No Arabic abstract
Understanding the emotional impact of movies has become important for affective movie analysis, ranking, and indexing. Methods for recognizing evoked emotions are usually trained on human annotated data. Concretely, viewers watch video clips and have to manually annotate the emotions they experienced while watching the videos. Then, the common practice is to aggregate the different annotations, by computing average scores or majority voting, and train and test models on these aggregated annotations. With this procedure a single aggregated evoked emotion annotation is obtained per each video. However, emotions experienced while watching a video are subjective: different individuals might experience different emotions. In this paper, we model the emotions evoked by videos in a different manner: instead of modeling the aggregated value we jointly model the emotions experienced by each viewer and the aggregated value using a multi-task learning approach. Concretely, we propose two deep learning architectures: a Single-Task (ST) architecture and a Multi-Task (MT) architecture. Our results show that the MT approach can more accurately model each viewer and the aggregated annotation when compared to methods that are directly trained on the aggregated annotations. Furthermore, our approach outperforms the current state-of-the-art results on the COGNIMUSE benchmark.
The goal of this study is to develop and analyze multimodal models for predicting experienced affective responses of viewers watching movie clips. We develop hybrid multimodal prediction models based on both the video and audio of the clips. For the video content, we hypothesize that both image content and motion are crucial features for evoked emotion prediction. To capture such information, we extract features from RGB frames and optical flow using pre-trained neural networks. For the audio model, we compute an enhanced set of low-level descriptors including intensity, loudness, cepstrum, linear predictor coefficients, pitch and voice quality. Both visual and audio features are then concatenated to create audio-visual features, which are used to predict the evoked emotion. To classify the movie clips into the corresponding affective response categories, we propose two approaches based on deep neural network models. The first one is based on fully connected layers without memory on the time component, the second incorporates the sequential dependency with a long short-term memory recurrent neural network (LSTM). We perform a thorough analysis of the importance of each feature set. Our experiments reveal that in our set-up, predicting emotions at each time step independently gives slightly better accuracy performance than with the LSTM. Interestingly, we also observe that the optical flow is more informative than the RGB in videos, and overall, models using audio features are more accurate than those based on video features when making the final prediction of evoked emotions.
Video content creation keeps growing at an incredible pace; yet, creating engaging stories remains challenging and requires non-trivial video editing expertise. Many video editing components are astonishingly hard to automate primarily due to the lack of raw video materials. This paper focuses on a new task for computational video editing, namely the task of raking cut plausibility. Our key idea is to leverage content that has already been edited to learn fine-grained audiovisual patterns that trigger cuts. To do this, we first collected a data source of more than 10K videos, from which we extract more than 255K cuts. We devise a model that learns to discriminate between real and artificial cuts via contrastive learning. We set up a new task and a set of baselines to benchmark video cut generation. We observe that our proposed model outperforms the baselines by large margins. To demonstrate our model in real-world applications, we conduct human studies in a collection of unedited videos. The results show that our model does a better job at cutting than random and alternative baselines.
Current hyperspectral image classification assumes that a predefined classification system is closed and complete, and there are no unknown or novel classes in the unseen data. However, this assumption may be too strict for the real world. Often, novel classes are overlooked when the classification system is constructed. The closed nature forces a model to assign a label given a new sample and may lead to overestimation of known land covers (e.g., crop area). To tackle this issue, we propose a multitask deep learning method that simultaneously conducts classification and reconstruction in the open world (named MDL4OW) where unknown classes may exist. The reconstructed data are compared with the original data; those failing to be reconstructed are considered unknown, based on the assumption that they are not well represented in the latent features due to the lack of labels. A threshold needs to be defined to separate the unknown and known classes; we propose two strategies based on the extreme value theory for few-shot and many-shot scenarios. The proposed method was tested on real-world hyperspectral images; state-of-the-art results were achieved, e.g., improving the overall accuracy by 4.94% for the Salinas data. By considering the existence of unknown classes in the open world, our method achieved more accurate hyperspectral image classification, especially under the few-shot context.
Film media is a rich form of artistic expression. Unlike photography, and short videos, movies contain a storyline that is deliberately complex and intricate in order to engage its audience. In this paper we present a large scale study comparing the effectiveness of visual, audio, text, and metadata-based features for predicting high-level information about movies such as their genre or estimated budget. We demonstrate the usefulness of content-based methods in this domain in contrast to human-based and metadata-based predictions in the era of deep learning. Additionally, we provide a comprehensive study of temporal feature aggregation methods for representing video and text and find that simple pooling operations are effective in this domain. We also show to what extent different modalities are complementary to each other. To this end, we also introduce Moviescope, a new large-scale dataset of 5,000 movies with corresponding movie trailers (video + audio), movie posters (images), movie plots (text), and metadata.
We present a remote sensing pipeline that processes LiDAR (Light Detection And Ranging) data through machine & deep learning for the application of archeological feature detection on big geo-spatial data platforms such as e.g. IBM PAIRS Geoscope. Today, archeologists get overwhelmed by the task of visually surveying huge amounts of (raw) LiDAR data in order to identify areas of interest for inspection on the ground. We showcase a software system pipeline that results in significant savings in terms of expert productivity while missing only a small fraction of the artifacts. Our work employs artificial neural networks in conjunction with an efficient spatial segmentation procedure based on domain knowledge. Data processing is constraint by a limited amount of training labels and noisy LiDAR signals due to vegetation cover and decay of ancient structures. We aim at identifying geo-spatial areas with archeological artifacts in a supervised fashion allowing the domain expert to flexibly tune parameters based on her needs.