Compositing is one of the most common operations in photo editing. To generate realistic composites, the appearances of foreground and background need to be adjusted to make them compatible. Previous approaches to harmonize composites have focused on learning statistical relationships between hand-crafted appearance features of the foreground and background, which is unreliable especially when the contents in the two layers are vastly different. In this work, we propose an end-to-end deep convolutional neural network for image harmonization, which can capture both the context and semantic information of the composite images during harmonization. We also introduce an efficient way to collect large-scale and high-quality training data that can facilitate the training process. Experiments on the synthesized dataset and real composite images show that the proposed network outperforms previous state-of-the-art methods.
Image Harmonization. Generating realistic composite images requires a good match for both the appearances and contents between foreground and background regions. Existing methods use color and tone matching techniques to ensure consistent appearances, such as transferring global statistics @cite_14 @cite_0 , applying gradient domain methods @cite_31 @cite_21 , matching multi-scale statistics @cite_30 or utilizing semantic information @cite_29 . While these methods directly match appearances to generate realistic composite images, realism of the image is not considered. Lalonde and Efros @cite_6 predict the realism of photos by learning color statistics from natural images and use these statistics to adjust foreground appearances to improve the chromatic compatibility. On the other hand, a data-driven method @cite_32 is developed to improve the realism of computer-generated images by retrieving a set of real images with similar global layouts for transferring appearances.
@cite_30 @cite_14 @cite_29 @cite_21 @cite_32 @cite_6 @cite_0 @cite_31
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Compositing is one of the most common operations in photo editing. To generate realistic composites, the appearances of foreground and background need to be adjusted to make them compatible. Previous approaches to harmonize composites have focused on learning statistical relationships between hand-crafted appearance features of the foreground and background, which is unreliable especially when the contents in the two layers are vastly different. In this work, we propose an end-to-end deep convolutional neural network for image harmonization, which can capture both the context and semantic information of the composite images during harmonization. We also introduce an efficient way to collect large-scale and high-quality training data that can facilitate the training process. Experiments on the synthesized dataset and real composite images show that the proposed network outperforms previous state-of-the-art methods. Compositing is one of the most common operations in photo editing. To generate realistic composites, the appearances of foreground and background need to be adjusted to make them compatible. Previous approaches to harmonize composites have focused on learning statistical relationships between hand-crafted appearance features of the foreground and background, which is unreliable especially when the contents in the two layers are vastly different. In this work, we propose an end-to-end deep convolutional neural network for image harmonization, which can capture both the context and semantic information of the composite images during harmonization. We also introduce an efficient way to collect large-scale and high-quality training data that can facilitate the training process. Experiments on the synthesized dataset and real composite images show that the proposed network outperforms previous state-of-the-art methods. Current methods for combining two different images produce visible artifacts when the sources have very different textures and structures. We present a new method for synthesizing a transition region between two source images, such that inconsistent color, texture, and structural properties all change gradually from one source to the other. We call this process image melding. Our method builds upon a patch-based optimization foundation with three key generalizations: First, we enrich the patch search space with additional geometric and photometric transformations. Second, we integrate image gradients into the patch representation and replace the usual color averaging with a screened Poisson equation solver. And third, we propose a new energy based on mixed L2 L0 norms for colors and gradients that produces a gradual transition between sources without sacrificing texture sharpness. Together, all three generalizations enable patch-based solutions to a broad class of image melding problems involving inconsistent sources: object cloning, stitching challenging panoramas, hole filling from multiple photos, and image harmonization. In several cases, our unified method outperforms previous state-of-the-art methods specifically designed for those applications. In our fractional stereo matching problem, a foreground object with a fractional boundary is blended with a background scene using unknown transparencies. Due to the spatially varying disparities in different layers, one foreground pixel may be blended with different background pixels in stereo images, making the color constancy commonly assumed in traditional stereo matching not hold any more. To tackle this problem, in this paper, we introduce a probabilistic framework constraining the matching of pixel colors, disparities, and alpha values in different layers, and propose an automatic optimization method to solve a maximizing a posterior (MAP) problem using expectation-maximization (EM), given only a short-baseline stereo input image pair. Our method encodes the effect of background occlusion by layer blending without requiring a special detection process. The alpha computation process in our unified framework can be regarded as a new approach by natural image matting, which handles appropriately the situation when the background color is similar to that of the foreground object. We demonstrate the efficacy of our method by experimenting with challenging stereo images and making comparisons with state-of-the-art methods.