Daily Papers

Existing image editing methods can be generally categorized into textual instruction-based and visual prompt-based ones. Textual instructions are semantically expressive, but are limited by the coarse granularity of spatial control of the editing results. In contrast, visual prompts such as drag and point can provide precise spatial guidance, but are limited by the inherent ambiguity in semantic intent. To unify the strength of textual and visual prompts, we present Text-Vision Co-Instructed Image Editing, which jointly models textual instructions as semantic intent and sparse visual instructions as spatial guidance, aiming to achieve precise and intent-faithful image manipulation. To this end, we first construct a textual-visual instruction paired dataset with more than 23K samples derived from dynamic videos, enabling aligned supervision for cross-modal instruction. We then propose TV-Edit, a Textual-Visual instruction unified Editing framework to contextualize drag or point-based visual instructions with image-text semantics and lift them into semantic-aware control representations for pretrained editing backbones. By integrating semantic intent and spatial constraints, TV-Edit leads to more precise spatial control, less instruction ambiguity, and stronger structural consistency than text-only or drag-based alternatives. Finally, we establish TV-Edit-Bench, a deliberately designed benchmark to evaluate semantic faithfulness, spatial alignment, and visual consistency with ground-truth references and controlled textual-visual variations for reliable assessment. Our experiments across multiple editing backbones demonstrate that TV-Edit consistently yields more precise and intent-faithful edits, significantly outperforming state-of-the-art instruction-based and drag-based baselines.

This paper presents an approach for generating high-quality, same-language subtitles for Estonian TV content. We fine-tune the Whisper model on human-generated Estonian subtitles and enhance it with iterative pseudo-labeling and large language model (LLM) based post-editing. Our experiments demonstrate notable subtitle quality improvement through pseudo-labeling with an unlabeled dataset. We find that applying LLM-based editing at test time enhances subtitle accuracy, while its use during training does not yield further gains. This approach holds promise for creating subtitle quality close to human standard and could be extended to real-time applications.

Yes. Can it cure doom loops? Probably not. The Gemma 4 instruction-tuned models share a reproducible failure: on long factual enumeration prompts, such as listing every episode of a TV series, the 88 IAU constellations, or the 151 original Pokemon, they collapse into repetition, either a tight verbatim loop or a list whose entries decay onto a single answer. These loops occur at rates as high as 95% and survive prompt rewording, inference-engine changes, and most sampling adjustments. In this paper we explore whether this behavior is localized enough to remove by weight edits. To localize the cause, we use per-layer ablation and per-neuron attribution, then confirm the strongest candidates with full-generation sweeps. The loops trace to a small set of MLP neurons (or, in the 26B-A4B Mixture-of-Experts model, a few routed experts) which we suppress with static weight edits. These "surgeries" can be as small as a single sign-inverted neuron (in the E2B model). The size of the effective edits grows with model scale, but in all cases, the loop patterns can be addressed at normal generation budgets while preserving general-purpose benchmark scores. However, the edits do not solve everything: we also study longer thinking budgets, where the two larger models most visibly enter doom looping, i.e. a non-convergent regime in which the model self-corrects in circles over a fact it cannot recall, exhausting the budget without committing to a final answer. We show this residual failure is reduced but not eliminated by the same edits, and argue it is fundamentally a knowledge-precision problem rather than a removable circuit; weight surgery can delete a loop, but it cannot supply a missing fact. Our results are both a feasibility demonstration, that is, evidence that a concrete generation pathology can be localized to a few parameters and edited out, and a delineation of where that approach stops.

In this work, we present WeatherEdit, a novel weather editing pipeline for generating realistic weather effects with controllable types and severity in 3D scenes. Our approach is structured into two key components: weather background editing and weather particle construction. For weather background editing, we introduce an all-in-one adapter that integrates multiple weather styles into a single pretrained diffusion model, enabling the generation of diverse weather effects in 2D image backgrounds. During inference, we design a Temporal-View (TV-) attention mechanism that follows a specific order to aggregate temporal and spatial information, ensuring consistent editing across multi-frame and multi-view images. To construct the weather particles, we first reconstruct a 3D scene using the edited images and then introduce a dynamic 4D Gaussian field to generate snowflakes, raindrops and fog in the scene. The attributes and dynamics of these particles are precisely controlled through physical-based modelling and simulation, ensuring realistic weather representation and flexible severity adjustments. Finally, we integrate the 4D Gaussian field with the 3D scene to render consistent and highly realistic weather effects. Experiments on multiple driving datasets demonstrate that WeatherEdit can generate diverse weather effects with controllable condition severity, highlighting its potential for autonomous driving simulation in adverse weather. See project page: https://jumponthemoon.github.io/w-edit

Reconstructing dynamic radiance fields from video clips is challenging, especially when entertainment videos like TV shows are given. Many challenges make the reconstruction difficult due to (1) actors occluding with each other and having diverse facial expressions, (2) cluttered stages, and (3) small baseline views or sudden shot changes. To address these issues, we present ShowMak3r, a comprehensive reconstruction pipeline that allows the editing of scenes like how video clips are made in a production control room. In ShowMak3r, a 3DLocator module locates recovered actors on the stage using depth prior and estimates unseen human poses via interpolation. The proposed ShotMatcher module then tracks the actors under shot changes. Furthermore, ShowMak3r introduces a face-fitting network that dynamically recovers the actors' expressions. Experiments on Sitcoms3D dataset show that our pipeline can reassemble TV show scenes with new cameras at different timestamps. We also demonstrate that ShowMak3r enables interesting applications such as synthetic shot-making, actor relocation, insertion, deletion, and pose manipulation. Project page : https://nstar1125.github.io/showmak3r