Yoshihiro Kanamori

Zhaorong Wang, Yoshihiro Kanamori, Yuki Endo

Existing 3D avatar outfit transfer methods face distinct challenges: approaches that lift 2D edits to 3D often suffer from outfit or identity quality degradation, while those that separately model body and clothing layers are prone to intersection artifacts. We introduce AvatarMix, a compositional paradigm that bypasses these issues by directly composing the head and body from two high-fidelity Gaussian avatars. While this paradigm inherently preserves outfit quality and avoids intersections, it introduces challenges in creating a seamless join and maintaining appearance fidelity after body reshaping. To this end, we propose a two-tier refinement strategy: SeamFix, a localized diffusion module that refines hair and neck to ensure an artifact-free join, and an optional full-body refinement, FullbodyFix, that restores garment appearance when retargeting degrades the clothed body. Both operate on renders from an already 3D-consistent Gaussian avatar, which limits multi-view artifacts compared to 2D-to-3D lifting. To preserve the user's body identity, our mesh-based Gaussian representation enables the adaptation of a robust mesh retargeting technique, precisely reshaping the clothed body to the user's physique and robustly handling diverse body shapes. Extensive experiments demonstrate that our method achieves state-of-the-art results in outfit fidelity and identity preservation, providing a new perspective for realistic 3D outfit personalization. Project page: https://larsph.github.io/avatarmix/

Xia Xin, Yuki Endo, Yoshihiro Kanamori

Recent text-to-image models can generate high-quality images from natural-language prompts, yet controlling typography remains challenging: requested typographic appearance is often ignored or only weakly followed. We address this limitation with a data-centric approach that trains image generation models using targeted supervision derived from a structured annotation pipeline specialized for typography. Our pipeline constructs a large-scale typography-focused dataset, FontUse, consisting of about 70K images annotated with user-friendly prompts, text-region locations, and OCR-recognized strings. The annotations are automatically produced using segmentation models and multimodal large language models (MLLMs). The prompts explicitly combine font styles (e.g., serif, script, elegant) and use cases (e.g., wedding invitations, coffee-shop menus), enabling intuitive specification even for novice users. Fine-tuning existing generators with these annotations allows them to consistently interpret style and use-case conditions as textual prompts without architectural modification. For evaluation, we introduce a Long-CLIP-based metric that measures alignment between generated typography and requested attributes. Experiments across diverse prompts and layouts show that models trained with our pipeline produce text renderings more consistent with prompts than competitive baselines. The source code for our annotation pipeline is available at https://github.com/xiaxinz/FontUSE.

Xingchao Yang, Takafumi Taketomi, Yoshihiro Kanamori

Facial makeup enriches the beauty of not only real humans but also virtual characters; therefore, makeup for 3D facial models is highly in demand in productions. However, painting directly on 3D faces and capturing real-world makeup are costly, and extracting makeup from 2D images often struggles with shading effects and occlusions. This paper presents the first method for extracting makeup for 3D facial models from a single makeup portrait. Our method consists of the following three steps. First, we exploit the strong prior of 3D morphable models via regression-based inverse rendering to extract coarse materials such as geometry and diffuse/specular albedos that are represented in the UV space. Second, we refine the coarse materials, which may have missing pixels due to occlusions. We apply inpainting and optimization. Finally, we extract the bare skin, makeup, and an alpha matte from the diffuse albedo. Our method offers various applications for not only 3D facial models but also 2D portrait images. The extracted makeup is well-aligned in the UV space, from which we build a large-scale makeup dataset and a parametric makeup model for 3D faces. Our disentangled materials also yield robust makeup transfer and illumination-aware makeup interpolation/removal without a reference image.

Yuta Okuyama, Yuki Endo, Yoshihiro Kanamori

Pose and body shape editing in a human image has received increasing attention. However, current methods often struggle with dataset biases and deteriorate realism and the person's identity when users make large edits. We propose a one-shot approach that enables large edits with identity preservation. To enable large edits, we fit a 3D body model, project the input image onto the 3D model, and change the body's pose and shape. Because this initial textured body model has artifacts due to occlusion and the inaccurate body shape, the rendered image undergoes a diffusion-based refinement, in which strong noise destroys body structure and identity whereas insufficient noise does not help. We thus propose an iterative refinement with weak noise, applied first for the whole body and then for the face. We further enhance the realism by fine-tuning text embeddings via self-supervised learning. Our quantitative and qualitative evaluations demonstrate that our method outperforms other existing methods across various datasets.

Xingchao Yang, Takafumi Taketomi, Yuki Endo et al.

In this work, we introduce two types of makeup prior models to extend existing 3D face prior models: PCA-based and StyleGAN2-based priors. The PCA-based prior model is a linear model that is easy to construct and is computationally efficient. However, it retains only low-frequency information. Conversely, the StyleGAN2-based model can represent high-frequency information with relatively higher computational cost than the PCA-based model. Although there is a trade-off between the two models, both are applicable to 3D facial makeup estimation and related applications. By leveraging makeup prior models and designing a makeup consistency module, we effectively address the challenges that previous methods faced in robustly estimating makeup, particularly in the context of handling self-occluded faces. In experiments, we demonstrate that our approach reduces computational costs by several orders of magnitude, achieving speeds up to 180 times faster. In addition, by improving the accuracy of the estimated makeup, we confirm that our methods are highly advantageous for various 3D facial makeup applications such as 3D makeup face reconstruction, user-friendly makeup editing, makeup transfer, and interpolation.

Xingchao Yang, Takafumi Taketomi, Yuki Endo et al.

Recovering high-quality 3D facial textures from single-view 2D images is a challenging task, especially under constraints of limited data and complex facial details such as makeup, wrinkles, and occlusions. In this paper, we introduce FreeUV, a novel ground-truth-free UV texture recovery framework that eliminates the need for annotated or synthetic UV data. FreeUV leverages pre-trained stable diffusion model alongside a Cross-Assembly inference strategy to fulfill this objective. In FreeUV, separate networks are trained independently to focus on realistic appearance and structural consistency, and these networks are combined during inference to generate coherent textures. Our approach accurately captures intricate facial features and demonstrates robust performance across diverse poses and occlusions. Extensive experiments validate FreeUV's effectiveness, with results surpassing state-of-the-art methods in both quantitative and qualitative metrics. Additionally, FreeUV enables new applications, including local editing, facial feature interpolation, and multi-view texture recovery. By reducing data requirements, FreeUV offers a scalable solution for generating high-fidelity 3D facial textures suitable for real-world scenarios.

Zhaorong Wang, Yoshihiro Kanamori, Yuki Endo

Generalizable neural radiance field (NeRF) enables neural-based digital human rendering without per-scene retraining. When combined with human prior knowledge, high-quality human rendering can be achieved even with sparse input views. However, the inference of these methods is still slow, as a large number of neural network queries on each ray are required to ensure the rendering quality. Moreover, occluded regions often suffer from artifacts, especially when the input views are sparse. To address these issues, we propose a generalizable human NeRF framework that achieves high-quality and real-time rendering with sparse input views by extensively leveraging human prior knowledge. We accelerate the rendering with a two-stage sampling reduction strategy: first constructing boundary meshes around the human geometry to reduce the number of ray samples for sampling guidance regression, and then volume rendering using fewer guided samples. To improve rendering quality, especially in occluded regions, we propose an occlusion-aware attention mechanism to extract occlusion information from the human priors, followed by an image space refinement network to improve rendering quality. Furthermore, for volume rendering, we adopt a signed ray distance function (SRDF) formulation, which allows us to propose an SRDF loss at every sample position to improve the rendering quality further. Our experiments demonstrate that our method outperforms the state-of-the-art methods in rendering quality and has a competitive rendering speed compared with speed-prioritized novel view synthesis methods.

Daichi Tajima, Yoshihiro Kanamori, Yuki Endo

Relighting of human images enables post-photography editing of lighting effects in portraits. The current mainstream approach uses neural networks to approximate lighting effects without explicitly accounting for the principle of physical shading. As a result, it often has difficulty representing high-frequency shadows and shading. In this paper, we propose a two-stage relighting method that can reproduce physically-based shadows and shading from low to high frequencies. The key idea is to approximate an environment light source with a set of a fixed number of area light sources. The first stage employs supervised inverse rendering from a single image using neural networks and calculates physically-based shading. The second stage then calculates shadow for each area light and sums up to render the final image. We propose to make soft shadow mapping differentiable for the area-light approximation of environment lighting. We demonstrate that our method can plausibly reproduce all-frequency shadows and shading caused by environment illumination, which have been difficult to reproduce using existing methods.

Shun Masuda, Yuki Endo, Yoshihiro Kanamori

Compositing human figures into scene images has broad applications in areas such as entertainment and advertising. However, existing methods often cannot handle occlusion of the inserted person by foreground objects and unnaturally place the person in the frontmost layer. Moreover, they offer limited control over the inserted person's pose. To address these challenges, we propose two methods. Both allow explicit pose control via a 3D body model and leverage latent diffusion models to synthesize the person at a contextually appropriate depth, naturally handling occlusions without requiring occlusion masks. The first is a two-stage approach: the model first learns a depth map of the scene with the person through supervised learning, and then synthesizes the person accordingly. The second method learns occlusion implicitly and synthesizes the person directly from input data without explicit depth supervision. Quantitative and qualitative evaluations show that both methods outperform existing approaches by better preserving scene consistency while accurately reflecting occlusions and user-specified poses.

Kazuki Higo, Toshiki Kanai, Yuki Endo et al.

3D terrain models are essential in fields such as video game development and film production. Since surface color often correlates with terrain geometry, capturing this relationship is crucial to achieving realism. However, most existing methods generate either a heightmap or a texture, without sufficiently accounting for the inherent correlation. In this paper, we propose a method that jointly generates terrain heightmaps and textures using a latent diffusion model. First, we train the model in an unsupervised manner to randomly generate paired heightmaps and textures. Then, we perform supervised learning of an external adapter to enable user control via hand-drawn sketches. Experiments show that our approach allows intuitive terrain generation while preserving the correlation between heightmaps and textures.

Takato Yoshikawa, Yuki Endo, Yoshihiro Kanamori

This paper tackles text-guided control of StyleGAN for editing garments in full-body human images. Existing StyleGAN-based methods suffer from handling the rich diversity of garments and body shapes and poses. We propose a framework for text-guided full-body human image synthesis via an attention-based latent code mapper, which enables more disentangled control of StyleGAN than existing mappers. Our latent code mapper adopts an attention mechanism that adaptively manipulates individual latent codes on different StyleGAN layers under text guidance. In addition, we introduce feature-space masking at inference time to avoid unwanted changes caused by text inputs. Our quantitative and qualitative evaluations reveal that our method can control generated images more faithfully to given texts than existing methods.

Yuki Endo, Yoshihiro Kanamori

Semantic image synthesis is a process for generating photorealistic images from a single semantic mask. To enrich the diversity of multimodal image synthesis, previous methods have controlled the global appearance of an output image by learning a single latent space. However, a single latent code is often insufficient for capturing various object styles because object appearance depends on multiple factors. To handle individual factors that determine object styles, we propose a class- and layer-wise extension to the variational autoencoder (VAE) framework that allows flexible control over each object class at the local to global levels by learning multiple latent spaces. Furthermore, we demonstrate that our method generates images that are both plausible and more diverse compared to state-of-the-art methods via extensive experiments with real and synthetic datasets inthree different domains. We also show that our method enables a wide range of applications in image synthesis and editing tasks.

Yuki Endo, Yoshihiro Kanamori

This paper tackles a challenging problem of generating photorealistic images from semantic layouts in few-shot scenarios where annotated training pairs are hardly available but pixel-wise annotation is quite costly. We present a training strategy that performs pseudo labeling of semantic masks using the StyleGAN prior. Our key idea is to construct a simple mapping between the StyleGAN feature and each semantic class from a few examples of semantic masks. With such mappings, we can generate an unlimited number of pseudo semantic masks from random noise to train an encoder for controlling a pre-trained StyleGAN generator. Although the pseudo semantic masks might be too coarse for previous approaches that require pixel-aligned masks, our framework can synthesize high-quality images from not only dense semantic masks but also sparse inputs such as landmarks and scribbles. Qualitative and quantitative results with various datasets demonstrate improvement over previous approaches with respect to layout fidelity and visual quality in as few as one- or five-shot settings.

Yuki Endo, Yoshihiro Kanamori, Shigeru Kuriyama

Automatic generation of a high-quality video from a single image remains a challenging task despite the recent advances in deep generative models. This paper proposes a method that can create a high-resolution, long-term animation using convolutional neural networks (CNNs) from a single landscape image where we mainly focus on skies and waters. Our key observation is that the motion (e.g., moving clouds) and appearance (e.g., time-varying colors in the sky) in natural scenes have different time scales. We thus learn them separately and predict them with decoupled control while handling future uncertainty in both predictions by introducing latent codes. Unlike previous methods that infer output frames directly, our CNNs predict spatially-smooth intermediate data, i.e., for motion, flow fields for warping, and for appearance, color transfer maps, via self-supervised learning, i.e., without explicitly-provided ground truth. These intermediate data are applied not to each previous output frame, but to the input image only once for each output frame. This design is crucial to alleviate error accumulation in long-term predictions, which is the essential problem in previous recurrent approaches. The output frames can be looped like cinemagraph, and also be controlled directly by specifying latent codes or indirectly via visual annotations. We demonstrate the effectiveness of our method through comparisons with the state-of-the-arts on video prediction as well as appearance manipulation.

Yoshihiro Kanamori, Yuki Endo

Relighting of human images has various applications in image synthesis. For relighting, we must infer albedo, shape, and illumination from a human portrait. Previous techniques rely on human faces for this inference, based on spherical harmonics (SH) lighting. However, because they often ignore light occlusion, inferred shapes are biased and relit images are unnaturally bright particularly at hollowed regions such as armpits, crotches, or garment wrinkles. This paper introduces the first attempt to infer light occlusion in the SH formulation directly. Based on supervised learning using convolutional neural networks (CNNs), we infer not only an albedo map, illumination but also a light transport map that encodes occlusion as nine SH coefficients per pixel. The main difficulty in this inference is the lack of training datasets compared to unlimited variations of human portraits. Surprisingly, geometric information including occlusion can be inferred plausibly even with a small dataset of synthesized human figures, by carefully preparing the dataset so that the CNNs can exploit the data coherency. Our method accomplishes more realistic relighting than the occlusion-ignored formulation.