AniDoc: Animation Creation Made Easier

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, AniDoc emerges 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://yihao-meng.github.io/AniDoc_demo.

AnyText2: Visual Text Generation and Editing With Customizable Attributes

As the text-to-image (T2I) domain progresses, generating text that seamlessly integrates with visual content has garnered significant attention. However, even with accurate text generation, the inability to control font and color can greatly limit certain applications, and this issue remains insufficiently addressed. This paper introduces AnyText2, a novel method that enables precise control over multilingual text attributes in natural scene image generation and editing. Our approach consists of two main components. First, we propose a WriteNet+AttnX architecture that injects text rendering capabilities into a pre-trained T2I model. Compared to its predecessor, AnyText, our new approach not only enhances image realism but also achieves a 19.8% increase in inference speed. Second, we explore techniques for extracting fonts and colors from scene images and develop a Text Embedding Module that encodes these text attributes separately as conditions. As an extension of AnyText, this method allows for customization of attributes for each line of text, leading to improvements of 3.3% and 9.3% in text accuracy for Chinese and English, respectively. Through comprehensive experiments, we demonstrate the state-of-the-art performance of our method. The code and model will be made open-source in https://github.com/tyxsspa/AnyText2.

Paint Bucket Colorization Using Anime Character Color Design Sheets

Line art colorization plays a crucial role in hand-drawn animation production, where digital artists manually colorize segments using a paint bucket tool, guided by RGB values from character color design sheets. This process, often called paint bucket colorization, involves two main tasks: keyframe colorization, where colors are applied according to the character's color design sheet, and consecutive frame colorization, where these colors are replicated across adjacent frames. Current automated colorization methods primarily focus on reference-based and segment-matching approaches. However, reference-based methods often fail to accurately assign specific colors to each region, while matching-based methods are limited to consecutive frame colorization and struggle with issues like significant deformation and occlusion. In this work, we introduce inclusion matching, which allows the network to understand the inclusion relationships between segments, rather than relying solely on direct visual correspondences. By integrating this approach with segment parsing and color warping modules, our inclusion matching pipeline significantly improves performance in both keyframe colorization and consecutive frame colorization. To support our network's training, we have developed a unique dataset named PaintBucket-Character, which includes rendered line arts alongside their colorized versions and shading annotations for various 3D characters. To replicate industry animation data formats, we also created color design sheets for each character, with semantic information for each color and standard pose reference images. Experiments highlight the superiority of our method, demonstrating accurate and consistent colorization across both our proposed benchmarks and hand-drawn animations.

Nash Meets Wertheimer: Using Good Continuation in Jigsaw Puzzles

Jigsaw puzzle solving is a challenging task for computer vision since it requires high-level spatial and semantic reasoning. To solve the problem, existing approaches invariably use color and/or shape information but in many real-world scenarios, such as in archaeological fresco reconstruction, this kind of clues is often unreliable due to severe physical and pictorial deterioration of the individual fragments. This makes state-of-the-art approaches entirely unusable in practice. On the other hand, in such cases, simple geometrical patterns such as lines or curves offer a powerful yet unexplored clue. In an attempt to fill in this gap, in this paper we introduce a new challenging version of the puzzle solving problem in which one deliberately ignores conventional color and shape features and relies solely on the presence of linear geometrical patterns. The reconstruction process is then only driven by one of the most fundamental principles of Gestalt perceptual organization, namely Wertheimer's {\em law of good continuation}. In order to tackle this problem, we formulate the puzzle solving problem as the problem of finding a Nash equilibrium of a (noncooperative) multiplayer game and use classical multi-population replicator dynamics to solve it. The proposed approach is general and allows us to deal with pieces of arbitrary shape, size and orientation. We evaluate our approach on both synthetic and real-world data and compare it with state-of-the-art algorithms. The results show the intrinsic complexity of our purely line-based puzzle problem as well as the relative effectiveness of our game-theoretic formulation.

LPGen: Enhancing High-Fidelity Landscape Painting Generation through Diffusion Model

Generating landscape paintings expands the possibilities of artistic creativity and imagination. Traditional landscape painting methods involve using ink or colored ink on rice paper, which requires substantial time and effort. These methods are susceptible to errors and inconsistencies and lack precise control over lines and colors. This paper presents LPGen, a high-fidelity, controllable model for landscape painting generation, introducing a novel multi-modal framework that integrates image prompts into the diffusion model. We extract its edges and contours by computing canny edges from the target landscape image. These, along with natural language text prompts and drawing style references, are fed into the latent diffusion model as conditions. We implement a decoupled cross-attention strategy to ensure compatibility between image and text prompts, facilitating multi-modal image generation. A decoder generates the final image. Quantitative and qualitative analyses demonstrate that our method outperforms existing approaches in landscape painting generation and exceeds the current state-of-the-art. The LPGen network effectively controls the composition and color of landscape paintings, generates more accurate images, and supports further research in deep learning-based landscape painting generation.

Disentangling Masked Autoencoders for Unsupervised Domain Generalization

Domain Generalization (DG), designed to enhance out-of-distribution (OOD) generalization, is all about learning invariance against domain shifts utilizing sufficient supervision signals. Yet, the scarcity of such labeled data has led to the rise of unsupervised domain generalization (UDG) - a more important yet challenging task in that models are trained across diverse domains in an unsupervised manner and eventually tested on unseen domains. UDG is fast gaining attention but is still far from well-studied. To close the research gap, we propose a novel learning framework designed for UDG, termed the Disentangled Masked Auto Encoder (DisMAE), aiming to discover the disentangled representations that faithfully reveal the intrinsic features and superficial variations without access to the class label. At its core is the distillation of domain-invariant semantic features, which cannot be distinguished by domain classifier, while filtering out the domain-specific variations (for example, color schemes and texture patterns) that are unstable and redundant. Notably, DisMAE co-trains the asymmetric dual-branch architecture with semantic and lightweight variation encoders, offering dynamic data manipulation and representation level augmentation capabilities. Extensive experiments on four benchmark datasets (i.e., DomainNet, PACS, VLCS, Colored MNIST) with both DG and UDG tasks demonstrate that DisMAE can achieve competitive OOD performance compared with the state-of-the-art DG and UDG baselines, which shed light on potential research line in improving the generalization ability with large-scale unlabeled data.

For a semiotic AI: Bridging computer vision and visual semiotics for computational observation of large scale facial image archives

Social networks are creating a digital world in which the cognitive, emotional, and pragmatic value of the imagery of human faces and bodies is arguably changing. However, researchers in the digital humanities are often ill-equipped to study these phenomena at scale. This work presents FRESCO (Face Representation in E-Societies through Computational Observation), a framework designed to explore the socio-cultural implications of images on social media platforms at scale. FRESCO deconstructs images into numerical and categorical variables using state-of-the-art computer vision techniques, aligning with the principles of visual semiotics. The framework analyzes images across three levels: the plastic level, encompassing fundamental visual features like lines and colors; the figurative level, representing specific entities or concepts; and the enunciation level, which focuses particularly on constructing the point of view of the spectator and observer. These levels are analyzed to discern deeper narrative layers within the imagery. Experimental validation confirms the reliability and utility of FRESCO, and we assess its consistency and precision across two public datasets. Subsequently, we introduce the FRESCO score, a metric derived from the framework's output that serves as a reliable measure of similarity in image content.

Learning Inclusion Matching for Animation Paint Bucket Colorization

Colorizing line art is a pivotal task in the production of hand-drawn cel animation. This typically involves digital painters using a paint bucket tool to manually color each segment enclosed by lines, based on RGB values predetermined by a color designer. This frame-by-frame process is both arduous and time-intensive. Current automated methods mainly focus on segment matching. This technique migrates colors from a reference to the target frame by aligning features within line-enclosed segments across frames. However, issues like occlusion and wrinkles in animations often disrupt these direct correspondences, leading to mismatches. In this work, we introduce a new learning-based inclusion matching pipeline, which directs the network to comprehend the inclusion relationships between segments rather than relying solely on direct visual correspondences. Our method features a two-stage pipeline that integrates a coarse color warping module with an inclusion matching module, enabling more nuanced and accurate colorization. To facilitate the training of our network, we also develope a unique dataset, referred to as PaintBucket-Character. This dataset includes rendered line arts alongside their colorized counterparts, featuring various 3D characters. Extensive experiments demonstrate the effectiveness and superiority of our method over existing techniques.

Text-to-Image Synthesis for Any Artistic Styles: Advancements in Personalized Artistic Image Generation via Subdivision and Dual Binding

Recent advancements in text-to-image models, such as Stable Diffusion, have demonstrated their ability to synthesize visual images through natural language prompts. One approach of personalizing text-to-image models, exemplified by DreamBooth, fine-tunes the pre-trained model by binding unique text identifiers with a few images of a specific subject. Although existing fine-tuning methods have demonstrated competence in rendering images according to the styles of famous painters, it is still challenging to learn to produce images encapsulating distinct art styles due to abstract and broad visual perceptions of stylistic attributes such as lines, shapes, textures, and colors. In this paper, we introduce a new method, Single-StyleForge, for personalization. It fine-tunes pre-trained text-to-image diffusion models to generate diverse images in specified styles from text prompts. By using around 15-20 images of the target style, the approach establishes a foundational binding of a unique token identifier with a broad range of the target style. It also utilizes auxiliary images to strengthen this binding, resulting in offering specific guidance on representing elements such as persons in a target style-consistent manner. In addition, we present ways to improve the quality of style and text-image alignment through a method called Multi-StyleForge, which inherits the strategy used in StyleForge and learns tokens in multiple. Experimental evaluation conducted on six distinct artistic styles demonstrates substantial improvements in both the quality of generated images and the perceptual fidelity metrics, such as FID, KID, and CLIP scores.

SceneFactory: A Workflow-centric and Unified Framework for Incremental Scene Modeling

We present SceneFactory, a workflow-centric and unified framework for incremental scene modeling, that supports conveniently a wide range of applications, such as (unposed and/or uncalibrated) multi-view depth estimation, LiDAR completion, (dense) RGB-D/RGB-L/Mono//Depth-only reconstruction and SLAM. The workflow-centric design uses multiple blocks as the basis for building different production lines. The supported applications, i.e., productions avoid redundancy in their designs. Thus, the focus is on each block itself for independent expansion. To support all input combinations, our implementation consists of four building blocks in SceneFactory: (1) Mono-SLAM, (2) depth estimation, (3) flexion and (4) scene reconstruction. Furthermore, we propose an unposed & uncalibrated multi-view depth estimation model (U2-MVD) to estimate dense geometry. U2-MVD exploits dense bundle adjustment for solving for poses, intrinsics, and inverse depth. Then a semantic-awared ScaleCov step is introduced to complete the multi-view depth. Relying on U2-MVD, SceneFactory both supports user-friendly 3D creation (with just images) and bridges the applications of Dense RGB-D and Dense Mono. For high quality surface and color reconstruction, we propose due-purpose Multi-resolutional Neural Points (DM-NPs) for the first surface accessible Surface Color Field design, where we introduce Improved Point Rasterization (IPR) for point cloud based surface query. We implement and experiment with SceneFactory to demonstrate its broad practicability and high flexibility. Its quality also competes or exceeds the tightly-coupled state of the art approaches in all tasks. We contribute the code to the community (https://jarrome.github.io/).