Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai
Color histogram
In image processing and photography, a color histogram is a representation of the distribution of colors in an image. For digital images, a color histogram represents the number of pixels that have colors in each of a fixed list of color ranges that span the image's color space (the set of all possible colors). A color histogram can be built for any kind of color space, although the term is more often used for three-dimensional spaces such as RGB or HSV. For monochromatic images, the term intensity histogram may be used instead. For multi-spectral images, where each pixel is represented by an arbitrary number of measurements (for example, beyond the three measurements in RGB), a color histogram is N-dimensional, with N being the number of measurements taken. Each measurement has its own wavelength range of the light spectrum, some of which may be outside the visible spectrum. If the set of possible color values is sufficiently small, each of those colors may be placed on a range by itself; then the histogram is merely the count of pixels that have each possible color. Most often, the space is divided into an appropriate number of ranges, often arranged as a regular grid, each containing many similar color values. A color histogram may also be represented and displayed as a smooth function defined over the color space that approximates the pixel counts. Like other kinds of histograms, a color histogram is a statistic that can be viewed as an approximation of an underlying continuous distribution of color values. == Overview == Color histograms are flexible constructs that can be built from images in various color spaces, whether RGB, rg chromaticity or any other color space of any dimension. A histogram of an image is produced first by discretization of the colors in the image into a number of bins, and counting the number of image pixels in each bin. For example, a red–blue chromaticity histogram can be formed by first normalizing color pixel values by dividing RGB values by R+G+B, then quantizing the normalized R and B coordinates into N bins each. A two-dimensional histogram of red–blue chromaticity divided into four bins (N=4) may yield a histogram similar to this table: A histogram can be N-dimensional. Although harder to display, a three-dimensional color histogram for the above example could be thought of as four separate red–blue histograms, where each of the four histograms contains the red–blue values for a bin of green (0–63, 64–127, 128–191, and 192–255). The histogram provides a compact summarization of the distribution of data in an image. A color histogram of an image is relatively invariant with translation and rotation about the viewing axis, and varies only slowly with the angle of view. By comparing histogram signatures of two images and matching the color content of one image with the other, a color histogram is particularly well suited for the problem of recognizing an object of unknown position and rotation within a scene. Importantly, translation of an RGB image into the illumination invariant rg-chromaticity space allows the histogram to operate well in varying light levels. 1. What is a histogram? A histogram is a graphical representation of the number of pixels in an image. In a more simple way to explain, a histogram is a bar graph, whose X-axis represents the tonal scale (black at the left and white at the right), and Y-axis represents the number of pixels in an image in a certain area of the tonal scale. For example, the graph of a luminance histogram shows the number of pixels for each brightness level (from black to white), and when there are more pixels, the peak at the certain luminance level is higher. 2. What is a color histogram? A color histogram of an image represents the distribution of the composition of colors in the image. It shows different types of colors appeared and the number of pixels in each type of the colors appeared. The relation between a color histogram and a luminance histogram is that a color histogram can be also expressed as “three luminance histograms”, each of which shows the brightness distribution of each individual red/green/blue color channel. == Characteristics of a color histogram == A color histogram focuses only on the proportion of the number of different types of colors, regardless of the spatial location of the colors. The values of a color histogram are from statistics. They show the statistical distribution of colors and the essential tone of an image. In general, as the color distributions of the foreground and background in an image are different, there might be a bimodal distribution in the histogram. For the luminance histogram alone, there is no perfect histogram and in general, the histogram can tell whether it is over-exposure or not, but there are times when you might think the image is over exposed by viewing the histogram; however, in reality it is not. == Principles of the formation of a color histogram == The formation of a color histogram is rather simple. From the definition above, we can simply count the number of pixels for each 256 scales in each of the 3 RGB channel, and plot them on 3 individual bar graphs. In general, a color histogram is based on a certain color space, such as RGB or HSV. When we compute the pixels of different colors in an image, if the color space is large, then we can first divide the color space into certain numbers of small intervals. Each of the intervals is called a bin. This process is called color quantization. Then, by counting the number of pixels in each of the bins, we get a color histogram of the image. The concrete steps of the principles can be viewed in Example 1. == Examples == === Example 1 === Given the following image of a cat (an original version and a version that has been reduced to 256 colors for easy histogram purposes), the following data represents a color histogram in the RGB color space, using four bins. Bin 0 corresponds to intensities 0–63 Bin 1 is 64–127 Bin 2 is 128–191 and Bin 3 is 192–255. === Example 2 === Application in camera: Nowadays, some cameras have the ability to show the 3 color histograms when we take photos. We can examine clips (spikes on either the black or white side of the scale) in each of the 3 RGB color histograms. If we find one or more clipping on a channel of the 3 RGB channels, then this would result in a loss of detail for that color. To illustrate this, consider this example: We know that each of the three R, G, B channels has a range of values from 0 to 255 (8 bit). So consider a photo that has a luminance range of 0–255. Assume the photo we take is made of 4 blocks that are adjacent to each other and we set the luminance scale for each of the 4 blocks of original photo to be 10, 100, 205, 245. Thus, the image looks like the topmost figure on the right. Then, we overexpose the photo a little, say, the luminance scale of each block is increased by 10. Thus, the luminance scale for each of the 4 blocks of new photo is 20, 110, 215, 255. Then, the image looks like the second figure on the right. There is not much difference between both figures, all we can see is that the whole image becomes brighter (the contrast for each of the blocks remain the same). Now, we overexpose the original photo again, this time the luminance scale of each block is increased by 50. Thus, the luminance scale for each of the 4 blocks of the new photo is 60, 150, 255, 255. The new image now looks like the third figure on the right. Note that the scale for the last block is 255 instead of 295, for 255 is the top scale and thus the last block has clipped. When this happens, we lose the contrast of the last 2 blocks, and thus we cannot recover the image no matter how we adjust it. To conclude, when taking photos with a camera that displays histograms, always keep the brightest tone in the image below the largest scale 255 on the histogram in order to avoid losing details. == Drawbacks and other approaches == The main drawback of histograms for classification is that the representation is dependent on the color of the object being studied, ignoring its shape and texture. Color histograms can potentially be identical for two images with different object content which happens to share color information. Conversely, without spatial or shape information, similar objects of different color may be indistinguishable based solely on color histogram comparisons. There is no way to distinguish a red and white cup from a red and white plate. Put it another way: histogram-based algorithms have no concept of a generic 'cup', and a model of a red and white cup is no use when given an otherwise identical blue and white cup. Another problem is that color histograms have high sensitivity to noisy interference such as lighting intensity changes and quantization errors. High dimensionality (bins) color histograms are also another issue. Some color histogram feature spaces often occupy more than one hundred di
WaveNet
WaveNet is a deep neural network for generating raw audio. It was created by researchers at London-based AI firm DeepMind. The technique, outlined in a paper in September 2016, is able to generate relatively realistic-sounding human-like voices by directly modelling waveforms using a neural network method trained with recordings of real speech. Tests with US English and Mandarin reportedly showed that the system outperforms Google's best existing text-to-speech (TTS) systems, although as of 2016 its text-to-speech synthesis still was less convincing than actual human speech. WaveNet's ability to generate raw waveforms means that it can model any kind of audio, including music. == History == Generating speech from text is an increasingly common task thanks to the popularity of software such as Apple's Siri, Microsoft's Cortana, Amazon Alexa and the Google Assistant. Most such systems use a variation of a technique that involves concatenated sound fragments together to form recognisable sounds and words. The most common of these is called concatenative TTS. It consists of large library of speech fragments, recorded from a single speaker that are then concatenated to produce complete words and sounds. The result sounds unnatural, with an odd cadence and tone. The reliance on a recorded library also makes it difficult to modify or change the voice. Another technique, known as parametric TTS, uses mathematical models to recreate sounds that are then assembled into words and sentences. The information required to generate the sounds is stored in the parameters of the model. The characteristics of the output speech are controlled via the inputs to the model, while the speech is typically created using a voice synthesiser known as a vocoder. This can also result in unnatural sounding audio. == Design and ongoing research == === Background === WaveNet is a type of feedforward neural network known as a deep convolutional neural network (CNN). In WaveNet, the CNN takes a raw signal as an input and synthesises an output one sample at a time. It does so by sampling from a softmax (i.e. categorical) distribution of a signal value that is encoded using μ-law companding transformation and quantized to 256 possible values. === Initial concept and results === According to the original September 2016 DeepMind research paper WaveNet: A Generative Model for Raw Audio, the network was fed real waveforms of speech in English and Mandarin. As these pass through the network, it learns a set of rules to describe how the audio waveform evolves over time. The trained network can then be used to create new speech-like waveforms at 16,000 samples per second. These waveforms include realistic breaths and lip smacks – but do not conform to any language. WaveNet is able to accurately model different voices, with the accent and tone of the input correlating with the output. For example, if it is trained with German, it produces German speech. The capability also means that if the WaveNet is fed other inputs – such as music – its output will be musical. At the time of its release, DeepMind showed that WaveNet could produce waveforms that sound like classical music. === Content (voice) swapping === According to the June 2018 paper Disentangled Sequential Autoencoder, DeepMind has successfully used WaveNet for audio and voice "content swapping": the network can swap the voice on an audio recording for another, pre-existing voice while maintaining the text and other features from the original recording. "We also experiment on audio sequence data. Our disentangled representation allows us to convert speaker identities into each other while conditioning on the content of the speech." (p. 5) "For audio, this allows us to convert a male speaker into a female speaker and vice versa [...]." (p. 1) According to the paper, a two-digit minimum amount of hours (c. 50 hours) of pre-existing speech recordings of both source and target voice are required to be fed into WaveNet for the program to learn their individual features before it is able to perform the conversion from one voice to another at a satisfying quality. The authors stress that "[a]n advantage of the model is that it separates dynamical from static features [...]." (p. 8), i. e. WaveNet is capable of distinguishing between the spoken text and modes of delivery (modulation, speed, pitch, mood, etc.) to maintain during the conversion from one voice to another on the one hand, and the basic features of both source and target voices that it is required to swap on the other. The January 2019 follow-up paper Unsupervised speech representation learning using WaveNet autoencoders details a method to successfully enhance the proper automatic recognition and discrimination between dynamical and static features for "content swapping", notably including swapping voices on existing audio recordings, in order to make it more reliable. Another follow-up paper, Sample Efficient Adaptive Text-to-Speech, dated September 2018 (latest revision January 2019), states that DeepMind has successfully reduced the minimum amount of real-life recordings required to sample an existing voice via WaveNet to "merely a few minutes of audio data" while maintaining high-quality results. Its ability to clone voices has raised ethical concerns about WaveNet's ability to mimic the voices of living and dead persons. According to a 2016 BBC article, companies working on similar voice-cloning technologies (such as Adobe Voco) intend to insert watermarking inaudible to humans to prevent counterfeiting, while maintaining that voice cloning satisfying, for instance, the needs of entertainment-industry purposes would be of a far lower complexity and use different methods than required to fool forensic evidencing methods and electronic ID devices, so that natural voices and voices cloned for entertainment-industry purposes could still be easily told apart by technological analysis. == Applications == At the time of its release, DeepMind said that WaveNet required too much computational processing power to be used in real world applications. As of October 2017, Google announced a 1,000-fold performance improvement along with better voice quality. WaveNet was then used to generate Google Assistant voices for US English and Japanese across all Google platforms. In November 2017, DeepMind researchers released a research paper detailing a proposed method of "generating high-fidelity speech samples at more than 20 times faster than real-time", called "Probability Density Distillation". At the annual I/O developer conference in May 2018, it was announced that new Google Assistant voices were available and made possible by WaveNet; WaveNet greatly reduced the number of audio recordings that were required to create a voice model by modeling the raw audio of the voice actor samples.
Neural style transfer
Neural style transfer (NST) software algorithms are able to manipulate digital images, or videos, in order to adopt the appearance or visual style of another image. NST algorithms are characterized by their use of deep neural networks for the sake of image transformation. Common uses for NST are the creation of artificial artwork from photographs, for example by transferring the appearance of famous paintings to user-supplied photographs. Several notable mobile apps use NST techniques for this purpose, including DeepArt and Prisma. This method has been used by artists and designers around the globe to develop new artwork based on existent style(s). == History == NST is an example of image stylization, a problem studied for over two decades within the field of non-photorealistic rendering. The first two example-based style transfer algorithms were image analogies and image quilting. Both of these methods were based on patch-based texture synthesis algorithms. Given a training pair of images–a photo and an artwork depicting that photo–a transformation could be learned and then applied to create new artwork from a new photo, by analogy. If no training photo was available, it would need to be produced by processing the input artwork; image quilting did not require this processing step, though it was demonstrated on only one style. NST was first published in the paper "A Neural Algorithm of Artistic Style" by Leon Gatys et al., originally released to ArXiv 2015, and subsequently accepted by the peer-reviewed CVPR conference in 2016. The original paper used a VGG-19 architecture that has been pre-trained to perform object recognition using the ImageNet dataset. In 2017, Google AI introduced a method that allows a single deep convolutional style transfer network to learn multiple styles at the same time. This algorithm permits style interpolation in real-time, even when done on video media. == Mathematics == This section closely follows the original paper. === Overview === The idea of Neural Style Transfer (NST) is to take two images—a content image p → {\displaystyle {\vec {p}}} and a style image a → {\displaystyle {\vec {a}}} —and generate a third image x → {\displaystyle {\vec {x}}} that minimizes a weighted combination of two loss functions: a content loss L content ( p → , x → ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})} and a style loss L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})} . The total loss is a linear sum of the two: L NST ( p → , a → , x → ) = α L content ( p → , x → ) + β L style ( a → , x → ) {\displaystyle {\mathcal {L}}_{\text{NST}}({\vec {p}},{\vec {a}},{\vec {x}})=\alpha {\mathcal {L}}_{\text{content}}({\vec {p}},{\vec {x}})+\beta {\mathcal {L}}_{\text{style}}({\vec {a}},{\vec {x}})} By jointly minimizing the content and style losses, NST generates an image that blends the content of the content image with the style of the style image. Both the content loss and the style loss measures the similarity of two images. The content similarity is the weighted sum of squared-differences between the neural activations of a single convolutional neural network (CNN) on two images. The style similarity is the weighted sum of Gram matrices within each layer (see below for details). The original paper used a VGG-19 CNN, but the method works for any CNN. === Symbols === Let x → {\textstyle {\vec {x}}} be an image input to a CNN. Let F l ∈ R N l × M l {\textstyle F^{l}\in \mathbb {R} ^{N_{l}\times M_{l}}} be the matrix of filter responses in layer l {\textstyle l} to the image x → {\textstyle {\vec {x}}} , where: N l {\textstyle N_{l}} is the number of filters in layer l {\textstyle l} ; M l {\textstyle M_{l}} is the height times the width (i.e. number of pixels) of each filter in layer l {\textstyle l} ; F i j l ( x → ) {\textstyle F_{ij}^{l}({\vec {x}})} is the activation of the i th {\textstyle i^{\text{th}}} filter at position j {\textstyle j} in layer l {\textstyle l} . A given input image x → {\textstyle {\vec {x}}} is encoded in each layer of the CNN by the filter responses to that image, with higher layers encoding more global features, but losing details on local features. === Content loss === Let p → {\textstyle {\vec {p}}} be an original image. Let x → {\textstyle {\vec {x}}} be an image that is generated to match the content of p → {\textstyle {\vec {p}}} . Let P l {\textstyle P^{l}} be the matrix of filter responses in layer l {\textstyle l} to the image p → {\textstyle {\vec {p}}} . The content loss is defined as the squared-error loss between the feature representations of the generated image and the content image at a chosen layer l {\displaystyle l} of a CNN: L content ( p → , x → , l ) = 1 2 ∑ i , j ( A i j l ( x → ) − A i j l ( p → ) ) 2 {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)={\frac {1}{2}}\sum _{i,j}\left(A_{ij}^{l}({\vec {x}})-A_{ij}^{l}({\vec {p}})\right)^{2}} where A i j l ( x → ) {\displaystyle A_{ij}^{l}({\vec {x}})} and A i j l ( p → ) {\displaystyle A_{ij}^{l}({\vec {p}})} are the activations of the i th {\displaystyle i^{\text{th}}} filter at position j {\displaystyle j} in layer l {\displaystyle l} for the generated and content images, respectively. Minimizing this loss encourages the generated image to have similar content to the content image, as captured by the feature activations in the chosen layer. The total content loss is a linear sum of the content losses of each layer: L content ( p → , x → ) = ∑ l v l L content ( p → , x → , l ) {\displaystyle {\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}})=\sum _{l}v_{l}{\mathcal {L}}_{\text{content }}({\vec {p}},{\vec {x}},l)} , where the v l {\displaystyle v_{l}} are positive real numbers chosen as hyperparameters. === Style loss === The style loss is based on the Gram matrices of the generated and style images, which capture the correlations between different filter responses at different layers of the CNN: L style ( a → , x → ) = ∑ l = 0 L w l E l , {\displaystyle {\mathcal {L}}_{\text{style }}({\vec {a}},{\vec {x}})=\sum _{l=0}^{L}w_{l}E_{l},} where E l = 1 4 N l 2 M l 2 ∑ i , j ( G i j l ( x → ) − G i j l ( a → ) ) 2 . {\displaystyle E_{l}={\frac {1}{4N_{l}^{2}M_{l}^{2}}}\sum _{i,j}\left(G_{ij}^{l}({\vec {x}})-G_{ij}^{l}({\vec {a}})\right)^{2}.} Here, G i j l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})} and G i j l ( a → ) {\displaystyle G_{ij}^{l}({\vec {a}})} are the entries of the Gram matrices for the generated and style images at layer l {\displaystyle l} . Explicitly, G i j l ( x → ) = ∑ k F i k l ( x → ) F j k l ( x → ) {\displaystyle G_{ij}^{l}({\vec {x}})=\sum _{k}F_{ik}^{l}({\vec {x}})F_{jk}^{l}({\vec {x}})} Minimizing this loss encourages the generated image to have similar style characteristics to the style image, as captured by the correlations between feature responses in each layer. The idea is that activation pattern correlations between filters in a single layer captures the "style" on the order of the receptive fields at that layer. Similarly to the previous case, the w l {\displaystyle w_{l}} are positive real numbers chosen as hyperparameters. === Hyperparameters === In the original paper, they used a particular choice of hyperparameters. The style loss is computed by w l = 0.2 {\displaystyle w_{l}=0.2} for the outputs of layers conv1_1, conv2_1, conv3_1, conv4_1, conv5_1 in the VGG-19 network, and zero otherwise. The content loss is computed by w l = 1 {\displaystyle w_{l}=1} for conv4_2, and zero otherwise. The ratio α / β ∈ [ 5 , 50 ] × 10 − 4 {\displaystyle \alpha /\beta \in [5,50]\times 10^{-4}} . === Training === Image x → {\displaystyle {\vec {x}}} is initially approximated by adding a small amount of white noise to input image p → {\displaystyle {\vec {p}}} and feeding it through the CNN. Then we successively backpropagate this loss through the network with the CNN weights fixed in order to update the pixels of x → {\displaystyle {\vec {x}}} . After several thousand epochs of training, an x → {\displaystyle {\vec {x}}} (hopefully) emerges that matches the style of a → {\displaystyle {\vec {a}}} and the content of p → {\displaystyle {\vec {p}}} . As of 2017, when implemented on a GPU, it takes a few minutes to converge. == Extensions == In some practical implementations, it is noted that the resulting image has too much high-frequency artifact, which can be suppressed by adding the total variation to the total loss. Compared to VGGNet, AlexNet does not work well for neural style transfer. NST has also been extended to videos. Subsequent work improved the speed of NST for images by using special-purpose normalizations. In a paper by Fei-Fei Li et al. adopted a different regularized loss metric and accelerated method for training to produce results in real-time (three orders of magnitude faster than Gatys). Their idea was to use not the pixel-based loss defined above but rather a 'perceptual loss' measuring t
Saliency map
In computer vision, a saliency map is an image that highlights either the region on which people's eyes focus first or the most relevant regions for machine learning models. The goal of a saliency map is to reflect the degree of importance of a pixel to the human visual system or an otherwise opaque ML model. For example, in this image, a person first looks at the fort and light clouds, so they should be highlighted on the saliency map. == Application == === Overview === Saliency maps have applications in a variety of different problems. Some general applications: ==== Human eye ==== Image and video compression: The human eye focuses only on a small region of interest in the frame. Therefore, it is not necessary to compress the entire frame with uniform quality. According to the authors, using a salience map reduces the final size of the video with the same visual perception. Image and video quality assessment: The main task for an image or video quality metric is a high correlation with user opinions. Differences in salient regions are given more importance and thus contribute more to the quality score. Image retargeting: It aims at resizing an image by expanding or shrinking the noninformative regions. Therefore, retargeting algorithms rely on the availability of saliency maps that accurately estimate all the salient image details. Object detection and recognition: Instead of applying a computationally complex algorithm to the whole image, we can use it to the most salient regions of an image most likely to contain an object. the primary visual cortex (V1) appears to be responsible for the saliency map, according to the V1 Saliency Hypothesis. ==== Explainable artificial intelligence ==== Saliency maps are a prominent tool in explainable artificial intelligence, providing visual explanations of the decision-making process of machine learning models, particularly deep neural networks. These maps highlight the regions in input data that are most influential on the model's output, effectively indicating where the model is "looking" when making a prediction. In image classification tasks, for example, saliency maps can identify pixels or regions that contribute most to a specific class decision. Developed for convolutional neural networks, saliency mapping techniques range from simply taking the gradient of the class score with respect to the input data to more complex algorithms, such as integrated gradients and class activation mapping. In transformer architecture, attention mechanisms led to analogous saliency maps, such as attention maps, attention rollouts, and class-discriminative attention maps. === Saliency as a segmentation problem === Saliency estimation may be viewed as an instance of image segmentation. In computer vision, image segmentation is the process of partitioning a digital image into multiple segments (sets of pixels, also known as superpixels). The goal of segmentation is to simplify and/or change the representation of an image into something that is more meaningful and easier to analyze. Image segmentation is typically used to locate objects and boundaries (lines, curves, etc.) in images. More precisely, image segmentation is the process of assigning a label to every pixel in an image such that pixels with the same label share certain characteristics. == Algorithms == === Overview === There are three forms of classic saliency estimation algorithms implemented in OpenCV: Static saliency: Relies on image features and statistics to localize the regions of interest of an image. Motion saliency: Relies on motion in a video, detected by optical flow. Objects that move are considered salient. Objectness: Objectness reflects how likely an image window covers an object. These algorithms generate a set of bounding boxes of where an object may lie in an image. In addition to classic approaches, neural-network-based are also popular. There are examples of neural networks for motion saliency estimation: TASED-Net: It consists of two building blocks. First, the encoder network extracts low-resolution spatiotemporal features, and then the following prediction network decodes the spatially encoded features while aggregating all the temporal information. STRA-Net: It emphasizes two essential issues. First, spatiotemporal features integrated via appearance and optical flow coupling, and then multi-scale saliency learned via attention mechanism. STAViS: It combines spatiotemporal visual and auditory information. This approach employs a single network that learns to localize sound sources and to fuse the two saliencies to obtain a final saliency map. There's a new static saliency in the literature with name visual distortion sensitivity. It is based on the idea that the true edges, i.e. object contours, are more salient than the other complex textured regions. It detects edges in a different way from the classic edge detection algorithms. It uses a fairly small threshold for the gradient magnitudes to consider the mere presence of the gradients. So, it obtains 4 binary maps for vertical, horizontal and two diagonal directions. The morphological closing and opening are applied to the binary images to close the small gaps. To clear the blob-like shapes, it utilizes the distance transform. After all, the connected pixel groups are individual edges (or contours). A threshold of size of connected pixel set is used to determine whether an image block contains a perceivable edge (salient region) or not. === Example implementation === First, we should calculate the distance of each pixel to the rest of pixels in the same frame: S A L S ( I k ) = ∑ i = 1 N | I k − I i | {\displaystyle \mathrm {SALS} (I_{k})=\sum _{i=1}^{N}|I_{k}-I_{i}|} I i {\displaystyle I_{i}} is the value of pixel i {\displaystyle i} , in the range of [0,255]. The following equation is the expanded form of this equation. SALS(Ik) = |Ik - I1| + |Ik - I2| + ... + |Ik - IN| Where N is the total number of pixels in the current frame. Then we can further restructure our formula. We put the value that has same I together. SALS(Ik) = Σ Fn × |Ik - In| Where Fn is the frequency of In. And the value of n belongs to [0,255]. The frequencies is expressed in the form of histogram, and the computational time of histogram is O ( N ) {\displaystyle O(N)} time complexity. ==== Time complexity ==== This saliency map algorithm has O ( N ) {\displaystyle O(N)} time complexity. Since the computational time of histogram is O ( N ) {\displaystyle O(N)} time complexity which N is the number of pixel's number of a frame. Besides, the minus part and multiply part of this equation need 256 times operation. Consequently, the time complexity of this algorithm is O ( N + 256 ) {\displaystyle O(N+256)} which equals to O ( N ) {\displaystyle O(N)} . ==== Pseudocode ==== All of the following code is pseudo MATLAB code. First, read data from video sequences. After we read data, we do superpixel process to each frame. Spnum1 and Spnum2 represent the pixel number of current frame and previous pixel. Then we calculate the color distance of each pixel, this process we call it contract function. After this two process, we will get a saliency map, and then store all of these maps into a new FileFolder. ==== Difference in algorithms ==== The major difference between function one and two is the difference of contract function. If spnum1 and spnum2 both represent the current frame's pixel number, then this contract function is for the first saliency function. If spnum1 is the current frame's pixel number and spnum2 represent the previous frame's pixel number, then this contract function is for second saliency function. If we use the second contract function which using the pixel of the same frame to get center distance to get a saliency map, then we apply this saliency function to each frame and use current frame's saliency map minus previous frame's saliency map to get a new image which is the new saliency result of the third saliency function. == Datasets == The saliency dataset usually contains human eye movements on some image sequences. It is valuable for new saliency algorithm creation or benchmarking the existing one. The most valuable dataset parameters are spatial resolution, size, and eye-tracking equipment. Here is part of the large datasets table from MIT/Tübingen Saliency Benchmark datasets, for example. To collect a saliency dataset, image or video sequences and eye-tracking equipment must be prepared, and observers must be invited. Observers must have normal or corrected to normal vision and must be at the same distance from the screen. At the beginning of each recording session, the eye-tracker recalibrates. To do this, the observer fixates their gaze on the screen center. The session is then started, and saliency data are collected by showing sequences and recording eye gazes. The eye-tracking device is a high-speed camera, capable of recording eye movements at least 250 fr
Irwin Sobel
Irwin Sobel (born September 12, 1940) is a scientist and researcher in digital image processing. == Biography == Irwin Sobel was born in New York City. He graduated from MIT in 1961 and completed his Ph.D. research at the Stanford Artificial Intelligence Project (SAIL) with thesis Camera Models and Machine Perception. His Ph.D. advisor was Jerome A. Feldman. Starting in 1973, he spent nine years doing postdoctoral research at Columbia University. After 1982, he worked as a Senior Researcher at HP Labs. == Sobel operator == In 1968, Sobel gave a talk entitled "An Isotropic 3x3 Image Gradient Operator" at SAIL; this method became known as the Sobel operator. It was developed jointly with a colleague, Gary Feldman, also at SAIL.
DreamLab
DreamLab was a volunteer computing Android and iOS app launched in 2015 by Imperial College London and the Vodafone Foundation. It was discontinued on 2nd April 2025. == Description == The app helped to research cancer, COVID-19, new drugs and tropical cyclones. To do this, DreamLab accessed part of the device's processing power, with the user's consent, while the owner charged their smartphone, to speed up the calculations of the algorithms from Imperial College London. The aim of the tropical cyclone project was to prepare for climate change risks. Other projects aimed to find existing drugs and food molecules that could help people with COVID-19 and other diseases. The performance of 100,000 smartphones would reach the annual output of all research computers at Imperial College in just three months, with a nightly runtime of six hours. The app was developed in 2015 by the Garvan Institute of Medical Research in Sydney and the Vodafone Foundation. In May 2020, the project had over 490,000 registered users.