In this paper, we introduce a novel problem of audio-visual event localization in unconstrained videos. We define an audio-visual event as an event that is both visible and audible in a video segment. We collect an Audio-Visual Event (AVE) dataset to systemically investigate three temporal localization tasks: supervised and weakly-supervised audio-visual event localization, and cross-modality localization. We develop an audio-guided visual attention mechanism to explore audio-visual correlations, propose a dual multimodal residual network (DMRN) to fuse information over the two modalities, and introduce an audio-visual distance learning network to handle the cross-modality localization. Our experiments support the following findings: joint modeling of auditory and visual modalities outperforms independent modeling, the learned attention can capture semantics of sounding objects, temporal alignment is important for audio-visual fusion, the proposed DMRN is effective in fusing audio-visual features, and strong correlations between the two modalities enable cross-modality localization.achieves the best fusion results. For weakly-supervised learning, we formulate it as a Multiple Instance Learning (MIL) [11] task, and modify our network structure via adding a MIL pooling layer to handle the problem. To address the harder cross-modality localization task, we propose an audio-visual distance learning network that measures the relativeness of any given pair of audio and visual content. It projects audio and visual features into subspaces with the same dimension. Contrastive loss [12] is introduced to learn the network.Observing that there is no publicly available dataset directly suitable for our tasks, we collect a large video dataset that consists of 4143 10-second videos with both audio and video tracks for 28 audio-visual events and annotate their temporal boundaries. Videos in our dataset are originated from YouTube, thus they are unconstrained. Our extensive experiments support the following findings: modeling jointly over auditory and visual modalities outperforms modeling independently over them, audio-visual event localization in a noisy condition can still achieve promising results, the audio-guided visual attention can well capture semantic regions covering sounding objects and can even distinguish audio-visual unrelated videos, temporal alignment is important for audio-visual fusion, the proposed dual multimodal residual network is effective in addressing the fusion task, and strong correlations between the two modalities enable crossmodality localization. These findings have paved a way for our community to solve harder, high-level understanding problems in the future, such as video captioning [13] and movieQA [14], where the auditory modality plays an important role in understanding video but lacks effective modeling.Our work makes the following contributions: (1) a family of three audio-visual event localization tasks; (2) an audio-guided visual attention model to adaptively explore the audio-visual corre...

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We devise a cascade GAN approach to generate talking face video, which is robust to different face shapes, view angles, facial characteristics, and noisy audio conditions. Instead of learning a direct mapping from audio to video frames, we propose first to transfer audio to high-level structure, i.e., the facial landmarks, and then to generate video frames conditioned on the landmarks. Compared to a direct audio-to-image approach, our cascade approach avoids fitting spurious correlations between audiovisual signals that are irrelevant to the speech content. We, humans, are sensitive to temporal discontinuities and subtle artifacts in video. To avoid those pixel jittering problems and to enforce the network to focus on audiovisual-correlated regions, we propose a novel dynamically adjustable pixel-wise loss with an attention mechanism. Furthermore, to generate a sharper image with well-synchronized facial movements, we propose a novel regression-based discriminator structure, which considers sequence-level information along with frame-level information. Thoughtful experiments on several datasets and realworld samples demonstrate significantly better results obtained by our method than the state-of-the-art methods in both quantitative and qualitative comparisons.

Abstract. The use of video segmentation as an early processing step in video analysis lags behind the use of image segmentation for image analysis, despite many available video segmentation methods. A major reason for this lag is simply that videos are an order of magnitude bigger than images; yet most methods require all voxels in the video to be loaded into memory, which is clearly prohibitive for even medium length videos. We address this limitation by proposing an approximation framework for streaming hierarchical video segmentation motivated by data stream algorithms: each video frame is processed only once and does not change the segmentation of previous frames. We implement the graph-based hierarchical segmentation method within our streaming framework; our method is the first streaming hierarchical video segmentation method proposed. We perform thorough experimental analysis on a benchmark video data set and longer videos. Our results indicate the graph-based streaming hierarchical method outperforms other streaming video segmentation methods and performs nearly as well as the full-video hierarchical graph-based method.

In this paper, we address the space-time video super-resolution, which aims at generating a high-resolution (HR) slow-motion video from a low-resolution (LR) and low frame rate (LFR) video sequence. A naive method is to decompose it into two sub-tasks: video frame interpolation (VFI) and video super-resolution (VSR). Nevertheless, temporal interpolation and spatial upscaling are intra-related in this problem. Two-stage approaches cannot fully make use of this natural property. Besides, state-of-the-art VFI or VSR deep networks usually have a large frame reconstruction module in order to obtain high-quality photo-realistic video frames, which makes the two-stage approaches have large models and thus be relatively time-consuming. To overcome the issues, we present a one-stage space-time video super-resolution framework, which can directly reconstruct an HR slow-motion video sequence from an input LR and LFR video. Instead of reconstructing missing LR intermediate frames as VFI models do, we temporally interpolate LR frame features of the missing LR frames capturing local temporal contexts by a feature temporal interpolation module. Extensive experiments on widely used benchmarks demonstrate that the proposed framework not only achieves better qualitative and quantitative performance on both clean and noisy LR frames but also is several times faster than recent state-of-the-art two-stage networks. The source code is released in https:// github.com/ Mukosame/ Zooming-Slow-Mo-CVPR-2020.

The problem of describing images through natural language has gained importance in the computer vision community. Solutions to image description have either focused on a top-down approach of generating language through combinations of object detections and language models or bottom-up propagation of keyword tags from training images to test images through probabilistic or nearest neighbor techniques. In contrast, describing videos with natural language is a less studied problem. In this paper, we combine ideas from the bottom-up and top-down approaches to image description and propose a method for video description that captures the most relevant contents of a video in a natural language description. We propose a hybrid system consisting of a low level multimodal latent topic model for initial keyword annotation, a middle level of concept detectors and a high level module to produce final lingual descriptions. We compare the results of our system to human descriptions in both short and long forms on two datasets, and demonstrate that final system output has greater agreement with the human descriptions than any single level.

Cross-modal audio-visual perception has been a long-lasting topic in psychology and neurology, and various studies have discovered strong correlations in human perception of auditory and visual stimuli. Despite works in computational multimodal modeling, the problem of cross-modal audio-visual generation has not been systematically studied in the literature. In this paper, we make the first attempt to solve this cross-modal generation problem leveraging the power of deep generative adversarial training. Specifically, we use conditional generative adversarial networks to achieve cross-modal audio-visual generation of musical performances. We explore different encoding methods for audio and visual signals, and work on two scenarios: instrument-oriented generation and pose-oriented generation. Being the first to explore this new problem, we compose two new datasets with pairs of images and sounds of musical performances of different instruments. Our experiments using both classification and human evaluations demonstrate that our model has the ability to generate one modality, i.e., audio/visual, from the other modality, i.e., visual/audio, to a good extent. Our experiments on various design choices along with the datasets will facilitate future research in this new problem space.

Cross-modality generation is an emerging topic that aims to synthesize data in one modality based on information in a different modality. In this paper, we consider a task of such: given an arbitrary audio speech and one lip image of arbitrary target identity, generate synthesized lip movements of the target identity saying the speech. To perform well in this task, it inevitably requires a model to not only consider the retention of target identity, photo-realistic of synthesized images, consistency and smoothness of lip images in a sequence, but more importantly, learn the correlations between audio speech and lip movements. To solve the collective problems, we explore the best modeling of the audio-visual correlations in building and training a lip-movement generator network. Specifically, we devise a method to fuse audio and image embeddings to generate multiple lip images at once and propose a novel correlation loss to synchronize lip changes and speech changes. Our final model utilizes a combination of four losses for a comprehensive consideration in generating lip movements; it is trained in an end-to-end fashion and is robust to lip shapes, view angles and different facial characteristics. Thoughtful experiments on three datasets ranging from lab-recorded to lips in-thewild show that our model significantly outperforms other state-of-the-art methods extended to this task. Layers Output Size Kernel Stride Padding