Controllable Animation of Fluid Elements in Still Images

TL;DR

This paper introduces a controllable method for animating fluid elements in still images to create realistic cinemagraphs, using user inputs and a GAN-refined optical flow approach.

Contribution

It presents a novel interactive framework combining user-guided flow estimation and GAN refinement to animate fluid elements in still images for realistic cinemagraph generation.

Findings

Outperforms baseline methods in qualitative and quantitative evaluations

Enables animation in directions not present in training data

Produces realistic fluid motion in generated cinemagraphs

Abstract

We propose a method to interactively control the animation of fluid elements in still images to generate cinemagraphs. Specifically, we focus on the animation of fluid elements like water, smoke, fire, which have the properties of repeating textures and continuous fluid motion. Taking inspiration from prior works, we represent the motion of such fluid elements in the image in the form of a constant 2D optical flow map. To this end, we allow the user to provide any number of arrow directions and their associated speeds along with a mask of the regions the user wants to animate. The user-provided input arrow directions, their corresponding speed values, and the mask are then converted into a dense flow map representing a constant optical flow map (FD). We observe that FD, obtained using simple exponential operations can closely approximate the plausible motion of elements in the image. We further refine computed dense optical flow map FD using a generative-adversarial network (GAN) to obtain a more realistic flow map. We devise a novel UNet based architecture to autoregressively generate future frames using the refined optical flow map by forward-warping the input image features at different resolutions. We conduct extensive experiments on a publicly available dataset and show that our method is superior to the baselines in terms of qualitative and quantitative metrics. In addition, we show the qualitative animations of the objects in directions that did not exist in the training set and provide a way to synthesize videos that otherwise would not exist in the real world.