Daily Papers

Our understanding of the physical properties of star-forming galaxies during the Epoch of Reionization (EoR, at z > 6) suffers from degeneracies among the apparent properties of the stars, the nebular gas, and the dust. These degeneracies are most prominent with photometry, which has insufficient (1) spectral resolution and (2) rest-frame spectral coverage. We explore ways to break these degeneracies with a sample of N = 22 high-redshift star-forming galaxies at 7 < z_{phot} leq 9, using some of the deepest existing imaging from JWST/NIRCam and JWST/MIRI with JADES. Key to this study is the imaging from JWST/MIRI at 7.7 mum, which provides coverage of the rest-frame I-band at the observed redshifts. We infer stellar population properties and rest-frame colors using a variety of filter sets and star formation history assumptions to explore the impact of these choices. Evaluating these quantities both with and without the 7.7 mum data point shows that dense spectral coverage with JWST/NIRCam (eight or more filters, including at least one medium-band) can compensate for lacking the rest-frame I-band coverage for the vast majority (approx 80%) of our sample. Furthermore, these galaxy properties are most consistently determined by assuming the delayed-tau star formation history, which provides the smallest offsets and scatters around these offsets when including JWST/MIRI. Within extragalactic surveys like JADES and CEERS, our findings suggest that robust characterization of the stellar population properties and rest-frame colors for high-redshift star-forming galaxies is possible with JWST/NIRCam alone at z approx 8.

We present the results of a systematic search for candidate quiescent galaxies in the distant Universe in eleven JWST fields with publicly available observations collected during the first three months of operations and covering an effective sky area of sim145 arcmin^2. We homogeneously reduce the new JWST data and combine them with existing observations from the Hubble,Space,Telescope. We select a robust sample of sim80 candidate quiescent and quenching galaxies at 3 < z < 5 using two methods: (1) based on their rest-frame UVJ colors, and (2) a novel quantitative approach based on Gaussian Mixture Modeling of the NUV-U, U-V, and V-J rest-frame color space, which is more sensitive to recently quenched objects. We measure comoving number densities of massive (M_stargeq 10^{10.6} M_odot) quiescent galaxies consistent with previous estimates relying on ground-based observations, after homogenizing the results in the literature with our mass and redshift intervals. However, we find significant field-to-field variations of the number densities up to a factor of 2-3, highlighting the effect of cosmic variance and suggesting the presence of overdensities of red quiescent galaxies at z>3, as it could be expected for highly clustered massive systems. Importantly, JWST enables the robust identification of quenching/quiescent galaxy candidates at lower masses and higher redshifts than before, challenging standard formation scenarios. All data products, including the literature compilation, are made publicly available.

In this paper, we present a simple but compelling argument, focusing on galaxy science, for preserving the main imagers and operational modes of the Hubble Space Telescope (HST) for as long as is technically feasible. While star-formation started at redshifts zgtrsim10-13, when the universe was less than 300-500 Myr old, the CSFH did not peak until zsimeq1.9, and has steadily declined since that time. Hence, at least half of all stars in the universe formed in the era where HST provides its unique rest-frame UV view of unobscured young, massive stars tracing cosmic star-formation. By rendering a subset of the 556.3 hours of available HST images in 12 filters of the Hubble Ultra Deep Field (HUDF) in an appropriate mix of colors, we illustrate the unique capabilities of HST for galaxy science emphasizing that rest-frame UV-optical wavelength range. We then contrast this with the 52.7 publicly available hours of JWST/NIRCam images in 8 filters of the same HUDF area from the JADES project, rendering these at the redder near-IR wavelengths to illustrate the unique capabilities of JWST to detect older stellar populations at higher redshifts, as well as very dusty stellar populations and Active Galactic Nuclei (AGN). HST uniquely probes (unobscured) young, hot, massive stars in galaxies, while JWST reveals more advanced stages of older stellar populations, as well as relatively short-lived phases where galaxies produce and shed a lot of dust from intense star-formation, and the very high redshift universe (zgtrsim10-11) not accessible by HST. We conclude that HST and JWST are highly complementary facilities that took decades to build to ensure decades of operation. To maximize return on investment on both HST and JWST, ways will need to be found to operate HST imaging instruments in all relevant modes for as long as possible into the JWST mission.

We present the Red Unknowns: Bright Infrared Extragalactic Survey (RUBIES), providing JWST/NIRSpec spectroscopy of red sources selected across ~150 arcmin^2 from public JWST/NIRCam imaging in the UDS and EGS fields. RUBIES novel observing strategy offers a well-quantified selection function: the survey is optimised to reach high (>70%) completeness for bright and red (F150W-F444W>2) sources that are very rare. To place these rare sources in context, we simultaneously observe a reference sample of the 2<z<7 galaxy population, sampling sources at a rate that is inversely proportional to their number density in the 3D space of F444W magnitude, F150W-F444W colour, and photometric redshift. In total, RUBIES observes ~3000 targets across 1<z_{phot}<10 with both the PRISM and G395M dispersers, and ~1500 targets at z_{phot}>3 using only the G395M disperser. The RUBIES data reveal a highly diverse population of red sources that span a broad redshift range (z_{spec}sim1-9), with photometric redshift scatter and outlier fraction that are 3 times higher than for similarly bright sources that are less red. This diversity is not apparent from the photometric SEDs. Only spectroscopy reveals that the SEDs encompass a mixture of galaxies with dust-obscured star formation, extreme line emission, a lack of star formation indicating early quenching, and luminous active galactic nuclei. As a first demonstration of our broader selection function we compare the stellar masses and rest-frame U-V colours of the red sources and our reference sample: red sources are typically more massive (M_*sim10^{10-11.5} M_odot) across all redshifts. However, we find that the most massive systems span a wide range in U-V colour. We describe our data reduction procedure and data quality, and publicly release the reduced RUBIES data and vetted spectroscopic redshifts of the first half of the survey through the DJA.

Line art colorization plays a crucial role in hand-drawn animation production, where digital artists manually colorize segments using a paint bucket tool, guided by RGB values from character color design sheets. This process, often called paint bucket colorization, involves two main tasks: keyframe colorization, where colors are applied according to the character's color design sheet, and consecutive frame colorization, where these colors are replicated across adjacent frames. Current automated colorization methods primarily focus on reference-based and segment-matching approaches. However, reference-based methods often fail to accurately assign specific colors to each region, while matching-based methods are limited to consecutive frame colorization and struggle with issues like significant deformation and occlusion. In this work, we introduce inclusion matching, which allows the network to understand the inclusion relationships between segments, rather than relying solely on direct visual correspondences. By integrating this approach with segment parsing and color warping modules, our inclusion matching pipeline significantly improves performance in both keyframe colorization and consecutive frame colorization. To support our network's training, we have developed a unique dataset named PaintBucket-Character, which includes rendered line arts alongside their colorized versions and shading annotations for various 3D characters. To replicate industry animation data formats, we also created color design sheets for each character, with semantic information for each color and standard pose reference images. Experiments highlight the superiority of our method, demonstrating accurate and consistent colorization across both our proposed benchmarks and hand-drawn animations.

Video colorization is a challenging task that involves inferring plausible and temporally consistent colors for grayscale frames. In this paper, we present ColorDiffuser, an adaptation of a pre-trained text-to-image latent diffusion model for video colorization. With the proposed adapter-based approach, we repropose the pre-trained text-to-image model to accept input grayscale video frames, with the optional text description, for video colorization. To enhance the temporal coherence and maintain the vividness of colorization across frames, we propose two novel techniques: the Color Propagation Attention and Alternated Sampling Strategy. Color Propagation Attention enables the model to refine its colorization decision based on a reference latent frame, while Alternated Sampling Strategy captures spatiotemporal dependencies by using the next and previous adjacent latent frames alternatively as reference during the generative diffusion sampling steps. This encourages bidirectional color information propagation between adjacent video frames, leading to improved color consistency across frames. We conduct extensive experiments on benchmark datasets, and the results demonstrate the effectiveness of our proposed framework. The evaluations show that ColorDiffuser achieves state-of-the-art performance in video colorization, surpassing existing methods in terms of color fidelity, temporal consistency, and visual quality.

Many colour maps provided by vendors have highly uneven perceptual contrast over their range. It is not uncommon for colour maps to have perceptual flat spots that can hide a feature as large as one tenth of the total data range. Colour maps may also have perceptual discontinuities that induce the appearance of false features. Previous work in the design of perceptually uniform colour maps has mostly failed to recognise that CIELAB space is only designed to be perceptually uniform at very low spatial frequencies. The most important factor in designing a colour map is to ensure that the magnitude of the incremental change in perceptual lightness of the colours is uniform. The specific requirements for linear, diverging, rainbow and cyclic colour maps are developed in detail. To support this work two test images for evaluating colour maps are presented. The use of colour maps in combination with relief shading is considered and the conditions under which colour can enhance or disrupt relief shading are identified. Finally, a set of new basis colours for the construction of ternary images are presented. Unlike the RGB primaries these basis colours produce images whereby the salience of structures are consistent irrespective of the assignment of basis colours to data channels.

How to effectively explore spatial-temporal features is important for video colorization. Instead of stacking multiple frames along the temporal dimension or recurrently propagating estimated features that will accumulate errors or cannot explore information from far-apart frames, we develop a memory-based feature propagation module that can establish reliable connections with features from far-apart frames and alleviate the influence of inaccurately estimated features. To extract better features from each frame for the above-mentioned feature propagation, we explore the features from large-pretrained visual models to guide the feature estimation of each frame so that the estimated features can model complex scenarios. In addition, we note that adjacent frames usually contain similar contents. To explore this property for better spatial and temporal feature utilization, we develop a local attention module to aggregate the features from adjacent frames in a spatial-temporal neighborhood. We formulate our memory-based feature propagation module, large-pretrained visual model guided feature estimation module, and local attention module into an end-to-end trainable network (named ColorMNet) and show that it performs favorably against state-of-the-art methods on both the benchmark datasets and real-world scenarios. The source code and pre-trained models will be available at https://github.com/yyang181/colormnet.

Point-based interactive colorization techniques allow users to effortlessly colorize grayscale images using user-provided color hints. However, point-based methods often face challenges when different colors are given to semantically similar areas, leading to color intermingling and unsatisfactory results-an issue we refer to as color collapse. The fundamental cause of color collapse is the inadequacy of points for defining the boundaries for each color. To mitigate color collapse, we introduce a lasso tool that can control the scope of each color hint. Additionally, we design a framework that leverages the user-provided lassos to localize the attention masks. The experimental results show that using a single lasso is as effective as applying 4.18 individual color hints and can achieve the desired outcomes in 30% less time than using points alone.

Colorizing line art is a pivotal task in the production of hand-drawn cel animation. This typically involves digital painters using a paint bucket tool to manually color each segment enclosed by lines, based on RGB values predetermined by a color designer. This frame-by-frame process is both arduous and time-intensive. Current automated methods mainly focus on segment matching. This technique migrates colors from a reference to the target frame by aligning features within line-enclosed segments across frames. However, issues like occlusion and wrinkles in animations often disrupt these direct correspondences, leading to mismatches. In this work, we introduce a new learning-based inclusion matching pipeline, which directs the network to comprehend the inclusion relationships between segments rather than relying solely on direct visual correspondences. Our method features a two-stage pipeline that integrates a coarse color warping module with an inclusion matching module, enabling more nuanced and accurate colorization. To facilitate the training of our network, we also develope a unique dataset, referred to as PaintBucket-Character. This dataset includes rendered line arts alongside their colorized counterparts, featuring various 3D characters. Extensive experiments demonstrate the effectiveness and superiority of our method over existing techniques.

Video colour editing is a crucial task for content creation, yet existing solutions either require painstaking frame-by-frame manipulation or produce unrealistic results with temporal artefacts. We present a practical, training-free framework that makes precise video colour editing accessible through an intuitive interface while maintaining professional-quality output. Our key insight is that by decoupling spatial and temporal aspects of colour editing, we can better align with users' natural workflow -- allowing them to focus on precise colour selection in key frames before automatically propagating changes across time. We achieve this through a novel technical framework that combines: (i) a simple point-and-click interface merging grid-based colour selection with automatic instance segmentation for precise spatial control, (ii) bidirectional colour propagation that leverages inherent video motion patterns, and (iii) motion-aware blending that ensures smooth transitions even with complex object movements. Through extensive evaluation on diverse scenarios, we demonstrate that our approach matches or exceeds state-of-the-art methods while eliminating the need for training or specialized hardware, making professional-quality video colour editing accessible to everyone.

The recently launched James Webb Space Telescope (JWST) is opening new observing windows on the distant universe. Among JWST's instruments, the Mid Infrared Instrument (MIRI) offers the unique capability of imaging observations at wavelengths lambda > 5mum. This enables unique access to the rest frame near infra-red (NIR, lambda ge 1\mum) emission from galaxies at redshifts z>4 and the visual (lambda gtrsim 5000\AA) rest frame for z>9. We here report on the guaranteed time observations (GTO) from the MIRI European Consortium, of the Hubble Ultra Deep Field (HUDF), forming the MIRI Deep Imaging Survey (MIDIS), consisting of an on source integration time of sim41 hours in the MIRI/F560W (5.6 mum) filter. To our knowledge, this constitutes the longest single filter exposure obtained with JWST of an extragalactic field as yet.