The High-Dimensional Geometry of Binary Neural Networks

Recent research has shown that one can train a neural network with binary weights and activations at train time by augmenting the weights with a high-precision continuous latent variable that accumulates small changes from stochastic gradient descent. However, there is a dearth of theoretical analysis to explain why we can effectively capture the features in our data with binary weights and activations. Our main result is that the neural networks with binary weights and activations trained using the method of Courbariaux, Hubara et al. (2016) work because of the high-dimensional geometry of binary vectors. In particular, the ideal continuous vectors that extract out features in the intermediate representations of these BNNs are well-approximated by binary vectors in the sense that dot products are approximately preserved. Compared to previous research that demonstrated the viability of such BNNs, our work explains why these BNNs work in terms of the HD geometry. Our theory serves as a foundation for understanding not only BNNs but a variety of methods that seek to compress traditional neural networks. Furthermore, a better understanding of multilayer binary neural networks serves as a starting point for generalizing BNNs to other neural network architectures such as recurrent neural networks.

DeepMovie: Using Optical Flow and Deep Neural Networks to Stylize Movies

A recent paper by Gatys et al. describes a method for rendering an image in the style of another image. First, they use convolutional neural network features to build a statistical model for the style of an image. Then they create a new image with the content of one image but the style statistics of another image. Here, we extend this method to render a movie in a given artistic style. The naive solution that independently renders each frame produces poor results because the features of the style move substantially from one frame to the next. The other naive method that initializes the optimization for the next frame using the rendered version of the previous frame also produces poor results because the features of the texture stay fixed relative to the frame of the movie instead of moving with objects in the scene. The main contribution of this paper is to use optical flow to initialize the style transfer optimization so that the texture features move with the objects in the video. Finally, we suggest a method to incorporate optical flow explicitly into the cost function.