Comparing Correspondences: Video Prediction with Correspondence-wise Losses

Today's image prediction methods struggle to change the locations of objects in a scene, producing blurry images that average over the many positions they might occupy. In this paper, we propose a simple change to existing image similarity metrics that makes them more robust to positional errors: we match the images using optical flow, then measure the visual similarity of corresponding pixels. This change leads to crisper and more perceptually accurate predictions, and can be used with any image prediction network. We apply our method to predicting future frames of a video, where it obtains strong performance with simple, off-the-shelf architectures.

Strumming to the Beat: Audio-Conditioned Contrastive Video Textures

We introduce a non-parametric approach for infinite video texture synthesis using a representation learned via contrastive learning. We take inspiration from Video Textures, which showed that plausible new videos could be generated from a single one by stitching its frames together in a novel yet consistent order. This classic work, however, was constrained by its use of hand-designed distance metrics, limiting its use to simple, repetitive videos. We draw on recent techniques from self-supervised learning to learn this distance metric, allowing us to compare frames in a manner that scales to more challenging dynamics, and to condition on other data, such as audio. We learn representations for video frames and frame-to-frame transition probabilities by fitting a video-specific model trained using contrastive learning. To synthesize a texture, we randomly sample frames with high transition probabilities to generate diverse temporally smooth videos with novel sequences and transitions. The model naturally extends to an audio-conditioned setting without requiring any finetuning. Our model outperforms baselines on human perceptual scores, can handle a diverse range of input videos, and can combine semantic and audio-visual cues in order to synthesize videos that synchronize well with an audio signal.

Planar Surface Reconstruction from Sparse Views

The paper studies planar surface reconstruction of indoor scenes from two views with unknown camera poses. While prior approaches have successfully created object-centric reconstructions of many scenes, they fail to exploit other structures, such as planes, which are typically the dominant components of indoor scenes. In this paper, we reconstruct planar surfaces from multiple views, while jointly estimating camera pose. Our experiments demonstrate that our method is able to advance the state of the art of reconstruction from sparse views, on challenging scenes from Matterport3D. Project site: https://jinlinyi.github.io/SparsePlanes/

Self-Supervised Learning of Audio-Visual Objects from Video

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.

Space-Time Correspondence as a Contrastive Random Walk

This paper proposes a simple self-supervised approach for learning representations for visual correspondence from raw video. We cast correspondence as link prediction in a space-time graph constructed from a video. In this graph, the nodes are patches sampled from each frame, and nodes adjacent in time can share a directed edge. We learn a node embedding in which pairwise similarity defines transition probabilities of a random walk. Prediction of long-range correspondence is efficiently computed as a walk along this graph. The embedding learns to guide the walk by placing high probability along paths of correspondence. Targets are formed without supervision, by cycle-consistency: we train the embedding to maximize the likelihood of returning to the initial node when walking along a graph constructed from a `palindrome' of frames. We demonstrate that the approach allows for learning representations from large unlabeled video. Despite its simplicity, the method outperforms the self-supervised state-of-the-art on a variety of label propagation tasks involving objects, semantic parts, and pose. Moreover, we show that self-supervised adaptation at test-time and edge dropout improve transfer for object-level correspondence.

CNN-generated images are surprisingly easy to spot... for now

In this work we ask whether it is possible to create a "universal" detector for telling apart real images from these generated by a CNN, regardless of architecture or dataset used. To test this, we collect a dataset consisting of fake images generated by 11 different CNN-based image generator models, chosen to span the space of commonly used architectures today (ProGAN, StyleGAN, BigGAN, CycleGAN, StarGAN, GauGAN, DeepFakes, cascaded refinement networks, implicit maximum likelihood estimation, second-order attention super-resolution, seeing-in-the-dark). We demonstrate that, with careful pre- and post-processing and data augmentation, a standard image classifier trained on only one specific CNN generator (ProGAN) is able to generalize surprisingly well to unseen architectures, datasets, and training methods (including the just released StyleGAN2). Our findings suggest the intriguing possibility that today's CNN-generated images share some common systematic flaws, preventing them from achieving realistic image synthesis.

Detecting Photoshopped Faces by Scripting Photoshop

Most malicious photo manipulations are created using standard image editing tools, such as Adobe Photoshop. We present a method for detecting one very popular Photoshop manipulation -- image warping applied to human faces -- using a model trained entirely using fake images that were automatically generated by scripting Photoshop itself. We show that our model outperforms humans at the task of recognizing manipulated images, can predict the specific location of edits, and in some cases can be used to "undo" a manipulation to reconstruct the original, unedited image. We demonstrate that the system can be successfully applied to real, artist-created image manipulations.

Learning Individual Styles of Conversational Gesture

Human speech is often accompanied by hand and arm gestures. Given audio speech input, we generate plausible gestures to go along with the sound. Specifically, we perform cross-modal translation from "in-the-wild'' monologue speech of a single speaker to their hand and arm motion. We train on unlabeled videos for which we only have noisy pseudo ground truth from an automatic pose detection system. Our proposed model significantly outperforms baseline methods in a quantitative comparison. To support research toward obtaining a computational understanding of the relationship between gesture and speech, we release a large video dataset of person-specific gestures. The project website with video, code and data can be found at http://people.eecs.berkeley.edu/~shiry/speech2gesture .

Audio-Visual Scene Analysis with Self-Supervised Multisensory Features

The thud of a bouncing ball, the onset of speech as lips open -- when visual and audio events occur together, it suggests that there might be a common, underlying event that produced both signals. In this paper, we argue that the visual and audio components of a video signal should be modeled jointly using a fused multisensory representation. We propose to learn such a representation in a self-supervised way, by training a neural network to predict whether video frames and audio are temporally aligned. We use this learned representation for three applications: (a) sound source localization, i.e. visualizing the source of sound in a video; (b) audio-visual action recognition; and (c) on/off-screen audio source separation, e.g. removing the off-screen translator's voice from a foreign official's speech. Code, models, and video results are available on our webpage: http://andrewowens.com/multisensory

MoSculp: Interactive Visualization of Shape and Time

We present a system that allows users to visualize complex human motion via 3D motion sculptures---a representation that conveys the 3D structure swept by a human body as it moves through space. Given an input video, our system computes the motion sculptures and provides a user interface for rendering it in different styles, including the options to insert the sculpture back into the original video, render it in a synthetic scene or physically print it. To provide this end-to-end workflow, we introduce an algorithm that estimates that human's 3D geometry over time from a set of 2D images and develop a 3D-aware image-based rendering approach that embeds the sculpture back into the scene. By automating the process, our system takes motion sculpture creation out of the realm of professional artists, and makes it applicable to a wide range of existing video material. By providing viewers with 3D information, motion sculptures reveal space-time motion information that is difficult to perceive with the naked eye, and allow viewers to interpret how different parts of the object interact over time. We validate the effectiveness of this approach with user studies, finding that our motion sculpture visualizations are significantly more informative about motion than existing stroboscopic and space-time visualization methods.