We present the Moments in Time Dataset, a large-scale human-annotated collection of one million short videos corresponding to dynamic events unfolding within three seconds. Modeling the spatial-audio-temporal dynamics even for actions occurring in 3 second videos poses many challenges: meaningful events do not include only people, but also objects, animals, and natural phenomena; visual and auditory events can be symmetrical or not in time ("opening" means "closing" in reverse order), and transient or sustained. We describe the annotation process of our dataset (each video is tagged with one action or activity label among 339 different classes), analyze its scale and diversity in comparison to other large-scale video datasets for action recognition, and report results of several baseline models addressing separately and jointly three modalities: spatial, temporal and auditory. The Moments in Time dataset designed to have a large coverage and diversity of events in both visual and auditory modalities, can serve as a new challenge to develop models that scale to the level of complexity and abstract reasoning that a human processes on a daily basis.
Environmental and ambient sound recognition is a rapidly growing area of research. @cite_23 collected an early dataset and assembled a challenge for sound classification, Piczak @cite_39 collected a dataset of fifty sound categories and enough to train deep convolutional models, @cite_2 released a dataset of urban sounds, and @cite_11 use web videos for sound dataset collection. Recent work is now developing models for sound classification with deep neural networks. For example, Piczack @cite_39 pioneered early work for convolutional networks for sound classification, @cite_8 transfer visual models into sound for auditory analysis, and @cite_4 develop large-scale convolutional models for sound classification, and Arandjelovi 'c and Zisserman @cite_24 train sound and vision representations jointly. In Moments in Time dataset, many videos have both visual and auditory signals, enabling for multi-modal video recognition.
@cite_4 @cite_8 @cite_39 @cite_24 @cite_23 @cite_2 @cite_11
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Abstract Automatic classification of environmental sounds, such as dog barking and glass breaking, is becoming increasingly interesting, especially for mobile devices. Most mobile devices contain both cameras and microphones, and companies that develop mobile devices would like to provide functionality for classifying both videos images and sounds. In order to reduce the development costs one would like to use the same technology for both of these classification tasks. One way of achieving this is to represent environmental sounds as images, and use an image classification neural network when classifying images as well as sounds. In this paper we consider the classification accuracy for different image representations (Spectrogram, MFCC, and CRP) of environmental sounds. We evaluate the accuracy for environmental sounds in three publicly available datasets, using two well-known convolutional deep neural networks for image recognition (AlexNet and GoogLeNet). Our experiments show that we obtain good classification accuracy for the three datasets. We learn rich natural sound representations by capitalizing on large amounts of unlabeled sound data collected in the wild. We leverage the natural synchronization between vision and sound to learn an acoustic representation using two-million unlabeled videos. Unlabeled video has the advantage that it can be economically acquired at massive scales, yet contains useful signals about natural sound. We propose a student-teacher training procedure which transfers discriminative visual knowledge from well established visual recognition models into the sound modality using unlabeled video as a bridge. Our sound representation yields significant performance improvements over the state-of-the-art results on standard benchmarks for acoustic scene object classification. Visualizations suggest some high-level semantics automatically emerge in the sound network, even though it is trained without ground truth labels. The sound of crashing waves, the roar of fast-moving cars – sound conveys important information about the objects in our surroundings. In this work, we show that ambient sounds can be used as a supervisory signal for learning visual models. To demonstrate this, we train a convolutional neural network to predict a statistical summary of the sound associated with a video frame. We show that, through this process, the network learns a representation that conveys information about objects and scenes. We evaluate this representation on several recognition tasks, finding that its performance is comparable to that of other state-of-the-art unsupervised learning methods. Finally, we show through visualizations that the network learns units that are selective to objects that are often associated with characteristic sounds. The sound of crashing waves, the roar of fast-moving cars -- sound conveys important information about the objects in our surroundings. In this work, we show that ambient sounds can be used as a supervisory signal for learning visual models. To demonstrate this, we train a convolutional neural network to predict a statistical summary of the sound associated with a video frame. We show that, through this process, the network learns a representation that conveys information about objects and scenes. We evaluate this representation on several recognition tasks, finding that its performance is comparable to that of other state-of-the-art unsupervised learning methods. Finally, we show through visualizations that the network learns units that are selective to objects that are often associated with characteristic sounds. 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. As two of the five traditional human senses (sight, hearing, taste, smell, and touch), vision and sound are basic sources through which humans understand the world. Often correlated during natural events, these two modalities combine to jointly affect human perception. In this paper, we pose the task of generating sound given visual input. Such capabilities could help enable applications in virtual reality (generating sound for virtual scenes automatically) or provide additional accessibility to images or videos for people with visual impairments. As a first step in this direction, we apply learning-based methods to generate raw waveform samples given input video frames. We evaluate our models on a dataset of videos containing a variety of sounds (such as ambient sounds and sounds from people animals). Our experiments show that the generated sounds are fairly realistic and have good temporal synchronization with the visual inputs. Automatic classification of sound commands is becoming increasingly important, especially for mobile and embedded devices. Many of these devices contain both cameras and microphones, and companies that develop them would like to use the same technology for both of these classification tasks. One way of achieving this is to represent sound commands as images, and use convolutional neural networks when classifying images as well as sounds. In this paper we consider several approaches to the problem of sound classification that we applied in TensorFlow Speech Recognition Challenge organized by Google Brain team on the Kaggle platform. Here we show different representation of sounds (Wave frames, Spectrograms, Mel-Spectrograms, MFCCs) and apply several 1D and 2D convolutional neural networks in order to get the best performance. Our experiments show that we found appropriate sound representation and corresponding convolutional neural networks. As a result we achieved good classification accuracy that allowed us to finish the challenge on 8-th place among 1315 teams. Automatic urban sound classification is a growing area of research with applications in multimedia retrieval and urban informatics. In this paper we identify two main barriers to research in this area - the lack of a common taxonomy and the scarceness of large, real-world, annotated data. To address these issues we present a taxonomy of urban sounds and a new dataset, UrbanSound, containing 27 hours of audio with 18.5 hours of annotated sound event occurrences across 10 sound classes. The challenges presented by the new dataset are studied through a series of experiments using a baseline classification system. Binaural audio provides a listener with 3D sound sensation, allowing a rich perceptual experience of the scene. However, binaural recordings are scarcely available and require nontrivial expertise and equipment to obtain. We propose to convert common monaural audio into binaural audio by leveraging video. The key idea is that visual frames reveal significant spatial cues that, while explicitly lacking in the accompanying single-channel audio, are strongly linked to it. Our multi-modal approach recovers this link from unlabeled video. We devise a deep convolutional neural network that learns to decode the monaural (single-channel) soundtrack into its binaural counterpart by injecting visual information about object and scene configurations. We call the resulting output 2.5D visual sound---the visual stream helps "lift" the flat single channel audio into spatialized sound. In addition to sound generation, we show the self-supervised representation learned by our network benefits audio-visual source separation. Our video results: this http URL Humans infer rich knowledge of objects from both auditory and visual cues. Building a machine of such competency, however, is very challenging, due to the great difficulty in capturing large-scale, clean data of objects with both their appearance and the sound they make. In this paper, we present a novel, open-source pipeline that generates audiovisual data, purely from 3D object shapes and their physical properties. Through comparison with audio recordings and human behavioral studies, we validate the accuracy of the sounds it generates. Using this generative model, we are able to construct a synthetic audio-visual dataset, namely Sound-20K, for object perception tasks. We demonstrate that auditory and visual information play complementary roles in object perception, and further, that the representation learned on synthetic audio-visual data can transfer to real-world scenarios. Conventional methods for finding audio in databases typically search text labels, rather than the audio itself. This can be problematic as labels may be missing, irrelevant to the audio content, or not known by users. Query by vocal imitation lets users query using vocal imitations instead. To do so, appropriate audio feature representations and effective similarity measures of imitations and original sounds must be developed. In this paper, we build upon our preliminary work to propose Siamese style convolutional neural networks to learn feature representations and similarity measures in a unified end-to-end training framework. Our Siamese architecture uses two convolutional neural networks to extract features, one from vocal imitations and the other from original sounds. The encoded features are then concatenated and fed into a fully connected network to estimate their similarity. We propose two versions of the system: IMINET is symmetric where the two encoders have an identical structure and are trained from scratch, while TL-IMINET is asymmetric and adopts the transfer learning idea by pretraining the two encoders from other relevant tasks: spoken language recognition for the imitation encoder and environmental sound classification for the original sound encoder. Experimental results show that both versions of the proposed system outperform a state-of-the-art system for sound search by vocal imitation, and the performance can be further improved when they are fused with the state of the art system. Results also show that transfer learning significantly improves the retrieval performance. This paper also provides insights to the proposed networks by visualizing and sonifying input patterns that maximize the activation of certain neurons in different layers. Urban soundscape design involves creating outdoor spaces that are pleasing to the ear. One way to achieve this goal is to add or accentuate sounds that are considered to be desired by most users of the space, such that the desired sounds mask undesired sounds, or at least distract attention away from undesired sounds. In view of removing the need for a listening panel to assess the effectiveness of such soundscape measures, the interest for new models and techniques is growing. In this paper, a model of auditory attention to environmental sound is presented, which balances computational complexity and biological plausibility. Once the model is trained for a particular location, it classifies the sounds that are present in the soundscape and simulates how a typical listener would switch attention over time between different sounds. The model provides an acoustic summary, giving the soundscape designer a quick overview of the typical sounds at a particular location, and allows assessment of the perceptual e... This paper presents a method for recognizing musical instruments in user-generated videos. Musical instrument recognition from music signals is a well-known task in the music information retrieval (MIR) field, where current approaches rely on the analysis of the good-quality audio material. This work addresses a real-world scenario with several research challenges, i.e. the analysis of user-generated videos that are varied in terms of recording conditions and quality and may contain multiple instruments sounding simultaneously and background noise. Our approach does not only focus on the analysis of audio information, but we exploit the multimodal information embedded in the audio and visual domains. In order to do so, we develop a Convolutional Neural Network (CNN) architecture which combines learned representations from both modalities at a late fusion stage. Our approach is trained and evaluated on two large-scale video datasets: YouTube-8M and FCVID. The proposed architectures demonstrate state-of-the-art results in audio and video object recognition, provide additional robustness to missing modalities, and remains computationally cheap to train. Deep learning methods have achieved high performance in sound recognition tasks. Deciding how to feed the training data is important for further performance improvement. We propose a novel learning method for deep sound recognition: Between-Class learning (BC learning). Our strategy is to learn a discriminative feature space by recognizing the between-class sounds as between-class sounds. We generate between-class sounds by mixing two sounds belonging to different classes with a random ratio. We then input the mixed sound to the model and train the model to output the mixing ratio. The advantages of BC learning are not limited only to the increase in variation of the training data; BC learning leads to an enlargement of Fisher's criterion in the feature space and a regularization of the positional relationship among the feature distributions of the classes. The experimental results show that BC learning improves the performance on various sound recognition networks, datasets, and data augmentation schemes, in which BC learning proves to be always beneficial. Furthermore, we construct a new deep sound recognition network (EnvNet-v2) and train it with BC learning. As a result, we achieved a performance surpasses the human level. We introduce an approach to convert mono audio recorded by a 360 video camera into spatial audio, a representation of the distribution of sound over the full viewing sphere. Spatial audio is an important component of immersive 360 video viewing, but spatial audio microphones are still rare in current 360 video production. Our system consists of end-to-end trainable neural networks that separate individual sound sources and localize them on the viewing sphere, conditioned on multi-modal analysis of audio and 360 video frames. We introduce several datasets, including one filmed ourselves, and one collected in-the-wild from YouTube, consisting of 360 videos uploaded with spatial audio. During training, ground-truth spatial audio serves as self-supervision and a mixed down mono track forms the input to our network. Using our approach, we show that it is possible to infer the spatial location of sound sources based only on 360 video and a mono audio track. A citing sentence is one that appears in a scientific article and cites previous work. Citing sentences have been studied and used in many applications. For example, they have been used in scientific paper summarization, automatic survey generation, paraphrase identification, and citation function classification. Citing sentences that cite multiple papers are common in scientific writing. This observation should be taken into consideration when using citing sentences in applications. For instance, when a citing sentence is used in a summary of a scientific paper, only the fragments of the sentence that are relevant to the summarized paper should be included in the summary. In this paper, we present and compare three different approaches for identifying the fragments of a citing sentence that are related to a given target reference. Our methods are: word classification, sequence labeling, and segment classification. Our experiments show that segment classification achieves the best results. Perceiving a scene most fully requires all the senses. Yet modeling how objects look and sound is challenging: most natural scenes and events contain multiple objects, and the audio track mixes all the sound sources together. We propose to learn audio-visual object models from unlabeled video, then exploit the visual context to perform audio source separation in novel videos. Our approach relies on a deep multi-instance multi-label learning framework to disentangle the audio frequency bases that map to individual visual objects, even without observing hearing those objects in isolation. We show how the recovered disentangled bases can be used to guide audio source separation to obtain better-separated, object-level sounds. Our work is the first to learn audio source separation from large-scale “in the wild” videos containing multiple audio sources per video. We obtain state-of-the-art results on visually-aided audio source separation and audio denoising. Our video results: http: vision.cs.utexas.edu projects separating_object_sounds . The thud of a bouncing ball, the onset of speech as lips open -- when visual and audio events occur together, it suggests that there might be a common, underlying event that produced both signals. In this paper, we argue that the visual and audio components of a video signal should be modeled jointly using a fused multisensory representation. We propose to learn such a representation in a self-supervised way, by training a neural network to predict whether video frames and audio are temporally aligned. We use this learned representation for three applications: (a) sound source localization, i.e. visualizing the source of sound in a video; (b) audio-visual action recognition; and (c) on off-screen audio source separation, e.g. removing the off-screen translator's voice from a foreign official's speech. Code, models, and video results are available on our webpage: this http URL The thud of a bouncing ball, the onset of speech as lips open—when visual and audio events occur together, it suggests that there might be a common, underlying event that produced both signals. In this paper, we argue that the visual and audio components of a video signal should be modeled jointly using a fused multisensory representation. We propose to learn such a representation in a self-supervised way, by training a neural network to predict whether video frames and audio are temporally aligned. We use this learned representation for three applications: (a) sound source localization, i.e. visualizing the source of sound in a video; (b) audio-visual action recognition; and (c) on off-screen audio source separation, e.g. removing the off-screen translator’s voice from a foreign official’s speech. Code, models, and video results are available on our webpage: http: andrewowens.com multisensory. Sound events often occur in unstructured environments where they exhibit wide variations in their frequency content and temporal structure. Convolutional neural networks CNNs are able to extract higher level features that are invariant to local spectral and temporal variations. Recurrent neural networks RNNs are powerful in learning the longer term temporal context in the audio signals. CNNs and RNNs as classifiers have recently shown improved performances over established methods in various sound recognition tasks. We combine these two approaches in a convolutional recurrent neural network CRNN and apply it on a polyphonic sound event detection task. We compare the performance of the proposed CRNN method with CNN, RNN, and other established methods, and observe a considerable improvement for four different datasets consisting of everyday sound events.