Daily Papers

The Long-form Video Question-Answering task requires the comprehension and analysis of extended video content to respond accurately to questions by utilizing both temporal and contextual information. In this paper, we present MM-Screenplayer, an advanced video understanding system with multi-modal perception capabilities that can convert any video into textual screenplay representations. Unlike previous storytelling methods, we organize video content into scenes as the basic unit, rather than just visually continuous shots. Additionally, we developed a ``Look Back'' strategy to reassess and validate uncertain information, particularly targeting breakpoint mode. MM-Screenplayer achieved highest score in the CVPR'2024 LOng-form VidEo Understanding (LOVEU) Track 1 Challenge, with a global accuracy of 87.5% and a breakpoint accuracy of 68.8%.

Movie screenplay summarization is challenging, as it requires an understanding of long input contexts and various elements unique to movies. Large language models have shown significant advancements in document summarization, but they often struggle with processing long input contexts. Furthermore, while television transcripts have received attention in recent studies, movie screenplay summarization remains underexplored. To stimulate research in this area, we present a new dataset, MovieSum, for abstractive summarization of movie screenplays. This dataset comprises 2200 movie screenplays accompanied by their Wikipedia plot summaries. We manually formatted the movie screenplays to represent their structural elements. Compared to existing datasets, MovieSum possesses several distinctive features: (1) It includes movie screenplays, which are longer than scripts of TV episodes. (2) It is twice the size of previous movie screenplay datasets. (3) It provides metadata with IMDb IDs to facilitate access to additional external knowledge. We also show the results of recently released large language models applied to summarization on our dataset to provide a detailed baseline.

We introduce SummScreen, a summarization dataset comprised of pairs of TV series transcripts and human written recaps. The dataset provides a challenging testbed for abstractive summarization for several reasons. Plot details are often expressed indirectly in character dialogues and may be scattered across the entirety of the transcript. These details must be found and integrated to form the succinct plot descriptions in the recaps. Also, TV scripts contain content that does not directly pertain to the central plot but rather serves to develop characters or provide comic relief. This information is rarely contained in recaps. Since characters are fundamental to TV series, we also propose two entity-centric evaluation metrics. Empirically, we characterize the dataset by evaluating several methods, including neural models and those based on nearest neighbors. An oracle extractive approach outperforms all benchmarked models according to automatic metrics, showing that the neural models are unable to fully exploit the input transcripts. Human evaluation and qualitative analysis reveal that our non-oracle models are competitive with their oracle counterparts in terms of generating faithful plot events and can benefit from better content selectors. Both oracle and non-oracle models generate unfaithful facts, suggesting future research directions.

The screenplay serves as the foundation for television production, defining narrative structure, character development, and dialogue. While Large Language Models (LLMs) show great potential in creative writing, direct end-to-end generation approaches often fail to produce well-crafted screenplays. We argue this failure stems from forcing a single model to simultaneously master two disparate capabilities: creative narrative construction and rigid format adherence. The resulting outputs may mimic superficial style but lack the deep structural integrity and storytelling substance required for professional use. To enable LLMs to generate high-quality screenplays, we introduce Dual-Stage Refinement (DSR), a decomposed framework that decouples creative narrative generation from format conversion. The first stage transforms a brief outline into rich, novel-style prose. The second stage refines this narrative into a professionally formatted screenplay. This separation enables the model to specialize in one distinct capability at each stage. A key challenge in implementing DSR is the scarcity of paired outline-to-novel training data. We address this through hybrid data synthesis: reverse synthesis deconstructs existing screenplays into structured inputs, while forward synthesis leverages these inputs to generate high-quality narrative texts as training targets. Blind evaluations by professional screenwriters show that DSR achieves a 75% win rate against strong baselines like Gemini-2.5-Pro and reaches 82.7% of human-level performance. Our work demonstrates that decomposed generation architecture with tailored data synthesis effectively specializes LLMs in complex creative domains.

Generative AI has demonstrated unprecedented creativity in the field of computer vision, yet such phenomena have not been observed in natural language processing. In particular, large language models (LLMs) can hardly produce written works at the level of human experts due to the extremely high complexity of literature writing. In this paper, we present HoLLMwood, an automated framework for unleashing the creativity of LLMs and exploring their potential in screenwriting, which is a highly demanding task. Mimicking the human creative process, we assign LLMs to different roles involved in the real-world scenario. In addition to the common practice of treating LLMs as {Writer}, we also apply LLMs as {Editor}, who is responsible for providing feedback and revision advice to {Writer}. Besides, to enrich the characters and deepen the plots, we introduce a role-playing mechanism and adopt LLMs as {Actors} that can communicate and interact with each other. Evaluations on automatically generated screenplays show that HoLLMwood substantially outperforms strong baselines in terms of coherence, relevance, interestingness and overall quality.

Video generation begins in text space by authoring a cinematic screenplay, then materializes into pixels. As contemporary video generators scale to 30 seconds and faithfully follow complex conditions, the textual prompt largely directs the production, planning how actions, camera trajectories, lighting, and sound unfold across multi-shot sequences. In this paper, we present WanPE, a 397B-parameter prompt enhancement model trained on 1.05M real-world videos to master director-level cinematic planning. WanPE formulates shot-level cinematic plans via video-grounded reverse construction and employs Semantic-Consistency GRPO (SC-GRPO) to faithfully preserve user requirements across shots and over time. To benchmark this capability, we curate WanPEval, a human-annotated testbed covering durations from 5 to 30 seconds across varying intent granularities, supported by approximately 11K blind pairwise assessments. When powering Wan3.0's video generator, WanPE-397B boosts human preference over raw user prompts by 10.66-18.84 points at 5-15 seconds and by a dramatic 50.86 points in the 30-second arena. Ablation studies show that reverse construction demonstrates clear superiority over forward rewriting, while SC-GRPO robustly preserves semantic fidelity across model scales. Ultimately, WanPE leads all evaluated commercial offerings at 5-15 seconds and remains competitive with Seedance 2.5 at 30 seconds.

Long-form agentic video generation must turn a screenplay into shots that remain spatially and temporally consistent across nonconsecutive requests. Passing prompts or recent frames between shots does not provide a shared spatial frame for revisiting a scene or a time-indexed record for replaying an earlier event. We present Any Time, Any Space (ATAS), which compiles a screenplay into shot requests with explicit location, camera, and event-time references. Before generation, it retrieves relevant evidence from a scene memory of registered static geometry and an event memory of dynamic observations indexed by scene, event, and time. After generation, ATAS reconstructs and registers the clip. It updates memory only when review and state checks accept the observation, while film delivery remains independent of memory admission. Across four video generators, ATAS improves all reported cross-shot consistency measures and achieves the highest aggregate benchmark score for each backbone. It also outperforms the compared agents and 3D-guided methods on target-image spatial revisit, leads three event-recapture criteria, and receives the highest human ratings on all six criteria. The video results and code are available on our project page: https://lhmd.top/atas/.

Minute-scale cinematic video generation is a central challenge for generative video models. Existing paradigms address only fragments of this challenge: single-shot extrapolation preserves an anchor but lacks cinematic structure, while multi-shot storytelling imposes structure yet remains free to invent its visual states rather than continue an observed one. We define Multi-Shot Video Extrapolation (MSVE), a task that extends an observed frame or clip into a sequence of cinematically structured shots while preserving anchor state and advancing narrative intent. This setting operates under the finite per-call generation budget of short-video models. We identify three coupled bottlenecks: (1) global planners over-specify unsupported details from full screenplays; (2) shot-level prompts dilute task-relevant state when carrying the complete story; and (3) temporal chaining turns generated frames into a lossy memory in which identity, scene, object, and action state decay. MSVE reveals that long-video failure is not merely a limitation of context length, but a failure of context allocation. We propose Recursive Context Allocation (ReCA), an inference-time framework that allocates context hierarchically across planning and generation. ReCA recursively decomposes MSVE into context-bounded subproblems, invokes frozen generators at leaf nodes, and propagates structured state updates across time. To evaluate this setting, we further propose MSVE-Bench and NB-Q, a source-grounded protocol with prompts purpose-built for 3 to 5 minute long-video generation, a regime not addressed by existing short-clip benchmarks. Compared to previous methods, ReCA improves average normalized score by 8 to 16 percent over the strongest competing controller and improves multi-shot consistency metrics by 28 to 43 percent. View the project page at https://reca.vmv.re.

Many classical fairy tales, fiction, and screenplays leverage dialogue to advance story plots and establish characters. We present the first study to explore whether machines can understand and generate dialogue in stories, which requires capturing traits of different characters and the relationships between them. To this end, we propose two new tasks including Masked Dialogue Generation and Dialogue Speaker Recognition, i.e., generating missing dialogue turns and predicting speakers for specified dialogue turns, respectively. We build a new dataset DialStory, which consists of 105k Chinese stories with a large amount of dialogue weaved into the plots to support the evaluation. We show the difficulty of the proposed tasks by testing existing models with automatic and manual evaluation on DialStory. Furthermore, we propose to learn explicit character representations to improve performance on these tasks. Extensive experiments and case studies show that our approach can generate more coherent and informative dialogue, and achieve higher speaker recognition accuracy than strong baselines.

Large Language Models (LLMs) have demonstrated remarkable proficiency in generating highly structured texts. However, while exhibiting a high degree of structural organization, movie scripts demand an additional layer of nuanced storytelling and emotional depth-the 'soul' of compelling cinema-that LLMs often fail to capture. To investigate this deficiency, we first curated CML-Dataset, a dataset comprising (summary, content) pairs for Cinematic Markup Language (CML), where 'content' consists of segments from esteemed, high-quality movie scripts and 'summary' is a concise description of the content. Through an in-depth analysis of the intrinsic multi-shot continuity and narrative structures within these authentic scripts, we identified three pivotal dimensions for quality assessment: Dialogue Coherence (DC), Character Consistency (CC), and Plot Reasonableness (PR). Informed by these findings, we propose the CML-Bench, featuring quantitative metrics across these dimensions. CML-Bench effectively assigns high scores to well-crafted, human-written scripts while concurrently pinpointing the weaknesses in screenplays generated by LLMs. To further validate our benchmark, we introduce CML-Instruction, a prompting strategy with detailed instructions on character dialogue and event logic, to guide LLMs to generate more structured and cinematically sound scripts. Extensive experiments validate the effectiveness of our benchmark and demonstrate that LLMs guided by CML-Instruction generate higher-quality screenplays, with results aligned with human preferences.

Storytelling is the lifeline of the entertainment industry -- movies, TV shows, and stand-up comedies, all need stories. A good and gripping script is the lifeline of storytelling and demands creativity and resource investment. Good scriptwriters are rare to find and often work under severe time pressure. Consequently, entertainment media are actively looking for automation. In this paper, we present an AI-based script-writing workbench called KUROSAWA which addresses the tasks of plot generation and script generation. Plot generation aims to generate a coherent and creative plot (600-800 words) given a prompt (15-40 words). Script generation, on the other hand, generates a scene (200-500 words) in a screenplay format from a brief description (15-40 words). Kurosawa needs data to train. We use a 4-act structure of storytelling to annotate the plot dataset manually. We create a dataset of 1000 manually annotated plots and their corresponding prompts/storylines and a gold-standard dataset of 1000 scenes with four main elements -- scene headings, action lines, dialogues, and character names -- tagged individually. We fine-tune GPT-3 with the above datasets to generate plots and scenes. These plots and scenes are first evaluated and then used by the scriptwriters of a large and famous media platform ErosNow. We release the annotated datasets and the models trained on these datasets as a working benchmark for automatic movie plot and script generation.

We study series-level cinematic remaking, a long-horizon video-to-video generation problem that localizes full episodes or films via stylization or actor replacement while strictly preserving narrative structure, motion choreography, and character identity across hundreds of shots. Existing video generation and editing pipelines often break down in this regime due to compounding identity drift, background mutation, and semantic erosion under large camera motions and viewpoint changes. We propose Soap2Soap, a multi-agent framework that enforces long-term language-visual consistency through a Dual-Bridge Consistency mechanism: a scene-aware JSON screenplay serving as a persistent semantic backbone, and dynamically allocated visual reference anchors at both scene and shot levels. To suppress drift before video synthesis, we introduce batch keyframe consistency, jointly generating multiple keyframes in a shared latent context via a grid-based formulation. A closed-loop verification agent further audits identity, stability, and alignment to trigger selective regeneration. Experiments on SoapBench demonstrate strong improvements over commercial video generation APIs in long-term consistency and narrative fidelity.

This paper proposes Omni Dense Captioning, a novel task designed to generate continuous, fine-grained, and structured audio-visual narratives with explicit timestamps. To ensure dense semantic coverage, we introduce a six-dimensional structural schema to create "script-like" captions, enabling readers to vividly imagine the video content scene by scene, akin to a cinematographic screenplay. To facilitate research, we construct OmniDCBench, a high-quality, human-annotated benchmark, and propose SodaM, a unified metric that evaluates time-aware detailed descriptions while mitigating scene boundary ambiguity. Furthermore, we construct a training dataset, TimeChatCap-42K, and present TimeChat-Captioner-7B, a strong baseline trained via SFT and GRPO with task-specific rewards. Extensive experiments demonstrate that TimeChat-Captioner-7B achieves state-of-the-art performance, surpassing Gemini-2.5-Pro, while its generated dense descriptions significantly boost downstream capabilities in audio-visual reasoning (DailyOmni and WorldSense) and temporal grounding (Charades-STA). All datasets, models, and code will be made publicly available at https://github.com/yaolinli/TimeChat-Captioner.

Long-form narrative-to-film generation requires shot-level controllability and cross-clip consistency in both visual identity and character behavior-requirements that remain difficult to satisfy with current prompt-based workflows. A core reason existing workflows remain brittle is the lack of a structured intermediate layer between scripts and video models, especially when screenplays are underspecified at key cinematic decision points. We introduce a structured orchestration layer for film-oriented script-to-video generation, implemented as a multi-agent framework that operates between scripts and off-the-shelf video generators. The layer is centered on FilmDSL, a film-oriented domain-specific language that makes cinematic constraints explicit, including shot and camera directives, asset and continuity requirements, and persona cues, so that agents coordinate through a shared structured specification for planning, generation, critique, and repair. Specifically, a generation agent constructs asset packs and storyboard keyframes that anchor composition before clip-by-clip synthesis, while a critic agent produces structured QA signals and triggers targeted refinement without retraining the base model. Experiments on TV-style segments show improved controllability and consistency over text-only and reference-only baselines.