Chong Li

Zheng-Peng Duan, Jiawei zhang, Zheng Lin et al.

Image retouching aims to enhance the visual quality of photos. Considering the different aesthetic preferences of users, the target of retouching is subjective. However, current retouching methods mostly adopt deterministic models, which not only neglects the style diversity in the expert-retouched results and tends to learn an average style during training, but also lacks sample diversity during inference. In this paper, we propose a diffusion-based method, named DiffRetouch. Thanks to the excellent distribution modeling ability of diffusion, our method can capture the complex fine-retouched distribution covering various visual-pleasing styles in the training data. Moreover, four image attributes are made adjustable to provide a user-friendly editing mechanism. By adjusting these attributes in specified ranges, users are allowed to customize preferred styles within the learned fine-retouched distribution. Additionally, the affine bilateral grid and contrastive learning scheme are introduced to handle the problem of texture distortion and control insensitivity respectively. Extensive experiments have demonstrated the superior performance of our method on visually appealing and sample diversity. The code will be made available to the community.

Chenyang Wu, Jiayi Fu, Chun-Le Guo et al.

Due to large pixel movement and high computational cost, estimating the motion of high-resolution frames is challenging. Thus, most flow-based Video Frame Interpolation (VFI) methods first predict bidirectional flows at low resolution and then use high-magnification upsampling (e.g., bilinear) to obtain the high-resolution ones. However, this kind of upsampling strategy may cause blur or mosaic at the flows' edges. Additionally, the motion of fine pixels at high resolution cannot be adequately captured in motion estimation at low resolution, which leads to the misalignment of task-oriented flows. With such inaccurate flows, input frames are warped and combined pixel-by-pixel, resulting in ghosting and discontinuities in the interpolated frame. In this study, we propose a novel VFI pipeline, VTinker, which consists of two core components: guided flow upsampling (GFU) and Texture Mapping. After motion estimation at low resolution, GFU introduces input frames as guidance to alleviate the blurring details in bilinear upsampling flows, which makes flows' edges clearer. Subsequently, to avoid pixel-level ghosting and discontinuities, Texture Mapping generates an initial interpolated frame, referred to as the intermediate proxy. The proxy serves as a cue for selecting clear texture blocks from the input frames, which are then mapped onto the proxy to facilitate producing the final interpolated frame via a reconstruction module. Extensive experiments demonstrate that VTinker achieves state-of-the-art performance in VFI. Codes are available at: https://github.com/Wucy0519/VTinker.

Yuekun Dai, Qinyue Li, Shangchen Zhou et al.

Line art colorization plays a crucial role in hand-drawn animation production, where digital artists manually colorize segments using a paint bucket tool, guided by RGB values from character color design sheets. This process, often called paint bucket colorization, involves two main tasks: keyframe colorization, where colors are applied according to the character's color design sheet, and consecutive frame colorization, where these colors are replicated across adjacent frames. Current automated colorization methods primarily focus on reference-based and segment-matching approaches. However, reference-based methods often fail to accurately assign specific colors to each region, while matching-based methods are limited to consecutive frame colorization and struggle with issues like significant deformation and occlusion. In this work, we introduce inclusion matching, which allows the network to understand the inclusion relationships between segments, rather than relying solely on direct visual correspondences. By integrating this approach with segment parsing and color warping modules, our inclusion matching pipeline significantly improves performance in both keyframe colorization and consecutive frame colorization. To support our network's training, we have developed a unique dataset named PaintBucket-Character, which includes rendered line arts alongside their colorized versions and shading annotations for various 3D characters. To replicate industry animation data formats, we also created color design sheets for each character, with semantic information for each color and standard pose reference images. Experiments highlight the superiority of our method, demonstrating accurate and consistent colorization across both our proposed benchmarks and hand-drawn animations.

Xin Jin, Simon Niklaus, Zhoutong Zhang et al.

Denoising is a crucial step in many video processing pipelines such as in interactive editing, where high quality, speed, and user control are essential. While recent approaches achieve significant improvements in denoising quality by leveraging deep learning, they are prone to unexpected failures due to discrepancies between training data distributions and the wide variety of noise patterns found in real-world videos. These methods also tend to be slow and lack user control. In contrast, traditional denoising methods perform reliably on in-the-wild videos and run relatively quickly on modern hardware. However, they require manually tuning parameters for each input video, which is not only tedious but also requires skill. We bridge the gap between these two paradigms by proposing a differentiable denoising pipeline based on traditional methods. A neural network is then trained to predict the optimal denoising parameters for each specific input, resulting in a robust and efficient approach that also supports user control.

Chuhong Wang, Hua Li, Chongyi Li et al.

With the development of underwater exploration and marine protection, underwater vision tasks are widespread. Due to the degraded underwater environment, characterized by color distortion, low contrast, and blurring, camouflaged instance segmentation (CIS) faces greater challenges in accurately segmenting objects that blend closely with their surroundings. Traditional camouflaged instance segmentation methods, trained on terrestrial-dominated datasets with limited underwater samples, may exhibit inadequate performance in underwater scenes. To address these issues, we introduce the first underwater camouflaged instance segmentation (UCIS) dataset, abbreviated as UCIS4K, which comprises 3,953 images of camouflaged marine organisms with instance-level annotations. In addition, we propose an Underwater Camouflaged Instance Segmentation network based on Segment Anything Model (UCIS-SAM). Our UCIS-SAM includes three key modules. First, the Channel Balance Optimization Module (CBOM) enhances channel characteristics to improve underwater feature learning, effectively addressing the model's limited understanding of underwater environments. Second, the Frequency Domain True Integration Module (FDTIM) is proposed to emphasize intrinsic object features and reduce interference from camouflage patterns, enhancing the segmentation performance of camouflaged objects blending with their surroundings. Finally, the Multi-scale Feature Frequency Aggregation Module (MFFAM) is designed to strengthen the boundaries of low-contrast camouflaged instances across multiple frequency bands, improving the model's ability to achieve more precise segmentation of camouflaged objects. Extensive experiments on the proposed UCIS4K and public benchmarks show that our UCIS-SAM outperforms state-of-the-art approaches.