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.

Dynamic Novel View Synthesis (Dynamic NVS) enhances NVS technologies to model moving 3-D scenes. However, current methods are resource intensive and challenging to compress. To address this, we present WavePlanes, a fast and more compact hex plane representation, applicable to both dynamic Neural Radiance Fields and Gaussian Splatting methods. Rather than modeling many feature scales separately (as done previously), we use the inverse discrete wavelet transform to reconstruct features at varying scales. This leads to a more compact representation and allows us to explore wavelet-based compression schemes for further gains. The proposed compression scheme exploits the sparsity of wavelet coefficients, by applying hard thresholding to the wavelet planes and storing nonzero coefficients and their locations on each plane in a Hash Map. Compared to the state-of-the-art (SotA), WavePlanes is significantly smaller, less resource demanding and competitive in reconstruction quality. Compared to small SotA models, WavePlanes outperforms methods in both model size and quality of novel views.

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, \name, 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 first (comprehensive) review of computer vision research in the context of real video content acquisition for entertainment. To establish a structure, we categorise work by General, Virtual, Live and Aerial production, and within each category we discuss various machine learning applications and their links to other forms production. We also provide category-specific comments on future works and discuss the socail responsibilities for conducting ethical research.

We provide an overview of Dynamic NeRF and Gaussian Splatting research in the context of cinematography and explore the use of these technologies (Nerfacto, 4D-GS and SC-GS) to produce (very) short film. Topics discussed: (1) Dynamic representations, (2) Articulated models vs Scene-based modelling, (3) Data collection

Moving towards robust NeRF evaluation using synthetic datasets for point-based architectures. This focuses on point-quality and biases involved with various training and test camera distributions to derive metrics for scene complexity.