Anton Raël

Manuel Kansy, Anton Raël, Graziana Mignone et al.

Face recognition models embed a face image into a low-dimensional identity vector containing abstract encodings of identity-specific facial features that allow individuals to be distinguished from one another. We tackle the challenging task of inverting the latent space of pre-trained face recognition models without full model access (i.e. black-box setting). A variety of methods have been proposed in literature for this task, but they have serious shortcomings such as a lack of realistic outputs and strong requirements for the data set and accessibility of the face recognition model. By analyzing the black-box inversion problem, we show that the conditional diffusion model loss naturally emerges and that we can effectively sample from the inverse distribution even without an identity-specific loss. Our method, named identity denoising diffusion probabilistic model (ID3PM), leverages the stochastic nature of the denoising diffusion process to produce high-quality, identity-preserving face images with various backgrounds, lighting, poses, and expressions. We demonstrate state-of-the-art performance in terms of identity preservation and diversity both qualitatively and quantitatively, and our method is the first black-box face recognition model inversion method that offers intuitive control over the generation process.

Anton Raël, Julien Boucher, Antoine Lhermitte

Motion in-betweening is one of the most artistically demanding and time consuming stages of 3D animation, where the expressivity and rhythm of motion are defined. The level of creative control it requires makes it a major production bottleneck, underscoring the need for intelligent tools that assist animators in this process. Although recent deep learning approaches have achieved strong results in motion synthesis and in-betweening, they assume data characteristics, motion styles, and problem formulations that diverge from professional animation workflows. To bridge this gap, we propose a method explicitly aligned with the constraints of motion in-betweening for keyframe-based animation in production environments. At its core, the Adaptive Interpolation-Synthesis (AIS) layer mirrors the animator's creative process by dynamically balancing learned interpolation and direct pose synthesis. In addition, a domain-based input keypose schedule reflects the distribution of production data, improving stylistic consistency and alignment between training and real-world usage. Our method achieves state-of-the-art performance on production data; when integrated into Autodesk Maya, it enables animators to complete in-betweening tasks with a 3.5x speedup.