Deep Hyperspectral Prior: Single-Image Denoising, Inpainting, Super-Resolution
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NTGAN: Learning Blind Image Denoising Without Clean Reference
RUI ZHAO, DANIEL P.K. LUN, KIN-MAN LAM: NTGAN 1 NTGAN: Learning Blind Image Denoising without Clean Reference Rui Zhao Department of Electronic and [email protected] Information Engineering, Daniel P.K. Lun The Hong Kong Polytechnic University, [email protected] Hong Kong, China Kin-Man Lam [email protected] Abstract Recent studies on learning-based image denoising have achieved promising perfor- mance on various noise reduction tasks. Most of these deep denoisers are trained ei- ther under the supervision of clean references, or unsupervised on synthetic noise. The assumption with the synthetic noise leads to poor generalization when facing real pho- tographs. To address this issue, we propose a novel deep unsupervised image-denoising method by regarding the noise reduction task as a special case of the noise transference task. Learning noise transference enables the network to acquire the denoising ability by only observing the corrupted samples. The results on real-world denoising benchmarks demonstrate that our proposed method achieves state-of-the-art performance on remov- ing realistic noises, making it a potential solution to practical noise reduction problems. 1 Introduction Convolutional neural networks (CNNs) have been widely studied over the past decade in various computer vision applications, including image classification [13], object detection [29], and image restoration [35]. In spite of high effectiveness, CNN models always require a large-scale dataset with reliable reference for training. However, in terms of low-level vision tasks, such as image denoising and image super-resolution, the reliable reference data is generally hard to access, which makes these tasks more challenging and difficult. -
High-Quality Self-Supervised Deep Image Denoising
High-Quality Self-Supervised Deep Image Denoising Samuli Laine Tero Karras Jaakko Lehtinen Timo Aila NVIDIA∗ NVIDIA NVIDIA, Aalto University NVIDIA Abstract We describe a novel method for training high-quality image denoising models based on unorganized collections of corrupted images. The training does not need access to clean reference images, or explicit pairs of corrupted images, and can thus be applied in situations where such data is unacceptably expensive or im- possible to acquire. We build on a recent technique that removes the need for reference data by employing networks with a “blind spot” in the receptive field, and significantly improve two key aspects: image quality and training efficiency. Our result quality is on par with state-of-the-art neural network denoisers in the case of i.i.d. additive Gaussian noise, and not far behind with Poisson and impulse noise. We also successfully handle cases where parameters of the noise model are variable and/or unknown in both training and evaluation data. 1 Introduction Denoising, the removal of noise from images, is a major application of deep learning. Several architectures have been proposed for general-purpose image restoration tasks, e.g., U-Nets [23], hierarchical residual networks [20], and residual dense networks [31]. Traditionally, the models are trained in a supervised fashion with corrupted images as inputs and clean images as targets, so that the network learns to remove the corruption. Lehtinen et al. [17] introduced NOISE2NOISE training, where pairs of corrupted images are used as training data. They observe that when certain statistical conditions are met, a network faced with the impossible task of mapping corrupted images to corrupted images learns, loosely speaking, to output the “average” image. -
Mcalab: Reproducible Research in Signal and Image Decomposition and Inpainting
1 MCALab: Reproducible Research in Signal and Image Decomposition and Inpainting M.J. Fadili , J.-L. Starck , M. Elad and D.L. Donoho Abstract Morphological Component Analysis (MCA) of signals and images is an ambitious and important goal in signal processing; successful methods for MCA have many far-reaching applications in science and tech- nology. Because MCA is related to solving underdetermined systems of linear equations it might also be considered, by some, to be problematic or even intractable. Reproducible research is essential to to give such a concept a firm scientific foundation and broad base of trusted results. MCALab has been developed to demonstrate key concepts of MCA and make them available to interested researchers and technologists. MCALab is a library of Matlab routines that implement the decomposition and inpainting algorithms that we previously proposed in [1], [2], [3], [4]. The MCALab package provides the research community with open source tools for sparse decomposition and inpainting and is made available for anonymous download over the Internet. It contains a variety of scripts to reproduce the figures in our own articles, as well as other exploratory examples not included in the papers. One can also run the same experiments on one’s own data or tune the parameters by simply modifying the scripts. The MCALab is under continuing development by the authors; who welcome feedback and suggestions for further enhancements, and any contributions by interested researchers. Index Terms Reproducible research, sparse representations, signal and image decomposition, inpainting, Morphologi- cal Component Analysis. M.J. Fadili is with the CNRS-ENSICAEN-Universite´ de Caen, Image Processing Group, ENSICAEN 14050, Caen Cedex, France. -
Or on the ETHICS of GILDING CONSERVATION by Elisabeth Cornu, Assoc
SHOULD CONSERVATORS REGILD THE LILY? or ON THE ETHICS OF GILDING CONSERVATION by Elisabeth Cornu, Assoc. Conservator, Objects Fine Arts Museums of San Francisco Gilt objects, and the process of gilding, have a tremendous appeal in the art community--perhaps not least because gold is a very impressive and shiny currency, and perhaps also because the technique of gilding has largely remained unchanged since Egyptian times. Gilding restorers therefore have enjoyed special respect in the art community because they manage to bring back the shine to old objects and because they continue a very old and valuable craft. As a result there has been a strong temptation among gilding restorers/conservators to preserve the process of gilding rather than the gilt objects them- selves. This is done by regilding, partially or fully, deteriorated gilt surfaces rather than attempting to preserve as much of the original surface as possible. Such practice may be appropriate in some cases, but it always presupposes a great amount of historic knowledge of the gilding technique used with each object, including such details as the thickness of gesso layers, the strength of the gesso, the type of bole, the tint and karatage of gold leaf, and the type of distressing or glaze used. To illustrate this point, I am asking you to exercise some of the imagination for which museum conservators are so famous for, and to visualize some historic objects which I will list and discuss. This will save me much time in showing slides or photographs. Gilt wooden objects in museums can be broken down into several subcategories: 1) Polychromed and gilt sculptures, altars Examples: baroque church altars, often with polychromed sculptures, some of which are entirely gilt. -
Learning Deep Image Priors for Blind Image Denoising
Learning Deep Image Priors for Blind Image Denoising Xianxu Hou 1 Hongming Luo 1 Jingxin Liu 1 Bolei Xu 1 Ke Sun 2 Yuanhao Gong 1 Bozhi Liu 1 Guoping Qiu 1,3 1 College of Information Engineering and Guangdong Key Lab for Intelligent Information Processing, Shenzhen University, China 2 School of Computer Science, The University of Nottingham Ningbo China 3 School of Computer Science, The University of Nottingham, UK Abstract ods comes from the effective image prior modeling over the input images [5, 14, 20]. State of the art model-based meth- Image denoising is the process of removing noise from ods such as BM3D [12] and WNNM [20] can be further noisy images, which is an image domain transferring task, extended to remove unknown noises. However, there are a i.e., from a single or several noise level domains to a photo- few drawbacks of these methods. First, these methods usu- realistic domain. In this paper, we propose an effective im- ally involve a complex and time-consuming optimization age denoising method by learning two image priors from process in the testing stage. Second, the image priors em- the perspective of domain alignment. We tackle the domain ployed in most of these approaches are hand-crafted, such alignment on two levels. 1) the feature-level prior is to learn as nonlocal self-similarity and gradients, which are mainly domain-invariant features for corrupted images with differ- based on the internal information of the input image without ent level noise; 2) the pixel-level prior is used to push the any external information. -
APPENDIX C Cultural Resources Management Plan
APPENDIX C Cultural Resources Management Plan The Sloan Canyon National Conservation Area Cultural Resources Management Plan Stephanie Livingston Angus R. Quinlan Ginny Bengston January 2005 Report submitted to the Bureau of Land Management, Las Vegas District Office Submitted by: Summit Envirosolutions, Inc 813 North Plaza Street Carson City, NV 89701 www.summite.com SLOAN CANYON NCA RECORD OF DECISION APPENDIX C —CULTURAL RESOURCES MANAGEMENT PLAN INTRODUCTION The cultural resources of Sloan Canyon National Conservation Area (NCA) were one of the primary reasons Congress established the NCA in 2002. This appendix provides three key elements for management of cultural resources during the first stage of implementation: • A cultural context and relevant research questions for archeological and ethnographic work that may be conducted in the early stages of developing the NCA • A treatment protocol to be implemented in the event that Native American human remains are discovered • A monitoring plan to establish baseline data and track effects on cultural resources as public use of the NCA grows. The primary management of cultural resources for the NCA is provided in the Record of Decision for the Approved Resource Management Plan (RMP). These management guidelines provide more specific guidance than standard operating procedures. As the general management plan for the NCA is implemented, these guidelines could change over time as knowledge is gained of the NCA, its resources, and its uses. All cultural resource management would be carried out in accordance with the BLM/Nevada State Historic Preservation Office Statewide Protocol, including allocation of resources and determinations of eligibility. Activity-level cultural resource plans to implement the Sloan Canyon NCA RMP would be developed in the future. -
Layered Neural Rendering for Retiming People in Video
Layered Neural Rendering for Retiming People in Video ERIKA LU, University of Oxford, Google Research FORRESTER COLE, Google Research TALI DEKEL, Google Research WEIDI XIE, University of Oxford ANDREW ZISSERMAN, University of Oxford DAVID SALESIN, Google Research WILLIAM T. FREEMAN, Google Research MICHAEL RUBINSTEIN, Google Research Input Video Frame t Frame t1 (child I jumps) Frame t2 (child II jumps) Frame t3 (child III jumps) Our Retiming Result Our Output Layers Frame t1 (all stand) Frame t2 (all jump) Frame t3 (all in water) Fig. 1. Making all children jump into the pool together — in post-processing! In the original video (left, top) each child is jumping into the poolata different time. In our computationally retimed video (left, bottom), the jumps of children I and III are time-aligned with that of child II, such thattheyalljump together into the pool (notice that child II remains unchanged in the input and output frames). In this paper, we present a method to produce this and other people retiming effects in natural, ordinary videos. Our method is based on a novel deep neural network that learns a layered decomposition oftheinput video (right). Our model not only disentangles the motions of people in different layers, but can also capture the various scene elements thatare correlated with those people (e.g., water splashes as the children hit the water, shadows, reflections). When people are retimed, those related elements get automatically retimed with them, which allows us to create realistic and faithful re-renderings of the video for a variety of retiming effects. The full input and retimed sequences are available in the supplementary video. -
Deep Image Prior for Undersampling High-Speed Photoacoustic Microscopy
Photoacoustics 22 (2021) 100266 Contents lists available at ScienceDirect Photoacoustics journal homepage: www.elsevier.com/locate/pacs Deep image prior for undersampling high-speed photoacoustic microscopy Tri Vu a,*, Anthony DiSpirito III a, Daiwei Li a, Zixuan Wang c, Xiaoyi Zhu a, Maomao Chen a, Laiming Jiang d, Dong Zhang b, Jianwen Luo b, Yu Shrike Zhang c, Qifa Zhou d, Roarke Horstmeyer e, Junjie Yao a a Photoacoustic Imaging Lab, Duke University, Durham, NC, 27708, USA b Department of Biomedical Engineering, Tsinghua University, Beijing, 100084, China c Division of Engineering in Medicine, Department of Medicine, Brigham and Women’s Hospital, Harvard Medical School, Cambridge, MA, 02139, USA d Department of Biomedical Engineering and USC Roski Eye Institute, University of Southern California, Los Angeles, CA, 90089, USA e Computational Optics Lab, Duke University, Durham, NC, 27708, USA ARTICLE INFO ABSTRACT Keywords: Photoacoustic microscopy (PAM) is an emerging imaging method combining light and sound. However, limited Convolutional neural network by the laser’s repetition rate, state-of-the-art high-speed PAM technology often sacrificesspatial sampling density Deep image prior (i.e., undersampling) for increased imaging speed over a large field-of-view. Deep learning (DL) methods have Deep learning recently been used to improve sparsely sampled PAM images; however, these methods often require time- High-speed imaging consuming pre-training and large training dataset with ground truth. Here, we propose the use of deep image Photoacoustic microscopy Raster scanning prior (DIP) to improve the image quality of undersampled PAM images. Unlike other DL approaches, DIP requires Undersampling neither pre-training nor fully-sampled ground truth, enabling its flexible and fast implementation on various imaging targets. -
Texture Inpainting Using Covariance in Wavelet Domain
DOI 10.1515/jisys-2013-0033 Journal of Intelligent Systems 2013; 22(3): 299–315 Research Article Rajkumar L. Biradar* and Vinayadatt V. Kohir Texture Inpainting Using Covariance in Wavelet Domain Abstract: In this article, the covariance of wavelet transform coefficients is used to obtain a texture inpainted image. The covariance is obtained by the maximum likelihood estimate. The integration of wavelet decomposition and maximum likelihood estimate of a group of pixels (texture) captures the best-fitting texture used to fill in the inpainting area. The image is decomposed into four wavelet coefficient images by using wavelet transform. These wavelet coefficient images are divided into small square patches. The damaged region in each coefficient image is filled by searching a similar square patch around the damaged region in that particular wavelet coefficient image by using covariance. Keywords: Inpainting, texture, maximum likelihood estimate, covariance, wavelet transform. *Corresponding author: Rajkumar L. Biradar, G. Narayanamma Institute of Technology and Science, Electronics and Tel ETM Department, Shaikpet, Hyderabad 500008, India, e-mail: [email protected] Vinayadatt V. Kohir: Poojya Doddappa Appa College of Engineering, Gulbarga 585102, India 1 Introduction Image inpainting is the technique of filling in damaged regions in a non-detect- able way for an observer who does not know the original damaged image. The concept of digital inpainting was introduced by Bertalmio et al. [3]. In the most conventional form, the user selects an area for inpainting and the algorithm auto- matically fills in the region with information surrounding it without loss of any perceptual quality. Inpainting techniques are broadly categorized as structure inpainting and texture inpainting. -
Image Deconvolution with Deep Image Prior: Final Report
Image deconvolution with deep image prior: Final Report Abstract tion kernel is given (Sezan & Tekalp, 1990), i.e. recovering Image deconvolution has always been a hard in- X with knowing K in Equation 1. This problem is ill-posed, verse problem because of its mathematically ill- because simply applying the inverse of the convolution op- −1 posed property (Chan & Wong, 1998). A recent eration on degraded image B with kernel K, i.e. B∗ K, −1 work (Ulyanov et al., 2018) proposed deep im- gives an inverted noise term E∗ K, which dominates the age prior (DIP) which uses neural net structures solution (Hansen et al., 2006). to represent image prior information. This work Blind deconvolution: In reality, we can hardly obtain the mainly focuses on the task of image deconvolu- detailed kernel information, in which case the deconvolu- tion, using DIP to express image prior informa- tion problem is formulated in a blind setting (Kundur & tion and ref ne the domain of its objectives. It Hatzinakos, 1996). More concisely, blind deconvolution is proposes new energy functions for kernel-known to recover X without knowing K. This task is much more and blind deconvolution respectively in terms of challenging than it is under non-blind settings, because the DIP, and uses hourglass ConvNet (Newell et al., observed information becomes less and the domains of the 2016) as the DIP structures to represent sharpness variables become larger (Chan & Wong, 1998). or other higher level priors of natural images, as well as the prior in degradation kernels. From the In image deconvolution, prior information on unknown results on 6 standard test images, we f rst prove images and kernels (in blind settings) can signif cantly im- that DIP with ConvNet structure is strongly ca- prove the deconvolved results. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Digital Image Restoration Techniques and Automation Ninad Pradhan Clemson University
Digital Image Restoration Techniques And Automation Ninad Pradhan Clemson University [email protected] a course project for ECE847 (Fall 2004) Abstract replicate can be found in the same image where the region The restoration of digital images can be carried out using to be synthesized lies. two salient approaches, image inpainting and constrained texture synthesis. Each of these have spawned many Hence we see that, for two dimensional digital images, one algorithms to make the process more optimal, automated can use both texture synthesis and inpainting approaches to and accurate. This paper gives an overview of the current restore the image. This is the motivation behind studying body of work on the subject, and discusses the future trends work done in these two fields as part of the same paper. The in this relatively new research field. It also proposes a two approaches can be collectively referred to as hole filling procedure which will further increase the level of approaches, since they do try and remove unwanted features automation in image restoration, and move it closer to being or ‘holes’ in a digital image. a regular feature in photo-editing software. The common requirement for hole filling algorithms is that Keywords: image restoration, inpainting, texture synthesis, the region to be filled has to be defined by the user. This is multiresolution techniques because the definition of a hole or distortion in the image is largely perceptual. It is impossible to mathematically define 1. Introduction what a hole in an image is. A fully automatic hole filling tool may not just be unfeasible but also undesirable, because Image restoration or ‘inpainting’ is a practice that predates in some cases, it is likely to remove features of the image the age of computers.