Adrian Azzarelli

Adrian Azzarelli, Nantheera Anantrasirichai, David R Bull

Deformable Gaussian Splatting (GS) accomplishes photorealistic dynamic 3-D reconstruction from dense multi-view video (MVV) by learning to deform a canonical GS representation. However, in filmmaking, tight budgets can result in sparse camera configurations, which limits state-of-the-art (SotA) methods when capturing complex dynamic features. To address this issue, we introduce an approach that splits the canonical Gaussians and deformation field into foreground and background components using a sparse set of masks for frames at t=0. Each representation is separately trained on different loss functions during canonical pre-training. Then, during dynamic training, different parameters are modeled for each deformation field following common filmmaking practices. The foreground stage contains diverse dynamic features so changes in color, position and rotation are learned. While, the background containing film-crew and equipment, is typically dimmer and less dynamic so only changes in point position are learned. Experiments on 3-D and 2.5-D entertainment datasets show that our method produces SotA qualitative and quantitative results; up to 3 PSNR higher with half the model size on 3-D scenes. Unlike the SotA and without the need for dense mask supervision, our method also produces segmented dynamic reconstructions including transparent and dynamic textures. Code and video comparisons are available online: https://interims-git.github.io/

Ge Gao, Adrian Azzarelli, Ho Man Kwan et al.

The advances in immersive technologies and 3D reconstruction have enabled the creation of digital replicas of real-world objects and environments with fine details. These processes generate vast amounts of 3D data, requiring more efficient compression methods to satisfy the memory and bandwidth constraints associated with data storage and transmission. However, the development and validation of efficient 3D data compression methods are constrained by the lack of comprehensive and high-quality volumetric video datasets, which typically require much more effort to acquire and consume increased resources compared to 2D image and video databases. To bridge this gap, we present an open multi-view volumetric human dataset, denoted BVI-CR, which contains 18 multi-view RGB-D captures and their corresponding textured polygonal meshes, depicting a range of diverse human actions. Each video sequence contains 10 views in 1080p resolution with durations between 10-15 seconds at 30FPS. Using BVI-CR, we benchmarked three conventional and neural coordinate-based multi-view video compression methods, following the MPEG MIV Common Test Conditions, and reported their rate quality performance based on various quality metrics. The results show the great potential of neural representation based methods in volumetric video compression compared to conventional video coding methods (with an up to 38\% average coding gain in PSNR). This dataset provides a development and validation platform for a variety of tasks including volumetric reconstruction, compression, and quality assessment. The database will be shared publicly at \url{https://github.com/fan-aaron-zhang/bvi-cr}.

Adrian Azzarelli, Nantheera Anantrasirichai, James Pollock et al.

Virtual production (VP) use LED walls to provide both background imagery and image-based lighting. While this enables on-set compositing, it couples lighting to background and scene appearance, limiting flexibility for downstream editing. In addition, inverse rendering conventionally relies on physically-based rendering to estimates 3D geometry and lighting, using environment maps. However, these maps are typically low-resolution and assume far-field lighting. In VP, with near-field and high-resolution image-based lighting, this can lead to inaccuracies and introduce complexities when editing. Addressing this, we propose a VP-specific framework for 3D reconstruction and relighting using Gaussian Splatting. This uses the known background imagery to condition the relighting process. This avoids relying on environment maps and reduces compositing to a background-image editing task. To realize our framework, we introduce a process (and associated dataset) that captures real VP scenes under varying background content and illumination conditions. This data is used to decompose a 3D scene into fixed appearance and variable lighting components. The variable lighting process simulates light transport by parameterizing each primitive with a UV coordinate, intensity value and resolution modifier. Using mipmaps, these directly sample the background texture in image space - implicitly capturing reflections and refractions without physically-based rendering. Combined with the fixed appearance component, this allows us to render relit scenes using a Gaussian Splatting rasterizer. Compared to baselines, our approach achieves higher-quality 3D reconstruction and controllable relighting. The method is efficient (<3 GB RAM, <5 GB VRAM, <2 hours training, ~35 FPS) and supports rendering useful arbitrary output variables including depth, lighting intensity, lighting color, and unlit renders.

Adrian Azzarelli, Nantheera Anantrasirichai, David R Bull

This paper offers the first comprehensive review of artificial intelligence (AI) research in the context of real camera content acquisition for entertainment purposes and is aimed at both researchers and cinematographers. Addressing the lack of review papers in the field of intelligent cinematography} (IC) and the breadth of related computer vision research, we present a holistic view of the IC landscape while providing technical insight, important for experts across disciplines. We provide technical background on generative AI, object detection, automated camera calibration and 3-D content acquisition, with references to assist non-technical readers. The application sections categorize work in terms of four production types: General Production, Virtual Production, Live Production and Aerial Production. Within each application section, we (1) sub-classify work according to research topic and (2) describe the trends and challenges relevant to each type of production. In the final chapter, we address the greater scope of IC research and summarize the significant potential of this area to influence the creative industries sector. We suggest that work relating to virtual production has the greatest potential to impact other mediums of production, driven by the growing interest in LED volumes/stages for in-camera virtual effects (ICVFX) and automated 3-D capture for virtual modeling of real world scenes and actors. We also address ethical and legal concerns regarding the use of creative AI that impact on artists, actors, technologists and the general public.

Luca Gough, Adrian Azzarelli, Fan Zhang et al.

Neural radiance field (NeRF) research has made significant progress in modeling static video content captured in the wild. However, current models and rendering processes rarely consider scenes captured underwater, which are useful for studying and filming ocean life. They fail to address visual artifacts unique to underwater scenes, such as moving fish and suspended particles. This paper introduces a novel NeRF renderer and optimization scheme for an implicit MLP-based NeRF model. Our renderer reduces the influence of floaters and moving objects that interfere with static objects of interest by estimating a single surface per ray. We use a Gaussian weight function with a small offset to ensure that the transmittance of the surrounding media remains constant. Additionally, we enhance our model with a depth-based scaling function to upscale gradients for near-camera volumes. Overall, our method outperforms the baseline Nerfacto by approximately 7.5\% and SeaThru-NeRF by 6.2% in terms of PSNR. Subjective evaluation also shows a significant reduction of artifacts while preserving details of static targets and background compared to the state of the arts.

Adrian Azzarelli, Ge Gao, Ho Man Kwan et al.

As research on neural volumetric video reconstruction and compression flourishes, there is a need for diverse and realistic datasets, which can be used to develop and validate reconstruction and compression models. However, existing volumetric video datasets lack diverse content in terms of both semantic and low-level features that are commonly present in real-world production pipelines. In this context, we propose a new dataset, ViVo, for VolumetrIc VideO reconstruction and compression. The dataset is faithful to real-world volumetric video production and is the first dataset to extend the definition of diversity to include both human-centric characteristics (skin, hair, etc.) and dynamic visual phenomena (transparent, reflective, liquid, etc.). Each video sequence in this database contains raw data including fourteen multi-view RGB and depth video pairs, synchronized at 30FPS with per-frame calibration and audio data, and their associated 2-D foreground masks and 3-D point clouds. To demonstrate the use of this database, we have benchmarked three state-of-the-art (SotA) 3-D reconstruction methods and two volumetric video compression algorithms. The obtained results evidence the challenging nature of the proposed dataset and the limitations of existing datasets for both volumetric video reconstruction and compression tasks, highlighting the need to develop more effective algorithms for these applications. The database and the associated results are available at https://vivo-bvicr.github.io/

Adrian Azzarelli, Nantheera Anantrasirichai, David R Bull

Novel view synthesis (NVS) has shown significant promise for applications in cinematographic production, particularly through the exploitation of Neural Radiance Fields (NeRF) and Gaussian Splatting (GS). These methods model real 3D scenes, enabling the creation of new shots that are challenging to capture in the real world due to set topology or expensive equipment requirement. This innovation also offers cinematographic advantages such as smooth camera movements, virtual re-shoots, slow-motion effects, etc. This paper explores dynamic NVS with the aim of facilitating the model selection process. We showcase its potential through a short montage filmed using various NVS models.

Adrian Azzarelli, Nantheera Anantrasirichai, David R Bull

Neural Radiance Field (NeRF) research has attracted significant attention recently, with 3D modelling, virtual/augmented reality, and visual effects driving its application. While current NeRF implementations can produce high quality visual results, there is a conspicuous lack of reliable methods for evaluating them. Conventional image quality assessment methods and analytical metrics (e.g. PSNR, SSIM, LPIPS etc.) only provide approximate indicators of performance since they generalise the ability of the entire NeRF pipeline. Hence, in this paper, we propose a new test framework which isolates the neural rendering network from the NeRF pipeline and then performs a parametric evaluation by training and evaluating the NeRF on an explicit radiance field representation. We also introduce a configurable approach for generating representations specifically for evaluation purposes. This employs ray-casting to transform mesh models into explicit NeRF samples, as well as to "shade" these representations. Combining these two approaches, we demonstrate how different "tasks" (scenes with different visual effects or learning strategies) and types of networks (NeRFs and depth-wise implicit neural representations (INRs)) can be evaluated within this framework. Additionally, we propose a novel metric to measure task complexity of the framework which accounts for the visual parameters and the distribution of the spatial data. Our approach offers the potential to create a comparative objective evaluation framework for NeRF methods.