A green screen is a backdrop against which footage is shot to later be superimposed over a separately-filmed background in a visual effects process called "chroma keying." It is also known as chroma key compositing, color keying, or simply keying.. This term describes removing the green screen background in post-production using video editing software. When the green screen background has been keyed, it'll be fully transparent.
One-shot controllable video editing (OCVE) is an important yet challenging task, aiming to propagate user edits that are made -- using any image editing tool -- on the first frame of a video to all subsequent frames, while ensuring content consistency between edited frames and source frames. To achieve this, prior methods employ DDIM inversion to transform source frames into latent noise, which is then fed into a pre-trained diffusion model, conditioned on the user-edited first frame, to generate the edited video. However, the DDIM inversion process accumulates errors, which hinder the latent noise from accurately reconstructing the source frames, ultimately compromising content consistency in the generated edited frames. To overcome it, our method eliminates the need for DDIM inversion by performing OCVE through a novel perspective based on visual prompting. Furthermore, inspired by consistency models that can perform multi-step consistency sampling to generate a sequence of content-consistent images, we propose a content consistency sampling (CCS) to ensure content consistency between the generated edited frames and the source frames. Moreover, we introduce a temporal-content consistency sampling (TCS) based on Stein Variational Gradient Descent to ensure temporal consistency across the edited frames. Extensive experiments validate the effectiveness of our approach.
Given a single labeled example, in-context segmentation aims to segment corresponding objects. This setting, known as one-shot segmentation in few-shot learning, explores the segmentation model's generalization ability and has been applied to various vision tasks, including scene understanding and image/video editing. While recent Segment Anything Models have achieved state-of-the-art results in interactive segmentation, these approaches are not directly applicable to in-context segmentation. In this work, we propose the Dual Consistency SAM (DC-SAM) method based on prompt-tuning to adapt SAM and SAM2 for in-context segmentation of both images and videos. Our key insights are to enhance the features of the SAM's prompt encoder in segmentation by providing high-quality visual prompts. When generating a mask prior, we fuse the SAM features to better align the prompt encoder. Then, we design a cycle-consistent cross-attention on fused features and initial visual prompts. Next, a dual-branch design is provided by using the discriminative positive and negative prompts in the prompt encoder. Furthermore, we design a simple mask-tube training strategy to adopt our proposed dual consistency method into the mask tube. Although the proposed DC-SAM is primarily designed for images, it can be seamlessly extended to the video domain with the support of SAM2. Given the absence of in-context segmentation in the video domain, we manually curate and construct the first benchmark from existing video segmentation datasets, named In-Context Video Object Segmentation (IC-VOS), to better assess the in-context capability of the model. Extensive experiments demonstrate that our method achieves 55.5 (+1.4) mIoU on COCO-20i, 73.0 (+1.1) mIoU on PASCAL-5i, and a J&F score of 71.52 on the proposed IC-VOS benchmark. Our source code and benchmark are available at https://github.com/zaplm/DC-SAM.
Text-to-video (T2V) synthesis models, such as OpenAI's Sora, have garnered significant attention due to their ability to generate high-quality videos from a text prompt. In diffusion-based T2V models, the attention mechanism is a critical component. However, it remains unclear what intermediate features are learned and how attention blocks in T2V models affect various aspects of video synthesis, such as image quality and temporal consistency. In this paper, we conduct an in-depth perturbation analysis of the spatial and temporal attention blocks of T2V models using an information-theoretic approach. Our results indicate that temporal and spatial attention maps affect not only the timing and layout of the videos but also the complexity of spatiotemporal elements and the aesthetic quality of the synthesized videos. Notably, high-entropy attention maps are often key elements linked to superior video quality, whereas low-entropy attention maps are associated with the video's intra-frame structure. Based on our findings, we propose two novel methods to enhance video quality and enable text-guided video editing. These methods rely entirely on lightweight manipulation of the attention matrices in T2V models. The efficacy and effectiveness of our methods are further validated through experimental evaluation across multiple datasets.
We conduct an in-depth analysis of attention in video diffusion transformers (VDiTs) and report a number of novel findings. We identify three key properties of attention in VDiTs: Structure, Sparsity, and Sinks. Structure: We observe that attention patterns across different VDiTs exhibit similar structure across different prompts, and that we can make use of the similarity of attention patterns to unlock video editing via self-attention map transfer. Sparse: We study attention sparsity in VDiTs, finding that proposed sparsity methods do not work for all VDiTs, because some layers that are seemingly sparse cannot be sparsified. Sinks: We make the first study of attention sinks in VDiTs, comparing and contrasting them to attention sinks in language models. We propose a number of future directions that can make use of our insights to improve the efficiency-quality Pareto frontier for VDiTs.
We introduce CamMimic, an innovative algorithm tailored for dynamic video editing needs. It is designed to seamlessly transfer the camera motion observed in a given reference video onto any scene of the user's choice in a zero-shot manner without requiring any additional data. Our algorithm achieves this using a two-phase strategy by leveraging a text-to-video diffusion model. In the first phase, we develop a multi-concept learning method using a combination of LoRA layers and an orthogonality loss to capture and understand the underlying spatial-temporal characteristics of the reference video as well as the spatial features of the user's desired scene. The second phase proposes a unique homography-based refinement strategy to enhance the temporal and spatial alignment of the generated video. We demonstrate the efficacy of our method through experiments conducted on a dataset containing combinations of diverse scenes and reference videos containing a variety of camera motions. In the absence of an established metric for assessing camera motion transfer between unrelated scenes, we propose CameraScore, a novel metric that utilizes homography representations to measure camera motion similarity between the reference and generated videos. Extensive quantitative and qualitative evaluations demonstrate that our approach generates high-quality, motion-enhanced videos. Additionally, a user study reveals that 70.31% of participants preferred our method for scene preservation, while 90.45% favored it for motion transfer. We hope this work lays the foundation for future advancements in camera motion transfer across different scenes.
A versatile video depth estimation model should (1) be accurate and consistent across frames, (2) produce high-resolution depth maps, and (3) support real-time streaming. We propose FlashDepth, a method that satisfies all three requirements, performing depth estimation on a 2044x1148 streaming video at 24 FPS. We show that, with careful modifications to pretrained single-image depth models, these capabilities are enabled with relatively little data and training. We evaluate our approach across multiple unseen datasets against state-of-the-art depth models, and find that ours outperforms them in terms of boundary sharpness and speed by a significant margin, while maintaining competitive accuracy. We hope our model will enable various applications that require high-resolution depth, such as video editing, and online decision-making, such as robotics.
We present an implicit video representation for occlusions, appearance, and motion disentanglement from monocular videos, which we call Video SPatiotemporal Splines (VideoSPatS). Unlike previous methods that map time and coordinates to deformation and canonical colors, our VideoSPatS maps input coordinates into Spatial and Color Spline deformation fields $D_s$ and $D_c$, which disentangle motion and appearance in videos. With spline-based parametrization, our method naturally generates temporally consistent flow and guarantees long-term temporal consistency, which is crucial for convincing video editing. Using multiple prediction branches, our VideoSPatS model also performs layer separation between the latent video and the selected occluder. By disentangling occlusions, appearance, and motion, our method enables better spatiotemporal modeling and editing of diverse videos, including in-the-wild talking head videos with challenging occlusions, shadows, and specularities while maintaining an appropriate canonical space for editing. We also present general video modeling results on the DAVIS and CoDeF datasets, as well as our own talking head video dataset collected from open-source web videos. Extensive ablations show the combination of $D_s$ and $D_c$ under neural splines can overcome motion and appearance ambiguities, paving the way for more advanced video editing models.
Video editing and generation methods often rely on pre-trained image-based diffusion models. During the diffusion process, however, the reliance on rudimentary noise sampling techniques that do not preserve correlations present in subsequent frames of a video is detrimental to the quality of the results. This either produces high-frequency flickering, or texture-sticking artifacts that are not amenable to post-processing. With this in mind, we propose a novel method for preserving temporal correlations in a sequence of noise samples. This approach is materialized by a novel noise representation, dubbed $\int$-noise (integral noise), that reinterprets individual noise samples as a continuously integrated noise field: pixel values do not represent discrete values, but are rather the integral of an underlying infinite-resolution noise over the pixel area. Additionally, we propose a carefully tailored transport method that uses $\int$-noise to accurately advect noise samples over a sequence of frames, maximizing the correlation between different frames while also preserving the noise properties. Our results demonstrate that the proposed $\int$-noise can be used for a variety of tasks, such as video restoration, surrogate rendering, and conditional video generation. See https://warpyournoise.github.io/ for video results.
Video generation and editing conditioned on text prompts or images have undergone significant advancements. However, challenges remain in accurately controlling global layout and geometry details solely by texts, and supporting motion control and local modification through images. In this paper, we aim to achieve sketch-based spatial and motion control for video generation and support fine-grained editing of real or synthetic videos. Based on the DiT video generation model, we propose a memory-efficient control structure with sketch control blocks that predict residual features of skipped DiT blocks. Sketches are drawn on one or two keyframes (at arbitrary time points) for easy interaction. To propagate such temporally sparse sketch conditions across all frames, we propose an inter-frame attention mechanism to analyze the relationship between the keyframes and each video frame. For sketch-based video editing, we design an additional video insertion module that maintains consistency between the newly edited content and the original video's spatial feature and dynamic motion. During inference, we use latent fusion for the accurate preservation of unedited regions. Extensive experiments demonstrate that our SketchVideo achieves superior performance in controllable video generation and editing.
Referring Video Object Segmentation (RVOS) aims to segment target objects throughout a video based on a text description. This task has attracted increasing attention in the field of computer vision due to its promising applications in video editing and human-agent interaction. Recently, ReferDINO has demonstrated promising performance in this task by adapting object-level vision-language knowledge from pretrained foundational image models. In this report, we further enhance its capabilities by incorporating the advantages of SAM2 in mask quality and object consistency. In addition, to effectively balance performance between single-object and multi-object scenarios, we introduce a conditional mask fusion strategy that adaptively fuses the masks from ReferDINO and SAM2. Our solution, termed ReferDINO-Plus, achieves 60.43 \(\mathcal{J}\&\mathcal{F}\) on MeViS test set, securing 2nd place in the MeViS PVUW challenge at CVPR 2025. The code is available at: https://github.com/iSEE-Laboratory/ReferDINO-Plus.
Naive DDIM inversion process usually suffers from a trajectory deviation issue, i.e., the latent trajectory during reconstruction deviates from the one during inversion. To alleviate this issue, previous methods either learn to mitigate the deviation or design cumbersome compensation strategy to reduce the mismatch error, exhibiting substantial time and computation cost. In this work, we present a nearly free-lunch method (named FreeInv) to address the issue more effectively and efficiently. In FreeInv, we randomly transform the latent representation and keep the transformation the same between the corresponding inversion and reconstruction time-step. It is motivated from a statistical perspective that an ensemble of DDIM inversion processes for multiple trajectories yields a smaller trajectory mismatch error on expectation. Moreover, through theoretical analysis and empirical study, we show that FreeInv performs an efficient ensemble of multiple trajectories. FreeInv can be freely integrated into existing inversion-based image and video editing techniques. Especially for inverting video sequences, it brings more significant fidelity and efficiency improvements. Comprehensive quantitative and qualitative evaluation on PIE benchmark and DAVIS dataset shows that FreeInv remarkably outperforms conventional DDIM inversion, and is competitive among previous state-of-the-art inversion methods, with superior computation efficiency.
This report presents Wan, a comprehensive and open suite of video foundation models designed to push the boundaries of video generation. Built upon the mainstream diffusion transformer paradigm, Wan achieves significant advancements in generative capabilities through a series of innovations, including our novel VAE, scalable pre-training strategies, large-scale data curation, and automated evaluation metrics. These contributions collectively enhance the model's performance and versatility. Specifically, Wan is characterized by four key features: Leading Performance: The 14B model of Wan, trained on a vast dataset comprising billions of images and videos, demonstrates the scaling laws of video generation with respect to both data and model size. It consistently outperforms the existing open-source models as well as state-of-the-art commercial solutions across multiple internal and external benchmarks, demonstrating a clear and significant performance superiority. Comprehensiveness: Wan offers two capable models, i.e., 1.3B and 14B parameters, for efficiency and effectiveness respectively. It also covers multiple downstream applications, including image-to-video, instruction-guided video editing, and personal video generation, encompassing up to eight tasks. Consumer-Grade Efficiency: The 1.3B model demonstrates exceptional resource efficiency, requiring only 8.19 GB VRAM, making it compatible with a wide range of consumer-grade GPUs. Openness: We open-source the entire series of Wan, including source code and all models, with the goal of fostering the growth of the video generation community. This openness seeks to significantly expand the creative possibilities of video production in the industry and provide academia with high-quality video foundation models. All the code and models are available at https://github.com/Wan-Video/Wan2.1.
Instruction-based video editing allows effective and interactive editing of videos using only instructions without extra inputs such as masks or attributes. However, collecting high-quality training triplets (source video, edited video, instruction) is a challenging task. Existing datasets mostly consist of low-resolution, short duration, and limited amount of source videos with unsatisfactory editing quality, limiting the performance of trained editing models. In this work, we present a high-quality Instruction-based Video Editing dataset with 1M triplets, namely InsViE-1M. We first curate high-resolution and high-quality source videos and images, then design an effective editing-filtering pipeline to construct high-quality editing triplets for model training. For a source video, we generate multiple edited samples of its first frame with different intensities of classifier-free guidance, which are automatically filtered by GPT-4o with carefully crafted guidelines. The edited first frame is propagated to subsequent frames to produce the edited video, followed by another round of filtering for frame quality and motion evaluation. We also generate and filter a variety of video editing triplets from high-quality images. With the InsViE-1M dataset, we propose a multi-stage learning strategy to train our InsViE model, progressively enhancing its instruction following and editing ability. Extensive experiments demonstrate the advantages of our InsViE-1M dataset and the trained model over state-of-the-art works. Codes are available at InsViE.
In this paper, we introduce zero-shot audio-video editing, a novel task that requires transforming original audio-visual content to align with a specified textual prompt without additional model training. To evaluate this task, we curate a benchmark dataset, AvED-Bench, designed explicitly for zero-shot audio-video editing. AvED-Bench includes 110 videos, each with a 10-second duration, spanning 11 categories from VGGSound. It offers diverse prompts and scenarios that require precise alignment between auditory and visual elements, enabling robust evaluation. We identify limitations in existing zero-shot audio and video editing methods, particularly in synchronization and coherence between modalities, which often result in inconsistent outcomes. To address these challenges, we propose AvED, a zero-shot cross-modal delta denoising framework that leverages audio-video interactions to achieve synchronized and coherent edits. AvED demonstrates superior results on both AvED-Bench and the recent OAVE dataset to validate its generalization capabilities. Results are available at https://genjib.github.io/project_page/AVED/index.html
Decomposing a video into a layer-based representation is crucial for easy video editing for the creative industries, as it enables independent editing of specific layers. Existing video-layer decomposition models rely on implicit neural representations (INRs) trained independently for each video, making the process time-consuming when applied to new videos. Noticing this limitation, we propose a meta-learning strategy to learn a generic video decomposition model to speed up the training on new videos. Our model is based on a hypernetwork architecture which, given a video-encoder embedding, generates the parameters for a compact INR-based neural video decomposition model. Our strategy mitigates the problem of single-video overfitting and, importantly, shortens the convergence of video decomposition on new, unseen videos. Our code is available at: https://hypernvd.github.io/
Recent advances in diffusion models bring new vitality to visual content creation. However, current text-to-video generation models still face significant challenges such as high training costs, substantial data requirements, and difficulties in maintaining consistency between given text and motion of the foreground object. To address these challenges, we propose mask-guided video generation, which can control video generation through mask motion sequences, while requiring limited training data. Our model enhances existing architectures by incorporating foreground masks for precise text-position matching and motion trajectory control. Through mask motion sequences, we guide the video generation process to maintain consistent foreground objects throughout the sequence. Additionally, through a first-frame sharing strategy and autoregressive extension approach, we achieve more stable and longer video generation. Extensive qualitative and quantitative experiments demonstrate that this approach excels in various video generation tasks, such as video editing and generating artistic videos, outperforming previous methods in terms of consistency and quality. Our generated results can be viewed in the supplementary materials.
With the rising popularity of short video platforms, the demand for video production has increased substantially. However, high-quality video creation continues to rely heavily on professional editing skills and a nuanced understanding of visual language. To address this challenge, the Shot Sequence Ordering (SSO) task in AI-assisted video editing has emerged as a pivotal approach for enhancing video storytelling and the overall viewing experience. Nevertheless, the progress in this field has been impeded by a lack of publicly available benchmark datasets. In response, this paper introduces two novel benchmark datasets, AVE-Order and ActivityNet-Order. Additionally, we employ the Kendall Tau distance as an evaluation metric for the SSO task and propose the Kendall Tau Distance-Cross Entropy Loss. We further introduce the concept of Cinematology Embedding, which incorporates movie metadata and shot labels as prior knowledge into the SSO model, and constructs the AVE-Meta dataset to validate the method's effectiveness. Experimental results indicate that the proposed loss function and method substantially enhance SSO task accuracy. All datasets are publicly accessible at https://github.com/litchiar/ShotSeqBench.
Video editing according to instructions is a highly challenging task due to the difficulty in collecting large-scale, high-quality edited video pair data. This scarcity not only limits the availability of training data but also hinders the systematic exploration of model architectures and training strategies. While prior work has improved specific aspects of video editing (e.g., synthesizing a video dataset using image editing techniques or decomposed video editing training), a holistic framework addressing the above challenges remains underexplored. In this study, we introduce InstructVEdit, a full-cycle instructional video editing approach that: (1) establishes a reliable dataset curation workflow to initialize training, (2) incorporates two model architectural improvements to enhance edit quality while preserving temporal consistency, and (3) proposes an iterative refinement strategy leveraging real-world data to enhance generalization and minimize train-test discrepancies. Extensive experiments show that InstructVEdit achieves state-of-the-art performance in instruction-based video editing, demonstrating robust adaptability to diverse real-world scenarios. Project page: https://o937-blip.github.io/InstructVEdit.
Point tracking is becoming a powerful solver for motion estimation and video editing. Compared to classical feature matching, point tracking methods have the key advantage of robustly tracking points under complex camera motion trajectories and over extended periods. However, despite certain improvements in methodologies, current point tracking methods still struggle to track any position in video frames, especially in areas that are texture-less or weakly textured. In this work, we first introduce metrics for evaluating the texture intensity of a 3D object. Using these metrics, we classify the 3D models in ShapeNet into three levels of texture intensity and create GIFT, a challenging synthetic benchmark comprising 1800 indoor video sequences with rich annotations. Unlike existing datasets that assign ground truth points arbitrarily, GIFT precisely anchors ground truth on classified target objects, ensuring that each video corresponds to a specific texture intensity level. Furthermore, we comprehensively evaluate current methods on GIFT to assess their performance across different texture intensity levels and analyze the impact of texture on point tracking.