PAI-Studio: Cinematic Video Background Replacement with Camera-Aware Motion

In recent years, open-source efforts like Senorita-2M have propelled video editing toward natural language instruction. However, current publicly available datasets predominantly focus on local editing or style transfer, which largely preserve the original scene structure and are easier to scale. In contrast, Background Replacement, a task central to creative applications such as film production and advertising, requires synthesizing entirely new, temporally consistent scenes while maintaining accurate foreground-background interactions, making large-scale data generation significantly more challenging. Consequently, this complex task remains largely underexplored due to a scarcity of high-quality training data. This gap is evident in poorly performing state-of-the-art models, e.g., Kiwi-Edit, because the primary open-source dataset that contains this task, i.e., OpenVE-3M, frequently produces static, unnatural backgrounds. In this paper, we trace this quality degradation to a lack of precise background guidance during data synthesis. Accordingly, we design a scalable pipeline that generates foreground and background guidance in a decoupled manner with strict quality filtering. Building on this pipeline, we introduce Sparkle, a dataset of ~140K video pairs spanning five common background-change themes, alongside Sparkle-Bench, the largest evaluation benchmark tailored for background replacement to date. Experiments demonstrate that our dataset and the model trained on it achieve substantially better performance than all existing baselines on both OpenVE-Bench and Sparkle-Bench. Our proposed dataset, benchmark, and model are fully open-sourced at https://showlab.github.io/Sparkle/.

LED Virtual Production (VP) uses large LED volumes to render backgrounds in real time, enabling in-camera visual effects but making post-shot changes labor-intensive. We address this with CineMatte, a robust background matting framework for VP and beyond. CineMatte employs a cross-attention-conditioned design. Instead of concatenating the background with the input, CineMatte employs a Siamese, frozen DINOv3 Vision Transformer with shared weights to encode the input frame and the captured background separately. A cross-attention module compares the two streams to predict the foreground, preserving pretrained semantics and improving robustness to background shifts. Previous ViT-based matting models use a parallel convolutional "detail branch" to recover fine details, which can cause boundary artifacts in real-world samples due to semantic misalignment with the backbone. We instead replace it with a pretrained, image-guided feature upsampler, which largely mitigates the problem. We also introduce CineMatte-4K, a 4K HDR image-video dataset captured on a professional LED VP stage. To the best of our knowledge, the image subset is the first dataset for VP matting and is non-synthetic, obtained via green-screen insertion; the video subset includes camera motion with tracked trajectories so that arbitrary backgrounds can be rendered later with correct parallax. Across CineMatte-4K and public benchmarks (VideoMatte240K, YouTubeMatte), CineMatte not only excels in VP but also generalizes robustly to real-world footage.

Precise camera control for reshooting dynamic videos is bottlenecked by the severe scarcity of paired multi-view data for non-rigid scenes. We overcome this limitation with a highly scalable self-supervised framework capable of leveraging internet-scale monocular videos. Our core contribution is the generation of pseudo multi-view training triplets, consisting of a source video, a geometric anchor, and a target video. We achieve this by extracting distinct smooth random-walk crop trajectories from a single input video to serve as the source and target views. The anchor is synthetically generated by forward-warping the first frame of the source with a dense tracking field, which effectively simulates the distorted point-cloud inputs expected at inference. Because our independent cropping strategy introduces spatial misalignment and artificial occlusions, the model cannot simply copy information from the current source frame. Instead, it is forced to implicitly learn 4D spatiotemporal structures by actively routing and re-projecting missing high-fidelity textures across distinct times and viewpoints from the source video to reconstruct the target. At inference, our minimally adapted diffusion transformer utilizes a 4D point-cloud derived anchor to achieve state-of-the-art temporal consistency, robust camera control, and high-fidelity novel view synthesis on complex dynamic scenes.