance using DUSt3R, generating multi-view consistent starting images. Extensive experiments on static view transport and dynamic camera control show that Reangle-A-Video surpasses existing methods, establishing a new solution for multi-view video generation. We will publicly release our code and data. Project page: https://hyeonho99.github.io/reangle-a-video/

Capturing real world lighting is a long standing challenge in imaging and most practical methods acquire High Dynamic Range (HDR) images by either fusing multiple exposures, or boosting the dynamic range of Standard Dynamic Range (SDR) images. Multiple exposure capture is problematic as it requires longer capture times which can often lead to ghosting problems. The main alternative, inverse tone mapping is an ill-defined problem that is especially challenging as single captured exposures usually contain clipped and quantized values, and are therefore missing substantial amounts of content. To alleviate this, we propose a new approach, High Dynamic Range Thermal (HDRT), for HDR acquisition using a separate, commonly available, thermal infrared (IR) sensor. We propose a novel deep neural method (HDRTNet) which combines IR and SDR content to generate HDR images. HDRTNet learns to exploit IR features linked to the RGB image and the IR-specific parameters are subsequently used in a dual branch method that fuses features at shallow layers. This produces an HDR image that is significantly superior to that generated using naive fusion approaches. To validate our method, we have created the first HDR and thermal dataset, and performed extensive experiments comparing HDRTNet with the state-of-the-art. We show substantial quantitative and qualitative quality improvements on both over- and under-exposed images, showing that our approach is robust to capturing in multiple different lighting conditions.

Recent progress in text-to-video generation has achieved remarkable realism, yet fine-grained control over camera motion and orientation remains elusive. Existing approaches typically encode camera trajectories through relative or ambiguous representations, limiting explicit geometric control. We introduce GimbalDiffusion, a framework that enables camera control grounded in physical-world coordinates, using gravity as a global reference. Instead of describing motion relative to previous frames, our method defines camera trajectories in an absolute coordinate system, allowing precise and interpretable control over camera parameters without requiring an initial reference frame. We leverage panoramic 360-degree videos to construct a wide variety of camera trajectories, well beyond the predominantly straight, forward-facing trajectories seen in conventional video data. To further enhance camera guidance, we introduce null-pitch conditioning, an annotation strategy that reduces the model's reliance on text content when conflicting with camera specifications (e.g., generating grass while the camera points towards the sky). Finally, we establish a benchmark for camera-aware video generation by rebalancing SpatialVID-HQ for comprehensive evaluation under wide camera pitch variation. Together, these contributions advance the controllability and robustness of text-to-video models, enabling precise, gravity-aligned camera manipulation within generative frameworks.

We introduce WonderVerse, a simple but effective framework for generating extendable 3D scenes. Unlike existing methods that rely on iterative depth estimation and image inpainting, often leading to geometric distortions and inconsistencies, WonderVerse leverages the powerful world-level priors embedded within video generative foundation models to create highly immersive and geometrically coherent 3D environments. Furthermore, we propose a new technique for controllable 3D scene extension to substantially increase the scale of the generated environments. Besides, we introduce a novel abnormal sequence detection module that utilizes camera trajectory to address geometric inconsistency in the generated videos. Finally, WonderVerse is compatible with various 3D reconstruction methods, allowing both efficient and high-quality generation. Extensive experiments on 3D scene generation demonstrate that our WonderVerse, with an elegant and simple pipeline, delivers extendable and highly-realistic 3D scenes, markedly outperforming existing works that rely on more complex architectures.

High-resolution (HR) medical videos are vital for accurate diagnosis, yet are hard to acquire due to hardware limitations and physiological constraints. Clinically, the collected low-resolution (LR) medical videos present unique challenges for video super-resolution (VSR) models, including camera shake, noise, and abrupt frame transitions, which result in significant optical flow errors and alignment difficulties. Additionally, tissues and organs exhibit continuous and nuanced structures, but current VSR models are prone to introducing artifacts and distorted features that can mislead doctors. To this end, we propose MedVSR, a tailored framework for medical VSR. It first employs Cross State-Space Propagation (CSSP) to address the imprecise alignment by projecting distant frames as control matrices within state-space models, enabling the selective propagation of consistent and informative features to neighboring frames for effective alignment. Moreover, we design an Inner State-Space Reconstruction (ISSR) module that enhances tissue structures and reduces artifacts with joint long-range spatial feature learning and large-kernel short-range information aggregation. Experiments across four datasets in diverse medical scenarios, including endoscopy and cataract surgeries, show that MedVSR significantly outperforms existing VSR models in reconstruction performance and efficiency. Code released at https://github.com/CUHK-AIM-Group/MedVSR.

We present ReDirector, a novel camera-controlled video retake generation method for dynamically captured variable-length videos. In particular, we rectify a common misuse of RoPE in previous works by aligning the spatiotemporal positions of the input video and the target retake. Moreover, we introduce Rotary Camera Encoding (RoCE), a camera-conditioned RoPE phase shift that captures and integrates multi-view relationships within and across the input and target videos. By integrating camera conditions into RoPE, our method generalizes to out-of-distribution camera trajectories and video lengths, yielding improved dynamic object localization and static background preservation. Extensive experiments further demonstrate significant improvements in camera controllability, geometric consistency, and video quality across various trajectories and lengths.

Multi-view generation with camera pose control and prompt-based customization are both essential elements for achieving controllable generative models. However, existing multi-view generation models do not support customization with geometric consistency, whereas customization models lack explicit viewpoint control, making them challenging to unify. Motivated by these gaps, we introduce a novel task, multi-view customization, which aims to jointly achieve multi-view camera pose control and customization. Due to the scarcity of training data in customization, existing multi-view generation models, which inherently rely on large-scale datasets, struggle to generalize to diverse prompts. To address this, we propose MVCustom, a novel diffusion-based framework explicitly designed to achieve both multi-view consistency and customization fidelity. In the training stage, MVCustom learns the subject's identity and geometry using a feature-field representation, incorporating the text-to-video diffusion backbone enhanced with dense spatio-temporal attention, which leverages temporal coherence for multi-view consistency. In the inference stage, we introduce two novel techniques: depth-aware feature rendering explicitly enforces geometric consistency, and consistent-aware latent completion ensures accurate perspective alignment of the customized subject and surrounding backgrounds. Extensive experiments demonstrate that MVCustom is the only framework that simultaneously achieves faithful multi-view generation and customization.

Exposure errors in an image cause a degradation in the contrast and low visibility in the content. In this paper, we address this problem and propose an end-to-end exposure correction model in order to handle both under- and overexposure errors with a single model. Our model contains an image encoder, consecutive residual blocks, and image decoder to synthesize the corrected image. We utilize perceptual loss, feature matching loss, and multi-scale discriminator to increase the quality of the generated image as well as to make the training more stable. The experimental results indicate the effectiveness of proposed model. We achieve the state-of-the-art result on a large-scale exposure dataset. Besides, we investigate the effect of exposure setting of the image on the portrait matting task. We find that under- and overexposed images cause severe degradation in the performance of the portrait matting models. We show that after applying exposure correction with the proposed model, the portrait matting quality increases significantly. https://github.com/yamand16/ExposureCorrection

We introduce four new real-world distribution shift datasets consisting of changes in image style, image blurriness, geographic location, camera operation, and more. With our new datasets, we take stock of previously proposed methods for improving out-of-distribution robustness and put them to the test. We find that using larger models and artificial data augmentations can improve robustness on real-world distribution shifts, contrary to claims in prior work. We find improvements in artificial robustness benchmarks can transfer to real-world distribution shifts, contrary to claims in prior work. Motivated by our observation that data augmentations can help with real-world distribution shifts, we also introduce a new data augmentation method which advances the state-of-the-art and outperforms models pretrained with 1000 times more labeled data. Overall we find that some methods consistently help with distribution shifts in texture and local image statistics, but these methods do not help with some other distribution shifts like geographic changes. Our results show that future research must study multiple distribution shifts simultaneously, as we demonstrate that no evaluated method consistently improves robustness.

Long video generation has gained increasing attention due to its widespread applications in fields such as entertainment and simulation. Despite advances, synthesizing temporally coherent and visually compelling long sequences remains a formidable challenge. Conventional approaches often synthesize long videos by sequentially generating and concatenating short clips, or generating key frames and then interpolate the intermediate frames in a hierarchical manner. However, both of them still remain significant challenges, leading to issues such as temporal repetition or unnatural transitions. In this paper, we revisit the hierarchical long video generation pipeline and introduce LumosFlow, a framework introduce motion guidance explicitly. Specifically, we first employ the Large Motion Text-to-Video Diffusion Model (LMTV-DM) to generate key frames with larger motion intervals, thereby ensuring content diversity in the generated long videos. Given the complexity of interpolating contextual transitions between key frames, we further decompose the intermediate frame interpolation into motion generation and post-hoc refinement. For each pair of key frames, the Latent Optical Flow Diffusion Model (LOF-DM) synthesizes complex and large-motion optical flows, while MotionControlNet subsequently refines the warped results to enhance quality and guide intermediate frame generation. Compared with traditional video frame interpolation, we achieve 15x interpolation, ensuring reasonable and continuous motion between adjacent frames. Experiments show that our method can generate long videos with consistent motion and appearance. Code and models will be made publicly available upon acceptance. Our project page: https://jiahaochen1.github.io/LumosFlow/

We address the problem of synthesizing novel views from a monocular video depicting a complex dynamic scene. State-of-the-art methods based on temporally varying Neural Radiance Fields (aka dynamic NeRFs) have shown impressive results on this task. However, for long videos with complex object motions and uncontrolled camera trajectories, these methods can produce blurry or inaccurate renderings, hampering their use in real-world applications. Instead of encoding the entire dynamic scene within the weights of MLPs, we present a new approach that addresses these limitations by adopting a volumetric image-based rendering framework that synthesizes new viewpoints by aggregating features from nearby views in a scene-motion-aware manner. Our system retains the advantages of prior methods in its ability to model complex scenes and view-dependent effects, but also enables synthesizing photo-realistic novel views from long videos featuring complex scene dynamics with unconstrained camera trajectories. We demonstrate significant improvements over state-of-the-art methods on dynamic scene datasets, and also apply our approach to in-the-wild videos with challenging camera and object motion, where prior methods fail to produce high-quality renderings. Our project webpage is at dynibar.github.io.

We introduce Princeton365, a large-scale diverse dataset of 365 videos with accurate camera pose. Our dataset bridges the gap between accuracy and data diversity in current SLAM benchmarks by introducing a novel ground truth collection framework that leverages calibration boards and a 360-camera. We collect indoor, outdoor, and object scanning videos with synchronized monocular and stereo RGB video outputs as well as IMU. We further propose a new scene scale-aware evaluation metric for SLAM based on the the optical flow induced by the camera pose estimation error. In contrast to the current metrics, our new metric allows for comparison between the performance of SLAM methods across scenes as opposed to existing metrics such as Average Trajectory Error (ATE), allowing researchers to analyze the failure modes of their methods. We also propose a challenging Novel View Synthesis benchmark that covers cases not covered by current NVS benchmarks, such as fully non-Lambertian scenes with 360-degree camera trajectories. Please visit https://princeton365.cs.princeton.edu for the dataset, code, videos, and submission.

We introduce MEt3R, a metric for multi-view consistency in generated images. Large-scale generative models for multi-view image generation are rapidly advancing the field of 3D inference from sparse observations. However, due to the nature of generative modeling, traditional reconstruction metrics are not suitable to measure the quality of generated outputs and metrics that are independent of the sampling procedure are desperately needed. In this work, we specifically address the aspect of consistency between generated multi-view images, which can be evaluated independently of the specific scene. Our approach uses DUSt3R to obtain dense 3D reconstructions from image pairs in a feed-forward manner, which are used to warp image contents from one view into the other. Then, feature maps of these images are compared to obtain a similarity score that is invariant to view-dependent effects. Using MEt3R, we evaluate the consistency of a large set of previous methods for novel view and video generation, including our open, multi-view latent diffusion model.

Although image editing techniques have advanced significantly, video editing, which aims to manipulate videos according to user intent, remains an emerging challenge. Most existing image-conditioned video editing methods either require inversion with model-specific design or need extensive optimization, limiting their capability of leveraging up-to-date image-to-video (I2V) models to transfer the editing capability of image editing models to the video domain. To this end, we propose IF-V2V, an Inversion-Free method that can adapt off-the-shelf flow-matching-based I2V models for video editing without significant computational overhead. To circumvent inversion, we devise Vector Field Rectification with Sample Deviation to incorporate information from the source video into the denoising process by introducing a deviation term into the denoising vector field. To further ensure consistency with the source video in a model-agnostic way, we introduce Structure-and-Motion-Preserving Initialization to generate motion-aware temporally correlated noise with structural information embedded. We also present a Deviation Caching mechanism to minimize the additional computational cost for denoising vector rectification without significantly impacting editing quality. Evaluations demonstrate that our method achieves superior editing quality and consistency over existing approaches, offering a lightweight plug-and-play solution to realize visual creativity.

Modern Large Vision-Language Models (LVLMs) enjoy the same vision vocabulary -- CLIP, which can cover most common vision tasks. However, for some special vision task that needs dense and fine-grained vision perception, e.g., document-level OCR or chart understanding, especially in non-English scenarios, the CLIP-style vocabulary may encounter low efficiency in tokenizing the vision knowledge and even suffer out-of-vocabulary problem. Accordingly, we propose Vary, an efficient and effective method to scale up the vision vocabulary of LVLMs. The procedures of Vary are naturally divided into two folds: the generation and integration of a new vision vocabulary. In the first phase, we devise a vocabulary network along with a tiny decoder-only transformer to produce the desired vocabulary via autoregression. In the next, we scale up the vanilla vision vocabulary by merging the new one with the original one (CLIP), enabling the LVLMs can quickly garner new features. Compared to the popular BLIP-2, MiniGPT4, and LLaVA, Vary can maintain its vanilla capabilities while enjoying more excellent fine-grained perception and understanding ability. Specifically, Vary is competent in new document parsing features (OCR or markdown conversion) while achieving 78.2% ANLS in DocVQA and 36.2% in MMVet. Our code will be publicly available on the homepage.