Lingyi Liu

Mahdi M. Kalayeh, Shervin Ardeshir, Lingyi Liu et al.

The abundance and ease of utilizing sound, along with the fact that auditory clues reveal a plethora of information about what happens in a scene, make the audio-visual space an intuitive choice for representation learning. In this paper, we explore the efficacy of audio-visual self-supervised learning from uncurated long-form content i.e movies. Studying its differences with conventional short-form content, we identify a non-i.i.d distribution of data, driven by the nature of movies. Specifically, we find long-form content to naturally contain a diverse set of semantic concepts (semantic diversity), where a large portion of them, such as main characters and environments often reappear frequently throughout the movie (reoccurring semantic concepts). In addition, movies often contain content-exclusive artistic artifacts, such as color palettes or thematic music, which are strong signals for uniquely distinguishing a movie (non-semantic consistency). Capitalizing on these observations, we comprehensively study the effect of emphasizing within-movie negative sampling in a contrastive learning setup. Our view is different from those of prior works who consider within-video positive sampling, inspired by the notion of semantic persistency over time, and operate in a short-video regime. Our empirical findings suggest that, with certain modifications, training on uncurated long-form videos yields representations which transfer competitively with the state-of-the-art to a variety of action recognition and audio classification tasks.

Zijie Huang, Baolin Li, Hafez Asgharzadeh et al.

Given a set of candidate entities (e.g. movie titles), the ability to identify similar entities is a core capability of many recommender systems. Most often this is achieved by collaborative filtering approaches, i.e. if users co-engage with a pair of entities frequently enough, the embeddings should be similar. However, relying on co-engagement data alone can result in lower-quality embeddings for new and unpopular entities. We study this problem in the context recommender systems at Netflix. We observe that there is abundant semantic information such as genre, content maturity level, themes, etc. that complements co-engagement signals and provides interpretability in similarity models. To learn entity similarities from both data sources holistically, we propose a novel graph-based approach called SemanticGNN. SemanticGNN models entities, semantic concepts, collaborative edges, and semantic edges within a large-scale knowledge graph and conducts representation learning over it. Our key technical contributions are twofold: (1) we develop a novel relation-aware attention graph neural network (GNN) to handle the imbalanced distribution of relation types in our graph; (2) to handle web-scale graph data that has millions of nodes and billions of edges, we develop a novel distributed graph training paradigm. The proposed model is successfully deployed within Netflix and empirical experiments indicate it yields up to 35% improvement in performance on similarity judgment tasks.

Mahdi M. Kalayeh, Nagendra Kamath, Lingyi Liu et al.

The abundance and ease of utilizing sound, along with the fact that auditory clues reveal so much about what happens in the scene, make the audio-visual space a perfectly intuitive choice for self-supervised representation learning. However, the current literature suggests that training on \textit{uncurated} data yields considerably poorer representations compared to the \textit{curated} alternatives collected in supervised manner, and the gap only narrows when the volume of data significantly increases. Furthermore, the quality of learned representations is known to be heavily influenced by the size and taxonomy of the curated datasets used for self-supervised training. This begs the question of whether we are celebrating too early on catching up with supervised learning when our self-supervised efforts still rely almost exclusively on curated data. In this paper, we study the efficacy of learning from Movies and TV Shows as forms of uncurated data for audio-visual self-supervised learning. We demonstrate that a simple model based on contrastive learning, trained on a collection of movies and TV shows, not only dramatically outperforms more complex methods which are trained on orders of magnitude larger uncurated datasets, but also performs very competitively with the state-of-the-art that learns from large-scale curated data. We identify that audiovisual patterns like the appearance of the main character or prominent scenes and mise-en-scène which frequently occur through the whole duration of a movie, lead to an overabundance of easy negative instances in the contrastive learning formulation. Capitalizing on such observation, we propose a hierarchical sampling policy, which despite its simplicity, effectively improves the performance, particularly when learning from TV shows which naturally face less semantic diversity.