Video watermarking embeds a message into a cover video in an imperceptible manner, which can be retrieved even if the video undergoes certain modifications or distortions. Traditional watermarking methods are often manually designed for particular types of distortions and thus cannot simultaneously handle a broad spectrum of distortions. To this end, we propose a robust deep learning-based solution for video watermarking that is end-to-end trainable. Our model consists of a novel multiscale design where the watermarks are distributed across multiple spatial-temporal scales. Extensive evaluations on a wide variety of distortions show that our method outperforms traditional video watermarking methods as well as deep image watermarking models by a large margin. We further demonstrate the practicality of our method on a realistic video-editing application.

Current vision-language generative models rely on expansive corpora of $\textit{paired}$ image-text data to attain optimal performance and generalization capabilities. However, automatically collecting such data (e.g. via large-scale web scraping) leads to low quality and poor image-text correlation, while human annotation is more accurate but requires significant manual effort and expense. We introduce $\textbf{ITIT}$ ($\textbf{I}$n$\textbf{T}$egrating $\textbf{I}$mage $\textbf{T}$ext): an innovative training paradigm grounded in the concept of cycle consistency which allows vision-language training on $\textit{unpaired}$ image and text data. ITIT is comprised of a joint image-text encoder with disjoint image and text decoders that enable bidirectional image-to-text and text-to-image generation in a single framework. During training, ITIT leverages a small set of paired image-text data to ensure its output matches the input reasonably well in both directions. Simultaneously, the model is also trained on much larger datasets containing only images or texts. This is achieved by enforcing cycle consistency between the original unpaired samples and the cycle-generated counterparts. For instance, it generates a caption for a given input image and then uses the caption to create an output image, and enforces similarity between the input and output images. Our experiments show that ITIT with unpaired datasets exhibits similar scaling behavior as using high-quality paired data. We demonstrate image generation and captioning performance on par with state-of-the-art text-to-image and image-to-text models with orders of magnitude fewer (only 3M) paired image-text data. Code will be released at https://github.com/LTH14/itit.

Text-conditioned image editing has recently attracted considerable interest. However, most methods are currently limited to one of the following: specific editing types (e.g., object overlay, style transfer), synthetically generated images, or requiring multiple input images of a common object. In this paper we demonstrate, for the very first time, the ability to apply complex (e.g., non-rigid) text-based semantic edits to a single real image. For example, we can change the posture and composition of one or multiple objects inside an image, while preserving its original characteristics. Our method can make a standing dog sit down, cause a bird to spread its wings, etc. – each within its single high-resolution user-provided natural image. Contrary to previous work, our proposed method requires only a single input image and a target text (the desired edit). It operates on real images, and does not require any additional inputs (such as image masks or additional views of the object). Our method, called Imagic, leverages a pre-trained text-to-image diffusion model for this task. It produces a text embedding that aligns with both the input image and the target text, while fine-tuning the diffusion model to capture the image-specific appearance. We demonstrate the quality and versatility of Imagic on numerous inputs from various domains, showcasing a plethora of high quality complex semantic image edits, all within a single unified framework. To better assess performance, we introduce TEdBench, a highly challenging image editing benchmark. We conduct a user study, whose findings show that human raters prefer Imagic to previous leading editing methods on TEdBench.

Generative modeling and representation learning are two key tasks in computer vision. However, these models are typically trained independently, which ignores the potential for each task to help the other, and leads to training and model maintenance overheads. In this work, we propose MAsked Generative Encoder (MAGE), the first framework to unify SOTA image generation and self-supervised representation learning. Our key insight is that using variable masking ratios in masked image modeling pre-training can allow generative training (very high masking ratio) and representation learning (lower masking ratio) under the same training framework. Inspired by previous generative models, MAGE uses semantic tokens learned by a vector-quantized GAN at inputs and outputs, combining this with masking. We can further improve the representation by adding a contrastive loss to the encoder output. We extensively evaluate the generation and representation learning capabilities of MAGE. On ImageNet-1K, a single MAGE ViT-L model obtains 9.10 FID in the task of class-unconditional image generation and 78.9% top-1 accuracy for linear probing, achieving state-of-the-art performance in both image generation and representation learning. Code is available at https://github.com/LTHl4/mage.

Learning generative image models from various domains efficiently needs transferring knowledge from an image synthesis model trained on a large dataset. We present a recipe for learning vision transformers by generative knowledge transfer. We base our framework on generative vision transformers representing an image as a sequence of visual tokens with the autoregressive or non-autoregressive transformers. To adapt to a new domain, we employ prompt tuning, which prepends learnable tokens called prompts to the image token sequence and introduces a new prompt design for our task. We study on a variety of visual domains with varying amounts of training images. We show the effectiveness of knowledge transfer and a significantly better image generation quality.11https://github.com/google-research/generative_transfer

We introduce the MAsked Generative VIdeo Transformer, MAGVIT, to tackle various video synthesis tasks with a single model. We introduce a 3D tokenizer to quantize a video into spatial-temporal visual tokens and propose an embedding method for masked video token modeling to facilitate multi-task learning. We conduct extensive experiments to demonstrate the quality, efficiency, and flexibility of MAGVIT. Our experiments show that (i) MAGVIT performs favorably against state-of-the-art approaches and establishes the best-published FVD on three video generation benchmarks, including the challenging Kinetics-600. (ii) MAGVIT outperforms existing methods in inference time by two orders of magnitude against diffusion models and by 60x against autoregressive models. (iii) A single MAGVIT model supports ten diverse generation tasks and generalizes across videos from different visual domains. The source code and trained models will be released to the public at https://magvit.cs.cmu.edu.

Priors are essential for reconstructing images from noisy and/or incomplete measurements. The choice of the prior determines both the quality and uncertainty of recovered images. We propose turning score-based diffusion models into principled image priors ("score-based priors") for analyzing a posterior of images given measurements. Previously, probabilistic priors were limited to handcrafted regularizers and simple distributions. In this work, we empirically validate the theoretically-proven probability function of a score-based diffusion model. We show how to sample from resulting posteriors by using this probability function for variational inference. Our results, including experiments on denoising, deblurring, and interferometric imaging, suggest that score-based priors enable principled inference with a sophisticated, data-driven image prior.

Recent work has shown the possibility of training generative models of 3D content from 2D image collections on small datasets corresponding to a single object class, such as human faces, animal faces, or cars. However, these models struggle on larger, more complex datasets. To model diverse and unconstrained image collections such as ImageNet, we present VQ3D, which introduces a NeRF-based decoder into a two-stage vector-quantized autoencoder. Our Stage 1 allows for the reconstruction of an input image and the ability to change the camera position around the image, and our Stage 2 allows for the generation of new 3D scenes. VQ3D is capable of generating and reconstructing 3D-aware images from the 1000-class ImageNet dataset of 1.2 million training images, and achieves a competitive ImageNet generation FID score of 16.8. Our project webpage is at this url.

We present Muse, a text-to-image Transformermodel that achieves state-of-the-art image genera-tion performance while being significantly moreefficient than diffusion or autoregressive models.Muse is trained on a masked modeling task indiscrete token space: given the text embeddingextracted from a pre-trained large language model(LLM), Muse learns to predict randomly maskedimage tokens. Compared to pixel-space diffusionmodels, such as Imagen and DALL-E 2, Muse issignificantly more efficient due to the use of dis-crete tokens and requires fewer sampling itera-tions; compared to autoregressive models such asParti, Muse is more efficient due to the use of par-allel decoding. The use of a pre-trained LLM en-ables fine-grained language understanding, whichtranslates to high-fidelity image generation andthe understanding of visual concepts such as ob-jects, their spatial relationships, pose, cardinalityetc. Our 900M parameter model achieves a newSOTA on CC3M, with an FID score of 6.06. TheMuse 3B parameter model achieves an FID of7.88 on zero-shot COCO evaluation, along with aCLIP score of 0.32. Muse also directly enables anumber of image editing applications without theneed to fine-tune or invert the model: inpainting,outpainting, and mask-free editing. More resultsand videos demonstrating editing are available at https://muse-icml.github.io/

Pre-trained large text-to-image models synthesize impressive images with an appropriate use of text prompts. However, ambiguities inherent in natural language, and out-of-distribution effects make it hard to synthesize arbitrary image styles, leveraging a specific design pattern, texture or material. In this paper, we introduce *StyleDrop*, a method that enables the synthesis of images that faithfully follow a specific style using a text-to-image model. StyleDrop is extremely versatile and captures nuances and details of a user-provided style, such as color schemes, shading, design patterns, and local and global effects. StyleDrop works by efficiently learning a new style by fine-tuning very few trainable parameters (less than 1\% of total model parameters), and improving the quality via iterative training with either human or automated feedback. Better yet, StyleDrop is able to deliver impressive results even when the user supplies only a *single* image specifying the desired style. An extensive study shows that, for the task of style tuning text-to-image models, StyleDrop on Muse convincingly outperforms other methods, including DreamBooth and textual inversion on Imagen or Stable Diffusion. More results are available at our project website: [https://styledrop.github.io](https://styledrop.github.io).

We investigate the potential of learning visual representations using synthetic images generated by text-to-image models. This is a natural question in the light of the excellent performance of such models in generating high-quality images. We consider specifically the Stable Diffusion, one of the leading open source text-to-image models. We show that (1) when the generative model is properly configured, training self-supervised methods on synthetic images can match or beat the real image counterpart; (2) by treating the multiple images generated from the same text prompt as positives for each other, we develop a multi-positive contrastive learning method, which we call StableRep. With solely synthetic images, the representations learned by StableRep surpass the performance of representations learned by SimCLR and CLIP using the same set of text prompts and corresponding real images, on large scale datasets. When we further add language supervision, \name~trained with 20M synthetic images (10M captions) achieves better accuracy than CLIP trained with 50M real images (50M captions).

Generative transformers have experienced rapid popularity growth in the computer vision community in synthesizing high-fidelity and high-resolution images. The best generative transformer models so far, however, still treat an image naively as a sequence of tokens, and decode an image sequentially following the raster scan ordering (i.e. line-by-line). We find this strategy neither optimal nor efficient. This paper proposes a novel image synthesis paradigm using a bidirectional transformer decoder, which we term MaskGIT. During training, MaskGIT learns to predict randomly masked tokens by attending to tokens in all directions. At inference time, the model begins with generating all tokens of an image simultaneously, and then refines the image iteratively conditioned on the previous generation. Our experiments demonstrate that MaskGIT significantly outperforms the state-of-the-art transformer model on the ImageNet dataset, and accelerates autoregressive decoding by up to 48x. Besides, we illustrate that MaskGIT can be easily extended to various image editing tasks, such as inpainting, extrapolation, and image manipulation. Project page: masked-generative-image-transformer.github.io.

Aggressive data augmentation is a key component of the strong generalization capabilities of Vision Transformer (ViT). One such data augmentation technique is adversarial training (AT); however, many prior works [28,45] have shown that this often results in poor clean accuracy. In this work, we present pyramid adversarial training (PyramidAT), a simple and effective technique to improve ViT's overall performance. We pair it with a “matched” Dropout and stochastic depth regularization, which adopts the same Dropout and stochastic depth configuration for the clean and adversarial samples. Similar to the improvements on CNNs by AdvProp [61] (not directly applicable to ViT), our pyramid adversarial training breaks the trade-off between in-distribution accuracy and out-of-distribution robustness for ViT and related architectures. It leads to 1.82% absolute improvement on ImageNet clean accuracy for the ViT-B model when trained only on ImageNet-1K data, while simultaneously boosting performance on 7 ImageNet ro-bustness metrics, by absolute numbers ranging from 1.76% to 15.68%. We set a new state-of-the-art for ImageNet-C (41.42 mCE), ImageNet-R (53.92%), and ImageNet-Sketch (41.04%) without extra data, using only the ViT-B/16 backbone and our pyramid adversarial training. Our code is publicly available at pyramidat.github.io.

Digital watermarking is widely used for copyright protection. Traditional 3D watermarking approaches or commercial software are typically designed to embed messages into 3D meshes, and later retrieve the messages directly from distorted/undistorted watermarked 3D meshes. However, in many cases, users only have access to rendered 2D images instead of 3D meshes. Unfortunately, retrieving messages from 2D renderings of 3D meshes is still challenging and underexplored. We introduce a novel end-to-end learning framework to solve this problem through: 1) an encoder to covertly embed messages in both mesh geometry and textures; 2) a differentiable renderer to render watermarked 3D objects from different camera angles and under varied lighting conditions; 3) a decoder to recover the messages from 2D rendered images. From our experiments, we show that our model can learn to embed information visually imperceptible to humans, and to retrieve the embedded information from 2D renderings that undergo 3D distortions. In addition, we demonstrate that our method can also work with other renderers, such as ray tracers and real-time renderers with and without fine-tuning.

Image extrapolation extends an input image beyond the originally-captured field of view. Existing methods struggle to extrapolate images with salient objects in the foreground or are limited to very specific objects such as humans, but tend to work well on indoor/outdoor scenes. We introduce OCONet (Object COmpletion Networks) to extrapolate foreground objects, with an object completion network conditioned on its class. OCONet uses an encoder-decoder architecture trained with adversarial loss to predict the object’s texture as well as its extent, represented as a predicted signed-distance field. An independent step extends the background, and the object is composited on top using the predicted mask. Both qualitative and quantitative results show that we improve on state-of-the-art image extrapolation results for challenging examples.

Synthetic datasets play a critical role in pre-training CNN models for optical flow, but they are painstaking to generate and hard to adapt to new applications. To automate the process, we present AutoFlow, a simple and effective method to render training data for optical flow that optimizes the performance of a model on a target dataset. AutoFlow takes a layered approach to render synthetic data, where the motion, shape, and appearance of each layer are controlled by learnable hyperparameters. Experimental results show that AutoFlow achieves state-of-the-art accuracy in pre-training both PWC-Net and RAFT. Our code and data are available at autoflow-google.github.io.

Remarkable progress has been made in 3D reconstruction of rigid structures from a video or a collection of images. However, it is still challenging to reconstruct nonrigid structures from RGB inputs, due to its under-constrained nature. While template-based approaches, such as parametric shape models, have achieved great success in modeling the "closed world" of known object categories, they cannot well handle the "open-world" of novel object categories or outlier shapes. In this work, we introduce a template-free approach to learn 3D shapes from a single video. It adopts an analysis-by-synthesis strategy that forward-renders object silhouette, optical flow, and pixel values to compare with video observations, which generates gradients to adjust the camera, shape and motion parameters. Without using a category-specific shape template, our method faithfully reconstructs nonrigid 3D structures from videos of human, animals, and objects of unknown classes. Our code is available at lasr-google.github.io.

Single image 3D photography enables viewers to view a still image from novel viewpoints. Recent approaches combine monocular depth networks with inpainting networks to achieve compelling results. A drawback of these techniques is the use of hard depth layering, making them unable to model intricate appearance details such as thin hair-like structures. We present SLIDE, a modular and unified system for single image 3D photography that uses a simple yet effective soft layering strategy to better preserve appearance details in novel views. In addition, we propose a novel depth-aware training strategy for our inpainting module, better suited for the 3D photography task. The resulting SLIDE approach is modular, enabling the use of other components such as segmentation and matting for improved layering. At the same time, SLIDE uses an efficient layered depth formulation that only requires a single forward pass through the component networks to produce high quality 3D photos. Extensive experimental analysis on three view-synthesis datasets, in combination with user studies on in-the-wild image collections, demonstrate superior performance of our technique in comparison to existing strong baselines while being conceptually much simpler. Project page: https://varunjampani.github.io/slide

Watermarking is the process of embedding information into an image that can survive under distortions, while requiring the encoded image to have little or no perceptual difference with the original image. Recently, deep learning-based methods achieved impressive results in both visual quality and message payload under a wide variety of image distortions. However, these methods all require differentiable models for the image distortions at training time, and may generalize poorly to unknown distortions. This is undesirable since the types of distortions applied to watermarked images are usually unknown and non-differentiable. In this paper, we propose a new framework for distortion-agnostic watermarking, where the image distortion is not explicitly modeled during training. Instead, the robustness of our system comes from two sources: adversarial training and channel coding. Compared to training on a fixed set of distortions and noise levels, our method achieves comparable or better results on distortions available during training, and better performance overall on unknown distortions.

This paper introduces an automatic method for editing a portrait photo so that the subject appears to be wearing makeup in the style of another person in a reference photo. Our unsupervised learning approach relies on a new framework of cycle-consistent generative adversarial networks. Different from the image domain transfer problem, our style transfer problem involves two asymmetric functions: a forward function encodes example-based style transfer, whereas a backward function removes the style. We construct two coupled networks to implement these functions - one that transfers makeup style and a second that can remove makeup - such that the output of their successive application to an input photo will match the input. The learned style network can then quickly apply an arbitrary makeup style to an arbitrary photo. We demonstrate the effectiveness on a broad range of portraits and styles.

Two recent innovations in immersive media include the ability to capture very high resolution panoramic imagery, and the rise of consumer level heads-up displays for virtual reality. Unfortunately, zooming to examine the high resolution in VR breaks the basic contract with the user, that the FOV of the visual field matches the FOV of the imagery. In this paper, we study methods to overcome this restriction to allow high resolution panoramic imagery to be able to be explored in VR. We introduce and test new interface modalities for exploring high resolution panoramic imagery in VR. In particular, we demonstrate that limiting the visual FOV of the zoomed in imagery to the central portion of the visual field, and modulating the transparency or zoom level of the imagery during rapid panning, reduce simulator sickness and help with targeting tasks.

People often take a series of nearly redundant pictures to capture a moment or scene. However, selecting photos to keep or share from a large collection is a painful chore. To address this problem, we seek a relative quality measure within a series of photos taken of the same scene, which can be used for automatic photo triage. Towards this end, we gather a large dataset comprised of photo series distilled from personal photo albums. The dataset contains 15, 545 unedited photos organized in 5,953 series. By augmenting this dataset with ground truth human preferences among photos within each series, we establish a benchmark for measuring the effectiveness of algorithmic models of how people select photos. We introduce several new approaches for modeling human preference based on machine learning. We also describe applications for the dataset and predictor, including a smart album viewer, automatic photo enhancement, and providing overviews of video clips.

Image editing applications offer a wide array of tools for color manipulation. Some of these tools are easy to understand but offer a limited range of expressiveness. Other more powerful tools are time consuming for experts and inscrutable to novices. Researchers have described a variety of more sophisticated methods but these are typically not interactive, which is crucial for creative exploration. This paper introduces a simple, intuitive and interactive tool that allows non-experts to recolor an image by editing a color palette. This system is comprised of several components: a GUI that is easy to learn and understand, an efficient algorithm for creating a color palette from an image, and a novel color transfer algorithm that recolors the image based on a user-modified palette. We evaluate our approach via a user study, showing that it is faster and easier to use than two alternatives, and allows untrained users to achieve results comparable to those of experts using professional software.

In this paper, we present an improved algorithm for decoding live streamed or pre-encoded video bit streams with time-varying qualities. The algorithm extracts information available to the decoder from a high visual quality segment of the clip that has already been received and decoded, but was encoded independently from the current segment. The proposed decoder is capable of significantly improve the Quality of Experience of the user without incurring significant overhead to the storage and computational complexities of both the encoder and the decoder. We present simulation results using the HEVC reference encoder and standard test clips, and discuss areas of improvements to the algorithm and potential ways of incorporating the technique to a video streaming system or standards.

We present an image editing tool called Content-Aware Rotation. Casually shot photos can appear tilted, and are often corrected by rotation and cropping. This trivial solution may remove desired content and hurt image integrity. Instead of doing rigid rotation, we propose a warping method that creates the perception of rotation and avoids cropping. Human vision studies suggest that the perception of rotation is mainly due to horizontal/vertical lines. We design an optimization-based method that preserves the rotation of horizontal/vertical lines, maintains the completeness of the image content, and reduces the warping distortion. An efficient algorithm is developed to address the challenging optimization. We demonstrate our content-aware rotation method on a variety of practical cases.

Stitched panoramic images mostly have irregular boundaries. Artists and common users generally prefer rectangular boundaries, which can be obtained through cropping or image completion techniques. In this paper, we present a content-aware warping algorithm that generates rectangular images from stitched panoramic images. Our algorithm consists of two steps. The first local step is mesh-free and preliminarily warps the image into a rectangle. With a grid mesh placed on this rectangle, the second global step optimizes the mesh to preserve shapes and straight lines. In various experiments we demonstrate that the results of our approach are often visually plausible, and the introduced distortion is often unnoticeable.