Films

Humanoid loco-manipulation requires robots to interpret task instructions and scene semantics while executing coordinated whole-body motions. We propose a hierarchical framework that uses motion keyframes as an intermediate representation between Vision-Language Model (VLM) planning and Reinforcement Learning (RL) control. Each keyframe specifies a target whole-body robot pose and, when applicable, an object pose. Given a language instruction, scene observations, and execution feedback, the VLM selects successive task-relevant keyframes from a predefined library. The selected keyframes are retargeted to the current scene to account for object poses and dimensions. A keyframe-conditioned whole-body policy then generates joint-level actions to reach these goals. We introduce a saliency-based keyframe sampling strategy for low-level policy training that improves end-to-end task success rate from 44% to 92% when using sparse VLM keyframes. We evaluate our framework on object pickup, transport, and placement tasks in simulation and on a Unitree G1 humanoid. The system successfully performs both one- and two-handed manipulation and generalises to placement locations beyond the training reference data.

Single Ventricle Physiology (SVP) is a rare subtype of congenital heart disease characterized by the presence of a single functional cardiac ventricle with atypical anatomic configurations that challenge conventional image segmentation approaches. The scarcity of clinical data and the morphological diversity across SVP subtypes make the development of robust segmentation methods particularly difficult. To address these limitations, we propose a cardiac MRI segmentation framework focused on ventricular chambers and myocardium segmentation tailored for SVP. First, we introduce a data augmentation pipeline that generates synthetic 3D cardiac meshes using SDF4CHD and corresponding synthetic cardiac MRI through generative modeling. Second, we introduce SV-Cine, a diagnosis-conditioned adaptation of the foundation model CineMA that incorporates patient-level diagnostic information through Feature-wise Linear Modulation layers, enabling diagnosis-aware feature adaptation during segmentation. We evaluated the framework on an internal cohort with varying SVP subtypes. SV-Cine achieved median Dice scores of 0.89 (IQR: 0.80--0.91) for the left ventricle and 0.72 (IQR: 0.54--0.84) for the right ventricle, outperforming the strongest baseline, nnU-Net, by 0.39 Dice points on right ventricle segmentation. It also yields a median ejection fraction error of 5.55 percentage points (IQR: 3.41--7.69) for the dominant ventricle. Compared with the internal cohort, LV and myocardium segmentation performance was lower for the external cohort; whereas RV Dice scores were comparable for both cohorts. Our findings suggest that a pretrained foundation model can be adapted for highly specialized downstream tasks through usage of diagnosis priors while leveraging anatomic knowledge learned from large-scale MRI datasets during pretraining.

Editing is a core component of video production, requiring creative planning and decisions under multiple constraints. Here, we report methods for agentic tooling for automated video editing across three tasks varying in editorial goal, complexity and creativity, namely scene previews, video summaries and cinematic trailers. We evaluate the outputs and discuss implications for automation and agency.

The integration of large language models (LLMs) into video generation has enabled rapid text-to-video creation and improved visual quality. However, it still falls short of professional filmmaking, where cinematographic language is less refined than human-crafted camera work and multi-shot continuity remains challenging. To address these limitations, we introduce CamPilot, a multi-agent framework that integrates cinematographic planning and camera-work control to produce more coherent, logically structured, and human-aesthetic movies. CamPilot adopts a GRPO-based learning paradigm to learn camera work planning from 14K real-world professional movies, internalizing motion patterns and composition principles that support reasoning over shooting techniques (e.g., camera angle, motion, and focal behavior) and cross-shot relationships for controllable camera-viewpoint generation. Multiple agents further collaborate and evolve to improve overall output quality. To support this work and further studies in this domain, we establish CamEval, a benchmark for evaluating camera work quality and cinematic engagement. Empirical results show that CamPilot outperforms state-of-the-art text-to-movie generation methods on cinematographic control and quality, highlighting the impact of professional camera design on movie generation.

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.

Commercial short-drama production follows a multi-stage chain: script, storyboard, keyframe imagery, shot-level video, and the finished short drama. Most existing benchmarks evaluate solely the video-generation stage using pre-authored inputs instead of real upstream pipeline outputs. This leaves two critical questions unanswerable: whether each stage adheres to the original script intent (rather than only its immediate input prompt), and whether disparate shots remain coherent after assembly into multi-episode releases. We present DramaChain Bench, the first short-drama benchmark that evaluates every stage of the complete production chain. It is built upon three in-house systems sharing one dimension system, DramaChain Dimensions: five evaluation axes instantiated at every stage, resolving into 63 leaf dimensions. DramaChain Agent is calibrated against commercial short-drama platforms in both workflow and finished short-drama quality, enabling stage-wise fair comparison across models. DramaChain Labeling System has each of the 5,785 items scored independently by three professional annotators, with all defects spatio-temporally localised and selected from a predefined defect list. This process produces 17,488 valid scores and 255,925 traceable attribution records. The human annotations confirm that upstream defects cascade across the pipeline, demonstrating that final episode quality is not governed by video generation alone. DramaChain Agentic Judge then scores every leaf dimension automatically, gathering evidence over multiple agentic rounds before judging against a per-item checklist; it reproduces the model ranking at a mean PLCC of 0.918, enough to admit new models at no annotation cost.

Cardiac magnetic resonance imaging (CMR) produces rich sequential data such as temporal cine videos and spatial LGE/mapping stacks, yet most deep learning approaches process individual 2D slices, discarding this context. We present MR-JEPA, a self-supervised video foundation model for CMR that extends LeJEPA to 3D spatiotemporal inputs through tubelet tokenization, spatiotemporal masking augmentation, and initialization from a 2D CMR foundation model. Unlike prior CMR video models limited to cine data, MR-JEPA is pretrained on multi-sequence data (cine, LGE, mapping) from 10,505 patients across two centers without annotations. We evaluate the frozen encoder on six downstream tasks using a unified multi-view gated attention architecture: LV ejection fraction, RV ejection fraction, three myocardial strains (GLS, GCS, GRS), and four-class disease detection. MR-JEPA outperforms other compared methods on all five regression tasks, including both a domain-specific CMR model pretrained on more data with text supervision and a natural-video foundation model, achieving an LV EF MAE of 4.79% (r =0.764) and a GLS MAE of 1.87 (r=0.805), with 21-27% MAE reductions over baselines on strain tasks. For disease detection, MR-JEPA achieved a macro AUG of 0.868, remaining competitive with the domain-specific baseline despite using a fully self-supervised pretraining objective. These results demonstrate the potential of a unified video encoder for robust, multi-view utilization of diverse CMR sequences in clinical cardiac quantification and diagnosis.

Films communicate through deliberate creative choices, including lighting, color, composition, editing, dialogue, music, and sound. Humans naturally interpret these signals as directorial intent, yet current multimodal large language models (MLLMs) are evaluated almost exclusively on understanding what happens rather than why it is presented that way. We introduce TAKE 85, the first benchmark for directorial-intent understanding, comprising 398 short films (85 hours) with expert-verified question-answer pairs spanning global and fine-grained visual and audio intent. Through controlled modality ablations, TAKE 85 enables systematic evaluation of multimodal reasoning. Experiments on state-of-the-art MLLMs reveal a substantial gap between perceptual recognition and intentional understanding: while models accurately describe events and narratives, they consistently fail to infer the communicative role of filmmaking decisions. Our results establish directorial intent as a previously overlooked dimension of multimodal understanding: even the strongest model reaches only 58 out of 100, and our ablations show that no input modality is sufficient on its own. All code, Q&As, and models are publicly available from https://github.com/KaiShinozakiConefrey/Take-85

Long-horizon story-driven video generation requires a production agent to coordinate narrative decomposition, state tracking, shot design, prompt construction, rendering, and revision across interdependent scenes. Existing adaptive video systems primarily refine requests or reusable skills, leaving recurring production failures disconnected from persistent, stage-targeted improvements across stories. We introduce CineForge, a self-evolving video-production agent framework that couples CineForge-Produce for video generation with CineForge-Evolve for cross-story policy evolution. CineForge-Produce organizes each source story into typed narrative, character, spatial, and cinematic states, uses them to coordinate asset and clip generation, and records the process as a canonical production trajectory. CineForge-Evolve applies Case-to-Pattern-to-Policy Evolution (CPPE) to review trajectory evidence, consolidate recurrent findings into bounded stage-local patches, and deploy validated updates through structural replay and confidence-controlled paired evaluation. To measure complete story realization, we introduce CineScope, which combines a 100-script CineScope-Data suite with a human-aligned, multiscale CineScope-Metric spanning causal state, directorial orchestration, pacing and resource allocation, and character arc. Across CineScope-Data and two public benchmarks, the evolved CineForge policy improves CineScope-Metric from 4.024 to 4.380, outperforms three long-video baselines with consistent gains under ScriptAgent, and reduces review LLM calls by 37.0% on new stories. These results establish production trajectories as actionable experience for video agents that improve cumulatively across long-form storytelling tasks.

Video-to-music generation has drawn growing interest for its role in conveying the emotion of visual media, including film. Progress in the field, however, is hampered by a reproducibility gap: models are often trained on crawled corpora referenced through YouTube URLs that may be deleted, with the underlying data often difficult and time-consuming to retrieve. To address this, we introduce the Open Screen Soundtrack Library version 2 (OSSL-v2), a self-hosted corpus of 34,343 video clips totaling 246.4 hours, sourced from public-domain films. Unlike crawled corpora, OSSL-v2 is reproducible (i.e., not subject to link rot) and copyright-conscious, yet still large enough to train functional video-to-music models. We then use this film-domain corpus to study dialogue as a conditioning signal for video-to-music generation, motivated by the close temporal coupling between film music and on-screen speech. Specifically, we augment existing models' video cross-attention with a time axis and modulate it frame-by-frame with the dialogue track. Evaluated on both public-domain and commercial films, our approach shows improvement over the state-of-the-art baselines. The dataset is available at https://huggingface.co/datasets/McAuley-Lab/OSSL-v2.

Narrating the visual component of movies is known as audio description. It is a narrative technique designed to enable blind and visually impaired individuals to follow the story. However, it is far more constrained than most narratives: the descriptions not only need to convey the story in the movie, but they must also fit into gaps between dialogue and they need to conform to guidelines that exist in each region. In this work, we compare audio description created in the United Kingdom against audio description created in the United States. We use guidelines written for these two regions, alongside the impressions from a practitioner in the field, to motivate specific hypotheses about the differences. We test these hypotheses against our pre-existing corpus, which provides both human-authored American and British audio description for each of 206 movies. Results provide quantitative evidence to uphold all tested hypotheses, including differences in lexicon, the use of the progressive aspect, the use of passive constructions, the use of subjective adjectives and modifiers, when characters are named, how scenes are cued, and degree of overlap with movie dialogue and music. Our work offers a quantitative lens into the narrative technique of audio description.

Audio Description (AD) is a verbal narration of key visual content in videos, enabling access for visually impaired audiences. Unlike standard video captioning, AD is a structured editorial task: descriptions must be inserted into gaps in dialogue and must convey only what is needed to understand the narrative being told. However, existing approaches formulate AD generation in an artificial setting where both the content and timing of descriptions are pre-specified, reducing the task to clip-level captioning. They further rely on noisy transcription and alignment pipelines, and lack the rich parallel data required for modeling narrative context. We introduce a new formulation of AD generation in which models must jointly decide what to describe and when to do it. To support this, we present REFRAMED, a high-quality dataset of 2,023 videos that span 3,302 scenes from 206 movies, with professional AD transcripts (both American and British versions), professional subtitles and aligned screenplays. We also provide a manually curated challenge set that pairs full movies with multiple AD references, together with evaluation protocols that leverage dialogue gaps and multi-reference comparisons. Experiments with state-of-the-art AD systems and multimodal LLMs show that they outperform trivial baselines but fall far short of expert human performance. Our dataset and benchmark establish a new foundation for research on video understanding.

Large language models (LLMs) are trained on corpora that contain expressions of human judgment about films, books, music, and more. Yet whether LLMs systematically reproduce evaluative hierarchies remains unclear. Prior research on cultural bias in LLMs suggests competing expectations: models may mirror the popularity signals of internet texts, or may reproduce forms of prestige embedded in critical discourse. We probe this question through a study of film evaluations with eight models from four families (Anthropic, OpenAI, Alibaba, and Mistral), using a 200-film benchmark partitioned into critically acclaimed, commercially successful, and dual-legitimacy (critical acclaim + commercial success) films. Across 20,000 pairwise forced-choice comparisons per model analyzed with Bradley--Terry estimation, we observe a consistent critical acclaim orientation with all models: critically acclaimed yet commercially obscure films are selected over commercially successful yet critically unrecognized ones. This pattern grows with model scale within each family. In addition, nested OLS regression analyses show that evaluative orientation, public visibility, and popular reception distinctly help explain preferences. Adjusting for public visibility reverses the models' preference for dual-legitimacy films over critical acclaim-only films, while additionally accounting for popular reception attenuates much of the disadvantage of films with commercial success only. Finally, evaluative and recommendation-oriented prompt framings produce divergent rankings, suggesting that critical acclaim orientation may manifest indirectly in real-world LLM deployments.

Historical films suffer from co-occurring visual and audio degradations---blur, noise, flicker, hiss, clipping, and dropout---yet existing methods restore each modality independently, leaving quality gaps and cross-modal inconsistency. We present OmniVR, the first joint audio-video generative restoration model. Built upon a 22B-parameter audio-video generation backbone, OmniVR formulates restoration as conditional generation within a unified multimodal DiT: the low-quality video and audio are encoded as latent conditions, combined with a fixed restoration prompt, and jointly denoised to recover visual structure, temporal motion, and acoustic detail under one coordinated objective. Three key designs enable this adaptation: (1) a joint audio-video degradation pipeline that simulates real old-film characteristics from Internet-collected data; (2) an architecture-preserving text-to-audio-video (T2AV) to audio-video-to-audio-video (AV2AV) transition with prompt annealing that maximally retains the generative prior; and (3) first-frame image-to-video (I2V) anchoring with loss reweighting and waveform supervision for long-video extrapolation and audio fidelity. We also propose OmniVRBench, the first benchmark that evaluates audio-video restoration across visual quality, audio quality, temporal consistency, and audio-visual synchrony on 200 real historical clips. OmniVR surpasses all prior methods on all six visual metrics, achieves the best audio quality, and produces natural colorization---the first method to jointly address all three aspects. Code and weights will be publicly released. Project Page: https://xin1u.github.io/OminiVR_PAGE/

Uterine peristalsis is a key physiological phenomenon responsible for various functions across the menstrual cycle, intimately linked to uterine wall microstructure. Alterations in uterine motion and tissue properties are implicated in the etiology of gynecological diseases, yet these processes have been studied in isolation. We introduce a dynamic multi-echo gradient echo EPI framework for simultaneous characterization and correlation of uterine peristaltic activity and time-resolved T2* changes at 0.55T. Inherent susceptibility artifacts, reduced resolution, and burden of manual uterine layer annotation are addressed by an unsupervised adversarial domain adaptation framework, transferring segmentation knowledge from labeled cine MRI to unlabeled dynamic EPI. We implemented Unet-LSTM with multi-scale domain discriminators that exploits temporal layer dynamics. A Dice score of 0.88 and Jaccard index of 0.80 was achieved. Mean T2* values were 108ms, 76ms, and 124ms for the myometrium, junctional zone, and endometrium. A negative correlation between junctional zone area and T2* was observed in 14/39 cases, providing first insights into oxygenation patterns associated with junctional zone contraction and motion, demonstrating feasibility of assessing the interplay between contractility and dynamic T2* changes.

Historical lenticular films, such as those created with the Kodacolor process, encode color information in a distinctive spatial format. This structure requires specialized techniques for accurate color reconstruction. While recent signal processing approaches like doLCE and deep learning methods like deep-doLCE have advanced automated color recovery, they often fail with cases such as curved lenticules, low-contrast, or badly captured regions. We propose a human-in-the-loop (HITL) deep learning framework which is designed for color reconstruction in lenticular films. Our approach introduces an editable, vector-based representation of lenticule boundaries, allowing experts to interactively refine boundary positions before color extraction and demosaicing. This decoupled architecture enables targeted corrections and iterative fine-tuning, embedding expert knowledge into the detection model and improving robustness across challenging frames. To preserve image details using information solely present in the original silver emulsion, we merge the reconstructed chrominance with the original film scan's luminance. We evaluate our pipeline on a challenging lenticular film sequence where previous automated approaches fail and the reconstructed colors are not suitable for exhibition. In contrast, our HITL approach successfully produces high-quality, exhibitable color reconstructions with preserved texture. This work is the first to combine expert guidance, editable intermediate representations, and texture-preserving post-processing for lenticular film color reconstruction, advancing the state of the art in this field.

Automatically generating cinematically expressive camera trajectories through 3D scenes from natural language descriptions is a challenging task of high practical value, with applications ranging from real-estate advertising to virtual tour creation. Existing methods either lack true 3D spatial awareness by relying on 2D image priors, or treat trajectory generation as a geometric path planning problem divorced from cinematographic semantics. We present CinemaTraj, a framework that reframes camera trajectory planning as a language-grounded spatial reasoning problem. Given a set of RGB-D images and a user prompt, CinemaTraj equips an LLM agent with a structured 3D scene graph: the agent decomposes the prompt into a sequence of atomic cinematographic movements (dolly, orbit, crane, pan, tilt, zoom, arc). Each movement is instantiated via a novel parametric trajectory representation that is both cinematographically expressive and optimizable for collision avoidance. The scene graph acts as a structured spatial prior, grounding the agent's reasoning in accurate geometric and semantic knowledge of the environment. CinemaTraj further generates synchronized voiceover and subtitles aligned with camera motion, producing narrated cinematic video outputs. We evaluate CinemaTraj on real-world ScanNet++ environments, and show that it produces prompt-faithful, collision-free trajectories with high cinematographic quality, outperforming existing approaches on prompt alignment, trajectory quality, and safety metrics.

Cinematic video generation is challenging for text-to-video diffusion models due to concurrent requirements on multi-shot generation, fine-grained controllability over characters and scenes, and long-form generation across extended temporal horizons. Existing methods rely on customization and retraining to separately address specific requirements, and cannot simultaneously fulfill all the requirements with a unified framework. In this paper, we shed light on the training-free paradigm with the key insight that the difficulty of multi-shot generation arises from a structural bias toward temporal continuity in pretrained video diffusion models, and consequently, propose a unified framework named CineWeaver to achieve reference-controllable multi-shot long-video generation without retraining. We manipulate positional encoding and attention patterns to break temporal continuity during inference to enable clear shot transitions using pretrained video diffusion models. Furthermore, we extend the proposed framework with a shot-routed reference conditioning mechanism for per-shot fine-grained controllability, and develop an anchor memory mechanism to allow long-form generation with consistent global appearance cues. To our best knowledge, CineWeaver is the first unified framework to simultaneously enable \textbf{long-form}, \textbf{reference-controllable}, and \textbf{multi-shot} video generation in a training-free fashion. Experimental results demonstrate that CineWeaver produces high-quality cinematic videos of long durations with consistent identities, stable global appearance, and clear shot transitions. The project page is available at: https://cineweaver.github.io.

Progress in video generation keeps narrowing the visual gap between AI-generated and professionally produced footage, yet most benchmarks still draw prompts from web sources or LLM templates and score them with untrained, generic multimodal models. More fundamentally, their evaluation taxonomies remain rudimentary (overall visual quality, coarse text alignment and temporal smoothness) rather than the professional Cinematic Language criteria by which films are actually made and judged, so they assess basic video plausibility rather than film-grade craft. We introduce FilmBench, a text-to-video (T2V) and reference-to-video (R2V) benchmark grounded in the professional Cinematic Language of the film- academy tradition and co-developed with directors and faculty from the Beijing Film Academy and the Hujing Digital Media & Entertainment Group film studio. It rests on three choices. First, prompts are reverse-engineered from clips of award-winning films spanning 20 cinematic genres and chosen by professional directors, so every prompt is anchored to a verified live-action reference; the prompts follow real shot lists, and most script multiple shots (1,056 of the 1,169 prompts are multi-shot), unlike prior single-clip benchmarks. Second, evaluation follows a three-level Cinematic taxonomy of 3 axes, 12 components and 35 (T2V) +3 (R2V-only) sub-metrics. Third, we develop an in-house expert-grade automatic evaluation agent and open-source its core suite of Cinematic Language operators (FilmOps). Benchmarking leading video generation models (9 for T2V, 7 for R2V), the evaluator reproduces the human model ranking at model-level Spearman \r{ho} = 0.95 (T2V) and 0.96 (R2V). Scores fall well below prior web-style benchmarks, with two consistent gaps in dynamic aesthetics and a marked single- to multi-shot performance drop that widens for weaker models.

A flow surrogate validated on a simple regime is often taken as evidence that the approach will carry to a richer one. We test this assumption on two transient flows under time-varying boundary conditions emulating the process startup: the three-dimensional slurry film in chemical-mechanical planarisation (CMP), a core semiconductor-manufacturing process, and the two-dimensional Karman vortex street (KVS) behind a cylinder. Eight surrogate models are compared on one shared evaluation pipeline, differing in whether they learn the full field or a latent representation, and whether they predict trajectories in one shot or step by step. No single architecture wins both regimes. On the film, a one-shot full-field model reconstructs the process-relevant cumulative wall shear stress to 3.2% relative error. On the wake, a latent autoregressive DeepONet retains 96% of the shedding power that direct and one-shot models damp to almost zero. The deciding axis is the treatment of time. The self-sustained wake requires the phase memory that autoregressive feedback provides, while the boundary-driven film rewards a direct map. Pointwise RMSE picks the wrong model in both regimes, so the evaluation scores five physical questions instead, the field, its structure, invented motion, amplitude, and timing. The trained surrogates answer queries $10^3$ to $10^4$ times faster than the finite-element solver, but the offline cost of the training simulations means they pay off from the first query beyond the training set for CMP and the third for the KVS. The choice of surrogate should follow the dynamical character of the target flow, and its validation should use failure-mode-resolved metrics, since neither the winning architecture nor its validation transfers.

Harnessing the potential of electroencephalography (EEG) for brain research is fundamentally limited by intrinsic noise and the diffuse projection of brain-generated activity over the scalp. The standard event-related potential (ERP) paradigm addresses this limitation by relying on repeated independent trials, albeit at the cost of moving away from naturalistic experimental conditions. As a more naturalistic alternative, we collected continuous EEG while participants watched short films and extracted potentials aligned to sharp cinematic transitions (cuts). We demonstrate that such transition-related potentials (TRPs) exhibit canonical ERP-like temporal structure associated with significant information processing. By comparing coherent films with scene-scrambled versions containing matched post-cut sensory input, we find that these responses are systematically shaped by narrative context. We then show that the cut-related EEG signature can be recovered directly from group-averaged continuous recordings with a compact deep neural network (DNN). The detector generalized across films and subject groups, and the resulting TRPs reproduced the main context-dependent effects observed for manually annotated cuts. These results indicate that narrative context leaves a measurable signature in EEG responses, that this signature can be detected directly in continuous recordings, and that such detections provide a semi-automated framework for analyzing how viewers process and understand film narratives. We propose that the method outlined here can be adapted to parse EEG responses to other forms of continuous stimulation, providing a general tool for probing experimental conditions that are closer to natural human experience.

Translating novels into films poses a grand challenge for generative artificial intelligence, requiring conversion of abstract literary prose into long-form, multi-scene visual narratives. While current video generation models excel at short, single-scene clips within narrow temporal and spatial contexts, novel-to-film generation operates in a more complex regime, demanding long-duration content across diverse scenes with dynamically evolving entity states. To address this, we formalize novel-to-film generation as dynamic cinematic world modeling, decomposed into two phases: construction, which grounds abstract, underspecified literary narratives into concrete, stateful, and persistent world entities; and evolution, which governs how these entities dynamically update under plot progression to maintain causal consistency across scenes. We propose FilmWorld, an end-to-end agentic system where two groups of specialized agents collaborate to instantiate these phases. Construction-side agents perform narrative structured translation, world entity state modeling with visual anchoring, and state-driven shot planning, progressively projecting literary language into a cinematic blueprint. Evolution-side agents perform state-anchored visual generation, cross-shot dynamic state propagation, and closed-loop state verification to maintain causal consistency and visual coherence. To address the evaluation gap in long-form generation, we introduce FilmEval, a systematic evaluation framework that couples a difficulty-graded benchmark of 15 representative novels with an automated protocol of nine objective metrics spanning three dimensions: cinematic presentation, film consistency, and novel fidelity. Experiments demonstrate that FilmWorld consistently outperforms state-of-the-art video generation agent systems, with particularly pronounced improvements in narrative fidelity and cross-scene consistency.

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.

The growing demand for image-to-video creation on mobile devices has increasingly focused on cinematic motion effects like bullet time, dolly zoom, slow motion, etc. While Diffusion Transformers (DiTs) exhibit strong performance in video generation, their large parameter sizes and multi-step iterative denoising processes lead to substantial computational overhead, making efficient generation on mobile devices challenging. We propose CineMobile to bridge the gap. In particular, CineMobile adopts a three-fold optimization strategy: (1) leveraging a distillation-guided pruning approach to derive a compact yet efficient model that retains the essential video generation capabilities required for cinematic effects; (2) optimizing the compressed model into a 4-step generator via a combination of diffusion distillation and reinforcement learning; (3) employing a hybrid post-training quantization strategy to compress the model footprint to under 1 GB. Experimental results show that compared to the teacher model with the Wan 2.1 architecture, CineMobile achieves a 40x speedup in generation while maintaining comparable visual quality. Specifically, CineMobile generates 49-frame 480p videos with a per-step denoising latency of 0.6s on an NVIDIA H200 GPU and 20s on the MediaTek Dimensity 8400 Ultimate 5G platform, with a peak memory usage of 1.8 GB, demonstrating its practical applicability for mobile-based image-to-video creation.

Understanding camera movement in natural language is critical for training and evaluating video generation models, among other applications. However, we demonstrate that existing vision-language models (VLMs) fail this task in surprising ways, frequently confusing translation with rotation, left with right, and object movement with camera movement. To address these limitations, we establish natural language camera movement understanding as a standalone research task. We introduce a two-level cinematographic taxonomy and an extensive, atomic benchmark featuring both real and synthetic videos. Furthermore, we curate a large-scale, multi-source training set enhanced by targeted camera movement augmentation. Our fine-tuned VLM-8B outperforms Gemini 3.1 Pro by 10% and 11% on our benchmark's real and synthetic videos, respectively. Despite these gains, a significant gap remains relative to human performance, underscoring the need to promote and facilitate future research on natural language camera movement understanding.

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.

Cinematographic captioning aims to describe how a video is filmed using professional film-language concepts such as camera movement, shot size, depth of field, composition, and shooting angle. This capability is important for fine-grained video understanding and controllable movie-quality video generation, yet remains underexplored in existing multimodal large language models. Unlike question-answering-based evaluation of cinematic understanding, cinematographic captioning requires a unified open-form description over multiple cinematographic dimensions. This task is challenging for two main reasons: the model must infer professional cinematographic concepts from subtle visual evidence, and it must generate captions that are both comprehensive and accurate. Accordingly, we propose CineCap, a framework that combines structured reasoning with spatio-temporal anchors and reinforcement learning with comprehensiveness, accuracy, and gated coverage rewards. The former grounds professional cinematographic descriptions in explicit visual evidence and organizes them into compact atomic reasoning for supervised fine-tuning, while the latter improves the balance between descriptive completeness and factual correctness. In addition, we construct CineCap Bench, a benchmark of 472 manually annotated video-caption pairs for systematic evaluation. Extensive experiments show that CineCap consistently outperforms strong proprietary and open-source baselines, establishing a new state of the art for cinematographic captioning. The code, model checkpoint, and benchmark are publicly available in https://github.com/Hectormxy/CineCap.git.

Short dramas, with their rapid shot rhythms, dialogue-driven focus shifts, and demanding cinematographic grounding, pose challenges that prompt-level or text-only video generation pipelines struggle to meet. We study plot-to-short-drama generation, where a global plot and local context are transformed into visually grounded multi-shot videos. We propose DramaDirector, a geometry-grounded framework that lets the planner borrow cinematographic geometry from a gallery of real short-drama shots indexed by depth and pose. DramaDirector decouples each shot into static visual and dynamic narrative conditions, trains the planner with schema-constrained SFT and GRPO under a learned text-visual alignment reward, and retrieves depth-pose references to guide first-frame generation and image-to-video synthesis. We also introduce DramaBoard, a benchmark built from 35 live-action dramas, 2.8K episodes, and 81K shots, with structured storyboards and multi-dimensional evaluation protocols. Experiments show that DramaDirector improves over representative multi-agent and video generation baselines on faithfulness, consistency, and controllability. Our code is released at: https://github.com/iLearn-Lab/DramaDirector

Transferring the camera motion of a reference video to a freshly generated one lets creators reuse cinematic moves. Yet reference and target often live at incompatible scales -- a sweep across a galaxy versus a nudge across a desk -- and naively reusing the recovered trajectory yields either imperceptible or violently exaggerated motion. We trace this to a geometric fact: translation-induced image motion scales as ||T||/Z, so a monocular trajectory is meaningful only up to a depth-scale gauge. We distill this into the Parallax Number Pi = ||Delta T|| / Zbar, a dimensionless, gauge-invariant descriptor of how strongly a camera move is felt, and prove that it -- not the raw trajectory -- is the quantity that scale-faithful transfer must preserve. ParaScale is a plug-and-play module that reads Pi off any reference video and re-realizes it against the target scene's own depth, per frame, leaving rotation untouched. Sitting between pose extraction and pose injection, it requires no retraining and drops into any pose-conditioned generator. We further introduce the Parallax Consistency Error (PCE), a scale-symmetric metric that -- unlike the similarity-aligned TransErr -- exposes scene-scale mismatch. Across scale regimes spanning four orders of magnitude and multiple backbones, ParaScale keeps the realized parallax on the identity line and cuts PCE by more than 3x over uncalibrated transfer with no loss of visual fidelity.

Quantum computing promises transformative advances across science and industry, yet the physical hardware that enables these computations remains invisible to the public: quantum processors operate inside sealed dilution refrigerators at temperatures near absolute zero, making direct observation impossible. This "imagination gap" between quantum computing's growing societal impact and the public's ability to visualize it represents a significant barrier to quantum literacy and workforce development. We present Quantum Cinema, an open-source, browser-based interactive application that closes this gap by transforming invisible quantum hardware into explorable, cinematic experiences using generative world models. Quantum Cinema guides users through a four-act narrative -- from the foundational Nobel Prize-winning science of quantum entanglement, through curated video introductions to three major quantum computing architectures (trapped-ion, neutral-atom, and superconducting systems), into immersive three-dimensional generative worlds that make invisible quantum phenomena observable, and finally to interactive radar-chart comparisons grounded in real quantum device specifications. All three-dimensional environments are generated using WorldLabs' generative world model platform and are scientifically grounded in curated metrics from Amazon Web Services (AWS) Braket quantum hardware. Quantum Cinema requires no installation, no specialized hardware, and no quantum computing background. It is designed to serve two distinct communities: scholars and developers seeking to replicate or extend the platform, and educators, researchers, and science communicators seeking an intuitive tool for explaining quantum hardware to diverse audiences. This paper describes the system architecture, the generative world model pipeline, use cases for both communities, and directions for future work.

Spin coating is widely used for fabrication of thin polymer and elastomer films, yet reliable thickness verification of highly compliant materials remains challenging due to deformation from contact-based measurements and the cost and complexity of conventional optical metrology. Accurate thickness control is especially critical in soft elastomer applications such as dielectric elastomer actuators (DEAs), where mechanical and functional performance scales strongly with film thickness. This work presents a low-cost, primarily 3D-printed benchtop spin coater with an integrated, minimally deforming optical thickness measurement system for soft-film fabrication workflows. The system is designed to manufacture films between 50 and 300 microns thick with repeatability within 10 microns. Thickness is measured in-situ by tracking displacement of a reflected laser beam via quadrant photodetector, avoiding significant deformation. Optical geometry, sensor linearity constraints, and structural validation via finite element analysis are discussed. Experimental validation using calibrated metal shims demonstrated a thickness resolution of 3.6-3.7 microns and best-case measurement repeatability of 13 microns (95 percent confidence interval). The platform repeatably produced silicone films within 9 microns of target thickness, demonstrating that accessible optical metrology can be integrated into a low-cost spin coating system for practical, thickness-controlled fabrication of compliant thin films without specialized industrial instrumentation.

Cinematic video depicts multiple subjects acting or interacting at specific moments, captured with deliberate camera movement, and stitched together by shot transitions. Together, these elements demand a level of fine-grained control beyond current text-to-video models. Existing work addresses each axis in isolation: multi-subject personalization, temporal control, multi-shot synthesis, or camera control; no prior framework jointly integrates all four. We present CineOrchestra, a unified video diffusion model that controls subjects, events, cameras, and shot transitions simultaneously. Our key insight is that these heterogeneous cinematic elements share a fundamental structure: each is an entity acting over a specific temporal interval, which can therefore all be expressed through one shared structure of entity-centric conditioning primitives, augmented with reference images for visual entities. This formulation reduces the architectural challenge to a single positional encoding problem, which we solve with two parameter-free coordinated rotary embeddings: (a) an interval-sampled temporal RoPE that yields consistent attention behavior across events of dramatically varying duration, and (b) a 2D entity-temporal cross-attention RoPE that disambiguates per-entity conditions and routes each to its corresponding spatiotemporal region. On two new benchmarks, CineOrchestra outperforms six per-axis specialists on dense caption following and shot-transition timing, with consistent gains in a pairwise user study and component ablations. Project page: https://snap-research.github.io/CineOrchestra

Cine cardiac magnetic resonance is the gold standard for assessing cardiac function, but the scarcity of public datasets limits the development of advanced data-driven models. To address this limitation, we propose a generative method for synthesizing temporally coherent and anatomically consistent cardiac sequences. Our text-to-video framework decouples cardiac spatial structure from temporal motion. First, a fine-tuned diffusion model synthesizes an initial frame from a clinical text prompt, controlling anatomical features. Then, a latent flow model conditioned on a cardiac phase embedding generates the complete cardiac motion, ensuring spatial consistency and temporal control. Our model generates anatomically and pathologically diverse sequences with high temporal coherence and strong fidelity to input prompts, achieving a FID of 31.68 for image realism and a CLIP score of 31.04 for text-image alignment. These experimental results highlight its potential to produce high-fidelity, on-demand medical data, offering a scalable solution to data scarcity.

Generative video models have achieved remarkable visual fidelity and temporal coherence, yet intentional camera control remains elusive. Existing frameworks treat camera motion as a byproduct of pixel synthesis, producing trajectories that are stochastic, spatially inconsistent, and indifferent to the human subject driving the scene. In this work, we present Auteur, a method for language-driven, human-centric camera framing in generative video. Our core insight is that professional filmmakers conceive shots not as world-space trajectories but as framings defined relative to the actor, encoding shot size, angle, and composition as functions of human pose and motion. We formalize this intuition as a human-centric camera parameterization and introduce a Domain-Specific Language (DSL) that is convertible to standard 6-DoF camera parameters. A fine-tuned multimodal large language model then acts as a virtual director, mapping natural language descriptions and coarse human motion to sparse DSL keyframes that are deterministically interpolated into continuous camera trajectories, which are then provided as input to video generators. We train and evaluate Auteur on a new dataset of 34K aligned text, human motion, and DSL-annotated camera trajectories drawn from procedural synthesis and real-world movie footage from the CondensedMovies dataset. Auteur enables cinematographic framing of human-centered scenes, a capability largely absent in prior generative models. To assess this behavior, we propose new framing-focused metrics, and our experiments show that Auteur consistently outperforms existing methods. Project page is https://cyberiada.github.io/Auteur/

Long-form video generation is rapidly moving from short, single-scene synthesis toward minute-long, multi-shot creation with narrative structure, cinematic control, audio, and cross-modal synchronization. However, evaluating such videos remains challenging, since existing benchmarks largely focus on local visual quality, short-horizon temporal consistency, or generic prompt alignment, and provide limited diagnosis of workflow failures and user-dependent preferences. We introduce DirectorBench, a personalized multi-agent diagnostic benchmark for long-form video generation. DirectorBench evaluates generated videos with respect to 80 structured metadata entries, 7 user profiles, and 40 checkpoint criteria across 5 dimensions: script, visual, audio, cross-modal, and stability. Instead of reducing quality to a single aggregate score, DirectorBench localizes checkpoint-level bottlenecks and supports profile-aware evaluation. We evaluate 4 long-form video generation workflows, 6 base LLMs, and 7 user profiles. Across workflows, DirectorBench reveals a between-unit bottleneck: transition quality averages only 0.256 and reaches 0.356 for the best workflow, while prompt-level user demand fulfillment averages 0.71. We further conduct human evaluation with 14 annotators to validate the alignment between DirectorBench and human judgment. The results show that DirectorBench captures human-perceptible quality differences and reveals workflow- and profile-dependent failure modes that are hidden by aggregate scoring. These findings highlight the importance of diagnostic and profile-aware benchmarking for long-form video generation.

In recent years, Multi-Talker Audio-Video Generation (MTAVG) models have shown promising performance on fundamental metrics such as lip-sync and audio-visual alignment. However, these metrics remain insufficient for assessing cinematic expressiveness in scene-level generation. In multi-character scenes, generation models must go beyond audio-visual realism to convey coherent character performance and other higher-level cinematic qualities. To fill this gap, we introduce MTAVG-Bench 2.0, a benchmark for diagnosing failure modes of cinematic expressiveness in multi-talker audio-video generation. Unlike prior settings that mainly focus on the quality of basic multi-turn dialogue, MTAVG-Bench 2.0 targets short-drama and scene-level generation, and establishes a high-level failure taxonomy spanning acting, narrative, atmosphere, and audio-visual language. Based on this taxonomy, we construct more than 10,000 question-answering evaluation instances, together with subsets for short-drama-level assessment and temporal localization of failure modes, to systematically evaluate the ability of omni large language models to diagnose high-level audio-visual failures. Experimental results show that commercial omni models such as Gemini substantially outperform other evaluators, yet even the strongest models continue to struggle with complex failures in our benchmark. These results demonstrate that MTAVG-Bench 2.0 provides a systematic benchmark for failure diagnosis in cinematic multi-talker audio-video generation.

The rapid evolution of generative video foundation models has propelled the field toward professional-grade cinematic synthesis. To achieve such demanding quality, the community transitions towards Reinforcement Learning (RL) and agentic workflows. However, reliable evaluation has emerged as a critical bottleneck. Existing benchmarks predominantly evaluate ''whether it is right'' (basic prompt-following) while fundamentally neglecting ''whether it is good'' (cinematic quality, acting, and aesthetics). Furthermore, current automated metrics lack the domain-specific rigor required to provide trustworthy signals, creating a severe credibility gap between human aesthetic perception and machine scoring. To bridge this gap, we introduce EvalVerse, a comprehensive, pipeline-aware, and expert-calibrated evaluation framework. We treat video generation assessment not merely as an engineering task, but as a core scientific problem: the systematic digitization of subjective cinematic expertise. First, we organize domain knowledge into an evaluation taxonomy aligned with the professional filmmaking workflow (pre-production, production, and post-production). Second, we distill human expert judgments into a curated dataset with large-scale human annotations. Third, we inject this knowledge into Vision-Language Models (VLMs) through an expert-calibrated fine-tuning strategy, enabling the VLM to perform explicit Chain-of-Thought reasoning. Compared to previous works, EvalVerse not only retains compatibility with foundational ''rightness'' metrics, but also significantly expands the criteria to ''goodness'' and broaden the task coverage to complex multi-shot sequencing and audio-visual integration. Consequently, by providing granular diagnostic signals, EvalVerse transcends a static leaderboard and establishes a fundamental infrastructure for future work, such as reward models and evaluator agent.

Integrating new data into knowledge graphs (KG) typically involves different tasks that are executed within workflows or pipelines There are many possible pipelines for a specific integration problem but there is not yet a general approach to evaluate the overall quality and performance of such pipelines to be able to determine the best choices. We therefore propose a new benchmark KGI-Bench to evaluate integration pipelines that ingest different kinds of input data into an existing KG. We evaluate pipelines by analyzing their output, i.e., the updated KG, with the three complementary quality metrics coverage, correctness and consistency. We also provide benchmark datasets (seed KG, overlapping input data of three formats, reference KG as a ground truth) for the movie domain. To demonstrate the applicability and usefulness of the proposed benchmark, we comparatively evaluate 12 pipelines and analyze their behavior across different input data formats and design choices.

Sentiment analysis, also referred to as opinion mining, primarily tries to extract opinion from any text-based data. In the context of movie reviews and critics, sentimental analysis can be a helpful tool to predict whether a movie review is generally positive or negative. It can be difficult for the ML models to understand the context or metaphysical sentiment accurately, as ML models rely largely on statistical word representations. The objective of this paper is to examine and categorise movie reviews into positive and negative sentiments. Diverse machine learning models are considered in doing so, and Natural Language Processing (NLP) methodologies are employed for data preprocessing and model assessment. The IMDb dataset is used. Specifically, Naive Bayes, Logistic Regression, Support Vector Machines (SVM), LightGBM, LSTM, and transformer-based models such as RoBERTa and DistilBERT were evaluated. After a lot of testing with accuracy, precision, recall, F1-score, and ROC-AUC, RoBERTa performed better than all the other models, with an accuracy of 93.02%. A soft voting ensemble that combined all the models also improved classification performance, showing that model ensembling works well for sentiment analysis.

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.

We study series-level cinematic remaking, a long-horizon video-to-video generation problem that localizes full episodes or films via stylization or actor replacement while strictly preserving narrative structure, motion choreography, and character identity across hundreds of shots. Existing video generation and editing pipelines often break down in this regime due to compounding identity drift, background mutation, and semantic erosion under large camera motions and viewpoint changes. We propose Soap2Soap, a multi-agent framework that enforces long-term language-visual consistency through a Dual-Bridge Consistency mechanism: a scene-aware JSON screenplay serving as a persistent semantic backbone, and dynamically allocated visual reference anchors at both scene and shot levels. To suppress drift before video synthesis, we introduce batch keyframe consistency, jointly generating multiple keyframes in a shared latent context via a grid-based formulation. A closed-loop verification agent further audits identity, stability, and alignment to trigger selective regeneration. Experiments on SoapBench demonstrate strong improvements over commercial video generation APIs in long-term consistency and narrative fidelity.

Reconstructing dynamic visual experiences as videos from functional magnetic resonance imaging (fMRI) is pivotal for advancing the understanding of neural processes. However, current fMRI-to-video reconstruction methods are hindered by a semantic gap between noisy fMRI signals and the rich content of videos, stemming from a reliance on incomplete semantic embeddings that neither capture video-specific cues (e.g., actions) nor integrate prior knowledge. To this end, we draw inspiration from the dual-pathway processing mechanism in human brain and introduce CineNeuron, a novel hierarchical framework for semantically enhanced video reconstruction from fMRI signals with two synergistic stages. First, a bottom-up semantic enrichment stage maps fMRI signals to a rich embedding space that comprehensively captures textual semantics, image contents, action concepts, and object categories. Second, a top-down memory integration stage utilizes the proposed Mixture-of-Memories method to dynamically select relevant "memories" from previously seen data and fuse them with the fMRI embedding to refine the video reconstruction. Extensive experimental results on two fMRI-to-video benchmarks demonstrate that CineNeuron surpasses state-of-the-art methods across various metrics.

Autoregressive video generation aims at real-time, open-ended synthesis. Yet, cinematic storytelling is not merely the endless extension of a single scene; it requires progressing through evolving events, viewpoint shifts, and discrete shot boundaries. Existing autoregressive models often struggle in this setting. Trained primarily for short-horizon continuation, they treat long sequences as extended single shots, inevitably suffering from motion stagnation and semantic drift during long rollouts. To bridge this gap, we introduce CausalCine, an interactive autoregressive framework that transforms multi-shot video generation into an online directing process. CausalCine generates causally across shot changes, accepts dynamic prompts on the fly, and reuses context without regenerating previous shots. To achieve this, we first train a causal base model on native multi-shot sequences to learn complex shot transitions prior to acceleration. We then propose Content-Aware Memory Routing (CAMR), which dynamically retrieves historical KV entries according to attention-based relevance scores rather than temporal proximity, preserving cross-shot coherence under bounded active memory. Finally, we distill the causal base model into a few-step generator for real-time interactive generation. Extensive experiments demonstrate that CausalCine significantly outperforms autoregressive baselines and approaches the capability of bidirectional models while unlocking the streaming interactivity of causal generation. Demo available at https://yihao-meng.github.io/CausalCine/

We present a new publicly available corpus of 100,502 movie reviews from Kazakhstan collected from kino.kz, spanning 2001-2025 and covering 4,943 unique titles. The dataset is multilingual, consisting mainly of Russian reviews alongside Kazakh and code-switched texts. Reviews are manually annotated for language and sentiment polarity, and 11,309 reviews additionally contain explicit user-provided ratings. We define two sentiment tasks -- three-way polarity classification and five-class score classification -- and benchmark classical BoW/TF-IDF baselines against multilingual transformer models (mBERT, XLM-RoBERTa, RemBERT). Experimental results show that transformer models consistently outperform classical baselines on polarity classification, while score classification remains challenging under leakage-controlled evaluation due to severe class imbalance and subtle distinctions between adjacent rating levels.

This paper presents a comparative study of classical machine learning and deep learning methods for sentiment classification on the IMDb movie reviews dataset. The machine learning pipeline uses TF-IDF features and PyCaret AutoML to evaluate Logistic Regression, Naïve Bayes, and Support Vector Machine, while the deep learning pipeline implements BiLSTM and BiLSTM with an attention mechanism. Experimental results show that classical machine learning, especially SVM, achieves the best performance with an accuracy of 0.8530, outperforming the deep learning models in this study. The BiLSTM with Attention model improves over the standard BiLSTM and reaches an accuracy of 0.706, indicating better contextual modeling. The paper concludes that although deep learning can capture sequential dependencies, classical machine learning remains a strong baseline when combined with effective feature engineering such as TF-IDF, particularly under limited data and computational resources.

In cinematography, visual attributes such as color grading, contrast, and brightness are manipulated to reinforce the emotional narrative of a scene. However, conventional Image Signal Processors (ISPs) prioritize scene fidelity, effectively neglecting this expressive dimension. To bring this cinematic capability to real-time camera pipelines during video capture, we introduce EMOVIS (EMotion-Optimized VISual processing). We establish a systematic mapping between a compact set of high-level emotional states (Happy, Calm, Angry, Sad) and low-level ISP controls - including color saturation, local tone mapping, and sharpness - supported by a calibration user study with statistically significant effects across parameters. We propose a control framework that integrates these emotion-driven adjustments into standard ISP hardware without altering the underlying processing stages. Validation via blind A/B testing shows that viewers prefer the emotion-optimized rendering in 87% of trials when the target emotion matches the scene context, indicating that emotion-aligned ISP control improves perceived suitability for expressive visual content.

This report presents the results and findings of the first edition of the Short-Films 20K (SF20K) Competition, held in conjunction with the SLoMO Workshop at ICCV 2025. The competition is designed to advance story-level video understanding beyond short-clip action recognition, introducing an open-ended video question-answering task built on a corpus of amateur short films. This setup ensures that models must rely on multimodal understanding rather than memorization of popular movies. Evaluation is conducted using the SF20K-Test benchmark (95 movies, 979 question-answer pairs) and scored via LLM-QA-Eval, an automated judge based on GPT-4.1-nano. The competition attracted 22 teams and 286 submissions across two tracks: a Main Track with unrestricted model size and a Special Track limited to models under 8 billion parameters. The winning team achieved 65.7% accuracy on the Main Track and 48.7% on the Special Track, against a human performance ceiling of 91.7%. Our analysis reveals several key findings: narrative-aware, shot-level processing consistently outperforms uniform frame sampling; well-designed multi-stage pipelines using smaller models can match or exceed end-to-end inference with models over 30x larger; and subtitle quality is a dominant factor in performance. These results highlight that the primary bottleneck in long-form video QA lies in information selection and reasoning structure rather than raw model capacity, and that a substantial gap remains between current methods and human-level narrative comprehension.

Solving practical multi-depot vehicle routing problems (MDVRP) is a challenging optimization task central to modern logistics, increasingly driven by e-commerce. To address the MDVRP's computational complexity, neural-based combinatorial optimization methods offer a promising scalable alternative to traditional approaches. However, neural-based methods typically rely on rigid architectures and input encodings tailored to specific problem formulations. In real-world settings, heterogeneous constraints create multiple MDVRP variants, limiting the applicability of such models. While multi-task learning (MTL) has begun to accelerate the development of unified neural-based solvers, prior works focus almost exclusively on single-depot VRPs, leaving the MDVRP unaddressed. To bridge this gap, we propose Feature-wise Linear Modulation for Cross-Problem Multi-Depot Vehicle Routing (FiLMMeD), a novel unified neural-based model for 24 different MDVRP variants. We introduce three main contributions: (1) to improve the model's generalization, we augment the standard Transformer encoder with Feature-wise Linear Modulation (FiLM), which dynamically conditions learned internal representations based on the active set of constraints; (2) we provide an initial demonstration of Preference Optimization in the MTL setting, establishing it as a superior alternative to Reinforcement Learning for future MTL works; (3) to mitigate the generalization gap caused by the introduction of multi-depot constraints, we introduce a targeted curriculum learning strategy that progressively exposes the model to increasingly more complex constraint interactions. Extensive experiments on 24 MDVRP variants (including 8 novel formulations) and 16 single-depot VRPs confirm the effectiveness of FiLMMeD, which consistently outperforms state-of-the-art baselines. Our code is available at: https://github.com/AJ-Correa/FiLMMeD/tree/main

While video foundation models excel at single-shot generation, real-world cinematic storytelling inherently relies on complex multi-shot sequencing. Further progress is constrained by the absence of datasets that address three core challenges: authentic narrative logic, spatiotemporal text-video alignment conflicts, and the "copy-paste" dilemma prevalent in Subject-to-Video (S2V) generation. To bridge this gap, we introduce MuSS, a large-scale, dual-track dataset tailored for multi-shot video and S2V generation. Sourced from over 3,000 movies, MuSS explicitly supports both complex montage transitions and subject-centric narratives. To construct this dataset, we pioneer a progressive captioning pipeline that eliminates contextual conflicts by ensuring local shot-level accuracy before enforcing global narrative coherence. Crucially, we implement a cross-shot matching mechanism to fundamentally eradicate the S2V copy-paste shortcut. Alongside the dataset, we propose the Cinematic Narrative Benchmark, featuring a visual-logic-driven paradigm and a novel Anti-Copy-Paste Variance (ACP-Var) metric to rigorously assess continuous storytelling and 3D structural consistency. Extensive experiments demonstrate that while current baselines struggle with continuous narrative logic or degenerate into trivial 2D sticker generators, our MuSS-augmented model achieves state-of-the-art narrative effectiveness and cross-shot identity preservation.

Video Situation Recognition (VidSitu) addresses the challenging problem of "who did what to whom, with what, how, and where" in a video. It tests thorough video understanding by requiring identification of salient actions and associated short descriptions for event roles across multiple events. Grounding with VidSitu requires spatio-temporal localization of key entities across shots and varied appearances. We posit that coherent video understanding requires consistent identification of entities that play different roles. We propose Multimodal Entity Coreference (MEC) to unite entity descriptions in text with grounding across the video. Towards this, we introduce CineMEC, a multi-stage approach that unites event role mention groups with visual clusters of entities, without explicit grounding supervision during training. Our approach is designed to exploit the synergy between visual grounding and captioning, where improving one influences the other and vice versa. For evaluation, we extend the VidSitu dataset with grounding annotations. While previous work focuses primarily on descriptions, CineMEC improves consistency across both: captioning (+2.5% CIDEr, +7% LEA) and visual grounding (+18% HOTA).

There are 7,407 languages in the world. But, what about the languages that are not there in the world? Are humans so narrow minded that we don't care about the languages aliens communicate in? Aliens are humans too! In the 2016 movie Arrival, Amy Adams plays a linguist, Dr. Louise Banks who, by learning to think in an alien language (Heptapod) formed of non-sequential sentences, gains the ability to transcend time and look into the future. In this work, I aim to explore the representation and reasoning of vision-language concepts in a neuro-symbolic language, and study improvement in analytical reasoning abilities and efficiency of "thinking systems". With Qwen3-VL-2B-Instruct as base model and 4 $\times$ Nvidia H200 GPU nodes, I achieve an accuracy improvement of 3.33% on a vision-language evaluation dataset consisting of math, science, and general knowledge questions, while reducing the reasoning tokens by 75% over SymPy. I've documented the compute challenges faced, scaling possibilities, and the future work to improve thinking in a neuro-symbolic language in vision-language models. The training and inference setup can be found here: https://github.com/i-like-bfs-and-dfs/wolfram-reasoning.

Video-language models (VLMs) learn to reason about the dynamic visual world through natural language. We introduce a suite of open datasets, benchmarks, and recipes for scalable oversight that enable precise video captioning. First, we define a structured specification for describing subjects, scenes, motion, spatial, and camera dynamics, grounded by hundreds of carefully defined visual primitives developed with professional video creators such as filmmakers. Next, to curate high-quality captions, we introduce CHAI (Critique-based Human-AI Oversight), a framework where trained experts critique and revise model-generated pre-captions into improved post-captions. This division of labor improves annotation accuracy and efficiency by offloading text generation to models, allowing humans to better focus on verification. Additionally, these critiques and preferences between pre- and post-captions provide rich supervision for improving open-source models (Qwen3-VL) on caption generation, reward modeling, and critique generation through SFT, DPO, and inference-time scaling. Our ablations show that critique quality in precision, recall, and constructiveness, ensured by our oversight framework, directly governs downstream performance. With modest expert supervision, the resulting model outperforms closed-source models such as Gemini-3.1-Pro. Finally, we apply our approach to re-caption large-scale professional videos (e.g., films, commercials, games) and fine-tune video generation models such as Wan to better follow detailed prompts of up to 400 words, achieving finer control over cinematography including camera motion, angle, lens, focus, point of view, and framing. Our results show that precise specification and human-AI oversight are key to professional-level video understanding and generation. Data and code are available on our project page: https://linzhiqiu.github.io/papers/chai/

Embodied robotic agents often perceive movies through an egocentric screen-view interface rather than native cinematic footage, introducing domain shifts such as viewpoint distortion, scale variation, illumination changes, and environmental interference. However, existing research on movie emotion understanding is almost exclusively conducted on cinematic footage, limiting cross-domain generalization to real-world viewing scenarios. To bridge this gap, we introduce EgoScreen-Emotion (ESE), the first benchmark dataset for egocentric screen-view movie emotion understanding. ESE contains 224 movie trailers captured under controlled egocentric screen-view conditions, producing 28,667 temporally aligned key-frames annotated by multiple raters with a confidence-aware multi-label protocol to address emotional ambiguity. We further build a multimodal long-context emotion reasoning framework that models temporal visual evidence, narrative summaries, compressed historical context, and audio cues. Cross-domain experiments reveal a severe domain gap: models trained on cinematic footage drop from 27.99 to 16.69 Macro-F1 when evaluated on realistic egocentric screen-view observations. Training on ESE substantially improves robustness under realistic viewing conditions. Our approach achieves competitive performance compared with strong closed-source multimodal models, highlighting the importance of domain-specific data and long-context multimodal reasoning.

Sampling-based motion planners (SBMPs) are widely used for robot motion planning with complex kinodynamic constraints in high-dimensional spaces, yet their serial computation design results in planning speeds that scale poorly with problem complexity. Recent efforts to parallelize SBMPs have achieved significant speedups in finding feasible solutions; however, they provide no guarantees of optimizing an objective function. We introduce Kino-PAX$^{+}$, a massively parallel kinodynamic SBMP with asymptotic near-optimal guarantees. Kino-PAX$^{+}$ builds a sparse tree of dynamically feasible trajectories by decomposing traditionally serial operations into three massively parallel subroutines. The algorithm focuses computation on the most promising nodes within local neighborhoods for propagation and refinement, enabling rapid improvement of solution cost. We prove that, while maintaining probabilistic $δ$-robust completeness, this focus on promising nodes ensures asymptotic $δ$-robust near-optimality. Our results show that Kino-PAX$^{+}$ finds solutions up to three orders of magnitude faster than existing serial methods and achieves lower solution costs

Movie screenplays are rich long-form narratives that interleave complex character relationships, temporally ordered events, and dialogue-driven interactions. While prior benchmarks target individual subtasks such as question answering or dialogue generation, they rarely evaluate whether models can construct a coherent story world and use it consistently across multiple forms of reasoning and generation. We introduce STAGE (Screenplay Text, Agents, Graphs and Evaluation), a unified benchmark for narrative understanding over full-length movie screenplays. STAGE defines four tasks: knowledge graph construction, scene-level event summarization, long-context screenplay question answering, and in-script character role-playing, all grounded in a shared narrative world representation. The benchmark provides cleaned scripts, curated knowledge graphs, and event- and character-centric annotations for 150 films across English and Chinese, enabling holistic evaluation of models' abilities to build world representations, abstract and verify narrative events, reason over long narratives, and generate character-consistent responses.

Video diffusion models have achieved remarkable progress in recent years, yet generating high-resolution videos remain a fundamental challenge. Most video generators are trained at limited spatial resolutions due to the scarcity of high-resolution 4K video data and the prohibitive computational cost of large-scale training on such data. Most video diffusion models are trained on 720p videos and are therefore effectively limited to generating videos at similar resolutions during inference. To address this gap, we propose CineScale. CineScale, to the best of our knowledge, is the first tuning-free inference framework enabling pretrained video diffusion models to generate high-quality videos at resolutions far beyond those seen during training. Our key observation is that generation quality degrades at higher resolutions because positional encodings shift beyond their training distribution, producing blurred details and structurally incoherent videos. To address this gap, we introduce Adaptively Rectified RoPE. Our extensive experiments show that CineScale enables pretrained diffusion models, despite never being trained on high-resolution data, to generate high-fidelity 4K video without any fine-tuning, improving local detail and sharpness while preserving temporal coherence. This demonstrates that high-resolution generation capabilities can be unlocked purely at inference time.