Katja Schwarz

Katja Schwarz, Seung Wook Kim, Jun Gao et al.

Modern learning-based approaches to 3D-aware image synthesis achieve high photorealism and 3D-consistent viewpoint changes for the generated images. Existing approaches represent instances in a shared canonical space. However, for in-the-wild datasets a shared canonical system can be difficult to define or might not even exist. In this work, we instead model instances in view space, alleviating the need for posed images and learned camera distributions. We find that in this setting, existing GAN-based methods are prone to generating flat geometry and struggle with distribution coverage. We hence propose WildFusion, a new approach to 3D-aware image synthesis based on latent diffusion models (LDMs). We first train an autoencoder that infers a compressed latent representation, which additionally captures the images' underlying 3D structure and enables not only reconstruction but also novel view synthesis. To learn a faithful 3D representation, we leverage cues from monocular depth prediction. Then, we train a diffusion model in the 3D-aware latent space, thereby enabling synthesis of high-quality 3D-consistent image samples, outperforming recent state-of-the-art GAN-based methods. Importantly, our 3D-aware LDM is trained without any direct supervision from multiview images or 3D geometry and does not require posed images or learned pose or camera distributions. It directly learns a 3D representation without relying on canonical camera coordinates. This opens up promising research avenues for scalable 3D-aware image synthesis and 3D content creation from in-the-wild image data. See https://katjaschwarz.github.io/wildfusion for videos of our 3D results.

Katja Schwarz, Yiyi Liao, Andreas Geiger

The key objective of Generative Adversarial Networks (GANs) is to generate new data with the same statistics as the provided training data. However, multiple recent works show that state-of-the-art architectures yet struggle to achieve this goal. In particular, they report an elevated amount of high frequencies in the spectral statistics which makes it straightforward to distinguish real and generated images. Explanations for this phenomenon are controversial: While most works attribute the artifacts to the generator, other works point to the discriminator. We take a sober look at those explanations and provide insights on what makes proposed measures against high-frequency artifacts effective. To achieve this, we first independently assess the architectures of both the generator and discriminator and investigate if they exhibit a frequency bias that makes learning the distribution of high-frequency content particularly problematic. Based on these experiments, we make the following four observations: 1) Different upsampling operations bias the generator towards different spectral properties. 2) Checkerboard artifacts introduced by upsampling cannot explain the spectral discrepancies alone as the generator is able to compensate for these artifacts. 3) The discriminator does not struggle with detecting high frequencies per se but rather struggles with frequencies of low magnitude. 4) The downsampling operations in the discriminator can impair the quality of the training signal it provides. In light of these findings, we analyze proposed measures against high-frequency artifacts in state-of-the-art GAN training but find that none of the existing approaches can fully resolve spectral artifacts yet. Our results suggest that there is great potential in improving the discriminator and that this could be key to match the distribution of the training data more closely.

Katja Schwarz, Yiyi Liao, Michael Niemeyer et al.

While 2D generative adversarial networks have enabled high-resolution image synthesis, they largely lack an understanding of the 3D world and the image formation process. Thus, they do not provide precise control over camera viewpoint or object pose. To address this problem, several recent approaches leverage intermediate voxel-based representations in combination with differentiable rendering. However, existing methods either produce low image resolution or fall short in disentangling camera and scene properties, e.g., the object identity may vary with the viewpoint. In this paper, we propose a generative model for radiance fields which have recently proven successful for novel view synthesis of a single scene. In contrast to voxel-based representations, radiance fields are not confined to a coarse discretization of the 3D space, yet allow for disentangling camera and scene properties while degrading gracefully in the presence of reconstruction ambiguity. By introducing a multi-scale patch-based discriminator, we demonstrate synthesis of high-resolution images while training our model from unposed 2D images alone. We systematically analyze our approach on several challenging synthetic and real-world datasets. Our experiments reveal that radiance fields are a powerful representation for generative image synthesis, leading to 3D consistent models that render with high fidelity.

Yiyi Liao, Katja Schwarz, Lars Mescheder et al.

In recent years, Generative Adversarial Networks have achieved impressive results in photorealistic image synthesis. This progress nurtures hopes that one day the classical rendering pipeline can be replaced by efficient models that are learned directly from images. However, current image synthesis models operate in the 2D domain where disentangling 3D properties such as camera viewpoint or object pose is challenging. Furthermore, they lack an interpretable and controllable representation. Our key hypothesis is that the image generation process should be modeled in 3D space as the physical world surrounding us is intrinsically three-dimensional. We define the new task of 3D controllable image synthesis and propose an approach for solving it by reasoning both in 3D space and in the 2D image domain. We demonstrate that our model is able to disentangle latent 3D factors of simple multi-object scenes in an unsupervised fashion from raw images. Compared to pure 2D baselines, it allows for synthesizing scenes that are consistent wrt. changes in viewpoint or object pose. We further evaluate various 3D representations in terms of their usefulness for this challenging task.