Recent work on image content manipulation based on vision-language pre-training models has been effectively extended to text-driven 3D scene editing. However, existing schemes for 3D scene editing still have certain shortcomings, hindering their further development as interactive design tools. Such schemes typically adhere to fixed input patterns, limiting flexibility in text input. Furthermore, their editing capabilities are constrained by a single or a few 2D visual models and require intricate pipeline design to integrate these models into 3D reconstruction processes. To address the aforementioned issues, we propose the Hash-Atlas network, which reformulates 3D scene editing as operations on 2D atlas images, thereby achieving a workflow decoupling of the 2D editing and 3D reconstruction processes. Building on this foundation, we introduce a dialogue-based 3D scene editing approach, termed CE3D++, which is centered on a large language model (LLM) that allows arbitrary textual input from users and interprets their intentions, subsequently facilitating the autonomous invocation of the corresponding visual models. Additionally, we extend CE3D++ to monocular 4D scenes by imposing motion constraints on moving objects and further fine-tuning the LLM by creating a trajectory dataset related to editing tasks, which enables the smaller LLM to schedule up to 30 different visual tools accurately. Experimental results demonstrate that CE3D++ effectively integrates multiple visual models to achieve diverse visual editing effects, possessing strong scene comprehension and multi-round dialog capabilities. The source codes and trained models are available at https://github.com/Fangkang515/CE3D.
Yuanxiang Ni, Xianliang Huang, Chenhang Ma +4cs.CV cs.AI
Multi-object removal in 3D scenes is challenging due to severe occlusions, semantic entanglement, and the difficulty of maintaining geometric and multi-view consistency. Existing 3D Gaussian Splatting (3DGS) methods perform well for single-object editing but scale poorly to multi-object scenarios, often requiring repetitive optimization and yielding unstable geometry in removed regions. We propose CoGeo-GS, a concept-driven framework for controllable multi-object removal in 3D scenes. CoGeo-GS assigns concept-aware semantic tags to Gaussians, enabling flexible object selection and reducing interference between foreground objects and background structures within a single optimization stage. To recover plausible geometry, we introduce a geometry-aware completion pipeline that combines monocular depth priors with diffusion-based refinement and boundary-aligned blending. A geometry-regularized refinement strategy further stabilizes reconstruction and preserves multi-view consistency. Experiments demonstrate that CoGeo-GS outperforms existing methods in visual quality and reconstruction fidelity.
Text guided 3D scene editing provides an intuitive interface for modifying reconstructed environments, but remains difficult because natural language design requests are often semantically underspecified and must be grounded in cluttered 3D scenes. Existing methods typically formulate the task as one-shot conditional generation from a single prompt, failing to resolve ambiguous user intents or achieve precise spatial grounding. Consequently, they suffer from severe object localization drift, tracking failure under occlusions, and the notorious multi-view "sticker effect." To overcome these limitations, we present DesignAgent3D, an interactive multimodal agentic framework that reformulates 3D scene editing as a designer-like Plan-Perceive-Act paradigm. The agent first plans by interacting with the user to clarify underspecified design goals, then perceives by grounding the intended edit to specific objects or regions in the 3D scene, and finally acts by applying controlled visual modifications while preserving scene consistency. The edits are further integrated into the underlying 3D representation, supporting persistent and multi-view consistent novel-view rendering. Extensive experiments across both NeRF and 3D Gaussian Splatting backbones demonstrate that DesignAgent3D significantly outperforms state-of-the-art baselines, delivering superior semantic intent alignment, impeccable spatial localization accuracy, and high-fidelity multi-view consistency.
Recent advances in 3D scene editing have leveraged iterative diffusion models to update input views. However, this process is computationally expensive and struggles to produce sharp details. Meanwhile, ``hallucination drift'' frequently introduces multi-view inconsistencies, leading to structural artifacts when rendering novel viewpoints. To address this problem, we present 3D-GIMP (3D Gaussian Inpainting Meets Patch Matching), a novel hybrid paradigm designed for high-fidelity object removal in 3D Gaussian Splatting. Instead of diffusing every view, 3D-GIMP performs a single generative inpainting on a key reference view, which serves as an appearance prior. We then introduce a 3D-aware PatchMatch algorithm to propagate these reference textures across all remaining views via correspondence matching, effectively bypassing the stochastic nature of frame-by-frame diffusion. By prioritizing reconstructive consistency over iterative generation, 3D-GIMP maintains high-frequency details across arbitrary resolutions while ensuring a mathematically consistent 3D reconstruction. Our experiments demonstrate that 3D-GIMP not only achieves competitive inpainting quality as previous methods using diffusion in multiple views, but also outperforms these methods in rendering speed and view consistency.
Text-driven 3D scene editing with 3D Gaussian Splatting (3DGS) typically applies a 2D diffusion editor to views rendered from fixed training cameras, limiting both the spatial coverage of edits and the user's freedom to target specific objects in complex scenes. We present LB-Edit, a framework that addresses two coupled problems: where to place editing cameras for localized edits, and how to make per-view edits agree with one another so that the 3D scene remains consistent after fine-tuning. First, Attention-Guided Editing Camera Placement (ACP) probes the diffusion model's self- and cross-attention at multiple candidate camera distances to find where attention is well-contained in the region of interest, then places a compact, geometrically diverse editing camera set at that attention-optimal distance. Second, Multi-view Attention Alignment (MAA) steers the editor toward the same edit across views along two axes: it aligns appearance by sharing self-attention features via token-level correspondence, and aligns spatial location by lifting cross-attention maps onto the 3D Gaussians as a shared 3D attention field, suppressing both appearance and spatial drift. Experiments on multi-object and single-object scenes show that our method achieves the highest user preference in instruction fidelity, multi-view consistency, and editing locality, using as few as 5 editing views and reducing latency by up to 7x over existing methods.
Indoor scene relighting demands photorealism, precise spatial control, and strict multi-view consistency. While diffusion-based image editing models enable semantic lighting manipulation via text prompts, enforcing exact 3D light placement often disrupts their generative priors. We propose Lume-Palette, a progressive framework that leverages semantic lighting priors for spatially controllable multi-view indoor relighting. The approach decouples relighting into two stages: (1) illumination distillation, which extracts canonical illumination palettes from a pretrained diffusion model to preserve realistic material-light interactions, and (2) illumination casting, which explicitly maps target spatial lighting conditions defined from coarse 3D geometry. To efficiently handle dense multi-view and multi-modal inputs, we introduce an asymmetric multi-view conditioning strategy that selectively injects essential spatial context. Experiments on diverse synthetic scenes and real-world scenes demonstrate that Lume-Palette produces photorealistic, spatially controllable, and multi-view consistent relighting results. Project Page: https://cjeen.github.io/lumepalette
Interactive segmentation of 3D Gaussians offers a compelling opportunity for real-time manipulation of 3D scenes, thanks to the real-time rendering capability of 3D Gaussian Splatting (3DGS). However, existing methods require a time-consuming per-scene setup - typically tens of seconds or even minutes - before interactive segmentation can begin on a raw 3DGS scene. This setup involves multi-view mask preparation, mask lifting, and feature distillation, creating a major bottleneck for online applications. To address this limitation, we aim to completely eliminate the setup stage for interactive 3DGS segmentation while keeping the segmentation time practical (under 1 second). In this work, we present SAGO (Segment Any Gaussians Online), a novel setup-free framework for interactive 3DGS segmentation. By introducing virtual drones, our method reframes the 3D segmentation problem as an online Next-Best-View (NBV) planning task formulated within a Markov process. Extensive experiments demonstrate that SAGO can extract clean 3D assets directly from 3D Gaussians with sub-second latency, thereby enabling a broad range of downstream applications such as object manipulation and scene editing. Moreover, our method achieves over a 50x speedup compared to the previous setup-free 3DGS segmentation frameworks.
Alexandre Lanvin, Jeffrey Hu, Simon Lucas +2cs.GR cs.AI
Intrinsic decomposition which expresses image colors as the product of diffuse albedo and shading, possibly augmented with view-dependent residuals has a long history in image editing as it enables the modification of object colors and textures without altering lighting. We extend intrinsic decomposition to radiance fields represented with Gaussian splatting by proposing solutions to three key aspects of such decomposition. First, we describe how to model the intrinsic decomposition as independent sets of Gaussian primitives, which allows each set to adapt to the characteristics of the layer it represents. Second, we present an optimization procedure guided by data-driven predictions to disentangle multi-view photographs of a scene into the aforementioned intrinsic sets. Finally, we provide an editing workflow where users modify the texture of planar surfaces simply by modifying the albedo of that surface in one image. Capturing this edit within the intrinsic radiance field allows re-rendering of the edited scene with plausible lighting under arbitrary viewpoints.
Image priors can synthesize target conditions for 3D Gaussian street scenes, but independently edited views do not define a coherent 3D target. Direct fitting can propagate view-specific noise, while existing pipelines do not jointly handle imperfect sparse anchors and standard-rasterizer deployment. To address this gap, teacher-relative appearance residual distillation is introduced for appearance baking. A structured space for frequency decomposition, confidence estimation, and primitive-level lifting is formed by residuals between teacher anchors and original renders. The direct optimization signal is supplied by renderer-space matching, while primitive assignment is regularized by support-aware Gaussian-space aggregation. Supported detail is admitted and unsupported noise is suppressed through confidence-gated coarse-to-fine optimization, after which all residuals are baked into fixed-geometry spherical-harmonic coefficients. The teacher and auxiliary training modules are discarded at inference. Evaluation across Waymo street assets, Tanks and Temples scenes, and multiple target conditions shows a favorable overall balance of target alignment, content preservation, artifact suppression, and cross-view consistency over editing-based baselines. Ablations confirm the effectiveness of the main components. Code will be released at https://github.com/Cagares/Baking-for-3D-Gaussian.
Nicolás Violante, George Kopanas, Linus Franke +2cs.GR cs.CV
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.
Existing 3D scene editing methods typically rely on per-scene optimization over explicit 3D representations or cascaded edit-and-reconstruct pipelines, resulting in high test-time cost, limited 3D awareness, and structural inconsistencies. To couple appearance synthesis and geometry prediction during editing, we build on a unified RGB-geometry reconstruction-generation latent space and adapt it to feed-forward 3D scene editing. The resulting framework, \textbf{JointEdit3D}, performs asymmetric latent inpainting by observing only a single edited RGB reference latent and generating the remaining RGB views and edited geometry latent under source-scene anchoring. JointEdit3D introduces a dedicated SceneAnchor Branch to inject source-scene structure without forcing direct copying, and adopts edit/background-aware losses to balance edited-region fidelity with unedited-content preservation. To address the lack of paired resources for standardized 3D scene editing evaluation, we introduce SceneEdit3D-15K, a dataset with 15K paired editing samples and renderer-provided 3D annotations, together with SceneEdit3D-Bench, a curated 100-sample benchmark. Experiments show that JointEdit3D improves edited-region quality and 3D structural completeness over prior baselines while maintaining competitive background preservation.
Tim-Felix Faasch, Jochen Kall, Lucas Nunes +2cs.CV
High-fidelity semantic 3D scene representations are crucial for numerous applications, including robotics, autonomous driving, and simulation. Beyond this, the ability to edit such representations enables developers to adapt these applications more easily to specific target scenarios. Current approaches provide limited support for controllable editing. We introduce TASE, a method that projects pretrained 2D semantic features into a truncation-aware embedding space to enable flexible 3D scene editing. Our method explicitly optimizes a feature space in which progressively reducing feature channels yields increasingly abstract semantic representations, while retaining more channels preserves fine-grained detail. Additionally, we improve multi-view consistency of the features using a scale- and translation-equivariance loss. The resulting truncation-aware embedding space enables text-driven edits to 3D scenes, providing explicit control over how strongly edits adhere to the original scene content and allowing more substantial modifications than prior methods. Moreover, we propose a finetuning stage for the editing diffusion model to mitigate artifacts caused by geometric changes. Experimental results demonstrate competitive performance in 3D scene editing, substantially outperforming prior methods on edits involving large geometric modifications.