An example of how other restoration tools compare to GFP-GAN. Wang, Li, Zhang, Shan
We’ve reached a point where AI photo restoration tools are relatively common. But if you want to fix a family photo for free, you’re almost guaranteed to end up with terrible results. That’s why Tencent’s AI researchers launched GFP-GAN, a free and open-source restoration tool that takes just seconds to fix an old photo.
The GFP-GAN (Generative Facial Prior-Generative Adversarial Network) is quite unique. Unlike most AI restoration tools, it aims to fix old photos without obscuring the identity of their subject. That means clearing noise, patching creases, bringing out detail, and enhancing color with just a bit of guesswork.
As you can see in the above images, GFP-GAN doesn’t add much to photos. It simply cleans things up and, when necessary, fills in some gaps. Subjects aren’t losing their facial hair or mutating into a stranger. This is partially thanks to NVIDIA’s StyleGAN-2, which Tencent researchers use alongside their own GFP-GAN model. (NVIDIA’s model made waves in 2020 when it recreated Pac Man, the arcade game, from scratch. It’s good at making safe, educated guesses.)
Now, AI restoration tools are never perfect, and GFP-GAN does its fair share of guesswork. Tencent researchers warn that restored photos may not be a satisfactory resolution, and that in some cases, family members may look a bit off. If you’re unlucky, they could even transform into another person.
You can try GFP-GAN now in your browser or download the source code at Github. In theory, anyone can take GFP-GAN and tweak it to fulfill different tasks or integrate it with new software.
South Sydney enforcer Tom Burgess has taken the early guilty plea and will be sidelined for one week after he was sent off for a high shot on Saturday night.
A lazy swinging arm collected Sharks center Ronaldo Mulitalo high on the halfway line with three minutes left in golden point.
Burgess was charged with a careless high tackle and will miss next week’s clash against the Warriors.
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Burgess was sitting off in the loss.Source: FOX SPORTS
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The Rabbitohs were penalized over the shot and three tackles later Cronulla halfback Nicho Hynes’ slotted the match-winning field goal.
“High tackle Burgess, it’s a big problem, it’s on halfway,” Dan Ginnane said on Fox League.
“No matter what it’s a penalty to Cronulla, but what is the aftermath.
Ooft, a bit of force in that from Burgess. The players from Cronulla have just seen a replay and that’s got them bubbling again.
“Gone. Sit off. Tom Burgess straight from the field and they will finish with 12 and they have three and a half minutes to hold on with 12.”
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Co-commentator Steve Roach believes Burgess was unlucky to be penalized, let alone sent off.
“He was just trying to do something for his team, a bit over the top but I don’t think he hit him in the head actually, it slid up,” Roach said.
Hynes kicked for touch and three tackles later sent the home crowd into raptures by slotting a golden point field goal.
“Nicho Hynes is ice cool, it’s Cronulla’s night, they’ve done it again at the death in the Shire,” Ginnane said.
“It might be the moment that catapults them into the final four.”
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The inquiry into Queensland Police Service’s response to domestic violence has heard Aboriginal community-controlled organizations must act as first responders for First Nations women to feel safe reporting their experiences.
Dr Marlene Longbottom has told the court many Aboriginal and Torres Strait Islander women are unwilling to come forward and share their experiences of domestic violence, as the inquest continued in Brisbane on Thursday.
She drew on her research undertaken as part of the 2018-2019 First Response Project, including findings that outlined why Aboriginal and Torres Strait Islander women are reluctant to report domestic violence to the police and the desperate need for an alternative option.
“First of all, [an Aboriginal community-controlled organisation] would be culturally safe. A police station is not culturally safe,” she said.
“When it comes to the retraumatizing of victim survivors when they’re making a complaint or reporting violence, they have to tell their story over and over and over again.
“There has to be alternative ways for Aboriginal and Torres Strait Islander women to report violence and not necessarily [be] reliant on the police and the police station, because it’s likely that racialized and gendered experiences will occur and [also] further discrimination.
“The other layered context to this is the fact that police being mandatory reporters has the potential for removal of children – we have all of these complex factors.
“So Aboriginal community-controlled organisations… could actually be places where they’re safe, they’re able to come to and actually get the support that they need in a holistic and comprehensive way.”
Dr Marlene Longbottom (far left) took part in NITV’s ‘We Say No More’ panel, offering perspective on domestic and family violence in First Nations communities. Source: NITV
Racism ’embedded’ in policing culture
The project, which was funded by the Lowitja Institute and was part of Dr Longbottom’s PhD, stated the evidence behind the academic’s personal experiences.
“My research… was an affirmation about what I was seeing as I was growing up in Aboriginal community, with Aboriginal women experiencing violence, but also my own personal lived experience” she said.
“The PhD, what it taught me was that racism is embedded within policing culture. It actually comes out in the racial and gender-based micro and macro aggressions within these structures and systems.
“What I also found was that interpersonally, if a person is displaying certain behaviors that can be seen to be a discriminatory or a racialized experience, that then layers the Aboriginal woman’s experience.
“They’re layered in terms of the Aboriginal woman reporting the situation or the experience, and then having to navigate these attitudes or behaviors by police and self-regulate emotions and thoughts and feelings in that process.”
In her submission provided to the Women’s Safety and Justice Task Force, Dr Longbottom also “urged caution” against the rollout of a women’s only police station as a solution to First Nations women currently not reporting to police stations.
“Again, it comes back to the cultural safety. You can’t just add women and stir,” she said.
“What we see is white services did not support or provide culturally safe services for Aboriginal communities.
“This is why a lot of people get frustrated because there’s a perception that what works for white women will work for Aboriginal and Torres Strait Islander women and that’s simply not the case.
“There’s a whole cultural construct that’s being overlooked and missed… Again, it comes back to a racialized space, and I can’t emphasize enough that we need to cut to the chase and start looking at how race actually impacts service provision and access to services.”
More than 13 million people across the Northwest are under heat alerts Sunday, CNN meteorologist Haley Brink said. Major cities impacted include Portland; Seattle; Billings, Montana; and Boise, Idaho.
In Oregon, officials believe at least six deaths over the past week were heat-related.
The most recent death was reported Saturday in Clackamas County.
“The elderly male who died was in his home that had a non-functioning air conditioner,” the county said in a news release. The medical examiner’s office is investigating the official cause of death.
Five other suspected heat-related deaths happened in Multnomah, Clackamas, Umatilla and Marion counties, Oregon State Police spokesperson Mindy McCartt said Friday.
The official causes of those deaths are also under investigation, McCartt said.
The temperature at Portland International Airport reached or exceeded 95 degrees for “6 straight days, with 3 of those at or just above 100,” the National Weather Service said Saturday.
Portland remains under an excessive heat warning Sunday, the weather service said.
The Oregon Department of Emergency Management tweeted resources to get help, including a map showing cooling centers in the state and details on how to get transportation.
But the heat wave scorching the Northwest will ease up this week.
The most extreme temperatures have shifted away from the coast and into interior portions of the Northwest, Brink said Sunday.
“This dome of heat will shift into the northern Plains by Tuesday and into the Midwest by Wednesday,” she said. “And even the Northeast will get into above average temperatures by Thursday and Friday.”
This just in: Sony has officially “killed” the PlayStation 4.
The PS4 couldn’t quite sell a few million more units to reach the 120 million mark.
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This is one of the biggest takeaways from Sony’s latest gaming earnings report. Make no mistake, the focus is still on the slight hit that video game unit sales took in the last quarter. But, as TweakTown points out, it also served as the “death certification” of the PlayStation 4.
According to TweakTown, all the Sony earnings reports from 2014 until the quarter before its latest one had a section specifically for PS4 console shipments. The Q122 report did not have such a section. Instead, Sony replaced it with a section for PS5 sales. This is the signal for the end of the PS4. Then again, this was a long time coming. Sony first launched the PS4 in 2013. With this “confirmation”, it appears that Sony’s earlier statement that it will make a million more PS4 units for the year was for the last batch.
Now that Sony will stop producing more PS4 units, PS4 sales will top out at 117.2 million. It’s not quite enough to topple the PlayStation 2’s record at 155 million but it should secure a top 5 finish of all time as the Nintendo Switch is expected to eclipse its sales in the next few years after already outselling the PS4 in the United States.
The PS4’s place as the fourth best-selling console in history is probably safe for a couple of years.
At the end of the day, this is good news for PlayStation fans. Sony eventually had to stop supporting the eighth-generation console. With this revelation, God of War: Ragnarok is the last big exclusive to be playable on the PS4. Although this would mean that PS4 owners will have to upgrade to the PS5 to enjoy future exclusives, Sony is making sure that more of its flagship console will become available. In the same report, Sony confirmed that it will start to ship more PS5 consoles this fiscal year than ever before.
If Sony succeeds with its plans, it will ship 18 million PS5 systems through the current fiscal year. This is a new PlayStation sales record.
In the meantime, PS4 and PS5 owners can enjoy the PS Plus free games lineup for next month starting on August 2. A boatload of Yakuza games is also headed to the PS Plus Extra and Premium lineup in the next few months.
Yot’s battle time on Netflix’s cooking competition Iron Chef: Quest for an Iron Legend, and celebrity chef Curtis Stone is facing challenger Mason Hereford. Their task? To cook five courses in 60 minutes with the surprise ingredient (lamb). Each dish must be inspired by street food and cooked by fire.
“Allez cuisine!” shouts the host. Stone throws a whole lamb over his shoulder and runs with it to the workbench. He saws at the lamb neck, pounds furiously at spices and puffs into a charcoal blower. After a frantic hour, both chefs have miraculously created five gorgeous courses.
Drama, fire and closeup shots of the most mouth-watering dishes are just some of the reasons why we love reality cooking shows. But how do they do it? How can you seamlessly conjure up photogenic phos and telegenic tartines? Legend has it that eyeliner makes great grill marks on steak, glue looks just like ice-cold milk and that car oil gives meat a lovely sheen. So, how much behind-the-scenes “magic” is involved?
‘There’s no ‘glam squad’ touching up your makeup in the middle of a battle,’ Curtis Stone says of Iron Chef. Photograph: Adam Rose/Netflix
Very little, says Kate Nichols, a former chef who has worked as a food producer on many major shows, most recently SBS’s the Cook Up with Adam Liaw.
“Our audiences are smart,” she says. “You can’t get away with fake food with high-definition cameras, and once you start touching it up, you lose the essence of the dish.”
Because the show is about “real, home-cooked food,” Nichols says the approach is “Adam [Liaw] puts his recipe in the oven and takes it out of the oven.”
“We don’t touch up or replate dishes unless the sauce has set. If it’s a starchy food like risotto, then we might spritz it with water and olive oil, but that’s it.”
Stone (who, incidentally, triumphed in the lamb battle) affirms that on Iron Chef, what you see is what you get.
‘adam [Liaw] puts his recipe in the oven and takes it out of the oven’ on the Cook Up. Photograph: SBS
“People always ask me if it’s real. Are the time pressures real? It’s legit – the craziness, not knowing what you’re using beforehand, the running around the kitchen … On Iron Chef they like the gritty bits and don’t care if you get messy. There’s no ‘glam squad’ touching up your makeup in the middle of a battle.”
In episode one, Stone presented the judges with a lamb arepa served under a glass dome filled with smoke. “I was clearly a little nervous as I was carrying it up. You can hear the cloches shaking in my hand! You’ve got to hold the plates perfectly still, walk across the room and describe something without huffing and puffing.”
Time pressure is also an issue for the people behind the cameras. Producer and director Lin Jie Kong traveled around Australia with comedian Jennifer Wong, visiting regional Chinese restaurants for ABC’s Chopsticks or Fork?
“Our show was different from those where everything is beautifully stylized and they’re in a controlled environment with a crew of 20. We had a crew of three, so it was incredibly low budget.”
The Kitchen at the Gawler Palace, South Australia, featured on ABC’s Chopsticks or Fork? Photograph: ABC/Teresa Tan
Kong had just two days to shoot each restaurant, typically filming between lunch and dinner.
To ensure that the chefs didn’t need to make dishes twice, she shot the preparation in the kitchen while the other crew members set up in the dining room, ready to get the “hero shot” as the dish emerged.
“We are rolling as soon as the dish hits the lazy Susan. You only have minutes to get the shot where you see steam rising or the broth glistening and before sauces start congealing.”
Small and awkward kitchens also present a physical challenge. “I’m not that tall and a lot of the workstations are high and the woks are deep. To film inside the woks, I’d have to raise the camera really high above my head, which is quite difficult, especially if they’re stir frying for five minutes and I’m trying to get that slow-motion stir-fry shot .”
Iron Chef is big budget and plentifully resourced, with, Stone reports, an art department that makes everything “big and beautiful.” There’s a culinary team, too. “If you ask for a rotisserie with a live fire bed, they just roll one in. Or you say: ‘I need an inversion circulator’ and they hand you one.”
But while a big budget expands creative possibilities on both sides of the camera, it can’t do a thing about the ticking clock. “Iron Chef is similar to a restaurant where your guests arrive, they sit down and order and you have 15 minutes to get them an appetizer before they get restless.”
Kong found stir-fries – a staple of Chinese cooking – were not naturally photogenic, because ‘they’re saucy and flat’. Sweet and Sour Barramundi at Happy Garden in Darwin, on ABC’s Chopsticks or Forks. Photograph: ABC/Teresa Tan
Keeping calm on set is essential. “It’s a mental game. You are constantly creating dishes in your mind while making sure that it’s all coming together on the plate,” Stone says. “There’s cameras everywhere, producers asking you questions, you’re worried about what the other team is doing, you have sous chefs to keep an eye on … That 60 minutes flashes by, then you think, ‘Oh my God, what did I serve?’”
For non-competitive shows, organization minimizes the risk of on-set disasters. Nichols describes the Cook Up as “a military operation.”
“All the refrigeration, storage and cleaning is kept like a commercial kitchen. On set, it’s all about being prepared for any last-minute problems and having a sense of how to cook food and knowing how it will react.
“Anything that melts, solidifies or is structurally unsound is challenging!”
There are other constraints too. “The studio lighting is quite harsh, so you have to think about pastry under hot lamps or the food props at the back of set that sit out all day,” Nicholas says. “When you work with cream, you put the bowls in the fridge before you whip it so that it can last longer. With ice-cream – ice-cream’s a disaster! – you need dry ice, freezers and extra scoops on hand.”
While working on Chopsticks or Fork, Kong found that stir-fries – a staple of Chinese cooking – were not naturally photogenic, because “they’re saucy and flat”. She worked hard to find their beauty.
Salt and pepper squid at New Bo Wa in Moree, NSW which Kong says ‘looked gorgeous’ in the afternoon light. Photograph: ABC/Teresa Tan
“If you get something like Mongolian lamb, it usually comes on a sizzling hot plate and you get the extra texture and steam off the top.
“There was a salt and pepper squid dish we shot which I think looked gorgeous. There was height in the dish, garnishes and a beautiful afternoon light coming through the window.”
So the magic ingredients for making food look beautiful aren’t magic at all – just preparation, hard work, food knowledge, passion and staying cool under pressure.
Kong also cites another influence on what audiences see.
“We can talk about how to plan the shots, but there’s more to it than that,” she says, reflecting on the people she met throughout filming the series. “How we tell a story and what you see on screen is influenced by all of our individual backgrounds. Food is such a vehicle for love and emotion… I hope that we were able to capture that connection in how we shot the food.”
The GWS Giants have been lambasted by interim coach Mark McVeigh who said the club was embarrassed in their 17.10 (112) to 5.9 (39) thumping in the Sydney Derby and questioned whether some of his players had “checked out”.
The Sydney Swans victory was courtesy of their highest margin in a derby since 2015 and further incurred humiliation on a Giants outfit that have won only five games for the season and now sit in a 16th position.
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It’s a horrible predicament for a list still laden with so much talent and that prompted McVeigh to lash out post-game.
“We embarrassed our club,” he said.
“They’re far superior to us at the moment, clearly. It’s an unfortunate part of dealing with whether players have checked out or not.”
“I’m extremely disappointed with our midfield as a whole today. It’s just pure work rate and effort. Wanting to defend, wanting to tackle. The motivation should be how proud you are of you as a player and how proud you are of playing for the Giants.”
McVeigh said only eight players in Sam Taylor, Harry Perryman, Josh Kelly, Callan Ward, Adam Kennedy, Lachie Whitfield, Jesse Hogan and Toby Greene “went to the wall” and fought through until the end of the game.
The former Essendon great said he spent a long time in the rooms with the players after the game and sat in silence to see what responses were elicited from the playing group.
I have added that there needs to be a leadership change over in the playing group at the club.
“Without going too much into it we got some good honest feedback from our peers and players which is good. Some players spoke up that you don’t often hear from which is what we need from this club going forward.”
McVeigh singled out two players as future leaders of the club in Harry Perryman, who did an excellent job tagging Swans jet Chad Warner and Sam Taylor who was supreme at the back yet again as he pushes for an All-Australian guernsey and first best and fairest award.
“He is severely dominating games. I’d hate to think if he wasn’t playing how many goals they would have kicked. He’s a star, absolute star,” McVeigh said.
In May, the Coalition suffered swings against it in 11 of the 12 seats in Sydney that had voted against marriage equality in 2017. It also went backwards in the three regional Queensland seats that voted no in that plebiscite. The one exception was Fowler, in Sydney’s multicultural west, where Labor’s head office candidate Kristina Keneally lost to local independent Dai Le.
Australia is no longer the fractured country it was when the last referendum was held in 1999 on the republic. Our ethnic face then was Anglo-European. The majority of the population was born here, with both parents born here as well. We were still living in the anti-incumbent shadow of the early 1990s recession, with the regions holding an electoral veto over the cities. Today we are majority migrant with a Eurasian ethnic face. More than half the population is born overseas or has one migrant parent, and the cities have just decided a federal election.
The Coalition party room appears to be divided at the moment between those who want to support the Voice and those who are emboldened by the uncompromising positions of their Indigenous colleagues Jacinta Price and Kerrynne Liddle. The Greens, for their part, are being encouraged into the No camp by their Indigenous colleague Lidia Thorpe. There is an echo here in the unholy alliance between the Tony Abbott-led opposition and the Greens on climate change in 2009.
A paradox of this debate – indeed, it is a recurring feature in relationships between Indigenous and non-Indigenous Australians – is that support for reconciliation has been strongest where the two peoples are least likely to share the same postcode.
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Consider Melbourne, long-regarded as the most tolerant city in the nation. It returned the highest Yes vote at the failed 1999 referendum, with 17 of its 20 metropolitan electorates wanting a republic, while Victoria delivered the highest Yes vote at the successful 1967 referendum to count Indigenous Australians in the census. Melbourne also happens to be the only Australian capital where the local Indigenous population is outnumbered by the city’s top 10 overseas-born groups.
The latest census showed that while 69 per cent of non-Indigenous Australians lived in the capitals, 63 per cent of Indigenous Australians lived outside them.
The danger for Dutton if he reverts to the politics of obstruction is that he drives up the Yes vote in the cities, where the referendum may be decided, while splitting black and white neighbors in the regions. That is, he recreates another version of the perfect electoral storm which overwhelmed the Morrison government in the capitals on May 21.
Dutton and Albanese each have a gap in their corporate memory which carries lessons for all sides. Dutton entered parliament in 2001, after the republic referendum, while Albanese entered in 1996, in the aftermath of the Mabo native title debate three years earlier.
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The 1999 referendum failed because the monarchists were able to paint the model for a president appointed by two-thirds of the parliament as a “politician’s republic”. It helped that Howard wrote the question that was designed to fail. The Voice is not so easily diminished as an elitist concern because it explicitly empowers the most marginalized community in Australia. It could well unite “old Australians”, who have been here for three generations or longer, and First Australians on the simple idea that outsiders deserve to be heard by the parliament.
Mabo, on the other hand, was viewed by old Australians as a form of outsider queue-jumping which elevated the rights of First Australians above their own. As Paul Keating explained later, there wasn’t a vote in it for him at the 1996 election. But it was the right thing to do.
What may come as a surprise to the present generation of politicians is what happened immediately after the native title legislation was passed by the Senate in December 1993. The Coalition had voted No at every stage in the debate, and the then opposition leader, John Hewson , thought he was on safe ground when he declared the new law was “a day of shame for Australia”. But the opinion polls turned sharply in favor of the Keating government. By mid-March 1994, Labor’s primary vote was 45 per cent to the Coalition’s 42, according to Newspoll, and the Liberal Party was preparing to replace Hewson as leader. The public rewarded Keating for resolving the issue, and punished the naysayer.
Albanese believes a Voice to parliament is the right thing to do. The question for Dutton is whether he is willing to risk his leadership when the nation may not be in the mood for another white male politician who wants to defend the status quo.
The White House doctor said President Biden “continues to feel well” but tested positive for coronavirus again on Sunday – a day after he came down with a “rebound” case of COVID-19.
Dr. Kevin O’Connor said the president, 79, will continue to remain in isolation at the White House.
“He will continue to conduct the business of the American people from the Executive Residence,” O’Connor wrote in a letter released by the White House.
“As I have stated previously, the president continues to be very specifically aware to protect any of the Executive Residence, White House, Secret Service and other staff whose duties require (albeit socially distanced) proximity to him,” the physician wrote.
The president announced that he again tested positive for the coronavirus in a Twitter posting on Saturday.
President Biden FaceTimed families that were at the Capitol fighting for burn pits legislation and sent them pizza.Twitter/ @POTUSBiden announced July 30, 2022 that he has tested positive for COVID-19 again.Twitter/ @POTUS
He first tested positive on July 21 when he began quarantining and starting on a regiment of the antiviral drug Paxlovid.
Biden tested negative last Tuesday and summarized his public duties.
O’Connor said in a letter Saturday that the president was among a “small percentage” of Paxlovid recipients who had their symptoms “rebound.”
This is the real deal: the magic that makes us keep returning to the theater. Here’s so much truth, beauty, humanity, comedy, drama and even tragedy that it fills stage and overflows into the hearts of the audience. Here are unabashedly big ideas and bigger characters, molded by a master playwright who relishes their egocentricity, lies and bitterness as much as their humour, compassion and capacity for love.
Rhiann Marquez, Charles Mayer, Joanna Briant and Deborah Jones are part of a cast of unrivaled quality.Credit:Clare Hawley
Mike Bartlett’s Albion, which premiered in London in 2017, is one of the great plays of our time, and not only is it done full justice by this outstanding co-production between Secret House, New Ghosts and Seymour Centre, its cast of 11 has seldom been matched for quality in this town. Lucy Clements’ direction is more than assured, it is inspired, so three hours fly by with only lapses of projection from the actors and a growing discomfort in one’s posterior to mark the time.
Albion tells of Audrey (brilliantly played by Joanna Briant), a self-made businesswoman who turns her back on her shops to chase a wildly idealized vision of the past in the form of a country manor and its once-revered formal gardens. She clings to this quintessential vision of England – as variously evoked by Blake and Elgar – because it might offer some sliver of justification for the death of her son de ella fighting in the British Army in Afghanistan.
But dreams can only come true when they lie in the future, not when they attempt to recreate an ephemeral past, and so Audrey finds herself thwarted at every turn, even as she negatively impacts the lives of almost all around her.
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The play would not work were Briant not a potent force on the stage, occupying every inch of Audrey’s drive, wilfulness, blindness, optimism, desperation and skewed good intentions as the world spins about her. Audrey could be seen as the very embodiment of conservatism, although that would idly politicize a play in which the waters run infinitely deeper than mere ideologies, and Briant ensures we see all her many facets of her.
She ensures we like some and are fascinated by others, and therefore follow her mad crusade as she shreds the lives of family, friends, neighbors and those she likes to call “staff”: a classist perspective on maids and gardeners she can rationalize as everyone knowing their place and purpose.
Charles Mayer offers a winning performance as Paul, her cushion-like husband, who is so infinitely obliging as to be able to say (without a trace of irony), “My life has had no purpose, and I’ve been unbelievably happy. ” He is also fully alert to the fact that trying to stop Audrey is like “trying to stop the weather”.
