Daily Papers

Deep learning has made significant strides in video understanding tasks, but the computation required to classify lengthy and massive videos using clip-level video classifiers remains impractical and prohibitively expensive. To address this issue, we propose Audio-Visual Glance Network (AVGN), which leverages the commonly available audio and visual modalities to efficiently process the spatio-temporally important parts of a video. AVGN firstly divides the video into snippets of image-audio clip pair and employs lightweight unimodal encoders to extract global visual features and audio features. To identify the important temporal segments, we use an Audio-Visual Temporal Saliency Transformer (AV-TeST) that estimates the saliency scores of each frame. To further increase efficiency in the spatial dimension, AVGN processes only the important patches instead of the whole images. We use an Audio-Enhanced Spatial Patch Attention (AESPA) module to produce a set of enhanced coarse visual features, which are fed to a policy network that produces the coordinates of the important patches. This approach enables us to focus only on the most important spatio-temporally parts of the video, leading to more efficient video recognition. Moreover, we incorporate various training techniques and multi-modal feature fusion to enhance the robustness and effectiveness of our AVGN. By combining these strategies, our AVGN sets new state-of-the-art performance in multiple video recognition benchmarks while achieving faster processing speed.

Recent years have seen progress beyond domain-specific sound separation for speech or music towards universal sound separation for arbitrary sounds. Prior work on universal sound separation has investigated separating a target sound out of an audio mixture given a text query. Such text-queried sound separation systems provide a natural and scalable interface for specifying arbitrary target sounds. However, supervised text-queried sound separation systems require costly labeled audio-text pairs for training. Moreover, the audio provided in existing datasets is often recorded in a controlled environment, causing a considerable generalization gap to noisy audio in the wild. In this work, we aim to approach text-queried universal sound separation by using only unlabeled data. We propose to leverage the visual modality as a bridge to learn the desired audio-textual correspondence. The proposed CLIPSep model first encodes the input query into a query vector using the contrastive language-image pretraining (CLIP) model, and the query vector is then used to condition an audio separation model to separate out the target sound. While the model is trained on image-audio pairs extracted from unlabeled videos, at test time we can instead query the model with text inputs in a zero-shot setting, thanks to the joint language-image embedding learned by the CLIP model. Further, videos in the wild often contain off-screen sounds and background noise that may hinder the model from learning the desired audio-textual correspondence. To address this problem, we further propose an approach called noise invariant training for training a query-based sound separation model on noisy data. Experimental results show that the proposed models successfully learn text-queried universal sound separation using only noisy unlabeled videos, even achieving competitive performance against a supervised model in some settings.

Contrastive learning methods, such as CLIP, leverage naturally paired data-for example, images and their corresponding text captions-to learn general representations that transfer efficiently to downstream tasks. While such approaches are generally applied to two modalities, domains such as robotics, healthcare, and video need to support many types of data at once. We show that the pairwise application of CLIP fails to capture joint information between modalities, thereby limiting the quality of the learned representations. To address this issue, we present Symile, a simple contrastive learning approach that captures higher-order information between any number of modalities. Symile provides a flexible, architecture-agnostic objective for learning modality-specific representations. To develop Symile's objective, we derive a lower bound on total correlation, and show that Symile representations for any set of modalities form a sufficient statistic for predicting the remaining modalities. Symile outperforms pairwise CLIP, even with modalities missing in the data, on cross-modal classification and retrieval across several experiments including on an original multilingual dataset of 33M image, text and audio samples and a clinical dataset of chest X-rays, electrocardiograms, and laboratory measurements. All datasets and code used in this work are publicly available at https://github.com/rajesh-lab/symile.

Large-scale pre-trained image-text models demonstrate remarkable versatility across diverse tasks, benefiting from their robust representational capabilities and effective multimodal alignment. We extend the application of these models, specifically CLIP, to the domain of sound source localization. Unlike conventional approaches, we employ the pre-trained CLIP model without explicit text input, relying solely on the audio-visual correspondence. To this end, we introduce a framework that translates audio signals into tokens compatible with CLIP's text encoder, yielding audio-driven embeddings. By directly using these embeddings, our method generates audio-grounded masks for the provided audio, extracts audio-grounded image features from the highlighted regions, and aligns them with the audio-driven embeddings using the audio-visual correspondence objective. Our findings suggest that utilizing pre-trained image-text models enable our model to generate more complete and compact localization maps for the sounding objects. Extensive experiments show that our method outperforms state-of-the-art approaches by a significant margin.

In the past, the rapidly evolving field of sound classification greatly benefited from the application of methods from other domains. Today, we observe the trend to fuse domain-specific tasks and approaches together, which provides the community with new outstanding models. In this work, we present an extension of the CLIP model that handles audio in addition to text and images. Our proposed model incorporates the ESResNeXt audio-model into the CLIP framework using the AudioSet dataset. Such a combination enables the proposed model to perform bimodal and unimodal classification and querying, while keeping CLIP's ability to generalize to unseen datasets in a zero-shot inference fashion. AudioCLIP achieves new state-of-the-art results in the Environmental Sound Classification (ESC) task, out-performing other approaches by reaching accuracies of 90.07% on the UrbanSound8K and 97.15% on the ESC-50 datasets. Further it sets new baselines in the zero-shot ESC-task on the same datasets (68.78% and 69.40%, respectively). Finally, we also assess the cross-modal querying performance of the proposed model as well as the influence of full and partial training on the results. For the sake of reproducibility, our code is published.

Representing wild sounds as images is an important but challenging task due to the lack of paired datasets between sound and images and the significant differences in the characteristics of these two modalities. Previous studies have focused on generating images from sound in limited categories or music. In this paper, we propose a novel approach to generate images from in-the-wild sounds. First, we convert sound into text using audio captioning. Second, we propose audio attention and sentence attention to represent the rich characteristics of sound and visualize the sound. Lastly, we propose a direct sound optimization with CLIPscore and AudioCLIP and generate images with a diffusion-based model. In experiments, it shows that our model is able to generate high quality images from wild sounds and outperforms baselines in both quantitative and qualitative evaluations on wild audio datasets.

We propose Wav2CLIP, a robust audio representation learning method by distilling from Contrastive Language-Image Pre-training (CLIP). We systematically evaluate Wav2CLIP on a variety of audio tasks including classification, retrieval, and generation, and show that Wav2CLIP can outperform several publicly available pre-trained audio representation algorithms. Wav2CLIP projects audio into a shared embedding space with images and text, which enables multimodal applications such as zero-shot classification, and cross-modal retrieval. Furthermore, Wav2CLIP needs just ~10% of the data to achieve competitive performance on downstream tasks compared with fully supervised models, and is more efficient to pre-train than competing methods as it does not require learning a visual model in concert with an auditory model. Finally, we demonstrate image generation from Wav2CLIP as qualitative assessment of the shared embedding space. Our code and model weights are open sourced and made available for further applications.

A "match cut" is a common video editing technique where a pair of shots that have a similar composition transition fluidly from one to another. Although match cuts are often visual, certain match cuts involve the fluid transition of audio, where sounds from different sources merge into one indistinguishable transition between two shots. In this paper, we explore the ability to automatically find and create "audio match cuts" within videos and movies. We create a self-supervised audio representation for audio match cutting and develop a coarse-to-fine audio match pipeline that recommends matching shots and creates the blended audio. We further annotate a dataset for the proposed audio match cut task and compare the ability of multiple audio representations to find audio match cut candidates. Finally, we evaluate multiple methods to blend two matching audio candidates with the goal of creating a smooth transition. Project page and examples are available at: https://denfed.github.io/audiomatchcut/

Contrastive Language and Image Pairing (CLIP), a transformative method in multimedia retrieval, typically trains two neural networks concurrently to generate joint embeddings for text and image pairs. However, when applied directly, these models often struggle to differentiate between visually distinct images that have similar captions, resulting in suboptimal performance for image-based similarity searches. This paper addresses the challenge of optimizing CLIP models for various image-based similarity search scenarios, while maintaining their effectiveness in text-based search tasks such as text-to-image retrieval and zero-shot classification. We propose and evaluate two novel methods aimed at refining the retrieval capabilities of CLIP without compromising the alignment between text and image embeddings. The first method involves a sequential fine-tuning process: initially optimizing the image encoder for more precise image retrieval and subsequently realigning the text encoder to these optimized image embeddings. The second approach integrates pseudo-captions during the retrieval-optimization phase to foster direct alignment within the embedding space. Through comprehensive experiments, we demonstrate that these methods enhance CLIP's performance on various benchmarks, including image retrieval, k-NN classification, and zero-shot text-based classification, while maintaining robustness in text-to-image retrieval. Our optimized models permit maintaining a single embedding per image, significantly simplifying the infrastructure needed for large-scale multi-modal similarity search systems.

Recent work has studied text-to-audio synthesis using large amounts of paired text-audio data. However, audio recordings with high-quality text annotations can be difficult to acquire. In this work, we approach text-to-audio synthesis using unlabeled videos and pretrained language-vision models. We propose to learn the desired text-audio correspondence by leveraging the visual modality as a bridge. We train a conditional diffusion model to generate the audio track of a video, given a video frame encoded by a pretrained contrastive language-image pretraining (CLIP) model. At test time, we first explore performing a zero-shot modality transfer and condition the diffusion model with a CLIP-encoded text query. However, we observe a noticeable performance drop with respect to image queries. To close this gap, we further adopt a pretrained diffusion prior model to generate a CLIP image embedding given a CLIP text embedding. Our results show the effectiveness of the proposed method, and that the pretrained diffusion prior can reduce the modality transfer gap. While we focus on text-to-audio synthesis, the proposed model can also generate audio from image queries, and it shows competitive performance against a state-of-the-art image-to-audio synthesis model in a subjective listening test. This study offers a new direction of approaching text-to-audio synthesis that leverages the naturally-occurring audio-visual correspondence in videos and the power of pretrained language-vision models.

Is vision good enough for language? Recent advancements in multimodal models primarily stem from the powerful reasoning abilities of large language models (LLMs). However, the visual component typically depends only on the instance-level contrastive language-image pre-training (CLIP). Our research reveals that the visual capabilities in recent multimodal LLMs (MLLMs) still exhibit systematic shortcomings. To understand the roots of these errors, we explore the gap between the visual embedding space of CLIP and vision-only self-supervised learning. We identify ''CLIP-blind pairs'' - images that CLIP perceives as similar despite their clear visual differences. With these pairs, we construct the Multimodal Visual Patterns (MMVP) benchmark. MMVP exposes areas where state-of-the-art systems, including GPT-4V, struggle with straightforward questions across nine basic visual patterns, often providing incorrect answers and hallucinated explanations. We further evaluate various CLIP-based vision-and-language models and found a notable correlation between visual patterns that challenge CLIP models and those problematic for multimodal LLMs. As an initial effort to address these issues, we propose a Mixture of Features (MoF) approach, demonstrating that integrating vision self-supervised learning features with MLLMs can significantly enhance their visual grounding capabilities. Together, our research suggests visual representation learning remains an open challenge, and accurate visual grounding is crucial for future successful multimodal systems.

Our goal is to collect a large-scale audio-visual dataset with low label noise from videos in the wild using computer vision techniques. The resulting dataset can be used for training and evaluating audio recognition models. We make three contributions. First, we propose a scalable pipeline based on computer vision techniques to create an audio dataset from open-source media. Our pipeline involves obtaining videos from YouTube; using image classification algorithms to localize audio-visual correspondence; and filtering out ambient noise using audio verification. Second, we use this pipeline to curate the VGGSound dataset consisting of more than 210k videos for 310 audio classes. Third, we investigate various Convolutional Neural Network~(CNN) architectures and aggregation approaches to establish audio recognition baselines for our new dataset. Compared to existing audio datasets, VGGSound ensures audio-visual correspondence and is collected under unconstrained conditions. Code and the dataset are available at http://www.robots.ox.ac.uk/~vgg/data/vggsound/

How does audio describe the world around us? In this work, we propose a method for generating images of visual scenes from diverse in-the-wild sounds. This cross-modal generation task is challenging due to the significant information gap between auditory and visual signals. We address this challenge by designing a model that aligns audio-visual modalities by enriching audio features with visual information and translating them into the visual latent space. These features are then fed into the pre-trained image generator to produce images. To enhance image quality, we use sound source localization to select audio-visual pairs with strong cross-modal correlations. Our method achieves substantially better results on the VEGAS and VGGSound datasets compared to previous work and demonstrates control over the generation process through simple manipulations to the input waveform or latent space. Furthermore, we analyze the geometric properties of the learned embedding space and demonstrate that our learning approach effectively aligns audio-visual signals for cross-modal generation. Based on this analysis, we show that our method is agnostic to specific design choices, showing its generalizability by integrating various model architectures and different types of audio-visual data.

Contrastive Language-Image Pre-training (CLIP), which excels at abstracting open-world representations across domains and modalities, has become a foundation for a variety of vision and multimodal tasks. However, recent studies reveal that CLIP has severe visual shortcomings, such as which can hardly distinguish orientation, quantity, color, structure, etc. These visual shortcomings also limit the perception capabilities of multimodal large language models (MLLMs) built on CLIP. The main reason could be that the image-text pairs used to train CLIP are inherently biased, due to the lack of the distinctiveness of the text and the diversity of images. In this work, we present a simple post-training approach for CLIP models, which largely overcomes its visual shortcomings via a self-supervised diffusion process. We introduce DIVA, which uses the DIffusion model as a Visual Assistant for CLIP. Specifically, DIVA leverages generative feedback from text-to-image diffusion models to optimize CLIP representations, with only images (without corresponding text). We demonstrate that DIVA improves CLIP's performance on the challenging MMVP-VLM benchmark which assesses fine-grained visual abilities to a large extent (e.g., 3-7%), and enhances the performance of MLLMs and vision models on multimodal understanding and segmentation tasks. Extensive evaluation on 29 image classification and retrieval benchmarks confirms that our framework preserves CLIP's strong zero-shot capabilities. The code will be available at https://github.com/baaivision/DIVA.

In recent years, datasets of paired audio and captions have enabled remarkable success in automatically generating descriptions for audio clips, namely Automated Audio Captioning (AAC). However, it is labor-intensive and time-consuming to collect a sufficient number of paired audio and captions. Motivated by the recent advances in Contrastive Language-Audio Pretraining (CLAP), we propose a weakly-supervised approach to train an AAC model assuming only text data and a pre-trained CLAP model, alleviating the need for paired target data. Our approach leverages the similarity between audio and text embeddings in CLAP. During training, we learn to reconstruct the text from the CLAP text embedding, and during inference, we decode using the audio embeddings. To mitigate the modality gap between the audio and text embeddings we employ strategies to bridge the gap during training and inference stages. We evaluate our proposed method on Clotho and AudioCaps datasets demonstrating its ability to achieve a relative performance of up to ~83% compared to fully supervised approaches trained with paired target data.

Speech sounds convey a great deal of information about the scenes, resulting in a variety of effects ranging from reverberation to additional ambient sounds. In this paper, we manipulate input speech to sound as though it was recorded within a different scene, given an audio-visual conditional example recorded from that scene. Our model learns through self-supervision, taking advantage of the fact that natural video contains recurring sound events and textures. We extract an audio clip from a video and apply speech enhancement. We then train a latent diffusion model to recover the original speech, using another audio-visual clip taken from elsewhere in the video as a conditional hint. Through this process, the model learns to transfer the conditional example's sound properties to the input speech. We show that our model can be successfully trained using unlabeled, in-the-wild videos, and that an additional visual signal can improve its sound prediction abilities. Please see our project webpage for video results: https://tinglok.netlify.app/files/avsoundscape/

Recently, there has been an increasing focus on audio-text cross-modal learning. However, most of the existing audio-text datasets contain only simple descriptions of sound events. Compared with classification labels, the advantages of such descriptions are significantly limited. In this paper, we first analyze the detailed information that human descriptions of audio may contain beyond sound event labels. Based on the analysis, we propose an automatic pipeline for curating audio-text pairs with rich details. Leveraging the property that sounds can be mixed and concatenated in the time domain, we control details in four aspects: temporal relationship, loudness, speaker identity, and occurrence number, in simulating audio mixtures. Corresponding details are transformed into captions by large language models. Audio-text pairs with rich details in text descriptions are thereby obtained. We validate the effectiveness of our pipeline with a small amount of simulated data, demonstrating that the simulated data enables models to learn detailed audio captioning.

Generating combined visual and auditory sensory experiences is critical for the consumption of immersive content. Recent advances in neural generative models have enabled the creation of high-resolution content across multiple modalities such as images, text, speech, and videos. Despite these successes, there remains a significant gap in the generation of high-quality spatial audio that complements generated visual content. Furthermore, current audio generation models excel in either generating natural audio or speech or music but fall short in integrating spatial audio cues necessary for immersive experiences. In this work, we introduce SEE-2-SOUND, a zero-shot approach that decomposes the task into (1) identifying visual regions of interest; (2) locating these elements in 3D space; (3) generating mono-audio for each; and (4) integrating them into spatial audio. Using our framework, we demonstrate compelling results for generating spatial audio for high-quality videos, images, and dynamic images from the internet, as well as media generated by learned approaches.

In this paper our objectives are, first, networks that can embed audio and visual inputs into a common space that is suitable for cross-modal retrieval; and second, a network that can localize the object that sounds in an image, given the audio signal. We achieve both these objectives by training from unlabelled video using only audio-visual correspondence (AVC) as the objective function. This is a form of cross-modal self-supervision from video. To this end, we design new network architectures that can be trained for cross-modal retrieval and localizing the sound source in an image, by using the AVC task. We make the following contributions: (i) show that audio and visual embeddings can be learnt that enable both within-mode (e.g. audio-to-audio) and between-mode retrieval; (ii) explore various architectures for the AVC task, including those for the visual stream that ingest a single image, or multiple images, or a single image and multi-frame optical flow; (iii) show that the semantic object that sounds within an image can be localized (using only the sound, no motion or flow information); and (iv) give a cautionary tale on how to avoid undesirable shortcuts in the data preparation.

Joint Energy Models (JEMs), while drawing significant research attention, have not been successfully scaled to real-world, high-resolution datasets. We present EB-CLIP, a novel approach extending JEMs to the multimodal vision-language domain using CLIP, integrating both generative and discriminative objectives. For the generative objective, we introduce an image-text joint-energy function based on Cosine similarity in the CLIP space, training CLIP to assign low energy to real image-caption pairs and high energy otherwise. For the discriminative objective, we employ contrastive adversarial loss, extending the adversarial training objective to the multimodal domain. EB-CLIP not only generates realistic images from text but also achieves competitive results on the compositionality benchmark, outperforming leading methods with fewer parameters. Additionally, we demonstrate the superior guidance capability of EB-CLIP by enhancing CLIP-based generative frameworks and converting unconditional diffusion models to text-based ones. Lastly, we show that EB-CLIP can serve as a more robust evaluation metric for text-to-image generative tasks than CLIP.

Contrastive Language-Image Pre-training (CLIP) is an approach that has advanced research and applications in computer vision, fueling modern recognition systems and generative models. We believe that the main ingredient to the success of CLIP is its data and not the model architecture or pre-training objective. However, CLIP only provides very limited information about its data and how it has been collected, leading to works that aim to reproduce CLIP's data by filtering with its model parameters. In this work, we intend to reveal CLIP's data curation approach and in our pursuit of making it open to the community introduce Metadata-Curated Language-Image Pre-training (MetaCLIP). MetaCLIP takes a raw data pool and metadata (derived from CLIP's concepts) and yields a balanced subset over the metadata distribution. Our experimental study rigorously isolates the model and training settings, concentrating solely on data. MetaCLIP applied to CommonCrawl with 400M image-text data pairs outperforms CLIP's data on multiple standard benchmarks. In zero-shot ImageNet classification, MetaCLIP achieves 70.8% accuracy, surpassing CLIP's 68.3% on ViT-B models. Scaling to 1B data, while maintaining the same training budget, attains 72.4%. Our observations hold across various model sizes, exemplified by ViT-H achieving 80.5%, without any bells-and-whistles. Curation code and training data distribution on metadata is made available at https://github.com/facebookresearch/MetaCLIP.

We propose to synthesize high-quality and synchronized audio, given video and optional text conditions, using a novel multimodal joint training framework MMAudio. In contrast to single-modality training conditioned on (limited) video data only, MMAudio is jointly trained with larger-scale, readily available text-audio data to learn to generate semantically aligned high-quality audio samples. Additionally, we improve audio-visual synchrony with a conditional synchronization module that aligns video conditions with audio latents at the frame level. Trained with a flow matching objective, MMAudio achieves new video-to-audio state-of-the-art among public models in terms of audio quality, semantic alignment, and audio-visual synchronization, while having a low inference time (1.23s to generate an 8s clip) and just 157M parameters. MMAudio also achieves surprisingly competitive performance in text-to-audio generation, showing that joint training does not hinder single-modality performance. Code and demo are available at: https://hkchengrex.github.io/MMAudio

Data-driven speech processing models usually perform well with a large amount of text supervision, but collecting transcribed speech data is costly. Therefore, we propose SpeechCLIP, a novel framework bridging speech and text through images to enhance speech models without transcriptions. We leverage state-of-the-art pre-trained HuBERT and CLIP, aligning them via paired images and spoken captions with minimal fine-tuning. SpeechCLIP outperforms prior state-of-the-art on image-speech retrieval and performs zero-shot speech-text retrieval without direct supervision from transcriptions. Moreover, SpeechCLIP can directly retrieve semantically related keywords from speech.

Recently, an audio-visual segmentation (AVS) task has been introduced, aiming to group pixels with sounding objects within a given video. This task necessitates a first-ever audio-driven pixel-level understanding of the scene, posing significant challenges. In this paper, we propose an innovative audio-visual transformer framework, termed COMBO, an acronym for COoperation of Multi-order Bilateral relatiOns. For the first time, our framework explores three types of bilateral entanglements within AVS: pixel entanglement, modality entanglement, and temporal entanglement. Regarding pixel entanglement, we employ a Siam-Encoder Module (SEM) that leverages prior knowledge to generate more precise visual features from the foundational model. For modality entanglement, we design a Bilateral-Fusion Module (BFM), enabling COMBO to align corresponding visual and auditory signals bi-directionally. As for temporal entanglement, we introduce an innovative adaptive inter-frame consistency loss according to the inherent rules of temporal. Comprehensive experiments and ablation studies on AVSBench-object (84.7 mIoU on S4, 59.2 mIou on MS3) and AVSBench-semantic (42.1 mIoU on AVSS) datasets demonstrate that COMBO surpasses previous state-of-the-art methods. Code and more results will be publicly available at https://combo-avs.github.io/.

Contrastive Language-Image Pre-training (CLIP) plays an essential role in extracting valuable content information from images across diverse tasks. It aligns textual and visual modalities to comprehend the entire image, including all the details, even those irrelevant to specific tasks. However, for a finer understanding and controlled editing of images, it becomes crucial to focus on specific regions of interest, which can be indicated as points, masks, or boxes by humans or perception models. To fulfill the requirements, we introduce Alpha-CLIP, an enhanced version of CLIP with an auxiliary alpha channel to suggest attentive regions and fine-tuned with constructed millions of RGBA region-text pairs. Alpha-CLIP not only preserves the visual recognition ability of CLIP but also enables precise control over the emphasis of image contents. It demonstrates effectiveness in various tasks, including but not limited to open-world recognition, multimodal large language models, and conditional 2D / 3D generation. It has a strong potential to serve as a versatile tool for image-related tasks.

Generating semantically and temporally aligned audio content in accordance with video input has become a focal point for researchers, particularly following the remarkable breakthrough in text-to-video generation. In this work, we aim to offer insights into the video-to-audio generation paradigm, focusing on three crucial aspects: vision encoders, auxiliary embeddings, and data augmentation techniques. Beginning with a foundational model VTA-LDM built on a simple yet surprisingly effective intuition, we explore various vision encoders and auxiliary embeddings through ablation studies. Employing a comprehensive evaluation pipeline that emphasizes generation quality and video-audio synchronization alignment, we demonstrate that our model exhibits state-of-the-art video-to-audio generation capabilities. Furthermore, we provide critical insights into the impact of different data augmentation methods on enhancing the generation framework's overall capacity. We showcase possibilities to advance the challenge of generating synchronized audio from semantic and temporal perspectives. We hope these insights will serve as a stepping stone toward developing more realistic and accurate audio-visual generation models.

Image captioning aims at generating descriptive and meaningful textual descriptions of images, enabling a broad range of vision-language applications. Prior works have demonstrated that harnessing the power of Contrastive Image Language Pre-training (CLIP) offers a promising approach to achieving zero-shot captioning, eliminating the need for expensive caption annotations. However, the widely observed modality gap in the latent space of CLIP harms the performance of zero-shot captioning by breaking the alignment between paired image-text features. To address this issue, we conduct an analysis on the CLIP latent space which leads to two findings. Firstly, we observe that the CLIP's visual feature of image subregions can achieve closer proximity to the paired caption due to the inherent information loss in text descriptions. In addition, we show that the modality gap between a paired image-text can be empirically modeled as a zero-mean Gaussian distribution. Motivated by the findings, we propose a novel zero-shot image captioning framework with text-only training to reduce the modality gap. In particular, we introduce a subregion feature aggregation to leverage local region information, which produces a compact visual representation for matching text representation. Moreover, we incorporate a noise injection and CLIP reranking strategy to boost captioning performance. We also extend our framework to build a zero-shot VQA pipeline, demonstrating its generality. Through extensive experiments on common captioning and VQA datasets such as MSCOCO, Flickr30k and VQAV2, we show that our method achieves remarkable performance improvements. Code is available at https://github.com/Artanic30/MacCap.

In traditional audio captioning methods, a model is usually trained in a fully supervised manner using a human-annotated dataset containing audio-text pairs and then evaluated on the test sets from the same dataset. Such methods have two limitations. First, these methods are often data-hungry and require time-consuming and expensive human annotations to obtain audio-text pairs. Second, these models often suffer from performance degradation in cross-domain scenarios, i.e., when the input audio comes from a different domain than the training set, which, however, has received little attention. We propose an effective audio captioning method based on the contrastive language-audio pre-training (CLAP) model to address these issues. Our proposed method requires only textual data for training, enabling the model to generate text from the textual feature in the cross-modal semantic space.In the inference stage, the model generates the descriptive text for the given audio from the audio feature by leveraging the audio-text alignment from CLAP.We devise two strategies to mitigate the discrepancy between text and audio embeddings: a mixed-augmentation-based soft prompt and a retrieval-based acoustic-aware hard prompt. These approaches are designed to enhance the generalization performance of our proposed model, facilitating the model to generate captions more robustly and accurately. Extensive experiments on AudioCaps and Clotho benchmarks show the effectiveness of our proposed method, which outperforms other zero-shot audio captioning approaches for in-domain scenarios and outperforms the compared methods for cross-domain scenarios, underscoring the generalization ability of our method.

CLIP (Contrastive Language-Image Pretraining) has become a popular choice for various downstream tasks. However, recent studies have questioned its ability to represent compositional concepts effectively. These works suggest that CLIP often acts like a bag-of-words (BoW) model, interpreting images and text as sets of individual concepts without grasping the structural relationships. In particular, CLIP struggles to correctly bind attributes to their corresponding objects when multiple objects are present in an image or text. In this work, we investigate why CLIP exhibits this BoW-like behavior. We find that the correct attribute-object binding information is already present in individual text and image modalities. Instead, the issue lies in the cross-modal alignment, which relies on cosine similarity. To address this, we propose Linear Attribute Binding CLIP or LABCLIP. It applies a linear transformation to text embeddings before computing cosine similarity. This approach significantly improves CLIP's ability to bind attributes to correct objects, thereby enhancing its compositional understanding.

The study of talking face generation mainly explores the intricacies of synchronizing facial movements and crafting visually appealing, temporally-coherent animations. However, due to the limited exploration of global audio perception, current approaches predominantly employ auxiliary visual and spatial knowledge to stabilize the movements, which often results in the deterioration of the naturalness and temporal inconsistencies.Considering the essence of audio-driven animation, the audio signal serves as the ideal and unique priors to adjust facial expressions and lip movements, without resorting to interference of any visual signals. Based on this motivation, we propose a novel paradigm, dubbed as Sonic, to {s}hift f{o}cus on the exploration of global audio per{c}ept{i}o{n}.To effectively leverage global audio knowledge, we disentangle it into intra- and inter-clip audio perception and collaborate with both aspects to enhance overall perception.For the intra-clip audio perception, 1). Context-enhanced audio learning, in which long-range intra-clip temporal audio knowledge is extracted to provide facial expression and lip motion priors implicitly expressed as the tone and speed of speech. 2). Motion-decoupled controller, in which the motion of the head and expression movement are disentangled and independently controlled by intra-audio clips. Most importantly, for inter-clip audio perception, as a bridge to connect the intra-clips to achieve the global perception, Time-aware position shift fusion, in which the global inter-clip audio information is considered and fused for long-audio inference via through consecutively time-aware shifted windows. Extensive experiments demonstrate that the novel audio-driven paradigm outperform existing SOTA methodologies in terms of video quality, temporally consistency, lip synchronization precision, and motion diversity.

We present a method for simultaneously localizing multiple sound sources within a visual scene. This task requires a model to both group a sound mixture into individual sources, and to associate them with a visual signal. Our method jointly solves both tasks at once, using a formulation inspired by the contrastive random walk of Jabri et al. We create a graph in which images and separated sounds correspond to nodes, and train a random walker to transition between nodes from different modalities with high return probability. The transition probabilities for this walk are determined by an audio-visual similarity metric that is learned by our model. We show through experiments with musical instruments and human speech that our model can successfully localize multiple sounds, outperforming other self-supervised methods. Project site: https://hxixixh.github.io/mix-and-localize

Visual and auditory perception are two crucial ways humans experience the world. Text-to-video generation has made remarkable progress over the past year, but the absence of harmonious audio in generated video limits its broader applications. In this paper, we propose Semantic and Temporal Aligned Video-to-Audio (STA-V2A), an approach that enhances audio generation from videos by extracting both local temporal and global semantic video features and combining these refined video features with text as cross-modal guidance. To address the issue of information redundancy in videos, we propose an onset prediction pretext task for local temporal feature extraction and an attentive pooling module for global semantic feature extraction. To supplement the insufficient semantic information in videos, we propose a Latent Diffusion Model with Text-to-Audio priors initialization and cross-modal guidance. We also introduce Audio-Audio Align, a new metric to assess audio-temporal alignment. Subjective and objective metrics demonstrate that our method surpasses existing Video-to-Audio models in generating audio with better quality, semantic consistency, and temporal alignment. The ablation experiment validated the effectiveness of each module. Audio samples are available at https://y-ren16.github.io/STAV2A.

Continuously learning a variety of audio-video semantics over time is crucial for audio-related reasoning tasks in our ever-evolving world. However, this is a nontrivial problem and poses two critical challenges: sparse spatio-temporal correlation between audio-video pairs and multimodal correlation overwriting that forgets audio-video relations. To tackle this problem, we propose a new continual audio-video pre-training method with two novel ideas: (1) Localized Patch Importance Scoring: we introduce a multimodal encoder to determine the importance score for each patch, emphasizing semantically intertwined audio-video patches. (2) Replay-guided Correlation Assessment: to reduce the corruption of previously learned audiovisual knowledge due to drift, we propose to assess the correlation of the current patches on the past steps to identify the patches exhibiting high correlations with the past steps. Based on the results from the two ideas, we perform probabilistic patch selection for effective continual audio-video pre-training. Experimental validation on multiple benchmarks shows that our method achieves a 3.69%p of relative performance gain in zero-shot retrieval tasks compared to strong continual learning baselines, while reducing memory consumption by ~45%.

With the emergence of audio-language models, constructing large-scale paired audio-language datasets has become essential yet challenging for model development, primarily due to the time-intensive and labour-heavy demands involved. While large language models (LLMs) have improved the efficiency of synthetic audio caption generation, current approaches struggle to effectively extract and incorporate detailed audio information. In this paper, we propose an automated pipeline that integrates audio-language models for fine-grained content extraction, LLMs for synthetic caption generation, and a contrastive language-audio pretraining (CLAP) model-based refinement process to improve the quality of captions. Specifically, we employ prompt chaining techniques in the content extraction stage to obtain accurate and fine-grained audio information, while we use the refinement process to mitigate potential hallucinations in the generated captions. Leveraging the AudioSet dataset and the proposed approach, we create AudioSetCaps, a dataset comprising 1.9 million audio-caption pairs, the largest audio-caption dataset at the time of writing. The models trained with AudioSetCaps achieve state-of-the-art performance on audio-text retrieval with R@1 scores of 46.3% for text-to-audio and 59.7% for audio-to-text retrieval and automated audio captioning with the CIDEr score of 84.8. As our approach has shown promising results with AudioSetCaps, we create another dataset containing 4.1 million synthetic audio-language pairs based on the Youtube-8M and VGGSound datasets. To facilitate research in audio-language learning, we have made our pipeline, datasets with 6 million audio-language pairs, and pre-trained models publicly available at https://github.com/JishengBai/AudioSetCaps.

In this work, we build a simple but strong baseline for sounding video generation. Given base diffusion models for audio and video, we integrate them with additional modules into a single model and train it to make the model jointly generate audio and video. To enhance alignment between audio-video pairs, we introduce two novel mechanisms in our model. The first one is timestep adjustment, which provides different timestep information to each base model. It is designed to align how samples are generated along with timesteps across modalities. The second one is a new design of the additional modules, termed Cross-Modal Conditioning as Positional Encoding (CMC-PE). In CMC-PE, cross-modal information is embedded as if it represents temporal position information, and the embeddings are fed into the model like positional encoding. Compared with the popular cross-attention mechanism, CMC-PE provides a better inductive bias for temporal alignment in the generated data. Experimental results validate the effectiveness of the two newly introduced mechanisms and also demonstrate that our method outperforms existing methods.

Recent advances in audio generation have focused on text-to-audio (T2A) and video-to-audio (V2A) tasks. However, T2A or V2A methods cannot generate holistic sounds (onscreen and off-screen). This is because T2A cannot generate sounds aligning with onscreen objects, while V2A cannot generate semantically complete (offscreen sounds missing). In this work, we address the task of holistic audio generation: given a video and a text prompt, we aim to generate both onscreen and offscreen sounds that are temporally synchronized with the video and semantically aligned with text and video. Previous approaches for joint text and video-to-audio generation often suffer from modality bias, favoring one modality over the other. To overcome this limitation, we introduce VinTAGe, a flow-based transformer model that jointly considers text and video to guide audio generation. Our framework comprises two key components: a Visual-Text Encoder and a Joint VT-SiT model. To reduce modality bias and improve generation quality, we employ pretrained uni-modal text-to-audio and video-to-audio generation models for additional guidance. Due to the lack of appropriate benchmarks, we also introduce VinTAGe-Bench, a dataset of 636 video-text-audio pairs containing both onscreen and offscreen sounds. Our comprehensive experiments on VinTAGe-Bench demonstrate that joint text and visual interaction is necessary for holistic audio generation. Furthermore, VinTAGe achieves state-of-the-art results on the VGGSound benchmark. Our source code and pre-trained models will be released. Demo is available at: https://www.youtube.com/watch?v=QmqWhUjPkJI.

Contrastive Language-Image Pretraining (CLIP) has demonstrated great zero-shot performance for matching images and text. However, it is still challenging to adapt vision-lanaguage pretrained models like CLIP to compositional image and text matching -- a more challenging image and text matching task requiring the model understanding of compositional word concepts and visual components. Towards better compositional generalization in zero-shot image and text matching, in this paper, we study the problem from a causal perspective: the erroneous semantics of individual entities are essentially confounders that cause the matching failure. Therefore, we propose a novel \textit{training-free} compositional CLIP model (ComCLIP). ComCLIP disentangles input images into subjects, objects, and action sub-images and composes CLIP's vision encoder and text encoder to perform evolving matching over compositional text embedding and sub-image embeddings. In this way, ComCLIP can mitigate spurious correlations introduced by the pretrained CLIP models and dynamically evaluate the importance of each component. Experiments on four compositional image-text matching datasets: SVO, ComVG, Winoground, and VL-checklist, and two general image-text retrieval datasets: Flick30K, and MSCOCO demonstrate the effectiveness of our plug-and-play method, which boosts the \textit{zero-shot} inference ability of CLIP, SLIP, and BLIP2 even without further training or fine-tuning. Our codes can be found at https://github.com/eric-ai-lab/ComCLIP.

Contrastive language-image pretraining (CLIP) using image-text pairs has achieved impressive results on image classification in both zero-shot and transfer learning settings. However, we show that directly applying such models to recognize image regions for object detection leads to poor performance due to a domain shift: CLIP was trained to match an image as a whole to a text description, without capturing the fine-grained alignment between image regions and text spans. To mitigate this issue, we propose a new method called RegionCLIP that significantly extends CLIP to learn region-level visual representations, thus enabling fine-grained alignment between image regions and textual concepts. Our method leverages a CLIP model to match image regions with template captions and then pretrains our model to align these region-text pairs in the feature space. When transferring our pretrained model to the open-vocabulary object detection tasks, our method significantly outperforms the state of the art by 3.8 AP50 and 2.2 AP for novel categories on COCO and LVIS datasets, respectively. Moreoever, the learned region representations support zero-shot inference for object detection, showing promising results on both COCO and LVIS datasets. Our code is available at https://github.com/microsoft/RegionCLIP.

Spectrograms are 2D representations of sound that look very different from the images found in our visual world. And natural images, when played as spectrograms, make unnatural sounds. In this paper, we show that it is possible to synthesize spectrograms that simultaneously look like natural images and sound like natural audio. We call these spectrograms images that sound. Our approach is simple and zero-shot, and it leverages pre-trained text-to-image and text-to-spectrogram diffusion models that operate in a shared latent space. During the reverse process, we denoise noisy latents with both the audio and image diffusion models in parallel, resulting in a sample that is likely under both models. Through quantitative evaluations and perceptual studies, we find that our method successfully generates spectrograms that align with a desired audio prompt while also taking the visual appearance of a desired image prompt. Please see our project page for video results: https://ificl.github.io/images-that-sound/

This work addresses the lack of multimodal generative models capable of producing high-quality videos with spatially aligned audio. While recent advancements in generative models have been successful in video generation, they often overlook the spatial alignment between audio and visuals, which is essential for immersive experiences. To tackle this problem, we establish a new research direction in benchmarking Spatially Aligned Audio-Video Generation (SAVG). We propose three key components for the benchmark: dataset, baseline, and metrics. We introduce a spatially aligned audio-visual dataset, derived from an audio-visual dataset consisting of multichannel audio, video, and spatiotemporal annotations of sound events. We propose a baseline audio-visual diffusion model focused on stereo audio-visual joint learning to accommodate spatial sound. Finally, we present metrics to evaluate video and spatial audio quality, including a new spatial audio-visual alignment metric. Our experimental result demonstrates that gaps exist between the baseline model and ground truth in terms of video and audio quality, and spatial alignment between both modalities.

Multi-modal learning has become increasingly popular due to its ability to leverage information from different data sources (e.g., text and images) to improve the model performance. Recently, CLIP has emerged as an effective approach that employs vision-language contrastive pretraining to learn joint image and text representations and exhibits remarkable performance in zero-shot learning and text-guided natural image generation. Despite the huge practical success of CLIP, its theoretical understanding remains elusive. In this paper, we formally study transferrable representation learning underlying CLIP and demonstrate how features from different modalities get aligned. We also analyze its zero-shot transfer performance on the downstream tasks. Inspired by our analysis, we propose a new CLIP-type approach, which achieves better performance than CLIP and other state-of-the-art methods on benchmark datasets.

Despite recent progress in text-to-audio (TTA) generation, we show that the state-of-the-art models, such as AudioLDM, trained on datasets with an imbalanced class distribution, such as AudioCaps, are biased in their generation performance. Specifically, they excel in generating common audio classes while underperforming in the rare ones, thus degrading the overall generation performance. We refer to this problem as long-tailed text-to-audio generation. To address this issue, we propose a simple retrieval-augmented approach for TTA models. Specifically, given an input text prompt, we first leverage a Contrastive Language Audio Pretraining (CLAP) model to retrieve relevant text-audio pairs. The features of the retrieved audio-text data are then used as additional conditions to guide the learning of TTA models. We enhance AudioLDM with our proposed approach and denote the resulting augmented system as Re-AudioLDM. On the AudioCaps dataset, Re-AudioLDM achieves a state-of-the-art Frechet Audio Distance (FAD) of 1.37, outperforming the existing approaches by a large margin. Furthermore, we show that Re-AudioLDM can generate realistic audio for complex scenes, rare audio classes, and even unseen audio types, indicating its potential in TTA tasks.

Video and audio are closely correlated modalities that humans naturally perceive together. While recent advancements have enabled the generation of audio or video from text, producing both modalities simultaneously still typically relies on either a cascaded process or multi-modal contrastive encoders. These approaches, however, often lead to suboptimal results due to inherent information losses during inference and conditioning. In this paper, we introduce SyncFlow, a system that is capable of simultaneously generating temporally synchronized audio and video from text. The core of SyncFlow is the proposed dual-diffusion-transformer (d-DiT) architecture, which enables joint video and audio modelling with proper information fusion. To efficiently manage the computational cost of joint audio and video modelling, SyncFlow utilizes a multi-stage training strategy that separates video and audio learning before joint fine-tuning. Our empirical evaluations demonstrate that SyncFlow produces audio and video outputs that are more correlated than baseline methods with significantly enhanced audio quality and audio-visual correspondence. Moreover, we demonstrate strong zero-shot capabilities of SyncFlow, including zero-shot video-to-audio generation and adaptation to novel video resolutions without further training.

It is an open challenge to obtain high quality training data, especially captions, for text-to-audio models. Although prior methods have leveraged text-only language models to augment and improve captions, such methods have limitations related to scale and coherence between audio and captions. In this work, we propose an audio captioning pipeline that uses an audio language model to synthesize accurate and diverse captions for audio at scale. We leverage this pipeline to produce a dataset of synthetic captions for AudioSet, named AF-AudioSet, and then evaluate the benefit of pre-training text-to-audio models on these synthetic captions. Through systematic evaluations on AudioCaps and MusicCaps, we find leveraging our pipeline and synthetic captions leads to significant improvements on audio generation quality, achieving a new state-of-the-art.

The objectives of this work are cross-modal text-audio and audio-text retrieval, in which the goal is to retrieve the audio content from a pool of candidates that best matches a given written description and vice versa. Text-audio retrieval enables users to search large databases through an intuitive interface: they simply issue free-form natural language descriptions of the sound they would like to hear. To study the tasks of text-audio and audio-text retrieval, which have received limited attention in the existing literature, we introduce three challenging new benchmarks. We first construct text-audio and audio-text retrieval benchmarks from the AudioCaps and Clotho audio captioning datasets. Additionally, we introduce the SoundDescs benchmark, which consists of paired audio and natural language descriptions for a diverse collection of sounds that are complementary to those found in AudioCaps and Clotho. We employ these three benchmarks to establish baselines for cross-modal text-audio and audio-text retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into audio retrieval with free-form text queries. Code, audio features for all datasets used, and the SoundDescs dataset are publicly available at https://github.com/akoepke/audio-retrieval-benchmark.

Contrastive Language-Image Pre-training (CLIP) has been the cornerstone for zero-shot classification, text-image retrieval, and text-image generation by aligning image and text modalities. Despite its widespread adoption, a significant limitation of CLIP lies in the inadequate length of text input. The length of the text token is restricted to 77, and an empirical study shows the actual effective length is even less than 20. This prevents CLIP from handling detailed descriptions, limiting its applications for image retrieval and text-to-image generation with extensive prerequisites. To this end, we propose Long-CLIP as a plug-and-play alternative to CLIP that supports long-text input, retains or even surpasses its zero-shot generalizability, and aligns the CLIP latent space, making it readily replace CLIP without any further adaptation in downstream frameworks. Nevertheless, achieving this goal is far from straightforward, as simplistic fine-tuning can result in a significant degradation of CLIP's performance. Moreover, substituting the text encoder with a language model supporting longer contexts necessitates pretraining with vast amounts of data, incurring significant expenses. Accordingly, Long-CLIP introduces an efficient fine-tuning solution on CLIP with two novel strategies designed to maintain the original capabilities, including (1) a knowledge-preserved stretching of positional embedding and (2) a primary component matching of CLIP features. With leveraging just one million extra long text-image pairs, Long-CLIP has shown the superiority to CLIP for about 20% in long caption text-image retrieval and 6% in traditional text-image retrieval tasks, e.g., COCO and Flickr30k. Furthermore, Long-CLIP offers enhanced capabilities for generating images from detailed text descriptions by replacing CLIP in a plug-and-play manner.

Video-text retrieval plays an essential role in multi-modal research and has been widely used in many real-world web applications. The CLIP (Contrastive Language-Image Pre-training), an image-language pre-training model, has demonstrated the power of visual concepts learning from web collected image-text datasets. In this paper, we propose a CLIP4Clip model to transfer the knowledge of the CLIP model to video-language retrieval in an end-to-end manner. Several questions are investigated via empirical studies: 1) Whether image feature is enough for video-text retrieval? 2) How a post-pretraining on a large-scale video-text dataset based on the CLIP affect the performance? 3) What is the practical mechanism to model temporal dependency between video frames? And 4) The Hyper-parameters sensitivity of the model on video-text retrieval task. Extensive experimental results present that the CLIP4Clip model transferred from the CLIP can achieve SOTA results on various video-text retrieval datasets, including MSR-VTT, MSVC, LSMDC, ActivityNet, and DiDeMo. We release our code at https://github.com/ArrowLuo/CLIP4Clip.

Our research introduces an innovative framework for video-to-audio synthesis, which solves the problems of audio-video desynchronization and semantic loss in the audio. By incorporating a semantic alignment adapter and a temporal synchronization adapter, our method significantly improves semantic integrity and the precision of beat point synchronization, particularly in fast-paced action sequences. Utilizing a contrastive audio-visual pre-trained encoder, our model is trained with video and high-quality audio data, improving the quality of the generated audio. This dual-adapter approach empowers users with enhanced control over audio semantics and beat effects, allowing the adjustment of the controller to achieve better results. Extensive experiments substantiate the effectiveness of our framework in achieving seamless audio-visual alignment.

Most existing datasets for sound event recognition (SER) are relatively small and/or domain-specific, with the exception of AudioSet, based on over 2M tracks from YouTube videos and encompassing over 500 sound classes. However, AudioSet is not an open dataset as its official release consists of pre-computed audio features. Downloading the original audio tracks can be problematic due to YouTube videos gradually disappearing and usage rights issues. To provide an alternative benchmark dataset and thus foster SER research, we introduce FSD50K, an open dataset containing over 51k audio clips totalling over 100h of audio manually labeled using 200 classes drawn from the AudioSet Ontology. The audio clips are licensed under Creative Commons licenses, making the dataset freely distributable (including waveforms). We provide a detailed description of the FSD50K creation process, tailored to the particularities of Freesound data, including challenges encountered and solutions adopted. We include a comprehensive dataset characterization along with discussion of limitations and key factors to allow its audio-informed usage. Finally, we conduct sound event classification experiments to provide baseline systems as well as insight on the main factors to consider when splitting Freesound audio data for SER. Our goal is to develop a dataset to be widely adopted by the community as a new open benchmark for SER research.

Joint audio-video (AV) generation is still a significant challenge in generative AI, primarily due to three critical requirements: quality of the generated samples, seamless multimodal synchronization and temporal coherence, with audio tracks that match the visual data and vice versa, and limitless video duration. In this paper, we present , a novel transformer-based architecture that addresses all the key challenges of AV generation. We explore three distinct cross modality interaction modules, with our lightweight temporal fusion module emerging as the most effective and computationally efficient approach for aligning audio and visual modalities. Our experimental results demonstrate that outperforms existing state-of-the-art models in multimodal AV generation tasks. Our code and checkpoints are available at https://github.com/ErgastiAlex/R-FLAV.

We propose AV-Link, a unified framework for Video-to-Audio and Audio-to-Video generation that leverages the activations of frozen video and audio diffusion models for temporally-aligned cross-modal conditioning. The key to our framework is a Fusion Block that enables bidirectional information exchange between our backbone video and audio diffusion models through a temporally-aligned self attention operation. Unlike prior work that uses feature extractors pretrained for other tasks for the conditioning signal, AV-Link can directly leverage features obtained by the complementary modality in a single framework i.e. video features to generate audio, or audio features to generate video. We extensively evaluate our design choices and demonstrate the ability of our method to achieve synchronized and high-quality audiovisual content, showcasing its potential for applications in immersive media generation. Project Page: snap-research.github.io/AVLink/

Video and audio content creation serves as the core technique for the movie industry and professional users. Recently, existing diffusion-based methods tackle video and audio generation separately, which hinders the technique transfer from academia to industry. In this work, we aim at filling the gap, with a carefully designed optimization-based framework for cross-visual-audio and joint-visual-audio generation. We observe the powerful generation ability of off-the-shelf video or audio generation models. Thus, instead of training the giant models from scratch, we propose to bridge the existing strong models with a shared latent representation space. Specifically, we propose a multimodality latent aligner with the pre-trained ImageBind model. Our latent aligner shares a similar core as the classifier guidance that guides the diffusion denoising process during inference time. Through carefully designed optimization strategy and loss functions, we show the superior performance of our method on joint video-audio generation, visual-steered audio generation, and audio-steered visual generation tasks. The project website can be found at https://yzxing87.github.io/Seeing-and-Hearing/

Video-to-audio (V2A) generation leverages visual-only video features to render plausible sounds that match the scene. Importantly, the generated sound onsets should match the visual actions that are aligned with them, otherwise unnatural synchronization artifacts arise. Recent works have explored the progression of conditioning sound generators on still images and then video features, focusing on quality and semantic matching while ignoring synchronization, or by sacrificing some amount of quality to focus on improving synchronization only. In this work, we propose a V2A generative model, named MaskVAT, that interconnects a full-band high-quality general audio codec with a sequence-to-sequence masked generative model. This combination allows modeling both high audio quality, semantic matching, and temporal synchronicity at the same time. Our results show that, by combining a high-quality codec with the proper pre-trained audio-visual features and a sequence-to-sequence parallel structure, we are able to yield highly synchronized results on one hand, whilst being competitive with the state of the art of non-codec generative audio models. Sample videos and generated audios are available at https://maskvat.github.io .

Generating ambient sounds and effects is a challenging problem due to data scarcity and often insufficient caption quality, making it difficult to employ large-scale generative models for the task. In this work, we tackle the problem by introducing two new models. First, we propose AutoCap, a high-quality and efficient automatic audio captioning model. We show that by leveraging metadata available with the audio modality, we can substantially improve the quality of captions. AutoCap reaches CIDEr score of 83.2, marking a 3.2% improvement from the best available captioning model at four times faster inference speed. We then use AutoCap to caption clips from existing datasets, obtaining 761,000 audio clips with high-quality captions, forming the largest available audio-text dataset. Second, we propose GenAu, a scalable transformer-based audio generation architecture that we scale up to 1.25B parameters and train with our new dataset. When compared to state-of-the-art audio generators, GenAu obtains significant improvements of 15.7% in FAD score, 22.7% in IS, and 13.5% in CLAP score, indicating significantly improved quality of generated audio compared to previous works. This shows that the quality of data is often as important as its quantity. Besides, since AutoCap is fully automatic, new audio samples can be added to the training dataset, unlocking the training of even larger generative models for audio synthesis.

Contrastive language-image pre-training (CLIP) has demonstrated remarkable zero-shot classification ability, namely image classification using novel text labels. Existing works have attempted to enhance CLIP by fine-tuning on downstream tasks, but these have inadvertently led to performance degradation on unseen classes, thus harming zero-shot generalization. This paper aims to address this challenge by leveraging readily available image-text pairs from an external dataset for cross-modal guidance during inference. To this end, we propose X-MoRe, a novel inference method comprising two key steps: (1) cross-modal retrieval and (2) modal-confidence-based ensemble. Given a query image, we harness the power of CLIP's cross-modal representations to retrieve relevant textual information from an external image-text pair dataset. Then, we assign higher weights to the more reliable modality between the original query image and retrieved text, contributing to the final prediction. X-MoRe demonstrates robust performance across a diverse set of tasks without the need for additional training, showcasing the effectiveness of utilizing cross-modal features to maximize CLIP's zero-shot ability.

Large-scale multi-modal training with image-text pairs imparts strong generalization to CLIP model. Since training on a similar scale for videos is infeasible, recent approaches focus on the effective transfer of image-based CLIP to the video domain. In this pursuit, new parametric modules are added to learn temporal information and inter-frame relationships which require meticulous design efforts. Furthermore, when the resulting models are learned on videos, they tend to overfit on the given task distribution and lack in generalization aspect. This begs the following question: How to effectively transfer image-level CLIP representations to videos? In this work, we show that a simple Video Fine-tuned CLIP (ViFi-CLIP) baseline is generally sufficient to bridge the domain gap from images to videos. Our qualitative analysis illustrates that the frame-level processing from CLIP image-encoder followed by feature pooling and similarity matching with corresponding text embeddings helps in implicitly modeling the temporal cues within ViFi-CLIP. Such fine-tuning helps the model to focus on scene dynamics, moving objects and inter-object relationships. For low-data regimes where full fine-tuning is not viable, we propose a `bridge and prompt' approach that first uses fine-tuning to bridge the domain gap and then learns prompts on language and vision side to adapt CLIP representations. We extensively evaluate this simple yet strong baseline on zero-shot, base-to-novel generalization, few-shot and fully supervised settings across five video benchmarks. Our code is available at https://github.com/muzairkhattak/ViFi-CLIP.

Large-scale multimodal generative modeling has created milestones in text-to-image and text-to-video generation. Its application to audio still lags behind for two main reasons: the lack of large-scale datasets with high-quality text-audio pairs, and the complexity of modeling long continuous audio data. In this work, we propose Make-An-Audio with a prompt-enhanced diffusion model that addresses these gaps by 1) introducing pseudo prompt enhancement with a distill-then-reprogram approach, it alleviates data scarcity with orders of magnitude concept compositions by using language-free audios; 2) leveraging spectrogram autoencoder to predict the self-supervised audio representation instead of waveforms. Together with robust contrastive language-audio pretraining (CLAP) representations, Make-An-Audio achieves state-of-the-art results in both objective and subjective benchmark evaluation. Moreover, we present its controllability and generalization for X-to-Audio with "No Modality Left Behind", for the first time unlocking the ability to generate high-definition, high-fidelity audios given a user-defined modality input. Audio samples are available at https://Text-to-Audio.github.io

We propose a new problem called audio-visual segmentation (AVS), in which the goal is to output a pixel-level map of the object(s) that produce sound at the time of the image frame. To facilitate this research, we construct the first audio-visual segmentation benchmark, i.e., AVSBench, providing pixel-wise annotations for sounding objects in audible videos. It contains three subsets: AVSBench-object (Single-source subset, Multi-sources subset) and AVSBench-semantic (Semantic-labels subset). Accordingly, three settings are studied: 1) semi-supervised audio-visual segmentation with a single sound source; 2) fully-supervised audio-visual segmentation with multiple sound sources, and 3) fully-supervised audio-visual semantic segmentation. The first two settings need to generate binary masks of sounding objects indicating pixels corresponding to the audio, while the third setting further requires generating semantic maps indicating the object category. To deal with these problems, we propose a new baseline method that uses a temporal pixel-wise audio-visual interaction module to inject audio semantics as guidance for the visual segmentation process. We also design a regularization loss to encourage audio-visual mapping during training. Quantitative and qualitative experiments on AVSBench compare our approach to several existing methods for related tasks, demonstrating that the proposed method is promising for building a bridge between the audio and pixel-wise visual semantics. Code is available at https://github.com/OpenNLPLab/AVSBench. Online benchmark is available at http://www.avlbench.opennlplab.cn.

In recent years, video generation has become a prominent generative tool and has drawn significant attention. However, there is little consideration in audio-to-video generation, though audio contains unique qualities like temporal semantics and magnitude. Hence, we propose The Power of Sound (TPoS) model to incorporate audio input that includes both changeable temporal semantics and magnitude. To generate video frames, TPoS utilizes a latent stable diffusion model with textual semantic information, which is then guided by the sequential audio embedding from our pretrained Audio Encoder. As a result, this method produces audio reactive video contents. We demonstrate the effectiveness of TPoS across various tasks and compare its results with current state-of-the-art techniques in the field of audio-to-video generation. More examples are available at https://ku-vai.github.io/TPoS/

Image recognition has recently witnessed a paradigm shift, where vision-language models are now used to perform few-shot classification based on textual prompts. Among these, the CLIP model has shown remarkable capabilities for zero-shot transfer by matching an image and a custom textual prompt in its latent space. This has paved the way for several works that focus on engineering or learning textual contexts for maximizing CLIP's classification capabilities. In this paper, we follow this trend by learning an ensemble of prompts for image classification. We show that learning diverse and possibly shorter contexts improves considerably and consistently the results rather than relying on a single trainable prompt. In particular, we report better few-shot capabilities with no additional cost at inference time. We demonstrate the capabilities of our approach on 11 different benchmarks.

The content of visual and audio scenes is multi-faceted such that a video can be paired with various audio and vice-versa. Thereby, in video-to-audio generation task, it is imperative to introduce steering approaches for controlling the generated audio. While Video-to-Audio generation is a well-established generative task, existing methods lack such controllability. In this work, we propose VATT, a multi-modal generative framework that takes a video and an optional text prompt as input, and generates audio and optional textual description of the audio. Such a framework has two advantages: i) Video-to-Audio generation process can be refined and controlled via text which complements the context of visual information, and ii) The model can suggest what audio to generate for the video by generating audio captions. VATT consists of two key modules: VATT Converter, a LLM that is fine-tuned for instructions and includes a projection layer that maps video features to the LLM vector space; and VATT Audio, a transformer that generates audio tokens from visual frames and from optional text prompt using iterative parallel decoding. The audio tokens are converted to a waveform by pretrained neural codec. Experiments show that when VATT is compared to existing video-to-audio generation methods in objective metrics, it achieves competitive performance when the audio caption is not provided. When the audio caption is provided as a prompt, VATT achieves even more refined performance (lowest KLD score of 1.41). Furthermore, subjective studies show that VATT Audio has been chosen as preferred generated audio than audio generated by existing methods. VATT enables controllable video-to-audio generation through text as well as suggesting text prompts for videos through audio captions, unlocking novel applications such as text-guided video-to-audio generation and video-to-audio captioning.

Large-scale vision-language models such as CLIP have shown impressive performance on zero-shot image classification and image-to-text retrieval. However, such zero-shot performance of CLIP-based models does not realize in tasks that require a finer-grained correspondence between vision and language, such as Visual Question Answering (VQA). We investigate why this is the case, and report an interesting phenomenon of CLIP, which we call the Concept Association Bias (CAB), as a potential cause of the difficulty of applying CLIP to VQA and similar tasks. CAB is especially apparent when two concepts are present in the given image while a text prompt only contains a single concept. In such a case, we find that CLIP tends to treat input as a bag of concepts and attempts to fill in the other missing concept crossmodally, leading to an unexpected zero-shot prediction. For example, when asked for the color of a lemon in an image, CLIP predicts ``purple'' if the image contains a lemon and an eggplant. We demonstrate the Concept Association Bias of CLIP by showing that CLIP's zero-shot classification performance greatly suffers when there is a strong concept association between an object (e.g. lemon) and an attribute (e.g. its color). On the other hand, when the association between object and attribute is weak, we do not see this phenomenon. Furthermore, we show that CAB is significantly mitigated when we enable CLIP to learn deeper structure across image and text embeddings by adding an additional Transformer on top of CLIP and fine-tuning it on VQA. We find that across such fine-tuned variants of CLIP, the strength of CAB in a model predicts how well it performs on VQA.

CLIP, the first foundation model that connects images and text, has enabled many recent breakthroughs in computer vision. However, its associated training cost is prohibitively high, imposing a significant barrier to its widespread exploration. In this paper, we present a surprising finding that there exists an inverse scaling law for CLIP training, whereby the larger the image/text encoders used, the shorter the sequence length of image/text tokens that can be applied in training. Moreover, we showcase that the strategy for reducing image/text token length plays a crucial role in determining the quality of this scaling law. As a result of this finding, we are able to successfully train CLIP even by using academic resources. For example, on an A100 eight-GPU server, our CLIP models achieve zero-shot top-1 ImageNet accuracies of 63.2% in ~2 days, 67.8% in ~3 days, and 69.3% in ~4 days. By reducing the computation barrier associated with CLIP, we hope to inspire more research in this field, particularly from academics. Our code is available at https://github.com/UCSC-VLAA/CLIPA.

Multi-modal language-vision models trained on hundreds of millions of image-text pairs (e.g. CLIP, DALL-E) gained a recent surge, showing remarkable capability to perform zero- or few-shot learning and transfer even in absence of per-sample labels on target image data. Despite this trend, to date there has been no publicly available datasets of sufficient scale for training such models from scratch. To address this issue, in a community effort we build and release for public LAION-400M, a dataset with CLIP-filtered 400 million image-text pairs, their CLIP embeddings and kNN indices that allow efficient similarity search.

We introduce PixelPlayer, a system that, by leveraging large amounts of unlabeled videos, learns to locate image regions which produce sounds and separate the input sounds into a set of components that represents the sound from each pixel. Our approach capitalizes on the natural synchronization of the visual and audio modalities to learn models that jointly parse sounds and images, without requiring additional manual supervision. Experimental results on a newly collected MUSIC dataset show that our proposed Mix-and-Separate framework outperforms several baselines on source separation. Qualitative results suggest our model learns to ground sounds in vision, enabling applications such as independently adjusting the volume of sound sources.

In this work, we systematically study music generation conditioned solely on the video. First, we present a large-scale dataset comprising 360K video-music pairs, including various genres such as movie trailers, advertisements, and documentaries. Furthermore, we propose VidMuse, a simple framework for generating music aligned with video inputs. VidMuse stands out by producing high-fidelity music that is both acoustically and semantically aligned with the video. By incorporating local and global visual cues, VidMuse enables the creation of musically coherent audio tracks that consistently match the video content through Long-Short-Term modeling. Through extensive experiments, VidMuse outperforms existing models in terms of audio quality, diversity, and audio-visual alignment. The code and datasets will be available at https://github.com/ZeyueT/VidMuse/.

Foley is a term commonly used in filmmaking, referring to the addition of daily sound effects to silent films or videos to enhance the auditory experience. Video-to-Audio (V2A), as a particular type of automatic foley task, presents inherent challenges related to audio-visual synchronization. These challenges encompass maintaining the content consistency between the input video and the generated audio, as well as the alignment of temporal and loudness properties within the video. To address these issues, we construct a controllable video-to-audio synthesis model, termed Draw an Audio, which supports multiple input instructions through drawn masks and loudness signals. To ensure content consistency between the synthesized audio and target video, we introduce the Mask-Attention Module (MAM), which employs masked video instruction to enable the model to focus on regions of interest. Additionally, we implement the Time-Loudness Module (TLM), which uses an auxiliary loudness signal to ensure the synthesis of sound that aligns with the video in both loudness and temporal dimensions. Furthermore, we have extended a large-scale V2A dataset, named VGGSound-Caption, by annotating caption prompts. Extensive experiments on challenging benchmarks across two large-scale V2A datasets verify Draw an Audio achieves the state-of-the-art. Project page: https://yannqi.github.io/Draw-an-Audio/.

Audio captioning aims to generate text descriptions from environmental sounds. One challenge of audio captioning is the difficulty of the generalization due to the lack of audio-text paired training data. In this work, we propose a simple yet effective method of dealing with small-scaled datasets by leveraging a pre-trained language model. We keep the language model frozen to maintain the expressivity for text generation, and we only learn to extract global and temporal features from the input audio. To bridge a modality gap between the audio features and the language model, we employ mapping networks that translate audio features to the continuous vectors the language model can understand, called prefixes. We evaluate our proposed method on the Clotho and AudioCaps dataset and show our method outperforms prior arts in diverse experimental settings.

This paper investigates the performance of the Contrastive Language-Image Pre-training (CLIP) when scaled down to limited computation budgets. We explore CLIP along three dimensions: data, architecture, and training strategies. With regards to data, we demonstrate the significance of high-quality training data and show that a smaller dataset of high-quality data can outperform a larger dataset with lower quality. We also examine how model performance varies with different dataset sizes, suggesting that smaller ViT models are better suited for smaller datasets, while larger models perform better on larger datasets with fixed compute. Additionally, we provide guidance on when to choose a CNN-based architecture or a ViT-based architecture for CLIP training. We compare four CLIP training strategies - SLIP, FLIP, CLIP, and CLIP+Data Augmentation - and show that the choice of training strategy depends on the available compute resource. Our analysis reveals that CLIP+Data Augmentation can achieve comparable performance to CLIP using only half of the training data. This work provides practical insights into how to effectively train and deploy CLIP models, making them more accessible and affordable for practical use in various applications.

Generating high quality music that complements the visual content of a video is a challenging task. Most existing visual conditioned music generation systems generate symbolic music data, such as MIDI files, instead of raw audio waveform. Given the limited availability of symbolic music data, such methods can only generate music for a few instruments or for specific types of visual input. In this paper, we propose a novel approach called V2Meow that can generate high-quality music audio that aligns well with the visual semantics of a diverse range of video input types. Specifically, the proposed music generation system is a multi-stage autoregressive model which is trained with a number of O(100K) music audio clips paired with video frames, which are mined from in-the-wild music videos, and no parallel symbolic music data is involved. V2Meow is able to synthesize high-fidelity music audio waveform solely conditioned on pre-trained visual features extracted from an arbitrary silent video clip, and it also allows high-level control over the music style of generation examples via supporting text prompts in addition to the video frames conditioning. Through both qualitative and quantitative evaluations, we demonstrate that our model outperforms several existing music generation systems in terms of both visual-audio correspondence and audio quality.

Contrastive Language-Image Pre-training (CLIP) models excel in zero-shot classification, yet face challenges in complex multi-object scenarios. This study offers a comprehensive analysis of CLIP's limitations in these contexts using a specialized dataset, ComCO, designed to evaluate CLIP's encoders in diverse multi-object scenarios. Our findings reveal significant biases: the text encoder prioritizes first-mentioned objects, and the image encoder favors larger objects. Through retrieval and classification tasks, we quantify these biases across multiple CLIP variants and trace their origins to CLIP's training process, supported by analyses of the LAION dataset and training progression. Our image-text matching experiments show substantial performance drops when object size or token order changes, underscoring CLIP's instability with rephrased but semantically similar captions. Extending this to longer captions and text-to-image models like Stable Diffusion, we demonstrate how prompt order influences object prominence in generated images. For more details and access to our dataset and analysis code, visit our project repository: https://clip-oscope.github.io.

The ability to accurately recognize, localize and separate sound sources is fundamental to any audio-visual perception task. Historically, these abilities were tackled separately, with several methods developed independently for each task. However, given the interconnected nature of source localization, separation, and recognition, independent models are likely to yield suboptimal performance as they fail to capture the interdependence between these tasks. To address this problem, we propose a unified audio-visual learning framework (dubbed OneAVM) that integrates audio and visual cues for joint localization, separation, and recognition. OneAVM comprises a shared audio-visual encoder and task-specific decoders trained with three objectives. The first objective aligns audio and visual representations through a localized audio-visual correspondence loss. The second tackles visual source separation using a traditional mix-and-separate framework. Finally, the third objective reinforces visual feature separation and localization by mixing images in pixel space and aligning their representations with those of all corresponding sound sources. Extensive experiments on MUSIC, VGG-Instruments, VGG-Music, and VGGSound datasets demonstrate the effectiveness of OneAVM for all three tasks, audio-visual source localization, separation, and nearest neighbor recognition, and empirically demonstrate a strong positive transfer between them.

In recent years, Contrastive Language-Image Pre-training (CLIP) has become a cornerstone in multimodal intelligence. However, recent studies have identified that the information loss in the CLIP encoding process is substantial, and CLIP tends to capture only coarse-grained features from the input. This deficiency significantly limits the ability of a single CLIP model to handle images rich in visual detail. In this work, we propose a simple yet effective model-agnostic strategy, Diversified Multiplet Upcycling (DMU), for CLIP. DMU efficiently fine-tunes a series of CLIP models that capture different feature spaces, from a dense pre-trained CLIP checkpoint, sharing parameters except for the Feed-Forward Network (FFN). These models can then be transformed into a CLIP-MoE with a larger model capacity, leading to significantly enhanced performance with minimal computational overhead. To the best of our knowledge, Diversified Multiplet Upcycling is the first approach to introduce sparsely activated MoE into CLIP foundation models. Extensive experiments demonstrate the significant performance of CLIP-MoE across various zero-shot retrieval, zero-shot image classification tasks, and downstream Multimodal Large Language Model (MLLM) benchmarks by serving as a vision encoder. Furthermore, Diversified Multiplet Upcycling enables the conversion of any dense CLIP model into CLIP-MoEs, which can seamlessly replace CLIP in a plug-and-play manner without requiring further adaptation in downstream frameworks. Through Diversified Multiplet Upcycling, we aim to provide valuable insights for future research on developing more efficient and effective multimodal learning systems.

We introduce a novel and efficient approach for text-based video-to-video editing that eliminates the need for resource-intensive per-video-per-model finetuning. At the core of our approach is a synthetic paired video dataset tailored for video-to-video transfer tasks. Inspired by Instruct Pix2Pix's image transfer via editing instruction, we adapt this paradigm to the video domain. Extending the Prompt-to-Prompt to videos, we efficiently generate paired samples, each with an input video and its edited counterpart. Alongside this, we introduce the Long Video Sampling Correction during sampling, ensuring consistent long videos across batches. Our method surpasses current methods like Tune-A-Video, heralding substantial progress in text-based video-to-video editing and suggesting exciting avenues for further exploration and deployment.

Contrastive Language-Image Pretraining (CLIP) has gained popularity for its remarkable zero-shot capacity. Recent research has focused on developing efficient fine-tuning methods, such as prompt learning and adapter, to enhance CLIP's performance in downstream tasks. However, these methods still require additional training time and computational resources, which is undesirable for devices with limited resources. In this paper, we revisit a classical algorithm, Gaussian Discriminant Analysis (GDA), and apply it to the downstream classification of CLIP. Typically, GDA assumes that features of each class follow Gaussian distributions with identical covariance. By leveraging Bayes' formula, the classifier can be expressed in terms of the class means and covariance, which can be estimated from the data without the need for training. To integrate knowledge from both visual and textual modalities, we ensemble it with the original zero-shot classifier within CLIP. Extensive results on 17 datasets validate that our method surpasses or achieves comparable results with state-of-the-art methods on few-shot classification, imbalanced learning, and out-of-distribution generalization. In addition, we extend our method to base-to-new generalization and unsupervised learning, once again demonstrating its superiority over competing approaches. Our code is publicly available at https://github.com/mrflogs/ICLR24.

Sound design involves creatively selecting, recording, and editing sound effects for various media like cinema, video games, and virtual/augmented reality. One of the most time-consuming steps when designing sound is synchronizing audio with video. In some cases, environmental recordings from video shoots are available, which can aid in the process. However, in video games and animations, no reference audio exists, requiring manual annotation of event timings from the video. We propose a system to extract repetitive actions onsets from a video, which are then used - in conjunction with audio or textual embeddings - to condition a diffusion model trained to generate a new synchronized sound effects audio track. In this way, we leave complete creative control to the sound designer while removing the burden of synchronization with video. Furthermore, editing the onset track or changing the conditioning embedding requires much less effort than editing the audio track itself, simplifying the sonification process. We provide sound examples, source code, and pretrained models to faciliate reproducibility

We consider the task of generating diverse and realistic videos guided by natural audio samples from a wide variety of semantic classes. For this task, the videos are required to be aligned both globally and temporally with the input audio: globally, the input audio is semantically associated with the entire output video, and temporally, each segment of the input audio is associated with a corresponding segment of that video. We utilize an existing text-conditioned video generation model and a pre-trained audio encoder model. The proposed method is based on a lightweight adaptor network, which learns to map the audio-based representation to the input representation expected by the text-to-video generation model. As such, it also enables video generation conditioned on text, audio, and, for the first time as far as we can ascertain, on both text and audio. We validate our method extensively on three datasets demonstrating significant semantic diversity of audio-video samples and further propose a novel evaluation metric (AV-Align) to assess the alignment of generated videos with input audio samples. AV-Align is based on the detection and comparison of energy peaks in both modalities. In comparison to recent state-of-the-art approaches, our method generates videos that are better aligned with the input sound, both with respect to content and temporal axis. We also show that videos produced by our method present higher visual quality and are more diverse.

The Video-to-Audio (V2A) model has recently gained attention for its practical application in generating audio directly from silent videos, particularly in video/film production. However, previous methods in V2A have limited generation quality in terms of temporal synchronization and audio-visual relevance. We present Diff-Foley, a synchronized Video-to-Audio synthesis method with a latent diffusion model (LDM) that generates high-quality audio with improved synchronization and audio-visual relevance. We adopt contrastive audio-visual pretraining (CAVP) to learn more temporally and semantically aligned features, then train an LDM with CAVP-aligned visual features on spectrogram latent space. The CAVP-aligned features enable LDM to capture the subtler audio-visual correlation via a cross-attention module. We further significantly improve sample quality with `double guidance'. Diff-Foley achieves state-of-the-art V2A performance on current large scale V2A dataset. Furthermore, we demonstrate Diff-Foley practical applicability and generalization capabilities via downstream finetuning. Project Page: see https://diff-foley.github.io/

This short technical report demonstrates a simple technique that yields state of the art results in medical image-text matching tasks. We analyze the use of OpenAI's CLIP, a general image-text matching model, and observe that CLIP's limited textual input size has negative impact on downstream performance in the medical domain where encoding longer textual contexts is often required. We thus train and release ClipMD, which is trained with a simple sliding window technique to encode textual captions. ClipMD was tested on two medical image-text datasets and compared with other image-text matching models. The results show that ClipMD outperforms other models on both datasets by a large margin. We make our code and pretrained model publicly available.

The advancement of audio-language (AL) multimodal learning tasks has been significant in recent years. However, researchers face challenges due to the costly and time-consuming collection process of existing audio-language datasets, which are limited in size. To address this data scarcity issue, we introduce WavCaps, the first large-scale weakly-labelled audio captioning dataset, comprising approximately 400k audio clips with paired captions. We sourced audio clips and their raw descriptions from web sources and a sound event detection dataset. However, the online-harvested raw descriptions are highly noisy and unsuitable for direct use in tasks such as automated audio captioning. To overcome this issue, we propose a three-stage processing pipeline for filtering noisy data and generating high-quality captions, where ChatGPT, a large language model, is leveraged to filter and transform raw descriptions automatically. We conduct a comprehensive analysis of the characteristics of WavCaps dataset and evaluate it on multiple downstream audio-language multimodal learning tasks. The systems trained on WavCaps outperform previous state-of-the-art (SOTA) models by a significant margin. Our aspiration is for the WavCaps dataset we have proposed to facilitate research in audio-language multimodal learning and demonstrate the potential of utilizing ChatGPT to enhance academic research. Our dataset and codes are available at https://github.com/XinhaoMei/WavCaps.

Recently, large-scale Contrastive Language-Image Pre-training (CLIP) has attracted unprecedented attention for its impressive zero-shot recognition ability and excellent transferability to downstream tasks. However, CLIP is quite data-hungry and requires 400M image-text pairs for pre-training, thereby restricting its adoption. This work proposes a novel training paradigm, Data efficient CLIP (DeCLIP), to alleviate this limitation. We demonstrate that by carefully utilizing the widespread supervision among the image-text pairs, our De-CLIP can learn generic visual features more efficiently. Instead of using the single image-text contrastive supervision, we fully exploit data potential through the use of (1) self-supervision within each modality; (2) multi-view supervision across modalities; (3) nearest-neighbor supervision from other similar pairs. Benefiting from intrinsic supervision, our DeCLIP-ResNet50 can achieve 60.4% zero-shot top1 accuracy on ImageNet, which is 0.8% above the CLIP-ResNet50 while using 7.1 x fewer data. Our DeCLIP-ResNet50 outperforms its counterpart in 8 out of 11 visual datasets when transferred to downstream tasks. Moreover, Scaling up the model and computing also works well in our framework.Our code, dataset and models are released at: https://github.com/Sense-GVT/DeCLIP

Measuring the perception of visual content is a long-standing problem in computer vision. Many mathematical models have been developed to evaluate the look or quality of an image. Despite the effectiveness of such tools in quantifying degradations such as noise and blurriness levels, such quantification is loosely coupled with human language. When it comes to more abstract perception about the feel of visual content, existing methods can only rely on supervised models that are explicitly trained with labeled data collected via laborious user study. In this paper, we go beyond the conventional paradigms by exploring the rich visual language prior encapsulated in Contrastive Language-Image Pre-training (CLIP) models for assessing both the quality perception (look) and abstract perception (feel) of images in a zero-shot manner. In particular, we discuss effective prompt designs and show an effective prompt pairing strategy to harness the prior. We also provide extensive experiments on controlled datasets and Image Quality Assessment (IQA) benchmarks. Our results show that CLIP captures meaningful priors that generalize well to different perceptual assessments. Code is avaliable at https://github.com/IceClear/CLIP-IQA.

Building artificial intelligence (AI) systems on top of a set of foundation models (FMs) is becoming a new paradigm in AI research. Their representative and generative abilities learnt from vast amounts of data can be easily adapted and transferred to a wide range of downstream tasks without extra training from scratch. However, leveraging FMs in cross-modal generation remains under-researched when audio modality is involved. On the other hand, automatically generating semantically-relevant sound from visual input is an important problem in cross-modal generation studies. To solve this vision-to-audio (V2A) generation problem, existing methods tend to design and build complex systems from scratch using modestly sized datasets. In this paper, we propose a lightweight solution to this problem by leveraging foundation models, specifically CLIP, CLAP, and AudioLDM. We first investigate the domain gap between the latent space of the visual CLIP and the auditory CLAP models. Then we propose a simple yet effective mapper mechanism (V2A-Mapper) to bridge the domain gap by translating the visual input between CLIP and CLAP spaces. Conditioned on the translated CLAP embedding, pretrained audio generative FM AudioLDM is adopted to produce high-fidelity and visually-aligned sound. Compared to previous approaches, our method only requires a quick training of the V2A-Mapper. We further analyze and conduct extensive experiments on the choice of the V2A-Mapper and show that a generative mapper is better at fidelity and variability (FD) while a regression mapper is slightly better at relevance (CS). Both objective and subjective evaluation on two V2A datasets demonstrate the superiority of our proposed method compared to current state-of-the-art approaches - trained with 86% fewer parameters but achieving 53% and 19% improvement in FD and CS, respectively.

Due to the lack of paired samples and the low signal-to-noise ratio of functional MRI (fMRI) signals, reconstructing perceived natural images or decoding their semantic contents from fMRI data are challenging tasks. In this work, we propose, for the first time, a task-agnostic fMRI-based brain decoding model, BrainCLIP, which leverages CLIP's cross-modal generalization ability to bridge the modality gap between brain activity, image, and text. Our experiments demonstrate that CLIP can act as a pivot for generic brain decoding tasks, including zero-shot visual categories decoding, fMRI-image/text matching, and fMRI-to-image generation. Specifically, BrainCLIP aims to train a mapping network that transforms fMRI patterns into a well-aligned CLIP embedding space by combining visual and textual supervision. Our experiments show that this combination can boost the decoding model's performance on certain tasks like fMRI-text matching and fMRI-to-image generation. On the zero-shot visual category decoding task, BrainCLIP achieves significantly better performance than BraVL, a recently proposed multi-modal method specifically designed for this task. BrainCLIP can also reconstruct visual stimuli with high semantic fidelity and establishes a new state-of-the-art for fMRI-based natural image reconstruction in terms of high-level semantic features.

Contrastive models like CLIP have been shown to learn robust representations of images that capture both semantics and style. To leverage these representations for image generation, we propose a two-stage model: a prior that generates a CLIP image embedding given a text caption, and a decoder that generates an image conditioned on the image embedding. We show that explicitly generating image representations improves image diversity with minimal loss in photorealism and caption similarity. Our decoders conditioned on image representations can also produce variations of an image that preserve both its semantics and style, while varying the non-essential details absent from the image representation. Moreover, the joint embedding space of CLIP enables language-guided image manipulations in a zero-shot fashion. We use diffusion models for the decoder and experiment with both autoregressive and diffusion models for the prior, finding that the latter are computationally more efficient and produce higher-quality samples.

Vision-to-audio (V2A) synthesis has broad applications in multimedia. Recent advancements of V2A methods have made it possible to generate relevant audios from inputs of videos or still images. However, the immersiveness and expressiveness of the generation are limited. One possible problem is that existing methods solely rely on the global scene and overlook details of local sounding objects (i.e., sound sources). To address this issue, we propose a Sound Source-Aware V2A (SSV2A) generator. SSV2A is able to locally perceive multimodal sound sources from a scene with visual detection and cross-modality translation. It then contrastively learns a Cross-Modal Sound Source (CMSS) Manifold to semantically disambiguate each source. Finally, we attentively mix their CMSS semantics into a rich audio representation, from which a pretrained audio generator outputs the sound. To model the CMSS manifold, we curate a novel single-sound-source visual-audio dataset VGGS3 from VGGSound. We also design a Sound Source Matching Score to measure localized audio relevance. This is to our knowledge the first work to address V2A generation at the sound-source level. Extensive experiments show that SSV2A surpasses state-of-the-art methods in both generation fidelity and relevance. We further demonstrate SSV2A's ability to achieve intuitive V2A control by compositing vision, text, and audio conditions. Our SSV2A generation can be tried and heard at https://ssv2a.github.io/SSV2A-demo .

We propose a novel unsupervised backlit image enhancement method, abbreviated as CLIP-LIT, by exploring the potential of Contrastive Language-Image Pre-Training (CLIP) for pixel-level image enhancement. We show that the open-world CLIP prior not only aids in distinguishing between backlit and well-lit images, but also in perceiving heterogeneous regions with different luminance, facilitating the optimization of the enhancement network. Unlike high-level and image manipulation tasks, directly applying CLIP to enhancement tasks is non-trivial, owing to the difficulty in finding accurate prompts. To solve this issue, we devise a prompt learning framework that first learns an initial prompt pair by constraining the text-image similarity between the prompt (negative/positive sample) and the corresponding image (backlit image/well-lit image) in the CLIP latent space. Then, we train the enhancement network based on the text-image similarity between the enhanced result and the initial prompt pair. To further improve the accuracy of the initial prompt pair, we iteratively fine-tune the prompt learning framework to reduce the distribution gaps between the backlit images, enhanced results, and well-lit images via rank learning, boosting the enhancement performance. Our method alternates between updating the prompt learning framework and enhancement network until visually pleasing results are achieved. Extensive experiments demonstrate that our method outperforms state-of-the-art methods in terms of visual quality and generalization ability, without requiring any paired data.

Audio visual segmentation (AVS) aims to segment the sounding objects for each frame of a given video. To distinguish the sounding objects from silent ones, both audio-visual semantic correspondence and temporal interaction are required. The previous method applies multi-frame cross-modal attention to conduct pixel-level interactions between audio features and visual features of multiple frames simultaneously, which is both redundant and implicit. In this paper, we propose an Audio-Queried Transformer architecture, AQFormer, where we define a set of object queries conditioned on audio information and associate each of them to particular sounding objects. Explicit object-level semantic correspondence between audio and visual modalities is established by gathering object information from visual features with predefined audio queries. Besides, an Audio-Bridged Temporal Interaction module is proposed to exchange sounding object-relevant information among multiple frames with the bridge of audio features. Extensive experiments are conducted on two AVS benchmarks to show that our method achieves state-of-the-art performances, especially 7.1% M_J and 7.6% M_F gains on the MS3 setting.

Contrastive Language--Image Pre-training (CLIP) has manifested remarkable improvements in zero-shot classification and cross-modal vision-language tasks. Yet, from a geometrical point of view, the CLIP embedding space has been found to have a pronounced modality gap. This gap renders the embedding space overly sparse and disconnected, with different modalities being densely distributed in distinct subregions of the hypersphere. In this work, we aim at answering two main questions: 1. Does sharing the parameter space between the multi-modal encoders reduce the modality gap? 2. Can the gap be mitigated by pushing apart the uni-modal embeddings via intra-modality separation? We design AlignCLIP, in order to answer these questions and show that answers to both questions are positive. Through extensive experiments, we show that AlignCLIP achieves noticeable enhancements in the cross-modal alignment of the embeddings, and thereby, reduces the modality gap, while maintaining the performance across several downstream evaluations, such as zero-shot image classification, zero-shot multi-modal retrieval and zero-shot semantic text similarity.

Contrastive Language-Image Pretraining (CLIP) is widely used to train models to align images and texts in a common embedding space by mapping them to fixed-sized vectors. These models are key to multimodal information retrieval and related tasks. However, CLIP models generally underperform in text-only tasks compared to specialized text models. This creates inefficiencies for information retrieval systems that keep separate embeddings and models for text-only and multimodal tasks. We propose a novel, multi-task contrastive training method to address this issue, which we use to train the jina-clip-v1 model to achieve the state-of-the-art performance on both text-image and text-text retrieval tasks.

Automated Audio Captioning (AAC) is the task of generating natural language descriptions given an audio stream. A typical AAC system requires manually curated training data of audio segments and corresponding text caption annotations. The creation of these audio-caption pairs is costly, resulting in general data scarcity for the task. In this work, we address this major limitation and propose an approach to train AAC systems using only text. Our approach leverages the multimodal space of contrastively trained audio-text models, such as CLAP. During training, a decoder generates captions conditioned on the pretrained CLAP text encoder. During inference, the text encoder is replaced with the pretrained CLAP audio encoder. To bridge the modality gap between text and audio embeddings, we propose the use of noise injection or a learnable adapter, during training. We find that the proposed text-only framework performs competitively with state-of-the-art models trained with paired audio, showing that efficient text-to-audio transfer is possible. Finally, we showcase both stylized audio captioning and caption enrichment while training without audio or human-created text captions.

Clipping the gradient is a known approach to improving gradient descent, but requires hand selection of a clipping threshold hyperparameter. We present AutoClip, a simple method for automatically and adaptively choosing a gradient clipping threshold, based on the history of gradient norms observed during training. Experimental results show that applying AutoClip results in improved generalization performance for audio source separation networks. Observation of the training dynamics of a separation network trained with and without AutoClip show that AutoClip guides optimization into smoother parts of the loss landscape. AutoClip is very simple to implement and can be integrated readily into a variety of applications across multiple domains.

Contrastive Language-Image Pre-training (CLIP) models have shown significant potential, particularly in zero-shot classification across diverse distribution shifts. Building on existing evaluations of overall classification robustness, this work aims to provide a more comprehensive assessment of CLIP by introducing several new perspectives. First, we investigate their robustness to variations in specific visual factors. Second, we assess two critical safety objectives--confidence uncertainty and out-of-distribution detection--beyond mere classification accuracy. Third, we evaluate the finesse with which CLIP models bridge the image and text modalities. Fourth, we extend our examination to 3D awareness in CLIP models, moving beyond traditional 2D image understanding. Finally, we explore the interaction between vision and language encoders within modern large multimodal models (LMMs) that utilize CLIP as the visual backbone, focusing on how this interaction impacts classification robustness. In each aspect, we consider the impact of six factors on CLIP models: model architecture, training distribution, training set size, fine-tuning, contrastive loss, and test-time prompts. Our study uncovers several previously unknown insights into CLIP. For instance, the architecture of the visual encoder in CLIP plays a significant role in their robustness against 3D corruption. CLIP models tend to exhibit a bias towards shape when making predictions. Moreover, this bias tends to diminish after fine-tuning on ImageNet. Vision-language models like LLaVA, leveraging the CLIP vision encoder, could exhibit benefits in classification performance for challenging categories over CLIP alone. Our findings are poised to offer valuable guidance for enhancing the robustness and reliability of CLIP models.

Despite significant advancements in neural text-to-audio generation, challenges persist in controllability and evaluation. This paper addresses these issues through the Sound Scene Synthesis challenge held as part of the Detection and Classification of Acoustic Scenes and Events 2024. We present an evaluation protocol combining objective metric, namely Fr\'echet Audio Distance, with perceptual assessments, utilizing a structured prompt format to enable diverse captions and effective evaluation. Our analysis reveals varying performance across sound categories and model architectures, with larger models generally excelling but innovative lightweight approaches also showing promise. The strong correlation between objective metrics and human ratings validates our evaluation approach. We discuss outcomes in terms of audio quality, controllability, and architectural considerations for text-to-audio synthesizers, providing direction for future research.

The image-based multimodal automatic speech recognition (ASR) model enhances speech recognition performance by incorporating audio-related image. However, some works suggest that introducing image information to model does not help improving ASR performance. In this paper, we propose a novel approach effectively utilizing audio-related image information and set up VHASR, a multimodal speech recognition system that uses vision as hotwords to strengthen the model's speech recognition capability. Our system utilizes a dual-stream architecture, which firstly transcribes the text on the two streams separately, and then combines the outputs. We evaluate the proposed model on four datasets: Flickr8k, ADE20k, COCO, and OpenImages. The experimental results show that VHASR can effectively utilize key information in images to enhance the model's speech recognition ability. Its performance not only surpasses unimodal ASR, but also achieves SOTA among existing image-based multimodal ASR.

Current leading Text-To-Audio (TTA) generation models suffer from degraded performance on zero-shot and few-shot settings. It is often challenging to generate high-quality audio for audio events that are unseen or uncommon in the training set. Inspired by the success of Retrieval-Augmented Generation (RAG) in Large Language Model (LLM)-based knowledge-intensive tasks, we extend the TTA process with additional conditioning contexts. We propose Audiobox TTA-RAG, a novel retrieval-augmented TTA approach based on Audiobox, a conditional flow-matching audio generation model. Unlike the vanilla Audiobox TTA solution which generates audio conditioned on text, we augmented the conditioning input with retrieved audio samples that provide additional acoustic information to generate the target audio. Our retrieval method does not require the external database to have labeled audio, offering more practical use cases. To evaluate our proposed method, we curated test sets in zero-shot and few-shot settings. Our empirical results show that the proposed model can effectively leverage the retrieved audio samples and significantly improve zero-shot and few-shot TTA performance, with large margins on multiple evaluation metrics, while maintaining the ability to generate semantically aligned audio for the in-domain setting. In addition, we investigate the effect of different retrieval methods and data sources.

Recent advancements in audio generation have enabled the creation of high-fidelity audio clips from free-form textual descriptions. However, temporal relationships, a critical feature for audio content, are currently underrepresented in mainstream models, resulting in an imprecise temporal controllability. Specifically, users cannot accurately control the timestamps of sound events using free-form text. We acknowledge that a significant factor is the absence of high-quality, temporally-aligned audio-text datasets, which are essential for training models with temporal control. The more temporally-aligned the annotations, the better the models can understand the precise relationship between audio outputs and temporal textual prompts. Therefore, we present a strongly aligned audio-text dataset, AudioTime. It provides text annotations rich in temporal information such as timestamps, duration, frequency, and ordering, covering almost all aspects of temporal control. Additionally, we offer a comprehensive test set and evaluation metric to assess the temporal control performance of various models. Examples are available on the https://zeyuxie29.github.io/AudioTime/

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 that 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.

The success of contrastive language-image pretraining (CLIP) relies on the supervision from the pairing between images and captions, which tends to be noisy in web-crawled data. We present Mixture of Data Experts (MoDE) and learn a system of CLIP data experts via clustering. Each data expert is trained on one data cluster, being less sensitive to false negative noises in other clusters. At inference time, we ensemble their outputs by applying weights determined through the correlation between task metadata and cluster conditions. To estimate the correlation precisely, the samples in one cluster should be semantically similar, but the number of data experts should still be reasonable for training and inference. As such, we consider the ontology in human language and propose to use fine-grained cluster centers to represent each data expert at a coarse-grained level. Experimental studies show that four CLIP data experts on ViT-B/16 outperform the ViT-L/14 by OpenAI CLIP and OpenCLIP on zero-shot image classification but with less (<35\%) training cost. Meanwhile, MoDE can train all data expert asynchronously and can flexibly include new data experts. The code is available at https://github.com/facebookresearch/MetaCLIP/tree/main/mode.

Image captioning has conventionally relied on reference-based automatic evaluations, where machine captions are compared against captions written by humans. This is in contrast to the reference-free manner in which humans assess caption quality. In this paper, we report the surprising empirical finding that CLIP (Radford et al., 2021), a cross-modal model pretrained on 400M image+caption pairs from the web, can be used for robust automatic evaluation of image captioning without the need for references. Experiments spanning several corpora demonstrate that our new reference-free metric, CLIPScore, achieves the highest correlation with human judgements, outperforming existing reference-based metrics like CIDEr and SPICE. Information gain experiments demonstrate that CLIPScore, with its tight focus on image-text compatibility, is complementary to existing reference-based metrics that emphasize text-text similarities. Thus, we also present a reference-augmented version, RefCLIPScore, which achieves even higher correlation. Beyond literal description tasks, several case studies reveal domains where CLIPScore performs well (clip-art images, alt-text rating), but also where it is relatively weaker in comparison to reference-based metrics, e.g., news captions that require richer contextual knowledge.

This work aims to improve unsupervised audio-visual pre-training. Inspired by the efficacy of data augmentation in visual contrastive learning, we propose a novel speed co-augmentation method that randomly changes the playback speeds of both audio and video data. Despite its simplicity, the speed co-augmentation method possesses two compelling attributes: (1) it increases the diversity of audio-visual pairs and doubles the size of negative pairs, resulting in a significant enhancement in the learned representations, and (2) it changes the strict correlation between audio-visual pairs but introduces a partial relationship between the augmented pairs, which is modeled by our proposed SoftInfoNCE loss to further boost the performance. Experimental results show that the proposed method significantly improves the learned representations when compared to vanilla audio-visual contrastive learning.

Contrastive Language Image Pretraining (CLIP) has received widespread attention, since its learned representations can be transferred well to various downstream tasks. During the training process of the CLIP model, the InfoNCE objective aligns positive image-text pairs and separates negative ones. We show an underlying representation grouping effect during this process: the InfoNCE objective indirectly groups semantically similar representations together via randomly emerged within-modal anchors. Based on this understanding, in this paper, Prototypical Contrastive Language Image Pretraining (ProtoCLIP) is introduced to enhance such grouping by boosting its efficiency and increasing its robustness against the modality gap. Specifically, ProtoCLIP sets up prototype-level discrimination between image and text spaces, which efficiently transfers higher-level structural knowledge. Further, Prototypical Back Translation (PBT) is proposed to decouple representation grouping from representation alignment, resulting in effective learning of meaningful representations under large modality gap. The PBT also enables us to introduce additional external teachers with richer prior language knowledge. ProtoCLIP is trained with an online episodic training strategy, which makes it can be scaled up to unlimited amounts of data. We train our ProtoCLIP on Conceptual Captions and achieved an +5.81% ImageNet linear probing improvement and an +2.01% ImageNet zero-shot classification improvement. On the larger YFCC-15M dataset, ProtoCLIP matches the performance of CLIP with 33% of training time. Codes are available at https://github.com/megvii-research/protoclip.

In this paper we propose a novel modification of Contrastive Language-Image Pre-Training (CLIP) guidance for the task of unsupervised backlit image enhancement. Our work builds on the state-of-the-art CLIP-LIT approach, which learns a prompt pair by constraining the text-image similarity between a prompt (negative/positive sample) and a corresponding image (backlit image/well-lit image) in the CLIP embedding space. Learned prompts then guide an image enhancement network. Based on the CLIP-LIT framework, we propose two novel methods for CLIP guidance. First, we show that instead of tuning prompts in the space of text embeddings, it is possible to directly tune their embeddings in the latent space without any loss in quality. This accelerates training and potentially enables the use of additional encoders that do not have a text encoder. Second, we propose a novel approach that does not require any prompt tuning. Instead, based on CLIP embeddings of backlit and well-lit images from training data, we compute the residual vector in the embedding space as a simple difference between the mean embeddings of the well-lit and backlit images. This vector then guides the enhancement network during training, pushing a backlit image towards the space of well-lit images. This approach further dramatically reduces training time, stabilizes training and produces high quality enhanced images without artifacts, both in supervised and unsupervised training regimes. Additionally, we show that residual vectors can be interpreted, revealing biases in training data, and thereby enabling potential bias correction.

Contrastive Language-Image Pretraining (CLIP) models are able to capture the semantic relationship of images and texts and have enabled a wide range of applications, from image retrieval to classification. These models are trained with datasets extracted from web crawls, which are of large quantity but limited quality. This paper explores whether limited amounts higher quality data in a specific domain improve the general performance of CLIP models. To this purpose, we extract text-image data from scientific papers hosted in the arXiv and PubMed Central repositories. Experiments on small-scale CLIP models (ViT B/32) show that model performance increases on average, but only moderately. This result indicates that using the data sources considered in the paper to train large-scale CLIP models is a worthwile research direction.

We present ImageBind, an approach to learn a joint embedding across six different modalities - images, text, audio, depth, thermal, and IMU data. We show that all combinations of paired data are not necessary to train such a joint embedding, and only image-paired data is sufficient to bind the modalities together. ImageBind can leverage recent large scale vision-language models, and extends their zero-shot capabilities to new modalities just by using their natural pairing with images. It enables novel emergent applications 'out-of-the-box' including cross-modal retrieval, composing modalities with arithmetic, cross-modal detection and generation. The emergent capabilities improve with the strength of the image encoder and we set a new state-of-the-art on emergent zero-shot recognition tasks across modalities, outperforming specialist supervised models. Finally, we show strong few-shot recognition results outperforming prior work, and that ImageBind serves as a new way to evaluate vision models for visual and non-visual tasks.

Audio and visual signals typically occur simultaneously, and humans possess an innate ability to correlate and synchronize information from these two modalities. Recently, a challenging problem known as Audio-Visual Segmentation (AVS) has emerged, intending to produce segmentation maps for sounding objects within a scene. However, the methods proposed so far have not sufficiently integrated audio and visual information, and the computational costs have been extremely high. Additionally, the outputs of different stages have not been fully utilized. To facilitate this research, we introduce a novel Progressive Confident Masking Attention Network (PMCANet). It leverages attention mechanisms to uncover the intrinsic correlations between audio signals and visual frames. Furthermore, we design an efficient and effective cross-attention module to enhance semantic perception by selecting query tokens. This selection is determined through confidence-driven units based on the network's multi-stage predictive outputs. Experiments demonstrate that our network outperforms other AVS methods while requiring less computational resources. The code is available at: https://github.com/PrettyPlate/PCMANet.

We present a joint audio-visual model for isolating a single speech signal from a mixture of sounds such as other speakers and background noise. Solving this task using only audio as input is extremely challenging and does not provide an association of the separated speech signals with speakers in the video. In this paper, we present a deep network-based model that incorporates both visual and auditory signals to solve this task. The visual features are used to "focus" the audio on desired speakers in a scene and to improve the speech separation quality. To train our joint audio-visual model, we introduce AVSpeech, a new dataset comprised of thousands of hours of video segments from the Web. We demonstrate the applicability of our method to classic speech separation tasks, as well as real-world scenarios involving heated interviews, noisy bars, and screaming children, only requiring the user to specify the face of the person in the video whose speech they want to isolate. Our method shows clear advantage over state-of-the-art audio-only speech separation in cases of mixed speech. In addition, our model, which is speaker-independent (trained once, applicable to any speaker), produces better results than recent audio-visual speech separation methods that are speaker-dependent (require training a separate model for each speaker of interest).

Recent advances in vision-language models (VLMs) have made significant progress in downstream tasks that require quantitative concepts such as facial age estimation and image quality assessment, enabling VLMs to explore applications like image ranking and retrieval. However, existing studies typically focus on the reasoning based on a single image and heavily depend on text prompting, limiting their ability to learn comprehensive understanding from multiple images. To address this, we propose an effective yet efficient approach that reframes the CLIP model into a learning-to-rank task and introduces a lightweight adapter to augment CLIP for text-guided image ranking. Specifically, our approach incorporates learnable prompts to adapt to new instructions for ranking purposes and an auxiliary branch with ranking-aware attention, leveraging text-conditioned visual differences for additional supervision in image ranking. Our ranking-aware adapter consistently outperforms fine-tuned CLIPs on various tasks and achieves competitive results compared to state-of-the-art models designed for specific tasks like facial age estimation and image quality assessment. Overall, our approach primarily focuses on ranking images with a single instruction, which provides a natural and generalized way of learning from visual differences across images, bypassing the need for extensive text prompts tailored to individual tasks. Code is available: github.com/uynaes/RankingAwareCLIP.

This paper presents VoiceLDM, a model designed to produce audio that accurately follows two distinct natural language text prompts: the description prompt and the content prompt. The former provides information about the overall environmental context of the audio, while the latter conveys the linguistic content. To achieve this, we adopt a text-to-audio (TTA) model based on latent diffusion models and extend its functionality to incorporate an additional content prompt as a conditional input. By utilizing pretrained contrastive language-audio pretraining (CLAP) and Whisper, VoiceLDM is trained on large amounts of real-world audio without manual annotations or transcriptions. Additionally, we employ dual classifier-free guidance to further enhance the controllability of VoiceLDM. Experimental results demonstrate that VoiceLDM is capable of generating plausible audio that aligns well with both input conditions, even surpassing the speech intelligibility of the ground truth audio on the AudioCaps test set. Furthermore, we explore the text-to-speech (TTS) and zero-shot text-to-audio capabilities of VoiceLDM and show that it achieves competitive results. Demos and code are available at https://voiceldm.github.io.

Generating audio from a video's visual context has multiple practical applications in improving how we interact with audio-visual media - for example, enhancing CCTV footage analysis, restoring historical videos (e.g., silent movies), and improving video generation models. We propose a novel method to generate audio from video using a sequence-to-sequence model, improving on prior work that used CNNs and WaveNet and faced sound diversity and generalization challenges. Our approach employs a 3D Vector Quantized Variational Autoencoder (VQ-VAE) to capture the video's spatial and temporal structures, decoding with a custom audio decoder for a broader range of sounds. Trained on the Youtube8M dataset segment, focusing on specific domains, our model aims to enhance applications like CCTV footage analysis, silent movie restoration, and video generation models.

We introduce V-AURA, the first autoregressive model to achieve high temporal alignment and relevance in video-to-audio generation. V-AURA uses a high-framerate visual feature extractor and a cross-modal audio-visual feature fusion strategy to capture fine-grained visual motion events and ensure precise temporal alignment. Additionally, we propose VisualSound, a benchmark dataset with high audio-visual relevance. VisualSound is based on VGGSound, a video dataset consisting of in-the-wild samples extracted from YouTube. During the curation, we remove samples where auditory events are not aligned with the visual ones. V-AURA outperforms current state-of-the-art models in temporal alignment and semantic relevance while maintaining comparable audio quality. Code, samples, VisualSound and models are available at https://v-aura.notion.site

Contrastive learning has emerged as an efficient framework to learn multimodal representations. CLIP, a seminal work in this area, achieved impressive results by training on paired image-text data using the contrastive loss. Recent work claims improvements over CLIP using additional non-contrastive losses inspired from self-supervised learning. However, it is sometimes hard to disentangle the contribution of these additional losses from other implementation details, e.g., data augmentation or regularization techniques, used to train the model. To shed light on this matter, in this paper, we first propose, implement and evaluate several baselines obtained by combining contrastive learning with recent advances in self-supervised learning. In particular, we use the loss functions that were proven successful for visual self-supervised learning to align image and text modalities. We find that these baselines outperform a basic implementation of CLIP. However, when a stronger training recipe is employed, the advantage disappears. Indeed, we find that a simple CLIP baseline can also be improved substantially, up to a 25% relative improvement on downstream zero-shot tasks, by using well-known training techniques that are popular in other subfields. Moreover, we discover that it is enough to apply image and text augmentations to make up for most of the improvement attained by prior works. With our improved training recipe for CLIP, we obtain state-of-the-art performance on four standard datasets, and consistently outperform prior work (up to +4% on the largest dataset), while being substantially simpler.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

Most existing Vision-and-Language (V&L) models rely on pre-trained visual encoders, using a relatively small set of manually-annotated data (as compared to web-crawled data), to perceive the visual world. However, it has been observed that large-scale pretraining usually can result in better generalization performance, e.g., CLIP (Contrastive Language-Image Pre-training), trained on a massive amount of image-caption pairs, has shown a strong zero-shot capability on various vision tasks. To further study the advantage brought by CLIP, we propose to use CLIP as the visual encoder in various V&L models in two typical scenarios: 1) plugging CLIP into task-specific fine-tuning; 2) combining CLIP with V&L pre-training and transferring to downstream tasks. We show that CLIP significantly outperforms widely-used visual encoders trained with in-domain annotated data, such as BottomUp-TopDown. We achieve competitive or better results on diverse V&L tasks, while establishing new state-of-the-art results on Visual Question Answering, Visual Entailment, and V&L Navigation tasks. We release our code at https://github.com/clip-vil/CLIP-ViL.

Multimodal models are becoming increasingly effective, in part due to unified components, such as the Transformer architecture. However, multimodal models still often consist of many task- and modality-specific pieces and training procedures. For example, CLIP (Radford et al., 2021) trains independent text and image towers via a contrastive loss. We explore an additional unification: the use of a pure pixel-based model to perform image, text, and multimodal tasks. Our model is trained with contrastive loss alone, so we call it CLIP-Pixels Only (CLIPPO). CLIPPO uses a single encoder that processes both regular images and text rendered as images. CLIPPO performs image-based tasks such as retrieval and zero-shot image classification almost as well as CLIP, with half the number of parameters and no text-specific tower or embedding. When trained jointly via image-text contrastive learning and next-sentence contrastive learning, CLIPPO can perform well on natural language understanding tasks, without any word-level loss (language modelling or masked language modelling), outperforming pixel-based prior work. Surprisingly, CLIPPO can obtain good accuracy in visual question answering, simply by rendering the question and image together. Finally, we exploit the fact that CLIPPO does not require a tokenizer to show that it can achieve strong performance on multilingual multimodal retrieval without

Scaling up contrastive language-image pretraining (CLIP) is critical for empowering both vision and multimodal models. We present EVA-CLIP-18B, the largest and most powerful open-source CLIP model to date, with 18-billion parameters. With only 6-billion training samples seen, EVA-CLIP-18B achieves an exceptional 80.7% zero-shot top-1 accuracy averaged across 27 widely recognized image classification benchmarks, outperforming its forerunner EVA-CLIP (5-billion parameters) and other open-source CLIP models by a large margin. Remarkably, we observe a consistent performance improvement with the model size scaling of EVA-CLIP, despite maintaining a constant training dataset of 2-billion image-text pairs from LAION-2B and COYO-700M. This dataset is openly available and much smaller than the in-house datasets (e.g., DFN-5B, WebLI-10B) employed in other state-of-the-art CLIP models. EVA-CLIP-18B demonstrates the potential of EVA-style weak-to-strong visual model scaling. With our model weights made publicly available, we hope to facilitate future research in vision and multimodal foundation models.

The recent work CLIPA presents an inverse scaling law for CLIP training -- whereby the larger the image/text encoders used, the shorter the sequence length of image/text tokens that can be applied in training. This finding enables us to train high-performance CLIP models with significantly reduced computations. Building upon this work, we hereby present CLIPA-v2 with two key contributions. Technically, we find this inverse scaling law is also applicable in the finetuning stage, enabling further reduction in computational needs. Empirically, we explore CLIPA at scale, extending the experiments up to the H/14 model with ~13B image-text pairs seen during training. Our results are exciting -- by only allocating a budget of \10,000, our CLIP model achieves an impressive zero-shot ImageNet accuracy of 81.1%, surpassing the prior best CLIP model (from OpenCLIP, 80.1%) by 1.0% and meanwhile reducing the computational cost by ~39X. Moreover, with an additional investment of 4,000, we can further elevate the zero-shot ImageNet accuracy to 81.8%. Our code and models are available at https://github.com/UCSC-VLAA/CLIPA.

We propose DiffCLIP, a novel vision-language model that extends the differential attention mechanism to CLIP architectures. Differential attention was originally developed for large language models to amplify relevant context while canceling out noisy information. In this work, we integrate this mechanism into CLIP's dual encoder (image and text) framework. With minimal additional parameters, DiffCLIP achieves superior performance on image-text understanding tasks. Across zero-shot classification, retrieval, and robustness benchmarks, DiffCLIP consistently outperforms baseline CLIP models. Notably, these gains come with negligible computational overhead, demonstrating that differential attention can significantly enhance multi-modal representations without sacrificing efficiency. Code can be found at https://github.com/hammoudhasan/DiffCLIP.

Contrastive Language-Image Pre-training (CLIP) stands as one of the most effective and scalable methods for training transferable vision models using paired image and text data. CLIP models are trained using contrastive loss, which typically relies on data augmentations to prevent overfitting and shortcuts. However, in the CLIP training paradigm, data augmentations are exclusively applied to image inputs, while language inputs remain unchanged throughout the entire training process, limiting the exposure of diverse texts to the same image. In this paper, we introduce Language augmented CLIP (LaCLIP), a simple yet highly effective approach to enhance CLIP training through language rewrites. Leveraging the in-context learning capability of large language models, we rewrite the text descriptions associated with each image. These rewritten texts exhibit diversity in sentence structure and vocabulary while preserving the original key concepts and meanings. During training, LaCLIP randomly selects either the original texts or the rewritten versions as text augmentations for each image. Extensive experiments on CC3M, CC12M, RedCaps and LAION-400M datasets show that CLIP pre-training with language rewrites significantly improves the transfer performance without computation or memory overhead during training. Specifically for ImageNet zero-shot accuracy, LaCLIP outperforms CLIP by 8.2% on CC12M and 2.4% on LAION-400M. Code is available at https://github.com/LijieFan/LaCLIP.

One of the main challenges of multimodal learning is the need to combine heterogeneous modalities (e.g., video, audio, text). For example, video and audio are obtained at much higher rates than text and are roughly aligned in time. They are often not synchronized with text, which comes as a global context, e.g., a title, or a description. Furthermore, video and audio inputs are of much larger volumes, and grow as the video length increases, which naturally requires more compute dedicated to these modalities and makes modeling of long-range dependencies harder. We here decouple the multimodal modeling, dividing it into separate, focused autoregressive models, processing the inputs according to the characteristics of the modalities. We propose a multimodal model, called Mirasol3B, consisting of an autoregressive component for the time-synchronized modalities (audio and video), and an autoregressive component for the context modalities which are not necessarily aligned in time but are still sequential. To address the long-sequences of the video-audio inputs, we propose to further partition the video and audio sequences in consecutive snippets and autoregressively process their representations. To that end, we propose a Combiner mechanism, which models the audio-video information jointly within a timeframe. The Combiner learns to extract audio and video features from raw spatio-temporal signals, and then learns to fuse these features producing compact but expressive representations per snippet. Our approach achieves the state-of-the-art on well established multimodal benchmarks, outperforming much larger models. It effectively addresses the high computational demand of media inputs by both learning compact representations, controlling the sequence length of the audio-video feature representations, and modeling their dependencies in time.

In this paper, we introduce audio-visual class-incremental learning, a class-incremental learning scenario for audio-visual video recognition. We demonstrate that joint audio-visual modeling can improve class-incremental learning, but current methods fail to preserve semantic similarity between audio and visual features as incremental step grows. Furthermore, we observe that audio-visual correlations learned in previous tasks can be forgotten as incremental steps progress, leading to poor performance. To overcome these challenges, we propose AV-CIL, which incorporates Dual-Audio-Visual Similarity Constraint (D-AVSC) to maintain both instance-aware and class-aware semantic similarity between audio-visual modalities and Visual Attention Distillation (VAD) to retain previously learned audio-guided visual attentive ability. We create three audio-visual class-incremental datasets, AVE-Class-Incremental (AVE-CI), Kinetics-Sounds-Class-Incremental (K-S-CI), and VGGSound100-Class-Incremental (VS100-CI) based on the AVE, Kinetics-Sounds, and VGGSound datasets, respectively. Our experiments on AVE-CI, K-S-CI, and VS100-CI demonstrate that AV-CIL significantly outperforms existing class-incremental learning methods in audio-visual class-incremental learning. Code and data are available at: https://github.com/weiguoPian/AV-CIL_ICCV2023.

Contrastive Language-Image Pretraining (CLIP) models maximize the mutual information between text and visual modalities to learn representations. This makes the nature of the training data a significant factor in the efficacy of CLIP for downstream tasks. However, the lack of compositional diversity in contemporary image-text datasets limits the compositional reasoning ability of CLIP. We show that generating ``hard'' negative captions via in-context learning and synthesizing corresponding negative images with text-to-image generators offers a solution. We introduce a novel contrastive pre-training strategy that leverages these hard negative captions and images in an alternating fashion to train CLIP. We demonstrate that our method, named TripletCLIP, when applied to existing datasets such as CC3M and CC12M, enhances the compositional capabilities of CLIP, resulting in an absolute improvement of over 9% on the SugarCrepe benchmark on an equal computational budget, as well as improvements in zero-shot image classification and image retrieval. Our code, models, and data are available at: https://tripletclip.github.io

CLIP, as a foundational vision language model, is widely used in zero-shot image classification due to its ability to understand various visual concepts and natural language descriptions. However, how to fully leverage CLIP's unprecedented human-like understanding capabilities to achieve better zero-shot classification is still an open question. This paper draws inspiration from the human visual perception process: a modern neuroscience view suggests that in classifying an object, humans first infer its class-independent attributes (e.g., background and orientation) which help separate the foreground object from the background, and then make decisions based on this information. Inspired by this, we observe that providing CLIP with contextual attributes improves zero-shot classification and mitigates reliance on spurious features. We also observe that CLIP itself can reasonably infer the attributes from an image. With these observations, we propose a training-free, two-step zero-shot classification method named PerceptionCLIP. Given an image, it first infers contextual attributes (e.g., background) and then performs object classification conditioning on them. Our experiments show that PerceptionCLIP achieves better generalization, group robustness, and better interpretability. For example, PerceptionCLIP with ViT-L/14 improves the worst group accuracy by 16.5% on the Waterbirds dataset and by 3.5% on CelebA.

Recent breakthroughs in zero-shot voice synthesis have enabled imitating a speaker's voice using just a few seconds of recording while maintaining a high level of realism. Alongside its potential benefits, this powerful technology introduces notable risks, including voice fraud and speaker impersonation. Unlike the conventional approach of solely relying on passive methods for detecting synthetic data, watermarking presents a proactive and robust defence mechanism against these looming risks. This paper introduces an innovative audio watermarking framework that encodes up to 32 bits of watermark within a mere 1-second audio snippet. The watermark is imperceptible to human senses and exhibits strong resilience against various attacks. It can serve as an effective identifier for synthesized voices and holds potential for broader applications in audio copyright protection. Moreover, this framework boasts high flexibility, allowing for the combination of multiple watermark segments to achieve heightened robustness and expanded capacity. Utilizing 10 to 20-second audio as the host, our approach demonstrates an average Bit Error Rate (BER) of 0.48\% across ten common attacks, a remarkable reduction of over 2800\% in BER compared to the state-of-the-art watermarking tool. See https://aka.ms/wavmark for demos of our work.

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

The auditory system plays a substantial role in shaping the overall human perceptual experience. While prevailing large language models (LLMs) and visual language models (VLMs) have shown their promise in solving a wide variety of vision and language understanding tasks, only a few of them can be generalised to the audio domain without compromising their domain-specific capacity. In this work, we introduce Acoustic Prompt Turning (APT), a new adapter extending LLMs and VLMs to the audio domain by soft prompting only. Specifically, APT applies an instruction-aware audio aligner to generate soft prompts, conditioned on both input text and sounds, as language model inputs. To mitigate the data scarcity in the audio domain, a multi-task learning strategy is proposed by formulating diverse audio tasks in a sequence-to-sequence manner. Moreover, we improve the framework of audio language model by using interleaved audio-text embeddings as the input sequence. This improved framework imposes zero constraints on the input format and thus is capable of tackling more understanding tasks, such as few-shot audio classification and audio reasoning. To further evaluate the reasoning ability of audio networks, we propose natural language audio reasoning (NLAR), a new task that analyses across two audio clips by comparison and summarization. Experiments show that APT-enhanced LLMs (namely APT-LLMs) achieve competitive results compared to the expert models (i.e., the networks trained on the targeted datasets) across various tasks. We finally demonstrate the APT's ability in extending frozen VLMs to the audio domain without finetuning, achieving promising results in the audio-visual question and answering task. Our code and model weights are released at https://github.com/JinhuaLiang/APT.

We consider the task of image-captioning using only the CLIP model and additional text data at training time, and no additional captioned images. Our approach relies on the fact that CLIP is trained to make visual and textual embeddings similar. Therefore, we only need to learn how to translate CLIP textual embeddings back into text, and we can learn how to do this by learning a decoder for the frozen CLIP text encoder using only text. We argue that this intuition is "almost correct" because of a gap between the embedding spaces, and propose to rectify this via noise injection during training. We demonstrate the effectiveness of our approach by showing SOTA zero-shot image captioning across four benchmarks, including style transfer. Code, data, and models are available on GitHub.

We propose the first joint audio-video generation framework that brings engaging watching and listening experiences simultaneously, towards high-quality realistic videos. To generate joint audio-video pairs, we propose a novel Multi-Modal Diffusion model (i.e., MM-Diffusion), with two-coupled denoising autoencoders. In contrast to existing single-modal diffusion models, MM-Diffusion consists of a sequential multi-modal U-Net for a joint denoising process by design. Two subnets for audio and video learn to gradually generate aligned audio-video pairs from Gaussian noises. To ensure semantic consistency across modalities, we propose a novel random-shift based attention block bridging over the two subnets, which enables efficient cross-modal alignment, and thus reinforces the audio-video fidelity for each other. Extensive experiments show superior results in unconditional audio-video generation, and zero-shot conditional tasks (e.g., video-to-audio). In particular, we achieve the best FVD and FAD on Landscape and AIST++ dancing datasets. Turing tests of 10k votes further demonstrate dominant preferences for our model. The code and pre-trained models can be downloaded at https://github.com/researchmm/MM-Diffusion.

CLIP (Contrastive Language-Image Pre-training) is a very recent multi-modal model that jointly learns representations of images and texts. The model is trained on a massive amount of English data and shows impressive performance on zero-shot classification tasks. Training the same model on a different language is not trivial, since data in other languages might be not enough and the model needs high-quality translations of the texts to guarantee a good performance. In this paper, we present the first CLIP model for the Italian Language (CLIP-Italian), trained on more than 1.4 million image-text pairs. Results show that CLIP-Italian outperforms the multilingual CLIP model on the tasks of image retrieval and zero-shot classification.

Recent advances in visually-induced audio generation are based on sampling short, low-fidelity, and one-class sounds. Moreover, sampling 1 second of audio from the state-of-the-art model takes minutes on a high-end GPU. In this work, we propose a single model capable of generating visually relevant, high-fidelity sounds prompted with a set of frames from open-domain videos in less time than it takes to play it on a single GPU. We train a transformer to sample a new spectrogram from the pre-trained spectrogram codebook given the set of video features. The codebook is obtained using a variant of VQGAN trained to produce a compact sampling space with a novel spectrogram-based perceptual loss. The generated spectrogram is transformed into a waveform using a window-based GAN that significantly speeds up generation. Considering the lack of metrics for automatic evaluation of generated spectrograms, we also build a family of metrics called FID and MKL. These metrics are based on a novel sound classifier, called Melception, and designed to evaluate the fidelity and relevance of open-domain samples. Both qualitative and quantitative studies are conducted on small- and large-scale datasets to evaluate the fidelity and relevance of generated samples. We also compare our model to the state-of-the-art and observe a substantial improvement in quality, size, and computation time. Code, demo, and samples: v-iashin.github.io/SpecVQGAN

Current visual generation methods can produce high quality videos guided by texts. However, effectively controlling object dynamics remains a challenge. This work explores audio as a cue to generate temporally synchronized image animations. We introduce Audio Synchronized Visual Animation (ASVA), a task animating a static image to demonstrate motion dynamics, temporally guided by audio clips across multiple classes. To this end, we present AVSync15, a dataset curated from VGGSound with videos featuring synchronized audio visual events across 15 categories. We also present a diffusion model, AVSyncD, capable of generating dynamic animations guided by audios. Extensive evaluations validate AVSync15 as a reliable benchmark for synchronized generation and demonstrate our models superior performance. We further explore AVSyncDs potential in a variety of audio synchronized generation tasks, from generating full videos without a base image to controlling object motions with various sounds. We hope our established benchmark can open new avenues for controllable visual generation. More videos on project webpage https://lzhangbj.github.io/projects/asva/asva.html.

We present AdVerb, a novel audio-visual dereverberation framework that uses visual cues in addition to the reverberant sound to estimate clean audio. Although audio-only dereverberation is a well-studied problem, our approach incorporates the complementary visual modality to perform audio dereverberation. Given an image of the environment where the reverberated sound signal has been recorded, AdVerb employs a novel geometry-aware cross-modal transformer architecture that captures scene geometry and audio-visual cross-modal relationship to generate a complex ideal ratio mask, which, when applied to the reverberant audio predicts the clean sound. The effectiveness of our method is demonstrated through extensive quantitative and qualitative evaluations. Our approach significantly outperforms traditional audio-only and audio-visual baselines on three downstream tasks: speech enhancement, speech recognition, and speaker verification, with relative improvements in the range of 18% - 82% on the LibriSpeech test-clean set. We also achieve highly satisfactory RT60 error scores on the AVSpeech dataset.

Multimodal generative models have shown impressive advances with the help of powerful diffusion models. Despite the progress, generating sound solely from text poses challenges in ensuring comprehensive scene depiction and temporal alignment. Meanwhile, video-to-sound generation limits the flexibility to prioritize sound synthesis for specific objects within the scene. To tackle these challenges, we propose a novel video-and-text-to-sound generation method, called ReWaS, where video serves as a conditional control for a text-to-audio generation model. Our method estimates the structural information of audio (namely, energy) from the video while receiving key content cues from a user prompt. We employ a well-performing text-to-sound model to consolidate the video control, which is much more efficient for training multimodal diffusion models with massive triplet-paired (audio-video-text) data. In addition, by separating the generative components of audio, it becomes a more flexible system that allows users to freely adjust the energy, surrounding environment, and primary sound source according to their preferences. Experimental results demonstrate that our method shows superiority in terms of quality, controllability, and training efficiency. Our demo is available at https://naver-ai.github.io/rewas

No-Reference Image Quality Assessment (NR-IQA) focuses on designing methods to measure image quality in alignment with human perception when a high-quality reference image is unavailable. Most state-of-the-art NR-IQA approaches are opinion-aware, i.e. they require human annotations for training. This dependency limits their scalability and broad applicability. To overcome this limitation, we propose QualiCLIP (Quality-aware CLIP), a CLIP-based self-supervised opinion-unaware approach that does not require human opinions. In particular, we introduce a quality-aware image-text alignment strategy to make CLIP generate quality-aware image representations. Starting from pristine images, we synthetically degrade them with increasing levels of intensity. Then, we train CLIP to rank these degraded images based on their similarity to quality-related antonym text prompts. At the same time, we force CLIP to generate consistent representations for images with similar content and the same level of degradation. Our experiments show that the proposed method improves over existing opinion-unaware approaches across multiple datasets with diverse distortion types. Moreover, despite not requiring human annotations, QualiCLIP achieves excellent performance against supervised opinion-aware methods in cross-dataset experiments, thus demonstrating remarkable generalization capabilities. The code and the model are publicly available at https://github.com/miccunifi/QualiCLIP.

Audio Descriptions (ADs) aim to provide a narration of a movie in text form, describing non-dialogue-related narratives, such as characters, actions, or scene establishment. Automatic generation of ADs remains challenging due to: i) the domain gap between movie-AD data and existing data used to train vision-language models, and ii) the issue of contextual redundancy arising from highly similar neighboring visual clips in a long movie. In this work, we propose DistinctAD, a novel two-stage framework for generating ADs that emphasize distinctiveness to produce better narratives. To address the domain gap, we introduce a CLIP-AD adaptation strategy that does not require additional AD corpora, enabling more effective alignment between movie and AD modalities at both global and fine-grained levels. In Stage-II, DistinctAD incorporates two key innovations: (i) a Contextual Expectation-Maximization Attention (EMA) module that reduces redundancy by extracting common bases from consecutive video clips, and (ii) an explicit distinctive word prediction loss that filters out repeated words in the context, ensuring the prediction of unique terms specific to the current AD. Comprehensive evaluations on MAD-Eval, CMD-AD, and TV-AD benchmarks demonstrate the superiority of DistinctAD, with the model consistently outperforming baselines, particularly in Recall@k/N, highlighting its effectiveness in producing high-quality, distinctive ADs.

CLIP has achieved impressive zero-shot performance after pre-training on a large-scale dataset consisting of paired image-text data. Previous works have utilized CLIP by incorporating manually designed visual prompts like colored circles and blur masks into the images to guide the model's attention, showing enhanced zero-shot performance in downstream tasks. Although these methods have achieved promising results, they inevitably alter the original information of the images, which can lead to failure in specific tasks. We propose a train-free method Foveal-Attention CLIP (FALIP), which adjusts the CLIP's attention by inserting foveal attention masks into the multi-head self-attention module. We demonstrate FALIP effectively boosts CLIP zero-shot performance in tasks such as referring expressions comprehension, image classification, and 3D point cloud recognition. Experimental results further show that FALIP outperforms existing methods on most metrics and can augment current methods to enhance their performance.

We present SynthCLIP, a novel framework for training CLIP models with entirely synthetic text-image pairs, significantly departing from previous methods relying on real data. Leveraging recent text-to-image (TTI) generative networks and large language models (LLM), we are able to generate synthetic datasets of images and corresponding captions at any scale, with no human intervention. With training at scale, SynthCLIP achieves performance comparable to CLIP models trained on real datasets. We also introduce SynthCI-30M, a purely synthetic dataset comprising 30 million captioned images. Our code, trained models, and generated data are released at https://github.com/hammoudhasan/SynthCLIP

Contrastive learning has emerged as a powerful technique in audio-visual representation learning, leveraging the natural co-occurrence of audio and visual modalities in extensive web-scale video datasets to achieve significant advancements. However, conventional contrastive audio-visual learning methodologies often rely on aggregated representations derived through temporal aggregation, which neglects the intrinsic sequential nature of the data. This oversight raises concerns regarding the ability of standard approaches to capture and utilize fine-grained information within sequences, information that is vital for distinguishing between semantically similar yet distinct examples. In response to this limitation, we propose sequential contrastive audio-visual learning (SCAV), which contrasts examples based on their non-aggregated representation space using sequential distances. Retrieval experiments with the VGGSound and Music datasets demonstrate the effectiveness of SCAV, showing 2-3x relative improvements against traditional aggregation-based contrastive learning and other methods from the literature. We also show that models trained with SCAV exhibit a high degree of flexibility regarding the metric employed for retrieval, allowing them to operate on a spectrum of efficiency-accuracy trade-offs, potentially making them applicable in multiple scenarios, from small- to large-scale retrieval.

Contrastive language image pretraining (CLIP) is a standard method for training vision-language models. While CLIP is scalable, promptable, and robust to distribution shifts on image classification tasks, it lacks object localization capabilities. This paper studies the following question: Can we augment CLIP training with task-specific vision models from model zoos to improve its visual representations? Towards this end, we leverage open-source task-specific vision models to generate pseudo-labels for an uncurated and noisy image-text dataset. Subsequently, we train CLIP models on these pseudo-labels in addition to the contrastive training on image and text pairs. This simple setup shows substantial improvements of up to 16.3% across different vision tasks, including segmentation, detection, depth estimation, and surface normal estimation. Importantly, these enhancements are achieved without compromising CLIP's existing capabilities, including its proficiency in promptable zero-shot classification.

Pre-trained vision-language (V-L) models such as CLIP have shown excellent generalization ability to downstream tasks. However, they are sensitive to the choice of input text prompts and require careful selection of prompt templates to perform well. Inspired by the Natural Language Processing (NLP) literature, recent CLIP adaptation approaches learn prompts as the textual inputs to fine-tune CLIP for downstream tasks. We note that using prompting to adapt representations in a single branch of CLIP (language or vision) is sub-optimal since it does not allow the flexibility to dynamically adjust both representation spaces on a downstream task. In this work, we propose Multi-modal Prompt Learning (MaPLe) for both vision and language branches to improve alignment between the vision and language representations. Our design promotes strong coupling between the vision-language prompts to ensure mutual synergy and discourages learning independent uni-modal solutions. Further, we learn separate prompts across different early stages to progressively model the stage-wise feature relationships to allow rich context learning. We evaluate the effectiveness of our approach on three representative tasks of generalization to novel classes, new target datasets and unseen domain shifts. Compared with the state-of-the-art method Co-CoOp, MaPLe exhibits favorable performance and achieves an absolute gain of 3.45% on novel classes and 2.72% on overall harmonic-mean, averaged over 11 diverse image recognition datasets. Our code and pre-trained models are available at https://github.com/muzairkhattak/multimodal-prompt-learning.

Audio-visual video segmentation~(AVVS) aims to generate pixel-level maps of sound-producing objects within image frames and ensure the maps faithfully adhere to the given audio, such as identifying and segmenting a singing person in a video. However, existing methods exhibit two limitations: 1) they address video temporal features and audio-visual interactive features separately, disregarding the inherent spatial-temporal dependence of combined audio and video, and 2) they inadequately introduce audio constraints and object-level information during the decoding stage, resulting in segmentation outcomes that fail to comply with audio directives. To tackle these issues, we propose a decoupled audio-video transformer that combines audio and video features from their respective temporal and spatial dimensions, capturing their combined dependence. To optimize memory consumption, we design a block, which, when stacked, enables capturing audio-visual fine-grained combinatorial-dependence in a memory-efficient manner. Additionally, we introduce audio-constrained queries during the decoding phase. These queries contain rich object-level information, ensuring the decoded mask adheres to the sounds. Experimental results confirm our approach's effectiveness, with our framework achieving a new SOTA performance on all three datasets using two backbones. The code is available at https://github.com/aspirinone/CATR.github.io

Existing computer vision research in artwork struggles with artwork's fine-grained attributes recognition and lack of curated annotated datasets due to their costly creation. To the best of our knowledge, we are one of the first methods to use CLIP (Contrastive Language-Image Pre-Training) to train a neural network on a variety of artwork images and text descriptions pairs. CLIP is able to learn directly from free-form art descriptions, or, if available, curated fine-grained labels. Model's zero-shot capability allows predicting accurate natural language description for a given image, without directly optimizing for the task. Our approach aims to solve 2 challenges: instance retrieval and fine-grained artwork attribute recognition. We use the iMet Dataset, which we consider the largest annotated artwork dataset. In this benchmark we achieved competitive results using only self-supervision.

Audio-guided Video Object Segmentation (A-VOS) and Referring Video Object Segmentation (R-VOS) are two highly-related tasks, which both aim to segment specific objects from video sequences according to user-provided expression prompts. However, due to the challenges in modeling representations for different modalities, contemporary methods struggle to strike a balance between interaction flexibility and high-precision localization and segmentation. In this paper, we address this problem from two perspectives: the alignment representation of audio and text and the deep interaction among audio, text, and visual features. First, we propose a universal architecture, the Expression Prompt Collaboration Transformer, herein EPCFormer. Next, we propose an Expression Alignment (EA) mechanism for audio and text expressions. By introducing contrastive learning for audio and text expressions, the proposed EPCFormer realizes comprehension of the semantic equivalence between audio and text expressions denoting the same objects. Then, to facilitate deep interactions among audio, text, and video features, we introduce an Expression-Visual Attention (EVA) mechanism. The knowledge of video object segmentation in terms of the expression prompts can seamlessly transfer between the two tasks by deeply exploring complementary cues between text and audio. Experiments on well-recognized benchmarks demonstrate that our universal EPCFormer attains state-of-the-art results on both tasks. The source code of EPCFormer will be made publicly available at https://github.com/lab206/EPCFormer.

Vision-language pre-training like CLIP has shown promising performance on various downstream tasks such as zero-shot image classification and image-text retrieval. Most of the existing CLIP-alike works usually adopt relatively large image encoders like ResNet50 and ViT, while the lightweight counterparts are rarely discussed. In this paper, we propose a multi-level interaction paradigm for training lightweight CLIP models. Firstly, to mitigate the problem that some image-text pairs are not strictly one-to-one correspondence, we improve the conventional global instance-level alignment objective by softening the label of negative samples progressively. Secondly, a relaxed bipartite matching based token-level alignment objective is introduced for finer-grained alignment between image patches and textual words. Moreover, based on the observation that the accuracy of CLIP model does not increase correspondingly as the parameters of text encoder increase, an extra objective of masked language modeling (MLM) is leveraged for maximizing the potential of the shortened text encoder. In practice, an auxiliary fusion module injecting unmasked image embedding into masked text embedding at different network stages is proposed for enhancing the MLM. Extensive experiments show that without introducing additional computational cost during inference, the proposed method achieves a higher performance on multiple downstream tasks.

We tackle the problem of generating audio samples conditioned on descriptive text captions. In this work, we propose AaudioGen, an auto-regressive generative model that generates audio samples conditioned on text inputs. AudioGen operates on a learnt discrete audio representation. The task of text-to-audio generation poses multiple challenges. Due to the way audio travels through a medium, differentiating ``objects'' can be a difficult task (e.g., separating multiple people simultaneously speaking). This is further complicated by real-world recording conditions (e.g., background noise, reverberation, etc.). Scarce text annotations impose another constraint, limiting the ability to scale models. Finally, modeling high-fidelity audio requires encoding audio at high sampling rate, leading to extremely long sequences. To alleviate the aforementioned challenges we propose an augmentation technique that mixes different audio samples, driving the model to internally learn to separate multiple sources. We curated 10 datasets containing different types of audio and text annotations to handle the scarcity of text-audio data points. For faster inference, we explore the use of multi-stream modeling, allowing the use of shorter sequences while maintaining a similar bitrate and perceptual quality. We apply classifier-free guidance to improve adherence to text. Comparing to the evaluated baselines, AudioGen outperforms over both objective and subjective metrics. Finally, we explore the ability of the proposed method to generate audio continuation conditionally and unconditionally. Samples: https://felixkreuk.github.io/audiogen

Existing datasets for audio understanding primarily focus on single-turn interactions (i.e. audio captioning, audio question answering) for describing audio in natural language, thus limiting understanding audio via interactive dialogue. To address this gap, we introduce Audio Dialogues: a multi-turn dialogue dataset containing 163.8k samples for general audio sounds and music. In addition to dialogues, Audio Dialogues also has question-answer pairs to understand and compare multiple input audios together. Audio Dialogues leverages a prompting-based approach and caption annotations from existing datasets to generate multi-turn dialogues using a Large Language Model (LLM). We evaluate existing audio-augmented large language models on our proposed dataset to demonstrate the complexity and applicability of Audio Dialogues. Our code for generating the dataset will be made publicly available. Detailed prompts and generated dialogues can be found on the demo website https://audiodialogues.github.io/.

Contrastive Language-Image Pretraining (CLIP) model has exhibited remarkable efficacy in establishing cross-modal connections between texts and images, yielding impressive performance across a broad spectrum of downstream applications through fine-tuning. However, for generalization tasks, the current fine-tuning methods for CLIP, such as CoOp and CoCoOp, demonstrate relatively low performance on some fine-grained datasets. We recognize the underlying reason is that these previous methods only projected global features into the prompt, neglecting the various visual concepts, such as colors, shapes, and sizes, which are naturally transferable across domains and play a crucial role in generalization tasks. To address this issue, in this work, we propose Concept-Guided Prompt Learning (CPL) for vision-language models. Specifically, we leverage the well-learned knowledge of CLIP to create a visual concept cache to enable concept-guided prompting. In order to refine the text features, we further develop a projector that transforms multi-level visual features into text features. We observe that this concept-guided prompt learning approach is able to achieve enhanced consistency between visual and linguistic modalities. Extensive experimental results demonstrate that our CPL method significantly improves generalization capabilities compared to the current state-of-the-art methods.

In recent years, with the realistic generation results and a wide range of personalized applications, diffusion-based generative models gain huge attention in both visual and audio generation areas. Compared to the considerable advancements of text2image or text2audio generation, research in audio2visual or visual2audio generation has been relatively slow. The recent audio-visual generation methods usually resort to huge large language model or composable diffusion models. Instead of designing another giant model for audio-visual generation, in this paper we take a step back showing a simple and lightweight generative transformer, which is not fully investigated in multi-modal generation, can achieve excellent results on image2audio generation. The transformer operates in the discrete audio and visual Vector-Quantized GAN space, and is trained in the mask denoising manner. After training, the classifier-free guidance could be deployed off-the-shelf achieving better performance, without any extra training or modification. Since the transformer model is modality symmetrical, it could also be directly deployed for audio2image generation and co-generation. In the experiments, we show that our simple method surpasses recent image2audio generation methods. Generated audio samples can be found at https://docs.google.com/presentation/d/1ZtC0SeblKkut4XJcRaDsSTuCRIXB3ypxmSi7HTY3IyQ

Despite CLIP being the foundation model in numerous vision-language applications, the CLIP suffers from a severe text spotting bias. Such bias causes CLIP models to `Parrot' the visual text embedded within images while disregarding the authentic visual semantics. We uncover that in the most popular image-text dataset LAION-2B, the captions also densely parrot (spell) the text embedded in images. Our analysis shows that around 50\% of images are embedded with visual text content, and 90\% of their captions more or less parrot the visual text. Based on such observation, we thoroughly inspect the different release d versions of CLIP models and verify that the visual text is the dominant factor in measuring the LAION-style image-text similarity for these models. To examine whether these parrot captions shape the text spotting bias, we train a series of CLIP models with LAION subsets curated by different parrot-caption-oriented criteria. We show that training with parrot captions easily shapes such bias but harms the expected visual-language representation learning in CLIP models. This suggests that it is urgent to revisit either the design of CLIP-like models or the existing image-text dataset curation pipeline built on CLIP score filtering.

Distributional shift is a central challenge in the deployment of machine learning models as they can be ill-equipped for real-world data. This is particularly evident in text-to-audio generation where the encoded representations are easily undermined by unseen prompts, which leads to the degradation of generated audio -- the limited set of the text-audio pairs remains inadequate for conditional audio generation in the wild as user prompts are under-specified. In particular, we observe a consistent audio quality degradation in generated audio samples with user prompts, as opposed to training set prompts. To this end, we present a retrieval-based in-context prompt editing framework that leverages the training captions as demonstrative exemplars to revisit the user prompts. We show that the framework enhanced the audio quality across the set of collected user prompts, which were edited with reference to the training captions as exemplars.