Daily Papers

Current work on image-based story generation suffers from the fact that the existing image sequence collections do not have coherent plots behind them. We improve visual story generation by producing a new image-grounded dataset, Visual Writing Prompts (VWP). VWP contains almost 2K selected sequences of movie shots, each including 5-10 images. The image sequences are aligned with a total of 12K stories which were collected via crowdsourcing given the image sequences and a set of grounded characters from the corresponding image sequence. Our new image sequence collection and filtering process has allowed us to obtain stories that are more coherent and have more narrativity compared to previous work. We also propose a character-based story generation model driven by coherence as a strong baseline. Evaluations show that our generated stories are more coherent, visually grounded, and have more narrativity than stories generated with the current state-of-the-art model.

This analysis explores the temporal sequencing of objects in a movie trailer. Temporal sequencing of objects in a movie trailer (e.g., a long shot of an object vs intermittent short shots) can convey information about the type of movie, plot of the movie, role of the main characters, and the filmmakers cinematographic choices. When combined with historical customer data, sequencing analysis can be used to improve predictions of customer behavior. E.g., a customer buys tickets to a new movie and maybe the customer has seen movies in the past that contained similar sequences. To explore object sequencing in movie trailers, we propose a video convolutional network to capture actions and scenes that are predictive of customers' preferences. The model learns the specific nature of sequences for different types of objects (e.g., cars vs faces), and the role of sequences in predicting customer future behavior. We show how such a temporal-aware model outperforms simple feature pooling methods proposed in our previous works and, importantly, demonstrate the additional model explain-ability allowed by such a model.

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.

The development of multimodal models has marked a significant step forward in how machines understand videos. These models have shown promise in analyzing short video clips. However, when it comes to longer formats like movies, they often fall short. The main hurdles are the lack of high-quality, diverse video data and the intensive work required to collect or annotate such data. In the face of these challenges, we propose MovieLLM, a novel framework designed to create synthetic, high-quality data for long videos. This framework leverages the power of GPT-4 and text-to-image models to generate detailed scripts and corresponding visuals. Our approach stands out for its flexibility and scalability, making it a superior alternative to traditional data collection methods. Our extensive experiments validate that the data produced by MovieLLM significantly improves the performance of multimodal models in understanding complex video narratives, overcoming the limitations of existing datasets regarding scarcity and bias.

Computer vision has a great potential to help our daily lives by searching for lost keys, watering flowers or reminding us to take a pill. To succeed with such tasks, computer vision methods need to be trained from real and diverse examples of our daily dynamic scenes. While most of such scenes are not particularly exciting, they typically do not appear on YouTube, in movies or TV broadcasts. So how do we collect sufficiently many diverse but boring samples representing our lives? We propose a novel Hollywood in Homes approach to collect such data. Instead of shooting videos in the lab, we ensure diversity by distributing and crowdsourcing the whole process of video creation from script writing to video recording and annotation. Following this procedure we collect a new dataset, Charades, with hundreds of people recording videos in their own homes, acting out casual everyday activities. The dataset is composed of 9,848 annotated videos with an average length of 30 seconds, showing activities of 267 people from three continents. Each video is annotated by multiple free-text descriptions, action labels, action intervals and classes of interacted objects. In total, Charades provides 27,847 video descriptions, 66,500 temporally localized intervals for 157 action classes and 41,104 labels for 46 object classes. Using this rich data, we evaluate and provide baseline results for several tasks including action recognition and automatic description generation. We believe that the realism, diversity, and casual nature of this dataset will present unique challenges and new opportunities for computer vision community.

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/

Recent advancements in video generation have primarily leveraged diffusion models for short-duration content. However, these approaches often fall short in modeling complex narratives and maintaining character consistency over extended periods, which is essential for long-form video production like movies. We propose MovieDreamer, a novel hierarchical framework that integrates the strengths of autoregressive models with diffusion-based rendering to pioneer long-duration video generation with intricate plot progressions and high visual fidelity. Our approach utilizes autoregressive models for global narrative coherence, predicting sequences of visual tokens that are subsequently transformed into high-quality video frames through diffusion rendering. This method is akin to traditional movie production processes, where complex stories are factorized down into manageable scene capturing. Further, we employ a multimodal script that enriches scene descriptions with detailed character information and visual style, enhancing continuity and character identity across scenes. We present extensive experiments across various movie genres, demonstrating that our approach not only achieves superior visual and narrative quality but also effectively extends the duration of generated content significantly beyond current capabilities. Homepage: https://aim-uofa.github.io/MovieDreamer/.