Deep metric learning (DML) is a cornerstone of many computer vision applications. It aims at learning a mapping from the input domain to an embedding space, where semantically similar objects are located nearby and dissimilar objects far from another
. The target similarity on the training data is defined by user in form of ground-truth class labels. However, while the embedding space learns to mimic the user-provided similarity on the training data, it should also generalize to novel categories not seen during training. Besides user-provided groundtruth training labels, a lot of additional visual factors (such as viewpoint changes or shape peculiarities) exist and imply different notions of similarity between objects, affecting the generalization on the images unseen during training. However, existing approaches usually directly learn a single embedding space on all available training data, struggling to encode all different types of relationships, and do not generalize well. We propose to build a more expressive representation by jointly splitting the embedding space and the data hierarchically into smaller sub-parts. We successively focus on smaller subsets of the training data, reducing its variance and learning a different embedding subspace for each data subset. Moreover, the subspaces are learned jointly to cover not only the intricacies, but the breadth of the data as well. Only after that, we build the final embedding from the subspaces in the conquering stage. The proposed algorithm acts as a transparent wrapper that can be placed around arbitrary existing DML methods. Our approach significantly improves upon the state-of-the-art on image retrieval, clustering, and re-identification tasks evaluated using CUB200-2011, CARS196, Stanford Online Products, In-shop Clothes, and PKU VehicleID datasets.
The large amount of audiovisual content being shared online today has drawn substantial attention to the prospect of audiovisual self-supervised learning. Recent works have focused on each of these modalities separately, while others have attempted t
o model both simultaneously in a cross-modal fashion. However, comparatively little attention has been given to leveraging one modality as a training objective to learn from the other. In this work, we propose Learning visual speech Representations from Audio via self-supervision (LiRA). Specifically, we train a ResNet+Conformer model to predict acoustic features from unlabelled visual speech. We find that this pre-trained model can be leveraged towards word-level and sentence-level lip-reading through feature extraction and fine-tuning experiments. We show that our approach significantly outperforms other self-supervised methods on the Lip Reading in the Wild (LRW) dataset and achieves state-of-the-art performance on Lip Reading Sentences 2 (LRS2) using only a fraction of the total labelled data.
Video-to-speech is the process of reconstructing the audio speech from a video of a spoken utterance. Previous approaches to this task have relied on a two-step process where an intermediate representation is inferred from the video, and is then deco
ded into waveform audio using a vocoder or a waveform reconstruction algorithm. In this work, we propose a new end-to-end video-to-speech model based on Generative Adversarial Networks (GANs) which translates spoken video to waveform end-to-end without using any intermediate representation or separate waveform synthesis algorithm. Our model consists of an encoder-decoder architecture that receives raw video as input and generates speech, which is then fed to a waveform critic and a power critic. The use of an adversarial loss based on these two critics enables the direct synthesis of raw audio waveform and ensures its realism. In addition, the use of our three comparative losses helps establish direct correspondence between the generated audio and the input video. We show that this model is able to reconstruct speech with remarkable realism for constrained datasets such as GRID, and that it is the first end-to-end model to produce intelligible speech for LRW (Lip Reading in the Wild), featuring hundreds of speakers recorded entirely `in the wild. We evaluate the generated samples in two different scenarios -- seen and unseen speakers -- using four objective metrics which measure the quality and intelligibility of artificial speech. We demonstrate that the proposed approach outperforms all previous works in most metrics on GRID and LRW.
The computational design of soft underwater swimmers is challenging because of the high degrees of freedom in soft-body modeling. In this paper, we present a differentiable pipeline for co-designing a soft swimmers geometry and controller. Our pipeli
ne unlocks gradient-based algorithms for discovering novel swimmer designs more efficiently than traditional gradient-free solutions. We propose Wasserstein barycenters as a basis for the geometric design of soft underwater swimmers since it is differentiable and can naturally interpolate between bio-inspired base shapes via optimal transport. By combining this design space with differentiable simulation and control, we can efficiently optimize a soft underwater swimmers performance with fewer simulations than baseline methods. We demonstrate the efficacy of our method on various design problems such as fast, stable, and energy-efficient swimming and demonstrate applicability to multi-objective design.
We present a novel, fast differentiable simulator for soft-body learning and control applications. Existing differentiable soft-body simulators can be classified into two categories based on their time integration methods: Simulators using explicit t
ime-stepping scheme require tiny time steps to avoid numerical instabilities in gradient computation, and simulators using implicit time integration typically compute gradients by employing the adjoint method and solving the expensive linearized dynamics. Inspired by Projective Dynamics (PD), we present Differentiable Projective Dynamics (DiffPD), an efficient differentiable soft-body simulator based on PD with implicit time integration. The key idea in DiffPD is to speed up backpropagation by exploiting the prefactorized Cholesky decomposition in forward PD simulation. In terms of contact handling, DiffPD supports two types of contacts: a penalty-based model describing contact and friction forces and a complementarity-based model enforcing non-penetration conditions and static friction. We evaluate the performance of DiffPD and observe it is 4-19 times faster compared to the standard Newtons method in various applications including system identification, inverse design problems, trajectory optimization, and closed-loop control. We also apply DiffPD in a real-to-sim example with contact and collisions and show its capability of reconstructing a digital twin of real-world scenes.
Style transfer has recently received a lot of attention, since it allows to study fundamental challenges in image understanding and synthesis. Recent work has significantly improved the representation of color and texture and computational speed and
image resolution. The explicit transformation of image content has, however, been mostly neglected: while artistic style affects formal characteristics of an image, such as color, shape or texture, it also deforms, adds or removes content details. This paper explicitly focuses on a content-and style-aware stylization of a content image. Therefore, we introduce a content transformation module between the encoder and decoder. Moreover, we utilize similar content appearing in photographs and style samples to learn how style alters content details and we generalize this to other class details. Additionally, this work presents a novel normalization layer critical for high resolution image synthesis. The robustness and speed of our model enables a video stylization in real-time and high definition. We perform extensive qualitative and quantitative evaluations to demonstrate the validity of our approach.
Self supervised representation learning has recently attracted a lot of research interest for both the audio and visual modalities. However, most works typically focus on a particular modality or feature alone and there has been very limited work tha
t studies the interaction between the two modalities for learning self supervised representations. We propose a framework for learning audio representations guided by the visual modality in the context of audiovisual speech. We employ a generative audio-to-video training scheme in which we animate a still image corresponding to a given audio clip and optimize the generated video to be as close as possible to the real video of the speech segment. Through this process, the audio encoder network learns useful speech representations that we evaluate on emotion recognition and speech recognition. We achieve state of the art results for emotion recognition and competitive results for speech recognition. This demonstrates the potential of visual supervision for learning audio representations as a novel way for self-supervised learning which has not been explored in the past. The proposed unsupervised audio features can leverage a virtually unlimited amount of training data of unlabelled audiovisual speech and have a large number of potentially promising applications.
Speech is a means of communication which relies on both audio and visual information. The absence of one modality can often lead to confusion or misinterpretation of information. In this paper we present an end-to-end temporal model capable of direct
ly synthesising audio from silent video, without needing to transform to-and-from intermediate features. Our proposed approach, based on GANs is capable of producing natural sounding, intelligible speech which is synchronised with the video. The performance of our model is evaluated on the GRID dataset for both speaker dependent and speaker independent scenarios. To the best of our knowledge this is the first method that maps video directly to raw audio and the first to produce intelligible speech when tested on previously unseen speakers. We evaluate the synthesised audio not only based on the sound quality but also on the accuracy of the spoken words.
