A Survey of Deep Face Restoration: Denoise, Super-Resolution, Deblur, Artifact Removal

Face Restoration (FR) aims to restore High-Quality (HQ) faces from Low-Quality (LQ) input images, which is a domain-specific image restoration problem in the low-level computer vision area. The early face restoration methods mainly use statistic priors and degradation models, which are difficult to meet the requirements of real-world applications in practice. In recent years, face restoration has witnessed great progress after stepping into the deep learning era. However, there are few works to study deep learning-based face restoration methods systematically. Thus, this paper comprehensively surveys recent advances in deep learning techniques for face restoration. Specifically, we first summarize different problem formulations and analyze the characteristic of the face image. Second, we discuss the challenges of face restoration. Concerning these challenges, we present a comprehensive review of existing FR methods, including prior based methods and deep learning-based methods. Then, we explore developed techniques in the task of FR covering network architectures, loss functions, and benchmark datasets. We also conduct a systematic benchmark evaluation on representative methods. Finally, we discuss future directions, including network designs, metrics, benchmark datasets, applications,etc. We also provide an open-source repository for all the discussed methods, which is available at https://github.com/TaoWangzj/Awesome-Face-Restoration.Comment: 21 pages, 19 figure

Physics-Informed Computer Vision: A Review and Perspectives

Incorporation of physical information in machine learning frameworks are opening and transforming many application domains. Here the learning process is augmented through the induction of fundamental knowledge and governing physical laws. In this work we explore their utility for computer vision tasks in interpreting and understanding visual data. We present a systematic literature review of formulation and approaches to computer vision tasks guided by physical laws. We begin by decomposing the popular computer vision pipeline into a taxonomy of stages and investigate approaches to incorporate governing physical equations in each stage. Existing approaches in each task are analyzed with regard to what governing physical processes are modeled, formulated and how they are incorporated, i.e. modify data (observation bias), modify networks (inductive bias), and modify losses (learning bias). The taxonomy offers a unified view of the application of the physics-informed capability, highlighting where physics-informed learning has been conducted and where the gaps and opportunities are. Finally, we highlight open problems and challenges to inform future research. While still in its early days, the study of physics-informed computer vision has the promise to develop better computer vision models that can improve physical plausibility, accuracy, data efficiency and generalization in increasingly realistic applications

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