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Neural networks are becoming central in several areas of computer vision and image processing and different architectures have been proposed to solve specific problems. The impact of the loss layer of neural networks, however, has not received much attention in the context of image processing: the default and virtually only choice is 2. In this paper, we bring attention to alternative choices for image restoration. In particular, we show the importance of perceptually-motivated losses when the resulting image is to be evaluated by a human observer. We compare the performance of several losses, and propose a novel, differentiable error function. We show that the quality of the results improves significantly with better loss functions, even when the network architecture is left unchanged.

Semantic understanding of visual scenes is one of the holy grails of computer vision. Despite efforts of the community in data collection, there are still few image datasets covering a wide range of scenes and object categories with pixel-wise annotations for scene understanding. In this work, we present a densely annotated dataset ADE20K, which spans diverse annotations of scenes, objects, parts of objects, and in some cases even parts of parts. Totally there are 25k images of the complex everyday scenes containing a variety of objects in their natural spatial context. On average there are 19.5 instances and 10.5 object classes per image. Based on ADE20K, we construct benchmarks for scene parsing and instance segmentation. We provide baseline performances on both of the benchmarks and re-implement the state-ofthe-art models for open source. We further evaluate the effect of synchronized batch normalization and find that a reasonably large batch size is crucial for the semantic segmentation performance. We show that the networks trained on ADE20K are able to segment a wide variety of scenes and objects 1 .

We introduce PixelPlayer, a system that, by leveraging large amounts of unlabeled videos, learns to locate image regions which produce sounds and separate the input sounds into a set of components that represents the sound from each pixel. Our approach capitalizes on the natural synchronization of the visual and audio modalities to learn models that jointly parse sounds and images, without requiring additional manual supervision. Experimental results on a newly collected MUSIC dataset show that our proposed Mix-and-Separate framework outperforms several baselines on source separation. Qualitative results suggest our model learns to ground sounds in vision, enabling applications such as independently adjusting the volume of sound sources.