Foley is a key element in video production, refers to the process of adding an audio signal to a silent video while ensuring semantic and temporal alignment. In recent years, the rise of personalized content creation and advancements in automatic video-to-audio models have increased the demand for greater user control in the process. One possible approach is to incorporate text to guide audio generation. While supported by existing methods, challenges remain in ensuring compatibility between modalities, particularly when the text introduces additional information or contradicts the sounds naturally inferred from the visuals. In this work, we introduce CAFA (Controllable Automatic Foley Artist) a video-and-text-to-audio model that generates semantically and temporally aligned audio for a given video, guided by text input. CAFA is built upon a text-to-audio model and integrates video information through a modality adapter mechanism. By incorporating text, users can refine semantic details and introduce creative variations, guiding the audio synthesis beyond the expected video contextual cues. Experiments show that besides its superior quality in terms of semantic alignment and audio-visual synchronization the proposed method enable high textual controllability as demonstrated in subjective and objective evaluations.

The colorization of grayscale images is a complex and subjective task with significant challenges. Despite recent progress in employing large-scale datasets with deep neural networks, difficulties with controllability and visual quality persist. To tackle these issues, we present a novel image colorization framework that utilizes image diffusion techniques with granular text prompts. This integration not only produces colorization outputs that are semantically appropriate but also greatly improves the level of control users have over the colorization process. Our method provides a balance between automation and control, outperforming existing techniques in terms of visual quality and semantic coherence. We leverage a pretrained generative Diffusion Model, and show that we can finetune it for the colorization task without losing its generative power or attention to text prompts. Moreover, we present a novel CLIP-based ranking model that evaluates color vividness, enabling automatic selection of the most suitable level of vividness based on the specific scene semantics. Our approach holds potential particularly for color enhancement and historical image colorization.

Temporally consistent dense video annotations are scarce and hard to collect. In contrast, image segmentation datasets (and pre-trained models) are ubiquitous, and easier to label for any novel task. In this paper, we introduce a method to adapt still image segmentation models to video in an unsupervised manner, by using an optical flow-based consistency measure. To ensure that the inferred segmented videos appear more stable in practice, we verify that the consistency measure is well correlated with human judgement via a user study. Training a new multi-input multi-output decoder using this measure as a loss, together with a technique for refining current image segmentation datasets and a temporal weighted-guided filter, we observe stability improvements in the generated segmented videos with minimal loss of accuracy.

We present an algorithm for producing a seamless animated loop from a single image. The algorithm detects periodic structures, such as the windows of a building or the steps of a staircase, and generates a non-trivial displacement vector field that maps each segment of the structure onto a neighboring segment along a user- or auto-selected main direction of motion. This displacement field is used, together with suitable temporal and spatial smoothing, to warp the image and produce the frames of a continuous animation loop. Our cinemagraphs are created in under a second on a mobile device. Over 140,000 users downloaded our app and exported over 350,000 cinemagraphs. Moreover, we conducted two user studies that show that users prefer our method for creating surreal and structured cinemagraphs compared to more manual approaches and compared to previous methods.

Many speech segments in movies are re-recorded in a studio during post-production, to compensate for poor sound quality as recorded on location. We present an audio-to-video method for automating speech to lips alignment, stretching and compressing the audio signal to match the lip movements. This alignment is based on deep audio-visual features, mapping the lips video and the speech signal to a shared representation. Using this representation we compute the lip-sync error between every short speech period and every video frame, followed by the determination of the optimal corresponding frame for each short sound period over the entire video clip. We demonstrate successful alignment both quantitatively, using a human perception-inspired metric, as well as qualitatively. The strongest advantage of our audio-to-video approach is in cases where the original voice in unclear. In these cases state-of-the-art audio only methods will fail.

Separating mixed distributions is a long standing challenge for machine learning and signal processing. Most current methods either rely on making strong assumptions on the source distributions or rely on having training samples of each source in the mixture. In this work, we introduce a new method—Neural Egg Separation—to tackle the scenario of extracting a signal from an unobserved distribution additively mixed with a signal from an observed distribution. Our method iteratively learns to separate the known distribution from progressively finer estimates of the unknown distribution. In some settings, Neural Egg Separation is initialization sensitive, we therefore introduce Latent Mixture Masking which ensures a good initialization. Extensive experiments on audio and image separation tasks show that our method outperforms current methods that use the same level of supervision, and often achieves similar performance to full supervision.

Abstract Digital videos such as those captured by a smartphone often exhibit exposure inconsistencies, a poorly exposed sky, or simply suffer from an uninteresting or plain looking sky. Professionals may edit these videos using advanced and time‐consuming tools unavailable to most users, to replace the sky with a more expressive or imaginative sky. In this work, we propose an algorithm for automatic replacement of the sky region in a video with a different sky, providing nonprofessional users with a simple yet efficient tool to seamlessly replace the sky. The method is fast, achieving close to real‐time performance on mobile devices and the user's involvement can remain as limited as simply selecting the replacement sky.

Isolating the voice of a specific person while filtering out other voices or background noises is challenging when video is shot in noisy environments. We propose audio-visual methods to isolate the voice of a single speaker and eliminate unrelated sounds. First, face motions captured in the video are used to estimate the speaker's voice, by passing the silent video frames through a video-to-speech neural network-based model. Then the speech predictions are applied as a filter on the noisy input audio. This approach avoids using mixtures of sounds in the learning process, as the number of such possible mixtures is huge, and would inevitably bias the trained model. We evaluate our method on two audio-visual datasets, GRID and TCD-TIMIT, and show that our method attains significant SDR and PESQ improvements over the raw video-to-speech predictions, and a well-known audio-only method.

Computing the epipolar geometry from feature points between cameras with very different viewpoints is often error prone, as an object's appearance can vary greatly between images. For such cases, it has been shown that using motion extracted from video can achieve much better results than using a static image. This paper extends these earlier works based on the scene dynamics. In this paper we propose a new method to compute the epipolar geometry from a video stream, by exploiting the following observation: For a pixel p in Image A, all pixels corresponding to p in Image B are on the same epipolar line. Equivalently, the image of the line going through camera A's center and p is an epipolar line in B. Therefore, when cameras A and B are synchronized, the momentary images of two objects projecting to the same pixel, p, in camera A at times t1 and t2, lie on an epipolar line in camera B. Based on this observation we achieve fast and precise computation of epipolar lines. Calibrating cameras based on our method of finding epipolar lines is much faster and more robust than previous methods.

The possibility of sharing one's point of view makes the use of wearable cameras compelling. These videos are often long, boring, and coupled with extreme shaking, as the camera is worn on a moving person. Fast-forwarding (i.e., frame sampling) is a natural choice for quick video browsing. However, this accentuates the shake caused by natural head motion in an egocentric video, making the fast-forwarded video useless. We propose EgoSampling, an adaptive frame sampling that gives stable, fast-forwarded, hyperlapse videos. Adaptive frame sampling is formulated as an energy minimization problem, whose optimal solution can be found in polynomial time. We further turn the camera shake from a drawback into a feature, enabling the increase in field of view of the output video. This is obtained when each output frame is mosaiced from several input frames. The proposed technique also enables the generation of a single hyperlapse video from multiple egocentric videos, allowing even faster video consumption.

It is known that epipolar geometry can be computed from three epipolar line correspondences but this computation is rarely used in practice since there are no simple methods to find corresponding lines. Instead, methods for finding corresponding points are widely used. This paper proposes a similarity measure between lines that indicates whether two lines are corresponding epipolar lines and enables finding epipolar line correspondences as needed for the computation of epipolar geometry. A similarity measure between two lines, suitable for video sequences of a dynamic scene, has been previously described. This paper suggests a stereo matching similarity measure suitable for images. It is based on the quality of stereo matching between the two lines, as corresponding epipolar lines yield a good stereo correspondence. Instead of an exhaustive search over all possible pairs of lines, the search space is substantially reduced when two corresponding point pairs are given. We validate the proposed method using real-world images and compare it to state-of-the-art methods. We found this method to be more accurate by a factor of five compared to the standard method using seven corresponding points and comparable to the 8-point algorithm.

While egocentric cameras like GoPro are gaining popularity, the videos they capture are long, boring, and difficult to watch from start to end. Fast forwarding (i.e. frame sampling) is a natural choice for faster video browsing. However, this accentuates the shake caused by natural head motion, making the fast forwarded video useless. We propose EgoSampling, an adaptive frame sampling that gives more stable fast forwarded videos. Adaptive frame sampling is formulated as energy minimization, whose optimal solution can be found in polynomial time. In addition, egocentric video taken while walking suffers from the left-right movement of the head as the body weight shifts from one leg to another. We turn this drawback into a feature: Stereo video can be created by sampling the frames from the left most and right most head positions of each step, forming approximate stereo-pairs.