dtourolle
d98dc2855a
Bali was chosen because the TRECVID DVU set ships character mugshots, but its reference crops are unusable at scale: median detected face 27 px against a 69 px maximum, so every reference was upscaled 4x or more past what the embedder was trained for (AR-011). A 66 px floor left 2 of 69 references; no threshold exists that both keeps the faces in distribution and leaves enough of them to calibrate. SuperHero is 69 px median and 241 px max. Its gallery builds at a 66 px floor with 14 references over 5 characters, and calibrates on its own (a=15.2867 b=-4.98633, 100% train accuracy) instead of borrowing constants. Measured on the fused 17-minute film, one stream rather than per-scene clips so presence windows cross real scene boundaries as SR-002 intends: precision 1.00, recall 0.65, F1 0.79 — 13 true positives, 0 false positives, 7 misses. Every out-of-gallery character was declined rather than forced onto a nearest match. The misses are the short scenes (14 s, 38 s, 27 s), consistent with per-track accumulation needing sightings. - build_gallery gains --min-face-px, filtering the *detected face* rather than the crop. The DVU images are scene crops, not mugshots, so crop dimensions say nothing about face scale. A poisoned reference is permanent in a way a bad frame is not: it corrupts every future match against that identity. - scripts/fetch_dvu.sh fetches mugshots, scene graphs and segmentation for any DVU film. NIST names the same film three different ways, so KG_DIR and KG_FILE are overridable rather than derived. This exists as a script because the first copy of this data was assembled ad hoc in /tmp and was lost with it, taking the working gallery along. - Replay fixtures move to the artifact registry: push/pull_artifacts.sh gain a replay-fixtures target, and tests/fixtures/dumps/.gitignore keeps them out of git. superhero.h5 is ~9 MB and regenerating it needs the film, the models and a GPU — none of which CI has. The gallery ships with the dumps, since a dump only replays against the gallery it was produced with. - AR-012 and AR-013 coverage is ported onto the new fixture rather than dropped with the Bali cases: 12369 assertions, up from 7991, since the film is an order of magnitude larger than the clips. Suite: 15679 assertions, 101 test cases. TRACES: AR-011, AR-012, AR-013 | VR-001, VR-005 | SR-002
61 lines
2.8 KiB
Bash
Executable File
61 lines
2.8 KiB
Bash
Executable File
#!/bin/sh
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#
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# Regenerate superhero_offset_200s.flac — the real-audio fixture behind VR-014, the
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# audio-signature offset-recovery validation.
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#
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# sh make_offset_fixture.sh /path/to/clips
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#
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# Why real audio and not a second synthetic tone: jray_audio_v1_tone.flac pins
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# the *arithmetic* (IR-005) and is deliberately built so every band and every
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# energy class appears. It cannot answer the question VR-014 asks — whether the
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# peak-bin sequence of ordinary film audio is distinctive enough that sliding
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# one signature against another finds the true alignment and only the true
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# alignment. Tones are pathologically easy for that; dialogue and score are not.
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#
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# Source: scene clips from SuperHero (TRECVID DVU development set), the corpus
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# this repo already uses for the replay fixtures — tests/fixtures/dumps/superhero.h5
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# are dumps of these same clips. Each is under the 120 s window on its own
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# (29-77 s), so they are concatenated in scene order to make a source long
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# enough that a 120 s window can slide inside it.
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#
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# 200 s is chosen, not arbitrary: the window is 120 s and the match search is
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# capped at +/-600 frames (~55.7 s), so a source of 120 + 56 s is the shortest
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# one that can place two windows at the edge of the cap. The 200 s here leaves
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# room to go past it as well, which is what lets the test check that an
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# out-of-range offset is declined rather than guessed.
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#
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# Encoded mono at 11025 Hz, 16-bit, which is exactly what the signature decodes
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# to anyway. That keeps a 200 s fixture at ~2.4 MB instead of ~20 MB, and makes
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# every trim below sample-exact — the test measures offset recovery, not the
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# resampler, which tests/test_audio_signature.cpp already covers (UT-103).
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#
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# FLAC because it is lossless: the decoded PCM is the same on every machine, so
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# a signature computed from this file is reproducible. A lossy fixture would
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# make the measurement depend on the decoder version.
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#
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# sha256 of the committed file:
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# 4a952e46a090a9acd9eae56996250ec03e08e0d04ee139ac0a42f1690a536c83
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# A regenerated file that hashes differently means the source clips or the
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# encoder changed, and VR-014's recorded numbers should be re-measured — the
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# offsets will still be exact, but the scores are this audio's.
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set -eu
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CLIPS="${1:-../../../../hero}"
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OUT="$(dirname "$0")/superhero_offset_200s.flac"
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LIST="$(mktemp)"
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trap 'rm -f "$LIST"' EXIT
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for scene in 13 27 28 31 46; do
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clip="$CLIPS/SuperHero-$scene.webm"
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[ -f "$clip" ] || { echo "missing clip: $clip" >&2; exit 1; }
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echo "file '$(cd "$(dirname "$clip")" && pwd)/$(basename "$clip")'" >> "$LIST"
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done
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ffmpeg -nostdin -v error -y -f concat -safe 0 -i "$LIST" \
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-vn -t 200 -ac 1 -ar 11025 -sample_fmt s16 \
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-c:a flac -compression_level 12 "$OUT"
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echo "wrote $OUT"
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sha256sum "$OUT" 2>/dev/null || shasum -a 256 "$OUT"
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