Julien Philip

Stavros Diolatzis, Julien Philip, George Drettakis

Neural rendering algorithms introduce a fundamentally new approach for photorealistic rendering, typically by learning a neural representation of illumination on large numbers of ground truth images. When training for a given variable scene, i.e., changing objects, materials, lights and viewpoint, the space D of possible training data instances quickly becomes unmanageable as the dimensions of variable parameters increase. We introduce a novel Active Exploration method using Markov Chain Monte Carlo, which explores D, generating samples (i.e., ground truth renderings) that best help training and interleaves training and on-the-fly sample data generation. We introduce a self-tuning sample reuse strategy to minimize the expensive step of rendering training samples. We apply our approach on a neural generator that learns to render novel scene instances given an explicit parameterization of the scene configuration. Our results show that Active Exploration trains our network much more efficiently than uniformly sampling, and together with our resolution enhancement approach, achieves better quality than uniform sampling at convergence. Our method allows interactive rendering of hard light transport paths (e.g., complex caustics) -- that require very high samples counts to be captured -- and provides dynamic scene navigation and manipulation, after training for 5-18 hours depending on required quality and variations.

Yichen Sheng, Jianming Zhang, Julien Philip et al. · pku

Lighting effects such as shadows or reflections are key in making synthetic images realistic and visually appealing. To generate such effects, traditional computer graphics uses a physically-based renderer along with 3D geometry. To compensate for the lack of geometry in 2D Image compositing, recent deep learning-based approaches introduced a pixel height representation to generate soft shadows and reflections. However, the lack of geometry limits the quality of the generated soft shadows and constrain reflections to pure specular ones. We introduce PixHt-Lab, a system leveraging an explicit mapping from pixel height representation to 3D space. Using this mapping, PixHt-Lab reconstructs both the cutout and background geometry and renders realistic, diverse, lighting effects for image compositing. Given a surface with physically-based materials, we can render reflections with varying glossiness. To generate more realistic soft shadows, we further propose to use 3D-aware buffer channels to guide a neural renderer. Both quantitative and qualitative evaluations demonstrate that PixHt-Lab significantly improves soft shadow generation.

David Griffiths, Tobias Ritschel, Julien Philip

We propose a relighting method for outdoor images. Our method mainly focuses on predicting cast shadows in arbitrary novel lighting directions from a single image while also accounting for shading and global effects such the sun light color and clouds. Previous solutions for this problem rely on reconstructing occluder geometry, e.g. using multi-view stereo, which requires many images of the scene. Instead, in this work we make use of a noisy off-the-shelf single-image depth map estimation as a source of geometry. Whilst this can be a good guide for some lighting effects, the resulting depth map quality is insufficient for directly ray-tracing the shadows. Addressing this, we propose a learned image space ray-marching layer that converts the approximate depth map into a deep 3D representation that is fused into occlusion queries using a learned traversal. Our proposed method achieves, for the first time, state-of-the-art relighting results, with only a single image as input. For supplementary material visit our project page at: https://dgriffiths.uk/outcast.

Zhengming Yu, Li Ma, Mingming He et al.

Most digital videos are stored in 8-bit low dynamic range (LDR) formats, where much of the original high dynamic range (HDR) scene radiance is lost due to saturation and quantization. This loss of highlight and shadow detail precludes mapping accurate luminance to HDR displays and limits meaningful re-exposure in post-production workflows. Although techniques have been proposed to convert LDR images to HDR through dynamic range expansion, they struggle to restore realistic detail in the over- and underexposed regions. To address this, we present DiffHDR, a framework that formulates LDR-to-HDR conversion as a generative radiance inpainting task within the latent space of a video diffusion model. By operating in Log-Gamma color space, DiffHDR leverages spatio-temporal generative priors from a pretrained video diffusion model to synthesize plausible HDR radiance in over- and underexposed regions while recovering the continuous scene radiance of the quantized pixels. Our framework further enables controllable LDR-to-HDR video conversion guided by text prompts or reference images. To address the scarcity of paired HDR video data, we develop a pipeline that synthesizes high-quality HDR video training data from static HDRI maps. Extensive experiments demonstrate that DiffHDR significantly outperforms state-of-the-art approaches in radiance fidelity and temporal stability, producing realistic HDR videos with considerable latitude for re-exposure.

Li Ma, Mingming He, Xueming Yu et al.

Being able to relight human performance is a fundamental task for post production and content creation. We present BodyReLux, a subject-specific video diffusion-based framework for relighting full-body human performances in a temporally consistent way. Our model is trained on a hybrid dataset of pixel-aligned video relighting pairs, covering a diverse combination of lighting conditions, performances and viewpoints. To acquire such dataset, we combine traditional static One-Light-at-a-Time (OLAT) capture and a novel dynamic performance capture in which two smoothly varying lighting sequences are rapidly interleaved. Because the lighting operates above the human flicker-fusion threshold, the interleaving does not appear to strobe. We train our video relighting model from a pretrained text-to-video model to fully leverage the generative priors for producing high quality videos. To achieve accurate lighting control, we introduce a new lighting conditioning method that represents each light source as a token. We further condition on sequences of lighting using masked attention to support dynamic lighting control. Together with a carefully designed data augmentation pipeline, we achieve photorealistic, robust, and temporally consistent video relighting of subject-specific human performances.

Christophe Bolduc, Julien Philip, Li Ma et al.

We present Lighting in Motion (LiMo), a diffusion-based approach to spatiotemporal lighting estimation. LiMo targets both realistic high-frequency detail prediction and accurate illuminance estimation. To account for both, we propose generating a set of mirrored and diffuse spheres at different exposures, based on their 3D positions in the input. Making use of diffusion priors, we fine-tune powerful existing diffusion models on a large-scale customized dataset of indoor and outdoor scenes, paired with spatiotemporal light probes. For accurate spatial conditioning, we demonstrate that depth alone is insufficient and we introduce a new geometric condition to provide the relative position of the scene to the target 3D position. Finally, we combine diffuse and mirror predictions at different exposures into a single HDRI map leveraging differentiable rendering. We thoroughly evaluate our method and design choices to establish LiMo as state-of-the-art for both spatial control and prediction accuracy.

Ruben Wiersma, Julien Philip, Miloš Hašan et al.

This paper aims to quantify uncertainty for SVBRDF acquisition in multi-view captures. Under uncontrolled illumination and unstructured viewpoints, there is no guarantee that the observations contain enough information to reconstruct the appearance properties of a captured object. We study this ambiguity, or uncertainty, using entropy and accelerate the analysis by using the frequency domain, rather than the domain of incoming and outgoing viewing angles. The result is a method that computes a map of uncertainty over an entire object within a millisecond. We find that the frequency model allows us to recover SVBRDF parameters with competitive performance, that the accelerated entropy computation matches results with a physically-based path tracer, and that there is a positive correlation between error and uncertainty. We then show that the uncertainty map can be applied to improve SVBRDF acquisition using capture guidance, sharing information on the surface, and using a diffusion model to inpaint uncertain regions. Our code is available at https://github.com/rubenwiersma/svbrdf_uncertainty.

Diego Gomez, Julien Philip, Adrien Kaiser et al.

Synthesizing NeRFs under arbitrary lighting has become a seminal problem in the last few years. Recent efforts tackle the problem via the extraction of physically-based parameters that can then be rendered under arbitrary lighting, but they are limited in the range of scenes they can handle, usually mishandling glossy scenes. We propose RRM, a method that can extract the materials, geometry, and environment lighting of a scene even in the presence of highly reflective objects. Our method consists of a physically-aware radiance field representation that informs physically-based parameters, and an expressive environment light structure based on a Laplacian Pyramid. We demonstrate that our contributions outperform the state-of-the-art on parameter retrieval tasks, leading to high-fidelity relighting and novel view synthesis on surfacic scenes.

Peter Kocsis, Julien Philip, Kalyan Sunkavalli et al.

We introduce LightIt, a method for explicit illumination control for image generation. Recent generative methods lack lighting control, which is crucial to numerous artistic aspects of image generation such as setting the overall mood or cinematic appearance. To overcome these limitations, we propose to condition the generation on shading and normal maps. We model the lighting with single bounce shading, which includes cast shadows. We first train a shading estimation module to generate a dataset of real-world images and shading pairs. Then, we train a control network using the estimated shading and normals as input. Our method demonstrates high-quality image generation and lighting control in numerous scenes. Additionally, we use our generated dataset to train an identity-preserving relighting model, conditioned on an image and a target shading. Our method is the first that enables the generation of images with controllable, consistent lighting and performs on par with specialized relighting state-of-the-art methods.

Nicolás Violante, George Kopanas, Linus Franke et al.

3D Gaussian Splatting (3DGS) is widely used to capture and render real scenes. Compositing objects from one capture into another has applications in many domains, such as VFX, architecture and interior design, or marketing. However, extracting an object from a source scene and naively pasting it into a target scene will fail to produce realistic results due to the different lighting conditions between the two scenes. To address this problem, we introduce a diffusion model that harmonizes naively composited images with inconsistent lighting. The model is trained with a heterogeneous dataset of image pairs (inconsistent composite input, consistent output), combining synthetic, generated, and real data. Our complete 3D solution allows a user to extract an object from the source scene and composite it into the target scene. From this, the (inconsistent) views of the target scene with the composite object are rendered. Our diffusion model harmonizes each one of these views, which are finally consolidated in a 3DGS representation with a post-optimization step. Our method provides visually compelling results, making object transfer between 3DGS easy to use and significantly improving quality compared to previous methods.

Koichi Namekata, Yash Kant, Zhizheng Liu et al.

Filmmaking demands precise motion control and reference image compositing -- capabilities that existing methods treat separately. Point-track-conditioned image-to-video models restrict content insertion to the first frame, while reference-to-video models lack fine-grained spatial-temporal control over how reference content integrates across frames. We present Go-with-the-Track, which unifies both capabilities by jointly conditioning on multiple reference images and reference-anchored point-tracks -- extending conventional point-tracks to explicitly establish correspondences between generated frames and reference images, thus enabling precise compositing and motion control throughout the video. To achieve this, we introduce spatially-aware point-track embeddings that encode the full sequence of point-track coordinates using a coordinate-wise MLP followed by temporal pooling. This representation captures the spatial characteristics of each point-track (serving as a unique identifier), while the embedding similarity correlates directly with spatial proximity, enhancing the model's ability to distinguish and associate point-tracks. We inject these point-track embeddings into a video diffusion transformer via a lightweight adapter, resolving the pixel-to-patch resolution mismatch while avoiding the substantial motion detail loss inherent in naive point-track subsampling. We use a hybrid training strategy to train jointly on dynamic, static, and synthetic scene video datasets to boost motion controllability. Experiments demonstrate that Go-with-the-Track achieves superior motion and reference control in a single model and enables new capabilities: multi-reference conditioned video generation with point-track driven compositing, as well as camera control for both static and dynamic scenes. Project Page: https://eyeline-labs.github.io/Go-with-the-Track/

Sara Rojas, Julien Philip, Kai Zhang et al.

Recent advancements in diffusion models have shown remarkable proficiency in editing 2D images based on text prompts. However, extending these techniques to edit scenes in Neural Radiance Fields (NeRF) is complex, as editing individual 2D frames can result in inconsistencies across multiple views. Our crucial insight is that a NeRF scene's geometry can serve as a bridge to integrate these 2D edits. Utilizing this geometry, we employ a depth-conditioned ControlNet to enhance the coherence of each 2D image modification. Moreover, we introduce an inpainting approach that leverages the depth information of NeRF scenes to distribute 2D edits across different images, ensuring robustness against errors and resampling challenges. Our results reveal that this methodology achieves more consistent, lifelike, and detailed edits than existing leading methods for text-driven NeRF scene editing.

Prafull Sharma, Julien Philip, Michaël Gharbi et al.

Separating an image into meaningful underlying components is a crucial first step for both editing and understanding images. We present a method capable of selecting the regions of a photograph exhibiting the same material as an artist-chosen area. Our proposed approach is robust to shading, specular highlights, and cast shadows, enabling selection in real images. As we do not rely on semantic segmentation (different woods or metal should not be selected together), we formulate the problem as a similarity-based grouping problem based on a user-provided image location. In particular, we propose to leverage the unsupervised DINO features coupled with a proposed Cross-Similarity module and an MLP head to extract material similarities in an image. We train our model on a new synthetic image dataset, that we release. We show that our method generalizes well to real-world images. We carefully analyze our model's behavior on varying material properties and lighting. Additionally, we evaluate it against a hand-annotated benchmark of 50 real photographs. We further demonstrate our model on a set of applications, including material editing, in-video selection, and retrieval of object photographs with similar materials.

Viraj Shah, Svetlana Lazebnik, Julien Philip

Intrinsic Image Decomposition (IID) is a challenging inverse problem that seeks to decompose a natural image into its underlying intrinsic components such as albedo and shading. While recent image decomposition methods rely on learning-based priors on these components, they often suffer from component cross-contamination owing to joint training of priors; or from Sim-to-Real gap since the priors trained on synthetic data are kept frozen during the inference on real images. In this work, we propose to solve the intrinsic image decomposition problem using a bank of Generative Adversarial Networks (GANs) as priors where each GAN is independently trained only on a single intrinsic component, providing stronger and more disentangled priors. At the core of our approach is the idea that the latent space of a GAN is a well-suited optimization domain to solve inverse problems. Given an input image, we propose to jointly invert the latent codes of a set of GANs and combine their outputs to reproduce the input. Contrary to all existing GAN inversion methods that are limited to inverting only a single GAN, our proposed approach, JoIN, is able to jointly invert multiple GANs using only a single image as supervision while still maintaining distribution priors of each intrinsic component. We show that our approach is modular, allowing various forward imaging models, and that it can successfully decompose both synthetic and real images. Further, taking inspiration from existing GAN inversion approaches, we allow for careful fine-tuning of the generator priors during the inference on real images. This way, our method is able to achieve excellent generalization on real images even though it uses only synthetic data to train the GAN priors. We demonstrate the success of our approach through exhaustive qualitative and quantitative evaluations and ablation studies on various datasets.

Julien Philip, Valentin Deschaintre

NeRF acquisition typically requires careful choice of near planes for the different cameras or suffers from background collapse, creating floating artifacts on the edges of the captured scene. The key insight of this work is that background collapse is caused by a higher density of samples in regions near cameras. As a result of this sampling imbalance, near-camera volumes receive significantly more gradients, leading to incorrect density buildup. We propose a gradient scaling approach to counter-balance this sampling imbalance, removing the need for near planes, while preventing background collapse. Our method can be implemented in a few lines, does not induce any significant overhead, and is compatible with most NeRF implementations.

Qiangeng Xu, Zexiang Xu, Julien Philip et al.

Volumetric neural rendering methods like NeRF generate high-quality view synthesis results but are optimized per-scene leading to prohibitive reconstruction time. On the other hand, deep multi-view stereo methods can quickly reconstruct scene geometry via direct network inference. Point-NeRF combines the advantages of these two approaches by using neural 3D point clouds, with associated neural features, to model a radiance field. Point-NeRF can be rendered efficiently by aggregating neural point features near scene surfaces, in a ray marching-based rendering pipeline. Moreover, Point-NeRF can be initialized via direct inference of a pre-trained deep network to produce a neural point cloud; this point cloud can be finetuned to surpass the visual quality of NeRF with 30X faster training time. Point-NeRF can be combined with other 3D reconstruction methods and handles the errors and outliers in such methods via a novel pruning and growing mechanism. The experiments on the DTU, the NeRF Synthetics , the ScanNet and the Tanks and Temples datasets demonstrate Point-NeRF can surpass the existing methods and achieve the state-of-the-art results.

Georgios Kopanas, Julien Philip, Thomas Leimkühler et al.

There has recently been great interest in neural rendering methods. Some approaches use 3D geometry reconstructed with Multi-View Stereo (MVS) but cannot recover from the errors of this process, while others directly learn a volumetric neural representation, but suffer from expensive training and inference. We introduce a general approach that is initialized with MVS, but allows further optimization of scene properties in the space of input views, including depth and reprojected features, resulting in improved novel-view synthesis. A key element of our approach is our new differentiable point-based pipeline, based on bi-directional Elliptical Weighted Average splatting, a probabilistic depth test and effective camera selection. We use these elements together in our neural renderer, that outperforms all previous methods both in quality and speed in almost all scenes we tested. Our pipeline can be applied to multi-view harmonization and stylization in addition to novel-view synthesis.

Julien Philip, Sébastien Morgenthaler, Michaël Gharbi et al.

We introduce a neural relighting algorithm for captured indoors scenes, that allows interactive free-viewpoint navigation. Our method allows illumination to be changed synthetically, while coherently rendering cast shadows and complex glossy materials. We start with multiple images of the scene and a 3D mesh obtained by multi-view stereo (MVS) reconstruction. We assume that lighting is well-explained as the sum of a view-independent diffuse component and a view-dependent glossy term concentrated around the mirror reflection direction. We design a convolutional network around input feature maps that facilitate learning of an implicit representation of scene materials and illumination, enabling both relighting and free-viewpoint navigation. We generate these input maps by exploiting the best elements of both image-based and physically-based rendering. We sample the input views to estimate diffuse scene irradiance, and compute the new illumination caused by user-specified light sources using path tracing. To facilitate the network's understanding of materials and synthesize plausible glossy reflections, we reproject the views and compute mirror images. We train the network on a synthetic dataset where each scene is also reconstructed with MVS. We show results of our algorithm relighting real indoor scenes and performing free-viewpoint navigation with complex and realistic glossy reflections, which so far remained out of reach for view-synthesis techniques.