Chang Liu

Yu Yang, Xiaotian Cheng, Chang Liu et al.

In recent years, generative adversarial networks (GANs) have been an actively studied topic and shown to successfully produce high-quality realistic images in various domains. The controllable synthesis ability of GAN generators suggests that they maintain informative, disentangled, and explainable image representations, but leveraging and transferring their representations to downstream tasks is largely unexplored. In this paper, we propose to distill knowledge from GAN generators by squeezing and spanning their representations. We squeeze the generator features into representations that are invariant to semantic-preserving transformations through a network before they are distilled into the student network. We span the distilled representation of the synthetic domain to the real domain by also using real training data to remedy the mode collapse of GANs and boost the student network performance in a real domain. Experiments justify the efficacy of our method and reveal its great significance in self-supervised representation learning. Code is available at https://github.com/yangyu12/squeeze-and-span.

Chang Liu, Shunxin Xu, Jialun Peng et al.

One tough problem of image inpainting is to restore complex structures in the corrupted regions. It motivates interactive image inpainting which leverages additional hints, e.g., sketches, to assist the inpainting process. Sketch is simple and intuitive to end users, but meanwhile has free forms with much randomness. Such randomness may confuse the inpainting models, and incur severe artifacts in completed images. To address this problem, we propose a two-stage image inpainting method termed SketchRefiner. In the first stage, we propose using a cross-correlation loss function to robustly calibrate and refine the user-provided sketches in a coarse-to-fine fashion. In the second stage, we learn to extract informative features from the abstracted sketches in the feature space and modulate the inpainting process. We also propose an algorithm to simulate real sketches automatically and build a test protocol with different applications. Experimental results on public datasets demonstrate that SketchRefiner effectively utilizes sketch information and eliminates the artifacts due to the free-form sketches. Our method consistently outperforms the state-of-the-art ones both qualitatively and quantitatively, meanwhile revealing great potential in real-world applications. Our code and dataset are available.

Henghui Ding, Lingyi Hong, Chang Liu et al.

Despite the promising performance of current video segmentation models on existing benchmarks, these models still struggle with complex scenes. In this paper, we introduce the 6th Large-scale Video Object Segmentation (LSVOS) challenge in conjunction with ECCV 2024 workshop. This year's challenge includes two tasks: Video Object Segmentation (VOS) and Referring Video Object Segmentation (RVOS). In this year, we replace the classic YouTube-VOS and YouTube-RVOS benchmark with latest datasets MOSE, LVOS, and MeViS to assess VOS under more challenging complex environments. This year's challenge attracted 129 registered teams from more than 20 institutes across over 8 countries. This report include the challenge and dataset introduction, and the methods used by top 7 teams in two tracks. More details can be found in our homepage https://lsvos.github.io/.

Chang Liu, Rui Li, Kaidong Zhang et al.

Recent advancements of generative AI have significantly promoted content creation and editing, where prevailing studies further extend this exciting progress to video editing. In doing so, these studies mainly transfer the inherent motion patterns from the source videos to the edited ones, where results with inferior consistency to user prompts are often observed, due to the lack of particular alignments between the delivered motions and edited contents. To address this limitation, we present a shape-consistent video editing method, namely StableV2V, in this paper. Our method decomposes the entire editing pipeline into several sequential procedures, where it edits the first video frame, then establishes an alignment between the delivered motions and user prompts, and eventually propagates the edited contents to all other frames based on such alignment. Furthermore, we curate a testing benchmark, namely DAVIS-Edit, for a comprehensive evaluation of video editing, considering various types of prompts and difficulties. Experimental results and analyses illustrate the outperforming performance, visual consistency, and inference efficiency of our method compared to existing state-of-the-art studies.

Henghui Ding, Kaining Ying, Chang Liu et al.

Video object segmentation (VOS) aims to segment specified target objects throughout a video. Although state-of-the-art methods have achieved impressive performance (e.g., 90+% J&F) on benchmarks such as DAVIS and YouTube-VOS, these datasets primarily contain salient, dominant, and isolated objects, limiting their generalization to real-world scenarios. To bridge this gap, the coMplex video Object SEgmentation (MOSEv1) dataset was introduced to facilitate VOS research in complex scenes. Building on the foundations and insights of MOSEv1, we present MOSEv2, a significantly more challenging dataset designed to further advance VOS methods under real-world conditions. MOSEv2 consists of 5,024 videos and 701,976 high-quality masks for 10,074 objects across 200 categories. Compared to its predecessor, MOSEv2 introduces much greater scene complexity, including {more frequent object disappearance and reappearance, severe occlusions and crowding, smaller objects, as well as a range of new challenges such as adverse weather (e.g., rain, snow, fog), low-light scenes (e.g., nighttime, underwater), multi-shot sequences, camouflaged objects, non-physical targets (e.g., shadows, reflections), and scenarios requiring external knowledge.} We benchmark 20 representative VOS methods under 5 different settings and observe consistent performance drops on MOSEv2. For example, SAM2 drops from 76.4% on MOSEv1 to only 50.9% on MOSEv2. We further evaluate 9 video object tracking methods and observe similar declines, demonstrating that MOSEv2 poses challenges across tasks. These results highlight that despite strong performance on existing datasets, current VOS methods still fall short under real-world complexities. Based on our analysis of the observed challenges, we further propose several practical tricks that enhance model performance. MOSEv2 is publicly available at https://MOSE.video.

Chang Liu, Viraj Shah, Aiyu Cui et al.

This paper introduces UnZipLoRA, a method for decomposing an image into its constituent subject and style, represented as two distinct LoRAs (Low-Rank Adaptations). Unlike existing personalization techniques that focus on either subject or style in isolation, or require separate training sets for each, UnZipLoRA disentangles these elements from a single image by training both the LoRAs simultaneously. UnZipLoRA ensures that the resulting LoRAs are compatible, i.e., they can be seamlessly combined using direct addition. UnZipLoRA enables independent manipulation and recontextualization of subject and style, including generating variations of each, applying the extracted style to new subjects, and recombining them to reconstruct the original image or create novel variations. To address the challenge of subject and style entanglement, UnZipLoRA employs a novel prompt separation technique, as well as column and block separation strategies to accurately preserve the characteristics of subject and style, and ensure compatibility between the learned LoRAs. Evaluation with human studies and quantitative metrics demonstrates UnZipLoRA's effectiveness compared to other state-of-the-art methods, including DreamBooth-LoRA, Inspiration Tree, and B-LoRA.

Menglin Zhang, Xin Luo, Yunwei Lan et al.

Recent advances in NeRF inpainting have leveraged pretrained diffusion models to enhance performance. However, these methods often yield suboptimal results due to their ineffective utilization of 2D diffusion priors. The limitations manifest in two critical aspects: the inadequate capture of geometric information by pretrained diffusion models and the suboptimal guidance provided by existing Score Distillation Sampling (SDS) methods. To address these problems, we introduce GB-NeRF, a novel framework that enhances NeRF inpainting through improved utilization of 2D diffusion priors. Our approach incorporates two key innovations: a fine-tuning strategy that simultaneously learns appearance and geometric priors and a specialized normal distillation loss that integrates these geometric priors into NeRF inpainting. We propose a technique called Balanced Score Distillation (BSD) that surpasses existing methods such as Score Distillation (SDS) and the improved version, Conditional Score Distillation (CSD). BSD offers improved inpainting quality in appearance and geometric aspects. Extensive experiments show that our method provides superior appearance fidelity and geometric consistency compared to existing approaches.

Chang Liu, Han Yu

Promotional videos are rapidly becoming a popular medium for persuading people to change their behaviours in many settings (e.g., online shopping, social enterprise initiatives). Today, such videos are often produced by professionals, which is a time-, labour- and cost-intensive undertaking. In order to produce such contents to support a large applications (e.g., e-commerce), the field of artificial intelligence (AI)-empowered persuasive video generation (AIPVG) has gained traction in recent years. This field is interdisciplinary in nature, which makes it challenging for new researchers to grasp. Currently, there is no comprehensive survey of AIPVG available. In this paper, we bridge this gap by reviewing key AI techniques that can be utilized to automatically generate persuasive videos. We offer a first-of-its-kind taxonomy which divides AIPVG into three major steps: 1) visual material understanding, which extracts information from the visual materials (VMs) relevant to the target of promotion; 2) visual storyline generation, which shortlists and arranges high-quality VMs into a sequence in order to compose a storyline with persuasive power; and 3) post-production, which involves background music generation and still image animation to enhance viewing experience. We also introduce the evaluation metrics and datasets commonly adopted in the field of AIPVG. We analyze the advantages and disadvantages of the existing works belonging to the above-mentioned steps, and discuss interesting potential future research directions.