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...

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

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We introduce a dataset for facilitating audio-visual analysis of music performances. The dataset comprises 44 simple multi-instrument classical music pieces assembled from coordinated but separately recorded performances of individual tracks. For each piece, we provide the musical score in MIDI format, the audio recordings of the individual tracks, the audio and video recording of the assembled mixture, and ground-truth annotation files including frame-level and note-level transcriptions. We describe our methodology for the creation of the dataset, particularly highlighting our approaches for addressing the challenges involved in maintaining synchronization and expressiveness. We demonstrate the high quality of synchronization achieved with our proposed approach by comparing the dataset with existing widely-used music audio datasets.We anticipate that the dataset will be useful for the development and evaluation of existing music information retrieval (MIR) tasks, as well as for novel multi-modal tasks. We benchmark two existing MIR tasks (multi-pitch analysis and scoreinformed source separation) on the dataset and compare with other existing music audio datasets. Additionally, we consider two novel multi-modal MIR tasks (visually informed multi-pitch analysis and polyphonic vibrato analysis) enabled by the dataset and provide evaluation measures and baseline systems for future comparisons (from our recent work). Finally, we propose several emerging research directions that the dataset enables.

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