Sounds originate from object motions and vibrations of surrounding air. Inspired by the fact that humans is capable of interpreting sound sources from how objects move visually, we propose a novel system that explicitly captures such motion cues for the task of sound localization and separation. Our system is composed of an end-to-end learnable model called Deep Dense Trajectory (DDT), and a curriculum learning scheme. It exploits the inherent coherence of audio-visual signals from a large quantities of unlabeled videos. Quantitative and qualitative evaluations show that comparing to previous models that rely on visual appearance cues, our motion based system improves performance in separating musical instrument sounds. Furthermore, it separates sound components from duets of the same category of instruments, a challenging problem that has not been addressed before.
Learning the correspondences between vision and sound has become a popular topic recently. One line of work has explored representation learning from audio-visual training. Owens al @cite_51 used sound signals as supervision for vision model training; Aytar al @cite_5 used vision as supervision for sound models; Arandjelovic al @cite_30 and Korbar al @cite_25 trained vision and sound models jointly and achieve superior results. Another line of work explored sound localization in the visual input @cite_14 @cite_4 @cite_42 @cite_29 @cite_37 . More recently, researchers used voices and faces to do biometric matching @cite_21 , generated sounds for videos @cite_39 , generated talking faces @cite_54 , and predicted stereo sounds @cite_19 or 360 ambisonics @cite_23 from videos.
@cite_30 @cite_37 @cite_14 @cite_4 @cite_29 @cite_42 @cite_21 @cite_54 @cite_39 @cite_19 @cite_23 @cite_5 @cite_51 @cite_25
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We consider the question: what can be learnt by looking at and listening to a large number of unlabelled videos? There is a valuable, but so far untapped, source of information contained in the video itself – the correspondence between the visual and the audio streams, and we introduce a novel “Audio-Visual Correspondence” learning task that makes use of this. Training visual and audio networks from scratch, without any additional supervision other than the raw unconstrained videos themselves, is shown to successfully solve this task, and, more interestingly, result in good visual and audio representations. These features set the new state-of-the-art on two sound classification benchmarks, and perform on par with the state-of-the-art selfsupervised approaches on ImageNet classification. We also demonstrate that the network is able to localize objects in both modalities, as well as perform fine-grained recognition tasks. In this paper, we propose a novel method that exploits correlation between audio-visual dynamics of a video to segment and localize objects that are the dominant source of audio. Our approach consists of a two-step spatiotemporal segmentation mechanism that relies on velocity and acceleration of moving objects as visual features. Each frame of the video is segmented into regions based on motion and appearance cues using the QuickShift algorithm, which are then clustered over time using K-means, so as to obtain a spatiotemporal video segmentation. The video is represented by motion features computed over individual segments. The Mel-Frequency Cepstral Coefficients (MFCC) of the audio signal, and their first order derivatives are exploited to represent audio. The proposed framework assumes there is a non-trivial correlation between these audio features and the velocity and acceleration of the moving and sounding objects. The canonical correlation analysis (CCA) is utilized to identify the moving objects which are most correlated to the audio signal. In addition to moving-sounding object identification, the same framework is also exploited to solve the problem of audio-video synchronization, and is used to aid interactive segmentation. We evaluate the performance of our proposed method on challenging videos. Our experiments demonstrate significant increase in performance over the state-of-the-art both qualitatively and quantitatively, and validate the feasibility and superiority of our approach. Psychophysical and physiological evidence shows that sound localization of acoustic signals is strongly influenced by their synchrony with visual signals. This effect, known as ventriloquism, is at work when sound coming from the side of a TV set feels as if it were coming from the mouth of the actors. The ventriloquism effect suggests that there is important information about sound location encoded in the synchrony between the audio and video signals. In spite of this evidence, audiovisual synchrony is rarely used as a source of information in computer vision tasks. In this paper we explore the use of audio visual synchrony to locate sound sources. We developed a system that searches for regions of the visual landscape that correlate highly with the acoustic signals and tags them as likely to contain an acoustic source. We discuss our experience implementing the system, present results on a speaker localization task and discuss potential applications of the approach. Visual events are usually accompanied by sounds in our daily lives. We pose the question: Can the machine learn the correspondence between visual scene and the sound, and localize the sound source only by observing sound and visual scene pairs like human? In this paper, we propose a novel unsupervised algorithm to address the problem of localizing the sound source in visual scenes. A two-stream network structure which handles each modality, with attention mechanism is developed for sound source localization. Moreover, although our network is formulated within the unsupervised learning framework, it can be extended to a unified architecture with a simple modification for the supervised and semi-supervised learning settings as well. Meanwhile, a new sound source dataset is developed for performance evaluation. Our empirical evaluation shows that the unsupervised method eventually go through false conclusion in some cases. We show that even with a few supervision, false conclusion is able to be corrected and the source of sound in a visual scene can be localized effectively. In this paper our objectives are, first, networks that can embed audio and visual inputs into a common space that is suitable for cross-modal retrieval; and second, a network that can localize the object that sounds in an image, given the audio signal. We achieve both these objectives by training from unlabelled video using only audio-visual correspondence (AVC) as the objective function. This is a form of cross-modal self-supervision from video. To this end, we design new network architectures that can be trained using the AVC task for these functionalities: for cross-modal retrieval, and for localizing the source of a sound in an image. We make the following contributions: (i) show that audio and visual embedding can be learnt that enable both within-mode (e.g. audio-to-audio) and between-mode retrieval; (ii) explore various architectures for the AVC task, including those for the visual stream that ingest a single image, or multiple images, or a single image and multi-frame optical flow; (iii) show that the semantic object that sounds within an image can be localized (using only the sound, no motion or flow information); and (iv) give a cautionary tale in how to avoid undesirable shortcuts in the data preparation. We introduce a seemingly impossible task: given only an audio clip of someone speaking, decide which of two face images is the speaker. In this paper we study this, and a number of related cross-modal tasks, aimed at answering the question: how much can we infer from the voice about the face and vice versa? We study this task "in the wild", employing the datasets that are now publicly available for face recognition from static images (VGGFace) and speaker identification from audio (VoxCeleb). These provide training and testing scenarios for both static and dynamic testing of cross-modal matching. We make the following contributions: (i) we introduce CNN architectures for both binary and multi-way cross-modal face and audio matching, (ii) we compare dynamic testing (where video information is available, but the audio is not from the same video) with static testing (where only a single still image is available), and (iii) we use human testing as a baseline to calibrate the difficulty of the task. We show that a CNN can indeed be trained to solve this task in both the static and dynamic scenarios, and is even well above chance on 10-way classification of the face given the voice. The CNN matches human performance on easy examples (e.g. different gender across faces) but exceeds human performance on more challenging examples (e.g. faces with the same gender, age and nationality). Talking face generation aims to synthesize a sequence of face images that correspond to a clip of speech. This is a challenging task because face appearance variation and semantics of speech are coupled together in the subtle movements of the talking face regions. Existing works either construct specific face appearance model on specific subjects or model the transformation between lip motion and speech. In this work, we integrate both aspects and enable arbitrary-subject talking face generation by learning disentangled audio-visual representation. We find that the talking face sequence is actually a composition of both subject-related information and speech-related information. These two spaces are then explicitly disentangled through a novel associative-and-adversarial training process. This disentangled representation has an advantage where both audio and video can serve as inputs for generation. Extensive experiments show that the proposed approach generates realistic talking face sequences on arbitrary subjects with much clearer lip motion patterns than previous work. We also demonstrate the learned audio-visual representation is extremely useful for the tasks of automatic lip reading and audio-video retrieval. 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. 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 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. 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. There is a natural correlation between the visual and auditive elements of a video. In this work we leverage this connection to learn general and effective features for both audio and video analysis from self-supervised temporal synchronization. We demonstrate that a calibrated curriculum learning scheme, a careful choice of negative examples, and the use of a contrastive loss are critical ingredients to obtain powerful multi-sensory representations from models optimized to discern temporal synchronization of audio-video pairs. Without further finetuning, the resulting audio features achieve performance superior or comparable to the state-of-the-art on established audio classification benchmarks (DCASE2014 and ESC-50). At the same time, our visual subnet provides a very effective initialization to improve the accuracy of video-based action recognition models: compared to learning from scratch, our self-supervised pretraining yields a remarkable gain of +16.7 in action recognition accuracy on UCF101 and a boost of +13.0 on HMDB51.