Vertigo Vertigo: Reconstructing a Cinematic Ideal through its Predictive AI Double
Authors: Adam Cole, Mick Grierson
Organizations: University of the Arts London London, UK
Abstract
Vertigo Vertigo is a scene-for-scene AI reconstruction of Hitchcock's Vertigo (1958), generated from only 2.78% of the original film's frames. Using this sparse set of keyframe anchors, we perform first-last frame interpolation via a large video diffusion model to predict the intervening sequences. Vertigo is itself a film about the obsessive reconstruction of an artificial ideal; Vertigo Vertigo extends this logic to the material of the film, treating the canonical text as a probe for the normative conventions of classical cinema encoded within generative systems. Evaluated through computational analysis and critical feedback from media theorists (Lev Manovich, Shane Denson, Kevin L. Ferguson), the artifact demonstrates remarkable structural fidelity: 73.1% of frames are recognizable as plausible renditions of Vertigo and only 3.6% fail catastrophically. This fidelity suggests that cinematic norms are deeply compressed within the model's latent priors. Aesthetically, the reconstruction is rendered as an unstable overlay between the original film and its predictive shadow, fueling a persistent doubt in the viewer's perception of authenticity -- a 21st-century vertigo. The work argues that generative media is not a paradigm shift from cinema but an acceleration of its logic of desire and false authenticity, extending from classical Hollywood through to the predictive media environments now reshaping contemporary perception.
AI-generated videos are becoming increasingly realistic, raising serious concerns about misinformation, content authenticity, and media trust. Reliable AI-generated video detection is therefore essential for multimedia forensics, yet remains challenging due to the need to capture spatial artifacts, temporal dynamics, and generalize to evolving generative models. In this paper, we explore reconstruction error as a discriminative forensic cue for AI-generated video detection. By reconstructing input videos with a pretrained WF-VAE, we observe that real and generated videos exhibit distinguishable frame-wise reconstruction error patterns, suggesting that reconstruction errors can reveal their distributional discrepancies. However, extending reconstruction-based image detection to videos is non-trivial, since video reconstruction errors are temporally organized across frames and require semantic context for effective interpretation. To address these challenges, we propose ReConFuse, a reconstruction-guided semantic fusion framework for video-level AI-generated video detection. ReConFuse extracts reconstruction error cues from WF-VAE reconstructed videos, aligns them with multi-frame semantic features, and uses a Mamba-based module to model temporal evolution for video-level classification. Experiments across multiple generators and evaluation settings demonstrate the effectiveness and strong generalization ability of ReConFuse.
Long-form narrative-to-film generation requires shot-level controllability and cross-clip consistency in both visual identity and character behavior-requirements that remain difficult to satisfy with current prompt-based workflows. A core reason existing workflows remain brittle is the lack of a structured intermediate layer between scripts and video models, especially when screenplays are underspecified at key cinematic decision points. We introduce a structured orchestration layer for film-oriented script-to-video generation, implemented as a multi-agent framework that operates between scripts and off-the-shelf video generators. The layer is centered on FilmDSL, a film-oriented domain-specific language that makes cinematic constraints explicit, including shot and camera directives, asset and continuity requirements, and persona cues, so that agents coordinate through a shared structured specification for planning, generation, critique, and repair. Specifically, a generation agent constructs asset packs and storyboard keyframes that anchor composition before clip-by-clip synthesis, while a critic agent produces structured QA signals and triggers targeted refinement without retraining the base model. Experiments on TV-style segments show improved controllability and consistency over text-only and reference-only baselines.
This work introduces FilmGPT, an autoregressive transformer designed to address the challenge of video montage--turning a collection of raw, "unwatchable" footage into coherent cinematic sequences. Inspired by language learning in modern LLMs, we train a long-context autoregressive transformer on a large corpus of movies. The aim is to implicitly capture the "grammar" of film directly from data rather than from hand-coded rules. Unlike other generative models, FilmGPT does not generate any new video frames. Instead, at inference time, we introduce a footage-constrained decoding algorithm to select the best next shot from the input raw footage according to the statistical patterns learned from films. We first evaluate these learned statistics directly by using the FilmGPT autoregressive model for next shot prediction on a standard benchmark of shot sequence ordering, outperforming the previous state of the art. We then evaluate our footage-constrained decoding algorithm on the full film editing task via a user study, and find that our FilmGPT-based editing significantly outperforms previous approaches. Finally, we demonstrate the applicability of FilmGPT to a wide range of applications in video montage, from automatic video segment trimming to human-in-the-loop film editing.