No Arabic abstract
The abundance and ease of utilizing sound, along with the fact that auditory clues reveal so much about what happens in the scene, make the audio-visual space a perfectly intuitive choice for self-supervised representation learning. However, the current literature suggests that training on textit{uncurated} data yields considerably poorer representations compared to the textit{curated} alternatives collected in supervised manner, and the gap only narrows when the volume of data significantly increases. Furthermore, the quality of learned representations is known to be heavily influenced by the size and taxonomy of the curated datasets used for self-supervised training. This begs the question of whether we are celebrating too early on catching up with supervised learning when our self-supervised efforts still rely almost exclusively on curated data. In this paper, we study the efficacy of learning from Movies and TV Shows as forms of uncurated data for audio-visual self-supervised learning. We demonstrate that a simple model based on contrastive learning, trained on a collection of movies and TV shows, not only dramatically outperforms more complex methods which are trained on orders of magnitude larger uncurated datasets, but also performs very competitively with the state-of-the-art that learns from large-scale curated data. We identify that audiovisual patterns like the appearance of the main character or prominent scenes and mise-en-sc`ene which frequently occur through the whole duration of a movie, lead to an overabundance of easy negative instances in the contrastive learning formulation. Capitalizing on such observation, we propose a hierarchical sampling policy, which despite its simplicity, effectively improves the performance, particularly when learning from TV shows which naturally face less semantic diversity.
Our objective is to transform a video into a set of discrete audio-visual objects using self-supervised learning. To this end, we introduce a model that uses attention to localize and group sound sources, and optical flow to aggregate information over time. We demonstrate the effectiveness of the audio-visual object embeddings that our model learns by using them for four downstream speech-oriented tasks: (a) multi-speaker sound source separation, (b) localizing and tracking speakers, (c) correcting misaligned audio-visual data, and (d) active speaker detection. Using our representation, these tasks can be solved entirely by training on unlabeled video, without the aid of object detectors. We also demonstrate the generality of our method by applying it to non-human speakers, including cartoons and puppets.Our model significantly outperforms other self-supervised approaches, and obtains performance competitive with methods that use supervised face detection.
Unsupervised visual representation learning remains a largely unsolved problem in computer vision research. Among a big body of recently proposed approaches for unsupervised learning of visual representations, a class of self-supervised techniques achieves superior performance on many challenging benchmarks. A large number of the pretext tasks for self-supervised learning have been studied, but other important aspects, such as the choice of convolutional neural networks (CNN), has not received equal attention. Therefore, we revisit numerous previously proposed self-supervised models, conduct a thorough large scale study and, as a result, uncover multiple crucial insights. We challenge a number of common practices in selfsupervised visual representation learning and observe that standard recipes for CNN design do not always translate to self-supervised representation learning. As part of our study, we drastically boost the performance of previously proposed techniques and outperform previously published state-of-the-art results by a large margin.
We tackle the problem of learning object detectors without supervision. Differently from weakly-supervised object detection, we do not assume image-level class labels. Instead, we extract a supervisory signal from audio-visual data, using the audio component to teach the object detector. While this problem is related to sound source localisation, it is considerably harder because the detector must classify the objects by type, enumerate each instance of the object, and do so even when the object is silent. We tackle this problem by first designing a self-supervised framework with a contrastive objective that jointly learns to classify and localise objects. Then, without using any supervision, we simply use these self-supervised labels and boxes to train an image-based object detector. With this, we outperform previous unsupervised and weakly-supervised detectors for the task of object detection and sound source localization. We also show that we can align this detector to ground-truth classes with as little as one label per pseudo-class, and show how our method can learn to detect generic objects that go beyond instruments, such as airplanes and cats.
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.
Recently, contrastive learning has largely advanced the progress of unsupervised visual representation learning. Pre-trained on ImageNet, some self-supervised algorithms reported higher transfer learning performance compared to fully-supervised methods, seeming to deliver the message that human labels hardly contribute to learning transferrable visual features. In this paper, we defend the usefulness of semantic labels but point out that fully-supervised and self-supervised methods are pursuing different kinds of features. To alleviate this issue, we present a new algorithm named Supervised Contrastive Adjustment in Neighborhood (SCAN) that maximally prevents the semantic guidance from damaging the appearance feature embedding. In a series of downstream tasks, SCAN achieves superior performance compared to previous fully-supervised and self-supervised methods, and sometimes the gain is significant. More importantly, our study reveals that semantic labels are useful in assisting self-supervised methods, opening a new direction for the community.