Most video restoration networks are slow, have high computational load, and can't be used for real-time video enhancement. In this work, we design an efficient and fast framework to perform real-time video enhancement for practical use-cases like live video calls and video streams. Our proposed method, called Recurrent Bottleneck Mixer Network (ReBotNet), employs a dual-branch framework. The first branch learns spatio-temporal features by tok-enizing the input frames along the spatial and temporal dimensions using a ConvNext-based encoder and processing these abstract tokens using a bottleneck mixer. To fur-ther improve temporal consistency, the second branch em-ploys a mixer directly on tokens extracted from individual frames. A common decoder then merges the features form the two branches to predict the enhanced frame. In addition, we use a recurrent training approach where the last frame's prediction is leveraged to efficiently enhance the current frame while improving temporal consistency. To evaluate our method, we curate two new datasets that em-ulate real-world video call and streaming scenarios, and show extensive results on multiple datasets where ReBot-Net outperforms existing approaches with lower computations, reduced memory requirements, and faster inference time. Code: https://github.com/jeya-mariajose/rebot-net.

When a camera is pointed at a strong light source, the resulting photograph may contain lens flare artifacts. Flares appear in a wide variety of patterns (halos, streaks, color bleeding, haze, etc.) and this diversity in appearance makes flare removal challenging. Existing analytical solutions make strong assumptions about the artifact’s geometry or brightness, and therefore only work well on a small subset of flares. Machine learning techniques have shown success in removing other types of artifacts, like reflections, but have not been widely applied to flare removal due to the lack of training data. To solve this problem, we explicitly model the optical causes of flare either empirically or using wave optics, and generate semi-synthetic pairs of flare-corrupted and clean images. This enables us to train neural networks to remove lens flare for the first time. Experiments show our data synthesis approach is critical for accurate flare removal, and that models trained with our technique generalize well to real lens flares across different scenes, lighting conditions, and cameras.

We present a method that takes as input a single dual-pixel image, and simultaneously estimates the image’s defocus map—the amount of defocus blur at each pixel—and recovers an all-in-focus image. Our method is inspired from recent works that leverage the dual-pixel sensors available in many consumer cameras to assist with autofocus, and use them for recovery of defocus maps or all-in-focus images. These prior works have solved the two recovery problems independently of each other, and often require large labeled datasets for supervised training. By contrast, we show that it is beneficial to treat these two closely-connected problems simultaneously. To this end, we set up an optimization problem that, by carefully modeling the optics of dual-pixel images, jointly solves both problems. We use data captured with a consumer smartphone camera to demonstrate that, after a one-time calibration step, our approach improves upon prior works for both defocus map estimation and blur removal, despite being entirely unsupervised.

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.

We present a method for precisely time-synchronizing the capture of image sequences from a collection of smartphone cameras connected over WiFi. Our method is entirely software-based, has only modest hardware requirements, and achieves an accuracy of less than 250 µs on unmodified commodity hardware. It does not use image content and synchronizes cameras prior to capture. The algorithm operates in two stages. In the first stage, we designate one device as the leader and synchronize each client device’s clock to it by estimating network delay. Once clocks are synchronized, the second stage initiates continuous image streaming, estimates the relative phase of image timestamps between each client and the leader, and shifts the streams into alignment. We quantitatively validate our results on a multi-camera rig imaging a high-precision LED array and qualitatively demonstrate significant improvements to multi-view stereo depth estimation and stitching of dynamic scenes. We release as open source libsoftwaresync, an Android implementation of our system, to inspire new types of collective capture applications.

Deep learning techniques have enabled rapid progress in monocular depth estimation, but their quality is limited by the ill-posed nature of the problem and the scarcity of high quality datasets. We estimate depth from a single cam-era by leveraging the dual-pixel auto-focus hardware that is increasingly common on modern camera sensors. Classic stereo algorithms and prior learning-based depth estimation techniques underperform when applied on this dual-pixel data, the former due to too-strong assumptions about RGB image matching, and the latter due to not leveraging the understanding of optics of dual-pixel image formation. To allow learning based methods to work well on dual-pixel imagery, we identify an inherent ambiguity in the depth estimated from dual-pixel cues, and develop an approach to estimate depth up to this ambiguity. Using our approach, existing monocular depth estimation techniques can be effectively applied to dual-pixel data, and much smaller models can be constructed that still infer high quality depth. To demonstrate this, we capture a large dataset of in-the-wild 5-viewpoint RGB images paired with corresponding dual-pixel data, and show how view supervision with this data can be used to learn depth up to the unknown ambiguities. On our new task, our model is 30% more accurate than any prior work on learning-based monocular or stereoscopic depth estimation.

We present a novel method to train machine learning algorithms to estimate scene depths from a single image, by using the information provided by a camera's aperture as supervision. Prior works use a depth sensor's outputs or images of the same scene from alternate viewpoints as supervision, while our method instead uses images from the same viewpoint taken with a varying camera aperture. To enable learning algorithms to use aperture effects as supervision, we introduce two differentiable aperture rendering functions that use the input image and predicted depths to simulate the depth-of-field effects caused by real camera apertures. We train a monocular depth estimation network end-to-end to predict the scene depths that best explain these finite aperture images as defocus-blurred renderings of the input all-in-focus image.

Shallow depth-of-field is commonly used by photographers to isolate a subject from a distracting background. However, standard cell phone cameras cannot produce such images optically, as their short focal lengths and small apertures capture nearly all-in-focus images. We present a system to computationally synthesize shallow depth-of-field images with a single mobile camera and a single button press. If the image is of a person, we use a person segmentation network to separate the person and their accessories from the background. If available, we also use dense dual-pixel auto-focus hardware, effectively a 2-sample light field with an approximately 1 millimeter baseline, to compute a dense depth map. These two signals are combined and used to render a defocused image. Our system can process a 5.4 megapixel image in 4 seconds on a mobile phone, is fully automatic, and is robust enough to be used by non-experts. The modular nature of our system allows it to degrade naturally in the absence of a dual-pixel sensor or a human subject.

Given a community-contributed set of photos of a crowded public event, this paper addresses the problem of finding all images of each person in the scene. This problem is very challenging due to large changes in camera viewpoints, severe occlusions, low resolution and photos from tens or hundreds of different photographers. Despite these challenges, the problem is made tractable by exploiting a variety of visual and contextual cues-appearance, time-stamps, camera pose and co-occurrence of people. This paper demonstrates an approach that integrates these cues to enable high quality person matching in community photo collections downloaded from Flickr.com.

We present an approach for generating face animations from large image collections of the same person. Such collections, which we call photobios , sample the appearance of a person over changes in pose, facial expression, hairstyle, age, and other variations. By optimizing the order in which images are displayed and cross-dissolving between them, we control the motion through face space and create compelling animations (e.g., render a smooth transition from frowning to smiling). Used in this context, the cross dissolve produces a very strong motion effect; a key contribution of the paper is to explain this effect and analyze its operating range. The approach operates by creating a graph with faces as nodes, and similarities as edges, and solving for walks and shortest paths on this graph. The processing pipeline involves face detection, locating fiducials (eyes/nose/mouth), solving for pose, warping to frontal views, and image comparison based on Local Binary Patterns. We demonstrate results on a variety of datasets including time-lapse photography, personal photo collections, and images of celebrities downloaded from the Internet. Our approach is the basis for the Face Movies feature in Google's Picasa.

Low-rank approximation of image collections (e.g., via PCA) is a popular tool in many areas of computer vision. Yet, surprisingly little is known justifying the observation that images of an object or scene tend to be low dimensional, beyond the special case of Lambertian scenes. This paper considers the question of how many basis images are needed to span the space of images of a scene under real-world lighting and viewing conditions, allowing for general BRDFs. We establish new theoretical upper bounds on the number of basis images necessary to represent a wide variety of scenes under very general conditions, and perform empirical studies to justify the assumptions. We then demonstrate a number of novel applications of linear models for scene appearance for Internet photo collections. These applications include, image reconstruction, occluder-removal, and expanding field of view.

When a scene is photographed many times by different people, the viewpoints often cluster along certain paths. These paths are largely specific to the scene being photographed, and follow interesting regions and viewpoints. We seek to discover a range of such paths and turn them into controls for image-based rendering. Our approach takes as input a large set of community or personal photos, reconstructs camera viewpoints, and automatically computes orbits, panoramas, canonical views, and optimal paths between views. The scene can then be interactively browsed in 3D using these controls or with six degree-of-freedom free-viewpoint control. As the user browses the scene, nearby views are continuously selected and transformed, using control-adaptive reprojection techniques.