Abstract Video inbetweening creates smooth transitions between two frames making it an indispensable tool for video editing and longform video synthesis. Existing methods struggle with large or complex motion and offer limited control over intermediate frames, often misaligning with user intent. We introduce MultiCOIN, a video inbetweening framework supporting multi‐modal controls, including depth transitions and layering, motion trajectories, text prompts, and target regions for movement localization. It balances flexibility, usability, and fine‐grained precision. Built on a Diffusion Transformer (DiT), due to its proven capability to generate high‐quality long video, our model maps all motion controls into a unified sparse point‐based representation compatible with the denoising process. Further, to respect the variety of controls which operate at varying levels of granularity and influence, we separate content and motion into two branches, enabling dedicated generators for each. A stage‐wise training strategy ensures stable learning of multi‐modal controls. Extensive experiments show improved motion complexity, controllability, and narrative consistency. Project Page: MultiCOIN.

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.

In this work, we first propose a fully differentiable Many-to-Many (M2M) splatting framework to interpolate frames efficiently. Given a frame pair, we estimate multiple bidirectional flows to directly forward warp the pixels to the desired time step before fusing any overlapping pixels. In doing so, each source pixel renders multiple target pixels and each target pixel can be synthesized from a larger area of visual context, establishing a many-to-many splatting scheme with robustness to undesirable artifacts. For each input frame pair, M2M has a minuscule computational overhead when interpolating an arbitrary number of in-between frames, hence achieving fast multi-frame interpolation. However, directly warping and fusing pixels in the intensity domain is sensitive to the quality of motion estimation and may suffer from less effective representation capacity. To improve interpolation accuracy, we further extend an M2M++ framework by introducing a flexible Spatial Selective Refinement (SSR) component, which allows for trading computational efficiency for interpolation quality and vice versa. Instead of refining the entire interpolated frame, SSR only processes difficult regions selected under the guidance of an estimated error map, thereby avoiding redundant computation. Evaluation on multiple benchmark datasets shows that our method is able to improve the efficiency while maintaining competitive video interpolation quality, and it can be adjusted to use more or less compute as needed.

Frame interpolation is an essential video processing technique that adjusts the temporal resolution of an image sequence. While deep learning has brought great improvements to the area of video frame interpolation, techniques that make use of neural networks can typically not easily be deployed in practical applications like a video editor since they are either computationally too demanding or fail at high resolutions. In contrast, we propose a deep learning approach that solely relies on splatting to synthesize interpolated frames. This splatting-based synthesis for video frame interpolation is not only much faster than similar approaches, especially for multi-frame interpolation, but can also yield new state-of-the-art results at high resolutions.

Despite significant progress made in the past few years, challenges remain for depth estimation using a single monocular image. First, it is nontrivial to train a metric-depth prediction model that can generalize well to diverse scenes mainly due to limited training data. Thus, researchers have built large-scale relative depth datasets that are much easier to collect. However, existing relative depth estimation models often fail to recover accurate 3D scene shapes due to the unknown depth shift caused by training with the relative depth data. We tackle this problem here and attempt to estimate accurate scene shapes by training on large-scale relative depth data, and estimating the depth shift. To do so, we propose a two-stage framework that first predicts depth up to an unknown scale and shift from a single monocular image, and then exploits 3D point cloud data to predict the depth shift and the camera's focal length that allow us to recover 3D scene shapes. As the two modules are trained separately, we do not need strictly paired training data. In addition, we propose an image-level normalized regression loss and a normal-based geometry loss to improve training with relative depth annotation. We test our depth model on nine unseen datasets and achieve state-of-the-art performance on zero-shot evaluation. Code is available at: https://github.com/aim-uofa/depth/.

Motion-based video frame interpolation commonly relies on optical flow to warp pixels from the inputs to the desired interpolation instant. Yet due to the inherent challenges of motion estimation (e.g. occlusions and discontinuities), most state-of-the-art interpolation approaches require subsequent refinement of the warped result to generate satisfying outputs, which drastically decreases the efficiency for multi-frame interpolation. In this work, we propose a fully differentiable Many-to-Many (M2M) splatting framework to interpolate frames efficiently. Specifically, given a frame pair, we estimate multiple bidirectional flows to directly forward warp the pixels to the desired time step, and then fuse any overlapping pixels. In doing so, each source pixel renders multiple target pixels and each target pixel can be synthesized from a larger area of visual context. This establishes a many-to-many splatting scheme with robustness to artifacts like holes. Moreover, for each input frame pair, M2M only performs motion estimation once and has a minuscule computational overhead when interpolating an arbitrary number of in-between frames, hence achieving fast multi-frame interpolation. We conducted extensive experiments to analyze M2M, and found that it significantly improves the efficiency while maintaining high effectiveness.

Depth maps are used in a wide range of applications from 3D rendering to 2D image effects such as Bokeh. However, those predicted by single image depth estimation (SIDE) models often fail to capture isolated holes in objects and/or have inaccurate boundary regions. Meanwhile, high-quality masks are much easier to obtain, using commercial auto-masking tools or off-the-shelf methods of segmentation and matting or even by manual editing. Hence, in this paper, we formulate a novel problem of mask-guided depth refinement that utilizes a generic mask to refine the depth prediction of SIDE models. Our framework performs layered refinement and inpainting/outpainting, decomposing the depth map into two separate layers signified by the mask and the inverse mask. As datasets with both depth and mask annotations are scarce, we propose a self-supervised learning scheme that uses arbitrary masks and RGB-D datasets. We empirically show that our method is robust to different types of masks and initial depth predictions, accurately refining depth values in inner and outer mask boundary regions. We further analyze our model with an ablation study and demonstrate results on real applications. More information can be found on our project page.11https://sooyekim.github.io/MaskDepth/

Despite significant progress in monocular depth estimation in the wild, recent state-of-the-art methods cannot be used to recover accurate 3D scene shape due to an unknown depth shift induced by shift-invariant reconstruction losses used in mixed-data depth prediction training, and possible unknown camera focal length. We investigate this problem in detail, and propose a two-stage framework that first predicts depth up to an unknown scale and shift from a single monocular image, and then use 3D point cloud encoders to predict the missing depth shift and focal length that allow us to recover a realistic 3D scene shape. In addition, we propose an image-level normalized regression loss and a normal-based geometry loss to enhance depth prediction models trained on mixed datasets. We test our depth model on nine unseen datasets and achieve state-of-the-art performance on zero-shot dataset generalization. Code is available at: https://git.io/Depth

We present a method to perform novel view and time synthesis of dynamic scenes, requiring only a monocular video with known camera poses as input. To do this, we introduce Neural Scene Flow Fields, a new representation that models the dynamic scene as a time-variant continuous function of appearance, geometry, and 3D scene motion. Our representation is optimized through a neural network to fit the observed input views. We show that our representation can be used for varieties of in-the-wild scenes, including thin structures, view-dependent effects, and complex degrees of motion. We conduct a number of experiments that demonstrate our approach significantly outperforms recent monocular view synthesis methods, and show qualitative results of space-time view synthesis on a variety of real-world videos.

Video frame interpolation, the synthesis of novel views in time, is an increasingly popular research direction with many new papers further advancing the state of the art. But as each new method comes with a host of variables that affect the interpolation quality, it can be hard to tell what is actually important for this task. In this work, we show, somewhat surprisingly, that it is possible to achieve near state-of-the-art results with an older, simpler approach, namely adaptive separable convolutions, by a subtle set of low level improvements. In doing so, we propose a number of intuitive but effective techniques to improve the frame interpolation quality, which also have the potential to other related applications of adaptive convolutions such as burst image denoising, joint image filtering, or video prediction.

Traditional reflection removal algorithms either use a single image as input, which suffers from intrinsic ambiguities, or use multiple images from a moving camera, which is inconvenient for users. We instead propose a learning-based dereflection algorithm that uses stereo images as input. This is an effective trade-off between the two extremes: the parallax between two views provides cues to remove reflections, and two views are easy to capture due to the adoption of stereo cameras in smartphones. Our model consists of a learning-based reflection-invariant flow model for dual-view registration, and a learned synthesis model for combining aligned image pairs. Because no dataset for dual-view reflection removal exists, we render a synthetic dataset of dual-views with and without reflections for use in training. Our evaluation on an additional real-world dataset of stereo pairs shows that our algorithm outperforms existing single-image and multi-image dereflection approaches.

Differentiable image sampling in the form of backward warping has seen broad adoption in tasks like depth estimation and optical flow prediction. In contrast, how to perform forward warping has seen less attention, partly due to additional challenges such as resolving the conflict of mapping multiple pixels to the same target location in a differentiable way. We propose softmax splatting to address this paradigm shift and show its effectiveness on the application of frame interpolation. Specifically, given two input frames, we forward-warp the frames and their feature pyramid representations based on an optical flow estimate using softmax splatting. In doing so, the softmax splatting seamlessly handles cases where multiple source pixels map to the same target location. We then use a synthesis network to predict the interpolation result from the warped representations. Our softmax splatting allows us to not only interpolate frames at an arbitrary time but also to fine tune the feature pyramid and the optical flow. We show that our synthesis approach, empowered by softmax splatting, achieves new state-of-the-art results for video frame interpolation.

The Ken Burns effect allows animating still images with a virtual camera scan and zoom. Adding parallax, which results in the 3D Ken Burns effect, enables significantly more compelling results. Creating such effects manually is time-consuming and demands sophisticated editing skills. Existing automatic methods, however, require multiple input images from varying viewpoints. In this paper, we introduce a framework that synthesizes the 3D Ken Burns effect from a single image, supporting both a fully automatic mode and an interactive mode with the user controlling the camera. Our framework first leverages a depth prediction pipeline, which estimates scene depth that is suitable for view synthesis tasks. To address the limitations of existing depth estimation methods such as geometric distortions, semantic distortions, and inaccurate depth boundaries, we develop a semantic-aware neural network for depth prediction, couple its estimate with a segmentation-based depth adjustment process, and employ a refinement neural network that facilitates accurate depth predictions at object boundaries. According to this depth estimate, our framework then maps the input image to a point cloud and synthesizes the resulting video frames by rendering the point cloud from the corresponding camera positions. To address disocclusions while maintaining geometrically and temporally coherent synthesis results, we utilize context-aware color- and depth-inpainting to fill in the missing information in the extreme views of the camera path, thus extending the scene geometry of the point cloud. Experiments with a wide variety of image content show that our method enables realistic synthesis results. Our study demonstrates that our system allows users to achieve better results while requiring little effort compared to existing solutions for the 3D Ken Burns effect creation.

Video frame interpolation algorithms typically estimate optical flow or its variations and then use it to guide the synthesis of an intermediate frame between two consecutive original frames. To handle challenges like occlusion, bidirectional flow between the two input frames is often estimated and used to warp and blend the input frames. However, how to effectively blend the two warped frames still remains a challenging problem. This paper presents a context-aware synthesis approach that warps not only the input frames but also their pixel-wise contextual information and uses them to interpolate a high-quality intermediate frame. Specifically, we first use a pre-trained neural network to extract per-pixel contextual information for input frames. We then employ a state-of-the-art optical flow algorithm to estimate bidirectional flow between them and pre-warp both input frames and their context maps. Finally, unlike common approaches that blend the pre-warped frames, our method feeds them and their context maps to a video frame synthesis neural network to produce the interpolated frame in a context-aware fashion. Our neural network is fully convolutional and is trained end to end. Our experiments show that our method can handle challenging scenarios such as occlusion and large motion and outperforms representative state-of-the-art approaches.

Video frame interpolation typically involves two steps: motion estimation and pixel synthesis. Such a two-step approach heavily depends on the quality of motion estimation. This paper presents a robust video frame interpolation method that combines these two steps into a single process. Specifically, our method considers pixel synthesis for the interpolated frame as local convolution over two input frames. The convolution kernel captures both the local motion between the input frames and the coefficients for pixel synthesis. Our method employs a deep fully convolutional neural network to estimate a spatially-adaptive convolution kernel for each pixel. This deep neural network can be directly trained end to end using widely available video data without any difficult-to-obtain ground-truth data like optical flow. Our experiments show that the formulation of video interpolation as a single convolution process allows our method to gracefully handle challenges like occlusion, blur, and abrupt brightness change and enables high-quality video frame interpolation.

Standard video frame interpolation methods first estimate optical flow between input frames and then synthesize an intermediate frame guided by motion. Recent approaches merge these two steps into a single convolution process by convolving input frames with spatially adaptive kernels that account for motion and re-sampling simultaneously. These methods require large kernels to handle large motion, which limits the number of pixels whose kernels can be estimated at once due to the large memory demand. To address this problem, this paper formulates frame interpolation as local separable convolution over input frames using pairs of 1D kernels. Compared to regular 2D kernels, the 1D kernels require significantly fewer parameters to be estimated. Our method develops a deep fully convolutional neural network that takes two input frames and estimates pairs of 1D kernels for all pixels simultaneously. Since our method is able to estimate kernels and synthesizes the whole video frame at once, it allows for the incorporation of perceptual loss to train the neural network to produce visually pleasing frames. This deep neural network is trained end-to-end using widely available video data without any human annotation. Both qualitative and quantitative experiments show that our method provides a practical solution to high-quality video frame interpolation.