A review of image and video colorization: From analogies to deep learning

Image colorization is a classic and important topic in computer graphics, where the aim is to add color to a monochromatic input image to produce a colorful result. In this survey, we present the history of colorization research in chronological order and summarize popular algorithms in this field. Early works on colorization mostly focused on developing techniques to improve the colorization quality. In the last few years, researchers have considered more possibilities such as combining colorization with NLP (natural language processing) and focused more on industrial applications. To better control the color, various types of color control are designed, such as providing reference images or color-scribbles. We have created a taxonomy of the colorization methods according to the input type, divided into grayscale, sketch-based and hybrid. The pros and cons are discussed for each algorithm, and they are compared according to their main characteristics. Finally, we discuss how deep learning, and in particular Generative Adversarial Networks (GANs), has changed this field

Deep line art video colorization with a few references

Coloring line art images based on the colors of reference images is an important stage in animation production, which is time-consuming and tedious. In this paper, we propose a deep architecture to automatically color line art videos with the same color style as the given reference images. Our framework consists of a color transform network and a temporal refinement network based on 3U-net. The color transform network takes the target line art images as well as the line art and color images of the reference images as input, and generates corresponding target color images. To cope with the large differences between each target line art image and the reference color images, we propose a distance attention layer that utilizes non-local similarity matching to determine the region correspondences between the target image and the reference images and transforms the local color information from the references to the target. To ensure global color style consistency, we further incorporate Adaptive Instance Normalization (AdaIN) with the transformation parameters obtained from a multiple-layer AdaIN that describes the global color style of the references, extracted by an embedder network. The temporal refinement network learns spatiotemporal features through 3D convolutions to ensure the temporal color consistency of the results. Our model can achieve even better coloring results by fine-tuning the parameters with only a small number of samples when dealing with an animation of a new style. To evaluate our method, we build a line art coloring dataset

GAN Inversion: A Survey

GAN inversion aims to invert a given image back into the latent space of a pretrained GAN model, for the image to be faithfully reconstructed from the inverted code by the generator. As an emerging technique to bridge the real and fake image domains, GAN inversion plays an essential role in enabling the pretrained GAN models such as StyleGAN and BigGAN to be used for real image editing applications. Meanwhile, GAN inversion also provides insights on the interpretation of GAN's latent space and how the realistic images can be generated. In this paper, we provide an overview of GAN inversion with a focus on its recent algorithms and applications. We cover important techniques of GAN inversion and their applications to image restoration and image manipulation. We further elaborate on some trends and challenges for future directions

Artificial Intelligence in the Creative Industries: A Review

This paper reviews the current state of the art in Artificial Intelligence (AI) technologies and applications in the context of the creative industries. A brief background of AI, and specifically Machine Learning (ML) algorithms, is provided including Convolutional Neural Network (CNNs), Generative Adversarial Networks (GANs), Recurrent Neural Networks (RNNs) and Deep Reinforcement Learning (DRL). We categorise creative applications into five groups related to how AI technologies are used: i) content creation, ii) information analysis, iii) content enhancement and post production workflows, iv) information extraction and enhancement, and v) data compression. We critically examine the successes and limitations of this rapidly advancing technology in each of these areas. We further differentiate between the use of AI as a creative tool and its potential as a creator in its own right. We foresee that, in the near future, machine learning-based AI will be adopted widely as a tool or collaborative assistant for creativity. In contrast, we observe that the successes of machine learning in domains with fewer constraints, where AI is the `creator', remain modest. The potential of AI (or its developers) to win awards for its original creations in competition with human creatives is also limited, based on contemporary technologies. We therefore conclude that, in the context of creative industries, maximum benefit from AI will be derived where its focus is human centric -- where it is designed to augment, rather than replace, human creativity