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Gaussian splatting methods are emerging as a popular approach for converting multi-view image data into scene representations that allow view synthesis. In particular, there is interest in enabling view synthesis for dynamic scenes using only monocular input data---an ill-posed and challenging problem. The fast pace of work in this area has produced multiple simultaneous papers that claim to work best, which cannot all be true. In this work, we organize, benchmark, and analyze many Gaussian-splatting-based methods, providing apples-to-apples comparisons that prior works have lacked. We use multiple existing datasets and a new instructive synthetic dataset designed to isolate factors that affect reconstruction quality. We systematically categorize Gaussian splatting methods into specific motion representation types and quantify how their differences impact performance. Empirically, we find that their rank order is well-defined in synthetic data, but the complexity of real-world data currently overwhelms the differences. Furthermore, the fast rendering speed of all Gaussian-based methods comes at the cost of brittleness in optimization. We summarize our experiments into a list of findings that can help to further progress in this lively problem setting. 

Advances in neural fields are enablling high-fidelity capture of shape and appearance of dynamic 3D scenes. However, this capbabilities lag behind those offered by conventional representations such as 2D videos because of algorithmic challenges and the lack of large-scale multi-view real-world datasets. We address the dataset limitations with DiVa-360, a real-world 360° dynamic visual dataset that contains synchronized high-resolution and long-duration multi-view video sequences of table-scale scenes captured using a customized low-cost system with 53 cameras. It contains 21 object-centric sequences categorized by different motion types, 25 intricate hand-object interaction sequences, and 8 long-duration sequences for a total of 17.4M frames. In addition, we provide foreground-background segmentation masks, synchronized audio, and text descriptions. We benchmark the state-of-the-art dynamic neural field methods on DiVa-360 and provide insights about existing methods and future challenges on long-duration neural field capture. 

The success of image generative models has enabled us to build methods that can edit images based on text or other user input. However, these methods are bespoke, imprecise, require additional information, or are limited to only 2D image edits. We present GeoDiffuser, a zero-shot optimization-based method that unifies common 2D and 3D image-based object editing capabilities into a single method. Our key insight is to view image editing operations as geometric transformations. We show that these transformations can be directly incorporated into the attention layers in diffusion models to implicitly perform editing operations. Our training-free optimization method uses an objective function that seeks to preserve object style but generate plausible images, for instance with accurate lighting and shadows. It also inpaints disoccluded parts of the image where the object was originally located. Given a natural image and user input, we segment the foreground object using SAM and estimate a corresponding transform which is used by our optimization approach for editing. GeoDiffuser can perform common 2D and 3D edits like object translation, 3D rotation, and removal. We present quantitative results, including a perceptual study, that shows how our approach is better than existing methods. 

High-quality large-scale scene rendering requires a scalable representation and accurate camera poses. This research combines tile-based hybrid neural fields with parallel distributive optimization to improve bundle-adjusting neural radiance fields. The proposed method scales with a divide-and-conquer strategy. We partition scenes into tiles, each with a multi-resolution hash feature grid and shallow chained diffuse and specular multilayer perceptrons (MLPs). Tiles unify foreground and background via a spatial contraction function that allows both distant objects in outdoor scenes and planar reflections as virtual images outside the tile. Decomposing appearance with the specular MLP allows a specular-aware warping loss to provide a second optimization path for camera poses. We apply the alternating direction method of multipliers (ADMM) to achieve consensus among camera poses while maintaining parallel tile optimization. Experimental results show that our method outperforms state-of-the-art neural scene rendering method quality by 5%--10% in PSNR, maintaining sharp distant objects and view-dependent reflections across six indoor and outdoor scenes. 

Neural Radiance Fields (NeRF) have become an increasingly popular representation to capture high-quality appearance and shape of scenes and objects. However, learning generalizable NeRF priors over categories of scenes or objects has been challenging due to the high dimensionality of network weight space. To address the limitations of existing work on generalization, multi-view consistency and to improve quality, we propose HyP-NeRF, a latent conditioning method for learning generalizable category-level NeRF priors using hypernetworks. Rather than using hypernetworks to estimate only the weights of a NeRF, we estimate both the weights and the multi-resolution hash encodings resulting in significant quality gains. To improve quality even further, we incorporate a denoise and finetune strategy that denoises images rendered from NeRFs estimated by the hypernetwork and finetunes it while retaining multiview consistency. These improvements enable us to use HyP-NeRF as a generalizable prior for multiple downstream tasks including NeRF reconstruction from single-view or cluttered scenes and text-to-NeRF. We provide qualitative comparisons and evaluate HyP-NeRF on three tasks: generalization, compression, and retrieval, demonstrating our state-of-the-art results. 

Neural Radiance Field (NeRF) approaches learn the underlying 3D representation of a scene and generate photorealistic novel views with high fidelity. However, most proposed settings concentrate on modelling a single object or a single level of a scene. However, in the real world, we may capture a scene at multiple levels, resulting in a layered capture. For example, tourists usually capture a monument’s exterior structure before capturing the inner structure. Modelling such scenes in 3D with seamless switching between levels can drastically improve immersive experiences. However, most existing techniques struggle in modelling such scenes. We propose Strata-NeRF, a single neural radiance field that implicitly captures a scene with multiple levels. Strata-NeRF achieves this by conditioning the NeRFs on Vector Quantized (VQ) latent representations which allow sudden changes in scene structure. We evaluate the effectiveness of our approach in multi-layered synthetic dataset comprising diverse scenes and then further validate its generalization on the real-world RealEstate 10k dataset. We find that Strata-NeRF effectively captures stratified scenes, minimizes artifacts, and synthesizes high-fidelity views compared to existing approaches. 

We present ShapeCrafter, a neural network for recursive text-conditioned 3D shape generation. Existing methods to generate text-conditioned 3D shapes consume an entire text prompt to generate a 3D shape in a single step. However, humans tend to describe shapes recursively---we may start with an initial description and progressively add details based on intermediate results. To capture this recursive process, we introduce a method to generate a 3D shape distribution, conditioned on an initial phrase, that gradually evolves as more phrases are added. Since existing datasets are insufficient for training this approach, we present Text2Shape++, a large dataset of 369K shape--text pairs that supports recursive shape generation. To capture local details that are often used to refine shape descriptions, we build on top of vector-quantized deep implicit functions that generate a distribution of high-quality shapes. Results show that our method can generate shapes consistent with text descriptions, and shapes evolve gradually as more phrases are added. Our method supports shape editing, extrapolation, and can enable new applications in human--machine collaboration for creative design.