MPEG Column: 125th MPEG Meeting in Marrakesh, Morocco

The original blog post can be found at the Bitmovin Techblog and has been modified/updated here to focus on and highlight research aspects.

The 125th MPEG meeting concluded on January 18, 2019 in Marrakesh, Morocco with the following topics:

  • Network-Based Media Processing (NBMP) – MPEG promotes NBMP to Committee Draft stage
  • 3DoF+ Visual – MPEG issues Call for Proposals on Immersive 3DoF+ Video Coding Technology
  • MPEG-5 Essential Video Coding (EVC) – MPEG starts work on MPEG-5 Essential Video Coding
  • ISOBMFF – MPEG issues Final Draft International Standard of Conformance and Reference software for formats based on the ISO Base Media File Format (ISOBMFF)
  • MPEG-21 User Description – MPEG finalizes 2nd edition of the MPEG-21 User Description

The corresponding press release of the 125th MPEG meeting can be found here. In this blog post I’d like to focus on those topics potentially relevant for over-the-top (OTT), namely NBMP, EVC, and ISOBMFF.

Network-Based Media Processing (NBMP)

The NBMP standard addresses the increasing complexity and sophistication of media services, specifically as the incurred media processing requires offloading complex media processing operations to the cloud/network to keep receiver hardware simple and power consumption low. Therefore, NBMP standard provides a standardized framework that allows content and service providers to describe, deploy, and control media processing for their content in the cloud. It comes with two main functions: (i) an abstraction layer to be deployed on top of existing cloud platforms (+ support for 5G core and edge computing) and (ii) a workflow manager to enable composition of multiple media processing tasks (i.e., process incoming media and metadata from a media source and produce processed media streams and metadata that are ready for distribution to a media sink). The NBMP standard now reached Committee Draft (CD) stage and final milestone is targeted for early 2020.

In particular, a standard like NBMP might become handy in the context of 5G in combination with mobile edge computing (MEC) which allows offloading certain tasks to a cloud environment in close proximity to the end user. For OTT, this could enable lower latency and more content being personalized towards the user’s context conditions and needs, hopefully leading to a better quality and user experience.

For further research aspects please see one of my previous posts

MPEG-5 Essential Video Coding (EVC)

MPEG-5 EVC clearly targets the high demand for efficient and cost-effective video coding technologies. Therefore, MPEG commenced work on such a new video coding standard that should have two profiles: (i) royalty-free baseline profile and (ii) main profile, which adds a small number of additional tools, each of which is capable, on an individual basis, of being either cleanly switched off or else switched over to the corresponding baseline tool. Timely publication of licensing terms (if any) is obviously very important for the success of such a standard.

The target coding efficiency for responses to the call for proposals was to be at least as efficient as HEVC. This target was exceeded by approximately 24% and the development of the MPEG-5 EVC standard is expected to be completed in 2020.

As of today, there’s the need to support AVC, HEVC, VP9, and AV1; soon VVC will become important. In other words, we already have a multi-codec environment to support and one might argue one more codec is probably not a big issue. The main benefit of EVC will be a royalty-free baseline profile but with AV1 there’s already such a codec available and it will be interesting to see how the royalty-free baseline profile of EVC compares to AV1.

For a new video coding format we will witness a plethora of evaluations and comparisons with existing formats (i.e., AVC, HEVC, VP9, AV1, VVC). These evaluations will be mainly based on objective metrics such as PSNR, SSIM, and VMAF. It will be also interesting to see subjective evaluations, specifically targeting OTT use cases (e.g., live and on demand).

ISO Base Media File Format (ISOBMFF)

The ISOBMFF (ISO/IEC 14496-12) is used as basis for many file (e.g., MP4) and streaming formats (e.g., DASH, CMAF) and as such received widespread adoption in both industry and academia. An overview of ISOBMFF is available here. The reference software is now available on GitHub and a plethora of conformance files are available here. In this context, the open source project GPAC is probably the most interesting aspect from a research point of view.

JPEG Column: 82nd JPEG Meeting in Lisbon, Portugal

The 82nd JPEG meeting was held in Lisbon, Portugal. Highlights of the meeting are progress on JPEG XL, JPEG XS, HTJ2K, JPEG Pleno, JPEG Systems and JPEG reference software.

JPEG has been the most common representation format of digital images for more than 25 years. Other image representation formats have been standardised by JPEG committee like JPEG 2000 or more recently JPEG XS. Furthermore, JPEG has been extended with new functionalities like HDR or alpha plane coding with the JPEG XT standard, and more recently with a reference software. Another solutions have been also proposed by different players with limited success. The JPEG committee decided it is the time to create a new working item, named JPEG XL, that aims to develop an image coding standard with increased quality and flexibility combined with a better compression efficiency. The evaluation of the call for proposals responses had already confirmed the industry interest, and development of core experiments has now begun. Several functionalities will be considered, like support for lossless transcoding of images represented with JPEG standard.

A 2nd workshop on media blockchain technologies was held in Lisbon, collocated with the JPEG meeting. Touradj Ebrahimi and Frederik Temmermans opened the workshop with presentations on relevant JPEG activities such as JPEG Privacy and Security. Thereafter, Zekeriya Erkin made a presentation on blockchain, distributed trust and privacy, and Carlos Serrão presented an overview of the ISO/TC 307 standardization work on blockchain and distributed ledger technologies. The workshop concluded with a panel discussion chaired by Fernando Pereira where the interoperability of blockchain and media technologies was discussed. A 3rd workshop is planned during the 83rd meeting to be held in Geneva, Switzerland on March 20th, 2019.

The 82nd JPEG meeting had the following highlights: jpeg82ndpicS

  • The new working item JPEG XL
  • JPEG Pleno
  • JPEG XS
  • HTJ2K
  • JPEG Systems – JUMBF & JPEG 360
  • JPEG reference software

 

The following summarizes various highlights during JPEG’s Lisbon meeting. As always, JPEG welcomes participation from industry and academia in all its standards activities.

JPEG XL

The JPEG Committee launched JPEG XL with the aim of developing a standard for image coding that offers substantially better compression efficiency when compared to existing image formats, along with features desirable for web distribution and efficient compression of high quality images. Subjective tests conducted by two independent research laboratories were presented at the 82nd meeting in Lisbon and indicate promising results that compare favorably with state of the art codecs.

A development software for the JPEG XL verification model is currently being implemented. A series of experiments have been also defined for improving the above model; these experiments address new functionalities such as lossless coding and progressive decoding.

JPEG Pleno

The JPEG Committee has three activities in JPEG Pleno: Light Field, Point Cloud, and Holographic image coding.

At the Lisbon meeting, Part 2 of JPEG Pleno Light Field was refined and a Committee Draft (CD) text was prepared. A new round of core experiments targets improved subaperture image prediction quality and scalability functionality.

JPEG Pleno Holography will be hosting a workshop on March 19th, 2019 during the 83rd JPEG meeting in Geneva. The purpose of this workshop is to provide insights in the status of holographic applications such as holographic microscopy and tomography, displays and printing, and to assess their impact on the planned standardization specification. This workshop invites participation from both industry and academia experts. Information on the workshop can be find at https://jpeg.org/items/20190228_pleno_holography_workshop_geneva_announcement.html

JPEG XS

The JPEG Committee is pleased to announce a new milestone of the JPEG XS project, with the Profiles and Buffer Models (JPEG XS ISO/IEC 21122 Part 2) submitted to ISO for immediate publication as International Standard.

This project aims at standardization of a visually lossless low-latency and lightweight compression scheme that can be used as a mezzanine codec within any AV market. Among the targeted use cases are video transport over professional video links (SDI, IP, Ethernet), real-time video storage, memory buffers, omnidirectional video capture and rendering, and sensor compression (for example in cameras and in the automotive industry). The Core Coding System allows for visually lossless quality at moderate compression rates, scalable end-to-end latency ranging from less than a line to a few lines of the image, and low complexity real time implementations in ASIC, FPGA, CPU and GPU. The new part “Profiles and Buffer Models” defines different coding tools subsets addressing specific application fields and use cases. For more information, interested parties are invited to read the JPEG White paper on JPEG XS that has been recently published on the JPEG website (https://jpeg.org).

 HTJ2K

The JPEG Committee continues its work on ISO/IEC 15444-15 High-Throughput JPEG 2000 (HTJ2K) with the development of conformance codestreams and reference software, improving interoperability and reducing obstacles to implementation.

The HTJ2K block coding algorithm has demonstrated an average tenfold increase in encoding and decoding throughput compared to the block coding algorithm currently defined by JPEG 2000 Part 1. This increase in throughput results in an average coding efficiency loss of 10% or less in comparison to the most efficient modes of the block coding algorithm in JPEG 2000 Part 1, and enables mathematically lossless transcoding to-and-from JPEG 2000 Part 1 codestreams.

JPEG Systems – JUMBF & JPEG 360

At the 82nd JPEG meeting, the Committee DIS ballots were completed, comments reviewed, and the standard progressed towards FDIS text for upcoming ballots on “JPEG Universal Metadata Box Format (JUMBF)” as ISO/IEC 19566-5, and “JPEG 360” as ISO/IEC 19566-6. Investigations continued to generalize the framework to other applications relying on JPEG (ISO/IEC 10918 | ITU-T.81), and JPEG Pleno Light Field.

JPEG reference software

With the JPEG Reference Software reaching FDIS stage, the JPEG Committee reaches an important milestone by extending its specifications with a new part containing a reference software. With its FDIS release, two implementations will become official reference to the most successful standard of the JPEG Committee: The fast and widely deployed libjpeg-turbo code, along with a complete implementation of JPEG coming from the Committee itself that also covers coding modes that were only known by a few experts.

 

Final Quote

“One of the strengths of the JPEG Committee has been in its ability to identify important trends in imaging technologies and their impact on products and services. I am delighted to see that this effort still continues and the Committee remains attentive to future.” said Prof. Touradj Ebrahimi, the Convenor of the JPEG Committee.

About JPEG

The Joint Photographic Experts Group (JPEG) is a Working Group of ISO/IEC, the International Organisation for Standardization / International Electrotechnical Commission, (ISO/IEC JTC 1/SC 29/WG 1) and of the International Telecommunication Union (ITU-T SG16), responsible for the popular JPEG, JPEG 2000, JPEG XR, JPSearch and more recently, the JPEG XT, JPEG XS, JPEG Systems and JPEG Pleno families of imaging standards.

The JPEG Committee nominally meets four times a year, in different world locations. The 82nd JPEG Meeting was held on 19-25 October 2018, in Lisbon, Portugal. The next 83rd JPEG Meeting will be held on 16-22 March 2019, in Geneva, Switzerland.

More information about JPEG and its work is available at www.jpeg.org or by contacting Antonio Pinheiro or Frederik Temmermans (pr@jpeg.org) of the JPEG Communication Subgroup.

If you would like to stay posted on JPEG activities, please subscribe to the jpeg-news mailing list on http://jpeg-news-list.jpeg.org.  

Future JPEG meetings are planned as follows:

  • No 83, Geneva, Switzerland, March 16 to 22, 2019
  • No 84, Brussels, Belgium, July 13 to 19, 2019

 

Solving Complex Issues through Immersive Narratives — Does QoE Play a Role?

Introduction

A transdisciplinary dialogue and innovative research, including technical and artistic research as well as digital humanities are necessary to solve complex issues. We need to support and produce creative practices, and engage in a critical reflection about the social and ethical dimensions of our current technology developments. At the core is an understanding that no single discipline, technology, or field can produce knowledge capable of addressing the complexities and crises of the contemporary world. Moreover, we see the arts and humanities as critical tools for understanding this hyper-complex, mediated, and fragmented global reality. As a use case, we will consider the complexity of extreme weather events, natural disasters and failure of climate change mitigation and adaptation, which are the risks with the highest likelihood of occurrence and largest global impact (World Economic Forum, 2017). Through our project, World of Wild Waters (WoWW), we are using immersive narratives and gamification to create a simpler holistic understanding of cause and effect of natural hazards by creating immersive user experiences based on real data, realistic scenarios and simulations. The objective is to increase societal preparedness for a multitude of stakeholders. Quality of Experience (QoE) modeling and assessment of immersive media experiences are at the heart of the expected impact of the narratives, where we would expect active participation, engagement and change, to play a key role [1].

Here, we present our views of immersion and presence in light of Quality of Experience (QoE). We will discuss the technical and creative considerations needed for QoE modeling and assessment of immersive media experiences. Finally, we will provide some reflections on QoE being an important building block in immersive narratives in general, and especially towards considering Extended Realities (XR) as an instantiation of Digital storytelling.

But what is Immersion and an Immersive Media Experience?

Immersion and immersive media experiences are commonly used terms in industry and academia today to describe new digital media. However, there is a gap in definitions of the term between the two worlds that can lead to confusions. This gap needs to be filled for XR to become a success and finally hit the masses, and not simply vanish as it has done so many times before since the invention of VR in 1962 by Morton Heilig (The Sensorama, or «Experience Theatre»). Immersion, thus far, can be plainly put as submersion in a medium (representational, fictional or simulated). It refers to a sense of belief, or the suspension of disbelief, while describing  the experience/event of being surrounded by an environment (artificial, mental, etc.). This view is contrasted by a data-oriented view often used by technophiles who regard immersion as a technological feat that ensures a multimodal sensory input to the user [2]. This is the objective description, which views immersion as quantifiable afforded or offered by the system (computer and head-mounted display (HMD), in this case).

Developing immersion on these lines risks favoring the typology of spatial immersion while alienating the rest (phenomenological, narrative, tactical, pleasure, etc.). This can be seen in recent VR applications that propel high-fidelity, low-latency, and precision-tracking products that aim to simulate the exactitude of sensorial information (visual, auditory, haptic) available in the real world to make the experience as ‘real’ as possible – a sense of realness, that is not necessarily immersive [3].

Another closely related phenomenon is that of presence, shortened from its original 1980’s form of telepresence [3]. It is a core phenomenon for immersive technologies describing an engagement via technology where one feels as oneself, even though physically removed. This definition was later appropriated for simulated/virtual environments where it was described as a “feeling of being transported” into the synthetic/artificial space of a simulated environment. It is for this reason that presence, a subjective sensation, is most often associated with spatial immersion. A renewed interest in presence research has invited fresh insights into conceptualizing presence.

Based on the technical or system approach towards immersion, we can refer to immersive media experiences through the definitions given in in Figure 1.

Figure 1. Evolution of current immersive media experiences

Figure 1. Definitions of current immersive media experiences

Much of the media considered today still consists of audio and visual presentations, but now enriched by new functionality such as 360 view, 3D and enabling interactivity. The ultimate goals are to create immersive media experiences by digitally creating real world presence by using available media technology and optimizing the experience as perceived by the participant [4].

Immersive Narratives for Solving Complex issues

The optimized immersive experience can be used in various domains to help solve complex issues by narration or gamification. Through World of Wild Waters (WoWW) we aim to focus on immersive narration and gamification of natural hazards. The project focuses on implication of immersive storytelling for disaster management by depicting extreme weather events and natural disasters. Immersive media experiences can present XR solutions for natural hazards by simulating real time data and providing people with a hands-on experience of how it feels to face an unexpected disaster. Immersive narratives can be used to allow people to be better prepared by experiencing the effects of different emergency scenarios while in a safe environment. However, QoE modeling and assessment for serious immersive narrations is a challenge and one need to carefully combine immersion, media technology and end user experiences for solving such complex issues.

Does QoE Play a Role?

Current state-of-the-art (SOTA) in immersive narratives from a technology point of view is by implementing virtual experience through Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR), commonly referred to as eXtended Realities (XR) seen as XR. Discussing the SOTA of XR is challenging as it exists across a large number of companies and sectors in form of fragmented domain specific products and services, and is changing from quarter to quarter. The definitions of immersion and presence differ, however, it is important to raise awareness of its generic building blocks to start a discussion on the way to move forward. The most important building blocks are the use of digital storytelling in the creation of the experience and the quality of the final experiences as perceived by the participants.

XR relies heavily on immersive narratives, stories where the experiences surround you providing a sense of realness as well as a sense of being there. Following Mel Slaters platform for VR [5], immersion consists of three parts:

  1. the concrete technical system for production,
  2. the illusions we are addressing and
  3. the resulting experience as interpreted by the participant.

The illusions part of XR play on providing a sense of being in a different place, which through high quality media makes us perceive that this is really happening (plausibility). Providing a high-quality experience eventually make us feel as participants in the story (agency). Finally, by feeling we are really participating in the experience, we get body ownership in this place. To be able to achieve these high-quality future media technology experiences we need new work processes and work flows for immersive experiences, requiring a vibrant connection between artists, innovators and technologists utilizing creative narratives and interactivity. To validate their quality and usefulness and ultimately business success, we need to focus on research and innovation within quality modeling and assessment making it possibly for the creators to iteratively improve the performance of their XR experience.

A transdisciplinary approach to immersive media experiences amplifies the relevance of content. Current QoE models predominantly treat content as a system influence factor, which allows for evaluations limited to its format, i.e., nature (e.g., image, sound, motion, speech, etc.) and type (e.g., analog or digital). Such a definition seems insufficient given how much the overall perceptual quality of such media is important. With technologies becoming mainstream, there is a global push for engaging content. Successful XR applications require strong content to generate, and retain, interest. One-time adventures, such as rollercoaster rides, are now deal breakers. With technologies, users too have matured, as the novelty factor of such media diminishes so does the initial preoccupation with interactivity and simulations. Immersive experiences must rely on content for a lasting impression.

However, the social impact of this media saturated reality is yet to be completely understood. QoE modeling and assessment and business models are evolving as we see more and more experiences being used commercially. However, there is still a lot of work to be done in the fields of the legal, ethical, political, health and cultural domains.

Conclusion

Immersive media experiences make a significant impact on the use and experience of new digital media through new and innovative approaches. These services are capable of establishing advanced transferable and sustainable best practices, specifically in art and technology, for playful and liveable human centered experiences solving complex problems. Further, the ubiquity of such media is changing our understanding for mediums as they form liveable environments that envelop our lives as a whole. The effects of these experiences are challenging our traditional concepts of liveability, which is why it is imperative for us to approach them as a paradigmatic shift in the civilizational project. The path taken should merge work on the technical aspects (systems) with the creative considerations (content).

Reference and Bibliography Entries

[1] Le Callet, P., Möller, S. and Perkis, A., 2013. Qualinet White Paper on Definitions of Quality of Experience (2012). European Network on Quality of Experience in Multimedia Systems and Services (COST Action IC 1003). Version 1.2. Mar-2013. [URL]

[2] Perrin, A.F.N.M., Xu, H., Kroupi, E., Řeřábek, M. and Ebrahimi, T., 2015, October. Multimodal dataset for assessment of quality of experience in immersive multimedia. In Proceedings of the 23rd ACM international conference on Multimedia (pp. 1007-1010). ACM. [URL]

[3] Normand, V., Babski, C., Benford, S., Bullock, A., Carion, S., Chrysanthou, Y., Farcet, N., Frécon, E., Harvey, J., Kuijpers, N. and Magnenat-Thalmann, N., 1999. The COVEN project: Exploring applicative, technical, and usage dimensions of collaborative virtual environments. Presence: Teleoperators & Virtual Environments, 8(2), pp.218-236. [URL]

[4] A. Perkis and A. Hameed, “Immersive media experiences – what do we need to move forward?,” SMPTE 2018, Westin Bonaventure Hotel & Suites, Los Angeles, California, 2018, pp. 1-12.
doi: 10.5594/M001846

[5] M. Slater, MV Sanchez-Vives, “Enhancing Our Lives with Immersive Virtual Reality”, Frontiers in Robotics and AI, 2016 – frontiersin.org

Note from the Editors:

Quality of Experience (QoE) in the context of immersive media applications and services are gaining momentum as such apps/services become available. Thus, it requires a deep integrated understanding of all involved aspects and corresponding scientific evaluations of the various dimensions (including but not limited to reproducibility). Therefore, the interested reader is referred to QUALINET and QoMEX, specifically QoMEX2019 which play a key role in this exciting application domain.

Report from ACM ICMR 2018 – by Cathal Gurrin

 

Multimedia computing, indexing, and retrieval continue to be one of the most exciting and fastest-growing research areas in the field of multimedia technology. ACM ICMR is the premier international conference that brings together experts and practitioners in the field for an annual conference. The eighth ACM International Conference on Multimedia Retrieval (ACM ICMR 2018) took place from June 11th to 14th, 2018 in Yokohama, Japan’s second most populous city. ACM ICMR 2018 featured a diverse range of activities including: Keynote talks, Demonstrations, Special Sessions and related Workshops, a Panel, a Doctoral Symposium, Industrial Talks, Tutorials, alongside regular conference papers in oral and poster session. The full ICMR2018 schedule can be found on the ICMR 2018 website <http://www.icmr2018.org/>. The organisers of ACM ICMR 2018 placed a large emphasis on generating a high-quality programme and in 2018; ICMR received 179 submissions to the main conference, with 21 accepted for oral presentation and 23 for poster presentation. A number of key themes emerged from the published papers at the conference: deep neural networks for content annotation; multimodal event detection and summarisation; novel multimedia applications; multimodal indexing and retrieval; and video retrieval from regular & social media sources. In addition, a strong emphasis on the user (in terms of end-user applications and user-predictive models) was noticeable throughout the ICMR 2018 programme. Indeed, the user theme was central to many of the components of the conference, from the panel discussion to the keynotes, workshops and special sessions. One of the most memorable elements of ICMR 2018 was a panel discussion on the ‘Top Five Problems in Multimedia Retrieval’ http://www.icmr2018.org/program_panel.html. The panel was composed of leading figures in the multimedia retrieval space: Tat-Seng Chua (National University of Singapore); Michael Houle (National Institute of Informatics); Ramesh Jain (University of California, Irvine); Nicu Sebe (University of Trento) and Rainer Lienhart (University of Augsburg). An engaging panel discussion was facilitated by Chong-Wah Ngo (City University of Hong Kong) and Vincent Oria (New Jersey Institute of Technology). The common theme was that multimedia retrieval is a hard challenge and that there are a number of fundamental topics that we need to make progress in, including bridging the semantic and user gaps, improving approaches to multimodal content fusion, neural network learning, addressing the challenge of processing at scale and the so called “curse of dimensionality”. ICMR2018 included two excellent keynote talks <http://www.icmr2018.org/program_keynote.html>. Firstly, Kohji Mitani, the Deputy Director of Science & Technology Research Laboratories NHK (Japan Broadcasting Corporation) explained about the ongoing evolution of broadcast technology and the efforts underway to create new (connected) broadcast services that can provide viewing experiences never before imagined and user experiences more attuned to daily life. The second keynote from Shunji Yamanaka, from The University of Tokyo discussed his experience of prototyping new user technologies and highlighted the importance of prototyping as a process that bridges an ever increasing gap between advanced technological solutions and societal users. During this entertaining and inspiring talk many prototypes developed in Yamanaka’s lab were introduced and the related vision explained to an eager audience. Three workshops were accepted for ACM ICMR 2018, covering the fields of lifelogging, art and real-estate technologies. Interestingly, all three workshops focused on domain specific applications in three emerging fields for multimedia analytics, all related to users and the user experience. The “LSC2018 – Lifelog Search Challenge”< http://lsc.dcu.ie/2018/> workshop was a novel and highly entertaining workshop modelled on the successful Video Browser Showdown series of participation workshops at the annual MMM conference. LSC was a participation workshop, which means that the participants wrote a paper describing a prototype interactive retrieval system for multimodal lifelog data. It was then evaluated during a live interactive search challenge during the workshop. Six prototype systems took part in the search challenge in front of an audience that reached fifty conference attendees. This was a popular and exciting workshop and could become a regular feature at future ICMR conferences. The second workshop was the MM-Art & ACM workshop <http://www.attractiveness-computing.org/mmart_acm2018/index.html>, which was a joint workshop that merged two existing workshops, the International Workshop on Multimedia Artworks Analysis (MMArt) and the International Workshop on Attractiveness Computing in Multimedia (ACM). The aim of the joint workshop was to enlarge the scope of discussion issues and inspire more works in related fields. The papers at the workshop focused on the creation, editing and retrieval of art-related multimedia content. The third workshop was RETech 2018 <https://sites.google.com/view/multimedia-for-retech/>, the first international workshop on multimedia for real estate tech. In recent years there has been a huge uptake of multimedia processing and retrieval technologies in the domain, but there are still a lot of challenges remaining, such as quality, cost, sensitivity, diversity, and attractiveness to users of content. In addition, ICMR 2018 included three tutorials <http://www.icmr2018.org/program_tutorial.html> on topical areas for the multimedia retrieval communities. The first was ‘Objects, Relationships and Context in Visual Data’ by Hanwang Zhang and Qianru Sun. The second was ‘Recommendation Technologies for Multimedia Content’ by Xiangnan He, Hanwang Zhang and Tat-Seng Chua and the final tutorial was ‘Multimedia Content Understanding, my Learning from very few Examples’ by Guo-Jun Qi. All tutorials were well received and feedback was very good. Other aspects of note from ICMR2018 were a doctoral symposium that attracted five authors and a dedicated industrial session that had four industrial talks highlighting the multimedia retrieval challenges faced by industry. It was interesting from the industrial talks to hear how the analytics and retrieval technologies developed over years and presented at venues such as ICMR were actually being deployed in real-world user applications by large organisations such as NEC and Hitachi. It is always a good idea to listen to the real-world applications of the research carried out by our community. The best paper session at ICMR 2018 had four top ranked works covering multimodal, audio and text retrieval. The best paper award went to ‘Learning Joint Embedding with Multimodal Cues for Cross-Modal Video-Text Retrieval’, by Niluthpol Mithun, Juncheng Li, Florian Metze and Amit Roy-Chowdhury. The best Multi-Modal Paper Award winner was ‘Cross-Modal Retrieval Using Deep De-correlated Subspace Ranking Hashing’ by Kevin Joslyn, Kai Li and Kien Hua. In addition, there were awards for best poster ‘PatternNet: Visual Pattern Mining with Deep Neural Network’ by Hongzhi Li, Joseph Ellis, Lei Zhang and Shih-Fu Chang, and best demo ‘Dynamic construction and manipulation of hierarchical quartic image graphs’ by Nico Hezel and Kai Uwe Barthel. Finally, although often overlooked, there were six reviewers commended for their outstanding reviews; Liqiang Nie, John Kender, Yasushi Makihara, Pascal Mettes, Jianquan Liu, and Yusuke Matsui. As with some other ACM sponsored conferences, ACM ICMR 2018 included an award for the most active social media commentator, which is how I ended up writing this report. There were a number of active social media commentators at ICMR 2018 each of which provided a valuable commentary on the proceedings and added to the historical archive.
fig1

Of course, the social side of a conference can be as important as the science. ICMR 2018 included two main social events, a welcome reception and the conference banquet. The welcome reception took place at the Fisherman’s Market, an Asian and ethnic dining experience with a wide selection of Japanese food available. The Conference Banquet took place in the Hotel New Grand, which was built in 1927 and has a long history of attracting famous guests. The venue is famed for the quality of the food and the spectacular panoramic views of the port of Yokohama. As with the rest of the conference, the banquet food was top-class with more than one of the attendees commenting that the Japanese beef on offer was the best they had ever tasted.

ICMR 2018 was an exciting and excellently organised conference and it is important to acknowledge the efforts of the general co-chairs: Kiyoharu Aizawa (The Univ. Of Tokyo), Michael Lew (Leiden Univ.) and Shin’ichi Satoh (National Inst. Of Informatics). They were ably assisted by the TPC co-chairs, Benoit Huet (Eurecom), Qi Tian (Univ. Of Texas at San Antonio) and Keiji Yanai (The Univ. Of Electro-Comm), who coordinated the reviews from a 111 person program committee in a double-blind manner, with an average of 3.8 reviews being prepared for every paper. ICMR 2019 will take place in Ottawa, Canada in June 2019 and ICMR 2020 will take place in Dublin, Ireland in June 2020. I hope to see you all there and continuing the tradition of excellent ICMR conferences.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

Shunji Yamanaka about to begin his keynote talk on Prototyping

Shunji Yamanaka about to begin his keynote talk on Prototyping

Kiyoharu Aizawa and Shin'ichi Satoh, two of the ICMR 2018 General co-Chairs welcoming attendees to the ICMR 2018 Banquet at the historical Hotel New Grand.

Kiyoharu Aizawa and Shin’ichi Satoh, two of the ICMR 2018 General co-Chairs welcoming attendees to the ICMR 2018 Banquet at the historical Hotel New Grand.

ACM Multimedia 2019 and Reproducibility in Multimedia Research

The first months of the new calendar year, multimedia researchers traditionally are hard at work on their ACM Multimedia submissions. (This year the submission deadline is 1 April.) Questions of reproducibility, including those of data set availability and release, are at the forefront of everyone’s mind. In this edition of SIGMM Records, the editors of the “Data Sets and Benchmarks” column have teamed up with two intersecting groups, the Reproducibility Chairs and the General Chairs of ACM Multimedia 2019, to bring you a column about reproducibility in multimedia research and the connection between reproducible research and publicly available data sets. The column highlights the activities of SIGMM towards implementing ACM paper badging. ACM MMSys has pushed our community forward on reproducibility and pioneered the use of ACM badging [1]. We are proud that in 2019 the newly established Reproducibility track will introduce badging at ACM Multimedia.

Complete information on Reproducibility at ACM Multimedia is available at:  https://project.inria.fr/acmmmreproducibility/

The importance of reproducibility

Researchers intuitively understand the importance of reproducibility. Too often, however, it is explained superficially, with statements such as, “If you don’t pay attention to reproducibility, your paper will be rejected”. The essence of the matter lies deeper: reproducibility is important because of its role in making scientific progress possible.

What is this role exactly? The reason that we do research is to contribute to the totality of knowledge at the disposal of humankind. If we think of this knowledge as a building, i.e. a sort of edifice, the role of reproducibility is to provide the strength and stability that makes it possible to build continually upwards. Without reproducibility, there would simply be no way of creating new knowledge.

ACM provides a helpful characterization of reproducibility: “An experimental result is not fully established unless it can be independently reproduced” [2]. In short, a result that is obtainable only once is not actually a result.

Reproducibility and scientific rigor are often mentioned in the same breath. Rigorous research provides systematic and sufficient evidence for its contributions. For example, in an experimental paper, the experiments must be properly designed and the conclusions of the paper must be directly supported by the experimental findings. Rigor involves careful analysis, interpretation, and reporting of the research results. Attention to reproducibility can be considered a part of rigor.

When we commit ourselves to reproducible research, we also commit ourselves to making sure that the research community has what it needs to reproduce our work. This means releasing the data that we use, and also releasing implementations of our algorithms. Devoting time and effort to reproducible research is an important way in which we support Open Science, the movement to make research resources and research results openly accessible to society.

Repeatability vs. Replicability vs. Reproducibility

We frequently use the word “reproducibility” in an informal way that includes three individual concepts, which actually have distinct formal uses: “repeatability”, “replicability” and “reproducibility”. Again, we can turn to ACM for definitions [2]. All three concepts express the idea that research results must be invariant with respect to changes in the conditions under which they were obtained.

Specifically, “repeatability” means that the same research team can achieve the same result using the same setup and resources. “Replicability” means that that team can pass the setup and resources to a different research team, and that that team can also achieve the same result. “Reproducibility” (here, used in the formal sense) means that a different team can achieve the same result using a different setup and different resources. Note the connection to scientific rigor: obtaining the same result multiple times via a process that lacks rigor is meaningless.

When we write a research paper paying attention to reproducibility, it means that we are confident we would obtain the same results again within our own research team, that the paper includes a detailed description of how we achieved the result (and is accompanied by code or other resources), and that we are convinced that other researchers would reach the same conclusions using a comparable, but not identical, set up and resources.

Reproducibility at ACM Multimedia 2019

ACM Multimedia 2019 promotes reproducibility in two ways: First, as usual, reproducibility is one of the review criteria considered by the reviewers (https://www.acmmm.org/2019/reviewer-guidelines/). It is critical that authors describe their approach clearly and completely, and do not omit any details of their implementation or evaluation. Authors should release their data and also provide experimental results on publicly available data. Finally, increasingly, we are seeing authors who include a link to their code or other resources associated with the paper. Releasing resources should be considered a best practice.

The second way that ACM Multimedia 2019 promotes reproducibility is the new Reproducibility Track. Full information is available on the ACM Multimedia Reproducibility website [3]. The purpose of the track is to ensure that authors receive recognition for the effort they have dedicated to making their research reproducible, and also to assign ACM badges to their papers. Next, we summarize the concept of ACM badges, then we will return to discuss the Reproducibility Track in more detail.

ACM Paper badging

Here, we provide a short summary of the information on badging available on the ACM website at [2]. ACM introduced a system of badges in order to help push forward the processes by which papers are reviewed. The goal is to move the attention given to reproducibility to a new level, beyond the level achieved during traditional reviews. Badges seek to motivate authors to use practices leading to better replicability, with the idea that replicability will in turn lead to reproducibility.

In order to understand the badge system, it is helpful to know that ACM badges are divided into two categories. “Artifacts Evaluated” and “Results Evaluated”. ACM defines artifacts as digital objects that are created for the purpose of, or as a result of, carrying out research. Artifacts include implementation code as well as scripts used to run experiments, analyze results, or generate plots. Critically, they also include the data sets that were used in the experiment. The different “Artifacts Evaluated” badges reflect the level of care that authors put into making the artifacts available including how far do they go beyond the minimal functionality necessary and how well are the artifacts are documented.  

There are two “Results Evaluated” badges. The “Results Replicated” badge, which results from a replicability review, and a “Results Reproduced” badge, which results from a full reproducibility review, in which the referees have succeeded in reproducing the results of the paper with only the descriptions of the authors, and without any of the authors’ artifacts. ACM Multimedia adopts the ACM idea that replicability leads to full reproducibility, and for this reason choses to focus in its first year on the “Results replicated” badge. Next we turn to a discussion of the ACM Multimedia 2019 Reproducibility Track and how it implements the “Results Replicated” badge.

Badging ACM MM 2019

Authors of main-conference papers appearing at ACM Multimedia 2018 or 2017 are eligible to make a submission to the Reproducibility Track of ACM Multimedia 2019. The submission has two components: An archive containing the resources needed to replicate the paper, and a short companion paper that contains a description of the experiments that were carried out in the original paper and implemented in the archive. The submissions undergo a formal reproducibility review, and submissions that pass receive a “Results Replicated” badge, which  is added to the original paper in the ACM Digital Library. The companion paper appears in the proceedings of ACM Multimedia 2019 (also with a badge) and is presented at the conference as a poster.

ACM defines the badges, but the choice of which badges to award, and how to implement the review process that leads to the badge, is left to the individual conferences. The consequence is that the design and implementation of the ACM Multimedia Reproducibility Track requires a number of important decisions as well as careful implementation.

A key consideration when designing the ACM Multimedia Reproducibility Track was the work of the reproducibility reviewers. These reviewers carry out tasks that go beyond those of main-conference reviewers, since they must use the authors’ artifacts to replicate their results. The track is designed such that the reproducibility reviewers are deeply involved in the process. Because the companion paper is submitted a year after the original paper, reproducibility reviewers have plenty of time to dive into the code and work together with the authors. During this intensive process, the reviewers extend the originally submitted companion paper with a description of the review process and become authors on the final version of the companion paper.

The ACM Multimedia Reproducibility Track is expected to run similarly in years beyond 2019. The experience gained in 2019 will allow future years to tweak the process in small ways if it proves necessary, and also to expand to other ACM badges.

The visibility of badged papers is important for ACM Multimedia. Visibility incentivizes the authors who submit work to the conference to apply best practices in reproducibility. Practically, the visibility of badges also allows researchers to quickly identify work that they can build on. If a paper presenting new research results has a badge, researchers can immediately understand that this paper would be straightforward to use as a baseline, or that they can build confidently on the paper results without encountering ambiguities, technical issues, or other time-consuming frustrations.

The link between reproducibility and multimedia data sets

The link between Reproducibility and Multimedia Data Sets has been pointed out before, for example, in the theme chosen by the ACM Multimedia 2016 MMCommons workshop, “Datasets, Evaluation, and Reproducibility” [4]. One of the goals of this workshop was to discuss how data challenges and benchmarking tasks can catalyze the reproducibility of algorithms and methods.

Researchers who dedicate time and effort to creating and publishing data sets are making a valuable contribution to research. In order to compare the effectiveness of two algorithms, all other aspects of the evaluation must be controlled, including the data set that is used. Making data sets publicly available supports the systematic comparison of algorithms that is necessary to demonstrate that new algorithms are capable of outperforming the state of the art.

Considering the definitions of “replicability” and “reproducibility” introduced above, additional observations can be made about the importance of multimedia data sets. Creating and publishing data sets supports replicability. In order to replicate a research result, the same resources as used in the original experiments, including the data set, must be available to research teams beyond the one who originally carried out the research.

Creating and publishing data sets also supports reproducibility (in the formal sense of the word defined above). In order to reproduce research results, however, it is necessary that there is more than one data set available that is suitable for carrying out evaluation of a particular approach or algorithm. Critically, the definition of reproducibility involves using different resources than were used in the original work. As the multimedia community continues to move from replication to reproduction, it is essential that a large number of data sets are created and published, in order to ensure that multiple data sets are available to assess the reproducibility of research results.

Acknowledgements

Thank you to people whose hard work is making reproducibility at ACM Multimedia happen: This includes the 2019 TPC Chairs, main-conference ACs and reviewers, as well as the Reproducibility reviewers. If you would like to volunteer to be a reproducibility committee member in this or future years, please contact the Reproducibility Chairs at MM19-Repro@sigmm.org

[1] Simon, Gwendal. Reproducibility in ACM MMSys Conference. Blogpost, 9 May 2017 http://peerdal.blogspot.com/2017/05/reproducibility-in-acm-mmsys-conference.html Accessed 9 March 2019.

[2] ACM, Artifact Review and Badging, Reviewed April 2018,  https://www.acm.org/publications/policies/artifact-review-badging Accessed 9 March 2019.

[3] ACM MM Reproducibility: Information on Reproducibility at ACM Multimedia https://project.inria.fr/acmmmreproducibility/ Accessed 9 March 2019.

[4] Bart Thomee, Damian Borth, and Julia Bernd. 2016. Multimedia COMMONS Workshop 2016 (MMCommons’16): Datasets, Evaluation, and Reproducibility. In Proceedings of the 24th ACM international conference on Multimedia (MM ’16). ACM, New York, NY, USA, 1485-1486.