When smartphone cameras are used to take photos of digital screens, usually moire patterns result, severely degrading photo quality. In this paper, we design a wavelet-based dual-branch network (WDNet) with a spatial attention mechanism for image demoireing. Existing image restoration methods working in the RGB domain have difficulty in distinguishing moire patterns from true scene texture. Unlike these methods, our network removes moire patterns in the wavelet domain to separate the frequencies of moire patterns from the image content. The network combines dense convolution modules and dilated convolution modules supporting large receptive fields. Extensive experiments demonstrate the effectiveness of our method, and we further show that WDNet generalizes to removing moire artifacts on non-screen images. Although designed for image demoireing, WDNet has been applied to two other low-levelvision tasks, outperforming state-of-the-art image deraining and derain-drop methods on the Rain100h and Raindrop800 data sets, respectively.
Recent deep colorization works predict the semantic information implicitly while learning to colorize black-and-white photographic images. As a consequence, the generated color is easier to be overflowed, and the semantic faults are invisible. As human experience in coloring, the human first recognize which objects and their location in the photo, imagine which color is plausible for the objects as in real life, then colorize it. In this study, we simulate that human-like action to firstly let our network learn to segment what is in the photo, then colorize it. Therefore, our network can choose a plausible color under semantic constraint for specific objects, and give discriminative colors between them. Moreover, the segmentation map becomes understandable and interactable for the user. Our models are trained on PASCAL-Context and evaluated on selected images from the public domain and COCO-Stuff, which has several unseen categories compared to training data. As seen from the experimental results, our colorization system can provide plausible colors for specific objects and generate harmonious colors competitive with state-of-the-art methods.
Caricature is an abstraction of a real person which distorts or exaggerates certain features, but still retains a likeness. While most existing works focus on 3D caricature reconstruction from 2D caricatures or translating 2D photos to 2D caricatures, this paper presents a real-time and automatic algorithm for creating expressive 3D caricatures with caricature style texture map from 2D photos or videos. To solve this challenging ill-posed reconstruction problem and cross-domain translation problem, we first reconstruct the 3D face shape for each frame, and then translate 3D face shape from normal style to caricature style by a novel identity and expression preserving VAE-CycleGAN. Based on a labeling formulation, the caricature texture map is constructed from a set of multi-view caricature images generated by CariGANs. The effectiveness and efficiency of our method are demonstrated by comparison with baseline implementations. The perceptual study shows that the 3D caricatures generated by our method meet people's expectations of 3D caricature style.
Parametric generative deep models are state-of-the-art for photo and non-photo realistic image stylization. However, learning complicated image representations requires compute-intense models parametrized by a huge number of weights, which in turn requires large datasets to make learning successful. Non-parametric exemplar-based generation is a technique that works well to reproduce style from small datasets, but is also compute-intensive. These aspects are a drawback for the practice of digital AI artists: typically one wants to use a small set of stylization images, and needs a fast flexible model in order to experiment with it. With this motivation, our work has these contributions: (i) a novel stylization method called Fully Adversarial Mosaics (FAMOS) that combines the strengths of both parametric and non-parametric approaches; (ii) multiple ablations and image examples that analyze the method and show its capabilities; (iii) source code that will empower artists and machine learning researchers to use and modify FAMOS.
We model the photo cropping problem as a cascade of attention box regression and aesthetic quality classification, based on deep learning. A neural network is designed that has two branches for predicting attention bounding box and analyzing aesthetics, respectively. The predicted attention box is treated as an initial crop window where a set of cropping candidates are generated around it, without missing important information. Then, aesthetics assessment is employed to select the final crop as the one with the best aesthetic quality. With our network, cropping candidates share features within full-image convolutional feature maps, thus avoiding repeated feature computation and leading to higher computation efficiency. Via leveraging rich data for attention prediction and aesthetics assessment, the proposed method produces high-quality cropping results, even with the limited availability of training data for photo cropping. The experimental results demonstrate the competitive results and fast processing speed (5 fps with all steps).
Wide-angle portraits often enjoy expanded views. However, they contain perspective distortions, especially noticeable when capturing group portrait photos, where the background is skewed and faces are stretched. This paper introduces the first deep learning based approach to remove such artifacts from freely-shot photos. Specifically, given a wide-angle portrait as input, we build a cascaded network consisting of a LineNet, a ShapeNet, and a transition module (TM), which corrects perspective distortions on the background, adapts to the stereographic projection on facial regions, and achieves smooth transitions between these two projections, accordingly. To train our network, we build the first perspective portrait dataset with a large diversity in identities, scenes and camera modules. For the quantitative evaluation, we introduce two novel metrics, line consistency and face congruence. Compared to the previous state-of-the-art approach, our method does not require camera distortion parameters. We demonstrate that our approach significantly outperforms the previous state-of-the-art approach both qualitatively and quantitatively.
With the rapid increase in online photo sharing activities, image obfuscation algorithms become particularly important for protecting the sensitive information in the shared photos. However, existing image obfuscation methods based on hand-crafted principles are challenged by the dramatic development of deep learning techniques. To address this problem, we propose to maximize the distribution discrepancy between the original image domain and the encrypted image domain. Accordingly, we introduce a collaborative training scheme: a discriminator $D$ is trained to discriminate the reconstructed image from the encrypted image, and an encryption model $G_e$ is required to generate these two kinds of images to maximize the recognition rate of $D$, leading to the same training objective for both $D$ and $G_e$. We theoretically prove that such a training scheme maximizes two distributions' discrepancy. Compared with commonly-used image obfuscation methods, our model can produce satisfactory defense against the attack of deep recognition models indicated by significant accuracy decreases on FaceScrub, Casia-WebFace and LFW datasets.
Style analysis of artwork in computer vision predominantly focuses on achieving results in target image generation through optimizing understanding of low level style characteristics such as brush strokes. However, fundamentally different techniques are required to computationally understand and control qualities of art which incorporate higher level style characteristics. We study style representations learned by neural network architectures incorporating these higher level characteristics. We find variation in learned style features from incorporating triplets annotated by art historians as supervision for style similarity. Networks leveraging statistical priors or pretrained on photo collections such as ImageNet can also derive useful visual representations of artwork. We align the impact of these expert human knowledge, statistical, and photo realism priors on style representations with art historical research and use these representations to perform zero-shot classification of artists. To facilitate this work, we also present the first large-scale dataset of portraits prepared for computational analysis.
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