I completed my Ph.D. in Computer Science at UC Berkeley, under the supervision of Alyosha Efros. Prior to joining the Computer Vision group, I was part of Bjoern Hartmann's Human-Computer Interaction lab at Berkeley. Earlier in my career, I was a Visiting Scholar at the CS Department of Carnegie Mellon University, with Luis von Ahn and Manuel Blum in the field of Human Computation. Between my academic roles, I spent four years at Endeca as a Senior Software Engineer. In my distant past, I trained fighter pilots in F-4 Phantom flight simulators as a Staff Sergeant in the Israeli Air Force.
My research has been covered by The New Yorker, The Wall Street Journal, and the Washington Post, amongst others. My work has been featured on PBS NOVA, exhibited at the Israeli Design Museum and is part of the permanent collection of the Deutsches Museum. My patent-pending research work inspired the founding of a startup. I have been named a Rising Star in EECS, and am a recipient of the U.S. National Science Foundation Graduate Research Fellowship, the California Legislature Grant for graduate studies, and the Samuel Silver Memorial Scholarship Award for combining intellectual achievement in science and engineering with serious humanistic and cultural interests.
Learning to respond like a good listener.
Given a speaker, we synthesize a realistic, synchronous listener. To do this, we learn human interaction 101: the delicate dance of non-verbal communication. We expect good listeners to look us in the eye, synchronize their motion with ours, and mirror our emotions. You can't annotate this! So we must learn from raw data. Technically, we are the first to extend vector-quantization methods to motion synthesis. We show that our novel sequence-encoding VQ-VAE, coupled with a transformer-based prediction mechanism, performs much better than competitive methods for motion generation.
Learning to Infer 3D Hands from Conversational Gesture Body Dynamics.
A novel learned deep prior of body motion for 3D hand shape synthesis and estimation in the domain of conversational gestures. Our model builds upon the insight that body motion and hand gestures are strongly correlated in non-verbal communication settings. We formulate the learning of this prior as a prediction task of 3D hand shape given body motion input alone.
Disentangle changing factors from permanent ones.
We disentangle outdoor scenes into temporally-varying illumination and permanent scene factors. To facilitate training, we assemble a city-scale dataset of outdoor timelapse imagery from Google Street View Time Machine, where the same locations are captured repeatedly through time. Our learned disentangled factors can be used to manipulate novel images in realistic ways, such as changing lighting effects and scene geometry.
Audio to motion translation.
Human speech is often accompanied by hand and arm gestures. Given audio speech input, we generate plausible gestures to go along with the sound. Specifically, we perform cross-modal translation from ``in-the-wild'' monologue speech of a single speaker to their hand and arm motion. We train on unlabeled videos for which we only have noisy pseudo ground truth from an automatic pose detection system. We release a large video dataset of person-specific gestures.
"Do as I do" motion transfer.
Given a source video of a person dancing we can transfer that performance to a novel (amateur) target after only a few minutes of the target subject performing standard moves. We pose this problem as a per-frame image-to-image translation with spatio-temporal smoothing. Using pose detections as an intermediate representation between source and target, we learn a mapping from pose images to a target subject's appearance. We adapt this setup for temporally coherent video generation including realistic face synthesis.
"Computers help us understand art. Art helps us teach computers."
Shiry Ginosar, Xi Shen, Karan Dwivedi, Elizabeth Honig, and Mathieu Aubry, The Burgeoning Computer-Art Symbiosis, XRDS: Crossroads, The ACM Magazine for Students - Computers and Art archive Volume 24 Issue 3, Spring 2018, Pages 30-33. PDF
"What makes the 60's look like the 60's?"
Many details about our world are not captured in written records because they are too mundane or too abstract to describe in words. Fortunately, since the invention of the camera, an ever-increasing number of photographs capture much of this otherwise lost information. This plethora of artifacts documenting our “visual culture” is a treasure trove of knowledge as yet untapped by historians. We present a dataset of 37,921 frontal-facing American high school yearbook photos that allow us to use computation to glimpse into the historical visual record too voluminous to be evaluated manually. The collected portraits provide a constant visual frame of reference with varying content. We can therefore use them to consider issues such as a decade’s defining style elements, or trends in fashion and social norms over time.
Shiry Ginosar, Kate Rakelly, Sarah Sachs, Brian Yin, Crystal Lee, Philipp Krähenbühl and Alexei A. Efros, A Century of Portraits: A Visual Historical Record of American High School Yearbooks, Extreme Imaging Workshop, ICCV 2015. and IEEE Transactions on Computational Imaging, September 2017. PDF, Project Page
The human visual system is just as good at recognizing objects in paintings and other abstract depictions as it is recognizing objects in their natural form. Computer vision methods can also recognize objects outside of natural images, however their model of the visual world may not always align with the human one. If the goal of computer vision is to mimic the human visual system, then we must strive to align detection models with the human one. We propose to use Picasso's Cubist paintings to test whether detection methods mimic the human invariance to object fragmentation and part re-organization. We find that while humans significantly outperform current methods, human perception and part-based object models exhibit a similarly graceful degradation as abstraction increases, further corroborating the theory of part-based object representation in the brain.
Shiry Ginosar, Daniel Haas, Timothy Brown, Jitendra Malik, Detecting People in Cubist Art, Visart Workshop on Computer Vision for Art Analysis, ECCV 2014. PDF
Speech input is growing in importance, especially in mobile applications, but less research has been done on speech input for information intensive tasks like document editing and coding. This paper presents results of a study on the use of a modern publicly available speech recognition system on document coding.
Shiry Ginosar, Marti A. Hearst, A Study of the Use of Current Speech Recognition in an Information Intensive Task, Workshop on Designing Speech and Language Interactions, CHI 2014. PDF
An IDE extension that helps with the task of authoring multi-stage code examples by allowing the author to propagate changes (insertions, deletions and modifications) throughout multiple saved stages of their code.
A system that lets analysts use paid crowd workers to explore data sets and helps analysts interactively examine and build upon workers' insights.
Wesley Willett, Shiry Ginosar, Avital Steinitz, Bjoern Hartmann, Maneesh Agrawala, Identifying Redundancy and Exposing Provenance in Crowdsourced Data Analysis, IEEE Transactions on Visualization and Computer Graphics, 2013. PDF
Phetch is an online game which collects natural language descriptions for images on the web as a side effect of game play. Can be used to improve the accessibility of the web as well as improve upon current image search engines.
Shiry Ginosar, Human Computation for HCIR Evaluation, Proceedings, HCIR 2007, pp. 40-42. PDF
Luis von Ahn, Shiry Ginosar, Mihir Kedia, Manuel Blum, Improving Image Search with Phetch, ICASSP 2007. PDF,
Luis von Ahn, Shiry Ginosar, Mihir Kedia, Ruoran Liu and Manuel Blum, Improving Accessibility of the Web with a Computer Game, CHI 2006. Honorable mentioned paper and nominee for Best of CHI award. PDF, Press Coverage
A tablet-controlled, solar-powered drip irrigation system. A humidity sensor at the tip of each "spike" records soil moisture; an internal servo in the 3D-printed enclosure opens and closes a drip irrigation line valve. Individual devices in a garden communicate with a central garden server, which also acts as a webserver that hosts the HTML-based user interface. Gardeners can review graphs of humidity readings over time and adjust waterning plans through this Web application.
Joint class project with Valkyrie Savage and Mark Fuge.
Featured in Bjoern Hartmann and Paul K. Wright Designing Bespoke Interactive Devices, IEEE Computer August 2013, Volume 46, Number 8. Article