Daily Papers

Existing methods for the 4D reconstruction of general, non-rigidly deforming objects focus on novel-view synthesis and neglect correspondences. However, time consistency enables advanced downstream tasks like 3D editing, motion analysis, or virtual-asset creation. We propose SceNeRFlow to reconstruct a general, non-rigid scene in a time-consistent manner. Our dynamic-NeRF method takes multi-view RGB videos and background images from static cameras with known camera parameters as input. It then reconstructs the deformations of an estimated canonical model of the geometry and appearance in an online fashion. Since this canonical model is time-invariant, we obtain correspondences even for long-term, long-range motions. We employ neural scene representations to parametrize the components of our method. Like prior dynamic-NeRF methods, we use a backwards deformation model. We find non-trivial adaptations of this model necessary to handle larger motions: We decompose the deformations into a strongly regularized coarse component and a weakly regularized fine component, where the coarse component also extends the deformation field into the space surrounding the object, which enables tracking over time. We show experimentally that, unlike prior work that only handles small motion, our method enables the reconstruction of studio-scale motions.

We introduce FaceCam, a system that generates video under customizable camera trajectories for monocular human portrait video input. Recent camera control approaches based on large video-generation models have shown promising progress but often exhibit geometric distortions and visual artifacts on portrait videos due to scale-ambiguous camera representations or 3D reconstruction errors. To overcome these limitations, we propose a face-tailored scale-aware representation for camera transformations that provides deterministic conditioning without relying on 3D priors. We train a video generation model on both multi-view studio captures and in-the-wild monocular videos, and introduce two camera-control data generation strategies: synthetic camera motion and multi-shot stitching, to exploit stationary training cameras while generalizing to dynamic, continuous camera trajectories at inference time. Experiments on Ava-256 dataset and diverse in-the-wild videos demonstrate that FaceCam achieves superior performance in camera controllability, visual quality, identity and motion preservation.

Hands play a central role in daily life, yet modeling natural hand motions remains underexplored. Existing methods that tackle text-to-hand-motion generation or hand animation captioning rely on studio-captured datasets with limited actions and contexts, making them costly to scale to "in-the-wild" settings. Further, contemporary models and their training schemes struggle to capture animation fidelity with text-motion alignment. To address this, we (1) introduce '3D Hands in the Wild' (3D-HIW), a dataset of 32K 3D hand-motion sequences and aligned text, and (2) propose CLUTCH, an LLM-based hand animation system with two critical innovations: (a) SHIFT, a novel VQ-VAE architecture to tokenize hand motion, and (b) a geometric refinement stage to finetune the LLM. To build 3D-HIW, we propose a data annotation pipeline that combines vision-language models (VLMs) and state-of-the-art 3D hand trackers, and apply it to a large corpus of egocentric action videos covering a wide range of scenarios. To fully capture motion in-the-wild, CLUTCH employs SHIFT, a part-modality decomposed VQ-VAE, which improves generalization and reconstruction fidelity. Finally, to improve animation quality, we introduce a geometric refinement stage, where CLUTCH is co-supervised with a reconstruction loss applied directly to decoded hand motion parameters. Experiments demonstrate state-of-the-art performance on text-to-motion and motion-to-text tasks, establishing the first benchmark for scalable in-the-wild hand motion modelling. Code, data and models will be released.

Realistic reconstruction of dynamic 4D scenes from monocular videos is essential for understanding the physical world. Despite recent progress in neural rendering, existing methods often struggle to recover accurate 3D geometry and temporally consistent motion in complex environments. To address these challenges, we propose MotionScale, a 4D Gaussian Splatting framework that scales efficiently to large scenes and extended sequences while maintaining high-fidelity structural and motion coherence. At the core of our approach is a scalable motion field parameterized by cluster-centric basis transformations that adaptively expand to capture diverse and evolving motion patterns. To ensure robust reconstruction over long durations, we introduce a progressive optimization strategy comprising two decoupled propagation stages: 1) A background extension stage that adapts to newly visible regions, refines camera poses, and explicitly models transient shadows; 2) A foreground propagation stage that enforces motion consistency through a specialized three-stage refinement process. Extensive experiments on challenging real-world benchmarks demonstrate that MotionScale significantly outperforms state-of-the-art methods in both reconstruction quality and temporal stability. Project page: https://hrzhou2.github.io/motion-scale-web/.

Human behaviors in the real world naturally encode rich, long-term contextual information that can be leveraged to train embodied agents for perception, understanding, and acting. However, existing capture systems typically rely on costly studio setups and wearable devices, limiting the large-scale collection of scene-conditioned human motion data in the wild. To address this, we propose EmbodMocap, a portable and affordable data collection pipeline using two moving iPhones. Our key idea is to jointly calibrate dual RGB-D sequences to reconstruct both humans and scenes within a unified metric world coordinate frame. The proposed method allows metric-scale and scene-consistent capture in everyday environments without static cameras or markers, bridging human motion and scene geometry seamlessly. Compared with optical capture ground truth, we demonstrate that the dual-view setting exhibits a remarkable ability to mitigate depth ambiguity, achieving superior alignment and reconstruction performance over single iphone or monocular models. Based on the collected data, we empower three embodied AI tasks: monocular human-scene-reconstruction, where we fine-tune on feedforward models that output metric-scale, world-space aligned humans and scenes; physics-based character animation, where we prove our data could be used to scale human-object interaction skills and scene-aware motion tracking; and robot motion control, where we train a humanoid robot via sim-to-real RL to replicate human motions depicted in videos. Experimental results validate the effectiveness of our pipeline and its contributions towards advancing embodied AI research.

We present Wan-Move, a simple and scalable framework that brings motion control to video generative models. Existing motion-controllable methods typically suffer from coarse control granularity and limited scalability, leaving their outputs insufficient for practical use. We narrow this gap by achieving precise and high-quality motion control. Our core idea is to directly make the original condition features motion-aware for guiding video synthesis. To this end, we first represent object motions with dense point trajectories, allowing fine-grained control over the scene. We then project these trajectories into latent space and propagate the first frame's features along each trajectory, producing an aligned spatiotemporal feature map that tells how each scene element should move. This feature map serves as the updated latent condition, which is naturally integrated into the off-the-shelf image-to-video model, e.g., Wan-I2V-14B, as motion guidance without any architecture change. It removes the need for auxiliary motion encoders and makes fine-tuning base models easily scalable. Through scaled training, Wan-Move generates 5-second, 480p videos whose motion controllability rivals Kling 1.5 Pro's commercial Motion Brush, as indicated by user studies. To support comprehensive evaluation, we further design MoveBench, a rigorously curated benchmark featuring diverse content categories and hybrid-verified annotations. It is distinguished by larger data volume, longer video durations, and high-quality motion annotations. Extensive experiments on MoveBench and the public dataset consistently show Wan-Move's superior motion quality. Code, models, and benchmark data are made publicly available.

Achieving character animation that meets studio-grade production standards remains challenging despite recent progress. Existing approaches can transfer motion from a driving video to a reference image, but often fail to preserve structural fidelity and temporal consistency in wild scenarios involving complex motion and cross-identity animations. In this work, we present SCAIL (Studio-grade Character Animation via In-context Learning), a framework designed to address these challenges from two key innovations. First, we propose a novel 3D pose representation, providing a more robust and flexible motion signal. Second, we introduce a full-context pose injection mechanism within a diffusion-transformer architecture, enabling effective spatio-temporal reasoning over full motion sequences. To align with studio-level requirements, we develop a curated data pipeline ensuring both diversity and quality, and establish a comprehensive benchmark for systematic evaluation. Experiments show that SCAIL achieves state-of-the-art performance and advances character animation toward studio-grade reliability and realism.

In this paper, we tackle the problem of how to build and benchmark a large motion model (LMM). The ultimate goal of LMM is to serve as a foundation model for versatile motion-related tasks, e.g., human motion generation, with interpretability and generalizability. Though advanced, recent LMM-related works are still limited by small-scale motion data and costly text descriptions. Besides, previous motion benchmarks primarily focus on pure body movements, neglecting the ubiquitous motions in context, i.e., humans interacting with humans, objects, and scenes. To address these limitations, we consolidate large-scale video action datasets as knowledge banks to build MotionBank, which comprises 13 video action datasets, 1.24M motion sequences, and 132.9M frames of natural and diverse human motions. Different from laboratory-captured motions, in-the-wild human-centric videos contain abundant motions in context. To facilitate better motion text alignment, we also meticulously devise a motion caption generation algorithm to automatically produce rule-based, unbiased, and disentangled text descriptions via the kinematic characteristics for each motion. Extensive experiments show that our MotionBank is beneficial for general motion-related tasks of human motion generation, motion in-context generation, and motion understanding. Video motions together with the rule-based text annotations could serve as an efficient alternative for larger LMMs. Our dataset, codes, and benchmark will be publicly available at https://github.com/liangxuy/MotionBank.

Motion capture now underpins content creation far beyond digital humans, yet most existing pipelines remain species- or template-specific. We formalize this gap as Category-Agnostic Motion Capture (CAMoCap): given a monocular video and an arbitrary rigged 3D asset as a prompt, the goal is to reconstruct a rotation-based animation such as BVH that directly drives the specific asset. We present MoCapAnything, a reference-guided, factorized framework that first predicts 3D joint trajectories and then recovers asset-specific rotations via constraint-aware inverse kinematics. The system contains three learnable modules and a lightweight IK stage: (1) a Reference Prompt Encoder that extracts per-joint queries from the asset's skeleton, mesh, and rendered images; (2) a Video Feature Extractor that computes dense visual descriptors and reconstructs a coarse 4D deforming mesh to bridge the gap between video and joint space; and (3) a Unified Motion Decoder that fuses these cues to produce temporally coherent trajectories. We also curate Truebones Zoo with 1038 motion clips, each providing a standardized skeleton-mesh-render triad. Experiments on both in-domain benchmarks and in-the-wild videos show that MoCapAnything delivers high-quality skeletal animations and exhibits meaningful cross-species retargeting across heterogeneous rigs, enabling scalable, prompt-driven 3D motion capture for arbitrary assets. Project page: https://animotionlab.github.io/MoCapAnything/

While recent text-to-video models excel at generating diverse scenes, they struggle with precise motion control, particularly for complex, multi-subject motions. Although methods for single-motion customization have been developed to address this gap, they fail in compositional scenarios due to two primary challenges: motion-appearance entanglement and ineffective multi-motion blending. This paper introduces CoMo, a novel framework for compositional motion customization in text-to-video generation, enabling the synthesis of multiple, distinct motions within a single video. CoMo addresses these issues through a two-phase approach. First, in the single-motion learning phase, a static-dynamic decoupled tuning paradigm disentangles motion from appearance to learn a motion-specific module. Second, in the multi-motion composition phase, a plug-and-play divide-and-merge strategy composes these learned motions without additional training by spatially isolating their influence during the denoising process. To facilitate research in this new domain, we also introduce a new benchmark and a novel evaluation metric designed to assess multi-motion fidelity and blending. Extensive experiments demonstrate that CoMo achieves state-of-the-art performance, significantly advancing the capabilities of controllable video generation. Our project page is at https://como6.github.io/.

We introduce CameraBench, a large-scale dataset and benchmark designed to assess and improve camera motion understanding. CameraBench consists of ~3,000 diverse internet videos, annotated by experts through a rigorous multi-stage quality control process. One of our contributions is a taxonomy of camera motion primitives, designed in collaboration with cinematographers. We find, for example, that some motions like "follow" (or tracking) require understanding scene content like moving subjects. We conduct a large-scale human study to quantify human annotation performance, revealing that domain expertise and tutorial-based training can significantly enhance accuracy. For example, a novice may confuse zoom-in (a change of intrinsics) with translating forward (a change of extrinsics), but can be trained to differentiate the two. Using CameraBench, we evaluate Structure-from-Motion (SfM) and Video-Language Models (VLMs), finding that SfM models struggle to capture semantic primitives that depend on scene content, while VLMs struggle to capture geometric primitives that require precise estimation of trajectories. We then fine-tune a generative VLM on CameraBench to achieve the best of both worlds and showcase its applications, including motion-augmented captioning, video question answering, and video-text retrieval. We hope our taxonomy, benchmark, and tutorials will drive future efforts towards the ultimate goal of understanding camera motions in any video.

Video inbetweening creates smooth and natural transitions between two image frames, making it an indispensable tool for video editing and long-form video synthesis. Existing works in this domain are unable to generate large, complex, or intricate motions. In particular, they cannot accommodate the versatility of user intents and generally lack fine control over the details of intermediate frames, leading to misalignment with the creative mind. To fill these gaps, we introduce MultiCOIN, a video inbetweening framework that allows multi-modal controls, including depth transition and layering, motion trajectories, text prompts, and target regions for movement localization, while achieving a balance between flexibility, ease of use, and precision for fine-grained video interpolation. To achieve this, we adopt the Diffusion Transformer (DiT) architecture as our video generative model, due to its proven capability to generate high-quality long videos. To ensure compatibility between DiT and our multi-modal controls, we map all motion controls into a common sparse and user-friendly point-based representation as the video/noise input. Further, to respect the variety of controls which operate at varying levels of granularity and influence, we separate content controls and motion controls into two branches to encode the required features before guiding the denoising process, resulting in two generators, one for motion and the other for content. Finally, we propose a stage-wise training strategy to ensure that our model learns the multi-modal controls smoothly. Extensive qualitative and quantitative experiments demonstrate that multi-modal controls enable a more dynamic, customizable, and contextually accurate visual narrative.

Generating long-duration, high-definition, and rhythmically synchronized dance videos directly from music remains a significant challenge, primarily due to the temporal constraints of current diffusion models, which typically fail beyond 20 seconds. Existing approaches, whether they rely on intermediate 3D skeletons or on end-to-end video synthesis, suffer from temporal drift, identity inconsistency, and repetitive motion patterns when extended to longer horizons. To address these limitations, we propose a novel hierarchical framework for minute-scale coherent music-to-dance generation. Our method decouples the process into global keyframe planning and local temporal refinement, leveraging full-track musical context to ensure long-range coherence. Key innovations include dynamic frame rate adaptation via time-mapped RoPE embeddings for precise alignment, an optical-flow-based loss function to enhance motion continuity, and motion-speed control to preserve high-fidelity details during rapid movements. Extensive experiments demonstrate that our framework surpasses the conventional duration barrier, generating stable, 720p/30fps videos exceeding one minute with superior temporal stability. Furthermore, the model exhibits robust versatility across five distinct dance genres, conditioned on both audio and textual prompts, establishing a new state-of-the-art in coherent, long-form dance video synthesis.

Despite significant advancements in human motion generation, current motion representations, typically formulated as discrete frame sequences, still face two critical limitations: (i) they fail to capture motion from a multi-scale perspective, limiting the capability in complex patterns modeling; (ii) they lack compositional flexibility, which is crucial for model's generalization in diverse generation tasks. To address these challenges, we introduce MSQ, a novel quantization method that compresses the motion sequence into multi-scale discrete tokens across spatial and temporal dimensions. MSQ employs distinct encoders to capture body parts at varying spatial granularities and temporally interpolates the encoded features into multiple scales before quantizing them into discrete tokens. Building on this representation, we establish a generative mask modeling model to effectively support motion editing, motion control, and conditional motion generation. Through quantitative and qualitative analysis, we show that our quantization method enables the seamless composition of motion tokens without requiring specialized design or re-training. Furthermore, extensive evaluations demonstrate that our approach outperforms existing baseline methods on various benchmarks.

We propose Lodge, a network capable of generating extremely long dance sequences conditioned on given music. We design Lodge as a two-stage coarse to fine diffusion architecture, and propose the characteristic dance primitives that possess significant expressiveness as intermediate representations between two diffusion models. The first stage is global diffusion, which focuses on comprehending the coarse-level music-dance correlation and production characteristic dance primitives. In contrast, the second-stage is the local diffusion, which parallelly generates detailed motion sequences under the guidance of the dance primitives and choreographic rules. In addition, we propose a Foot Refine Block to optimize the contact between the feet and the ground, enhancing the physical realism of the motion. Our approach can parallelly generate dance sequences of extremely long length, striking a balance between global choreographic patterns and local motion quality and expressiveness. Extensive experiments validate the efficacy of our method.

Reality is a dance between rigid constraints and deformable structures. For video models, that means generating motion that preserves fidelity as well as structure. Despite progress in diffusion models, producing realistic structure-preserving motion remains challenging, especially for articulated and deformable objects such as humans and animals. Scaling training data alone, so far, has failed to resolve physically implausible transitions. Existing approaches rely on conditioning with noisy motion representations, such as optical flow or skeletons extracted using an external imperfect model. To address these challenges, we introduce an algorithm to distill structure-preserving motion priors from an autoregressive video tracking model (SAM2) into a bidirectional video diffusion model (CogVideoX). With our method, we train SAM2VideoX, which contains two innovations: (1) a bidirectional feature fusion module that extracts global structure-preserving motion priors from a recurrent model like SAM2; (2) a Local Gram Flow loss that aligns how local features move together. Experiments on VBench and in human studies show that SAM2VideoX delivers consistent gains (+2.60\% on VBench, 21-22\% lower FVD, and 71.4\% human preference) over prior baselines. Specifically, on VBench, we achieve 95.51\%, surpassing REPA (92.91\%) by 2.60\%, and reduce FVD to 360.57, a 21.20\% and 22.46\% improvement over REPA- and LoRA-finetuning, respectively. The project website can be found at https://sam2videox.github.io/ .

Clipart, a pre-made graphic art form, offers a convenient and efficient way of illustrating visual content. Traditional workflows to convert static clipart images into motion sequences are laborious and time-consuming, involving numerous intricate steps like rigging, key animation and in-betweening. Recent advancements in text-to-video generation hold great potential in resolving this problem. Nevertheless, direct application of text-to-video generation models often struggles to retain the visual identity of clipart images or generate cartoon-style motions, resulting in unsatisfactory animation outcomes. In this paper, we introduce AniClipart, a system that transforms static clipart images into high-quality motion sequences guided by text-to-video priors. To generate cartoon-style and smooth motion, we first define B\'{e}zier curves over keypoints of the clipart image as a form of motion regularization. We then align the motion trajectories of the keypoints with the provided text prompt by optimizing the Video Score Distillation Sampling (VSDS) loss, which encodes adequate knowledge of natural motion within a pretrained text-to-video diffusion model. With a differentiable As-Rigid-As-Possible shape deformation algorithm, our method can be end-to-end optimized while maintaining deformation rigidity. Experimental results show that the proposed AniClipart consistently outperforms existing image-to-video generation models, in terms of text-video alignment, visual identity preservation, and motion consistency. Furthermore, we showcase the versatility of AniClipart by adapting it to generate a broader array of animation formats, such as layered animation, which allows topological changes.

Generating diverse and natural human motion sequences based on textual descriptions constitutes a fundamental and challenging research area within the domains of computer vision, graphics, and robotics. Despite significant advancements in this field, current methodologies often face challenges regarding zero-shot generalization capabilities, largely attributable to the limited size of training datasets. Moreover, the lack of a comprehensive evaluation framework impedes the advancement of this task by failing to identify directions for improvement. In this work, we aim to push text-to-motion into a new era, that is, to achieve the generalization ability of zero-shot. To this end, firstly, we develop an efficient annotation pipeline and introduce MotionMillion-the largest human motion dataset to date, featuring over 2,000 hours and 2 million high-quality motion sequences. Additionally, we propose MotionMillion-Eval, the most comprehensive benchmark for evaluating zero-shot motion generation. Leveraging a scalable architecture, we scale our model to 7B parameters and validate its performance on MotionMillion-Eval. Our results demonstrate strong generalization to out-of-domain and complex compositional motions, marking a significant step toward zero-shot human motion generation. The code is available at https://github.com/VankouF/MotionMillion-Codes.

This paper presents a method that allows users to design cinematic video shots in the context of image-to-video generation. Shot design, a critical aspect of filmmaking, involves meticulously planning both camera movements and object motions in a scene. However, enabling intuitive shot design in modern image-to-video generation systems presents two main challenges: first, effectively capturing user intentions on the motion design, where both camera movements and scene-space object motions must be specified jointly; and second, representing motion information that can be effectively utilized by a video diffusion model to synthesize the image animations. To address these challenges, we introduce MotionCanvas, a method that integrates user-driven controls into image-to-video (I2V) generation models, allowing users to control both object and camera motions in a scene-aware manner. By connecting insights from classical computer graphics and contemporary video generation techniques, we demonstrate the ability to achieve 3D-aware motion control in I2V synthesis without requiring costly 3D-related training data. MotionCanvas enables users to intuitively depict scene-space motion intentions, and translates them into spatiotemporal motion-conditioning signals for video diffusion models. We demonstrate the effectiveness of our method on a wide range of real-world image content and shot-design scenarios, highlighting its potential to enhance the creative workflows in digital content creation and adapt to various image and video editing applications.

We present a unified controllable video generation approach AnimateAnything that facilitates precise and consistent video manipulation across various conditions, including camera trajectories, text prompts, and user motion annotations. Specifically, we carefully design a multi-scale control feature fusion network to construct a common motion representation for different conditions. It explicitly converts all control information into frame-by-frame optical flows. Then we incorporate the optical flows as motion priors to guide final video generation. In addition, to reduce the flickering issues caused by large-scale motion, we propose a frequency-based stabilization module. It can enhance temporal coherence by ensuring the video's frequency domain consistency. Experiments demonstrate that our method outperforms the state-of-the-art approaches. For more details and videos, please refer to the webpage: https://yu-shaonian.github.io/Animate_Anything/.

We propose a self-supervised method for learning motion-focused video representations. Existing approaches minimize distances between temporally augmented videos, which maintain high spatial similarity. We instead propose to learn similarities between videos with identical local motion dynamics but an otherwise different appearance. We do so by adding synthetic motion trajectories to videos which we refer to as tubelets. By simulating different tubelet motions and applying transformations, such as scaling and rotation, we introduce motion patterns beyond what is present in the pretraining data. This allows us to learn a video representation that is remarkably data-efficient: our approach maintains performance when using only 25% of the pretraining videos. Experiments on 10 diverse downstream settings demonstrate our competitive performance and generalizability to new domains and fine-grained actions.

We present an approach to modeling an image-space prior on scene dynamics. Our prior is learned from a collection of motion trajectories extracted from real video sequences containing natural, oscillating motion such as trees, flowers, candles, and clothes blowing in the wind. Given a single image, our trained model uses a frequency-coordinated diffusion sampling process to predict a per-pixel long-term motion representation in the Fourier domain, which we call a neural stochastic motion texture. This representation can be converted into dense motion trajectories that span an entire video. Along with an image-based rendering module, these trajectories can be used for a number of downstream applications, such as turning still images into seamlessly looping dynamic videos, or allowing users to realistically interact with objects in real pictures.

Dance requires skillful composition of complex movements that follow rhythmic, tonal and timbral features of music. Formally, generating dance conditioned on a piece of music can be expressed as a problem of modelling a high-dimensional continuous motion signal, conditioned on an audio signal. In this work we make two contributions to tackle this problem. First, we present a novel probabilistic autoregressive architecture that models the distribution over future poses with a normalizing flow conditioned on previous poses as well as music context, using a multimodal transformer encoder. Second, we introduce the currently largest 3D dance-motion dataset, obtained with a variety of motion-capture technologies, and including both professional and casual dancers. Using this dataset, we compare our new model against two baselines, via objective metrics and a user study, and show that both the ability to model a probability distribution, as well as being able to attend over a large motion and music context are necessary to produce interesting, diverse, and realistic dance that matches the music.

Motion in-betweening is one of the most artistically demanding and time consuming stages of 3D animation, where the expressivity and rhythm of motion are defined. The level of creative control it requires makes it a major production bottleneck, underscoring the need for intelligent tools that assist animators in this process. Although recent deep learning approaches have achieved strong results in motion synthesis and in-betweening, they assume data characteristics, motion styles, and problem formulations that diverge from professional animation workflows. To bridge this gap, we propose a method explicitly aligned with the constraints of motion in-betweening for keyframe-based animation in production environments. At its core, the Adaptive Interpolation-Synthesis (AIS) layer mirrors the animator's creative process by dynamically balancing learned interpolation and direct pose synthesis. In addition, a domain-based input keypose schedule reflects the distribution of production data, improving stylistic consistency and alignment between training and real-world usage. Our method achieves state-of-the-art performance on production data; when integrated into Autodesk Maya, it enables animators to complete in-betweening tasks with a 3.5x speedup.

Despite the significant progress that has been made in video generative models, existing state-of-the-art methods can only produce videos lasting 5-16 seconds, often labeled "long-form videos". Furthermore, videos exceeding 16 seconds struggle to maintain consistent character appearances and scene layouts throughout the narrative. In particular, multi-subject long videos still fail to preserve character consistency and motion coherence. While some methods can generate videos up to 150 seconds long, they often suffer from frame redundancy and low temporal diversity. Recent work has attempted to produce long-form videos featuring multiple characters, narrative coherence, and high-fidelity detail. We comprehensively studied 32 papers on video generation to identify key architectural components and training strategies that consistently yield these qualities. We also construct a comprehensive novel taxonomy of existing methods and present comparative tables that categorize papers by their architectural designs and performance characteristics.

Modern artistic productions increasingly demand automated choreography generation that adapts to diverse musical styles and individual dancer characteristics. Existing approaches often fail to produce high-quality dance videos that harmonize with both musical rhythm and user-defined choreography styles, limiting their applicability in real-world creative contexts. To address this gap, we introduce ChoreoMuse, a diffusion-based framework that uses SMPL format parameters and their variation version as intermediaries between music and video generation, thereby overcoming the usual constraints imposed by video resolution. Critically, ChoreoMuse supports style-controllable, high-fidelity dance video generation across diverse musical genres and individual dancer characteristics, including the flexibility to handle any reference individual at any resolution. Our method employs a novel music encoder MotionTune to capture motion cues from audio, ensuring that the generated choreography closely follows the beat and expressive qualities of the input music. To quantitatively evaluate how well the generated dances match both musical and choreographic styles, we introduce two new metrics that measure alignment with the intended stylistic cues. Extensive experiments confirm that ChoreoMuse achieves state-of-the-art performance across multiple dimensions, including video quality, beat alignment, dance diversity, and style adherence, demonstrating its potential as a robust solution for a wide range of creative applications. Video results can be found on our project page: https://choreomuse.github.io.

Controlling human motion based on text presents an important challenge in computer vision. Traditional approaches often rely on holistic action descriptions for motion synthesis, which struggle to capture subtle movements of local body parts. This limitation restricts the ability to isolate and manipulate specific movements. To address this, we propose a novel motion representation that decomposes motion into distinct body joint group movements and interactions from a kinematic perspective. We design an automatic dataset collection pipeline that enhances the existing text-motion benchmark by incorporating fine-grained local joint-group motion and interaction descriptions. To bridge the gap between text and motion domains, we introduce a hierarchical motion semantics approach that progressively fuses joint-level interaction information into the global action-level semantics for modality alignment. With this hierarchy, we introduce a coarse-to-fine motion synthesis procedure for various generation and editing downstream applications. Our quantitative and qualitative experiments demonstrate that the proposed formulation enhances text-motion retrieval by improving joint-spatial understanding, and enables more precise joint-motion generation and control. Project Page: {\smallhttps://andypinxinliu.github.io/KinMo/}

Camera and object motions are central to a video's narrative. However, precisely editing these captured motions remains a significant challenge, especially under complex object movements. Current motion-controlled image-to-video (I2V) approaches often lack full-scene context for consistent video editing, while video-to-video (V2V) methods provide viewpoint changes or basic object translation, but offer limited control over fine-grained object motion. We present a track-conditioned V2V framework that enables joint editing of camera and object motion. We achieve this by conditioning a video generation model on a source video and paired 3D point tracks representing source and target motions. These 3D tracks establish sparse correspondences that transfer rich context from the source video to new motions while preserving spatiotemporal coherence. Crucially, compared to 2D tracks, 3D tracks provide explicit depth cues, allowing the model to resolve depth order and handle occlusions for precise motion editing. Trained in two stages on synthetic and real data, our model supports diverse motion edits, including joint camera/object manipulation, motion transfer, and non-rigid deformation, unlocking new creative potential in video editing.

Human motion generation, a cornerstone technique in animation and video production, has widespread applications in various tasks like text-to-motion and music-to-dance. Previous works focus on developing specialist models tailored for each task without scalability. In this work, we present Large Motion Model (LMM), a motion-centric, multi-modal framework that unifies mainstream motion generation tasks into a generalist model. A unified motion model is appealing since it can leverage a wide range of motion data to achieve broad generalization beyond a single task. However, it is also challenging due to the heterogeneous nature of substantially different motion data and tasks. LMM tackles these challenges from three principled aspects: 1) Data: We consolidate datasets with different modalities, formats and tasks into a comprehensive yet unified motion generation dataset, MotionVerse, comprising 10 tasks, 16 datasets, a total of 320k sequences, and 100 million frames. 2) Architecture: We design an articulated attention mechanism ArtAttention that incorporates body part-aware modeling into Diffusion Transformer backbone. 3) Pre-Training: We propose a novel pre-training strategy for LMM, which employs variable frame rates and masking forms, to better exploit knowledge from diverse training data. Extensive experiments demonstrate that our generalist LMM achieves competitive performance across various standard motion generation tasks over state-of-the-art specialist models. Notably, LMM exhibits strong generalization capabilities and emerging properties across many unseen tasks. Additionally, our ablation studies reveal valuable insights about training and scaling up large motion models for future research.

Generating realistic animated videos from static images is an important area of research in computer vision. Methods based on physical simulation and motion prediction have achieved notable advances, but they are often limited to specific object textures and motion trajectories, failing to exhibit highly complex environments and physical dynamics. In this paper, we introduce an open-domain controllable image animation method using motion priors with video diffusion models. Our method achieves precise control over the direction and speed of motion in the movable region by extracting the motion field information from videos and learning moving trajectories and strengths. Current pretrained video generation models are typically limited to producing very short videos, typically less than 30 frames. In contrast, we propose an efficient long-duration video generation method based on noise reschedule specifically tailored for image animation tasks, facilitating the creation of videos over 100 frames in length while maintaining consistency in content scenery and motion coordination. Specifically, we decompose the denoise process into two distinct phases: the shaping of scene contours and the refining of motion details. Then we reschedule the noise to control the generated frame sequences maintaining long-distance noise correlation. We conducted extensive experiments with 10 baselines, encompassing both commercial tools and academic methodologies, which demonstrate the superiority of our method. Our project page: https://wangqiang9.github.io/Controllable.github.io/

Handling fast, complex, and highly non-linear motion patterns has long posed challenges for video frame interpolation. Although recent diffusion-based approaches improve upon traditional optical-flow-based methods, they still struggle to cover diverse application scenarios and often fail to produce sharp, temporally consistent frames in fine-grained motion tasks such as audio-visual synchronized interpolation. To address these limitations, we introduce BBF (Beyond Boundary Frames), a context-aware video frame interpolation framework, which could be guided by audio/visual semantics. First, we enhance the input design of the interpolation model so that it can flexibly handle multiple conditional modalities, including text, audio, images, and video. Second, we propose a decoupled multimodal fusion mechanism that sequentially injects different conditional signals into a DiT backbone. Finally, to maintain the generation abilities of the foundation model, we adopt a progressive multi-stage training paradigm, where the start-end frame difference embedding is used to dynamically adjust both the data sampling and the loss weighting. Extensive experimental results demonstrate that BBF outperforms specialized state-of-the-art methods on both generic interpolation and audio-visual synchronized interpolation tasks, establishing a unified framework for video frame interpolation under coordinated multi-channel conditioning.

Treating human motion and camera trajectory generation separately overlooks a core principle of cinematography: the tight interplay between actor performance and camera work in the screen space. In this paper, we are the first to cast this task as a text-conditioned joint generation, aiming to maintain consistent on-screen framing while producing two heterogeneous, yet intrinsically linked, modalities: human motion and camera trajectories. We propose a simple, model-agnostic framework that enforces multimodal coherence via an auxiliary modality: the on-screen framing induced by projecting human joints onto the camera. This on-screen framing provides a natural and effective bridge between modalities, promoting consistency and leading to more precise joint distribution. We first design a joint autoencoder that learns a shared latent space, together with a lightweight linear transform from the human and camera latents to a framing latent. We then introduce auxiliary sampling, which exploits this linear transform to steer generation toward a coherent framing modality. To support this task, we also introduce the PulpMotion dataset, a human-motion and camera-trajectory dataset with rich captions, and high-quality human motions. Extensive experiments across DiT- and MAR-based architectures show the generality and effectiveness of our method in generating on-frame coherent human-camera motions, while also achieving gains on textual alignment for both modalities. Our qualitative results yield more cinematographically meaningful framings setting the new state of the art for this task. Code, models and data are available in our https://www.lix.polytechnique.fr/vista/projects/2025_pulpmotion_courant/{project page}.

We present X-Dancer, a novel zero-shot music-driven image animation pipeline that creates diverse and long-range lifelike human dance videos from a single static image. As its core, we introduce a unified transformer-diffusion framework, featuring an autoregressive transformer model that synthesize extended and music-synchronized token sequences for 2D body, head and hands poses, which then guide a diffusion model to produce coherent and realistic dance video frames. Unlike traditional methods that primarily generate human motion in 3D, X-Dancer addresses data limitations and enhances scalability by modeling a wide spectrum of 2D dance motions, capturing their nuanced alignment with musical beats through readily available monocular videos. To achieve this, we first build a spatially compositional token representation from 2D human pose labels associated with keypoint confidences, encoding both large articulated body movements (e.g., upper and lower body) and fine-grained motions (e.g., head and hands). We then design a music-to-motion transformer model that autoregressively generates music-aligned dance pose token sequences, incorporating global attention to both musical style and prior motion context. Finally we leverage a diffusion backbone to animate the reference image with these synthesized pose tokens through AdaIN, forming a fully differentiable end-to-end framework. Experimental results demonstrate that X-Dancer is able to produce both diverse and characterized dance videos, substantially outperforming state-of-the-art methods in term of diversity, expressiveness and realism. Code and model will be available for research purposes.

We propose a new problem, In-2-4D, for generative 4D (i.e., 3D + motion) inbetweening from a minimalistic input setting: two single-view images capturing an object in two distinct motion states. Given two images representing the start and end states of an object in motion, our goal is to generate and reconstruct the motion in 4D. We utilize a video interpolation model to predict the motion, but large frame-to-frame motions can lead to ambiguous interpretations. To overcome this, we employ a hierarchical approach to identify keyframes that are visually close to the input states and show significant motion, then generate smooth fragments between them. For each fragment, we construct the 3D representation of the keyframe using Gaussian Splatting. The temporal frames within the fragment guide the motion, enabling their transformation into dynamic Gaussians through a deformation field. To improve temporal consistency and refine 3D motion, we expand the self-attention of multi-view diffusion across timesteps and apply rigid transformation regularization. Finally, we merge the independently generated 3D motion segments by interpolating boundary deformation fields and optimizing them to align with the guiding video, ensuring smooth and flicker-free transitions. Through extensive qualitative and quantitiave experiments as well as a user study, we show the effectiveness of our method and its components. The project page is available at https://in-2-4d.github.io/

Animation retargetting applies sparse motion description (e.g., keypoint sequences) to a character mesh to produce a semantically plausible and temporally coherent full-body mesh sequence. Existing approaches come with restrictions -- they require access to template-based shape priors or artist-designed deformation rigs, suffer from limited generalization to unseen motion and/or shapes, or exhibit motion jitter. We propose Self-supervised Motion Fields (SMF), a self-supervised framework that is trained with only sparse motion representations, without requiring dataset-specific annotations, templates, or rigs. At the heart of our method are Kinetic Codes, a novel autoencoder-based sparse motion encoding, that exposes a semantically rich latent space, simplifying large-scale training. Our architecture comprises dedicated spatial and temporal gradient predictors, which are jointly trained in an end-to-end fashion. The combined network, regularized by the Kinetic Codes' latent space, has good generalization across both unseen shapes and new motions. We evaluated our method on unseen motion sampled from AMASS, D4D, Mixamo, and raw monocular video for animation transfer on various characters with varying shapes and topology. We report a new SoTA on the AMASS dataset in the context of generalization to unseen motion. Code, weights, and supplementary are available on the project webpage at https://motionfields.github.io/

Preserving first-frame identity while ensuring precise motion control is a fundamental challenge in human image animation. The Image-to-Motion Binding process of the dominant Reference-to-Video (R2V) paradigm overlooks critical spatio-temporal misalignments common in real-world applications, leading to failures such as identity drift and visual artifacts. We introduce SteadyDancer, an Image-to-Video (I2V) paradigm-based framework that achieves harmonized and coherent animation and is the first to ensure first-frame preservation robustly. Firstly, we propose a Condition-Reconciliation Mechanism to harmonize the two conflicting conditions, enabling precise control without sacrificing fidelity. Secondly, we design Synergistic Pose Modulation Modules to generate an adaptive and coherent pose representation that is highly compatible with the reference image. Finally, we employ a Staged Decoupled-Objective Training Pipeline that hierarchically optimizes the model for motion fidelity, visual quality, and temporal coherence. Experiments demonstrate that SteadyDancer achieves state-of-the-art performance in both appearance fidelity and motion control, while requiring significantly fewer training resources than comparable methods.

We introduce Artistic Cinemagraph, a fully automated method for creating cinemagraphs from text descriptions - an especially challenging task when prompts feature imaginary elements and artistic styles, given the complexity of interpreting the semantics and motions of these images. Existing single-image animation methods fall short on artistic inputs, and recent text-based video methods frequently introduce temporal inconsistencies, struggling to keep certain regions static. To address these challenges, we propose an idea of synthesizing image twins from a single text prompt - a pair of an artistic image and its pixel-aligned corresponding natural-looking twin. While the artistic image depicts the style and appearance detailed in our text prompt, the realistic counterpart greatly simplifies layout and motion analysis. Leveraging existing natural image and video datasets, we can accurately segment the realistic image and predict plausible motion given the semantic information. The predicted motion can then be transferred to the artistic image to create the final cinemagraph. Our method outperforms existing approaches in creating cinemagraphs for natural landscapes as well as artistic and other-worldly scenes, as validated by automated metrics and user studies. Finally, we demonstrate two extensions: animating existing paintings and controlling motion directions using text.

In recent years, generative artificial intelligence has achieved significant advancements in the field of image generation, spawning a variety of applications. However, video generation still faces considerable challenges in various aspects, such as controllability, video length, and richness of details, which hinder the application and popularization of this technology. In this work, we propose a controllable video generation framework, dubbed MimicMotion, which can generate high-quality videos of arbitrary length mimicking specific motion guidance. Compared with previous methods, our approach has several highlights. Firstly, we introduce confidence-aware pose guidance that ensures high frame quality and temporal smoothness. Secondly, we introduce regional loss amplification based on pose confidence, which significantly reduces image distortion. Lastly, for generating long and smooth videos, we propose a progressive latent fusion strategy. By this means, we can produce videos of arbitrary length with acceptable resource consumption. With extensive experiments and user studies, MimicMotion demonstrates significant improvements over previous approaches in various aspects. Detailed results and comparisons are available on our project page: https://tencent.github.io/MimicMotion .

Motion understanding is fundamental to physical reasoning, enabling models to infer dynamics and predict future states. However, state-of-the-art models still struggle on recent motion benchmarks, primarily due to the scarcity of large-scale, fine-grained motion datasets. Existing motion datasets are often constructed from costly manual annotation, severely limiting scalability. To address this challenge, we introduce FoundationMotion, a fully automated data curation pipeline that constructs large-scale motion datasets. Our approach first detects and tracks objects in videos to extract their trajectories, then leverages these trajectories and video frames with Large Language Models (LLMs) to generate fine-grained captions and diverse question-answer pairs about motion and spatial reasoning. Using datasets produced by this pipeline, we fine-tune open-source models including NVILA-Video-15B and Qwen2.5-7B, achieving substantial improvements in motion understanding without compromising performance on other tasks. Notably, our models outperform strong closed-source baselines like Gemini-2.5 Flash and large open-source models such as Qwen2.5-VL-72B across diverse motion understanding datasets and benchmarks. FoundationMotion thus provides a scalable solution for curating fine-grained motion datasets that enable effective fine-tuning of diverse models to enhance motion understanding and spatial reasoning capabilities.

Motions in a video primarily consist of camera motion, induced by camera movement, and object motion, resulting from object movement. Accurate control of both camera and object motion is essential for video generation. However, existing works either mainly focus on one type of motion or do not clearly distinguish between the two, limiting their control capabilities and diversity. Therefore, this paper presents MotionCtrl, a unified and flexible motion controller for video generation designed to effectively and independently control camera and object motion. The architecture and training strategy of MotionCtrl are carefully devised, taking into account the inherent properties of camera motion, object motion, and imperfect training data. Compared to previous methods, MotionCtrl offers three main advantages: 1) It effectively and independently controls camera motion and object motion, enabling more fine-grained motion control and facilitating flexible and diverse combinations of both types of motion. 2) Its motion conditions are determined by camera poses and trajectories, which are appearance-free and minimally impact the appearance or shape of objects in generated videos. 3) It is a relatively generalizable model that can adapt to a wide array of camera poses and trajectories once trained. Extensive qualitative and quantitative experiments have been conducted to demonstrate the superiority of MotionCtrl over existing methods.

Panoramic video generation has attracted growing attention due to its applications in virtual reality and immersive media. However, existing methods lack explicit motion control and struggle to generate scenes with large and complex motions. We propose PanFlow, a novel approach that exploits the spherical nature of panoramas to decouple the highly dynamic camera rotation from the input optical flow condition, enabling more precise control over large and dynamic motions. We further introduce a spherical noise warping strategy to promote loop consistency in motion across panorama boundaries. To support effective training, we curate a large-scale, motion-rich panoramic video dataset with frame-level pose and flow annotations. We also showcase the effectiveness of our method in various applications, including motion transfer and video editing. Extensive experiments demonstrate that PanFlow significantly outperforms prior methods in motion fidelity, visual quality, and temporal coherence. Our code, dataset, and models are available at https://github.com/chengzhag/PanFlow.

Video generation models internalize physical realism as their prior. Anime deliberately violates physics: smears, impact frames, chibi shifts; and its thousands of coexisting artistic conventions yield no single "physics of anime" a model can absorb. Physics-biased models therefore flatten the artistry that defines the medium or collapse under its stylistic variance. We present AniMatrix, a video generation model that targets artistic rather than physical correctness through a dual-channel conditioning mechanism and a three-step transition: redefine correctness, override the physics prior, and distinguish art from failure. First, a Production Knowledge System encodes anime as a structured taxonomy of controllable production variables (Style, Motion, Camera, VFX), and AniCaption infers these variables from pixels as directorial directives. A trainable tag encoder preserves the field-value structure of this taxonomy while a frozen T5 encoder handles free-form narrative; dual-path injection (cross-attention for fine-grained control, AdaLN modulation for global enforcement) ensures categorical directives are never diluted by open-ended text. Second, a style-motion-deformation curriculum transitions the model from near-physical motion to full anime expressiveness. Third, deformation-aware preference optimization with a domain-specific reward model separates intentional artistry from pathological collapse. On an anime-specific human evaluation with five production dimensions scored by professional animators, AniMatrix ranks first on four of five, with the largest gains over Seedance-Pro 1.0 on Prompt Understanding (+0.70, +22.4 percent) and Artistic Motion (+0.55, +16.9 percent). We are preparing accompanying resources for public release to support reproducibility and follow-up research.

Objects in videos are typically characterized by continuous smooth motion. We exploit continuous smooth motion in three ways. 1) Improved accuracy by using object motion as an additional source of supervision, which we obtain by anticipating object locations from a static keyframe. 2) Improved efficiency by only doing the expensive feature computations on a small subset of all frames. Because neighboring video frames are often redundant, we only compute features for a single static keyframe and predict object locations in subsequent frames. 3) Reduced annotation cost, where we only annotate the keyframe and use smooth pseudo-motion between keyframes. We demonstrate computational efficiency, annotation efficiency, and improved mean average precision compared to the state-of-the-art on four datasets: ImageNet VID, EPIC KITCHENS-55, YouTube-BoundingBoxes, and Waymo Open dataset. Our source code is available at https://github.com/L-KID/Videoobject-detection-by-location-anticipation.

We present 3D Cinemagraphy, a new technique that marries 2D image animation with 3D photography. Given a single still image as input, our goal is to generate a video that contains both visual content animation and camera motion. We empirically find that naively combining existing 2D image animation and 3D photography methods leads to obvious artifacts or inconsistent animation. Our key insight is that representing and animating the scene in 3D space offers a natural solution to this task. To this end, we first convert the input image into feature-based layered depth images using predicted depth values, followed by unprojecting them to a feature point cloud. To animate the scene, we perform motion estimation and lift the 2D motion into the 3D scene flow. Finally, to resolve the problem of hole emergence as points move forward, we propose to bidirectionally displace the point cloud as per the scene flow and synthesize novel views by separately projecting them into target image planes and blending the results. Extensive experiments demonstrate the effectiveness of our method. A user study is also conducted to validate the compelling rendering results of our method.

We present DANCEMATCH, an end-to-end framework for motion-based dance retrieval, the task of identifying semantically similar choreographies directly from raw video, defined as DANCE FINGERPRINTING. While existing motion analysis and retrieval methods can compare pose sequences, they rely on continuous embeddings that are difficult to index, interpret, or scale. In contrast, DANCEMATCH constructs compact, discrete motion signatures that capture the spatio-temporal structure of dance while enabling efficient large-scale retrieval. Our system integrates Skeleton Motion Quantisation (SMQ) with Spatio-Temporal Transformers (STT) to encode human poses, extracted via Apple CoMotion, into a structured motion vocabulary. We further design DANCE RETRIEVAL ENGINE (DRE), which performs sub-linear retrieval using a histogram-based index followed by re-ranking for refined matching. To facilitate reproducible research, we release DANCETYPESBENCHMARK, a pose-aligned dataset annotated with quantised motion tokens. Experiments demonstrate robust retrieval across diverse dance styles and strong generalisation to unseen choreographies, establishing a foundation for scalable motion fingerprinting and quantitative choreographic analysis.

We introduce an approach for augmenting text-to-video generation models with customized motions, extending their capabilities beyond the motions depicted in the original training data. By leveraging a few video samples demonstrating specific movements as input, our method learns and generalizes the input motion patterns for diverse, text-specified scenarios. Our contributions are threefold. First, to achieve our results, we finetune an existing text-to-video model to learn a novel mapping between the depicted motion in the input examples to a new unique token. To avoid overfitting to the new custom motion, we introduce an approach for regularization over videos. Second, by leveraging the motion priors in a pretrained model, our method can produce novel videos featuring multiple people doing the custom motion, and can invoke the motion in combination with other motions. Furthermore, our approach extends to the multimodal customization of motion and appearance of individualized subjects, enabling the generation of videos featuring unique characters and distinct motions. Third, to validate our method, we introduce an approach for quantitatively evaluating the learned custom motion and perform a systematic ablation study. We show that our method significantly outperforms prior appearance-based customization approaches when extended to the motion customization task.

Camera trajectory design plays a crucial role in video production, serving as a fundamental tool for conveying directorial intent and enhancing visual storytelling. In cinematography, Directors of Photography meticulously craft camera movements to achieve expressive and intentional framing. However, existing methods for camera trajectory generation remain limited: Traditional approaches rely on geometric optimization or handcrafted procedural systems, while recent learning-based methods often inherit structural biases or lack textual alignment, constraining creative synthesis. In this work, we introduce an auto-regressive model inspired by the expertise of Directors of Photography to generate artistic and expressive camera trajectories. We first introduce DataDoP, a large-scale multi-modal dataset containing 29K real-world shots with free-moving camera trajectories, depth maps, and detailed captions in specific movements, interaction with the scene, and directorial intent. Thanks to the comprehensive and diverse database, we further train an auto-regressive, decoder-only Transformer for high-quality, context-aware camera movement generation based on text guidance and RGBD inputs, named GenDoP. Extensive experiments demonstrate that compared to existing methods, GenDoP offers better controllability, finer-grained trajectory adjustments, and higher motion stability. We believe our approach establishes a new standard for learning-based cinematography, paving the way for future advancements in camera control and filmmaking. Our project website: https://kszpxxzmc.github.io/GenDoP/.

We present a keyframe-based framework for generating music-synchronized, choreography aware animal dance videos. Starting from a few keyframes representing distinct animal poses -- generated via text-to-image prompting or GPT-4o -- we formulate dance synthesis as a graph optimization problem: find the optimal keyframe structure that satisfies a specified choreography pattern of beats, which can be automatically estimated from a reference dance video. We also introduce an approach for mirrored pose image generation, essential for capturing symmetry in dance. In-between frames are synthesized using an video diffusion model. With as few as six input keyframes, our method can produce up to 30 second dance videos across a wide range of animals and music tracks.

Despite recent advances in image-to-video generation, better controllability and local animation are less explored. Most existing image-to-video methods are not locally aware and tend to move the entire scene. However, human artists may need to control the movement of different objects or regions. Additionally, current I2V methods require users not only to describe the target motion but also to provide redundant detailed descriptions of frame contents. These two issues hinder the practical utilization of current I2V tools. In this paper, we propose a practical framework, named Follow-Your-Click, to achieve image animation with a simple user click (for specifying what to move) and a short motion prompt (for specifying how to move). Technically, we propose the first-frame masking strategy, which significantly improves the video generation quality, and a motion-augmented module equipped with a short motion prompt dataset to improve the short prompt following abilities of our model. To further control the motion speed, we propose flow-based motion magnitude control to control the speed of target movement more precisely. Our framework has simpler yet precise user control and better generation performance than previous methods. Extensive experiments compared with 7 baselines, including both commercial tools and research methods on 8 metrics, suggest the superiority of our approach. Project Page: https://follow-your-click.github.io/

Recent advances in diffusion models have significantly improved conditional video generation, particularly in the pose-guided human image animation task. Although existing methods are capable of generating high-fidelity and time-consistent animation sequences in regular motions and static scenes, there are still obvious limitations when facing complex human body motions (Hypermotion) that contain highly dynamic, non-standard motions, and the lack of a high-quality benchmark for evaluation of complex human motion animations. To address this challenge, we introduce the Open-HyperMotionX Dataset and HyperMotionX Bench, which provide high-quality human pose annotations and curated video clips for evaluating and improving pose-guided human image animation models under complex human motion conditions. Furthermore, we propose a simple yet powerful DiT-based video generation baseline and design spatial low-frequency enhanced RoPE, a novel module that selectively enhances low-frequency spatial feature modeling by introducing learnable frequency scaling. Our method significantly improves structural stability and appearance consistency in highly dynamic human motion sequences. Extensive experiments demonstrate the effectiveness of our dataset and proposed approach in advancing the generation quality of complex human motion image animations. Code and dataset will be made publicly available.

We propose MikuDance, a diffusion-based pipeline incorporating mixed motion dynamics to animate stylized character art. MikuDance consists of two key techniques: Mixed Motion Modeling and Mixed-Control Diffusion, to address the challenges of high-dynamic motion and reference-guidance misalignment in character art animation. Specifically, a Scene Motion Tracking strategy is presented to explicitly model the dynamic camera in pixel-wise space, enabling unified character-scene motion modeling. Building on this, the Mixed-Control Diffusion implicitly aligns the scale and body shape of diverse characters with motion guidance, allowing flexible control of local character motion. Subsequently, a Motion-Adaptive Normalization module is incorporated to effectively inject global scene motion, paving the way for comprehensive character art animation. Through extensive experiments, we demonstrate the effectiveness and generalizability of MikuDance across various character art and motion guidance, consistently producing high-quality animations with remarkable motion dynamics.

We propose a generative model that, given a coarsely edited image, synthesizes a photorealistic output that follows the prescribed layout. Our method transfers fine details from the original image and preserves the identity of its parts. Yet, it adapts it to the lighting and context defined by the new layout. Our key insight is that videos are a powerful source of supervision for this task: objects and camera motions provide many observations of how the world changes with viewpoint, lighting, and physical interactions. We construct an image dataset in which each sample is a pair of source and target frames extracted from the same video at randomly chosen time intervals. We warp the source frame toward the target using two motion models that mimic the expected test-time user edits. We supervise our model to translate the warped image into the ground truth, starting from a pretrained diffusion model. Our model design explicitly enables fine detail transfer from the source frame to the generated image, while closely following the user-specified layout. We show that by using simple segmentations and coarse 2D manipulations, we can synthesize a photorealistic edit faithful to the user's input while addressing second-order effects like harmonizing the lighting and physical interactions between edited objects.

Success in generative modeling across language, image, and video demonstrates that large, well-curated datasets are the key driver for building capable models. 3D Human motion, however, has lagged behind, constrained by an unsatisfying choice between small, high-fidelity motion capture datasets and large-scale in-the-wild collections dominated by static or low-quality sequences. We introduce RoMo, a rich, large-scale, carefully curated dataset of in-the-wild human motions that resolves these tradeoffs. To ensure quality, we introduce a taxonomy-aware filtering pipeline that aggressively removes static and artifact-prone sequences. Every sequence is annotated with detailed captions and organized by a novel three-level semantic taxonomy. This hierarchical structure enables fine-grained, per-category evaluation, that reveals model strengths and weaknesses obscured by global metrics. We demonstrate that models trained on RoMo achieve state-of-the-art fidelity and diversity while gaining a superior understanding of complex, subtle text prompts. Finally, we release the Motion Toolbox to standardize metrics, data conversion, and visualization, establishing a foundation for reproducible and interpretable motion generation research.

Existing volumetric capture of dynamic human performance achieves high fidelity with dense camera arrays. However, in real-world scenarios, only a handful of low-overlap cameras are available, which degrades the output quality and leaves large areas unobserved. Recent 4D reconstruction methods have focused on low-overlap settings, yet they still produce noticeable artifacts in under-observed regions. Video diffusion models have emerged as another option, but they show geometrically inconsistent results for humans. To address these limitations, we propose StudioRecon, a pipeline that reconstructs 4D human scenes from sparse, low-overlap cameras by decoupling background and humans. We densify background supervision by synthesizing hundreds of camera-controlled novel views with a video diffusion model. We also robustly initialize deformable Gaussian humans with cross-view identity association and triangulated multi-view keypoint fitting. Finally, our recursive enhancement module with motion-adaptive consistency injection harmonizes the composed output, thereby further avoiding remaining artifacts. We achieve state-of-the-art novel view synthesis across four real-world datasets and demonstrate applications such as novel trajectory rendering and human replacement.

We introduce PointOdyssey, a large-scale synthetic dataset, and data generation framework, for the training and evaluation of long-term fine-grained tracking algorithms. Our goal is to advance the state-of-the-art by placing emphasis on long videos with naturalistic motion. Toward the goal of naturalism, we animate deformable characters using real-world motion capture data, we build 3D scenes to match the motion capture environments, and we render camera viewpoints using trajectories mined via structure-from-motion on real videos. We create combinatorial diversity by randomizing character appearance, motion profiles, materials, lighting, 3D assets, and atmospheric effects. Our dataset currently includes 104 videos, averaging 2,000 frames long, with orders of magnitude more correspondence annotations than prior work. We show that existing methods can be trained from scratch in our dataset and outperform the published variants. Finally, we introduce modifications to the PIPs point tracking method, greatly widening its temporal receptive field, which improves its performance on PointOdyssey as well as on two real-world benchmarks. Our data and code are publicly available at: https://pointodyssey.com

The increasing demand for immersive AR/VR applications and spatial intelligence has heightened the need to generate high-quality scene-level and 360{\deg} panoramic video. However, most video diffusion models are constrained by limited resolution and aspect ratio, which restricts their applicability to scene-level dynamic content synthesis. In this work, we propose the DynamicScaler, addressing these challenges by enabling spatially scalable and panoramic dynamic scene synthesis that preserves coherence across panoramic scenes of arbitrary size. Specifically, we introduce a Offset Shifting Denoiser, facilitating efficient, synchronous, and coherent denoising panoramic dynamic scenes via a diffusion model with fixed resolution through a seamless rotating Window, which ensures seamless boundary transitions and consistency across the entire panoramic space, accommodating varying resolutions and aspect ratios. Additionally, we employ a Global Motion Guidance mechanism to ensure both local detail fidelity and global motion continuity. Extensive experiments demonstrate our method achieves superior content and motion quality in panoramic scene-level video generation, offering a training-free, efficient, and scalable solution for immersive dynamic scene creation with constant VRAM consumption regardless of the output video resolution. Our project page is available at https://dynamic-scaler.pages.dev/.

Animating clipart images with seamless motion while maintaining visual fidelity and temporal coherence presents significant challenges. Existing methods, such as AniClipart, effectively model spatial deformations but often fail to ensure smooth temporal transitions, resulting in artifacts like abrupt motions and geometric distortions. Similarly, text-to-video (T2V) and image-to-video (I2V) models struggle to handle clipart due to the mismatch in statistical properties between natural video and clipart styles. This paper introduces FlexiClip, a novel approach designed to overcome these limitations by addressing the intertwined challenges of temporal consistency and geometric integrity. FlexiClip extends traditional B\'ezier curve-based trajectory modeling with key innovations: temporal Jacobians to correct motion dynamics incrementally, continuous-time modeling via probability flow ODEs (pfODEs) to mitigate temporal noise, and a flow matching loss inspired by GFlowNet principles to optimize smooth motion transitions. These enhancements ensure coherent animations across complex scenarios involving rapid movements and non-rigid deformations. Extensive experiments validate the effectiveness of FlexiClip in generating animations that are not only smooth and natural but also structurally consistent across diverse clipart types, including humans and animals. By integrating spatial and temporal modeling with pre-trained video diffusion models, FlexiClip sets a new standard for high-quality clipart animation, offering robust performance across a wide range of visual content. Project Page: https://creative-gen.github.io/flexiclip.github.io/

We present a novel task: text-to-3D sketch animation, which aims to bring freeform sketches to life in dynamic 3D space. Unlike prior works focused on photorealistic content generation, we target sparse, stylized, and view-consistent 3D vector sketches, a lightweight and interpretable medium well-suited for visual communication and prototyping. However, this task is very challenging: (i) no paired dataset exists for text and 3D (or 4D) sketches; (ii) sketches require structural abstraction that is difficult to model with conventional 3D representations like NeRFs or point clouds; and (iii) animating such sketches demands temporal coherence and multi-view consistency, which current pipelines do not address. Therefore, we propose 4-Doodle, the first training-free framework for generating dynamic 3D sketches from text. It leverages pretrained image and video diffusion models through a dual-space distillation scheme: one space captures multi-view-consistent geometry using differentiable Bézier curves, while the other encodes motion dynamics via temporally-aware priors. Unlike prior work (e.g., DreamFusion), which optimizes from a single view per step, our multi-view optimization ensures structural alignment and avoids view ambiguity, critical for sparse sketches. Furthermore, we introduce a structure-aware motion module that separates shape-preserving trajectories from deformation-aware changes, enabling expressive motion such as flipping, rotation, and articulated movement. Extensive experiments show that our method produces temporally realistic and structurally stable 3D sketch animations, outperforming existing baselines in both fidelity and controllability. We hope this work serves as a step toward more intuitive and accessible 4D content creation.

The field has made significant progress in synthesizing realistic human motion driven by various modalities. Yet, the need for different methods to animate various body parts according to different control signals limits the scalability of these techniques in practical scenarios. In this paper, we introduce a cohesive and scalable approach that consolidates multimodal (text, music, speech) and multi-part (hand, torso) human motion generation. Our methodology unfolds in several steps: We begin by quantizing the motions of diverse body parts into separate codebooks tailored to their respective domains. Next, we harness the robust capabilities of pre-trained models to transcode multimodal signals into a shared latent space. We then translate these signals into discrete motion tokens by iteratively predicting subsequent tokens to form a complete sequence. Finally, we reconstruct the continuous actual motion from this tokenized sequence. Our method frames the multimodal motion generation challenge as a token prediction task, drawing from specialized codebooks based on the modality of the control signal. This approach is inherently scalable, allowing for the easy integration of new modalities. Extensive experiments demonstrated the effectiveness of our design, emphasizing its potential for broad application.

Motion modeling is critical in flow-based Video Frame Interpolation (VFI). Existing paradigms either consider linear combinations of bidirectional flows or directly predict bilateral flows for given timestamps without exploring favorable motion priors, thus lacking the capability of effectively modeling spatiotemporal dynamics in real-world videos. To address this limitation, in this study, we introduce Generalizable Implicit Motion Modeling (GIMM), a novel and effective approach to motion modeling for VFI. Specifically, to enable GIMM as an effective motion modeling paradigm, we design a motion encoding pipeline to model spatiotemporal motion latent from bidirectional flows extracted from pre-trained flow estimators, effectively representing input-specific motion priors. Then, we implicitly predict arbitrary-timestep optical flows within two adjacent input frames via an adaptive coordinate-based neural network, with spatiotemporal coordinates and motion latent as inputs. Our GIMM can be smoothly integrated with existing flow-based VFI works without further modifications. We show that GIMM performs better than the current state of the art on the VFI benchmarks.

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/

We introduce a framework that automates the transformation of static anime illustrations into manipulatable 2.5D models. Current professional workflows require tedious manual segmentation and the artistic ``hallucination'' of occluded regions to enable motion. Our approach overcomes this by decomposing a single image into fully inpainted, semantically distinct layers with inferred drawing orders. To address the scarcity of training data, we introduce a scalable engine that bootstraps high-quality supervision from commercial Live2D models, capturing pixel-perfect semantics and hidden geometry. Our methodology couples a diffusion-based Body Part Consistency Module, which enforces global geometric coherence, with a pixel-level pseudo-depth inference mechanism. This combination resolves the intricate stratification of anime characters, e.g., interleaving hair strands, allowing for dynamic layer reconstruction. We demonstrate that our approach yields high-fidelity, manipulatable models suitable for professional, real-time animation applications.

We present a frame interpolation algorithm that synthesizes multiple intermediate frames from two input images with large in-between motion. Recent methods use multiple networks to estimate optical flow or depth and a separate network dedicated to frame synthesis. This is often complex and requires scarce optical flow or depth ground-truth. In this work, we present a single unified network, distinguished by a multi-scale feature extractor that shares weights at all scales, and is trainable from frames alone. To synthesize crisp and pleasing frames, we propose to optimize our network with the Gram matrix loss that measures the correlation difference between feature maps. Our approach outperforms state-of-the-art methods on the Xiph large motion benchmark. We also achieve higher scores on Vimeo-90K, Middlebury and UCF101, when comparing to methods that use perceptual losses. We study the effect of weight sharing and of training with datasets of increasing motion range. Finally, we demonstrate our model's effectiveness in synthesizing high quality and temporally coherent videos on a challenging near-duplicate photos dataset. Codes and pre-trained models are available at https://film-net.github.io.

The evolution of diffusion models has greatly impacted video generation and understanding. Particularly, text-to-video diffusion models (VDMs) have significantly facilitated the customization of input video with target appearance, motion, etc. Despite these advances, challenges persist in accurately distilling motion information from video frames. While existing works leverage the consecutive frame residual as the target motion vector, they inherently lack global motion context and are vulnerable to frame-wise distortions. To address this, we present Spectral Motion Alignment (SMA), a novel framework that refines and aligns motion vectors using Fourier and wavelet transforms. SMA learns motion patterns by incorporating frequency-domain regularization, facilitating the learning of whole-frame global motion dynamics, and mitigating spatial artifacts. Extensive experiments demonstrate SMA's efficacy in improving motion transfer while maintaining computational efficiency and compatibility across various video customization frameworks.

Large-scale pre-trained diffusion models have exhibited remarkable capabilities in diverse video generations. Given a set of video clips of the same motion concept, the task of Motion Customization is to adapt existing text-to-video diffusion models to generate videos with this motion. For example, generating a video with a car moving in a prescribed manner under specific camera movements to make a movie, or a video illustrating how a bear would lift weights to inspire creators. Adaptation methods have been developed for customizing appearance like subject or style, yet unexplored for motion. It is straightforward to extend mainstream adaption methods for motion customization, including full model tuning, parameter-efficient tuning of additional layers, and Low-Rank Adaptions (LoRAs). However, the motion concept learned by these methods is often coupled with the limited appearances in the training videos, making it difficult to generalize the customized motion to other appearances. To overcome this challenge, we propose MotionDirector, with a dual-path LoRAs architecture to decouple the learning of appearance and motion. Further, we design a novel appearance-debiased temporal loss to mitigate the influence of appearance on the temporal training objective. Experimental results show the proposed method can generate videos of diverse appearances for the customized motions. Our method also supports various downstream applications, such as the mixing of different videos with their appearance and motion respectively, and animating a single image with customized motions. Our code and model weights will be released.

Generating human motion with precise spatial control is a challenging problem. Existing approaches often require task-specific training or slow optimization, and enforcing hard constraints frequently disrupts motion naturalness. Building on the observation that many animation tasks can be formulated as a linear inverse problem, we introduce ProjFlow, a training-free sampler that achieves zero-shot, exact satisfaction of linear spatial constraints while preserving motion realism. Our key advance is a novel kinematics-aware metric that encodes skeletal topology. This metric allows the sampler to enforce hard constraints by distributing corrections coherently across the entire skeleton, avoiding the unnatural artifacts of naive projection. Furthermore, for sparse inputs, such as filling in long gaps between a few keyframes, we introduce a time-varying formulation using pseudo-observations that fade during sampling. Extensive experiments on representative applications, motion inpainting, and 2D-to-3D lifting, demonstrate that ProjFlow achieves exact constraint satisfaction and matches or improves realism over zero-shot baselines, while remaining competitive with training-based controllers.

Action customization involves generating videos where the subject performs actions dictated by input control signals. Current methods use pose-guided or global motion customization but are limited by strict constraints on spatial structure, such as layout, skeleton, and viewpoint consistency, reducing adaptability across diverse subjects and scenarios. To overcome these limitations, we propose FlexiAct, which transfers actions from a reference video to an arbitrary target image. Unlike existing methods, FlexiAct allows for variations in layout, viewpoint, and skeletal structure between the subject of the reference video and the target image, while maintaining identity consistency. Achieving this requires precise action control, spatial structure adaptation, and consistency preservation. To this end, we introduce RefAdapter, a lightweight image-conditioned adapter that excels in spatial adaptation and consistency preservation, surpassing existing methods in balancing appearance consistency and structural flexibility. Additionally, based on our observations, the denoising process exhibits varying levels of attention to motion (low frequency) and appearance details (high frequency) at different timesteps. So we propose FAE (Frequency-aware Action Extraction), which, unlike existing methods that rely on separate spatial-temporal architectures, directly achieves action extraction during the denoising process. Experiments demonstrate that our method effectively transfers actions to subjects with diverse layouts, skeletons, and viewpoints. We release our code and model weights to support further research at https://shiyi-zh0408.github.io/projectpages/FlexiAct/

By generating plausible and smooth transitions between two image frames, video inbetweening is an essential tool for video editing and long video synthesis. Traditional works lack the capability to generate complex large motions. While recent video generation techniques are powerful in creating high-quality results, they often lack fine control over the details of intermediate frames, which can lead to results that do not align with the creative mind. We introduce MotionBridge, a unified video inbetweening framework that allows flexible controls, including trajectory strokes, keyframes, masks, guide pixels, and text. However, learning such multi-modal controls in a unified framework is a challenging task. We thus design two generators to extract the control signal faithfully and encode feature through dual-branch embedders to resolve ambiguities. We further introduce a curriculum training strategy to smoothly learn various controls. Extensive qualitative and quantitative experiments have demonstrated that such multi-modal controls enable a more dynamic, customizable, and contextually accurate visual narrative.

Text-driven controllable dance generation remains under-explored, primarily due to the severe scarcity of high-quality datasets and the inherent difficulty of articulating complex choreographies. Characterizing dance is particularly challenging owing to its intricate spatial dynamics, strong directionality, and the highly decoupled movements of distinct body parts. To overcome these bottlenecks, we bridge principles from dance studies, human anatomy, and biomechanics to propose Choreographic Syntax, a novel theoretical framework with a tailored annotation system. Grounded in this syntax, we combine professional dance archives with high-fidelity motion capture data to construct DanceFlow, the most fine-grained dance dataset to date. It encompasses 41 hours of high-quality motions paired with 6.34 million words of detailed descriptions. At the model level, we introduce DanceCrafter, a tailored motion transformer built upon the Momentum Human Rig. To circumvent optimization instabilities, we construct a continuous manifold motion representation paired with a hybrid normalization strategy. Furthermore, we design an anatomy-aware loss to explicitly regulate the decoupled nature of body parts. Together, these adaptations empower DanceCrafter to achieve the high-fidelity and stable generation of complex dance sequences. Extensive evaluations and user studies demonstrate our state-of-the-art performance in motion quality, fine-grained controllability, and generation naturalness.

In this paper, we present Motion-X, a large-scale 3D expressive whole-body motion dataset. Existing motion datasets predominantly contain body-only poses, lacking facial expressions, hand gestures, and fine-grained pose descriptions. Moreover, they are primarily collected from limited laboratory scenes with textual descriptions manually labeled, which greatly limits their scalability. To overcome these limitations, we develop a whole-body motion and text annotation pipeline, which can automatically annotate motion from either single- or multi-view videos and provide comprehensive semantic labels for each video and fine-grained whole-body pose descriptions for each frame. This pipeline is of high precision, cost-effective, and scalable for further research. Based on it, we construct Motion-X, which comprises 13.7M precise 3D whole-body pose annotations (i.e., SMPL-X) covering 96K motion sequences from massive scenes. Besides, Motion-X provides 13.7M frame-level whole-body pose descriptions and 96K sequence-level semantic labels. Comprehensive experiments demonstrate the accuracy of the annotation pipeline and the significant benefit of Motion-X in enhancing expressive, diverse, and natural motion generation, as well as 3D whole-body human mesh recovery.

This work explores the motion transfer from one video to another, which is crucial in animation for diverse characters. Previously, video motion transfer has been largely explored between human and human-like characters, enabling a lot of applications in digital creation. However, these approaches encounter a main limitation. Specifically, related technical pipelines heavily rely on a predefined human skeleton structure and accordingly require skeleton-conditional model training. On the one hand, these methods are difficult to generalize to diverse characters, such as animals from different species, while preserving their unique motion styles. On the other hand, labeled data in diverse skeletons is limited, which additionally restricts the large-scale training for the task. In this paper, we jump out of the skeleton-based motion transfer framework and propose a training-free motion transfer framework, named Motion4Motion. Motion4Motionmodels the motion flow of the character in a video instead of skeletons, which makes motion transfer across species easier. Extensive experimental results and novel applications show our methods outperform baselines impressively. Project page is available at https://lhchen.top/Motion4Motion.

Generating video from various conditions, such as text, image, and audio, enables both spatial and temporal control, leading to high-quality generation results. Videos with dramatic motions often require a higher frame rate to ensure smooth motion. Currently, most audio-to-visual animation models use uniformly sampled frames from video clips. However, these uniformly sampled frames fail to capture significant key moments in dramatic motions at low frame rates and require significantly more memory when increasing the number of frames directly. In this paper, we propose KeyVID, a keyframe-aware audio-to-visual animation framework that significantly improves the generation quality for key moments in audio signals while maintaining computation efficiency. Given an image and an audio input, we first localize keyframe time steps from the audio. Then, we use a keyframe generator to generate the corresponding visual keyframes. Finally, we generate all intermediate frames using the motion interpolator. Through extensive experiments, we demonstrate that KeyVID significantly improves audio-video synchronization and video quality across multiple datasets, particularly for highly dynamic motions. The code is released in https://github.com/XingruiWang/KeyVID.

Motion magnification helps us visualize subtle, imperceptible motion. However, prior methods only work for 2D videos captured with a fixed camera. We present a 3D motion magnification method that can magnify subtle motions from scenes captured by a moving camera, while supporting novel view rendering. We represent the scene with time-varying radiance fields and leverage the Eulerian principle for motion magnification to extract and amplify the variation of the embedding of a fixed point over time. We study and validate our proposed principle for 3D motion magnification using both implicit and tri-plane-based radiance fields as our underlying 3D scene representation. We evaluate the effectiveness of our method on both synthetic and real-world scenes captured under various camera setups.

While diffusion model for audio-driven avatar video generation have achieved notable process in synthesizing long sequences with natural audio-visual synchronization and identity consistency, the generation of music-performance videos with camera motions remains largely unexplored. We present YingVideo-MV, the first cascaded framework for music-driven long-video generation. Our approach integrates audio semantic analysis, an interpretable shot planning module (MV-Director), temporal-aware diffusion Transformer architectures, and long-sequence consistency modeling to enable automatic synthesis of high-quality music performance videos from audio signals. We construct a large-scale Music-in-the-Wild Dataset by collecting web data to support the achievement of diverse, high-quality results. Observing that existing long-video generation methods lack explicit camera motion control, we introduce a camera adapter module that embeds camera poses into latent noise. To enhance continulity between clips during long-sequence inference, we further propose a time-aware dynamic window range strategy that adaptively adjust denoising ranges based on audio embedding. Comprehensive benchmark tests demonstrate that YingVideo-MV achieves outstanding performance in generating coherent and expressive music videos, and enables precise music-motion-camera synchronization. More videos are available in our project page: https://giantailab.github.io/YingVideo-MV/ .

Due to the complex and highly dynamic motions in the real world, synthesizing dynamic videos from multi-view inputs for arbitrary viewpoints is challenging. Previous works based on neural radiance field or 3D Gaussian splatting are limited to modeling fine-scale motion, greatly restricting their application. In this paper, we introduce LocalDyGS, which consists of two parts to adapt our method to both large-scale and fine-scale motion scenes: 1) We decompose a complex dynamic scene into streamlined local spaces defined by seeds, enabling global modeling by capturing motion within each local space. 2) We decouple static and dynamic features for local space motion modeling. A static feature shared across time steps captures static information, while a dynamic residual field provides time-specific features. These are combined and decoded to generate Temporal Gaussians, modeling motion within each local space. As a result, we propose a novel dynamic scene reconstruction framework to model highly dynamic real-world scenes more realistically. Our method not only demonstrates competitive performance on various fine-scale datasets compared to state-of-the-art (SOTA) methods, but also represents the first attempt to model larger and more complex highly dynamic scenes. Project page: https://wujh2001.github.io/LocalDyGS/.

Recent advances in 4D Gaussian Splatting (4DGS) have extended the high-speed rendering capability of 3D Gaussian Splatting (3DGS) into the temporal domain, enabling real-time rendering of dynamic scenes. However, one of the major remaining challenges lies in modeling long-range motion-contained dynamic videos, where a naive extension of existing methods leads to severe memory explosion, temporal flickering, and failure to handle appearing or disappearing occlusions over time. To address these challenges, we propose a novel 4DGS framework characterized by an Anchor Relay-based Bidirectional Blending (ARBB) mechanism, named MoRel, which enables temporally consistent and memory-efficient modeling of long-range dynamic scenes. Our method progressively constructs locally canonical anchor spaces at key-frame time index and models inter-frame deformations at the anchor level, enhancing temporal coherence. By learning bidirectional deformations between KfA and adaptively blending them through learnable opacity control, our approach mitigates temporal discontinuities and flickering artifacts. We further introduce a Feature-variance-guided Hierarchical Densification (FHD) scheme that effectively densifies KfA's while keeping rendering quality, based on an assigned level of feature-variance. To effectively evaluate our model's capability to handle real-world long-range 4D motion, we newly compose long-range 4D motion-contained dataset, called SelfCap_{LR}. It has larger average dynamic motion magnitude, captured at spatially wider spaces, compared to previous dynamic video datasets. Overall, our MoRel achieves temporally coherent and flicker-free long-range 4D reconstruction while maintaining bounded memory usage, demonstrating both scalability and efficiency in dynamic Gaussian-based representations.

Image-to-Video (I2V) generation aims to synthesize a video clip according to a given image and condition (e.g., text). The key challenge of this task lies in simultaneously generating natural motions while preserving the original appearance of the images. However, current I2V diffusion models (I2V-DMs) often produce videos with limited motion degrees or exhibit uncontrollable motion that conflicts with the textual condition. To address these limitations, we propose a novel Extrapolating and Decoupling framework, which introduces model merging techniques to the I2V domain for the first time. Specifically, our framework consists of three separate stages: (1) Starting with a base I2V-DM, we explicitly inject the textual condition into the temporal module using a lightweight, learnable adapter and fine-tune the integrated model to improve motion controllability. (2) We introduce a training-free extrapolation strategy to amplify the dynamic range of the motion, effectively reversing the fine-tuning process to enhance the motion degree significantly. (3) With the above two-stage models excelling in motion controllability and degree, we decouple the relevant parameters associated with each type of motion ability and inject them into the base I2V-DM. Since the I2V-DM handles different levels of motion controllability and dynamics at various denoising time steps, we adjust the motion-aware parameters accordingly over time. Extensive qualitative and quantitative experiments have been conducted to demonstrate the superiority of our framework over existing methods.

Existing camera motion-controlled video generation methods face computational bottlenecks in fine-tuning and inference. This paper proposes LightMotion, a light and tuning-free method for simulating camera motion in video generation. Operating in the latent space, it eliminates additional fine-tuning, inpainting, and depth estimation, making it more streamlined than existing methods. The endeavors of this paper comprise: (i) The latent space permutation operation effectively simulates various camera motions like panning, zooming, and rotation. (ii) The latent space resampling strategy combines background-aware sampling and cross-frame alignment to accurately fill new perspectives while maintaining coherence across frames. (iii) Our in-depth analysis shows that the permutation and resampling cause an SNR shift in latent space, leading to poor-quality generation. To address this, we propose latent space correction, which reintroduces noise during denoising to mitigate SNR shift and enhance video generation quality. Exhaustive experiments show that our LightMotion outperforms existing methods, both quantitatively and qualitatively.

Controllable character animation remains a challenging problem, particularly in handling rare poses, stylized characters, character-object interactions, complex illumination, and dynamic scenes. To tackle these issues, prior work has largely focused on injecting pose and appearance guidance via elaborate bypass networks, but often struggles to generalize to open-world scenarios. In this paper, we propose a new perspective that, as long as the foundation model is powerful enough, straightforward model modifications with flexible fine-tuning strategies can largely address the above challenges, taking a step towards controllable character animation in the wild. Specifically, we introduce RealisDance-DiT, built upon the Wan-2.1 video foundation model. Our sufficient analysis reveals that the widely adopted Reference Net design is suboptimal for large-scale DiT models. Instead, we demonstrate that minimal modifications to the foundation model architecture yield a surprisingly strong baseline. We further propose the low-noise warmup and "large batches and small iterations" strategies to accelerate model convergence during fine-tuning while maximally preserving the priors of the foundation model. In addition, we introduce a new test dataset that captures diverse real-world challenges, complementing existing benchmarks such as TikTok dataset and UBC fashion video dataset, to comprehensively evaluate the proposed method. Extensive experiments show that RealisDance-DiT outperforms existing methods by a large margin.

Editing images with instructions to reflect non-rigid motions, camera viewpoint shifts, object deformations, human articulations, and complex interactions, poses a challenging yet underexplored problem in computer vision. Existing approaches and datasets predominantly focus on static scenes or rigid transformations, limiting their capacity to handle expressive edits involving dynamic motion. To address this gap, we introduce ByteMorph, a comprehensive framework for instruction-based image editing with an emphasis on non-rigid motions. ByteMorph comprises a large-scale dataset, ByteMorph-6M, and a strong baseline model built upon the Diffusion Transformer (DiT), named ByteMorpher. ByteMorph-6M includes over 6 million high-resolution image editing pairs for training, along with a carefully curated evaluation benchmark ByteMorph-Bench. Both capture a wide variety of non-rigid motion types across diverse environments, human figures, and object categories. The dataset is constructed using motion-guided data generation, layered compositing techniques, and automated captioning to ensure diversity, realism, and semantic coherence. We further conduct a comprehensive evaluation of recent instruction-based image editing methods from both academic and commercial domains.

3D Gaussian Splatting (3DGS) has made significant strides in scene representation and neural rendering, with intense efforts focused on adapting it for dynamic scenes. Despite delivering remarkable rendering quality and speed, existing methods struggle with storage demands and representing complex real-world motions. To tackle these issues, we propose MoDecGS, a memory-efficient Gaussian splatting framework designed for reconstructing novel views in challenging scenarios with complex motions. We introduce GlobaltoLocal Motion Decomposition (GLMD) to effectively capture dynamic motions in a coarsetofine manner. This approach leverages Global Canonical Scaffolds (Global CS) and Local Canonical Scaffolds (Local CS), extending static Scaffold representation to dynamic video reconstruction. For Global CS, we propose Global Anchor Deformation (GAD) to efficiently represent global dynamics along complex motions, by directly deforming the implicit Scaffold attributes which are anchor position, offset, and local context features. Next, we finely adjust local motions via the Local Gaussian Deformation (LGD) of Local CS explicitly. Additionally, we introduce Temporal Interval Adjustment (TIA) to automatically control the temporal coverage of each Local CS during training, allowing MoDecGS to find optimal interval assignments based on the specified number of temporal segments. Extensive evaluations demonstrate that MoDecGS achieves an average 70% reduction in model size over stateoftheart methods for dynamic 3D Gaussians from realworld dynamic videos while maintaining or even improving rendering quality.

Controllable generation of 3D human motions becomes an important topic as the world embraces digital transformation. Existing works, though making promising progress with the advent of diffusion models, heavily rely on meticulously captured and annotated (e.g., text) high-quality motion corpus, a resource-intensive endeavor in the real world. This motivates our proposed MotionMix, a simple yet effective weakly-supervised diffusion model that leverages both noisy and unannotated motion sequences. Specifically, we separate the denoising objectives of a diffusion model into two stages: obtaining conditional rough motion approximations in the initial T-T^* steps by learning the noisy annotated motions, followed by the unconditional refinement of these preliminary motions during the last T^* steps using unannotated motions. Notably, though learning from two sources of imperfect data, our model does not compromise motion generation quality compared to fully supervised approaches that access gold data. Extensive experiments on several benchmarks demonstrate that our MotionMix, as a versatile framework, consistently achieves state-of-the-art performances on text-to-motion, action-to-motion, and music-to-dance tasks. Project page: https://nhathoang2002.github.io/MotionMix-page/

Incorporating a temporal dimension into pretrained image diffusion models for video generation is a prevalent approach. However, this method is computationally demanding and necessitates large-scale video datasets. More critically, the heterogeneity between image and video datasets often results in catastrophic forgetting of the image expertise. Recent attempts to directly extract video snippets from image diffusion models have somewhat mitigated these problems. Nevertheless, these methods can only generate brief video clips with simple movements and fail to capture fine-grained motion or non-grid deformation. In this paper, we propose a novel Zero-Shot video Sampling algorithm, denoted as ZS^2, capable of directly sampling high-quality video clips from existing image synthesis methods, such as Stable Diffusion, without any training or optimization. Specifically, ZS^2 utilizes the dependency noise model and temporal momentum attention to ensure content consistency and animation coherence, respectively. This ability enables it to excel in related tasks, such as conditional and context-specialized video generation and instruction-guided video editing. Experimental results demonstrate that ZS^2 achieves state-of-the-art performance in zero-shot video generation, occasionally outperforming recent supervised methods. Homepage: https://densechen.github.io/zss/.

We introduce animated stickers, a video diffusion model which generates an animation conditioned on a text prompt and static sticker image. Our model is built on top of the state-of-the-art Emu text-to-image model, with the addition of temporal layers to model motion. Due to the domain gap, i.e. differences in visual and motion style, a model which performed well on generating natural videos can no longer generate vivid videos when applied to stickers. To bridge this gap, we employ a two-stage finetuning pipeline: first with weakly in-domain data, followed by human-in-the-loop (HITL) strategy which we term ensemble-of-teachers. It distills the best qualities of multiple teachers into a smaller student model. We show that this strategy allows us to specifically target improvements to motion quality while maintaining the style from the static image. With inference optimizations, our model is able to generate an eight-frame video with high-quality, interesting, and relevant motion in under one second.

We propose a unified framework for motion control in video generation that seamlessly integrates camera movement, object-level translation, and fine-grained local motion using trajectory-based inputs. In contrast to prior methods that address these motion types through separate modules or task-specific designs, our approach offers a cohesive solution by projecting user-defined trajectories into the latent space of pre-trained image-to-video generation models via a lightweight motion injector. Users can specify keypoints and their motion paths to control localized deformations, entire object motion, virtual camera dynamics, or combinations of these. The injected trajectory signals guide the generative process to produce temporally consistent and semantically aligned motion sequences. Our framework demonstrates superior performance across multiple video motion control tasks, including stylized motion effects (e.g., motion brushes), dynamic viewpoint changes, and precise local motion manipulation. Experiments show that our method provides significantly better controllability and visual quality compared to prior approaches and commercial solutions, while remaining broadly compatible with various state-of-the-art video generation backbones. Project page: https://anytraj.github.io/.

We address the problem of dynamic scene reconstruction from sparse-view videos. Prior work often requires dense multi-view captures with hundreds of calibrated cameras (e.g. Panoptic Studio). Such multi-view setups are prohibitively expensive to build and cannot capture diverse scenes in-the-wild. In contrast, we aim to reconstruct dynamic human behaviors, such as repairing a bike or dancing, from a small set of sparse-view cameras with complete scene coverage (e.g. four equidistant inward-facing static cameras). We find that dense multi-view reconstruction methods struggle to adapt to this sparse-view setup due to limited overlap between viewpoints. To address these limitations, we carefully align independent monocular reconstructions of each camera to produce time- and view-consistent dynamic scene reconstructions. Extensive experiments on PanopticStudio and Ego-Exo4D demonstrate that our method achieves higher quality reconstructions than prior art, particularly when rendering novel views. Code, data, and data-processing scripts are available on https://github.com/ImNotPrepared/MonoFusion.

We introduce CamMimic, an innovative algorithm tailored for dynamic video editing needs. It is designed to seamlessly transfer the camera motion observed in a given reference video onto any scene of the user's choice in a zero-shot manner without requiring any additional data. Our algorithm achieves this using a two-phase strategy by leveraging a text-to-video diffusion model. In the first phase, we develop a multi-concept learning method using a combination of LoRA layers and an orthogonality loss to capture and understand the underlying spatial-temporal characteristics of the reference video as well as the spatial features of the user's desired scene. The second phase proposes a unique homography-based refinement strategy to enhance the temporal and spatial alignment of the generated video. We demonstrate the efficacy of our method through experiments conducted on a dataset containing combinations of diverse scenes and reference videos containing a variety of camera motions. In the absence of an established metric for assessing camera motion transfer between unrelated scenes, we propose CameraScore, a novel metric that utilizes homography representations to measure camera motion similarity between the reference and generated videos. Extensive quantitative and qualitative evaluations demonstrate that our approach generates high-quality, motion-enhanced videos. Additionally, a user study reveals that 70.31% of participants preferred our method for scene preservation, while 90.45% favored it for motion transfer. We hope this work lays the foundation for future advancements in camera motion transfer across different scenes.

This paper presents a simple method for "do as I do" motion transfer: given a source video of a person dancing, we can transfer that performance to a novel (amateur) target after only a few minutes of the target subject performing standard moves. We approach this problem as video-to-video translation using pose as an intermediate representation. To transfer the motion, we extract poses from the source subject and apply the learned pose-to-appearance mapping to generate the target subject. We predict two consecutive frames for temporally coherent video results and introduce a separate pipeline for realistic face synthesis. Although our method is quite simple, it produces surprisingly compelling results (see video). This motivates us to also provide a forensics tool for reliable synthetic content detection, which is able to distinguish videos synthesized by our system from real data. In addition, we release a first-of-its-kind open-source dataset of videos that can be legally used for training and motion transfer.

Despite tremendous recent progress, generative video models still struggle to capture real-world motion, dynamics, and physics. We show that this limitation arises from the conventional pixel reconstruction objective, which biases models toward appearance fidelity at the expense of motion coherence. To address this, we introduce VideoJAM, a novel framework that instills an effective motion prior to video generators, by encouraging the model to learn a joint appearance-motion representation. VideoJAM is composed of two complementary units. During training, we extend the objective to predict both the generated pixels and their corresponding motion from a single learned representation. During inference, we introduce Inner-Guidance, a mechanism that steers the generation toward coherent motion by leveraging the model's own evolving motion prediction as a dynamic guidance signal. Notably, our framework can be applied to any video model with minimal adaptations, requiring no modifications to the training data or scaling of the model. VideoJAM achieves state-of-the-art performance in motion coherence, surpassing highly competitive proprietary models while also enhancing the perceived visual quality of the generations. These findings emphasize that appearance and motion can be complementary and, when effectively integrated, enhance both the visual quality and the coherence of video generation. Project website: https://hila-chefer.github.io/videojam-paper.github.io/

We present a new test-time optimization method for estimating dense and long-range motion from a video sequence. Prior optical flow or particle video tracking algorithms typically operate within limited temporal windows, struggling to track through occlusions and maintain global consistency of estimated motion trajectories. We propose a complete and globally consistent motion representation, dubbed OmniMotion, that allows for accurate, full-length motion estimation of every pixel in a video. OmniMotion represents a video using a quasi-3D canonical volume and performs pixel-wise tracking via bijections between local and canonical space. This representation allows us to ensure global consistency, track through occlusions, and model any combination of camera and object motion. Extensive evaluations on the TAP-Vid benchmark and real-world footage show that our approach outperforms prior state-of-the-art methods by a large margin both quantitatively and qualitatively. See our project page for more results: http://omnimotion.github.io/

Generative video models are increasingly used in design animation tasks, yet no standardized evaluation framework exists for this domain. Unlike natural video generation, design animation imposes structured constraints: specific components shall animate with prescribed motion types, directions, speed and timing, while non-animated regions must remain stable and layout structure must be preserved. This paper provides a fully automated evaluation framework organized across four dimensions: layout fidelity, motion correctness, temporal quality, and content fidelity. This eliminates the reliance on subjective human evaluation and establishes a common basis for benchmarking progress in the field. We release the code and dataset here: https://github.com/purvanshi/lica-bench.

With the advance of text-to-image models (e.g., Stable Diffusion) and corresponding personalization techniques such as DreamBooth and LoRA, everyone can manifest their imagination into high-quality images at an affordable cost. Subsequently, there is a great demand for image animation techniques to further combine generated static images with motion dynamics. In this report, we propose a practical framework to animate most of the existing personalized text-to-image models once and for all, saving efforts in model-specific tuning. At the core of the proposed framework is to insert a newly initialized motion modeling module into the frozen text-to-image model and train it on video clips to distill reasonable motion priors. Once trained, by simply injecting this motion modeling module, all personalized versions derived from the same base T2I readily become text-driven models that produce diverse and personalized animated images. We conduct our evaluation on several public representative personalized text-to-image models across anime pictures and realistic photographs, and demonstrate that our proposed framework helps these models generate temporally smooth animation clips while preserving the domain and diversity of their outputs. Code and pre-trained weights will be publicly available at https://animatediff.github.io/ .

Music-driven dance video generation aims to synthesize expressive human motion that is temporally aligned with music while maintaining high visual fidelity. Despite recent progress, existing methods still face two key limitations: the lack of large-scale, high-quality dance video datasets, and the absence of principled frameworks for integrating music as a complementary conditioning signal into Video Generation Foundation Models. To address these limitations, we introduce CIPE-Dance, a large-scale Internet-sourced dance video dataset with choreography-informed text annotations, constructed via a progressive expert pipeline. To the best of our knowledge, CIPE-Dance is the largest dataset for dance video generation to date, comprising 300k high-quality clips over 400 hours and covering diverse dancers, environments, and dance genres. We further propose OmniDance, a framework-level recipe for integrating music into a TI2V foundation model without sacrificing its original controllability or visual fidelity. Motivated by the complementary roles of text as low-frequency semantics and music as high-frequency temporal dynamics, OmniDance co-designs a depth-aware specialization architecture, an anchored easy-to-hard curriculum learning strategy, and a modality-specialized time-dependent CFG strategy, enabling unified TI2V, MI2V, and MTI2V generation. Extensive experiments on CIPE-Dance demonstrate that OmniDance achieves state-of-the-art performance across all three tasks and exhibits robust multimodal integration capability. Project is available at https://github.com/AMAP-ML/OmniDance.

Inter-frame modeling is pivotal in generating intermediate frames for video frame interpolation (VFI). Current approaches predominantly rely on convolution or attention-based models, which often either lack sufficient receptive fields or entail significant computational overheads. Recently, Selective State Space Models (S6) have emerged, tailored specifically for long sequence modeling, offering both linear complexity and data-dependent modeling capabilities. In this paper, we propose VFIMamba, a novel frame interpolation method for efficient and dynamic inter-frame modeling by harnessing the S6 model. Our approach introduces the Mixed-SSM Block (MSB), which initially rearranges tokens from adjacent frames in an interleaved fashion and subsequently applies multi-directional S6 modeling. This design facilitates the efficient transmission of information across frames while upholding linear complexity. Furthermore, we introduce a novel curriculum learning strategy that progressively cultivates proficiency in modeling inter-frame dynamics across varying motion magnitudes, fully unleashing the potential of the S6 model. Experimental findings showcase that our method attains state-of-the-art performance across diverse benchmarks, particularly excelling in high-resolution scenarios. In particular, on the X-TEST dataset, VFIMamba demonstrates a noteworthy improvement of 0.80 dB for 4K frames and 0.96 dB for 2K frames.

Long exposure photography produces stunning imagery, representing moving elements in a scene with motion-blur. It is generally employed in two modalities, producing either a foreground or a background blur effect. Foreground blur images are traditionally captured on a tripod-mounted camera and portray blurred moving foreground elements, such as silky water or light trails, over a perfectly sharp background landscape. Background blur images, also called panning photography, are captured while the camera is tracking a moving subject, to produce an image of a sharp subject over a background blurred by relative motion. Both techniques are notoriously challenging and require additional equipment and advanced skills. In this paper, we describe a computational burst photography system that operates in a hand-held smartphone camera app, and achieves these effects fully automatically, at the tap of the shutter button. Our approach first detects and segments the salient subject. We track the scene motion over multiple frames and align the images in order to preserve desired sharpness and to produce aesthetically pleasing motion streaks. We capture an under-exposed burst and select the subset of input frames that will produce blur trails of controlled length, regardless of scene or camera motion velocity. We predict inter-frame motion and synthesize motion-blur to fill the temporal gaps between the input frames. Finally, we composite the blurred image with the sharp regular exposure to protect the sharpness of faces or areas of the scene that are barely moving, and produce a final high resolution and high dynamic range (HDR) photograph. Our system democratizes a capability previously reserved to professionals, and makes this creative style accessible to most casual photographers. More information and supplementary material can be found on our project webpage: https://motion-mode.github.io/

Human motion stylization aims to revise the style of an input motion while keeping its content unaltered. Unlike existing works that operate directly in pose space, we leverage the latent space of pretrained autoencoders as a more expressive and robust representation for motion extraction and infusion. Building upon this, we present a novel generative model that produces diverse stylization results of a single motion (latent) code. During training, a motion code is decomposed into two coding components: a deterministic content code, and a probabilistic style code adhering to a prior distribution; then a generator massages the random combination of content and style codes to reconstruct the corresponding motion codes. Our approach is versatile, allowing the learning of probabilistic style space from either style labeled or unlabeled motions, providing notable flexibility in stylization as well. In inference, users can opt to stylize a motion using style cues from a reference motion or a label. Even in the absence of explicit style input, our model facilitates novel re-stylization by sampling from the unconditional style prior distribution. Experimental results show that our proposed stylization models, despite their lightweight design, outperform the state-of-the-art in style reenactment, content preservation, and generalization across various applications and settings. Project Page: https://murrol.github.io/GenMoStyle

We present Stable Video Diffusion - a latent video diffusion model for high-resolution, state-of-the-art text-to-video and image-to-video generation. Recently, latent diffusion models trained for 2D image synthesis have been turned into generative video models by inserting temporal layers and finetuning them on small, high-quality video datasets. However, training methods in the literature vary widely, and the field has yet to agree on a unified strategy for curating video data. In this paper, we identify and evaluate three different stages for successful training of video LDMs: text-to-image pretraining, video pretraining, and high-quality video finetuning. Furthermore, we demonstrate the necessity of a well-curated pretraining dataset for generating high-quality videos and present a systematic curation process to train a strong base model, including captioning and filtering strategies. We then explore the impact of finetuning our base model on high-quality data and train a text-to-video model that is competitive with closed-source video generation. We also show that our base model provides a powerful motion representation for downstream tasks such as image-to-video generation and adaptability to camera motion-specific LoRA modules. Finally, we demonstrate that our model provides a strong multi-view 3D-prior and can serve as a base to finetune a multi-view diffusion model that jointly generates multiple views of objects in a feedforward fashion, outperforming image-based methods at a fraction of their compute budget. We release code and model weights at https://github.com/Stability-AI/generative-models .

We present Animus3D, a text-driven 3D animation framework that generates motion field given a static 3D asset and text prompt. Previous methods mostly leverage the vanilla Score Distillation Sampling (SDS) objective to distill motion from pretrained text-to-video diffusion, leading to animations with minimal movement or noticeable jitter. To address this, our approach introduces a novel SDS alternative, Motion Score Distillation (MSD). Specifically, we introduce a LoRA-enhanced video diffusion model that defines a static source distribution rather than pure noise as in SDS, while another inversion-based noise estimation technique ensures appearance preservation when guiding motion. To further improve motion fidelity, we incorporate explicit temporal and spatial regularization terms that mitigate geometric distortions across time and space. Additionally, we propose a motion refinement module to upscale the temporal resolution and enhance fine-grained details, overcoming the fixed-resolution constraints of the underlying video model. Extensive experiments demonstrate that Animus3D successfully animates static 3D assets from diverse text prompts, generating significantly more substantial and detailed motion than state-of-the-art baselines while maintaining high visual integrity. Code will be released at https://qiisun.github.io/animus3d_page.

We present AnimaX, a feed-forward 3D animation framework that bridges the motion priors of video diffusion models with the controllable structure of skeleton-based animation. Traditional motion synthesis methods are either restricted to fixed skeletal topologies or require costly optimization in high-dimensional deformation spaces. In contrast, AnimaX effectively transfers video-based motion knowledge to the 3D domain, supporting diverse articulated meshes with arbitrary skeletons. Our method represents 3D motion as multi-view, multi-frame 2D pose maps, and enables joint video-pose diffusion conditioned on template renderings and a textual motion prompt. We introduce shared positional encodings and modality-aware embeddings to ensure spatial-temporal alignment between video and pose sequences, effectively transferring video priors to motion generation task. The resulting multi-view pose sequences are triangulated into 3D joint positions and converted into mesh animation via inverse kinematics. Trained on a newly curated dataset of 160,000 rigged sequences, AnimaX achieves state-of-the-art results on VBench in generalization, motion fidelity, and efficiency, offering a scalable solution for category-agnostic 3D animation. Project page: https://anima-x.github.io/{https://anima-x.github.io/}.

Generating controllable character animation from a reference image and motion guidance remains a challenging task due to the inherent difficulty of injecting appearance and motion cues into video diffusion models. Prior works often rely on complex architectures, explicit guider modules, or multi-stage processing pipelines, which increase structural overhead and hinder deployment. Inspired by the strong visual context modeling capacity of pre-trained video diffusion transformers, we propose FramePrompt, a minimalist yet powerful framework that treats reference images, skeleton-guided motion, and target video clips as a unified visual sequence. By reformulating animation as a conditional future prediction task, we bypass the need for guider networks and structural modifications. Experiments demonstrate that our method significantly outperforms representative baselines across various evaluation metrics while also simplifying training. Our findings highlight the effectiveness of sequence-level visual conditioning and demonstrate the potential of pre-trained models for controllable animation without architectural changes.

Although existing 3D dance generation methods perform well in controlled scenarios, they often struggle to generalize in the wild. When conditioned on unseen music, existing methods often produce unstructured or physically implausible dance, largely due to limited music-to-dance data and restricted model capacity. This work aims to push the frontier of generalizable 3D dance generation by scaling up both data and model design. (1) On the data side, we develop a fully automated pipeline that reconstructs high-fidelity 3D dance motions from monocular videos. To eliminate the physical artifacts prevalent in existing reconstruction methods, we introduce a Foot Restoration Diffusion Model (FRDM) guided by foot-contact and geometric constraints that enforce physical plausibility while preserving kinematic smoothness and expressiveness, resulting in a diverse, high-quality multimodal 3D dance dataset totaling 100.69 hours. (2) On model design, we propose Choreographic LLaMA (ChoreoLLaMA), a scalable LLaMA-based architecture. To enhance robustness under unfamiliar music conditions, we integrate a retrieval-augmented generation (RAG) module that injects reference dance as a prompt. Additionally, we design a slow/fast-cadence Mixture-of-Experts (MoE) module that enables ChoreoLLaMA to smoothly adapt motion rhythms across varying music tempos. Extensive experiments across diverse dance genres show that our approach surpasses existing methods in both qualitative and quantitative evaluations, marking a step toward scalable, real-world 3D dance generation. Code, models, and data will be released.

We propose MotionAtlas, a system for detailed captioning of motion-centric videos, comprising (1) a dedicated human-annotated benchmark, (2) a scalable, high-quality pipeline to construct training samples, and (3) a family of powerful Video-MLLMs. Unlike conventional global motion captioning datasets, we focus on region-aware motion captioning: given a video and a spatiotemporal mask, the model generates precise descriptions of motion within the target region, thereby alleviating visual clutter and motion entanglement and enabling reliable, quantifiable evaluation. Concretely, we first build MotionAtlas-Bench, a comprehensive benchmark comprising 2,073 multiple-choice questions, meticulously annotated for a curated set of high-quality, motion-centric videos, to evaluate fine-grained motion understanding of the objects in question. Second, we design a rigorous and scalable data pipeline that leverages self-bootstrap refinement to suppress fine-grained hallucinations, yielding 159k high-quality motion captioning data. Third, we design a tailored training data composition strategy, which achieves consistent and substantial performance gains across diverse baseline Video-MLLMs, including Molmo2 and Qwen3-VL. For instance, MotionAtlas-4B surpasses Qwen3-VL-4B by an average of 5.2 percentage points across general motion benchmarks. The benchmark, dataset, and code have been released.

Recent progress in text-to-video generation has achieved remarkable realism, yet fine-grained control over camera motion and orientation remains elusive. Existing approaches typically encode camera trajectories through relative or ambiguous representations, limiting explicit geometric control. We introduce GimbalDiffusion, a framework that enables camera control grounded in physical-world coordinates, using gravity as a global reference. Instead of describing motion relative to previous frames, our method defines camera trajectories in an absolute coordinate system, allowing precise and interpretable control over camera parameters without requiring an initial reference frame. We leverage panoramic 360-degree videos to construct a wide variety of camera trajectories, well beyond the predominantly straight, forward-facing trajectories seen in conventional video data. To further enhance camera guidance, we introduce null-pitch conditioning, an annotation strategy that reduces the model's reliance on text content when conflicting with camera specifications (e.g., generating grass while the camera points towards the sky). Finally, we establish a benchmark for camera-aware video generation by rebalancing SpatialVID-HQ for comprehensive evaluation under wide camera pitch variation. Together, these contributions advance the controllability and robustness of text-to-video models, enabling precise, gravity-aligned camera manipulation within generative frameworks.

Long video generation has gained increasing attention due to its widespread applications in fields such as entertainment and simulation. Despite advances, synthesizing temporally coherent and visually compelling long sequences remains a formidable challenge. Conventional approaches often synthesize long videos by sequentially generating and concatenating short clips, or generating key frames and then interpolate the intermediate frames in a hierarchical manner. However, both of them still remain significant challenges, leading to issues such as temporal repetition or unnatural transitions. In this paper, we revisit the hierarchical long video generation pipeline and introduce LumosFlow, a framework introduce motion guidance explicitly. Specifically, we first employ the Large Motion Text-to-Video Diffusion Model (LMTV-DM) to generate key frames with larger motion intervals, thereby ensuring content diversity in the generated long videos. Given the complexity of interpolating contextual transitions between key frames, we further decompose the intermediate frame interpolation into motion generation and post-hoc refinement. For each pair of key frames, the Latent Optical Flow Diffusion Model (LOF-DM) synthesizes complex and large-motion optical flows, while MotionControlNet subsequently refines the warped results to enhance quality and guide intermediate frame generation. Compared with traditional video frame interpolation, we achieve 15x interpolation, ensuring reasonable and continuous motion between adjacent frames. Experiments show that our method can generate long videos with consistent motion and appearance. Code and models will be made publicly available upon acceptance. Our project page: https://jiahaochen1.github.io/LumosFlow/

Diffusion-based video generation can create realistic videos, yet existing image- and text-based conditioning fails to offer precise motion control. Prior methods for motion-conditioned synthesis typically require model-specific fine-tuning, which is computationally expensive and restrictive. We introduce Time-to-Move (TTM), a training-free, plug-and-play framework for motion- and appearance-controlled video generation with image-to-video (I2V) diffusion models. Our key insight is to use crude reference animations obtained through user-friendly manipulations such as cut-and-drag or depth-based reprojection. Motivated by SDEdit's use of coarse layout cues for image editing, we treat the crude animations as coarse motion cues and adapt the mechanism to the video domain. We preserve appearance with image conditioning and introduce dual-clock denoising, a region-dependent strategy that enforces strong alignment in motion-specified regions while allowing flexibility elsewhere, balancing fidelity to user intent with natural dynamics. This lightweight modification of the sampling process incurs no additional training or runtime cost and is compatible with any backbone. Extensive experiments on object and camera motion benchmarks show that TTM matches or exceeds existing training-based baselines in realism and motion control. Beyond this, TTM introduces a unique capability: precise appearance control through pixel-level conditioning, exceeding the limits of text-only prompting. Visit our project page for video examples and code: https://time-to-move.github.io/.

We propose Framer for interactive frame interpolation, which targets producing smoothly transitioning frames between two images as per user creativity. Concretely, besides taking the start and end frames as inputs, our approach supports customizing the transition process by tailoring the trajectory of some selected keypoints. Such a design enjoys two clear benefits. First, incorporating human interaction mitigates the issue arising from numerous possibilities of transforming one image to another, and in turn enables finer control of local motions. Second, as the most basic form of interaction, keypoints help establish the correspondence across frames, enhancing the model to handle challenging cases (e.g., objects on the start and end frames are of different shapes and styles). It is noteworthy that our system also offers an "autopilot" mode, where we introduce a module to estimate the keypoints and refine the trajectory automatically, to simplify the usage in practice. Extensive experimental results demonstrate the appealing performance of Framer on various applications, such as image morphing, time-lapse video generation, cartoon interpolation, etc. The code, the model, and the interface will be released to facilitate further research.

This paper introduces a LArge-scale Video Interpolation Benchmark (LAVIB) for the low-level video task of Video Frame Interpolation (VFI). LAVIB comprises a large collection of high-resolution videos sourced from the web through an automated pipeline with minimal requirements for human verification. Metrics are computed for each video's motion magnitudes, luminance conditions, frame sharpness, and contrast. The collection of videos and the creation of quantitative challenges based on these metrics are under-explored by current low-level video task datasets. In total, LAVIB includes 283K clips from 17K ultra-HD videos, covering 77.6 hours. Benchmark train, val, and test sets maintain similar video metric distributions. Further splits are also created for out-of-distribution (OOD) challenges, with train and test splits including videos of dissimilar attributes.

While recent generative video models have achieved remarkable visual realism and are being explored as world models, true physical simulation requires mastering both space and time. Current models can produce visually smooth kinematics, yet they lack a reliable internal motion pulse to ground these motions in a consistent, real-world time scale. This temporal ambiguity stems from the common practice of indiscriminately training on videos with vastly different real-world speeds, forcing them into standardized frame rates. This leads to what we term chronometric hallucination: generated sequences exhibit ambiguous, unstable, and uncontrollable physical motion speeds. To address this, we propose Visual Chronometer, a predictor that recovers the Physical Frames Per Second (PhyFPS) directly from the visual dynamics of an input video. Trained via controlled temporal resampling, our method estimates the true temporal scale implied by the motion itself, bypassing unreliable metadata. To systematically quantify this issue, we establish two benchmarks, PhyFPS-Bench-Real and PhyFPS-Bench-Gen. Our evaluations reveal a harsh reality: state-of-the-art video generators suffer from severe PhyFPS misalignment and temporal instability. Finally, we demonstrate that applying PhyFPS corrections significantly improves the human-perceived naturalness of AI-generated videos. Our project page is https://xiangbogaobarry.github.io/Visual_Chronometer/.

Dynamic 3D interaction has been attracting a lot of attention recently. However, creating such 4D content remains challenging. One solution is to animate 3D scenes with physics-based simulation, which requires manually assigning precise physical properties to the object or the simulated results would become unnatural. Another solution is to learn the deformation of 3D objects with the distillation of video generative models, which, however, tends to produce 3D videos with small and discontinuous motions due to the inappropriate extraction and application of physics priors. In this work, to combine the strengths and complementing shortcomings of the above two solutions, we propose to learn the physical properties of a material field with video diffusion priors, and then utilize a physics-based Material-Point-Method (MPM) simulator to generate 4D content with realistic motions. In particular, we propose motion distillation sampling to emphasize video motion information during distillation. In addition, to facilitate the optimization, we further propose a KAN-based material field with frame boosting. Experimental results demonstrate that our method enjoys more realistic motions than state-of-the-arts do.

Camera motion is a fundamental geometric signal that shapes visual perception and cinematic style, yet current video-capable vision-language models (VideoLLMs) rarely represent it explicitly and often fail on fine-grained motion primitives. We address this gap with a framework of benchmarking, diagnosis, and injection. We curate CameraMotionDataset, a large-scale synthetic dataset with explicit camera control, formulate camera motion as constraint-aware multi-label recognition, and construct a VQA benchmark--CameraMotionVQA. Across diverse off-the-shelf VideoLLMs, we observe substantial errors in recognizing camera motion primitives. Probing experiments on a Qwen2.5-VL vision encoder suggest that camera motion cues are weakly represented, especially in deeper ViT blocks, helping explain the observed failure modes. To bridge this gap without costly training or fine-tuning, we propose a lightweight, model-agnostic pipeline that extracts geometric camera cues from 3D foundation models (3DFMs), predicts constrained motion primitives with a temporal classifier, and injects them into downstream VideoLLM inference via structured prompting. Experiments demonstrate improved motion recognition and more camera-aware model responses, highlighting geometry-driven cue extraction and structured prompting as practical steps toward a camera-aware VideoLLM and VLA system. The dataset and benchmark is publicly available at https://hf.co/datasets/fengyee/camera-motion-dataset-and-benchmark.

Text-to-video diffusion models have advanced video generation significantly. However, customizing these models to generate videos with tailored motions presents a substantial challenge. In specific, they encounter hurdles in (a) accurately reproducing motion from a target video, and (b) creating diverse visual variations. For example, straightforward extensions of static image customization methods to video often lead to intricate entanglements of appearance and motion data. To tackle this, here we present the Video Motion Customization (VMC) framework, a novel one-shot tuning approach crafted to adapt temporal attention layers within video diffusion models. Our approach introduces a novel motion distillation objective using residual vectors between consecutive frames as a motion reference. The diffusion process then preserves low-frequency motion trajectories while mitigating high-frequency motion-unrelated noise in image space. We validate our method against state-of-the-art video generative models across diverse real-world motions and contexts. Our codes, data and the project demo can be found at https://video-motion-customization.github.io

While generative video models have achieved remarkable fidelity and consistency, applying these capabilities to video editing remains a complex challenge. Recent research has explored motion controllability as a means to enhance text-to-video generation or image animation; however, we identify precise motion control as a promising yet under-explored paradigm for editing existing videos. In this work, we propose modifying video motion by directly editing sparse trajectories extracted from the input. We term the deviation between input and output trajectories a "motion edit" and demonstrate that this representation, when coupled with a generative backbone, enables powerful video editing capabilities. To achieve this, we introduce a pipeline for generating "motion counterfactuals", video pairs that share identical content but distinct motion, and we fine-tune a motion-conditioned video diffusion architecture on this dataset. Our approach allows for edits that start at any timestamp and propagate naturally. In a four-way head-to-head user study, our model achieves over 65 percent preference against prior work. Please see our project page: https://ryanndagreat.github.io/MotionV2V

Cinematic camera control relies on a tight feedback loop between director and cinematographer, where camera motion and framing are continuously reviewed and refined. Recent generative camera systems can produce diverse, text-conditioned trajectories, but they lack this "director in the loop" and have no explicit supervision of whether a shot is visually desirable. This results in in-distribution camera motion but poor framing, off-screen characters, and undesirable visual aesthetics. In this paper, we introduce VERTIGO, the first framework for visual preference optimization of camera trajectory generators. Our framework leverages a real-time graphics engine (Unity) to render 2D visual previews from generated camera motion. A cinematically fine-tuned vision-language model then scores these previews using our proposed cyclic semantic similarity mechanism, which aligns renders with text prompts. This process provides the visual preference signals for Direct Preference Optimization (DPO) post-training. Both quantitative evaluations and user studies on Unity renders and diffusion-based Camera-to-Video pipelines show consistent gains in condition adherence, framing quality, and perceptual realism. Notably, VERTIGO reduces the character off-screen rate from 38% to nearly 0% while preserving the geometric fidelity of camera motion. User study participants further prefer VERTIGO over baselines across composition, consistency, prompt adherence, and aesthetic quality, confirming the perceptual benefits of our visual preference post-training.

Video generation has advanced rapidly, improving evaluation methods, yet assessing video's motion remains a major challenge. Specifically, there are two key issues: 1) current motion metrics do not fully align with human perceptions; 2) the existing motion prompts are limited. Based on these findings, we introduce VMBench--a comprehensive Video Motion Benchmark that has perception-aligned motion metrics and features the most diverse types of motion. VMBench has several appealing properties: 1) Perception-Driven Motion Evaluation Metrics, we identify five dimensions based on human perception in motion video assessment and develop fine-grained evaluation metrics, providing deeper insights into models' strengths and weaknesses in motion quality. 2) Meta-Guided Motion Prompt Generation, a structured method that extracts meta-information, generates diverse motion prompts with LLMs, and refines them through human-AI validation, resulting in a multi-level prompt library covering six key dynamic scene dimensions. 3) Human-Aligned Validation Mechanism, we provide human preference annotations to validate our benchmarks, with our metrics achieving an average 35.3% improvement in Spearman's correlation over baseline methods. This is the first time that the quality of motion in videos has been evaluated from the perspective of human perception alignment. Additionally, we will soon release VMBench at https://github.com/GD-AIGC/VMBench, setting a new standard for evaluating and advancing motion generation models.

3D scene reconstruction and 4D human animation have seen rapid progress and broad adoption in recent years. However, seamlessly integrating reconstructed scenes with 4D human animation to produce visually engaging results remains challenging. One key difficulty lies in placing the human at the correct location and scale within the scene while avoiding unrealistic interpenetration. Another challenge is that the human and the background may exhibit different lighting and style, leading to unrealistic composites. In addition, appealing character motion videos are often accompanied by camera movements, which means that the viewpoints need to be reconstructed along a specified trajectory. We present AnimateScene, which addresses the above issues in a unified framework. First, we design an accurate placement module that automatically determines a plausible 3D position for the human and prevents any interpenetration within the scene during motion. Second, we propose a training-free style alignment method that adapts the 4D human representation to match the background's lighting and style, achieving coherent visual integration. Finally, we design a joint post-reconstruction method for both the 4D human and the 3D scene that allows camera trajectories to be inserted, enabling the final rendered video to feature visually appealing camera movements. Extensive experiments show that AnimateScene generates dynamic scene videos with high geometric detail and spatiotemporal coherence across various camera and action combinations.

For artistic applications, video generation requires fine-grained control over both performance and cinematography, i.e., the actor's motion and the camera trajectory. We present ActCam, a zero-shot method for video generation that jointly transfers character motion from a driving video into a new scene and enables per-frame control of intrinsic and extrinsic camera parameters. ActCam builds on any pretrained image-to-video diffusion model that accepts conditioning in terms of scene depth and character pose. Given a source video with a moving character and a target camera motion, ActCam generates pose and depth conditions that remain geometrically consistent across frames. We then run a single sampling process with a two-phase conditioning schedule: early denoising steps condition on both pose and sparse depth to enforce scene structure, after which depth is dropped and pose-only guidance refines high-frequency details without over-constraining the generation. We evaluate ActCam on multiple benchmarks spanning diverse character motions and challenging viewpoint changes. We find that, compared to pose-only control and other pose and camera methods, ActCam improves camera adherence and motion fidelity, and is preferred in human evaluations, especially under large viewpoint changes. Our results highlight that careful camera-consistent conditioning and staged guidance can enable strong joint camera and motion control without training. Project page: https://elkhomar.github.io/actcam/.

Conditional motion generation has been extensively studied in computer vision, yet two critical challenges remain. First, while masked autoregressive methods have recently outperformed diffusion-based approaches, existing masking models lack a mechanism to prioritize dynamic frames and body parts based on given conditions. Second, existing methods for different conditioning modalities often fail to integrate multiple modalities effectively, limiting control and coherence in generated motion. To address these challenges, we propose Motion Anything, a multimodal motion generation framework that introduces an Attention-based Mask Modeling approach, enabling fine-grained spatial and temporal control over key frames and actions. Our model adaptively encodes multimodal conditions, including text and music, improving controllability. Additionally, we introduce Text-Music-Dance (TMD), a new motion dataset consisting of 2,153 pairs of text, music, and dance, making it twice the size of AIST++, thereby filling a critical gap in the community. Extensive experiments demonstrate that Motion Anything surpasses state-of-the-art methods across multiple benchmarks, achieving a 15% improvement in FID on HumanML3D and showing consistent performance gains on AIST++ and TMD. See our project website https://steve-zeyu-zhang.github.io/MotionAnything

Recent techniques for text-to-4D generation synthesize dynamic 3D scenes using supervision from pre-trained text-to-video models. However, existing representations for motion, such as deformation models or time-dependent neural representations, are limited in the amount of motion they can generate-they cannot synthesize motion extending far beyond the bounding box used for volume rendering. The lack of a more flexible motion model contributes to the gap in realism between 4D generation methods and recent, near-photorealistic video generation models. Here, we propose TC4D: trajectory-conditioned text-to-4D generation, which factors motion into global and local components. We represent the global motion of a scene's bounding box using rigid transformation along a trajectory parameterized by a spline. We learn local deformations that conform to the global trajectory using supervision from a text-to-video model. Our approach enables the synthesis of scenes animated along arbitrary trajectories, compositional scene generation, and significant improvements to the realism and amount of generated motion, which we evaluate qualitatively and through a user study. Video results can be viewed on our website: https://sherwinbahmani.github.io/tc4d.

Creating realistic 3D animation remains a time-consuming and expertise-dependent process, requiring manual rigging, keyframing, and fine-tuning of complex motions. Meanwhile, video diffusion models have recently demonstrated remarkable motion imagination in 2D, generating dynamic and visually coherent motion from text or image prompts. However, their results lack explicit 3D structure and cannot be directly used for animation or simulation. We present AnimaMimic, a framework that animates static 3D meshes using motion priors learned from video diffusion models. Starting from an input mesh, AnimaMimic synthesizes a monocular animation video, automatically constructs a skeleton with skinning weights, and refines joint parameters through differentiable rendering and video-based supervision. To further enhance realism, we integrate a differentiable simulation module that refines mesh deformation through physically grounded soft-tissue dynamics. Our method bridges the creativity of video diffusion and the structural control of 3D rigged animation, producing physically plausible, temporally coherent, and artist-editable motion sequences that integrate seamlessly into standard animation pipelines. Our project page is at: https://xpandora.github.io/AnimaMimic/

Monocular dynamic reconstruction is a challenging and long-standing vision problem due to the highly ill-posed nature of the task. Existing approaches are limited in that they either depend on templates, are effective only in quasi-static scenes, or fail to model 3D motion explicitly. In this work, we introduce a method capable of reconstructing generic dynamic scenes, featuring explicit, full-sequence-long 3D motion, from casually captured monocular videos. We tackle the under-constrained nature of the problem with two key insights: First, we exploit the low-dimensional structure of 3D motion by representing scene motion with a compact set of SE3 motion bases. Each point's motion is expressed as a linear combination of these bases, facilitating soft decomposition of the scene into multiple rigidly-moving groups. Second, we utilize a comprehensive set of data-driven priors, including monocular depth maps and long-range 2D tracks, and devise a method to effectively consolidate these noisy supervisory signals, resulting in a globally consistent representation of the dynamic scene. Experiments show that our method achieves state-of-the-art performance for both long-range 3D/2D motion estimation and novel view synthesis on dynamic scenes. Project Page: https://shape-of-motion.github.io/