Image Inpainting Methods: Digital Image Reconstruction and Restoration

This report investigates the digital image processing of image inpainting methods, particularly for digital image reconstruction and restoration through the two computational tools grouped into: [1] MatLAB/Image Segmenter and [2] Anaconda/OpenCV/Python. The use cases explored in the project involve image reconstruction and restoration of celestial imageries for means of clear demonstration and subject-matter consistency but can extend to more artistic purposes involving the removal of unwanted objects within the backgrounds or foregrounds of images that can be “erased” or “hidden” by being replaced by neighboring pixels of similar characteristics for image reconstruction and the removal of damaged parts observed in old photographs damaged by noises, dark streaks, faded or scratched edges, folds, physio-chemical alterations, ink blotches, or technological obscurities (such as lens flare, lens aberrations, or crop marks) for image restoration. The celestial images used for the purposes of this project are taken from the public collection of NASA’s James Webb and Hubble Telescope image archives

Pareto Optimized Large Mask Approach for Efficient and Background Humanoid Shape Removal

The purpose of automated video object removal is to not only detect and remove the object of interest automatically, but also to utilize background context to inpaint the foreground area. Video inpainting requires to fill spatiotemporal gaps in a video with convincing material, necessitating both temporal and spatial consistency; the inpainted part must seamlessly integrate into the background in a variety of scenes, and it must maintain a consistent appearance in subsequent frames even if its surroundings change noticeably. We introduce deep learning-based methodology for removing unwanted human-like shapes in videos. The method uses Pareto-optimized Generative Adversarial Networks (GANs) technology, which is a novel contribution. The system automatically selects the Region of Interest (ROI) for each humanoid shape and uses a skeleton detection module to determine which humanoid shape to retain. The semantic masks of human like shapes are created using a semantic-aware occlusion-robust model that has four primary components: feature extraction, and local, global, and semantic branches. The global branch encodes occlusion-aware information to make the extracted features resistant to occlusion, while the local branch retrieves fine-grained local characteristics. A modified big mask inpainting approach is employed to eliminate a person from the image, leveraging Fast Fourier convolutions and utilizing polygonal chains and rectangles with unpredictable aspect ratios. The inpainter network takes the input image and the mask to create an output image excluding the background humanoid shapes. The generator uses an encoder-decoder structure with included skip connections to recover spatial information and dilated convolution and squeeze and excitation blocks to make the regions behind the humanoid shapes consistent with their surroundings. The discriminator avoids dissimilar structure at the patch scale, and the refiner network catches features around the boundaries of each background humanoid shape. The efficiency was assessed using the Structural Learned Perceptual Image Patch Similarity, Frechet Inception Distance, and Similarity Index Measure metrics and showed promising results in fully automated background person removal task. The method is evaluated on two video object segmentation datasets (DAVIS indicating respective values of 0.02, FID of 5.01 and SSIM of 0.79 and YouTube-VOS, resulting in 0.03, 6.22, 0.78 respectively) as well a database of 66 distinct video sequences of people behind a desk in an office environment (0.02, 4.01, and 0.78 respectively).publishedVersio

DIGITAL INPAINTING ALGORITHMS AND EVALUATION

Digital inpainting is the technique of filling in the missing regions of an image or a video using information from surrounding area. This technique has found widespread use in applications such as restoration, error recovery, multimedia editing, and video privacy protection. This dissertation addresses three significant challenges associated with the existing and emerging inpainting algorithms and applications. The three key areas of impact are 1) Structure completion for image inpainting algorithms, 2) Fast and efficient object based video inpainting framework and 3) Perceptual evaluation of large area image inpainting algorithms. One of the main approach of existing image inpainting algorithms in completing the missing information is to follow a two stage process. A structure completion step, to complete the boundaries of regions in the hole area, followed by texture completion process using advanced texture synthesis methods. While the texture synthesis stage is important, it can be argued that structure completion aspect is a vital component in improving the perceptual image inpainting quality. To this end, we introduce a global structure completion algorithm for completion of missing boundaries using symmetry as the key feature. While existing methods for symmetry completion require a-priori information, our method takes a non-parametric approach by utilizing the invariant nature of curvature to complete missing boundaries. Turning our attention from image to video inpainting, we readily observe that existing video inpainting techniques have evolved as an extension of image inpainting techniques. As a result, they suffer from various shortcoming including, among others, inability to handle large missing spatio-temporal regions, significantly slow execution time making it impractical for interactive use and presence of temporal and spatial artifacts. To address these major challenges, we propose a fundamentally different method based on object based framework for improving the performance of video inpainting algorithms. We introduce a modular inpainting scheme in which we first segment the video into constituent objects by using acquired background models followed by inpainting of static background regions and dynamic foreground regions. For static background region inpainting, we use a simple background replacement and occasional image inpainting. To inpaint dynamic moving foreground regions, we introduce a novel sliding-window based dissimilarity measure in a dynamic programming framework. This technique can effectively inpaint large regions of occlusions, inpaint objects that are completely missing for several frames, change in size and pose and has minimal blurring and motion artifacts. Finally we direct our focus on experimental studies related to perceptual quality evaluation of large area image inpainting algorithms. The perceptual quality of large area inpainting technique is inherently a subjective process and yet no previous research has been carried out by taking the subjective nature of the Human Visual System (HVS). We perform subjective experiments using eye-tracking device involving 24 subjects to analyze the effect of inpainting on human gaze. We experimentally show that the presence of inpainting artifacts directly impacts the gaze of an unbiased observer and this in effect has a direct bearing on the subjective rating of the observer. Specifically, we show that the gaze energy in the hole regions of an inpainted image show marked deviations from normal behavior when the inpainting artifacts are readily apparent

A Novel Inpainting Framework for Virtual View Synthesis

Multi-view imaging has stimulated significant research to enhance the user experience of free viewpoint video, allowing interactive navigation between views and the freedom to select a desired view to watch. This usually involves transmitting both textural and depth information captured from different viewpoints to the receiver, to enable the synthesis of an arbitrary view. In rendering these virtual views, perceptual holes can appear due to certain regions, hidden in the original view by a closer object, becoming visible in the virtual view. To provide a high quality experience these holes must be filled in a visually plausible way, in a process known as inpainting. This is challenging because the missing information is generally unknown and the hole-regions can be large. Recently depth-based inpainting techniques have been proposed to address this challenge and while these generally perform better than non-depth assisted methods, they are not very robust and can produce perceptual artefacts. This thesis presents a new inpainting framework that innovatively exploits depth and textural self-similarity characteristics to construct subjectively enhanced virtual viewpoints. The framework makes three significant contributions to the field: i) the exploitation of view information to jointly inpaint textural and depth hole regions; ii) the introduction of the novel concept of self-similarity characterisation which is combined with relevant depth information; and iii) an advanced self-similarity characterising scheme that automatically determines key spatial transform parameters for effective and flexible inpainting. The presented inpainting framework has been critically analysed and shown to provide superior performance both perceptually and numerically compared to existing techniques, especially in terms of lower visual artefacts. It provides a flexible robust framework to develop new inpainting strategies for the next generation of interactive multi-view technologies