Emotional content is a crucial ingredient in user-generated videos. However, the sparsely expressed emotions in the user-generated video cause difficulties to emotions analysis in videos. In this paper, we propose a new neural approach---Bi-stream Emotion Attribution-Classification Network (BEAC-Net) to solve three related emotion analysis tasks: emotion recognition, emotion attribution and emotion-oriented summarization, in an integrated framework. BEAC-Net has two major constituents, an attribution network and a classification network. The attribution network extracts the main emotional segment that classification should focus on in order to mitigate the sparsity problem. The classification network utilizes both the extracted segment and the original video in a bi-stream architecture. We contribute a new dataset for the emotion attribution task with human-annotated ground-truth labels for emotion segments. Experiments on two video datasets demonstrate superior performance of the proposed framework and the complementary nature of the dual classification streams.
Research in affective computing requires ground truth data for training and benchmarking computational models for machine-based emotion understanding. In this paper, we propose a large video database, namely LIRIS-ACCEDE, for affective content analysis and related applications, including video indexing, summarization or browsing. In contrast to existing datasets with very few video resources and limited accessibility due to copyright constraints, LIRIS-ACCEDE consists of 9,800 good quality video excerpts with a large content diversity. All excerpts are shared under creative commons licenses and can thus be freely distributed without copyright issues. Affective annotations were achieved using crowdsourcing through a pair-wise video comparison protocol, thereby ensuring that annotations are fully consistent, as testified by a high inter-annotator agreement, despite the large diversity of raters’ cultural backgrounds. In addition, to enable fair comparison and landmark progresses of future affective computational models, we further provide four experimental protocols and a baseline for prediction of emotions using a large set of both visual and audio features. The dataset (the video clips, annotations, features and protocols) is publicly available at: http: liris-accede.ec-lyon.fr . The continuous dimensional emotion can depict subtlety and complexity of emotional change, which is an inherently challenging problem with growing attention. This paper presents our automatic prediction of dimensional emotional state for Audio-Visual Emotion Challenge (AVEC 2017), which uses multi-features and fusion across all available modalities. Besides the baseline features provided by the organizers, we also extract other acoustic audio feature sets, appearance features and deep visual features as complementary features. Each type of feature is trained using Long Short-Term Memory Recurrent Neutral Network (LSTM-RNN) for every dimensional emotion prediction separately considering annotation delay and temporal pooling. To overcome overfitting problem, robust models are chosen carefully for individual model. Finally, multimodal emotion fusion is achieved by utilizing Support Vector Regression (SVR) with the estimates from different feature sets in decision level fusion. The experimental results indicate that our extracted features are beneficial to performance improvement and our system design achieves very promising results with Concordant Correlation Coefficient (CCC), which outperform the baseline system on the testing set for arousal of 0.599 vs 0.375 (baseline) and for valence of 0.721 vs 0.466 and for liking 0.295 vs 0.246. The problem of relating media content to users' affective responses is here addressed. Previous work suggests that a direct mapping of audio-visual properties into emotion categories elicited by films is rather difficult, due to the high variability of individual reactions. To reduce the gap between the objective level of video features and the subjective sphere of emotions, we propose to shift the representation towards the connotative properties of movies, in a space inter-subjectively shared among users. Consequently, the connotative space allows to define, relate, and compare affective descriptions of film videos on equal footing. An extensive test involving a significant number of users watching famous movie scenes suggests that the connotative space can be related to affective categories of a single user. We apply this finding to reach high performance in meeting user's emotional preferences. The monoamines serotonin, dopamine and noradrenaline have a great impact on mood, emotion and behavior. This article presents a new three-dimensional model for monoamine neurotransmitters and emoti ... Automatic emotion recognition is a challenging task which can make great impact on improving natural human computer interactions. In this paper, we present our effort for the Affect Subtask in the Audio Visual Emotion Challenge (AVEC) 2017, which requires participants to perform continuous emotion prediction on three affective dimensions: Arousal, Valence and Likability based on the audiovisual signals. We highlight three aspects of our solutions: 1) we explore and fuse different hand-crafted and deep learned features from all available modalities including acoustic, visual, and textual modalities, and we further consider the interlocutor influence for the acoustic features; 2) we compare the effectiveness of non-temporal model SVR and temporal model LSTM-RNN and show that the LSTM-RNN can not only alleviate the feature engineering efforts such as construction of contextual features and feature delay, but also improve the recognition performance significantly; 3) we apply multi-task learning strategy for collaborative prediction of multiple emotion dimensions with shared representations according to the fact that different emotion dimensions are correlated with each other. Our solutions achieve the CCC of 0.675, 0.756 and 0.509 on arousal, valence, and likability respectively on the challenge testing set, which outperforms the baseline system with corresponding CCC of 0.375, 0.466, and 0.246 on arousal, valence, and likability. For more than half a century, emotion researchers have attempted to establish the dimensional space that most economically accounts for similarities and differences in emotional experience. Today, many researchers focus exclusively on two-dimensional models involving valence and arousal. Adopting a theoretically based approach, we show for three languages that four dimensions are needed to satisfactorily represent similarities and differences in the meaning of emotion words. In order of importance, these dimensions are evaluationpleasantness, potency-control, activation-arousal, and unpredictability. They were identified on the basis of the applicability of 144 features representing the six components of emotions: (a) appraisals of events, (b) psychophysiological changes, (c) motor expressions, (d) action tendencies, (e) subjective experiences, and (f) emotion regulation. 