%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% beamer %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Mahmood Amintoosi, http://amintoosi.blogspot.com
% This is for my paper accepted in CSICC2010
% The following files has been used for producing the images in these slides:
% D:\PhDCourses\Matlab\siftDemoV4\testSIFT.m which it call other functions 
% + programs used in the paper.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\documentclass[red]{beamer}%[compress,red]
%\documentclass{article}
%\usepackage[envcountsect]{beamerarticle}
%\usepackage{natbib} %Does not work
\usepackage{verbatim}
\mode<article> % only for the article version
{
  \usepackage{fullpage}
  \usepackage[bookmarks=false]{hyperref}
}

\mode<presentation>
{
  \setbeamertemplate{background canvas}[vertical shading][bottom=red!10,top=blue!10]

  \usetheme{Warsaw}%{Copenhagen}%{Darmstadt}%
  \usefonttheme[onlysmall]{structurebold}%if [onlysmall] is removed ALL CAPS does not work!
}
%\usetheme{Copenhagen}%
%\usetheme{Warsaw}
% other themes: AnnArbor, Antibes, Bergen, Berkeley, Berlin, Boadilla, boxes, CambridgeUS, Copenhagen, Darmstadt, default, Dresden, Frankfurt, Goettingen,
% Hannover, Ilmenau, JuanLesPins, Luebeck, Madrid, Maloe, Marburg, Montpellier, PaloAlto, Pittsburg, Rochester, Singapore, Szeged, classic

%\usecolortheme{lily}
% color themes: albatross, beaver, beetle, crane, default, dolphin, dov, fly, lily, orchid, rose, seagull, seahorse, sidebartab, structure, whale, wolverine

%\usefonttheme{serif}
% font themes: default, professionalfonts, serif, structurebold, structureitalicserif, structuresmallcapsserif

\usepackage{fontspec}% provides font selecting commands
\usepackage{xunicode}% provides unicode character macros
\usepackage{xltxtra} % provides some fixes/extras
%\usepackage{mathrsfs}

%\usepackage[square]{natbib}

\newfontface\Zapfino[Scale=.8]{ZapfinoHU One}%[Contextuals={WordInitial,WordFinal}]
\newfontface\Edwardian{Edwardian Script ITC}
\newfontface\Kunstler{Kunstler Script}
%\newfontinstance\Zapfino[Scale=1]{ZapfinoHU One}

\hypersetup{pdfpagemode=FullScreen} % makes your presentation go automatically to full screen

% define your own colors:
\definecolor{Red}{rgb}{1,0,0}
\definecolor{Blue}{rgb}{0,0,1}
\definecolor{Green}{rgb}{0,1,0}
\definecolor{magenta}{rgb}{1,0,.6}
\definecolor{lightblue}{rgb}{0,.5,1}
\definecolor{lightpurple}{rgb}{.6,.4,1}
\definecolor{gold}{rgb}{.6,.5,0}
\definecolor{orange}{rgb}{1,0.4,0}
\definecolor{hotpink}{rgb}{1,0,0.5}
\definecolor{newcolor2}{rgb}{.5,.3,.5}
\definecolor{newcolor}{rgb}{0,.3,1}
\definecolor{newcolor3}{rgb}{1,0,.35}
\definecolor{darkgreen1}{rgb}{0, .35, 0}
\definecolor{darkgreen}{rgb}{0, .6, 0}
\definecolor{darkred}{rgb}{.75,0,0}

\xdefinecolor{olive}{cmyk}{0.64,0,0.95,0.4}
\xdefinecolor{purpleish}{cmyk}{0.75,0.75,0,0}

% can also choose different themes for the "inside" and "outside"

% \usepackage{beamerinnertheme_______}
% inner themes include circles, default, inmargin, rectangles, rounded

% \usepackage{beamerouterthemesmoothbars}
% outer themes include default, infolines, miniframes, shadow, sidebar, smoothbars, smoothtree, split, tree

\useoutertheme{sidebar}%{smoothbars}[subsection=false]

% to have the same footer on all slides
%\setbeamertemplate{footline}[page number]{STUFF HERE!}
\setbeamertemplate{footline}[text line]{
  \hbox{%
    \begin{beamercolorbox}[wd=1.5\paperwidth,ht=2.25ex,dp=1ex,left]{date in head/foot}%
      \usebeamerfont{date in head/foot}
	  \insertframenumber{} / \inserttotalframenumber\hspace*{2ex} 
	  \hspace*{2ex} \insertshortdate
    \end{beamercolorbox}%
	}
} % makes the footer EMPTY

	% include packages
\usepackage{subfigure}
\usepackage{multicol}
\usepackage{amsmath}
\usepackage{epsfig}
\usepackage{graphicx}
\usepackage[all,knot]{xy}
\xyoption{arc}
\usepackage{url}
\usepackage{multimedia}
\usepackage{hyperref}

\usepackage{pgf,pgfarrows,pgfnodes,pgfautomata,pgfheaps,pgfshade}
%\usepackage{amsmath,amssymb}
%\usepackage[latin1]{inputenc}
%\usepackage{colortbl}
%\usepackage[english]{babel}

\setbeamercovered{transparent=10}
\newcommand{\warp}{\mathbf{W}(\mathbf{x};\mathbf{p})}

%\pdfpageattr {/Group << /S /Transparency /I true /CS /DeviceRGB>>}

\pgfdeclaremask{ur}{iust_logo_mask}
\pgfdeclareimage[mask=ur,width=1cm]{ur-logo}{iust_menu_logo}
\logo{\pgfuseimage{ur-logo}}
%\logo{\includegraphics[height=1cm]{logo.pdf}}     

\newfontfamily\farsifont[Script=Arabic]{XB Niloofar}
\makeatletter
\TeXXeTstate=1
\def\farsitext#1{\begingroup\beginR\farsifont#1\endR\endgroup}
\makeatother

\def\XePersian{\leavevmode$\smash{\hbox{X\lower.5ex
  \hbox{\kern-.125em{E}}Persian}}$}%\reflect{E}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Title Page Info %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\title[Seamless Image Fusion Based on Multi-band Blending and Wavelet Transform]
{\farsitext{آمیختن بدون درزِ تصاویر،  مبتنی بر همرنگ‌سازی چند بانده و تبدیل موجک}}
\subtitle{Seamless Image Fusion Based on Multi-band Blending and Wavelet Transform}
%\subtitle{The Beamer Class}
\author[Amintoosi \and Fathy \and Mozayani]{\vspace{-.2cm}\Large\Kunstler\textcolor{darkgreen}{M. Amintoosi \and Dr. M. Fathy \and Dr. N. Mozayani}}
\institute[IUST]{Computer Engineering Department, \\Iran University of Science and Technology}
\date[{\Zapfino CSICC2010}]{\Zapfino\textcolor{Blue}{15$^{th}$ National CSI Computer Conference}\\ {\tiny Feb 2010}}
%{\fontspec[VerticalPosition=Superior]{ZapfinoHU One}}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Begin Your Document %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\begin{document}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%\begin{comment}

\frame{
\vspace{-.7cm}
\begin{center}
\textcolor{Green}{\farsitext{ بسم‌الله‌الرحمن‌الرحیم}}
\end{center}
\vspace{-.4cm}
	\titlepage 
}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\section[Outline]{}	% this puts the outline before EACH section automatically & will highlight the section you're about to talk about
\frame{\frametitle{Outline}
\tableofcontents}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section{Introduction}
\subsection{Image Stitching}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\frame{\frametitle{Image Stitching}
\vspace{-.5cm}
\begin{columns}
\begin{column}{.6\textwidth}
\begin{center}
\begin{block}<+->{Definition}
Image stitching is a common practice in the generation of
panoramic images and applications such as object insertion,
object removal and  \textcolor{darkgreen}{super resolution}.
\end{block}
\end{center}
\end{column}
%\pause
\begin{column}{.35\textwidth}
\begin{block}<2>{Simple Approach}
Pasting of a left region from image 1 and a right region from image 2.
\end{block}
\end{column}
\end{columns}
\vspace{-.7cm}
%\begin{example} 
\begin{center}
\pgfimage<1>[width=.95\columnwidth]{./fig/I1andI2.JPG}
\pgfimage<2>[width=.95\columnwidth]{./fig/I1andI2_pasting.JPG}\\
\vspace{-6mm}\textcolor{yellow}{\tiny \cite{Zomet06seamless}}
%\transdissolve<2>
\end{center}
%\end{example}

}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\frame{\frametitle{Image Stitching }
\begin{block}{Definition}
Image stitching or photo stitching is the process of combining multiple photographic images with overlapping fields of view to produce a segmented panorama or high-resolution image. 
\begin{center}
\pgfimage<1>[width=.95\columnwidth]{./fig/recPano_01.JPG}\\
\pgfimage<1>[width=.95\columnwidth]{./fig/recPano_02.JPG}\\
\vspace{-6mm}\textcolor{yellow}{\tiny \cite{Brown03recognising}}
\end{center}
\end{block}
}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\frame{\frametitle{Image Stitching}
\begin{block}{The Aim of Image Stitching}
The aim of a stitching algorithm is to produce a visually
plausible mosaic with two desirable properties:
\begin{enumerate}[<+-| alert@+>]
	\item \alert<.>{Similarity}\\
	\only<.>{\textcolor{black}{\small Similarity of both images, geometrically and photometrically.}}
	%direct methods use pixel discrepancy as a registration error measure
	\item \alert<.> {Seam Invisibility}\\
	\only<.>{\textcolor{black}{\small  The seam
between the stitched images should be invisible.}}
\end{enumerate}
\end{block}
}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\subsection{Image Blending}
\frame{\frametitle{Stages of Image Stitching }
\begin{block}{Stages of Image Stitching}
\begin{enumerate}[<+-| alert@+>]
	\item \alert<.>{Image Registration}\\
	\only<.>{\textcolor{black}{\small Image registration is the process of {overlaying} images of the same scene taken at different {times}, from different {viewpoints}, and/or by different sensors}}
	%direct methods use pixel discrepancy as a registration error measure
	\item \alert<.> {Image Blending}\\
	\only<.>{\textcolor{black}{\small  combining the sections, considering: Color mapping, Dynamic range extension, Motion compensation, deghosting and deblurring.	}}
\end{enumerate}
\end{block}
}

\frame{\frametitle{Blending Approaches}
\begin{block}{\underline{\textsc{Blending Approaches:}}}
\begin{enumerate}[<+-| alert@+>]
	\item \alert<.>{Pixel Averaging}\\
	\item \alert<.> {Weighted Pixel Averaging (Alpha Blending, Feathering) \cite{Uyttendaele01eliminating}}\\%Szeliski97creating
	\only<.>{\textcolor{black}{\small 
		\begin{equation}
			S(i) = H_l(i-\hat{i})A(i) + H_r(i-\hat{i})B(i)
		\end{equation}}}
	\item \alert<.>{Multi Band Blending Approach of \cite{Burt83multiresolution}}\\
\only<.>{\textcolor{black}{\small Different frequency bands are combined with different alpha masks. Lower frequencies are mixed over a wide region, and fine details are mixed in a narrow region.\\ \textsc{Gaussian Pyramid, Laplacian Pyramid}}
\begin{center}\pgfimage[width=.3\columnwidth]{./fig/Image_Pyramid.PNG}\end{center}
}
\end{enumerate}
\end{block}
}

\frame{\frametitle{Blending Approaches}
\begin{block}{\underline{\textsc{Seam Finding:}}}
\begin{itemize}[<+->]
\item Equal distance, Grassfire Transform.
\begin{center}
\pgfimage<1>[width=.5\columnwidth]{./fig/seam_fig5_xion.PNG}
\end{center}
\item Optimum Seam
\begin{center}
Search for a curve in the overlap region on which the differences between I1; I2 are minimal.\\
\pgfimage<2>[width=.25\columnwidth]{./Images/Neyzeh_dar_seam.jpg}
\end{center}
\end{itemize}
\end{block}
}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\frame{\frametitle{Image Blending }
\begin{block}{Disadvantages of Simple Approaches}
Produces visible artificial edges in the seam between the images, due to differences in :
\begin{itemize}
\item  camera gain, 
\item scene illumination,
\item geometrical misalignments.
\end{itemize}
\pgfimage<1>[width=.95\columnwidth]{./fig/I1andI2_pasting.JPG}
\end{block}
%However, the seam is visible when there is no such curve, for example when there are globally smooth intensity differences between the images. This
}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section{Our Problem}
\subsection{Super Resolution}

\frame{\frametitle{Our Problem}
\framesubtitle{Super Resolution}
\begin{center}
\begin{definition}
\textcolor{darkgreen}{Super-Resolution} (SR) techniques fuse a sequence of low-resolution images to produce a higher resolution image. \\
The low resolution (LR) images may be noisy, blurred and have some displacement with
each other. 
\end{definition}
  \begin{alertblock}{Approaches}<2->
  Interpolation, Iterated Back Projection, Bayesian, \\
  \textsc{Example Based Approaches} \\
  such as our approach in CSICC 2009 {\small\cite{Amintoosi87afzayesh_en}}.
  \end{alertblock}
\end{center}
}

\subsection{Our Approach in CSICC 2009 }
\begin{frame}{Regional Resolution Enhancement {\small\cite{Amintoosi87afzayesh_en}}}
\vspace{-3mm}
\begin{example}{\tiny One LR and three HR images of a portion of bas relief of Darius}
\centering\pgfimage[width=.45\columnwidth]{fig/Katibeh_Darius.JPG}
\begin{columns}%[t]
\column{.25\textwidth} \pgfimage[width=1.05\columnwidth]{fig/Darius_img_3229.jpg}
\column{0.17\textwidth} \pgfimage[width=1.05\columnwidth]{fig/Afrade_3_5.jpg}
\column{0.12\textwidth} \pgfimage[width=1.05\columnwidth]{fig/Skunkha.jpg}
\end{columns}
\end{example}
\end{frame}

\begin{frame}{Regional Resolution Enhancement}
\framesubtitle{Results - Image Fusion}
\pgfimage<1>[height=6cm]{fig/Katibeh_Darius.JPG}
\pgfimage<2>[height=6cm]{fig/Skunkha_AR_AreaBased_XFus.jpg}
\pgfimage<3>[height=6cm]{fig/Skunkha_AR_AreaBased_XFus_withoutBorder.jpg}
\end{frame}


\subsection{Image Fusion}
\frame{\frametitle{Image Fusion}
\only<1>{\begin{block}{Definition}
Image fusion is the process of combining information from two or more images of a scene into a single composite image that is more informative and is more suitable for visual perception or computer processing. \cite{Goshtasby07image}\\
%Image Fusion is the process of combining relevant information from two or more images into a single image.\\
\begin{center}Fusion = Integration = Merging\end{center}
\end{block}}
\pause
\begin{block}{\underline{\textsc{Image Fusion Approaches:}} \cite{Piella03thesis}}
\begin{enumerate}[<+-| alert@+>]
	\item \alert<.> {Weighted Combination} 
	\item \alert<.>{Color space fusion}\\
\only<.>{\textcolor{black}{\small The simplest technique is to map the data from a sensor to a particular color channel.}}
	\item \alert<.>{Multi Resolution Image Fusion}\\
\only<.>{\textcolor{black}{\small Wavelet Transform}\\
\begin{center}\pgfimage[height=3.5cm]{Images/DWT_Fusion.pdf}\end{center}
\begin{equation}%\label{eq:Seamless_DWT_Fusion}
I(\mathbf{x})=\omega^{-1}\Big( \phi \big(
\omega(I_1(\mathbf{x})),\omega(I_2(\mathbf{x}))\big)\Big)\nonumber
 \end{equation}
}
\end{enumerate}
\end{block}
}

%The aim of image fusion is to integrate complementary and redundant information from multiple images to create a composite that contains a `better' description of the scene than any of the individual source images.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\frame{\frametitle{The Problem}
\framesubtitle{An Example}
%\framesubtitle{Images used in the paper}
\begin{columns}
\begin{column}{.4\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/Kamandar_LR_Nearest.jpg}\\
%\vspace{-25mm}
\textcolor{Green}{\tiny The Original LR Image}
\end{center}
\end{column}
\begin{column}{.25\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/Neyzeh_dar.jpg}\\
%\hspace{-20mm}
\textcolor{Green}{\tiny The HR Training Image}
\end{center}
\end{column}
\begin{column}{.4\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/Kamandar_Im1Transformed.jpg}\\
%\hspace{-25mm}
\textcolor{Green}{\tiny Transformed of HR Image}
\end{center}
\end{column}
\end{columns}
%\end{center}
}

\frame{\frametitle{The Problem}
\framesubtitle{Multi Band Blending vs. Wavelet Image Fusion}
\begin{figure}
\centering 
\includegraphics[height=.6\paperheight]{fig/Kamandar_blend_FA_cropped.jpg}
\hspace{10mm} 
\includegraphics[height=.6\paperheight]{fig/Kamandar_Fustruction_Cropped.jpg}\\
\vspace{-5mm}\hspace{-5mm} \textcolor{Green}{\small Multi Band Blending \hspace{20mm}   Wavelet Image Fusion}\\ %\vspace{2mm}
\end{figure}
}
%\end{comment}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section{Our Approach}
\subsection{The Algorithm}
\frame{\frametitle{ Wavelet Transform + Multi-Band Blending}
\begin{block}{The Algorithm}
\textbf{Input:} Images $A$ and $B$ and transformation model $\warp$.\\
\textbf{Output:} The fused image $S$, from Images $A$ and $B(\warp^{-1}))$ (Transformed of $B$ onto $A$).\\
\begin{enumerate}
\item Compute $C$, the wavelet fused of $A$ and  $B(\warp^{-1}))$,
\item Expand the dimensions of $A$ and $C$, according to requirements of Multi-band Blending,
\item Create mask $R$, corresponding to  $B(\warp^{-1}))$,
\item Erosion of mask $R$,
\item Create $S$ by combining $A$ and $C$ with Multi-Band Blending approach and mask $R$. \end{enumerate}
\end{block}
}
\subsection{Results}
\begin{frame}{Results}
\framesubtitle{Adobe Photoshop}
\begin{columns}
\begin{column}{.45\textwidth}
\begin{center}
\pgfimage[height=6cm]{Images/Kamandar_LR_Nearest_opacity100.jpg}\\
\textcolor{Green}{\tiny Photoshop, Opacity 100}
\end{center}
\end{column}
\begin{column}{.45\textwidth}
\begin{center}
\pgfimage[height=6cm]{Images/Kamandar_LR_Nearest_opacity70.jpg}\\ 
\textcolor{Green}{\tiny Photoshop, Opacity 70}
\end{center}
\end{column}
\end{columns}
\end{frame}

\frame{\frametitle{Results}
\framesubtitle{Adobe Photoshop}
\begin{columns}
\begin{column}{.45\textwidth}
\begin{center}
\pgfimage[height=6cm]{Images/Kamandar_LR_Nearest_opacity35.jpg}\\ 
\textcolor{Green}{\tiny Photoshop, Opacity 35}
\end{center}
\end{column}
\begin{column}{.45\textwidth}
\begin{center}
\pgfimage[height=6cm]{Images/Kamandar_blendXFus_FA.jpg}\\ 
\textcolor{Green}{\tiny Our Approach}
\end{center}
\end{column}
\end{columns}
}

\subsubsection{Example No.1}
\frame{\frametitle{Visual Comparison}
\framesubtitle{Bistoon}
\vspace{-5mm}
\begin{figure}
\centering 
\includegraphics[height=.4\paperheight]{fig/Kamandar_LR_Cropped.jpg} \hspace{10mm} 
\includegraphics[height=.4\paperheight]{fig/Kamandar_blend_FA_cropped.jpg}\\
\vspace{-5mm}\textcolor{Green}{\tiny Bicubic \hspace{28mm} Multi Band Blending}\\ %\vspace{2mm}
\includegraphics[height=.4\paperheight]{fig/Kamandar_Fustruction_Cropped.jpg} \hspace{10mm} 
\includegraphics[height=.4\paperheight]{fig/Kamandar_blendXFus_FA_cropped.jpg}\\
\vspace{-5mm}\textcolor{Green}{\tiny Wavelet \hspace{27mm} The Proposed Approach}
\end{figure}
}

\subsubsection{Example No.2}
\frame{\frametitle{The Second Example}
\framesubtitle{Ave Sina}
%\framesubtitle{Images used in the paper}
\begin{columns}
\begin{column}{.4\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/BooAliSina_LR_Nearest.jpg}\\
%\vspace{-25mm}
\textcolor{Green}{\tiny The Original LR Image}
\end{center}
\end{column}
\begin{column}{.25\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/IMGA0142.JPG}\\
%\hspace{-20mm}
\textcolor{Green}{\tiny The HR Training Image}
\end{center}
\end{column}
\begin{column}{.4\textwidth}
\begin{center}
\pgfimage[width=1\textwidth]{Images/BooAliSina_Im1Transformed.jpg}\\
%\hspace{-25mm}
\textcolor{Green}{\tiny Transformed of HR Image}
\end{center}
\end{column}
\end{columns}
%\end{center}
}

\frame{\frametitle{Visual Comparison}
\framesubtitle{Ave Sina}
\vspace{-7.2mm}
\begin{figure}
\centering 
\includegraphics[width=1\textwidth]{fig/BooAliSina_LR_Nearest_Cropped.jpg}\\ \vspace{-6mm}\textcolor{Green}{\tiny Nearest}\vspace{1.3mm}\\ 
\includegraphics[width=1\textwidth]{fig/BooAliSina_blend_FA_cropped.jpg}\\
\vspace{-6mm}\textcolor{Green}{\tiny  Multi Band Blending}\vspace{1mm}\\  \includegraphics[width=1\textwidth]{fig/BooAliSina_Fustruction_Cropped.jpg}\\ \vspace{-6mm}\textcolor{Green}{\tiny Wavelet }\vspace{1.3mm}\\ 
\includegraphics[width=1\textwidth]{fig/BooAliSina_blendXFus_FA_cropped.jpg}\\
\vspace{-6mm}\textcolor{Green}{\tiny The Proposed Approach}
\end{figure}
}

\section{summary}
\frame{\frametitle{summary}
\begin{block}{summary}
	Each of the Multi-band blending and Wavelet transform for fusing the images in our super-resolution problem have some pros and cons. 
	
	With the proposed hybrid approach, the advantages of both of these methods has been used.
\end{block}
}


\section{References}
\frame{\frametitle{\Zapfino References}
{\tiny
\bibliographystyle{plainnat}%unsrt%{abbrvnat}%
\bibliography{SR_References}
}
}

\section*{}
\frame{\frametitle{\vspace{4mm}\Zapfino Thanks for your attention}
\framesubtitle{\vspace{-3.5mm}\hfill\Zapfino  And a special thank to \textcolor{blue}{\XePersian}$\ $group.}
\begin{center}
{\Zapfino \Huge Any Question?}
\end{center}
}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% End Your Document %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\end{document}