Neural radiance fields, which represent a 3D scene as a color field and a density field, have demonstrated great progress in novel view synthesis yet are unfavorable for editing due to the implicitness. This work studies the task of efficient 3D editing, where we focus on editing speed and user interactivity. To this end, we propose to learn the color field as an explicit 2D appearance aggregation, also called canonical image, with which users can easily customize their 3D editing via 2D image processing. We complement the canonical image with a projection field that maps 3D points onto 2D pixels for texture query. This field is initialized with a pseudo canonical camera model and optimized with offset regularity to ensure the naturalness of the canonical image. Extensive experiments on different datasets suggest that our representation, dubbed AGAP, well supports various ways of 3D editing (e.g., stylization, instance segmentation, and interactive drawing). Our approach demonstrates remarkable efficiency by being at least 20× faster per edit compared to existing NeRF-based editing methods. Project page is available at h ttps: //felixcheng97.github.io/AGAP/.

Derived from diffusion models, MangaNinja specializes in the task of reference-guided line art colorization. We incorporate two thoughtful designs to ensure precise character detail transcription, including a patch shuffling module to facilitate correspondence learning between the reference color image and the target line art, and a point-driven control scheme to enable fine-grained color matching. Experiments on a self-collected benchmark demonstrate the superiority of our model over current solutions in terms of precise colorization. We further showcase the potential of the proposed interactive point control in handling challenging cases (e.g., extreme poses and shadows), cross-character colorization, multi-reference harmonization, etc., beyond the reach of existing algorithms. Our code and model could be found here.

As a highly practical application, image editing encounters a variety of user demands and thus prioritizes excellent ease of use. In this paper, we unveil MagicQuill, an integrated image editing system designed to support users in swiftly actualizing their creativity. Our system starts with a streamlined yet functionally robust interface, enabling users to articulate their ideas (e.g., inserting elements, erasing objects, altering color, etc.) with just a few strokes. These interactions are then monitored by a multimodal large language model (MLLM) to anticipate user intentions in real time, bypassing the need for prompt entry. Finally, we apply the powerful diffusion prior, enhanced by a carefully learned two-branch plug-in module, to process the editing request with precise control. Please visit the ${\text{project page}}$ to try out our system.

The production of 2D animation follows an industry-standard workflow, encompassing four essential stages: character design, keyframe animation, in-betweening, and coloring. Our research focuses on reducing the labor costs in the above process by harnessing the potential of increasingly powerful generative AI. Using video diffusion models as the foundation, AniDoc1emerges as a video line art colorization tool, which automatically converts sketch sequences into colored animations following the reference character specification. Our model exploits correspondence matching as an explicit guidance, yielding strong robustness to the variations (e.g., posture) between the reference character and each line art frame. In addition, our model could even automate the in-betweening process, such that users can easily create a temporally consistent animation by simply providing a character image as well as the start and end sketches. Our code is available at: https://yihaomeng.github.io/AniDocdemo.

The intuitive nature of drag-based interaction has led to its growing adoption for controlling object trajectories in image-to-video synthesis. Still, existing methods that perform dragging in the 2D space usually face ambiguity when handling out-of-plane movements. In this work, we augment the interaction with a new dimension, i.e., the depth dimension, such that users are allowed to assign a relative depth for each point on the trajectory. That way, our new interaction paradigm not only inherits the convenience from 2D dragging, but facilitates trajectory control in the 3D space, broadening the scope of creativity. We propose a pioneering method for 3D trajectory control in image-to-video synthesis by abstracting object masks into a few cluster points. These points, accompanied by the depth information and the instance information, are finally fed into a video diffusion model as the control signal. Extensive experiments validate the effectiveness of our approach, dubbed LeviTor, in precisely manipulating the object movements when producing photo-realistic videos from static images. Our code is available at: https://github.com/ant-research/LeviTor.

As a verified need, consistent editing across in-the-wild images remains a technical challenge arising from various unmanageable factors, like object poses, lighting conditions, and photography environments. Edicho steps in with a training-free solution based on diffusion models, featuring a fundamental design principle of using explicit image correspondence to direct editing. Specifically, the key components include an attention manipulation module and a carefully refined classifier-free guidance (CFG) denoising strategy, both of which take into account the pre-estimated correspondence. Such an inference-time algorithm enjoys a plug-and-play nature and is compatible to most diffusion-based editing methods, such as ControlNet and BrushNet. Extensive results demonstrate the efficacy of Edicho in consistent cross-image editing under diverse settings. We will release the code to facilitate future studies.

Text animation serves as an expressive medium, transforming static communication into dynamic experiences by infusing words with motion to evoke emotions, emphasize meanings, and construct compelling narratives. Crafting animations that are semantically aware poses significant challenges, demanding expertise in graphic design and animation. We present an automated text animation scheme, termed "Dynamic Typography", which combines two challenging tasks. It deforms letters to convey semantic meaning and infuses them with vibrant movements based on user prompts. Our technique harnesses vector graphics representations and an end-to-end optimization-based framework. This framework employs neural displacement fields to convert letters into base shapes and applies per-frame motion, encouraging coherence with the intended textual concept. Shape preservation techniques and perceptual loss regularization are employed to maintain legibility and structural integrity throughout the animation process. We demonstrate the generalizability of our approach across various text-to-video models and highlight the superiority of our end-to-end methodology over baseline methods, which might comprise separate tasks. Through quantitative and qualitative evaluations, we demonstrate the effectiveness of our framework in generating coherent text animations that faithfully interpret user prompts while maintaining readability. Our code is available at: https://animate-your-word.github.io/demo/.

We propose Framer for interactive frame interpolation, which targets producing smoothly transitioning frames between two images as per user creativity. Concretely, besides taking the start and end frames as inputs, our approach supports customizing the transition process by tailoring the trajectory of some selected keypoints. Such a design enjoys two clear benefits. First, incorporating human interaction mitigates the issue arising from numerous possibilities of transforming one image to another, and in turn enables finer control of local motions. Second, as the most basic form of interaction, keypoints help establish the correspondence across frames, enhancing the model to handle challenging cases (e.g., objects on the start and end frames are of different shapes and styles). It is noteworthy that our system also offers an "autopilot" mode, where we introduce a module to estimate the keypoints and refine the trajectory automatically, to simplify the usage in practice. Extensive experimental results demonstrate the appealing performance of Framer on various applications, such as image morphing, time-lapse video generation, cartoon interpolation, etc. The code, model, and interface are publicly accessible at https://github.com/aim-uofa/Framer.

Humans intuitively perceive object shape and orientation from a single image, guided by strong priors about canonical poses. However, existing 3D generative models often produce misaligned results due to inconsistent training data, limiting their usability in downstream tasks. To address this gap, we introduce the task of orientation-aligned 3D object generation: producing 3D objects from single images with consistent orientations across categories. To facilitate this, we construct Objaverse-OA, a dataset of 14,832 orientation-aligned 3D models spanning 1,008 categories. Leveraging Objaverse-OA, we fine-tune two representative 3D generative models based on multi-view diffusion and 3D variational autoencoder frameworks to produce aligned objects that generalize well to unseen objects across various categories. Experimental results demonstrate the superiority of our method over post-hoc alignment approaches. Furthermore, we showcase downstream applications enabled by our aligned object generation, including zero-shot object orientation estimation via analysis-by-synthesis and efficient arrow-based object rotation manipulation.

We present the content deformation field (CoDeF) as a new type of video representation, which consists of a canonical content field aggregating the static contents in the entire video and a temporal deformation field recording the transformations from the canonical image (i.e., rendered from the canonical content field) to each individual frame along the time axis. Given a target video, these two fields are jointly optimized to reconstruct it through a carefully tailored rendering pipeline. We advisedly introduce some regularizations into the optimization process, urging the canonical content field to inherit semantics (e.g., the object shape) from the video. With such a design, CoDeF naturally supports lifting image algorithms for video processing, in the sense that one can apply an image algorithm to the canonical image and effortlessly propagate the outcomes to the entire video with the aid of the temporal deformation field. We experimentally show that CoDeF is able to lift image-to-image translation to video-to-video translation and lift keypoint detection to keypoint tracking without any training. More importantly, thanks to our lifting strategy that deploys the algorithms on only one image, we achieve superior cross-frame consistency in processed videos compared to existing video-to-video translation approaches, and even manage to track non-rigid objects like water and smog. Code is made available at https: / /qiuyu96. github.io/CoDeF/

We present a high-fidelity 3D generative adversarial network (GAN) inversion framework that can synthesize photorealistic novel views while preserving specific details of the input image. High-fidelity 3D GAN inversion is inherently challenging due to the geometry-texture trade-off, where overfitting to a single view input image often damages the estimated geometry during the latent optimization. To solve this challenge, we propose a novel pipeline that builds on the pseudo-multi-view estimation with visibility analysis. We keep the original textures for the visible parts and utilize generative priors for the occluded parts. Extensive experiments show that our approach achieves advantageous reconstruction and novel view synthesis quality over prior work, even for images with out-of-distribution textures. The proposed pipeline also enables image attribute editing with the inverted latent code and 3D-aware texture modification. Our approach enables high-fidelity 3D rendering from a single image, which is promising for various applications of AI-generated 3D content. The source code is at https://github.com/jiaxinxie97/HFGI3D/.

Applying an image processing algorithm independently to each video frame often leads to temporal inconsistency in the resulting video. To address this issue, we present a novel and general approach for blind video temporal consistency. Our method is only trained on a pair of original and processed videos directly instead of a large dataset. Unlike most previous methods that enforce temporal consistency with optical flow, we show that temporal consistency can be achieved by training a convolutional network on a video with Deep Video Prior (DVP). Moreover, a carefully designed iteratively reweighted training strategy is proposed to address the challenging multimodal inconsistency problem. We demonstrate the effectiveness of our approach on 7 computer vision tasks on videos. Extensive quantitative and perceptual experiments show that our approach obtains superior performance than state-of-the-art methods on blind video temporal consistency. We further extend DVP to video propagation and demonstrate its effectiveness in propagating three different types of information (color, artistic style, and object segmentation). A progressive propagation strategy with pseudo labels is also proposed to enhance DVP's performance on video propagation. Our source codes are publicly available at https://github.com/ChenyangLEI/deep-video-prior.

Image operators have been extensively applied to create visually attractive photos for users to share processed images on social media. However, most image operators often smooth out details or generate textures after the processing, which removes the original content and raises challenges for restoring the original image. To resolve this issue, we propose a quasi-invertible model that learns common image processing operators in a restorable fashion: the learned image operators can generate visually pleasing results with the original content embedded. Our model is trained on input-output pairs that represent an image processing operator's behavior and uses a network that consists of an invertible branch and a non-invertible branch to increase our model's approximation capability. We evaluate the proposed model on ten image operators, including detail enhancement, abstraction, blur, photographic style, and non-photorealistic style. Extensive experiments show that our approach outperforms relevant baselines in the restoration quality, and the learned restorable operator is fast in inference and robust to compression. Furthermore, we demonstrate that the invertible operator can be easily applied to practical applications such as restorable human face retouching and highlight preserved exposure adjustment.

Abstract Energy inequality caused by the process of cluster head election has a large influence on energy efficiency and the network lifetime of wireless sensor networks (WSNs). To this end, a novel concept of EI ec is proposed to evaluate the equality degree of energy consumption. Related theorems for establishing the candidate set of cluster heads are proposed, with the aim of promoting energy equality in each cluster. Subsequently, a novel energy‐efficiency‐adaptive cluster formation mechanism based on economic (ECFE) theory is proposed and detailed. Finally, extensive experiments are carried out to assess its energy efficiency and the network performance by comparisons with the existing classic and latest intelligent clustering algorithms. The results indicate that ECFE improves not only the energy efficiency but also the network performance effectively.

Although recent inpainting approaches have demonstrated significant improvement with deep neural networks, they still suffer from artifacts such as blunt structures and abrupt colors when filling in the missing regions. To address these issues, we propose an external-internal inpainting scheme with a monochromic bottleneck that helps image inpainting models remove these artifacts. In the external learning stage, we reconstruct missing structures and details in the monochromic space to reduce the learning dimension. In the internal learning stage, we propose a novel internal color propagation method with progressive learning strategies for consistent color restoration. Extensive experiments demonstrate that our proposed scheme helps image inpainting models produce more structure-preserved and visually compelling results.

We present a controllable camera simulator based on deep neural networks to synthesize raw image data under different camera settings, including exposure time, ISO, and aperture. The proposed simulator includes an exposure module that utilizes the principle of modern lens designs for correcting the luminance level. It also contains a noise module using the noise level function and an aperture module with adaptive attention to simulate the side effects on noise and defocus blur. To facilitate the learning of a simulator model, we collect a dataset of the 10,000 raw images of 450 scenes with different exposure settings. Quantitative experiments and qualitative comparisons show that our approach outperforms relevant baselines in raw data synthesize on multiple cameras. Furthermore, the camera simulator enables various applications, including large-aperture enhancement, HDR, auto exposure, and data augmentation for training local feature detectors. Our work represents the first attempt to simulate a camera sensor’s behavior leveraging both the advantage of traditional raw sensor features and the power of data-driven deep learning. The code and the dataset are available at https://github.com/ken-ouyang/neural_image_simulator.

We propose a novel framework for video inpainting by adopting an internal learning strategy. Unlike previous methods that use optical flow for cross-frame context propagation to inpaint unknown regions, we show that this can be achieved implicitly by fitting a convolutional neural network to known regions. Moreover, to handle challenging sequences with ambiguous backgrounds or long-term occlusion, we design two regularization terms to preserve high-frequency details and long-term temporal consistency. Extensive experiments on the DAVIS dataset demonstrate that the proposed method achieves state-of-the-art inpainting quality quantitatively and qualitatively. We further extend the proposed method to another challenging task: learning to remove an object from a video giving a single object mask in only one frame in a 4K video. Our source code is available at https://tengfei-wang.github.io/Implicit-Internal-Video-Inpainting/.

We present a method for hiding video content inside audio files while preserving the perceptual fidelity of the cover audio. This is a form of cross-modal steganography and is particularly challenging due to the high bitrate of video. Our scheme uses recent advances in flow-based generative models, which enable mapping audio to latent codes such that nearby codes correspond to perceptually similar signals. We show that compressed video data can be concealed in the latent codes of audio sequences while preserving the fidelity of both the hidden video and the cover audio. We can embed 128x128 video inside same-duration audio, or higher-resolution video inside longer audio sequences. Quantitative experiments show that our approach outperforms relevant baselines in steganographic capacity and fidelity.