Daily Papers

Dance, as an art form, fundamentally hinges on the precise synchronization with musical beats. However, achieving aesthetically pleasing dance sequences from music is challenging, with existing methods often falling short in controllability and beat alignment. To address these shortcomings, this paper introduces Beat-It, a novel framework for beat-specific, key pose-guided dance generation. Unlike prior approaches, Beat-It uniquely integrates explicit beat awareness and key pose guidance, effectively resolving two main issues: the misalignment of generated dance motions with musical beats, and the inability to map key poses to specific beats, critical for practical choreography. Our approach disentangles beat conditions from music using a nearest beat distance representation and employs a hierarchical multi-condition fusion mechanism. This mechanism seamlessly integrates key poses, beats, and music features, mitigating condition conflicts and offering rich, multi-conditioned guidance for dance generation. Additionally, a specially designed beat alignment loss ensures the generated dance movements remain in sync with the designated beats. Extensive experiments confirm Beat-It's superiority over existing state-of-the-art methods in terms of beat alignment and motion controllability.

Generating high-quality full-body dance sequences from music is a challenging task as it requires strict adherence to genre-specific choreography. Moreover, the generated sequences must be both physically realistic and precisely synchronized with the beats and rhythm of the music. To overcome these challenges, we propose GCDance, a classifier-free diffusion framework for generating genre-specific dance motions conditioned on both music and textual prompts. Specifically, our approach extracts music features by combining high-level pre-trained music foundation model features with hand-crafted features for multi-granularity feature fusion. To achieve genre controllability, we leverage CLIP to efficiently embed genre-based textual prompt representations at each time step within our dance generation pipeline. Our GCDance framework can generate diverse dance styles from the same piece of music while ensuring coherence with the rhythm and melody of the music. Extensive experimental results obtained on the FineDance dataset demonstrate that GCDance significantly outperforms the existing state-of-the-art approaches, which also achieve competitive results on the AIST++ dataset. Our ablation and inference time analysis demonstrate that GCDance provides an effective solution for high-quality music-driven dance generation.

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.

Generating full-body and multi-genre dance sequences from given music is a challenging task, due to the limitations of existing datasets and the inherent complexity of the fine-grained hand motion and dance genres. To address these problems, we propose FineDance, which contains 14.6 hours of music-dance paired data, with fine-grained hand motions, fine-grained genres (22 dance genres), and accurate posture. To the best of our knowledge, FineDance is the largest music-dance paired dataset with the most dance genres. Additionally, to address monotonous and unnatural hand movements existing in previous methods, we propose a full-body dance generation network, which utilizes the diverse generation capabilities of the diffusion model to solve monotonous problems, and use expert nets to solve unreal problems. To further enhance the genre-matching and long-term stability of generated dances, we propose a Genre&Coherent aware Retrieval Module. Besides, we propose a novel metric named Genre Matching Score to evaluate the genre-matching degree between dance and music. Quantitative and qualitative experiments demonstrate the quality of FineDance, and the state-of-the-art performance of FineNet. The FineDance Dataset and more qualitative samples can be found at our website.

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.

Music-to-dance generation aims to translate auditory signals into expressive human motion, with broad applications in virtual reality, choreography, and digital entertainment. Despite promising progress, the limited generation efficiency of existing methods leaves insufficient computational headroom for high-fidelity 3D rendering, thereby constraining the expressiveness of 3D characters during real-world applications. Thus, we propose FlowerDance, which not only generates refined motion with physical plausibility and artistic expressiveness, but also achieves significant generation efficiency on inference speed and memory utilization. Specifically, FlowerDance combines MeanFlow with Physical Consistency Constraints, which enables high-quality motion generation with only a few sampling steps. Moreover, FlowerDance leverages a simple but efficient model architecture with BiMamba-based backbone and Channel-Level Cross-Modal Fusion, which generates dance with efficient non-autoregressive manner. Meanwhile, FlowerDance supports motion editing, enabling users to interactively refine dance sequences. Extensive experiments on AIST++ and FineDance show that FlowerDance achieves state-of-the-art results in both motion quality and generation efficiency. Code will be released upon acceptance.

Synthesizing human's movements such as dancing is a flourishing research field which has several applications in computer graphics. Recent studies have demonstrated the advantages of deep neural networks (DNNs) for achieving remarkable performance in motion and music tasks with little effort for feature pre-processing. However, applying DNNs for generating dance to a piece of music is nevertheless challenging, because of 1) DNNs need to generate large sequences while mapping the music input, 2) the DNN needs to constraint the motion beat to the music, and 3) DNNs require a considerable amount of hand-crafted data. In this study, we propose a weakly supervised deep recurrent method for real-time basic dance generation with audio power spectrum as input. The proposed model employs convolutional layers and a multilayered Long Short-Term memory (LSTM) to process the audio input. Then, another deep LSTM layer decodes the target dance sequence. Notably, this end-to-end approach has 1) an auto-conditioned decode configuration that reduces accumulation of feedback error of large dance sequence, 2) uses a contrastive cost function to regulate the mapping between the music and motion beat, and 3) trains with weak labels generated from the motion beat, reducing the amount of hand-crafted data. We evaluate the proposed network based on i) the similarities between generated and the baseline dancer motion with a cross entropy measure for large dance sequences, and ii) accurate timing between the music and motion beat with an F-measure. Experimental results revealed that, after training using a small dataset, the model generates basic dance steps with low cross entropy and maintains an F-measure score similar to that of a baseline dancer.

In this paper, we propose a novel framework for music-driven dance motion synthesis with controllable key pose constraint. In contrast to methods that generate dance motion sequences only based on music without any other controllable conditions, this work targets on synthesizing high-quality dance motion driven by music as well as customized poses performed by users. Our model involves two single-modal transformer encoders for music and motion representations and a cross-modal transformer decoder for dance motions generation. The cross-modal transformer decoder achieves the capability of synthesizing smooth dance motion sequences, which keeps a consistency with key poses at corresponding positions, by introducing the local neighbor position embedding. Such mechanism makes the decoder more sensitive to key poses and the corresponding positions. Our dance synthesis model achieves satisfactory performance both on quantitative and qualitative evaluations with extensive experiments, which demonstrates the effectiveness of our proposed method.

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.

In this work, we propose MagicDance, a diffusion-based model for 2D human motion and facial expression transfer on challenging human dance videos. Specifically, we aim to generate human dance videos of any target identity driven by novel pose sequences while keeping the identity unchanged. To this end, we propose a two-stage training strategy to disentangle human motions and appearance (e.g., facial expressions, skin tone and dressing), consisting of the pretraining of an appearance-control block and fine-tuning of an appearance-pose-joint-control block over human dance poses of the same dataset. Our novel design enables robust appearance control with temporally consistent upper body, facial attributes, and even background. The model also generalizes well on unseen human identities and complex motion sequences without the need for any fine-tuning with additional data with diverse human attributes by leveraging the prior knowledge of image diffusion models. Moreover, the proposed model is easy to use and can be considered as a plug-in module/extension to Stable Diffusion. We also demonstrate the model's ability for zero-shot 2D animation generation, enabling not only the appearance transfer from one identity to another but also allowing for cartoon-like stylization given only pose inputs. Extensive experiments demonstrate our superior performance on the TikTok dataset.

Multiple object tracking in complex scenarios - such as coordinated dance performances, team sports, or dynamic animal groups - presents unique challenges. In these settings, objects frequently move in coordinated patterns, occlude each other, and exhibit long-term dependencies in their trajectories. However, it remains a key open research question on how to model long-range dependencies within tracklets, interdependencies among tracklets, and the associated temporal occlusions. To this end, we introduce Samba, a novel linear-time set-of-sequences model designed to jointly process multiple tracklets by synchronizing the multiple selective state-spaces used to model each tracklet. Samba autoregressively predicts the future track query for each sequence while maintaining synchronized long-term memory representations across tracklets. By integrating Samba into a tracking-by-propagation framework, we propose SambaMOTR, the first tracker effectively addressing the aforementioned issues, including long-range dependencies, tracklet interdependencies, and temporal occlusions. Additionally, we introduce an effective technique for dealing with uncertain observations (MaskObs) and an efficient training recipe to scale SambaMOTR to longer sequences. By modeling long-range dependencies and interactions among tracked objects, SambaMOTR implicitly learns to track objects accurately through occlusions without any hand-crafted heuristics. Our approach significantly surpasses prior state-of-the-art on the DanceTrack, BFT, and SportsMOT datasets.

In this paper, we present DreaMoving, a diffusion-based controllable video generation framework to produce high-quality customized human dance videos. Specifically, given target identity and posture sequences, DreaMoving can generate a video of the target identity dancing anywhere driven by the posture sequences. To this end, we propose a Video ControlNet for motion-controlling and a Content Guider for identity preserving. The proposed model is easy to use and can be adapted to most stylized diffusion models to generate diverse results. The project page is available at https://dreamoving.github.io/dreamoving.

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 present AIST++, a new multi-modal dataset of 3D dance motion and music, along with FACT, a Full-Attention Cross-modal Transformer network for generating 3D dance motion conditioned on music. The proposed AIST++ dataset contains 5.2 hours of 3D dance motion in 1408 sequences, covering 10 dance genres with multi-view videos with known camera poses -- the largest dataset of this kind to our knowledge. We show that naively applying sequence models such as transformers to this dataset for the task of music conditioned 3D motion generation does not produce satisfactory 3D motion that is well correlated with the input music. We overcome these shortcomings by introducing key changes in its architecture design and supervision: FACT model involves a deep cross-modal transformer block with full-attention that is trained to predict N future motions. We empirically show that these changes are key factors in generating long sequences of realistic dance motion that are well-attuned to the input music. We conduct extensive experiments on AIST++ with user studies, where our method outperforms recent state-of-the-art methods both qualitatively and quantitatively.

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

Driving 3D characters to dance following a piece of music is highly challenging due to the spatial constraints applied to poses by choreography norms. In addition, the generated dance sequence also needs to maintain temporal coherency with different music genres. To tackle these challenges, we propose a novel music-to-dance framework, Bailando, with two powerful components: 1) a choreographic memory that learns to summarize meaningful dancing units from 3D pose sequence to a quantized codebook, 2) an actor-critic Generative Pre-trained Transformer (GPT) that composes these units to a fluent dance coherent to the music. With the learned choreographic memory, dance generation is realized on the quantized units that meet high choreography standards, such that the generated dancing sequences are confined within the spatial constraints. To achieve synchronized alignment between diverse motion tempos and music beats, we introduce an actor-critic-based reinforcement learning scheme to the GPT with a newly-designed beat-align reward function. Extensive experiments on the standard benchmark demonstrate that our proposed framework achieves state-of-the-art performance both qualitatively and quantitatively. Notably, the learned choreographic memory is shown to discover human-interpretable dancing-style poses in an unsupervised manner.

The task of motion transfer between a source dancer and a target person is a special case of the pose transfer problem, in which the target person changes their pose in accordance with the motions of the dancer. In this work, we propose a novel method that can reanimate a single image by arbitrary video sequences, unseen during training. The method combines three networks: (i) a segmentation-mapping network, (ii) a realistic frame-rendering network, and (iii) a face refinement network. By separating this task into three stages, we are able to attain a novel sequence of realistic frames, capturing natural motion and appearance. Our method obtains significantly better visual quality than previous methods and is able to animate diverse body types and appearances, which are captured in challenging poses, as shown in the experiments and supplementary video.

This paper introduces DanceFusion, a novel framework for reconstructing and generating dance movements synchronized to music, utilizing a Spatio-Temporal Skeleton Diffusion Transformer. The framework adeptly handles incomplete and noisy skeletal data common in short-form dance videos on social media platforms like TikTok. DanceFusion incorporates a hierarchical Transformer-based Variational Autoencoder (VAE) integrated with a diffusion model, significantly enhancing motion realism and accuracy. Our approach introduces sophisticated masking techniques and a unique iterative diffusion process that refines the motion sequences, ensuring high fidelity in both motion generation and synchronization with accompanying audio cues. Comprehensive evaluations demonstrate that DanceFusion surpasses existing methods, providing state-of-the-art performance in generating dynamic, realistic, and stylistically diverse dance motions. Potential applications of this framework extend to content creation, virtual reality, and interactive entertainment, promising substantial advancements in automated dance generation. Visit our project page at https://th-mlab.github.io/DanceFusion/.

Generating coherent and diverse human dances from music signals has gained tremendous progress in animating virtual avatars. While existing methods support direct dance synthesis, they fail to recognize that enabling users to edit dance movements is far more practical in real-world choreography scenarios. Moreover, the lack of high-quality dance datasets incorporating iterative editing also limits addressing this challenge. To achieve this goal, we first construct DanceRemix, a large-scale multi-turn editable dance dataset comprising the prompt featuring over 25.3M dance frames and 84.5K pairs. In addition, we propose a novel framework for iterative and editable dance generation coherently aligned with given music signals, namely DanceEditor. Considering the dance motion should be both musical rhythmic and enable iterative editing by user descriptions, our framework is built upon a prediction-then-editing paradigm unifying multi-modal conditions. At the initial prediction stage, our framework improves the authority of generated results by directly modeling dance movements from tailored, aligned music. Moreover, at the subsequent iterative editing stages, we incorporate text descriptions as conditioning information to draw the editable results through a specifically designed Cross-modality Editing Module (CEM). Specifically, CEM adaptively integrates the initial prediction with music and text prompts as temporal motion cues to guide the synthesized sequences. Thereby, the results display music harmonics while preserving fine-grained semantic alignment with text descriptions. Extensive experiments demonstrate that our method outperforms the state-of-the-art models on our newly collected DanceRemix dataset. Code is available at https://lzvsdy.github.io/DanceEditor/.

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.

Dance serves as both a cultural cornerstone and a medium for personal expression, yet the rapid growth of online dance content has made personalized discovery increasingly difficult. Text-based dance retrieval offers a natural interface for users to search with choreographic intent, but it remains underexplored because dance requires simultaneous reasoning over linguistic semantics, musical rhythm, and full-body motion dynamics. We introduce TD-Data, a large-scale open dataset for text-dance retrieval, containing about 4,000 12-second dance clips, 14.6 hours of motion, 22 genres, and annotations from professional dance experts. On top of this dataset, we propose CustomDancer, a multimodal retrieval framework that aligns text with dance through a CLIP-based text encoder, music and motion encoders, and a music-motion blending module. CustomDancer achieves state-of-the-art performance on TD-Data, reaching 10.23% Recall@1 and improving retrieval quality in both quantitative benchmarks and user preference studies.

We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.

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.

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.

Music-driven 3D dance generation has attracted increasing attention in recent years, with promising applications in choreography, virtual reality, and creative content creation. Previous research has generated promising realistic dance movement from audio signals. However, traditional methods underutilize genre conditioning, often treating it as auxiliary modifiers rather than core semantic drivers. This oversight compromises music-motion synchronization and disrupts dance genre continuity, particularly during complex rhythmic transitions, thereby leading to visually unsatisfactory effects. To address the challenge, we propose MEGADance, a novel architecture for music-driven 3D dance generation. By decoupling choreographic consistency into dance generality and genre specificity, MEGADance demonstrates significant dance quality and strong genre controllability. It consists of two stages: (1) High-Fidelity Dance Quantization Stage (HFDQ), which encodes dance motions into a latent representation by Finite Scalar Quantization (FSQ) and reconstructs them with kinematic-dynamic constraints, and (2) Genre-Aware Dance Generation Stage (GADG), which maps music into the latent representation by synergistic utilization of Mixture-of-Experts (MoE) mechanism with Mamba-Transformer hybrid backbone. Extensive experiments on the FineDance and AIST++ dataset demonstrate the state-of-the-art performance of MEGADance both qualitatively and quantitatively. Code will be released upon acceptance.

Although audio-visual representation has been proved to be applicable in many downstream tasks, the representation of dancing videos, which is more specific and always accompanied by music with complex auditory contents, remains challenging and uninvestigated. Considering the intrinsic alignment between the cadent movement of dancer and music rhythm, we introduce MuDaR, a novel Music-Dance Representation learning framework to perform the synchronization of music and dance rhythms both in explicit and implicit ways. Specifically, we derive the dance rhythms based on visual appearance and motion cues inspired by the music rhythm analysis. Then the visual rhythms are temporally aligned with the music counterparts, which are extracted by the amplitude of sound intensity. Meanwhile, we exploit the implicit coherence of rhythms implied in audio and visual streams by contrastive learning. The model learns the joint embedding by predicting the temporal consistency between audio-visual pairs. The music-dance representation, together with the capability of detecting audio and visual rhythms, can further be applied to three downstream tasks: (a) dance classification, (b) music-dance retrieval, and (c) music-dance retargeting. Extensive experiments demonstrate that our proposed framework outperforms other self-supervised methods by a large margin.

We introduce a novel task within the field of 3D dance generation, termed dance accompaniment, which necessitates the generation of responsive movements from a dance partner, the "follower", synchronized with the lead dancer's movements and the underlying musical rhythm. Unlike existing solo or group dance generation tasks, a duet dance scenario entails a heightened degree of interaction between the two participants, requiring delicate coordination in both pose and position. To support this task, we first build a large-scale and diverse duet interactive dance dataset, DD100, by recording about 117 minutes of professional dancers' performances. To address the challenges inherent in this task, we propose a GPT-based model, Duolando, which autoregressively predicts the subsequent tokenized motion conditioned on the coordinated information of the music, the leader's and the follower's movements. To further enhance the GPT's capabilities of generating stable results on unseen conditions (music and leader motions), we devise an off-policy reinforcement learning strategy that allows the model to explore viable trajectories from out-of-distribution samplings, guided by human-defined rewards. Based on the collected dataset and proposed method, we establish a benchmark with several carefully designed metrics.

Music-driven choreography is a challenging problem with a wide variety of industrial applications. Recently, many methods have been proposed to synthesize dance motions from music for a single dancer. However, generating dance motion for a group remains an open problem. In this paper, we present rm AIOZ-GDANCE, a new large-scale dataset for music-driven group dance generation. Unlike existing datasets that only support single dance, our new dataset contains group dance videos, hence supporting the study of group choreography. We propose a semi-autonomous labeling method with humans in the loop to obtain the 3D ground truth for our dataset. The proposed dataset consists of 16.7 hours of paired music and 3D motion from in-the-wild videos, covering 7 dance styles and 16 music genres. We show that naively applying single dance generation technique to creating group dance motion may lead to unsatisfactory results, such as inconsistent movements and collisions between dancers. Based on our new dataset, we propose a new method that takes an input music sequence and a set of 3D positions of dancers to efficiently produce multiple group-coherent choreographies. We propose new evaluation metrics for measuring group dance quality and perform intensive experiments to demonstrate the effectiveness of our method. Our project facilitates future research on group dance generation and is available at: https://aioz-ai.github.io/AIOZ-GDANCE/

Dance-to-music generation is a promising task for applications such as choreography support and automatic accompaniment, where temporal coordination between body movement and sound is essential. In particular, using human joint positions as the motion representation is attractive because they explicitly capture body dynamics while being lightweight, privacy-preserving, and easy to integrate with motion capture and pose-estimation pipelines. A central challenge in this setting, however, is the scarcity of high-quality paired dance-music data, since collecting accurately synchronized pairs is costly and often constrained by copyright and performance rights. This makes it difficult to train end-to-end models solely from paired data. To address this issue, we propose a dance-conditioned music generation framework that efficiently exploits both unpaired and paired data. Our method combines pretrained unimodal encoders for motion and music, beat-guided contrastive pretraining to align their feature spaces, and a ControlNet-style conditioning module on top of a pretrained text-to-audio diffusion model. Experiments on AIST++ demonstrate that the proposed techniques improve both dance-music alignment and audio quality, as confirmed by quantitative and qualitative evaluations. Compared to a state-of-the-art method, our approach achieves superior dance alignment performance and competitive audio quality. Code is available at https://github.com/kmraven/AudioLDM-ControlNet .

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.

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 consider the problem of generating musical soundtracks in sync with rhythmic visual cues. Most existing works rely on pre-defined music representations, leading to the incompetence of generative flexibility and complexity. Other methods directly generating video-conditioned waveforms suffer from limited scenarios, short lengths, and unstable generation quality. To this end, we present Long-Term Rhythmic Video Soundtracker (LORIS), a novel framework to synthesize long-term conditional waveforms. Specifically, our framework consists of a latent conditional diffusion probabilistic model to perform waveform synthesis. Furthermore, a series of context-aware conditioning encoders are proposed to take temporal information into consideration for a long-term generation. Notably, we extend our model's applicability from dances to multiple sports scenarios such as floor exercise and figure skating. To perform comprehensive evaluations, we establish a benchmark for rhythmic video soundtracks including the pre-processed dataset, improved evaluation metrics, and robust generative baselines. Extensive experiments show that our model generates long-term soundtracks with state-of-the-art musical quality and rhythmic correspondence. Codes are available at https://github.com/OpenGVLab/LORIS.

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.

Our goal is to synthesize 3D human motions given textual inputs describing simultaneous actions, for example 'waving hand' while 'walking' at the same time. We refer to generating such simultaneous movements as performing 'spatial compositions'. In contrast to temporal compositions that seek to transition from one action to another, spatial compositing requires understanding which body parts are involved in which action, to be able to move them simultaneously. Motivated by the observation that the correspondence between actions and body parts is encoded in powerful language models, we extract this knowledge by prompting GPT-3 with text such as "what are the body parts involved in the action <action name>?", while also providing the parts list and few-shot examples. Given this action-part mapping, we combine body parts from two motions together and establish the first automated method to spatially compose two actions. However, training data with compositional actions is always limited by the combinatorics. Hence, we further create synthetic data with this approach, and use it to train a new state-of-the-art text-to-motion generation model, called SINC ("SImultaneous actioN Compositions for 3D human motions"). In our experiments, that training with such GPT-guided synthetic data improves spatial composition generation over baselines. Our code is publicly available at https://sinc.is.tue.mpg.de/.

Image animation has become a promising area in multimodal research, with a focus on generating videos from reference images. While prior work has largely emphasized generic video generation guided by text, music-driven dance video generation remains underexplored. In this paper, we introduce MuseDance, an innovative end-to-end model that animates reference images using both music and text inputs. This dual input enables MuseDance to generate personalized videos that follow text descriptions and synchronize character movements with the music. Unlike existing approaches, MuseDance eliminates the need for complex motion guidance inputs, such as pose or depth sequences, making flexible and creative video generation accessible to users of all expertise levels. To advance research in this field, we present a new multimodal dataset comprising 2,904 dance videos with corresponding background music and text descriptions. Our approach leverages diffusion-based methods to achieve robust generalization, precise control, and temporal consistency, setting a new baseline for the music-driven image animation task.

Choreographic motion generation poses unique challenges for AI, demanding precise semantic control over complex, temporally structured, and expressive full-body dynamics. While existing models can synthesize motion from music, they remain largely black boxes. Conversely, attempting to condition generation on both text and music frequently leads to modality collapse, where dense acoustic rhythms overwhelm sparse semantic text prompts, destroying user controllability. To resolve this spatial-temporal conflict, we propose STREAM (Structural-Temporal Rhythmic Energy-based Attention for Motion), a modality-decoupled diffusion transformer. STREAM strictly separates conditioning pathways: global text semantics dictate the kinematic structure via Adaptive Layer Normalization (AdaLN), while a novel Bimodal Energy-Based Attention Module (BEAM) routes these features to the musical beat without overwriting the semantics. We further introduce Motorica++, a newly curated dataset enriched with domain-specific dance vocabulary and frame-level semantic annotations from existing Motorica dataset. Additionally, to rigorously quantify zero-shot editability, we propose the Exchange Evaluation Protocol and Editable Dance Score (EDS). Through extensive experiments, STREAM achieves state-of-the-art alignment between motion and music while perfectly preserving choreographic semantics, positioning AI not merely as a reactive synthesizer, but as a controllable, collaborative partner for artistic direction. The source code and datasets are available at https://github.com/SeongJong-Yoo/STREAM.

A typical pipeline for multi-object tracking (MOT) is to use a detector for object localization, and following re-identification (re-ID) for object association. This pipeline is partially motivated by recent progress in both object detection and re-ID, and partially motivated by biases in existing tracking datasets, where most objects tend to have distinguishing appearance and re-ID models are sufficient for establishing associations. In response to such bias, we would like to re-emphasize that methods for multi-object tracking should also work when object appearance is not sufficiently discriminative. To this end, we propose a large-scale dataset for multi-human tracking, where humans have similar appearance, diverse motion and extreme articulation. As the dataset contains mostly group dancing videos, we name it "DanceTrack". We expect DanceTrack to provide a better platform to develop more MOT algorithms that rely less on visual discrimination and depend more on motion analysis. We benchmark several state-of-the-art trackers on our dataset and observe a significant performance drop on DanceTrack when compared against existing benchmarks. The dataset, project code and competition server are released at: https://github.com/DanceTrack.

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

Generative AI has made significant strides in computer vision, particularly in image/video synthesis conditioned on text descriptions. Despite the advancements, it remains challenging especially in the generation of human-centric content such as dance synthesis. Existing dance synthesis methods struggle with the gap between synthesized content and real-world dance scenarios. In this paper, we define a new problem setting: Referring Human Dance Generation, which focuses on real-world dance scenarios with three important properties: (i) Faithfulness: the synthesis should retain the appearance of both human subject foreground and background from the reference image, and precisely follow the target pose; (ii) Generalizability: the model should generalize to unseen human subjects, backgrounds, and poses; (iii) Compositionality: it should allow for composition of seen/unseen subjects, backgrounds, and poses from different sources. To address these challenges, we introduce a novel approach, DISCO, which includes a novel model architecture with disentangled control to improve the faithfulness and compositionality of dance synthesis, and an effective human attribute pre-training for better generalizability to unseen humans. Extensive qualitative and quantitative results demonstrate that DISCO can generate high-quality human dance images and videos with diverse appearances and flexible motions. Code, demo, video and visualization are available at: https://disco-dance.github.io/.

Socially interactive humanoid robots must engage with humans through their bodies, adapting in real time to a partner's movement, intent, and abilities. This requires models that understand not just how bodies move, but what movement means in a shared social context. Yet evaluation frameworks for interactive motion generation do not measure whether generated follower motion is legible within a shared movement vocabulary, nor whether it is appropriate to the partner's proficiency level. This gap has two causes: existing frameworks rely on kinematic metrics such as FID and beat alignment that cannot measure either property, and existing datasets lack the move annotations and proficiency variation needed. Salsa is well-suited as an evaluation domain: improvised, dyadic, and governed by a move vocabulary and judging criteria covering timing, musicality, technique, difficulty, partnering, and originality. We present CoMPAS3D, a motion capture dataset of improvised partner salsa paired with an evaluation framework covering kinematic quality, two objective metrics (move legibility and proficiency appropriateness), and six competition-based subjective dimensions. The dataset includes 3 hours of improvisation by 18 dancers spanning beginner, intermediate, and professional levels, with over 2,800 expert-annotated segments covering move types, errors, and stylistic elements. We define three benchmarks: move classification (analogous to transcription), proficiency estimation (fluency assessment), and follower generation (dialogue response). Fine-tuned vision-language models perform strongly on objective metrics applied to ground-truth motion sequences. Applied to Duolando and InterGen, the metrics reveal failures that kinematic metrics miss. Human evaluations confirm the gap between generated and ground-truth motion. CoMPAS3D, annotations, benchmark code, and baseline results are publicly available.

With the release of large-scale motion datasets with textual annotations, the task of establishing a robust latent space for language and 3D human motion has recently witnessed a surge of interest. Methods have been proposed to convert human motion and texts into features to achieve accurate correspondence between them. Despite these efforts to align language and motion representations, we claim that the temporal element is often overlooked, especially for compound actions, resulting in chronological inaccuracies. To shed light on the temporal alignment in motion-language latent spaces, we propose Chronologically Accurate Retrieval (CAR) to evaluate the chronological understanding of the models. We decompose textual descriptions into events, and prepare negative text samples by shuffling the order of events in compound action descriptions. We then design a simple task for motion-language models to retrieve the more likely text from the ground truth and its chronologically shuffled version. CAR reveals many cases where current motion-language models fail to distinguish the event chronology of human motion, despite their impressive performance in terms of conventional evaluation metrics. To achieve better temporal alignment between text and motion, we further propose to use these texts with shuffled sequence of events as negative samples during training to reinforce the motion-language models. We conduct experiments on text-motion retrieval and text-to-motion generation using the reinforced motion-language models, which demonstrate improved performance over conventional approaches, indicating the necessity to consider temporal elements in motion-language alignment.

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

With the rise of online dance-video platforms and rapid advances in AI-generated content (AIGC), music-driven dance generation has emerged as a compelling research direction. Despite substantial progress in related domains such as music-driven 3D dance generation, pose-driven image animation, and audio-driven talking-head synthesis, existing methods cannot be directly adapted to this task. Moreover, the limited studies in this area still struggle to jointly achieve high-quality visual appearance and realistic human motion. Accordingly, we present MACE-Dance, a music-driven dance video generation framework with cascaded Mixture-of-Experts (MoE). The Motion Expert performs music-to-3D motion generation while enforcing kinematic plausibility and artistic expressiveness, whereas the Appearance Expert carries out motion- and reference-conditioned video synthesis, preserving visual identity with spatiotemporal coherence. Specifically, the Motion Expert adopts a diffusion model with a BiMamba-Transformer hybrid architecture and a Guidance-Free Training (GFT) strategy, achieving state-of-the-art (SOTA) performance in 3D dance generation. The Appearance Expert employs a decoupled kinematic-aesthetic fine-tuning strategy, achieving state-of-the-art (SOTA) performance in pose-driven image animation. To better benchmark this task, we curate a large-scale and diverse dataset and design a motion-appearance evaluation protocol. Based on this protocol, MACE-Dance also achieves state-of-the-art performance. Code is available at https://github.com/AMAP-ML/MACE-Dance.

In this work, we present DreamDance, a novel method for animating human images using only skeleton pose sequences as conditional inputs. Existing approaches struggle with generating coherent, high-quality content in an efficient and user-friendly manner. Concretely, baseline methods relying on only 2D pose guidance lack the cues of 3D information, leading to suboptimal results, while methods using 3D representation as guidance achieve higher quality but involve a cumbersome and time-intensive process. To address these limitations, DreamDance enriches 3D geometry cues from 2D poses by introducing an efficient diffusion model, enabling high-quality human image animation with various guidance. Our key insight is that human images naturally exhibit multiple levels of correlation, progressing from coarse skeleton poses to fine-grained geometry cues, and further from these geometry cues to explicit appearance details. Capturing such correlations could enrich the guidance signals, facilitating intra-frame coherency and inter-frame consistency. Specifically, we construct the TikTok-Dance5K dataset, comprising 5K high-quality dance videos with detailed frame annotations, including human pose, depth, and normal maps. Next, we introduce a Mutually Aligned Geometry Diffusion Model to generate fine-grained depth and normal maps for enriched guidance. Finally, a Cross-domain Controller incorporates multi-level guidance to animate human images effectively with a video diffusion model. Extensive experiments demonstrate that our method achieves state-of-the-art performance in animating human images.

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.

Generated video scenes for action-centric sequence descriptions, such as recipe instructions and do-it-yourself projects, often include non-linear patterns, where the next video may need to be visually consistent not with the immediately preceding video but with earlier ones. Current multi-scene video synthesis approaches fail to meet these consistency requirements. To address this, we propose a contrastive sequential video diffusion method that selects the most suitable previously generated scene to guide and condition the denoising process of the next scene. The result is a multi-scene video that is grounded in the scene descriptions and coherent w.r.t. the scenes that require visual consistency. Experiments with action-centered data from the real world demonstrate the practicality and improved consistency of our model compared to previous work.

Assembly101 is a new procedural activity dataset featuring 4321 videos of people assembling and disassembling 101 "take-apart" toy vehicles. Participants work without fixed instructions, and the sequences feature rich and natural variations in action ordering, mistakes, and corrections. Assembly101 is the first multi-view action dataset, with simultaneous static (8) and egocentric (4) recordings. Sequences are annotated with more than 100K coarse and 1M fine-grained action segments, and 18M 3D hand poses. We benchmark on three action understanding tasks: recognition, anticipation and temporal segmentation. Additionally, we propose a novel task of detecting mistakes. The unique recording format and rich set of annotations allow us to investigate generalization to new toys, cross-view transfer, long-tailed distributions, and pose vs. appearance. We envision that Assembly101 will serve as a new challenge to investigate various activity understanding problems.

Gesture synthesis is a vital realm of human-computer interaction, with wide-ranging applications across various fields like film, robotics, and virtual reality. Recent advancements have utilized the diffusion model and attention mechanisms to improve gesture synthesis. However, due to the high computational complexity of these techniques, generating long and diverse sequences with low latency remains a challenge. We explore the potential of state space models (SSMs) to address the challenge, implementing a two-stage modeling strategy with discrete motion priors to enhance the quality of gestures. Leveraging the foundational Mamba block, we introduce MambaTalk, enhancing gesture diversity and rhythm through multimodal integration. Extensive experiments demonstrate that our method matches or exceeds the performance of state-of-the-art models.

Human motion video generation has garnered significant research interest due to its broad applications, enabling innovations such as photorealistic singing heads or dynamic avatars that seamlessly dance to music. However, existing surveys in this field focus on individual methods, lacking a comprehensive overview of the entire generative process. This paper addresses this gap by providing an in-depth survey of human motion video generation, encompassing over ten sub-tasks, and detailing the five key phases of the generation process: input, motion planning, motion video generation, refinement, and output. Notably, this is the first survey that discusses the potential of large language models in enhancing human motion video generation. Our survey reviews the latest developments and technological trends in human motion video generation across three primary modalities: vision, text, and audio. By covering over two hundred papers, we offer a thorough overview of the field and highlight milestone works that have driven significant technological breakthroughs. Our goal for this survey is to unveil the prospects of human motion video generation and serve as a valuable resource for advancing the comprehensive applications of digital humans. A complete list of the models examined in this survey is available in Our Repository https://github.com/Winn1y/Awesome-Human-Motion-Video-Generation.

We introduce MoRAG, a novel multi-part fusion based retrieval-augmented generation strategy for text-based human motion generation. The method enhances motion diffusion models by leveraging additional knowledge obtained through an improved motion retrieval process. By effectively prompting large language models (LLMs), we address spelling errors and rephrasing issues in motion retrieval. Our approach utilizes a multi-part retrieval strategy to improve the generalizability of motion retrieval across the language space. We create diverse samples through the spatial composition of the retrieved motions. Furthermore, by utilizing low-level, part-specific motion information, we can construct motion samples for unseen text descriptions. Our experiments demonstrate that our framework can serve as a plug-and-play module, improving the performance of motion diffusion models. Code, pretrained models and sample videos will be made available at: https://motion-rag.github.io/

Recent advances in generative modeling have led to promising progress on synthesizing 3D human motion from text, with methods that can generate character animations from short prompts and specified durations. However, using a single text prompt as input lacks the fine-grained control needed by animators, such as composing multiple actions and defining precise durations for parts of the motion. To address this, we introduce the new problem of timeline control for text-driven motion synthesis, which provides an intuitive, yet fine-grained, input interface for users. Instead of a single prompt, users can specify a multi-track timeline of multiple prompts organized in temporal intervals that may overlap. This enables specifying the exact timings of each action and composing multiple actions in sequence or at overlapping intervals. To generate composite animations from a multi-track timeline, we propose a new test-time denoising method. This method can be integrated with any pre-trained motion diffusion model to synthesize realistic motions that accurately reflect the timeline. At every step of denoising, our method processes each timeline interval (text prompt) individually, subsequently aggregating the predictions with consideration for the specific body parts engaged in each action. Experimental comparisons and ablations validate that our method produces realistic motions that respect the semantics and timing of given text prompts. Our code and models are publicly available at https://mathis.petrovich.fr/stmc.

Record companies invest billions of dollars in new talent around the globe each year. Gaining insight into what actually makes a hit song would provide tremendous benefits for the music industry. In this research we tackle this question by focussing on the dance hit song classification problem. A database of dance hit songs from 1985 until 2013 is built, including basic musical features, as well as more advanced features that capture a temporal aspect. A number of different classifiers are used to build and test dance hit prediction models. The resulting best model has a good performance when predicting whether a song is a "top 10" dance hit versus a lower listed position.

Diffusion models have experienced a surge of interest as highly expressive yet efficiently trainable probabilistic models. We show that these models are an excellent fit for synthesising human motion that co-occurs with audio, for example co-speech gesticulation, since motion is complex and highly ambiguous given audio, calling for a probabilistic description. Specifically, we adapt the DiffWave architecture to model 3D pose sequences, putting Conformers in place of dilated convolutions for improved accuracy. We also demonstrate control over motion style, using classifier-free guidance to adjust the strength of the stylistic expression. Gesture-generation experiments on the Trinity Speech-Gesture and ZeroEGGS datasets confirm that the proposed method achieves top-of-the-line motion quality, with distinctive styles whose expression can be made more or less pronounced. We also synthesise dance motion and path-driven locomotion using the same model architecture. Finally, we extend the guidance procedure to perform style interpolation in a manner that is appealing for synthesis tasks and has connections to product-of-experts models, a contribution we believe is of independent interest. Video examples are available at https://www.speech.kth.se/research/listen-denoise-action/

Action recognition models have achieved promising results in understanding instructional videos. However, they often rely on dominant, dataset-specific action sequences rather than true video comprehension, a problem that we define as ordinal bias. To address this issue, we propose two effective video manipulation methods: Action Masking, which masks frames of frequently co-occurring actions, and Sequence Shuffling, which randomizes the order of action segments. Through comprehensive experiments, we demonstrate that current models exhibit significant performance drops when confronted with nonstandard action sequences, underscoring their vulnerability to ordinal bias. Our findings emphasize the importance of rethinking evaluation strategies and developing models capable of generalizing beyond fixed action patterns in diverse instructional videos.

Human motion generation from text prompts has made remarkable progress in recent years. However, existing methods primarily rely on either sequence-level or action-level descriptions due to the absence of fine-grained, part-level motion annotations. This limits their controllability over individual body parts. In this work, we construct a high-quality motion dataset with atomic, temporally-aware part-level text annotations, leveraging the reasoning capabilities of large language models (LLMs). Unlike prior datasets that either provide synchronized part captions with fixed time segments or rely solely on global sequence labels, our dataset captures asynchronous and semantically distinct part movements at fine temporal resolution. Based on this dataset, we introduce a diffusion-based part-aware motion generation framework, namely FrankenMotion, where each body part is guided by its own temporally-structured textual prompt. This is, to our knowledge, the first work to provide atomic, temporally-aware part-level motion annotations and have a model that allows motion generation with both spatial (body part) and temporal (atomic action) control. Experiments demonstrate that FrankenMotion outperforms all previous baseline models adapted and retrained for our setting, and our model can compose motions unseen during training. Our code and dataset will be publicly available upon publication.

Counting repetitive actions are widely seen in human activities such as physical exercise. Existing methods focus on performing repetitive action counting in short videos, which is tough for dealing with longer videos in more realistic scenarios. In the data-driven era, the degradation of such generalization capability is mainly attributed to the lack of long video datasets. To complement this margin, we introduce a new large-scale repetitive action counting dataset covering a wide variety of video lengths, along with more realistic situations where action interruption or action inconsistencies occur in the video. Besides, we also provide a fine-grained annotation of the action cycles instead of just counting annotation along with a numerical value. Such a dataset contains 1,451 videos with about 20,000 annotations, which is more challenging. For repetitive action counting towards more realistic scenarios, we further propose encoding multi-scale temporal correlation with transformers that can take into account both performance and efficiency. Furthermore, with the help of fine-grained annotation of action cycles, we propose a density map regression-based method to predict the action period, which yields better performance with sufficient interpretability. Our proposed method outperforms state-of-the-art methods on all datasets and also achieves better performance on the unseen dataset without fine-tuning. The dataset and code are available.

Generating human videos with consistent motion from text prompts remains a significant challenge, particularly for whole-body or long-range motion. Existing video generation models prioritize appearance fidelity, resulting in unrealistic or physically implausible human movements with poor structural coherence. Additionally, most existing human video datasets primarily focus on facial or upper-body motions, or consist of vertically oriented dance videos, limiting the scope of corresponding generation methods to simple movements. To overcome these challenges, we propose MoCo, which decouples the process of human video generation into two components: structure generation and appearance generation. Specifically, our method first employs an efficient 3D structure generator to produce a human motion sequence from a text prompt. The remaining video appearance is then synthesized under the guidance of the generated structural sequence. To improve fine-grained control over sparse human structures, we introduce Human-Aware Dynamic Control modules and integrate dense tracking constraints during training. Furthermore, recognizing the limitations of existing datasets, we construct a large-scale whole-body human video dataset featuring complex and diverse motions. Extensive experiments demonstrate that MoCo outperforms existing approaches in generating realistic and structurally coherent human videos.

We present Dress&Dance, a video diffusion framework that generates high quality 5-second-long 24 FPS virtual try-on videos at 1152x720 resolution of a user wearing desired garments while moving in accordance with a given reference video. Our approach requires a single user image and supports a range of tops, bottoms, and one-piece garments, as well as simultaneous tops and bottoms try-on in a single pass. Key to our framework is CondNet, a novel conditioning network that leverages attention to unify multi-modal inputs (text, images, and videos), thereby enhancing garment registration and motion fidelity. CondNet is trained on heterogeneous training data, combining limited video data and a larger, more readily available image dataset, in a multistage progressive manner. Dress&Dance outperforms existing open source and commercial solutions and enables a high quality and flexible try-on experience.

Tracking by detection has been the prevailing paradigm in the field of Multi-object Tracking (MOT). These methods typically rely on the Kalman Filter to estimate the future locations of objects, assuming linear object motion. However, they fall short when tracking objects exhibiting nonlinear and diverse motion in scenarios like dancing and sports. In addition, there has been limited focus on utilizing learning-based motion predictors in MOT. To address these challenges, we resort to exploring data-driven motion prediction methods. Inspired by the great expectation of state space models (SSMs), such as Mamba, in long-term sequence modeling with near-linear complexity, we introduce a Mamba-based motion model named Mamba moTion Predictor (MTP). MTP is designed to model the complex motion patterns of objects like dancers and athletes. Specifically, MTP takes the spatial-temporal location dynamics of objects as input, captures the motion pattern using a bi-Mamba encoding layer, and predicts the next motion. In real-world scenarios, objects may be missed due to occlusion or motion blur, leading to premature termination of their trajectories. To tackle this challenge, we further expand the application of MTP. We employ it in an autoregressive way to compensate for missing observations by utilizing its own predictions as inputs, thereby contributing to more consistent trajectories. Our proposed tracker, MambaTrack, demonstrates advanced performance on benchmarks such as Dancetrack and SportsMOT, which are characterized by complex motion and severe occlusion.

We present TANGO, a framework for generating co-speech body-gesture videos. Given a few-minute, single-speaker reference video and target speech audio, TANGO produces high-fidelity videos with synchronized body gestures. TANGO builds on Gesture Video Reenactment (GVR), which splits and retrieves video clips using a directed graph structure - representing video frames as nodes and valid transitions as edges. We address two key limitations of GVR: audio-motion misalignment and visual artifacts in GAN-generated transition frames. In particular, (i) we propose retrieving gestures using latent feature distance to improve cross-modal alignment. To ensure the latent features could effectively model the relationship between speech audio and gesture motion, we implement a hierarchical joint embedding space (AuMoCLIP); (ii) we introduce the diffusion-based model to generate high-quality transition frames. Our diffusion model, Appearance Consistent Interpolation (ACInterp), is built upon AnimateAnyone and includes a reference motion module and homography background flow to preserve appearance consistency between generated and reference videos. By integrating these components into the graph-based retrieval framework, TANGO reliably produces realistic, audio-synchronized videos and outperforms all existing generative and retrieval methods. Our codes and pretrained models are available: https://pantomatrix.github.io/TANGO/

We introduce the Multi-Motion Discrete Diffusion Models (M2D2M), a novel approach for human motion generation from textual descriptions of multiple actions, utilizing the strengths of discrete diffusion models. This approach adeptly addresses the challenge of generating multi-motion sequences, ensuring seamless transitions of motions and coherence across a series of actions. The strength of M2D2M lies in its dynamic transition probability within the discrete diffusion model, which adapts transition probabilities based on the proximity between motion tokens, encouraging mixing between different modes. Complemented by a two-phase sampling strategy that includes independent and joint denoising steps, M2D2M effectively generates long-term, smooth, and contextually coherent human motion sequences, utilizing a model trained for single-motion generation. Extensive experiments demonstrate that M2D2M surpasses current state-of-the-art benchmarks for motion generation from text descriptions, showcasing its efficacy in interpreting language semantics and generating dynamic, realistic motions.

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/}

Data replay is a successful incremental learning technique for images. It prevents catastrophic forgetting by keeping a reservoir of previous data, original or synthesized, to ensure the model retains past knowledge while adapting to novel concepts. However, its application in the video domain is rudimentary, as it simply stores frame exemplars for action recognition. This paper presents the first exploration of video data replay techniques for incremental action segmentation, focusing on action temporal modeling. We propose a Temporally Coherent Action (TCA) model, which represents actions using a generative model instead of storing individual frames. The integration of a conditioning variable that captures temporal coherence allows our model to understand the evolution of action features over time. Therefore, action segments generated by TCA for replay are diverse and temporally coherent. In a 10-task incremental setup on the Breakfast dataset, our approach achieves significant increases in accuracy for up to 22% compared to the baselines.

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/

Modeling and generating human reactions poses a significant challenge with broad applications for computer vision and human-computer interaction. Existing methods either treat multiple individuals as a single entity, directly generating interactions, or rely solely on one person's motion to generate the other's reaction, failing to integrate the rich semantic information that underpins human interactions. Yet, these methods often fall short in adaptive responsiveness, i.e., the ability to accurately respond to diverse and dynamic interaction scenarios. Recognizing this gap, our work introduces an approach tailored to address the limitations of existing models by focusing on text-driven human reaction generation. Our model specifically generates realistic motion sequences for individuals that responding to the other's actions based on a descriptive text of the interaction scenario. The goal is to produce motion sequences that not only complement the opponent's movements but also semantically fit the described interactions. To achieve this, we present MoReact, a diffusion-based method designed to disentangle the generation of global trajectories and local motions sequentially. This approach stems from the observation that generating global trajectories first is crucial for guiding local motion, ensuring better alignment with given action and text. Furthermore, we introduce a novel interaction loss to enhance the realism of generated close interactions. Our experiments, utilizing data adapted from a two-person motion dataset, demonstrate the efficacy of our approach for this novel task, which is capable of producing realistic, diverse, and controllable reactions that not only closely match the movements of the counterpart but also adhere to the textual guidance. Please find our webpage at https://xiyan-xu.github.io/MoReactWebPage.

Creating high-dynamic videos such as motion-rich actions and sophisticated visual effects poses a significant challenge in the field of artificial intelligence. Unfortunately, current state-of-the-art video generation methods, primarily focusing on text-to-video generation, tend to produce video clips with minimal motions despite maintaining high fidelity. We argue that relying solely on text instructions is insufficient and suboptimal for video generation. In this paper, we introduce PixelDance, a novel approach based on diffusion models that incorporates image instructions for both the first and last frames in conjunction with text instructions for video generation. Comprehensive experimental results demonstrate that PixelDance trained with public data exhibits significantly better proficiency in synthesizing videos with complex scenes and intricate motions, setting a new standard for video generation.

The study of complex human interactions and group activities has become a focal point in human-centric computer vision. However, progress in related tasks is often hindered by the challenges of obtaining large-scale labeled datasets from real-world scenarios. To address the limitation, we introduce M3Act, a synthetic data generator for multi-view multi-group multi-person human atomic actions and group activities. Powered by Unity Engine, M3Act features multiple semantic groups, highly diverse and photorealistic images, and a comprehensive set of annotations, which facilitates the learning of human-centered tasks across single-person, multi-person, and multi-group conditions. We demonstrate the advantages of M3Act across three core experiments. The results suggest our synthetic dataset can significantly improve the performance of several downstream methods and replace real-world datasets to reduce cost. Notably, M3Act improves the state-of-the-art MOTRv2 on DanceTrack dataset, leading to a hop on the leaderboard from 10th to 2nd place. Moreover, M3Act opens new research for controllable 3D group activity generation. We define multiple metrics and propose a competitive baseline for the novel task. Our code and data are available at our project page: http://cjerry1243.github.io/M3Act.

Conditional human motion generation is an important topic with many applications in virtual reality, gaming, and robotics. While prior works have focused on generating motion guided by text, music, or scenes, these typically result in isolated motions confined to short durations. Instead, we address the generation of long, continuous sequences guided by a series of varying textual descriptions. In this context, we introduce FlowMDM, the first diffusion-based model that generates seamless Human Motion Compositions (HMC) without any postprocessing or redundant denoising steps. For this, we introduce the Blended Positional Encodings, a technique that leverages both absolute and relative positional encodings in the denoising chain. More specifically, global motion coherence is recovered at the absolute stage, whereas smooth and realistic transitions are built at the relative stage. As a result, we achieve state-of-the-art results in terms of accuracy, realism, and smoothness on the Babel and HumanML3D datasets. FlowMDM excels when trained with only a single description per motion sequence thanks to its Pose-Centric Cross-ATtention, which makes it robust against varying text descriptions at inference time. Finally, to address the limitations of existing HMC metrics, we propose two new metrics: the Peak Jerk and the Area Under the Jerk, to detect abrupt transitions.

Presented is a method of generating a full drum kit part for a provided kick-drum sequence. A sequence to sequence neural network model used in natural language translation was adopted to encode multiple musical styles and an online survey was developed to test different techniques for sampling the output of the softmax function. The strongest results were found using a sampling technique that drew from the three most probable outputs at each subdivision of the drum pattern but the consistency of output was found to be heavily dependent on style.

We introduce MusicInfuser, an approach for generating high-quality dance videos that are synchronized to a specified music track. Rather than attempting to design and train a new multimodal audio-video model, we show how existing video diffusion models can be adapted to align with musical inputs by introducing lightweight music-video cross-attention and a low-rank adapter. Unlike prior work requiring motion capture data, our approach fine-tunes only on dance videos. MusicInfuser achieves high-quality music-driven video generation while preserving the flexibility and generative capabilities of the underlying models. We introduce an evaluation framework using Video-LLMs to assess multiple dimensions of dance generation quality. The project page and code are available at https://susunghong.github.io/MusicInfuser.

Event sequences (ESs) arise in many practical domains including finance, retail, social networks, and healthcare. In the context of machine learning, event sequences can be seen as a special type of tabular data with annotated timestamps. Despite the importance of ESs modeling and analysis, little effort was made in adapting large language models (LLMs) to the ESs domain. In this paper, we highlight the common difficulties of ESs processing and propose a novel solution capable of solving multiple downstream tasks with little or no finetuning. In particular, we solve the problem of working with long sequences and improve time and numeric features processing. The resulting method, called ESQA, effectively utilizes the power of LLMs and, according to extensive experiments, achieves state-of-the-art results in the ESs domain.

Few-shot video action recognition is an effective approach to recognizing new categories with only a few labeled examples, thereby reducing the challenges associated with collecting and annotating large-scale video datasets. Existing methods in video action recognition rely on large labeled datasets from the same domain. However, this setup is not realistic as novel categories may come from different data domains that may have different spatial and temporal characteristics. This dissimilarity between the source and target domains can pose a significant challenge, rendering traditional few-shot action recognition techniques ineffective. To address this issue, in this work, we propose a novel cross-domain few-shot video action recognition method that leverages self-supervised learning and curriculum learning to balance the information from the source and target domains. To be particular, our method employs a masked autoencoder-based self-supervised training objective to learn from both source and target data in a self-supervised manner. Then a progressive curriculum balances learning the discriminative information from the source dataset with the generic information learned from the target domain. Initially, our curriculum utilizes supervised learning to learn class discriminative features from the source data. As the training progresses, we transition to learning target-domain-specific features. We propose a progressive curriculum to encourage the emergence of rich features in the target domain based on class discriminative supervised features in the source domain. %a schedule that helps with this transition. We evaluate our method on several challenging benchmark datasets and demonstrate that our approach outperforms existing cross-domain few-shot learning techniques. Our code is available at https://github.com/Sarinda251/CDFSL-V{https://github.com/Sarinda251/CDFSL-V}

Controllable video generation (CVG) has advanced rapidly, yet current systems falter when more than one actor must move, interact, and exchange positions under noisy control signals. We address this gap with DanceTogether, the first end-to-end diffusion framework that turns a single reference image plus independent pose-mask streams into long, photorealistic videos while strictly preserving every identity. A novel MaskPoseAdapter binds "who" and "how" at every denoising step by fusing robust tracking masks with semantically rich-but noisy-pose heat-maps, eliminating the identity drift and appearance bleeding that plague frame-wise pipelines. To train and evaluate at scale, we introduce (i) PairFS-4K, 26 hours of dual-skater footage with 7,000+ distinct IDs, (ii) HumanRob-300, a one-hour humanoid-robot interaction set for rapid cross-domain transfer, and (iii) TogetherVideoBench, a three-track benchmark centered on the DanceTogEval-100 test suite covering dance, boxing, wrestling, yoga, and figure skating. On TogetherVideoBench, DanceTogether outperforms the prior arts by a significant margin. Moreover, we show that a one-hour fine-tune yields convincing human-robot videos, underscoring broad generalization to embodied-AI and HRI tasks. Extensive ablations confirm that persistent identity-action binding is critical to these gains. Together, our model, datasets, and benchmark lift CVG from single-subject choreography to compositionally controllable, multi-actor interaction, opening new avenues for digital production, simulation, and embodied intelligence. Our video demos and code are available at https://DanceTog.github.io/.

Ad-hoc Video Search (AVS) involves using a textual query to search for multiple relevant videos in a large collection of unlabeled short videos. The main challenge of AVS is the visual diversity of relevant videos. A simple query such as "Find shots of a man and a woman dancing together indoors" can span a multitude of environments, from brightly lit halls and shadowy bars to dance scenes in black-and-white animations. It is therefore essential to retrieve relevant videos as comprehensively as possible. Current solutions for the AVS task primarily fuse multiple features into one or more common spaces, yet overlook the need for diverse spaces. To fully exploit the expressive capability of individual features, we propose LPD, short for Learning Partially Decorrelated common spaces. LPD incorporates two key innovations: feature-specific common space construction and the de-correlation loss. Specifically, LPD learns a separate common space for each video and text feature, and employs de-correlation loss to diversify the ordering of negative samples across different spaces. To enhance the consistency of multi-space convergence, we designed an entropy-based fair multi-space triplet ranking loss. Extensive experiments on the TRECVID AVS benchmarks (2016-2023) justify the effectiveness of LPD. Moreover, diversity visualizations of LPD's spaces highlight its ability to enhance result diversity.

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

The field of automatic music composition has seen great progress in recent years, specifically with the invention of transformer-based architectures. When using any deep learning model which considers music as a sequence of events with multiple complex dependencies, the selection of a proper data representation is crucial. In this paper, we tackle the task of conditional drums generation using a novel data encoding scheme inspired by the Compound Word representation, a tokenization process of sequential data. Therefore, we present a sequence-to-sequence architecture where a Bidirectional Long short-term memory (BiLSTM) Encoder receives information about the conditioning parameters (i.e., accompanying tracks and musical attributes), while a Transformer-based Decoder with relative global attention produces the generated drum sequences. We conducted experiments to thoroughly compare the effectiveness of our method to several baselines. Quantitative evaluation shows that our model is able to generate drums sequences that have similar statistical distributions and characteristics to the training corpus. These features include syncopation, compression ratio, and symmetry among others. We also verified, through a listening test, that generated drum sequences sound pleasant, natural and coherent while they "groove" with the given accompaniment.

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.

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.

Recognizing fine-grained actions from temporally corrupted skeleton sequences remains a significant challenge, particularly in real-world scenarios where online pose estimation often yields substantial missing data. Existing methods often struggle to accurately recover temporal dynamics and fine-grained spatial structures, resulting in the loss of subtle motion cues crucial for distinguishing similar actions. To address this, we propose FineTec, a unified framework for Fine-grained action recognition under Temporal Corruption. FineTec first restores a base skeleton sequence from corrupted input using context-aware completion with diverse temporal masking. Next, a skeleton-based spatial decomposition module partitions the skeleton into five semantic regions, further divides them into dynamic and static subgroups based on motion variance, and generates two augmented skeleton sequences via targeted perturbation. These, along with the base sequence, are then processed by a physics-driven estimation module, which utilizes Lagrangian dynamics to estimate joint accelerations. Finally, both the fused skeleton position sequence and the fused acceleration sequence are jointly fed into a GCN-based action recognition head. Extensive experiments on both coarse-grained (NTU-60, NTU-120) and fine-grained (Gym99, Gym288) benchmarks show that FineTec significantly outperforms previous methods under various levels of temporal corruption. Specifically, FineTec achieves top-1 accuracies of 89.1% and 78.1% on the challenging Gym99-severe and Gym288-severe settings, respectively, demonstrating its robustness and generalizability. Code and datasets could be found at https://smartdianlab.github.io/projects-FineTec/.

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/.

Recent work has demonstrated the significant potential of denoising diffusion models for generating human motion, including text-to-motion capabilities. However, these methods are restricted by the paucity of annotated motion data, a focus on single-person motions, and a lack of detailed control. In this paper, we introduce three forms of composition based on diffusion priors: sequential, parallel, and model composition. Using sequential composition, we tackle the challenge of long sequence generation. We introduce DoubleTake, an inference-time method with which we generate long animations consisting of sequences of prompted intervals and their transitions, using a prior trained only for short clips. Using parallel composition, we show promising steps toward two-person generation. Beginning with two fixed priors as well as a few two-person training examples, we learn a slim communication block, ComMDM, to coordinate interaction between the two resulting motions. Lastly, using model composition, we first train individual priors to complete motions that realize a prescribed motion for a given joint. We then introduce DiffusionBlending, an interpolation mechanism to effectively blend several such models to enable flexible and efficient fine-grained joint and trajectory-level control and editing. We evaluate the composition methods using an off-the-shelf motion diffusion model, and further compare the results to dedicated models trained for these specific tasks.

Text-to-motion generation holds potential for film, gaming, and robotics, yet current methods often prioritize short motion generation, making it challenging to produce long motion sequences effectively: (1) Current methods struggle to handle long motion sequences as a single input due to prohibitively high computational cost; (2) Breaking down the generation of long motion sequences into shorter segments can result in inconsistent transitions and requires interpolation or inpainting, which lacks entire sequence modeling. To solve these challenges, we propose InfiniMotion, a method that generates continuous motion sequences of arbitrary length within an autoregressive framework. We highlight its groundbreaking capability by generating a continuous 1-hour human motion with around 80,000 frames. Specifically, we introduce the Motion Memory Transformer with Bidirectional Mamba Memory, enhancing the transformer's memory to process long motion sequences effectively without overwhelming computational resources. Notably our method achieves over 30% improvement in FID and 6 times longer demonstration compared to previous state-of-the-art methods, showcasing significant advancements in long motion generation. See project webpage: https://steve-zeyu-zhang.github.io/InfiniMotion/

In this paper, we present a novel framework designed to reconstruct long-sequence 3D human motion in the world coordinates from in-the-wild videos with multiple shot transitions. Such long-sequence in-the-wild motions are highly valuable to applications such as motion generation and motion understanding, but are of great challenge to be recovered due to abrupt shot transitions, partial occlusions, and dynamic backgrounds presented in such videos. Existing methods primarily focus on single-shot videos, where continuity is maintained within a single camera view, or simplify multi-shot alignment in camera space only. In this work, we tackle the challenges by integrating an enhanced camera pose estimation with Human Motion Recovery (HMR) by incorporating a shot transition detector and a robust alignment module for accurate pose and orientation continuity across shots. By leveraging a custom motion integrator, we effectively mitigate the problem of foot sliding and ensure temporal consistency in human pose. Extensive evaluations on our created multi-shot dataset from public 3D human datasets demonstrate the robustness of our method in reconstructing realistic human motion in world coordinates.

Computer vision was long a tool used for aiding visually impaired people to move around their environment and avoid obstacles and falls. Solutions are limited to either indoor or outdoor scenes, which limits the kind of places and scenes visually disabled people can be in, including entertainment places such as theatres. Furthermore, most of the proposed computer-vision-based methods rely on RGB benchmarks to train their models resulting in a limited performance due to the absence of the depth modality. In this paper, we propose a novel RGB-D dataset containing theatre scenes with ground truth human actions and dense captions annotations for image captioning and human action recognition: TS-RGBD dataset. It includes three types of data: RGB, depth, and skeleton sequences, captured by Microsoft Kinect. We test image captioning models on our dataset as well as some skeleton-based human action recognition models in order to extend the range of environment types where a visually disabled person can be, by detecting human actions and textually describing appearances of regions of interest in theatre scenes.

Generating videos of complex human motions such as flips, cartwheels, and martial arts remains challenging for current video diffusion models. Text-only conditioning is temporally ambiguous for fine-grained motion control, while explicit pose-based controls, though effective, require users to provide complete skeleton sequences that are costly to produce for long and dynamic actions. We propose a two-stage cascaded framework that addresses both limitations. First, an autoregressive text-to-skeleton model generates 2D pose sequences from natural language descriptions by predicting each joint conditioned on previously generated poses. This design captures long-range temporal dependencies and inter-joint coordination required for complex motions. Second, a pose-conditioned video diffusion model synthesizes videos from a reference image and the generated skeleton sequence. It employs DINO-ALF (Adaptive Layer Fusion), a multi-level reference encoder that preserves appearance and clothing details under large pose changes and self-occlusions. To address the lack of publicly available datasets for complex human motion video generation, we introduce a Blender-based synthetic dataset containing 2,000 videos with diverse characters performing acrobatic and stunt-like motions. The dataset provides full control over appearance, motion, and environment. It fills an important gap because existing benchmarks significantly under-represent acrobatic motions while web-collected datasets raise copyright and privacy concerns. Experiments on our synthetic dataset and the Motion-X Fitness benchmark show that our text-to-skeleton model outperforms prior methods on FID, R-precision, and motion diversity. Our pose-to-video model also achieves the best results among all compared methods on VBench metrics for temporal consistency, motion smoothness, and subject preservation.

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.

This paper presents Motion Puzzle, a novel motion style transfer network that advances the state-of-the-art in several important respects. The Motion Puzzle is the first that can control the motion style of individual body parts, allowing for local style editing and significantly increasing the range of stylized motions. Designed to keep the human's kinematic structure, our framework extracts style features from multiple style motions for different body parts and transfers them locally to the target body parts. Another major advantage is that it can transfer both global and local traits of motion style by integrating the adaptive instance normalization and attention modules while keeping the skeleton topology. Thus, it can capture styles exhibited by dynamic movements, such as flapping and staggering, significantly better than previous work. In addition, our framework allows for arbitrary motion style transfer without datasets with style labeling or motion pairing, making many publicly available motion datasets available for training. Our framework can be easily integrated with motion generation frameworks to create many applications, such as real-time motion transfer. We demonstrate the advantages of our framework with a number of examples and comparisons with previous work.

Skeleton-based action segmentation requires recognizing composable actions in untrimmed videos. Current approaches decouple this problem by first extracting local visual features from skeleton sequences and then processing them by a temporal model to classify frame-wise actions. However, their performances remain limited as the visual features cannot sufficiently express composable actions. In this context, we propose Latent Action Composition (LAC), a novel self-supervised framework aiming at learning from synthesized composable motions for skeleton-based action segmentation. LAC is composed of a novel generation module towards synthesizing new sequences. Specifically, we design a linear latent space in the generator to represent primitive motion. New composed motions can be synthesized by simply performing arithmetic operations on latent representations of multiple input skeleton sequences. LAC leverages such synthesized sequences, which have large diversity and complexity, for learning visual representations of skeletons in both sequence and frame spaces via contrastive learning. The resulting visual encoder has a high expressive power and can be effectively transferred onto action segmentation tasks by end-to-end fine-tuning without the need for additional temporal models. We conduct a study focusing on transfer-learning and we show that representations learned from pre-trained LAC outperform the state-of-the-art by a large margin on TSU, Charades, PKU-MMD datasets.

Human motion generation plays a vital role in applications such as digital humans and humanoid robot control. However, most existing approaches disregard physics constraints, leading to the frequent production of physically implausible motions with pronounced artifacts such as floating and foot sliding. In this paper, we propose Morph, a Motion-free physics optimization framework, comprising a Motion Generator and a Motion Physics Refinement module, for enhancing physical plausibility without relying on costly real-world motion data. Specifically, the Motion Generator is responsible for providing large-scale synthetic motion data, while the Motion Physics Refinement Module utilizes these synthetic data to train a motion imitator within a physics simulator, enforcing physical constraints to project the noisy motions into a physically-plausible space. These physically refined motions, in turn, are used to fine-tune the Motion Generator, further enhancing its capability. Experiments on both text-to-motion and music-to-dance generation tasks demonstrate that our framework achieves state-of-the-art motion generation quality while improving physical plausibility drastically.

Multi-object tracking (MOT) is a rising topic in video processing technologies and has important application value in consumer electronics. Currently, tracking-by-detection (TBD) is the dominant paradigm for MOT, which performs target detection and association frame by frame. However, the association performance of TBD methods degrades in complex scenes with heavy occlusions, which hinders the application of such methods in real-world scenarios.To this end, we incorporate pseudo-depth cues to enhance the association performance and propose Pseudo-Depth SORT (PD-SORT). First, we extend the Kalman filter state vector with pseudo-depth states. Second, we introduce a novel depth volume IoU (DVIoU) by combining the conventional 2D IoU with pseudo-depth. Furthermore, we develop a quantized pseudo-depth measurement (QPDM) strategy for more robust data association. Besides, we also integrate camera motion compensation (CMC) to handle dynamic camera situations. With the above designs, PD-SORT significantly alleviates the occlusion-induced ambiguous associations and achieves leading performances on DanceTrack, MOT17, and MOT20. Note that the improvement is especially obvious on DanceTrack, where objects show complex motions, similar appearances, and frequent occlusions. The code is available at https://github.com/Wangyc2000/PD_SORT.

In the heart of "rhythm games" - games where players must perform actions in sync with a piece of music - are "charts", the directives to be given to players. We newly formulate chart generation as a sequence generation task and train a Transformer using a large dataset. We also introduce tempo-informed preprocessing and training procedures, some of which are suggested to be integral for a successful training. Our model is found to outperform the baselines on a large dataset, and is also found to benefit from pretraining and finetuning.

Pose based video sychronization can have applications in multiple domains such as gameplay performance evaluation, choreography or guiding athletes. The subject's actions could be compared and evaluated against those performed by professionals side by side. In this paper, we propose an end to end pipeline for synchronizing videos based on pose. The first step crops the region where the person present in the image followed by pose detection on the cropped image. This is followed by application of Dynamic Time Warping(DTW) on angle/ distance measures between the pose keypoints leading to a scale and shift invariant pose matching pipeline.

One significant factor we expect the video representation learning to capture, especially in contrast with the image representation learning, is the object motion. However, we found that in the current mainstream video datasets, some action categories are highly related with the scene where the action happens, making the model tend to degrade to a solution where only the scene information is encoded. For example, a trained model may predict a video as playing football simply because it sees the field, neglecting that the subject is dancing as a cheerleader on the field. This is against our original intention towards the video representation learning and may bring scene bias on different dataset that can not be ignored. In order to tackle this problem, we propose to decouple the scene and the motion (DSM) with two simple operations, so that the model attention towards the motion information is better paid. Specifically, we construct a positive clip and a negative clip for each video. Compared to the original video, the positive/negative is motion-untouched/broken but scene-broken/untouched by Spatial Local Disturbance and Temporal Local Disturbance. Our objective is to pull the positive closer while pushing the negative farther to the original clip in the latent space. In this way, the impact of the scene is weakened while the temporal sensitivity of the network is further enhanced. We conduct experiments on two tasks with various backbones and different pre-training datasets, and find that our method surpass the SOTA methods with a remarkable 8.1% and 8.8% improvement towards action recognition task on the UCF101 and HMDB51 datasets respectively using the same backbone.

Text-to-video is a rapidly growing research area that aims to generate a semantic, identical, and temporal coherence sequence of frames that accurately align with the input text prompt. This study focuses on zero-shot text-to-video generation considering the data- and cost-efficient. To generate a semantic-coherent video, exhibiting a rich portrayal of temporal semantics such as the whole process of flower blooming rather than a set of "moving images", we propose a novel Free-Bloom pipeline that harnesses large language models (LLMs) as the director to generate a semantic-coherence prompt sequence, while pre-trained latent diffusion models (LDMs) as the animator to generate the high fidelity frames. Furthermore, to ensure temporal and identical coherence while maintaining semantic coherence, we propose a series of annotative modifications to adapting LDMs in the reverse process, including joint noise sampling, step-aware attention shift, and dual-path interpolation. Without any video data and training requirements, Free-Bloom generates vivid and high-quality videos, awe-inspiring in generating complex scenes with semantic meaningful frame sequences. In addition, Free-Bloom is naturally compatible with LDMs-based extensions.

Generating realistic human videos remains a challenging task, with the most effective methods currently relying on a human motion sequence as a control signal. Existing approaches often use existing motion extracted from other videos, which restricts applications to specific motion types and global scene matching. We propose Move-in-2D, a novel approach to generate human motion sequences conditioned on a scene image, allowing for diverse motion that adapts to different scenes. Our approach utilizes a diffusion model that accepts both a scene image and text prompt as inputs, producing a motion sequence tailored to the scene. To train this model, we collect a large-scale video dataset featuring single-human activities, annotating each video with the corresponding human motion as the target output. Experiments demonstrate that our method effectively predicts human motion that aligns with the scene image after projection. Furthermore, we show that the generated motion sequence improves human motion quality in video synthesis tasks.

Language-guided human motion synthesis has been a challenging task due to the inherent complexity and diversity of human behaviors. Previous methods face limitations in generalization to novel actions, often resulting in unrealistic or incoherent motion sequences. In this paper, we propose ATOM (ATomic mOtion Modeling) to mitigate this problem, by decomposing actions into atomic actions, and employing a curriculum learning strategy to learn atomic action composition. First, we disentangle complex human motions into a set of atomic actions during learning, and then assemble novel actions using the learned atomic actions, which offers better adaptability to new actions. Moreover, we introduce a curriculum learning training strategy that leverages masked motion modeling with a gradual increase in the mask ratio, and thus facilitates atomic action assembly. This approach mitigates the overfitting problem commonly encountered in previous methods while enforcing the model to learn better motion representations. We demonstrate the effectiveness of ATOM through extensive experiments, including text-to-motion and action-to-motion synthesis tasks. We further illustrate its superiority in synthesizing plausible and coherent text-guided human motion sequences.

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.

Amid the surge in generic text-to-video generation, the field of personalized human video generation has witnessed notable advancements, primarily concentrated on single-person scenarios. However, to our knowledge, the domain of two-person interactions, particularly in the context of martial arts combat, remains uncharted. We identify a significant gap: existing models for single-person dancing generation prove insufficient for capturing the subtleties and complexities of two engaged fighters, resulting in challenges such as identity confusion, anomalous limbs, and action mismatches. To address this, we introduce a pioneering new task, Personalized Martial Arts Combat Video Generation. Our approach, MagicFight, is specifically crafted to overcome these hurdles. Given this pioneering task, we face a lack of appropriate datasets. Thus, we generate a bespoke dataset using the game physics engine Unity, meticulously crafting a multitude of 3D characters, martial arts moves, and scenes designed to represent the diversity of combat. MagicFight refines and adapts existing models and strategies to generate high-fidelity two-person combat videos that maintain individual identities and ensure seamless, coherent action sequences, thereby laying the groundwork for future innovations in the realm of interactive video content creation. Website: https://MingfuYAN.github.io/MagicFight/ Dataset: https://huggingface.co/datasets/MingfuYAN/KungFu-Fiesta

We are committed to learning human skill generators at key-step levels. The generation of skills is a challenging endeavor, but its successful implementation could greatly facilitate human skill learning and provide more experience for embodied intelligence. Although current video generation models can synthesis simple and atomic human operations, they struggle with human skills due to their complex procedure process. Human skills involve multi-step, long-duration actions and complex scene transitions, so the existing naive auto-regressive methods for synthesizing long videos cannot generate human skills. To address this, we propose a novel task, the Key-step Skill Generation (KS-Gen), aimed at reducing the complexity of generating human skill videos. Given the initial state and a skill description, the task is to generate video clips of key steps to complete the skill, rather than a full-length video. To support this task, we introduce a carefully curated dataset and define multiple evaluation metrics to assess performance. Considering the complexity of KS-Gen, we propose a new framework for this task. First, a multimodal large language model (MLLM) generates descriptions for key steps using retrieval argument. Subsequently, we use a Key-step Image Generator (KIG) to address the discontinuity between key steps in skill videos. Finally, a video generation model uses these descriptions and key-step images to generate video clips of the key steps with high temporal consistency. We offer a detailed analysis of the results, hoping to provide more insights on human skill generation. All models and data are available at https://github.com/MCG-NJU/KS-Gen.

In this work, we address the task of video background music generation. Some previous works achieve effective music generation but are unable to generate melodious music tailored to a particular video, and none of them considers the video-music rhythmic consistency. To generate the background music that matches the given video, we first establish the rhythmic relations between video and background music. In particular, we connect timing, motion speed, and motion saliency from video with beat, simu-note density, and simu-note strength from music, respectively. We then propose CMT, a Controllable Music Transformer that enables local control of the aforementioned rhythmic features and global control of the music genre and instruments. Objective and subjective evaluations show that the generated background music has achieved satisfactory compatibility with the input videos, and at the same time, impressive music quality. Code and models are available at https://github.com/wzk1015/video-bgm-generation.

We propose a bidirectional consecutively connected two-pathway network (BCCN) for efficient gesture recognition. The BCCN consists of two pathways: (i) a keyframe pathway and (ii) a temporal-attention pathway. The keyframe pathway is configured using the skeleton-based keyframe selection module. Keyframes pass through the pathway to extract the spatial feature of itself, and the temporal-attention pathway extracts temporal semantics. Our model improved gesture recognition performance in videos and obtained better activation maps for spatial and temporal properties. Tests were performed on the Chalearn dataset, the ETRI-Activity 3D dataset, and the Toyota Smart Home dataset.

Video anomaly detection deals with the recognition of abnormal events in videos. Apart from the visual signal, video anomaly detection has also been addressed with the use of skeleton sequences. We propose a holistic representation of skeleton trajectories to learn expected motions across segments at different times. Our approach uses multitask learning to reconstruct any continuous unobserved temporal segment of the trajectory allowing the extrapolation of past or future segments and the interpolation of in-between segments. We use an end-to-end attention-based encoder-decoder. We encode temporally occluded trajectories, jointly learn latent representations of the occluded segments, and reconstruct trajectories based on expected motions across different temporal segments. Extensive experiments on three trajectory-based video anomaly detection datasets show the advantages and effectiveness of our approach with state-of-the-art results on anomaly detection in skeleton trajectories.

Music classification, a cornerstone of music information retrieval, supports a wide array of applications. To address the lack of comprehensive datasets and effective methods for sub-genre classification in mainstage dance music, we introduce a novel benchmark featuring a new dataset and baseline. Our dataset expands the scope of sub-genres to reflect the diversity of recent mainstage live sets performed by leading DJs at global music festivals, capturing the vibrant and rapidly evolving electronic dance music (EDM) scene that engages millions of fans worldwide. We employ a continuous soft labeling approach to accommodate tracks blending multiple sub-genres, preserving their inherent complexity. Experiments demonstrate that even state-of-the-art multimodal large language models (MLLMs) struggle with this task, while our specialized baseline models achieve high accuracy. This benchmark supports applications such as music recommendation, DJ set curation, and interactive multimedia systems, with video demos provided. Our code and data are all open-sourced at https://github.com/Gariscat/housex-v2.git.

We study the problem of procedure planning in instructional videos, which aims to make a goal-oriented sequence of action steps given partial visual state observations. The motivation of this problem is to learn a structured and plannable state and action space. Recent works succeeded in sequence modeling of steps with only sequence-level annotations accessible during training, which overlooked the roles of states in the procedures. In this work, we point out that State CHangEs MAtter (SCHEMA) for procedure planning in instructional videos. We aim to establish a more structured state space by investigating the causal relations between steps and states in procedures. Specifically, we explicitly represent each step as state changes and track the state changes in procedures. For step representation, we leveraged the commonsense knowledge in large language models (LLMs) to describe the state changes of steps via our designed chain-of-thought prompting. For state change tracking, we align visual state observations with language state descriptions via cross-modal contrastive learning, and explicitly model the intermediate states of the procedure using LLM-generated state descriptions. Experiments on CrossTask, COIN, and NIV benchmark datasets demonstrate that our proposed SCHEMA model achieves state-of-the-art performance and obtains explainable visualizations.

Motion control is crucial for generating expressive and compelling video content; however, most existing video generation models rely mainly on text prompts for control, which struggle to capture the nuances of dynamic actions and temporal compositions. To this end, we train a video generation model conditioned on spatio-temporally sparse or dense motion trajectories. In contrast to prior motion conditioning work, this flexible representation can encode any number of trajectories, object-specific or global scene motion, and temporally sparse motion; due to its flexibility we refer to this conditioning as motion prompts. While users may directly specify sparse trajectories, we also show how to translate high-level user requests into detailed, semi-dense motion prompts, a process we term motion prompt expansion. We demonstrate the versatility of our approach through various applications, including camera and object motion control, "interacting" with an image, motion transfer, and image editing. Our results showcase emergent behaviors, such as realistic physics, suggesting the potential of motion prompts for probing video models and interacting with future generative world models. Finally, we evaluate quantitatively, conduct a human study, and demonstrate strong performance. Video results are available on our webpage: https://motion-prompting.github.io/

Human motion generation stands as a significant pursuit in generative computer vision, while achieving long-sequence and efficient motion generation remains challenging. Recent advancements in state space models (SSMs), notably Mamba, have showcased considerable promise in long sequence modeling with an efficient hardware-aware design, which appears to be a promising direction to build motion generation model upon it. Nevertheless, adapting SSMs to motion generation faces hurdles since the lack of a specialized design architecture to model motion sequence. To address these challenges, we propose Motion Mamba, a simple and efficient approach that presents the pioneering motion generation model utilized SSMs. Specifically, we design a Hierarchical Temporal Mamba (HTM) block to process temporal data by ensemble varying numbers of isolated SSM modules across a symmetric U-Net architecture aimed at preserving motion consistency between frames. We also design a Bidirectional Spatial Mamba (BSM) block to bidirectionally process latent poses, to enhance accurate motion generation within a temporal frame. Our proposed method achieves up to 50% FID improvement and up to 4 times faster on the HumanML3D and KIT-ML datasets compared to the previous best diffusion-based method, which demonstrates strong capabilities of high-quality long sequence motion modeling and real-time human motion generation. See project website https://steve-zeyu-zhang.github.io/MotionMamba/

A DJ mix is a sequence of music tracks concatenated seamlessly, typically rendered for audiences in a live setting by a DJ on stage. As a DJ mix is produced in a studio or the live version is recorded for music streaming services, computational methods to analyze DJ mixes, for example, extracting track information or understanding DJ techniques, have drawn research interests. Many of previous works are, however, limited to identifying individual tracks in a mix or segmenting it, and the sizes of the datasets are usually small. In this paper, we provide an in-depth analysis of DJ music by aligning a mix to its original music tracks. We set up the subsequence alignment such that the audio features are less sensitive to the tempo or key change of the original track in a mix. This approach provides temporally tight mix-to-track matching from which we can obtain cue-points, transition length, mix segmentation, and musical changes in DJ performance. Using 1,557 mixes from 1001Tracklists including 13,728 tracks and 20,765 transitions, we conduct the proposed analysis and show a wide range of statistics, which may elucidate the creative process of DJ music making.

We present a framework for learning to generate background music from video inputs. Unlike existing works that rely on symbolic musical annotations, which are limited in quantity and diversity, our method leverages large-scale web videos accompanied by background music. This enables our model to learn to generate realistic and diverse music. To accomplish this goal, we develop a generative video-music Transformer with a novel semantic video-music alignment scheme. Our model uses a joint autoregressive and contrastive learning objective, which encourages the generation of music aligned with high-level video content. We also introduce a novel video-beat alignment scheme to match the generated music beats with the low-level motions in the video. Lastly, to capture fine-grained visual cues in a video needed for realistic background music generation, we introduce a new temporal video encoder architecture, allowing us to efficiently process videos consisting of many densely sampled frames. We train our framework on our newly curated DISCO-MV dataset, consisting of 2.2M video-music samples, which is orders of magnitude larger than any prior datasets used for video music generation. Our method outperforms existing approaches on the DISCO-MV and MusicCaps datasets according to various music generation evaluation metrics, including human evaluation. Results are available at https://genjib.github.io/project_page/VMAs/index.html

Sequential dynamics are a key feature of many modern recommender systems, which seek to capture the `context' of users' activities on the basis of actions they have performed recently. To capture such patterns, two approaches have proliferated: Markov Chains (MCs) and Recurrent Neural Networks (RNNs). Markov Chains assume that a user's next action can be predicted on the basis of just their last (or last few) actions, while RNNs in principle allow for longer-term semantics to be uncovered. Generally speaking, MC-based methods perform best in extremely sparse datasets, where model parsimony is critical, while RNNs perform better in denser datasets where higher model complexity is affordable. The goal of our work is to balance these two goals, by proposing a self-attention based sequential model (SASRec) that allows us to capture long-term semantics (like an RNN), but, using an attention mechanism, makes its predictions based on relatively few actions (like an MC). At each time step, SASRec seeks to identify which items are `relevant' from a user's action history, and use them to predict the next item. Extensive empirical studies show that our method outperforms various state-of-the-art sequential models (including MC/CNN/RNN-based approaches) on both sparse and dense datasets. Moreover, the model is an order of magnitude more efficient than comparable CNN/RNN-based models. Visualizations on attention weights also show how our model adaptively handles datasets with various density, and uncovers meaningful patterns in activity sequences.

We introduce PlausiVL, a large video-language model for anticipating action sequences that are plausible in the real-world. While significant efforts have been made towards anticipating future actions, prior approaches do not take into account the aspect of plausibility in an action sequence. To address this limitation, we explore the generative capability of a large video-language model in our work and further, develop the understanding of plausibility in an action sequence by introducing two objective functions, a counterfactual-based plausible action sequence learning loss and a long-horizon action repetition loss. We utilize temporal logical constraints as well as verb-noun action pair logical constraints to create implausible/counterfactual action sequences and use them to train the model with plausible action sequence learning loss. This loss helps the model to differentiate between plausible and not plausible action sequences and also helps the model to learn implicit temporal cues crucial for the task of action anticipation. The long-horizon action repetition loss puts a higher penalty on the actions that are more prone to repetition over a longer temporal window. With this penalization, the model is able to generate diverse, plausible action sequences. We evaluate our approach on two large-scale datasets, Ego4D and EPIC-Kitchens-100, and show improvements on the task of action anticipation.

We introduce Multi-view Ancestral Sampling (MAS), a method for generating consistent multi-view 2D samples of a motion sequence, enabling the creation of its 3D counterpart. MAS leverages a diffusion model trained solely on 2D data, opening opportunities to exciting and diverse fields of motion previously under-explored as 3D data is scarce and hard to collect. MAS works by simultaneously denoising multiple 2D motion sequences representing the same motion from different angles. Our consistency block ensures consistency across all views at each diffusion step by combining the individual generations into a unified 3D sequence, and projecting it back to the original views for the next iteration. We demonstrate MAS on 2D pose data acquired from videos depicting professional basketball maneuvers, rhythmic gymnastic performances featuring a ball apparatus, and horse obstacle course races. In each of these domains, 3D motion capture is arduous, and yet, MAS generates diverse and realistic 3D sequences without textual conditioning. As we demonstrate, our ancestral sampling-based approach offers a more natural integration with the diffusion framework compared to popular denoising optimization-based approaches, and avoids common issues such as out-of-domain sampling, lack of details and mode-collapse. https://guytevet.github.io/mas-page/

Procedural activities, ranging from routine cooking to complex surgical operations, are highly structured as a set of actions conducted in a specific temporal order. Despite their success on static images and short clips, current self-supervised learning methods often overlook the procedural nature that underpins such activities. We expose the lack of procedural awareness in current SSL methods with a motivating experiment: models pretrained on forward and time-reversed sequences produce highly similar features, confirming that their representations are blind to the underlying procedural order. To address this shortcoming, we propose PL-Stitch, a self-supervised framework that harnesses the inherent temporal order of video frames as a powerful supervisory signal. Our approach integrates two novel probabilistic objectives based on the Plackett-Luce (PL) model. The primary PL objective trains the model to sort sampled frames chronologically, compelling it to learn the global workflow progression. The secondary objective, a spatio-temporal jigsaw loss, complements the learning by capturing fine-grained, cross-frame object correlations. Our approach consistently achieves superior performance across five surgical and cooking benchmarks. Specifically, PL-Stitch yields significant gains in surgical phase recognition (e.g., +11.4 pp k-NN accuracy on Cholec80) and cooking action segmentation (e.g., +5.7 pp linear probing accuracy on Breakfast), demonstrating its effectiveness for procedural video representation learning.

Recently, video generation has attracted massive attention and yielded noticeable outcomes. Concerning the characteristics of video, multi-text conditioning incorporating sequential events is necessary for next-step video generation. In this work, we propose a novel multi-text video generation~(MTVG) by directly utilizing a pre-trained diffusion-based text-to-video~(T2V) generation model without additional fine-tuning. To generate consecutive video segments, visual consistency generated by distinct prompts is necessary with diverse variations, such as motion and content-related transitions. Our proposed MTVG includes Dynamic Noise and Last Frame Aware Inversion which reinitialize the noise latent to preserve visual coherence between videos of different prompts and prevent repetitive motion or contents. Furthermore, we present Structure Guiding Sampling to maintain the global appearance across the frames in a single video clip, where we leverage iterative latent updates across the preceding frame. Additionally, our Prompt Generator allows for arbitrary format of text conditions consisting of diverse events. As a result, our extensive experiments, including diverse transitions of descriptions, demonstrate that our proposed methods show superior generated outputs in terms of semantically coherent and temporally seamless video.Video examples are available in our project page: https://kuai-lab.github.io/mtvg-page.

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/ .

Non-verbal communication often comprises of semantically rich gestures that help convey the meaning of an utterance. Producing such semantic co-speech gestures has been a major challenge for the existing neural systems that can generate rhythmic beat gestures, but struggle to produce semantically meaningful gestures. Therefore, we present RAG-Gesture, a diffusion-based gesture generation approach that leverages Retrieval Augmented Generation (RAG) to produce natural-looking and semantically rich gestures. Our neuro-explicit gesture generation approach is designed to produce semantic gestures grounded in interpretable linguistic knowledge. We achieve this by using explicit domain knowledge to retrieve exemplar motions from a database of co-speech gestures. Once retrieved, we then inject these semantic exemplar gestures into our diffusion-based gesture generation pipeline using DDIM inversion and retrieval guidance at the inference time without any need of training. Further, we propose a control paradigm for guidance, that allows the users to modulate the amount of influence each retrieval insertion has over the generated sequence. Our comparative evaluations demonstrate the validity of our approach against recent gesture generation approaches. The reader is urged to explore the results on our project page.

Understanding the structure of complex activities in untrimmed videos is a challenging task in the area of action recognition. One problem here is that this task usually requires a large amount of hand-annotated minute- or even hour-long video data, but annotating such data is very time consuming and can not easily be automated or scaled. To address this problem, this paper proposes an approach for the unsupervised learning of actions in untrimmed video sequences based on a joint visual-temporal embedding space. To this end, we combine a visual embedding based on a predictive U-Net architecture with a temporal continuous function. The resulting representation space allows detecting relevant action clusters based on their visual as well as their temporal appearance. The proposed method is evaluated on three standard benchmark datasets, Breakfast Actions, INRIA YouTube Instructional Videos, and 50 Salads. We show that the proposed approach is able to provide a meaningful visual and temporal embedding out of the visual cues present in contiguous video frames and is suitable for the task of unsupervised temporal segmentation of actions.

Video understanding requires effective modeling of both motion and appearance information, particularly for few-shot action recognition. While recent advances in point tracking have been shown to improve few-shot action recognition, two fundamental challenges persist: selecting informative points to track and effectively modeling their motion patterns. We present Trokens, a novel approach that transforms trajectory points into semantic-aware relational tokens for action recognition. First, we introduce a semantic-aware sampling strategy to adaptively distribute tracking points based on object scale and semantic relevance. Second, we develop a motion modeling framework that captures both intra-trajectory dynamics through the Histogram of Oriented Displacements (HoD) and inter-trajectory relationships to model complex action patterns. Our approach effectively combines these trajectory tokens with semantic features to enhance appearance features with motion information, achieving state-of-the-art performance across six diverse few-shot action recognition benchmarks: Something-Something-V2 (both full and small splits), Kinetics, UCF101, HMDB51, and FineGym. For project page see https://trokens-iccv25.github.io

Skeleton-based action recognition has recently received considerable attention. Current approaches to skeleton-based action recognition are typically formulated as one-hot classification tasks and do not fully exploit the semantic relations between actions. For example, "make victory sign" and "thumb up" are two actions of hand gestures, whose major difference lies in the movement of hands. This information is agnostic from the categorical one-hot encoding of action classes but could be unveiled from the action description. Therefore, utilizing action description in training could potentially benefit representation learning. In this work, we propose a Generative Action-description Prompts (GAP) approach for skeleton-based action recognition. More specifically, we employ a pre-trained large-scale language model as the knowledge engine to automatically generate text descriptions for body parts movements of actions, and propose a multi-modal training scheme by utilizing the text encoder to generate feature vectors for different body parts and supervise the skeleton encoder for action representation learning. Experiments show that our proposed GAP method achieves noticeable improvements over various baseline models without extra computation cost at inference. GAP achieves new state-of-the-arts on popular skeleton-based action recognition benchmarks, including NTU RGB+D, NTU RGB+D 120 and NW-UCLA. The source code is available at https://github.com/MartinXM/GAP.

This work addresses continuous space-time video super-resolution (C-STVSR) that aims to up-scale an input video both spatially and temporally by any scaling factors. One key challenge of C-STVSR is to propagate information temporally among the input video frames. To this end, we introduce a space-time local implicit neural function. It has the striking feature of learning forward motion for a continuum of pixels. We motivate the use of forward motion from the perspective of learning individual motion trajectories, as opposed to learning a mixture of motion trajectories with backward motion. To ease motion interpolation, we encode sparsely sampled forward motion extracted from the input video as the contextual input. Along with a reliability-aware splatting and decoding scheme, our framework, termed MoTIF, achieves the state-of-the-art performance on C-STVSR. The source code of MoTIF is available at https://github.com/sichun233746/MoTIF.

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.