Static neural point reconstructions capture a subject at high fidelity from posed images. Given such a reconstruction, we aim to animate it to follow a monocular fixed-viewpoint driving video of the subject, whether captured or produced by image-to-video (I2V) generation, and to recover a rigged, re-posable 3D asset. Existing methods deform Gaussian splats through direct linear blend skinning (LBS) or mesh proxies, both of which are prone to joint-boundary artifacts under articulation, even with per-primitive corrections. We trace the artifact to the representation: each splat carries an individual shape calibrated in the canonical pose to tile with its neighbours. Under rigid LBS, each splat moves with its bone but cannot bend, so the canonical tiling breaks at joint boundaries into gaps and spikes. Proximity attention point rendering (PAPR) instead carries no per-primitive shape; each pixel is recomposed at render time from the deformed primitives' positions, so the surface re-forms naturally with the articulation. We present RigPAPR, which auto-rigs a static PAPR cloud and drives it under direct LBS from a single fixed-viewpoint video, without mesh proxy, pose-dependent correction, or category template. On synthetic subjects, RigPAPR matches the strongest baseline at the supervised view and exceeds mesh-based and Gaussian-splatting baselines at novel views by 3+dB PSNR, with cleaner joint-boundary renderings of both synthetic and real subjects.
Anton Raël, Julien Boucher, Antoine Lhermittecs.GR cs.LG
Motion in-betweening is one of the most artistically demanding and time consuming stages of 3D animation, where the expressivity and rhythm of motion are defined. The level of creative control it requires makes it a major production bottleneck, underscoring the need for intelligent tools that assist animators in this process. Although recent deep learning approaches have achieved strong results in motion synthesis and in-betweening, they assume data characteristics, motion styles, and problem formulations that diverge from professional animation workflows. To bridge this gap, we propose a method explicitly aligned with the constraints of motion in-betweening for keyframe-based animation in production environments. At its core, the Adaptive Interpolation-Synthesis (AIS) layer mirrors the animator's creative process by dynamically balancing learned interpolation and direct pose synthesis. In addition, a domain-based input keypose schedule reflects the distribution of production data, improving stylistic consistency and alignment between training and real-world usage. Our method achieves state-of-the-art performance on production data; when integrated into Autodesk Maya, it enables animators to complete in-betweening tasks with a 3.5x speedup.