Daily Papers

Recent Vision-Language-Action (VLA) models built on pre-trained Vision-Language Models (VLMs) require extensive post-training, resulting in high computational overhead that limits scalability and deployment.We propose CogVLA, a Cognition-Aligned Vision-Language-Action framework that leverages instruction-driven routing and sparsification to improve both efficiency and performance. CogVLA draws inspiration from human multimodal coordination and introduces a 3-stage progressive architecture. 1) Encoder-FiLM based Aggregation Routing (EFA-Routing) injects instruction information into the vision encoder to selectively aggregate and compress dual-stream visual tokens, forming a instruction-aware latent representation. 2) Building upon this compact visual encoding, LLM-FiLM based Pruning Routing (LFP-Routing) introduces action intent into the language model by pruning instruction-irrelevant visually grounded tokens, thereby achieving token-level sparsity. 3) To ensure that compressed perception inputs can still support accurate and coherent action generation, we introduce V-L-A Coupled Attention (CAtten), which combines causal vision-language attention with bidirectional action parallel decoding. Extensive experiments on the LIBERO benchmark and real-world robotic tasks demonstrate that CogVLA achieves state-of-the-art performance with success rates of 97.4% and 70.0%, respectively, while reducing training costs by 2.5-fold and decreasing inference latency by 2.8-fold compared to OpenVLA. CogVLA is open-sourced and publicly available at https://github.com/JiuTian-VL/CogVLA.

In this work, we implement music production for silent film clips using LLM-driven method. Given the strong professional demands of film music production, we propose the FilmComposer, simulating the actual workflows of professional musicians. FilmComposer is the first to combine large generative models with a multi-agent approach, leveraging the advantages of both waveform music and symbolic music generation. Additionally, FilmComposer is the first to focus on the three core elements of music production for film-audio quality, musicality, and musical development-and introduces various controls, such as rhythm, semantics, and visuals, to enhance these key aspects. Specifically, FilmComposer consists of the visual processing module, rhythm-controllable MusicGen, and multi-agent assessment, arrangement and mix. In addition, our framework can seamlessly integrate into the actual music production pipeline and allows user intervention in every step, providing strong interactivity and a high degree of creative freedom. Furthermore, we propose MusicPro-7k which includes 7,418 film clips, music, description, rhythm spots and main melody, considering the lack of a professional and high-quality film music dataset. Finally, both the standard metrics and the new specialized metrics we propose demonstrate that the music generated by our model achieves state-of-the-art performance in terms of quality, consistency with video, diversity, musicality, and musical development. Project page: https://apple-jun.github.io/FilmComposer.github.io/

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.

Word frequency is a key variable in psycholinguistics, useful for modeling human familiarity with words even in the era of large language models (LLMs). Frequency in film subtitles has proved to be a particularly good approximation of everyday language exposure. For many languages, however, film subtitles are not easily available, or are overwhelmingly translated from English. We demonstrate that frequencies extracted from carefully processed YouTube subtitles provide an approximation comparable to, and often better than, the best currently available resources. Moreover, they are available for languages for which a high-quality subtitle or speech corpus does not exist. We use YouTube subtitles to construct frequency norms for five diverse languages, Chinese, English, Indonesian, Japanese, and Spanish, and evaluate their correlation with lexical decision time, word familiarity, and lexical complexity. In addition to being strongly correlated with two psycholinguistic variables, a simple linear regression on the new frequencies achieves a new high score on a lexical complexity prediction task in English and Japanese, surpassing both models trained on film subtitle frequencies and the LLM GPT-4. Our code, the frequency lists, fastText word embeddings, and statistical language models are freely available at https://github.com/naist-nlp/tubelex.

Recent advances in vision-language models have significantly propelled video understanding. Existing datasets and tasks, however, have notable limitations. Most datasets are confined to short videos with limited events and narrow narratives. For example, datasets with instructional and egocentric videos often document the activities of one person in a single scene. Although some movie datasets offer richer content, they are often limited to short-term tasks, lack publicly available videos and frequently encounter data leakage given the use of movie forums and other resources in LLM training. To address the above limitations, we propose the Short Film Dataset (SFD) with 1,078 publicly available amateur movies, a wide variety of genres and minimal data leakage issues. SFD offers long-term story-oriented video tasks in the form of multiple-choice and open-ended question answering. Our extensive experiments emphasize the need for long-term reasoning to solve SFD tasks. Notably, we find strong signals in movie transcripts leading to the on-par performance of people and LLMs. We also show significantly lower performance of current models compared to people when using vision data alone.

Virtual film production requires intricate decision-making processes, including scriptwriting, virtual cinematography, and precise actor positioning and actions. Motivated by recent advances in automated decision-making with language agent-based societies, this paper introduces FilmAgent, a novel LLM-based multi-agent collaborative framework for end-to-end film automation in our constructed 3D virtual spaces. FilmAgent simulates various crew roles, including directors, screenwriters, actors, and cinematographers, and covers key stages of a film production workflow: (1) idea development transforms brainstormed ideas into structured story outlines; (2) scriptwriting elaborates on dialogue and character actions for each scene; (3) cinematography determines the camera setups for each shot. A team of agents collaborates through iterative feedback and revisions, thereby verifying intermediate scripts and reducing hallucinations. We evaluate the generated videos on 15 ideas and 4 key aspects. Human evaluation shows that FilmAgent outperforms all baselines across all aspects and scores 3.98 out of 5 on average, showing the feasibility of multi-agent collaboration in filmmaking. Further analysis reveals that FilmAgent, despite using the less advanced GPT-4o model, surpasses the single-agent o1, showing the advantage of a well-coordinated multi-agent system. Lastly, we discuss the complementary strengths and weaknesses of OpenAI's text-to-video model Sora and our FilmAgent in filmmaking.

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.