Daily Papers

We introduce a general-purpose conditioning method for neural networks called FiLM: Feature-wise Linear Modulation. FiLM layers influence neural network computation via a simple, feature-wise affine transformation based on conditioning information. We show that FiLM layers are highly effective for visual reasoning - answering image-related questions which require a multi-step, high-level process - a task which has proven difficult for standard deep learning methods that do not explicitly model reasoning. Specifically, we show on visual reasoning tasks that FiLM layers 1) halve state-of-the-art error for the CLEVR benchmark, 2) modulate features in a coherent manner, 3) are robust to ablations and architectural modifications, and 4) generalize well to challenging, new data from few examples or even zero-shot.

Cinematic audio source separation (CASS) is a fairly new subtask of audio source separation. A typical setup of CASS is a three-stem problem, with the aim of separating the mixture into the dialogue stem (DX), music stem (MX), and effects stem (FX). In practice, however, several edge cases exist as some sound sources do not fit neatly in either of these three stems, necessitating the use of additional auxiliary stems in production. One very common edge case is the singing voice in film audio, which may belong in either the DX or MX, depending heavily on the cinematic context. In this work, we demonstrate a very straightforward extension of the dedicated-decoder Bandit and query-based single-decoder Banquet models to a four-stem problem, treating non-musical dialogue, instrumental music, singing voice, and effects as separate stems. Interestingly, the query-based Banquet model outperformed the dedicated-decoder Bandit model. We hypothesized that this is due to a better feature alignment at the bottleneck as enforced by the band-agnostic FiLM layer. Dataset and model implementation will be made available at https://github.com/kwatcharasupat/source-separation-landing.

In Class-Incremental Learning (CIL) an image classification system is exposed to new classes in each learning session and must be updated incrementally. Methods approaching this problem have updated both the classification head and the feature extractor body at each session of CIL. In this work, we develop a baseline method, First Session Adaptation (FSA), that sheds light on the efficacy of existing CIL approaches and allows us to assess the relative performance contributions from head and body adaption. FSA adapts a pre-trained neural network body only on the first learning session and fixes it thereafter; a head based on linear discriminant analysis (LDA), is then placed on top of the adapted body, allowing exact updates through CIL. FSA is replay-free i.e.~it does not memorize examples from previous sessions of continual learning. To empirically motivate FSA, we first consider a diverse selection of 22 image-classification datasets, evaluating different heads and body adaptation techniques in high/low-shot offline settings. We find that the LDA head performs well and supports CIL out-of-the-box. We also find that Featurewise Layer Modulation (FiLM) adapters are highly effective in the few-shot setting, and full-body adaption in the high-shot setting. Second, we empirically investigate various CIL settings including high-shot CIL and few-shot CIL, including settings that have previously been used in the literature. We show that FSA significantly improves over the state-of-the-art in 15 of the 16 settings considered. FSA with FiLM adapters is especially performant in the few-shot setting. These results indicate that current approaches to continuous body adaptation are not working as expected. Finally, we propose a measure that can be applied to a set of unlabelled inputs which is predictive of the benefits of body adaptation.

Deep learning-based methods have recently been established as fast and accurate surrogate simulators for optical multilayer thin film structures. However, existing methods only work for limited types of structures with different material arrangements, preventing their applications towards diverse and universal structures. Here, we propose the Opto-Layer (OL) Transformer to act as a universal surrogate simulator for enormous types of structures. Combined with the technique of structure serialization, our model can predict accurate reflection and transmission spectra for up to 10^{25} different multilayer structures, while still achieving a six-fold degradation in simulation time compared to physical solvers. Further investigation reveals that the general learning ability comes from the fact that our model first learns the physical embeddings and then uses the self-attention mechanism to capture the hidden relationship of light-matter interaction between each layer.

Optical multilayer thin film structures have been widely used in numerous photonic applications. However, existing inverse design methods have many drawbacks because they either fail to quickly adapt to different design targets, or are difficult to suit for different types of structures, e.g., designing for different materials at each layer. These methods also cannot accommodate versatile design situations under different angles and polarizations. In addition, how to benefit practical fabrications and manufacturing has not been extensively considered yet. In this work, we introduce OptoGPT (Opto Generative Pretrained Transformer), a decoder-only transformer, to solve all these drawbacks and issues simultaneously.

There has been significant recent progress in training differentially private (DP) models which achieve accuracy that approaches the best non-private models. These DP models are typically pretrained on large public datasets and then fine-tuned on private downstream datasets that are relatively large and similar in distribution to the pretraining data. However, in many applications including personalization and federated learning, it is crucial to perform well (i) in the few-shot setting, as obtaining large amounts of labeled data may be problematic; and (ii) on datasets from a wide variety of domains for use in various specialist settings. To understand under which conditions few-shot DP can be effective, we perform an exhaustive set of experiments that reveals how the accuracy and vulnerability to attack of few-shot DP image classification models are affected as the number of shots per class, privacy level, model architecture, downstream dataset, and subset of learnable parameters in the model vary. We show that to achieve DP accuracy on par with non-private models, the shots per class must be increased as the privacy level increases. We also show that learning parameter-efficient FiLM adapters under DP is competitive with learning just the final classifier layer or learning all of the network parameters. Finally, we evaluate DP federated learning systems and establish state-of-the-art performance on the challenging FLAIR benchmark.

Animated video separates foreground and background elements into layers, with distinct processes for sketching, refining, coloring, and in-betweening. Existing video generation methods typically treat animation as a monolithic data domain, lacking fine-grained control over individual layers. In this paper, we introduce LayerAnimate, a novel architectural approach that enhances fine-grained control over individual animation layers within a video diffusion model, allowing users to independently manipulate foreground and background elements in distinct layers. To address the challenge of limited layer-specific data, we propose a data curation pipeline that features automated element segmentation, motion-state hierarchical merging, and motion coherence refinement. Through quantitative and qualitative comparisons, and user study, we demonstrate that LayerAnimate outperforms current methods in terms of animation quality, control precision, and usability, making it an ideal tool for both professional animators and amateur enthusiasts. This framework opens up new possibilities for layer-specific animation applications and creative flexibility. Our code is available at https://layeranimate.github.io.

Recent advancements in large generative models, particularly diffusion-based methods, have significantly enhanced the capabilities of image editing. However, achieving precise control over image composition tasks remains a challenge. Layered representations, which allow for independent editing of image components, are essential for user-driven content creation, yet existing approaches often struggle to decompose image into plausible layers with accurately retained transparent visual effects such as shadows and reflections. We propose LayerDecomp, a generative framework for image layer decomposition which outputs photorealistic clean backgrounds and high-quality transparent foregrounds with faithfully preserved visual effects. To enable effective training, we first introduce a dataset preparation pipeline that automatically scales up simulated multi-layer data with synthesized visual effects. To further enhance real-world applicability, we supplement this simulated dataset with camera-captured images containing natural visual effects. Additionally, we propose a consistency loss which enforces the model to learn accurate representations for the transparent foreground layer when ground-truth annotations are not available. Our method achieves superior quality in layer decomposition, outperforming existing approaches in object removal and spatial editing tasks across several benchmarks and multiple user studies, unlocking various creative possibilities for layer-wise image editing. The project page is https://rayjryang.github.io/LayerDecomp.

We present LayerFlow, a unified solution for layer-aware video generation. Given per-layer prompts, LayerFlow generates videos for the transparent foreground, clean background, and blended scene. It also supports versatile variants like decomposing a blended video or generating the background for the given foreground and vice versa. Starting from a text-to-video diffusion transformer, we organize the videos for different layers as sub-clips, and leverage layer embeddings to distinguish each clip and the corresponding layer-wise prompts. In this way, we seamlessly support the aforementioned variants in one unified framework. For the lack of high-quality layer-wise training videos, we design a multi-stage training strategy to accommodate static images with high-quality layer annotations. Specifically, we first train the model with low-quality video data. Then, we tune a motion LoRA to make the model compatible with static frames. Afterward, we train the content LoRA on the mixture of image data with high-quality layered images along with copy-pasted video data. During inference, we remove the motion LoRA thus generating smooth videos with desired layers.

Layers have become indispensable tools for professional artists, allowing them to build a hierarchical structure that enables independent control over individual visual elements. In this paper, we propose LayeringDiff, a novel pipeline for the synthesis of layered images, which begins by generating a composite image using an off-the-shelf image generative model, followed by disassembling the image into its constituent foreground and background layers. By extracting layers from a composite image, rather than generating them from scratch, LayeringDiff bypasses the need for large-scale training to develop generative capabilities for individual layers. Furthermore, by utilizing a pretrained off-the-shelf generative model, our method can produce diverse contents and object scales in synthesized layers. For effective layer decomposition, we adapt a large-scale pretrained generative prior to estimate foreground and background layers. We also propose high-frequency alignment modules to refine the fine-details of the estimated layers. Our comprehensive experiments demonstrate that our approach effectively synthesizes layered images and supports various practical applications.

Layer compositing is one of the most popular image editing workflows among both amateurs and professionals. Motivated by the success of diffusion models, we explore layer compositing from a layered image generation perspective. Instead of generating an image, we propose to generate background, foreground, layer mask, and the composed image simultaneously. To achieve layered image generation, we train an autoencoder that is able to reconstruct layered images and train diffusion models on the latent representation. One benefit of the proposed problem is to enable better compositing workflows in addition to the high-quality image output. Another benefit is producing higher-quality layer masks compared to masks produced by a separate step of image segmentation. Experimental results show that the proposed method is able to generate high-quality layered images and initiates a benchmark for future work.

While many contemporary large language models (LLMs) can process lengthy input, they still struggle to fully utilize information within the long context, known as the lost-in-the-middle challenge. We hypothesize that it stems from insufficient explicit supervision during the long-context training, which fails to emphasize that any position in a long context can hold crucial information. Based on this intuition, our study presents information-intensive (IN2) training, a purely data-driven solution to overcome lost-in-the-middle. Specifically, IN2 training leverages a synthesized long-context question-answer dataset, where the answer requires (1) fine-grained information awareness on a short segment (~128 tokens) within a synthesized long context (4K-32K tokens), and (2) the integration and reasoning of information from two or more short segments. Through applying this information-intensive training on Mistral-7B, we present FILM-7B (FILl-in-the-Middle). To thoroughly assess the ability of FILM-7B for utilizing long contexts, we design three probing tasks that encompass various context styles (document, code, and structured-data context) and information retrieval patterns (forward, backward, and bi-directional retrieval). The probing results demonstrate that FILM-7B can robustly retrieve information from different positions in its 32K context window. Beyond these probing tasks, FILM-7B significantly improves the performance on real-world long-context tasks (e.g., 23.5->26.9 F1 score on NarrativeQA), while maintaining a comparable performance on short-context tasks (e.g., 59.3->59.2 accuracy on MMLU). Github Link: https://github.com/microsoft/FILM.

Clothed avatar generation has wide applications in virtual and augmented reality, filmmaking, and more. Previous methods have achieved success in generating diverse digital avatars, however, generating avatars with disentangled components (\eg, body, hair, and clothes) has long been a challenge. In this paper, we propose LayerAvatar, the first feed-forward diffusion-based method for generating component-disentangled clothed avatars. To achieve this, we first propose a layered UV feature plane representation, where components are distributed in different layers of the Gaussian-based UV feature plane with corresponding semantic labels. This representation supports high-resolution and real-time rendering, as well as expressive animation including controllable gestures and facial expressions. Based on the well-designed representation, we train a single-stage diffusion model and introduce constrain terms to address the severe occlusion problem of the innermost human body layer. Extensive experiments demonstrate the impressive performances of our method in generating disentangled clothed avatars, and we further explore its applications in component transfer. The project page is available at: https://olivia23333.github.io/LayerAvatar/

Large-scale diffusion models have achieved remarkable success in generating high-quality images from textual descriptions, gaining popularity across various applications. However, the generation of layered content, such as transparent images with foreground and background layers, remains an under-explored area. Layered content generation is crucial for creative workflows in fields like graphic design, animation, and digital art, where layer-based approaches are fundamental for flexible editing and composition. In this paper, we propose a novel image generation pipeline based on Latent Diffusion Models (LDMs) that generates images with two layers: a foreground layer (RGBA) with transparency information and a background layer (RGB). Unlike existing methods that generate these layers sequentially, our approach introduces a harmonized generation mechanism that enables dynamic interactions between the layers for more coherent outputs. We demonstrate the effectiveness of our method through extensive qualitative and quantitative experiments, showing significant improvements in visual coherence, image quality, and layer consistency compared to baseline methods.

The objective of this paper is to be able to separate a video into its natural layers, and to control which of the separated layers to attend to. For example, to be able to separate reflections, transparency or object motion. We make the following three contributions: (i) we introduce a new structured neural network architecture that explicitly incorporates layers (as spatial masks) into its design. This improves separation performance over previous general purpose networks for this task; (ii) we demonstrate that we can augment the architecture to leverage external cues such as audio for controllability and to help disambiguation; and (iii) we experimentally demonstrate the effectiveness of our approach and training procedure with controlled experiments while also showing that the proposed model can be successfully applied to real-word applications such as reflection removal and action recognition in cluttered scenes.

Despite their impressive visual fidelity, existing personalized generative models lack interactive control over spatial composition and scale poorly to multiple subjects. To address these limitations, we present LayerComposer, an interactive framework for personalized, multi-subject text-to-image generation. Our approach introduces two main contributions: (1) a layered canvas, a novel representation in which each subject is placed on a distinct layer, enabling occlusion-free composition; and (2) a locking mechanism that preserves selected layers with high fidelity while allowing the remaining layers to adapt flexibly to the surrounding context. Similar to professional image-editing software, the proposed layered canvas allows users to place, resize, or lock input subjects through intuitive layer manipulation. Our versatile locking mechanism requires no architectural changes, relying instead on inherent positional embeddings combined with a new complementary data sampling strategy. Extensive experiments demonstrate that LayerComposer achieves superior spatial control and identity preservation compared to the state-of-the-art methods in multi-subject personalized image generation.

Transparent objects are common in daily life, and understanding their multi-layer depth information -- perceiving both the transparent surface and the objects behind it -- is crucial for real-world applications that interact with transparent materials. In this paper, we introduce LayeredDepth, the first dataset with multi-layer depth annotations, including a real-world benchmark and a synthetic data generator, to support the task of multi-layer depth estimation. Our real-world benchmark consists of 1,500 images from diverse scenes, and evaluating state-of-the-art depth estimation methods on it reveals that they struggle with transparent objects. The synthetic data generator is fully procedural and capable of providing training data for this task with an unlimited variety of objects and scene compositions. Using this generator, we create a synthetic dataset with 15,300 images. Baseline models training solely on this synthetic dataset produce good cross-domain multi-layer depth estimation. Fine-tuning state-of-the-art single-layer depth models on it substantially improves their performance on transparent objects, with quadruplet accuracy on our benchmark increased from 55.14% to 75.20%. All images and validation annotations are available under CC0 at https://layereddepth.cs.princeton.edu.

Generating high-quality, multi-layer transparent images from text prompts can unlock a new level of creative control, allowing users to edit each layer as effortlessly as editing text outputs from LLMs. However, the development of multi-layer generative models lags behind that of conventional text-to-image models due to the absence of a large, high-quality corpus of multi-layer transparent data. In this paper, we address this fundamental challenge by: (i) releasing the first open, ultra-high-fidelity PrismLayers (PrismLayersPro) dataset of 200K (20K) multilayer transparent images with accurate alpha mattes, (ii) introducing a trainingfree synthesis pipeline that generates such data on demand using off-the-shelf diffusion models, and (iii) delivering a strong, open-source multi-layer generation model, ART+, which matches the aesthetics of modern text-to-image generation models. The key technical contributions include: LayerFLUX, which excels at generating high-quality single transparent layers with accurate alpha mattes, and MultiLayerFLUX, which composes multiple LayerFLUX outputs into complete images, guided by human-annotated semantic layout. To ensure higher quality, we apply a rigorous filtering stage to remove artifacts and semantic mismatches, followed by human selection. Fine-tuning the state-of-the-art ART model on our synthetic PrismLayersPro yields ART+, which outperforms the original ART in 60% of head-to-head user study comparisons and even matches the visual quality of images generated by the FLUX.1-[dev] model. We anticipate that our work will establish a solid dataset foundation for the multi-layer transparent image generation task, enabling research and applications that require precise, editable, and visually compelling layered imagery.

We propose a method for converting a single RGB-D input image into a 3D photo - a multi-layer representation for novel view synthesis that contains hallucinated color and depth structures in regions occluded in the original view. We use a Layered Depth Image with explicit pixel connectivity as underlying representation, and present a learning-based inpainting model that synthesizes new local color-and-depth content into the occluded region in a spatial context-aware manner. The resulting 3D photos can be efficiently rendered with motion parallax using standard graphics engines. We validate the effectiveness of our method on a wide range of challenging everyday scenes and show fewer artifacts compared with the state of the arts.

This paper presents WALDO (WArping Layer-Decomposed Objects), a novel approach to the prediction of future video frames from past ones. Individual images are decomposed into multiple layers combining object masks and a small set of control points. The layer structure is shared across all frames in each video to build dense inter-frame connections. Complex scene motions are modeled by combining parametric geometric transformations associated with individual layers, and video synthesis is broken down into discovering the layers associated with past frames, predicting the corresponding transformations for upcoming ones and warping the associated object regions accordingly, and filling in the remaining image parts. Extensive experiments on multiple benchmarks including urban videos (Cityscapes and KITTI) and videos featuring nonrigid motions (UCF-Sports and H3.6M), show that our method consistently outperforms the state of the art by a significant margin in every case. Code, pretrained models, and video samples synthesized by our approach can be found in the project webpage https://16lemoing.github.io/waldo.

In this work, we tackle the problem of real-world fluid animation from a still image. The key of our system is a surface-based layered representation deriving from video decomposition, where the scene is decoupled into a surface fluid layer and an impervious background layer with corresponding transparencies to characterize the composition of the two layers. The animated video can be produced by warping only the surface fluid layer according to the estimation of fluid motions and recombining it with the background. In addition, we introduce surface-only fluid simulation, a 2.5D fluid calculation version, as a replacement for motion estimation. Specifically, we leverage the triangular mesh based on a monocular depth estimator to represent the fluid surface layer and simulate the motion in the physics-based framework with the inspiration of the classic theory of the hybrid Lagrangian-Eulerian method, along with a learnable network so as to adapt to complex real-world image textures. We demonstrate the effectiveness of the proposed system through comparison with existing methods in both standard objective metrics and subjective ranking scores. Extensive experiments not only indicate our method's competitive performance for common fluid scenes but also better robustness and reasonability under complex transparent fluid scenarios. Moreover, as the proposed surface-based layer representation and surface-only fluid simulation naturally disentangle the scene, interactive editing such as adding objects to the river and texture replacing could be easily achieved with realistic results.

Video matting has broad applications, from adding interesting effects to casually captured movies to assisting video production professionals. Matting with associated effects such as shadows and reflections has also attracted increasing research activity, and methods like Omnimatte have been proposed to separate dynamic foreground objects of interest into their own layers. However, prior works represent video backgrounds as 2D image layers, limiting their capacity to express more complicated scenes, thus hindering application to real-world videos. In this paper, we propose a novel video matting method, OmnimatteRF, that combines dynamic 2D foreground layers and a 3D background model. The 2D layers preserve the details of the subjects, while the 3D background robustly reconstructs scenes in real-world videos. Extensive experiments demonstrate that our method reconstructs scenes with better quality on various videos.

We present LayerDiffusion, an approach enabling large-scale pretrained latent diffusion models to generate transparent images. The method allows generation of single transparent images or of multiple transparent layers. The method learns a "latent transparency" that encodes alpha channel transparency into the latent manifold of a pretrained latent diffusion model. It preserves the production-ready quality of the large diffusion model by regulating the added transparency as a latent offset with minimal changes to the original latent distribution of the pretrained model. In this way, any latent diffusion model can be converted into a transparent image generator by finetuning it with the adjusted latent space. We train the model with 1M transparent image layer pairs collected using a human-in-the-loop collection scheme. We show that latent transparency can be applied to different open source image generators, or be adapted to various conditional control systems to achieve applications like foreground/background-conditioned layer generation, joint layer generation, structural control of layer contents, etc. A user study finds that in most cases (97%) users prefer our natively generated transparent content over previous ad-hoc solutions such as generating and then matting. Users also report the quality of our generated transparent images is comparable to real commercial transparent assets like Adobe Stock.

We present CineVerse, a novel framework for the task of cinematic scene composition. Similar to traditional multi-shot generation, our task emphasizes the need for consistency and continuity across frames. However, our task also focuses on addressing challenges inherent to filmmaking, such as multiple characters, complex interactions, and visual cinematic effects. In order to learn to generate such content, we first create the CineVerse dataset. We use this dataset to train our proposed two-stage approach. First, we prompt a large language model (LLM) with task-specific instructions to take in a high-level scene description and generate a detailed plan for the overall setting and characters, as well as the individual shots. Then, we fine-tune a text-to-image generation model to synthesize high-quality visual keyframes. Experimental results demonstrate that CineVerse yields promising improvements in generating visually coherent and contextually rich movie scenes, paving the way for further exploration in cinematic video synthesis.

Language models have become the backbone of today's AI systems. However, their predominant left-to-right generation limits the use of bidirectional context, which is essential for tasks that involve filling text in the middle. We propose the Fill-in Language Model (FiLM), a new language modeling approach that allows for flexible generation at any position without adhering to a specific generation order. Its training extends the masked language modeling objective by adopting varying mask probabilities sampled from the Beta distribution to enhance the generative capabilities of FiLM. During inference, FiLM can seamlessly insert missing phrases, sentences, or paragraphs, ensuring that the outputs are fluent and are coherent with the surrounding context. In both automatic and human evaluations, FiLM outperforms existing infilling methods that rely on left-to-right language models trained on rearranged text segments. FiLM is easy to implement and can be either trained from scratch or fine-tuned from a left-to-right language model. Notably, as the model size grows, FiLM's perplexity approaches that of strong left-to-right language models of similar sizes, indicating FiLM's scalability and potential as a large language model.

We introduce a film score generation framework to harmonize visual pixels and music melodies utilizing a latent diffusion model. Our framework processes film clips as input and generates music that aligns with a general theme while offering the capability to tailor outputs to a specific composition style. Our model directly produces music from video, utilizing a streamlined and efficient tuning mechanism on ControlNet. It also integrates a film encoder adept at understanding the film's semantic depth, emotional impact, and aesthetic appeal. Additionally, we introduce a novel, effective yet straightforward evaluation metric to evaluate the originality and recognizability of music within film scores. To fill this gap for film scores, we curate a comprehensive dataset of film videos and legendary original scores, injecting domain-specific knowledge into our data-driven generation model. Our model outperforms existing methodologies in creating film scores, capable of generating music that reflects the guidance of a maestro's style, thereby redefining the benchmark for automated film scores and laying a robust groundwork for future research in this domain. The code and generated samples are available at https://anonymous.4open.science/r/HPM.

We propose LayerSync, a domain-agnostic approach for improving the generation quality and the training efficiency of diffusion models. Prior studies have highlighted the connection between the quality of generation and the representations learned by diffusion models, showing that external guidance on model intermediate representations accelerates training. We reconceptualize this paradigm by regularizing diffusion models with their own intermediate representations. Building on the observation that representation quality varies across diffusion model layers, we show that the most semantically rich representations can act as an intrinsic guidance for weaker ones, reducing the need for external supervision. Our approach, LayerSync, is a self-sufficient, plug-and-play regularizer term with no overhead on diffusion model training and generalizes beyond the visual domain to other modalities. LayerSync requires no pretrained models nor additional data. We extensively evaluate the method on image generation and demonstrate its applicability to other domains such as audio, video, and motion generation. We show that it consistently improves the generation quality and the training efficiency. For example, we speed up the training of flow-based transformer by over 8.75x on ImageNet dataset and improved the generation quality by 23.6%. The code is available at https://github.com/vita-epfl/LayerSync.

We present a video decomposition method that facilitates layer-based editing of videos with spatiotemporally varying lighting and motion effects. Our neural model decomposes an input video into multiple layered representations, each comprising a 2D texture map, a mask for the original video, and a multiplicative residual characterizing the spatiotemporal variations in lighting conditions. A single edit on the texture maps can be propagated to the corresponding locations in the entire video frames while preserving other contents' consistencies. Our method efficiently learns the layer-based neural representations of a 1080p video in 25s per frame via coordinate hashing and allows real-time rendering of the edited result at 71 fps on a single GPU. Qualitatively, we run our method on various videos to show its effectiveness in generating high-quality editing effects. Quantitatively, we propose to adopt feature-tracking evaluation metrics for objectively assessing the consistency of video editing. Project page: https://lightbulb12294.github.io/hashing-nvd/

AI-driven content creation has shown potential in film production. However, existing film generation systems struggle to implement cinematic principles and thus fail to generate professional-quality films, particularly lacking diverse camera language and cinematic rhythm. This results in templated visuals and unengaging narratives. To address this, we introduce FilMaster, an end-to-end AI system that integrates real-world cinematic principles for professional-grade film generation, yielding editable, industry-standard outputs. FilMaster is built on two key principles: (1) learning cinematography from extensive real-world film data and (2) emulating professional, audience-centric post-production workflows. Inspired by these principles, FilMaster incorporates two stages: a Reference-Guided Generation Stage which transforms user input to video clips, and a Generative Post-Production Stage which transforms raw footage into audiovisual outputs by orchestrating visual and auditory elements for cinematic rhythm. Our generation stage highlights a Multi-shot Synergized RAG Camera Language Design module to guide the AI in generating professional camera language by retrieving reference clips from a vast corpus of 440,000 film clips. Our post-production stage emulates professional workflows by designing an Audience-Centric Cinematic Rhythm Control module, including Rough Cut and Fine Cut processes informed by simulated audience feedback, for effective integration of audiovisual elements to achieve engaging content. The system is empowered by generative AI models like (M)LLMs and video generation models. Furthermore, we introduce FilmEval, a comprehensive benchmark for evaluating AI-generated films. Extensive experiments show FilMaster's superior performance in camera language design and cinematic rhythm control, advancing generative AI in professional filmmaking.

We present the first approach to automated audio captioning. We employ an encoder-decoder scheme with an alignment model in between. The input to the encoder is a sequence of log mel-band energies calculated from an audio file, while the output is a sequence of words, i.e. a caption. The encoder is a multi-layered, bi-directional gated recurrent unit (GRU) and the decoder a multi-layered GRU with a classification layer connected to the last GRU of the decoder. The classification layer and the alignment model are fully connected layers with shared weights between timesteps. The proposed method is evaluated using data drawn from a commercial sound effects library, ProSound Effects. The resulting captions were rated through metrics utilized in machine translation and image captioning fields. Results from metrics show that the proposed method can predict words appearing in the original caption, but not always correctly ordered.

Multi-layer image generation is a fundamental task that enables users to isolate, select, and edit specific image layers, thereby revolutionizing interactions with generative models. In this paper, we introduce the Anonymous Region Transformer (ART), which facilitates the direct generation of variable multi-layer transparent images based on a global text prompt and an anonymous region layout. Inspired by Schema theory suggests that knowledge is organized in frameworks (schemas) that enable people to interpret and learn from new information by linking it to prior knowledge.}, this anonymous region layout allows the generative model to autonomously determine which set of visual tokens should align with which text tokens, which is in contrast to the previously dominant semantic layout for the image generation task. In addition, the layer-wise region crop mechanism, which only selects the visual tokens belonging to each anonymous region, significantly reduces attention computation costs and enables the efficient generation of images with numerous distinct layers (e.g., 50+). When compared to the full attention approach, our method is over 12 times faster and exhibits fewer layer conflicts. Furthermore, we propose a high-quality multi-layer transparent image autoencoder that supports the direct encoding and decoding of the transparency of variable multi-layer images in a joint manner. By enabling precise control and scalable layer generation, ART establishes a new paradigm for interactive content creation.

Video generation has achieved remarkable progress with the introduction of diffusion models, which have significantly improved the quality of generated videos. However, recent research has primarily focused on scaling up model training, while offering limited insights into the direct impact of representations on the video generation process. In this paper, we initially investigate the characteristics of features in intermediate layers, finding substantial variations in attention maps across different layers. These variations lead to unstable semantic representations and contribute to cumulative differences between features, which ultimately reduce the similarity between adjacent frames and negatively affect temporal coherence. To address this, we propose RepVideo, an enhanced representation framework for text-to-video diffusion models. By accumulating features from neighboring layers to form enriched representations, this approach captures more stable semantic information. These enhanced representations are then used as inputs to the attention mechanism, thereby improving semantic expressiveness while ensuring feature consistency across adjacent frames. Extensive experiments demonstrate that our RepVideo not only significantly enhances the ability to generate accurate spatial appearances, such as capturing complex spatial relationships between multiple objects, but also improves temporal consistency in video generation.

Multimodal Large Language Models (MLLMs) have made significant advancements in recent years, with visual features playing an increasingly critical role in enhancing model performance. However, the integration of multi-layer visual features in MLLMs remains underexplored, particularly with regard to optimal layer selection and fusion strategies. Existing methods often rely on arbitrary design choices, leading to suboptimal outcomes. In this paper, we systematically investigate two core aspects of multi-layer visual feature fusion: (1) selecting the most effective visual layers and (2) identifying the best fusion approach with the language model. Our experiments reveal that while combining visual features from multiple stages improves generalization, incorporating additional features from the same stage typically leads to diminished performance. Furthermore, we find that direct fusion of multi-layer visual features at the input stage consistently yields superior and more stable performance across various configurations. We make all our code publicly available: https://github.com/EIT-NLP/Layer_Select_Fuse_for_MLLM.

Temporal consistency is critical in video prediction to ensure that outputs are coherent and free of artifacts. Traditional methods, such as temporal attention and 3D convolution, may struggle with significant object motion and may not capture long-range temporal dependencies in dynamic scenes. To address this gap, we propose the Tracktention Layer, a novel architectural component that explicitly integrates motion information using point tracks, i.e., sequences of corresponding points across frames. By incorporating these motion cues, the Tracktention Layer enhances temporal alignment and effectively handles complex object motions, maintaining consistent feature representations over time. Our approach is computationally efficient and can be seamlessly integrated into existing models, such as Vision Transformers, with minimal modification. It can be used to upgrade image-only models to state-of-the-art video ones, sometimes outperforming models natively designed for video prediction. We demonstrate this on video depth prediction and video colorization, where models augmented with the Tracktention Layer exhibit significantly improved temporal consistency compared to baselines.

Recently, how to achieve precise image editing has attracted increasing attention, especially given the remarkable success of text-to-image generation models. To unify various spatial-aware image editing abilities into one framework, we adopt the concept of layers from the design domain to manipulate objects flexibly with various operations. The key insight is to transform the spatial-aware image editing task into a combination of two sub-tasks: multi-layered latent decomposition and multi-layered latent fusion. First, we segment the latent representations of the source images into multiple layers, which include several object layers and one incomplete background layer that necessitates reliable inpainting. To avoid extra tuning, we further explore the inner inpainting ability within the self-attention mechanism. We introduce a key-masking self-attention scheme that can propagate the surrounding context information into the masked region while mitigating its impact on the regions outside the mask. Second, we propose an instruction-guided latent fusion that pastes the multi-layered latent representations onto a canvas latent. We also introduce an artifact suppression scheme in the latent space to enhance the inpainting quality. Due to the inherent modular advantages of such multi-layered representations, we can achieve accurate image editing, and we demonstrate that our approach consistently surpasses the latest spatial editing methods, including Self-Guidance and DiffEditor. Last, we show that our approach is a unified framework that supports various accurate image editing tasks on more than six different editing tasks.

Fine-grained alignment between videos and text is challenging due to complex spatial and temporal dynamics in videos. Existing video-based Large Multimodal Models (LMMs) handle basic conversations but struggle with precise pixel-level grounding in videos. To address this, we introduce VideoGLaMM, a LMM designed for fine-grained pixel-level grounding in videos based on user-provided textual inputs. Our design seamlessly connects three key components: a Large Language Model, a dual vision encoder that emphasizes both spatial and temporal details, and a spatio-temporal decoder for accurate mask generation. This connection is facilitated via tunable V-L and L-V adapters that enable close Vision-Language (VL) alignment. The architecture is trained to synchronize both spatial and temporal elements of video content with textual instructions. To enable fine-grained grounding, we curate a multimodal dataset featuring detailed visually-grounded conversations using a semiautomatic annotation pipeline, resulting in a diverse set of 38k video-QA triplets along with 83k objects and 671k masks. We evaluate VideoGLaMM on three challenging tasks: Grounded Conversation Generation, Visual Grounding, and Referring Video Segmentation. Experimental results show that our model consistently outperforms existing approaches across all three tasks.

Film set design plays a pivotal role in cinematic storytelling and shaping the visual atmosphere. However, the traditional process depends on expert-driven manual modeling, which is labor-intensive and time-consuming. To address this issue, we introduce FilmSceneDesigner, an automated scene generation system that emulates professional film set design workflow. Given a natural language description, including scene type, historical period, and style, we design an agent-based chaining framework to generate structured parameters aligned with film set design workflow, guided by prompt strategies that ensure parameter accuracy and coherence. On the other hand, we propose a procedural generation pipeline which executes a series of dedicated functions with the structured parameters for floorplan and structure generation, material assignment, door and window placement, and object retrieval and layout, ultimately constructing a complete film scene from scratch. Moreover, to enhance cinematic realism and asset diversity, we construct SetDepot-Pro, a curated dataset of 6,862 film-specific 3D assets and 733 materials. Experimental results and human evaluations demonstrate that our system produces structurally sound scenes with strong cinematic fidelity, supporting downstream tasks such as virtual previs, construction drawing and mood board creation.

Recent advances in video generation have been driven by diffusion models and autoregressive frameworks, yet critical challenges persist in harmonizing prompt adherence, visual quality, motion dynamics, and duration: compromises in motion dynamics to enhance temporal visual quality, constrained video duration (5-10 seconds) to prioritize resolution, and inadequate shot-aware generation stemming from general-purpose MLLMs' inability to interpret cinematic grammar, such as shot composition, actor expressions, and camera motions. These intertwined limitations hinder realistic long-form synthesis and professional film-style generation. To address these limitations, we propose SkyReels-V2, an Infinite-length Film Generative Model, that synergizes Multi-modal Large Language Model (MLLM), Multi-stage Pretraining, Reinforcement Learning, and Diffusion Forcing Framework. Firstly, we design a comprehensive structural representation of video that combines the general descriptions by the Multi-modal LLM and the detailed shot language by sub-expert models. Aided with human annotation, we then train a unified Video Captioner, named SkyCaptioner-V1, to efficiently label the video data. Secondly, we establish progressive-resolution pretraining for the fundamental video generation, followed by a four-stage post-training enhancement: Initial concept-balanced Supervised Fine-Tuning (SFT) improves baseline quality; Motion-specific Reinforcement Learning (RL) training with human-annotated and synthetic distortion data addresses dynamic artifacts; Our diffusion forcing framework with non-decreasing noise schedules enables long-video synthesis in an efficient search space; Final high-quality SFT refines visual fidelity. All the code and models are available at https://github.com/SkyworkAI/SkyReels-V2.

Filmmaking and animation production often require sophisticated techniques for coordinating camera transitions and object movements, typically involving labor-intensive real-world capturing. Despite advancements in generative AI for video creation, achieving precise control over motion for interactive video asset generation remains challenging. To this end, we propose Image Conductor, a method for precise control of camera transitions and object movements to generate video assets from a single image. An well-cultivated training strategy is proposed to separate distinct camera and object motion by camera LoRA weights and object LoRA weights. To further address cinematographic variations from ill-posed trajectories, we introduce a camera-free guidance technique during inference, enhancing object movements while eliminating camera transitions. Additionally, we develop a trajectory-oriented video motion data curation pipeline for training. Quantitative and qualitative experiments demonstrate our method's precision and fine-grained control in generating motion-controllable videos from images, advancing the practical application of interactive video synthesis. Project webpage available at https://liyaowei-stu.github.io/project/ImageConductor/