The automatic colorization of anime line drawings is a challenging problem in production pipelines.Recent advances in deep neural networks have addressed this problem;however,collectingmany images of colorization targ...The automatic colorization of anime line drawings is a challenging problem in production pipelines.Recent advances in deep neural networks have addressed this problem;however,collectingmany images of colorization targets in novel anime work before the colorization process starts leads to chicken-and-egg problems and has become an obstacle to using them in production pipelines.To overcome this obstacle,we propose a new patch-based learning method for few-shot anime-style colorization.The learning method adopts an efficient patch sampling technique with position embedding according to the characteristics of anime line drawings.We also present a continuous learning strategy that continuously updates our colorization model using new samples colorized by human artists.The advantage of our method is that it can learn our colorization model from scratch or pre-trained weights using only a few pre-and post-colorized line drawings that are created by artists in their usual colorization work.Therefore,our method can be easily incorporated within existing production pipelines.We quantitatively demonstrate that our colorizationmethod outperforms state-of-the-art methods.展开更多
Motion capture is increasingly used in games and movies, but often requires editing before it can be used, for many reasons. The motion may need to be adjusted to correctly interact with virtual objects or to fix prob...Motion capture is increasingly used in games and movies, but often requires editing before it can be used, for many reasons. The motion may need to be adjusted to correctly interact with virtual objects or to fix problems that result from mapping the motion to a character of a different size or, beyond such technical requirements, directors can request stylistic changes.Unfortunately, editing is laborious because of the lowlevel representation of the data. While existing motion editing methods accomplish modest changes, larger edits can require the artist to "re-animate" the motion by manually selecting a subset of the frames as keyframes.In this paper, we automatically find sets of frames to serve as keyframes for editing the motion. We formulate the problem of selecting an optimal set of keyframes as a shortest-path problem, and solve it efficiently using dynamic programming. We create a new simplified animation by interpolating the found keyframes using a naive curve fitting technique. Our algorithm can simplify motion capture to around 10% of the original number of frames while retaining most of its detail. By simplifying animation with our algorithm, we realize a new approach to motion editing and stylization founded on the timetested keyframe interface. We present results that show our algorithm outperforms both research algorithms and a leading commercial tool.展开更多
文摘The automatic colorization of anime line drawings is a challenging problem in production pipelines.Recent advances in deep neural networks have addressed this problem;however,collectingmany images of colorization targets in novel anime work before the colorization process starts leads to chicken-and-egg problems and has become an obstacle to using them in production pipelines.To overcome this obstacle,we propose a new patch-based learning method for few-shot anime-style colorization.The learning method adopts an efficient patch sampling technique with position embedding according to the characteristics of anime line drawings.We also present a continuous learning strategy that continuously updates our colorization model using new samples colorized by human artists.The advantage of our method is that it can learn our colorization model from scratch or pre-trained weights using only a few pre-and post-colorized line drawings that are created by artists in their usual colorization work.Therefore,our method can be easily incorporated within existing production pipelines.We quantitatively demonstrate that our colorizationmethod outperforms state-of-the-art methods.
文摘Motion capture is increasingly used in games and movies, but often requires editing before it can be used, for many reasons. The motion may need to be adjusted to correctly interact with virtual objects or to fix problems that result from mapping the motion to a character of a different size or, beyond such technical requirements, directors can request stylistic changes.Unfortunately, editing is laborious because of the lowlevel representation of the data. While existing motion editing methods accomplish modest changes, larger edits can require the artist to "re-animate" the motion by manually selecting a subset of the frames as keyframes.In this paper, we automatically find sets of frames to serve as keyframes for editing the motion. We formulate the problem of selecting an optimal set of keyframes as a shortest-path problem, and solve it efficiently using dynamic programming. We create a new simplified animation by interpolating the found keyframes using a naive curve fitting technique. Our algorithm can simplify motion capture to around 10% of the original number of frames while retaining most of its detail. By simplifying animation with our algorithm, we realize a new approach to motion editing and stylization founded on the timetested keyframe interface. We present results that show our algorithm outperforms both research algorithms and a leading commercial tool.
