With the advent of perceptual loss functions, new possibilities in super-resolution have emerged, and we currently have models that successfully generate near-photorealistic high-resolution images from their low-resolution observations. Up to now, however, such approaches have been exclusively limited to single image super-resolution. The application of perceptual loss functions on video processing still entails several challenges, mostly related to the lack of temporal consistency of the generated images, i.e., flickering artifacts. In this work, we present a novel adversarial recurrent network for video upscaling that is able to produce realistic textures in a temporally consistent way. The proposed architecture naturally leverages information from previous frames due to its recurrent architecture, i.e. the input to the generator is composed of the low-resolution image and, additionally, the warped output of the network at the previous step. Together with a video discriminator, we also propose additional loss functions to further reinforce temporal consistency in the generated sequences. The experimental validation of our algorithm shows the effectiveness of our approach which obtains images with high perceptual quality and improved temporal consistency.
The style transfer community has faced similar problems in their transition from single-image to video processing. Single-image style-transfer networks might produce very distant images for adjacent frames @cite_2 , creating very strong transitions from frame to frame. Several recent works have overcome this problem by including a temporal-consistency loss that ensures that the stylized consecutive frames are similar to each other when warped with the optical flow of the scene @cite_8 @cite_5 @cite_23 .
@cite_8 @cite_5 @cite_23 @cite_2
2612034718 2740546229 2475287302
Recent research endeavors have shown the potential of using feed-forward convolutional neural networks to accomplish fast style transfer for images. In this work, we take one step further to explore the possibility of exploiting a feed-forward network to perform style transfer for videos and simultaneously maintain temporal consistency among stylized video frames. Our feed-forward network is trained by enforcing the outputs of consecutive frames to be both well stylized and temporally consistent. More specifically, a hybrid loss is proposed to capitalize on the content information of input frames, the style information of a given style image, and the temporal information of consecutive frames. To calculate the temporal loss during the training stage, a novel two-frame synergic training mechanism is proposed. Compared with directly applying an existing image style transfer method to videos, our proposed method employs the trained network to yield temporally consistent stylized videos which are much more visually pleasant. In contrast to the prior video style transfer method which relies on time-consuming optimization on the fly, our method runs in real time while generating competitive visual results. Training a feed-forward network for fast neural style transfer of images is proven to be successful. However, the naive extension to process video frame by frame is prone to producing flickering results. We propose the first end-to-end network for online video style transfer, which generates temporally coherent stylized video sequences in near real-time. Two key ideas include an efficient network by incorporating short-term coherence, and propagating short-term coherence to long-term, which ensures the consistency over larger period of time. Our network can incorporate different image stylization networks. We show that the proposed method clearly outperforms the per-frame baseline both qualitatively and quantitatively. Moreover, it can achieve visually comparable coherence to optimization-based video style transfer, but is three orders of magnitudes faster in runtime. A recent paper by describes a method for rendering an image in the style of another image. First, they use convolutional neural network features to build a statistical model for the style of an image. Then they create a new image with the content of one image but the style statistics of another image. Here, we extend this method to render a movie in a given artistic style. The naive solution that independently renders each frame produces poor results because the features of the style move substantially from one frame to the next. The other naive method that initializes the optimization for the next frame using the rendered version of the previous frame also produces poor results because the features of the texture stay fixed relative to the frame of the movie instead of moving with objects in the scene. The main contribution of this paper is to use optical flow to initialize the style transfer optimization so that the texture features move with the objects in the video. Finally, we suggest a method to incorporate optical flow explicitly into the cost function. Recent progress in style transfer on images has focused on improving the quality of stylized images and speed of methods. However, real-time methods are highly unstable resulting in visible flickering when applied to videos. In this work we characterize the instability of these methods by examining the solution set of the style transfer objective. We show that the trace of the Gram matrix representing style is inversely related to the stability of the method. Then, we present a recurrent convolutional network for real-time video style transfer which incorporates a temporal consistency loss and overcomes the instability of prior methods. Our networks can be applied at any resolution, do not require optical flow at test time, and produce high quality, temporally consistent stylized videos in real-time. Recent progress in style transfer on images has focused on improving the quality of stylized images and speed of methods. However, real-time methods are highly unstable resulting in visible flickering when applied to videos. In this work we characterize the instability of these methods by examining the solution set of the style transfer objective. We show that the trace of the Gram matrix representing style is inversely related to the stability of the method. Then, we present a recurrent convolutional network for real-time video style transfer which incorporates a temporal consistency loss and overcomes the instability of prior methods. Our networks can be applied at any resolution, do not re- quire optical flow at test time, and produce high quality, temporally consistent stylized videos in real-time. Given two consecutive frames, video interpolation aims at generating intermediate frame(s) to form both spatially and temporally coherent video sequences. While most existing methods focus on single-frame interpolation, we propose an end-to-end convolutional neural network for variable-length multi-frame video interpolation, where the motion interpretation and occlusion reasoning are jointly modeled. We start by computing bi-directional optical flow between the input images using a U-Net architecture. These flows are then linearly combined at each time step to approximate the intermediate bi-directional optical flows. These approximate flows, however, only work well in locally smooth regions and produce artifacts around motion boundaries. To address this shortcoming, we employ another U-Net to refine the approximated flow and also predict soft visibility maps. Finally, the two input images are warped and linearly fused to form each intermediate frame. By applying the visibility maps to the warped images before fusion, we exclude the contribution of occluded pixels to the interpolated intermediate frame to avoid artifacts. Since none of our learned network parameters are time-dependent, our approach is able to produce as many intermediate frames as needed. We use 1,132 video clips with 240-fps, containing 300K individual video frames, to train our network. Experimental results on several datasets, predicting different numbers of interpolated frames, demonstrate that our approach performs consistently better than existing methods. Given two consecutive frames, video interpolation aims at generating intermediate frame(s) to form both spatially and temporally coherent video sequences. While most existing methods focus on single-frame interpolation, we propose an end-to-end convolutional neural network for variable-length multi-frame video interpolation, where the motion interpretation and occlusion reasoning are jointly modeled. We start by computing bi-directional optical flow between the input images using a U-Net architecture. These flows are then linearly combined at each time step to approximate the intermediate bi-directional optical flows. These approximate flows, however, only work well in locally smooth regions and produce artifacts around motion boundaries. To address this shortcoming, we employ another U-Net to refine the approximated flow and also predict soft visibility maps. Finally, the two input images are warped and linearly fused to form each intermediate frame. By applying the visibility maps to the warped images before fusion, we exclude the contribution of occluded pixels to the interpolated intermediate frame to avoid artifacts. Since none of our learned network parameters are time-dependent, our approach is able to produce as many intermediate frames as needed. To train our network, we use 1,132 240-fps video clips, containing 300K individual video frames. Experimental results on several datasets, predicting different numbers of interpolated frames, demonstrate that our approach performs consistently better than existing methods. Artistic style transfer is an image synthesis problem where the content of an image is reproduced with the style of another. Recent works show that a visually appealing style transfer can be achieved by using the hidden activations of a pretrained convolutional neural network. However, existing methods either apply (i) an optimization procedure that works for any style image but is very expensive, or (ii) an efficient feedforward network that only allows a limited number of trained styles. In this work we propose a simpler optimization objective based on local matching that combines the content structure and style textures in a single layer of the pretrained network. We show that our objective has desirable properties such as a simpler optimization landscape, intuitive parameter tuning, and consistent frame-by-frame performance on video. Furthermore, we use 80,000 natural images and 80,000 paintings to train an inverse network that approximates the result of the optimization. This results in a procedure for artistic style transfer that is efficient but also allows arbitrary content and style images. Surveillance video parsing, which segments the video frames into several labels, e.g., face, pants, left-leg, has wide applications. However,pixel-wisely annotating all frames is tedious and inefficient. In this paper, we develop a Single frame Video Parsing (SVP) method which requires only one labeled frame per video in training stage. To parse one particular frame, the video segment preceding the frame is jointly considered. SVP (1) roughly parses the frames within the video segment, (2) estimates the optical flow between frames and (3) fuses the rough parsing results warped by optical flow to produce the refined parsing result. The three components of SVP, namely frame parsing, optical flow estimation and temporal fusion are integrated in an end-to-end manner. Experimental results on two surveillance video datasets show the superiority of SVP over state-of-the-arts. Surveillance video parsing, which segments the video frames into several labels, e.g., face, pants, left-leg, has wide applications [41, 8]. However, pixel-wisely annotating all frames is tedious and inefficient. In this paper, we develop a Single frame Video Parsing (SVP) method which requires only one labeled frame per video in training stage. To parse one particular frame, the video segment preceding the frame is jointly considered. SVP (i) roughly parses the frames within the video segment, (ii) estimates the optical flow between frames and (iii) fuses the rough parsing results warped by optical flow to produce the refined parsing result. The three components of SVP, namely frame parsing, optical flow estimation and temporal fusion are integrated in an end-to-end manner. Experimental results on two surveillance video datasets show the superiority of SVP over state-of-the-arts. The collected video parsing datasets can be downloaded via http: liusi-group.com projects SVP for the further studies. Preface 1. Introduction 2. Some context for Context Analysis: a view of the origins of structural studies of face-to-face interaction 3. Some functions of gaze direction in two-person conversation 4. Movement co-ordination in social interaction 5. Some functions of the face in a kissing round 6. A description of some human greetings 7. Spatial organisation in social encounters: the F-formation system 8. Behavioural foundations for the process of frame-attunement in face-to-face interaction List of films cited References Index. Manually re-drawing an image in a certain artistic style takes a professional artist a long time. Doing this for a video sequence single-handedly is beyond imagination. We present two computational approaches that transfer the style from one image (for example, a painting) to a whole video sequence. In our first approach, we adapt to videos the original image style transfer technique by based on energy minimization. We introduce new ways of initialization and new loss functions to generate consistent and stable stylized video sequences even in cases with large motion and strong occlusion. Our second approach formulates video stylization as a learning problem. We propose a deep network architecture and training procedures that allow us to stylize arbitrary-length videos in a consistent and stable way, and nearly in real time. We show that the proposed methods clearly outperform simpler baselines both qualitatively and quantitatively. Finally, we propose a way to adapt these approaches also to 360 (^ ) images and videos as they emerge with recent virtual reality hardware. In the past, manually re-drawing an image in a certain artistic style required a professional artist and a long time. Doing this for a video sequence single-handed was beyond imagination. Nowadays computers provide new possibilities. We present an approach that transfers the style from one image (for example, a painting) to a whole video sequence. We make use of recent advances in style transfer in still images and propose new initializations and loss functions applicable to videos. This allows us to generate consistent and stable stylized video sequences, even in cases with large motion and strong occlusion. We show that the proposed method clearly outperforms simpler baselines both qualitatively and quantitatively. We consider the problem of face swapping in images, where an input identity is transformed into a target identity while preserving pose, facial expression, and lighting. To perform this mapping, we use convolutional neural networks trained to capture the appearance of the target identity from an unstructured collection of his her photographs.This approach is enabled by framing the face swapping problem in terms of style transfer, where the goal is to render an image in the style of another one. Building on recent advances in this area, we devise a new loss function that enables the network to produce highly photorealistic results. By combining neural networks with simple pre- and post-processing steps, we aim at making face swap work in real-time with no input from the user. Example-based stylization provides an easy way of making artistic effects for images and videos. However, most existing methods do not consider the content and style separately. In this paper, we propose a style transfer algorithm via a novel component analysis approach, based on various image processing techniques. First, inspired by the steps of drawing a picture, an image is decomposed into three components: draft, paint and edge, which describe the content, main style, and strengthened strokes along the boundaries. Then the style is transferred from the template image to the source image in the paint and edge components. Style transfer is formulated as a global optimization problem by using Markov random fields, and a coarse-to-fine belief propagation algorithm is used to solve the optimization problem. To combine the draft component and the obtained style information, the final artistic result can be achieved via a reconstruction step. Compared to other algorithms, our method not only synthesizes the style, but also preserves the image content well. We also extend our algorithm from single image stylization to video personalization, by maintaining the temporal coherence and identifying faces in video sequences. The results indicate that our approach performs excellently in stylization and personalization for images and videos. Artistic style transfer is the problem of synthesizing an image with content similar to a given image and style similar to another. Although recent feed-forward neural networks can generate stylized images in real-time, these models produce a single stylization given a pair of style content images, and the user doesn't have control over the synthesized output. Moreover, the style transfer depends on the hyper-parameters of the model with varying "optimum" for different input images. Therefore, if the stylized output is not appealing to the user, she he has to try multiple models or retrain one with different hyper-parameters to get a favorite stylization. In this paper, we address these issues by proposing a novel method which allows adjustment of crucial hyper-parameters, after the training and in real-time, through a set of manually adjustable parameters. These parameters enable the user to modify the synthesized outputs from the same pair of style content images, in search of a favorite stylized image. Our quantitative and qualitative experiments indicate how adjusting these parameters is comparable to retraining the model with different hyper-parameters. We also demonstrate how these parameters can be randomized to generate results which are diverse but still very similar in style and content. While image alignment has been studied in different areas of computer vision for decades, aligning images depicting different scenes remains a challenging problem. Analogous to optical flow, where an image is aligned to its temporally adjacent frame, we propose SIFT flow, a method to align an image to its nearest neighbors in a large image corpus containing a variety of scenes. The SIFT flow algorithm consists of matching densely sampled, pixelwise SIFT features between two images while preserving spatial discontinuities. The SIFT features allow robust matching across different scene object appearances, whereas the discontinuity-preserving spatial model allows matching of objects located at different parts of the scene. Experiments show that the proposed approach robustly aligns complex scene pairs containing significant spatial differences. Based on SIFT flow, we propose an alignment-based large database framework for image analysis and synthesis, where image information is transferred from the nearest neighbors to a query image according to the dense scene correspondence. This framework is demonstrated through concrete applications such as motion field prediction from a single image, motion synthesis via object transfer, satellite image registration, and face recognition. Recent advances in video super-resolution have shown that convolutional neural networks combined with motion compensation are able to merge information from multiple low-resolution (LR) frames to generate high-quality images. Current state-of-the-art methods process a batch of LR frames to generate a single high-resolution (HR) frame and run this scheme in a sliding window fashion over the entire video, effectively treating the problem as a large number of separate multi-frame super-resolution tasks. This approach has two main weaknesses: 1) Each input frame is processed and warped multiple times, increasing the computational cost, and 2) each output frame is estimated independently conditioned on the input frames, limiting the system's ability to produce temporally consistent results. In this work, we propose an end-to-end trainable frame-recurrent video super-resolution framework that uses the previously inferred HR estimate to super-resolve the subsequent frame. This naturally encourages temporally consistent results and reduces the computational cost by warping only one image in each step. Furthermore, due to its recurrent nature, the proposed method has the ability to assimilate a large number of previous frames without increased computational demands. Extensive evaluations and comparisons with previous methods validate the strengths of our approach and demonstrate that the proposed framework is able to significantly outperform the current state of the art. Although the recent success of convolutional neural network (CNN) advances state-of-the-art saliency prediction in static images, few work has addressed the problem of predicting attention in videos. On the other hand, we nd that the attention of different subjects consistently focuses on a single face in each frame of videos involving multiple faces. Therefore, we propose in this paper a novel deep learning (DL) based method to predict salient face in multiple-face videos, which is capable of learning features and transition of salient faces across video frames. In particular, we rst learn a CNN for each frame to locate salient face. Taking CNN features as input, we develop a multiple-stream long short-term memory (M-LSTM) network to predict the temporal transition of salient faces in video sequences. To evaluate our DL-based method, we build a new eye-tracking database of multiple-face videos. The experimental results show that our method outperforms the prior state-of-the-art methods in predicting visual attention on faces in multipleface videos. Many vision and graphics problems such as relighting, structured light scanning and photometric stereo, need images of a scene under a number of different illumination conditions. It is typically assumed that the scene is static. To extend such methods to dynamic scenes, dense optical flow can be used to register adjacent frames. This registration becomes inaccurate if the frame rate is too low with respect to the degree of movement in the scenes. We present a general method that extends time multiplexing with color multiplexing in order to better handle dynamic scenes. Our method allows for packing more illumination information into a single frame, thereby reducing the number of required frames over which optical flow must be computed. Moreover, color-multiplexed frames lend themselves better to reliably computing optical flow. We show that our method produces better results compared to time-multiplexing alone. We demonstrate its application to relighting, structured light scanning and photometric stereo in dynamic scenes.