AutoCut: End-to-end advertisement video editing based on multimodal discretization and controllable generation

Short-form videos have become a primary medium for digital advertising, requiring scalable and efficient content creation. However, current workflows and AI tools remain disjoint and modality-specific, leading to high production costs and low overall efficiency. To address this issue, we propose AutoCut, an end-to-end advertisement video editing framework based on multimodal discretization and controllable editing. AutoCut employs dedicated encoders to extract video and audio features, then applies residual vector quantization to discretize them into unified tokens aligned with textual representations, constructing a shared video-audio-text token space. Built upon a foundation model, we further develop a multimodal large language model for video editing through combined multimodal alignment and supervised fine-tuning, supporting tasks covering video selection and ordering, script generation, and background music selection within a unified editing framework. Finally, a complete production pipeline converts the predicted token sequences into deployable long video outputs. Experiments on real-world advertisement datasets show that AutoCut reduces production cost and iteration time while substantially improving consistency and controllability, paving the way for scalable video creation.

BiTDiff: Fine-Grained 3D Conducting Motion Generation via BiMamba-Transformer Diffusion

3D conducting motion generation aims to synthesize fine-grained conductor motions from music, with broad potential in music education, virtual performance, digital human animation, and human-AI co-creation. However, this task remains underexplored due to two major challenges: (1) the lack of large-scale fine-grained 3D conducting datasets and (2) the absence of effective methods that can jointly support long-sequence generation with high quality and efficiency. To address the data limitation, we develop a quality-oriented 3D conducting motion collection pipeline and construct CM-Data, a fine-grained SMPL-X dataset with about 10 hours of conducting motion data. To the best of our knowledge, CM-Data is the first and largest public dataset for 3D conducting motion generation. To address the methodological limitation, we propose BiTDiff, a novel framework for 3D conducting motion generation, built upon a BiMamba-Transformer hybrid model architecture for efficient long-sequence modeling and a Diffusion-based generative strategy with human-kinematic decomposition for high-quality motion synthesis. Specifically, BiTDiff introduces auxiliary physical-consistency losses and a hand-/body-specific forward-kinematics design for better fine-grained motion modeling, while leveraging BiMamba for memory-efficient long-sequence temporal modeling and Transformer for cross-modal semantic alignment. In addition, BiTDiff supports training-free joint-level motion editing, enabling downstream human-AI interaction design. Extensive quantitative and qualitative experiments demonstrate that BiTDiff achieves state-of-the-art (SOTA) performance for 3D conducting motion generation on the CM-Data dataset. Code will be available upon acceptance.

A Manual Bar-by-Bar Tempo Measurement Protocol for Polyphonic Chamber Music Recordings: Design, Validation, and Application to Beethoven's Piano and Cello Sonatas

Empirical performance analysis depends on the accurate extraction of tempo data from recordings, yet standard computational tools, designed for monophonic audio or modern studio conditions, fail systematically when applied to historical polyphonic chamber music. This paper documents the failure of automated beat-detection software on duo recordings of Beethoven's five piano and cello sonatas (Op.~5 Nos.~1 and~2; Op.~69; Op.~102 Nos.~1 and~2), and presents a formalised manual alternative: a cumulative lap-timer protocol that yields bar-level beats-per-minute data with millisecond resolution. The protocol, developed in cross-disciplinary collaboration with an engineer specialising in VLSI design, rests on a cumulative timestamp architecture that prevents error accumulation, permits internal self-validation, and captures expressive timing phenomena (rubato, fermatas, accelerandi, ritardandi) that automated tools systematically suppress or misread. The mathematical derivation of the BPM formula, the spreadsheet data structure, and the error characterisation are presented in full. Applied to over one hundred movement-level recordings spanning 1930--2012, the protocol generated a dataset subsequently visualised through tempographs, histograms with spline-smoothed probability density functions, ridgeline plots, and combination charts. The paper argues that manual annotation is not a methodological retreat but a principled response to the intrinsic limitations of computational tools when faced with the specific challenges of polyphonic historical recordings. The complete dataset and analysis code are publicly available.

V2M-Zero: Zero-Pair Time-Aligned Video-to-Music Generation

Generating music that temporally aligns with video events is challenging for existing text-to-music models, which lack fine-grained temporal control. We introduce V2M-Zero, a zero-pair video-to-music generation approach that outputs time-aligned music for video. Our method is motivated by a key observation: temporal synchronization requires matching when and how much change occurs, not what changes. While musical and visual events differ semantically, they exhibit shared temporal structure that can be captured independently within each modality. We capture this structure through event curves computed from intra-modal similarity using pretrained music and video encoders. By measuring temporal change within each modality independently, these curves provide comparable representations across modalities. This enables a simple training strategy: fine-tune a text-to-music model on music-event curves, then substitute video-event curves at inference without cross-modal training or paired data. Across OES-Pub, MovieGenBench-Music, and AIST++, V2M-Zero achieves substantial gains over paired-data baselines: 5-21% higher audio quality, 13-15% better semantic alignment, 21-52% improved temporal synchronization, and 28% higher beat alignment on dance videos. We find similar results via a large crowd-source subjective listening test. Overall, our results validate that temporal alignment through within-modality features, rather than paired cross-modal supervision, is effective for video-to-music generation. Results are available at https://genjib.github.io/v2m_zero/

Yes, But Not Always. Generative AI Needs Nuanced Opt-in

This paper argues that a one-size-fits-all approach to specifying consent for the use of creative works in generative AI is insufficient. Real-world ownership and rights holder structures, the imitation of artistic styles and likeness, and the limitless contexts of use of AI outputs make the status quo of binary consent with opt-in by default untenable. To move beyond the current impasse, we consider levers of control in generative AI workflows at training, inference, and dissemination. Based on these insights, we position inference-time opt-in as an overlooked opportunity for nuanced consent verification. We conceptualize nuanced consent conditions for opt-in and propose an agent-based inference-time opt-in architecture to verify if user intent requests meet conditional consent granted by rights holders. In a case study for music, we demonstrate that nuanced opt-in at inference can account for established rights and re-establish a balance of power between rights holders and AI developers.

Competency Questions as Executable Plans: a Controlled RAG Architecture for Cultural Heritage Storytelling

The preservation of intangible cultural heritage is a critical challenge as collective memory fades over time. While Large Language Models (LLMs) offer a promising avenue for generating engaging narratives, their propensity for factual inaccuracies or "hallucinations" makes them unreliable for heritage applications where veracity is a central requirement. To address this, we propose a novel neuro-symbolic architecture grounded in Knowledge Graphs (KGs) that establishes a transparent "plan-retrieve-generate" workflow for story generation. A key novelty of our approach is the repurposing of competency questions (CQs) - traditionally design-time validation artifacts - into run-time executable narrative plans. This approach bridges the gap between high-level user personas and atomic knowledge retrieval, ensuring that generation is evidence-closed and fully auditable. We validate this architecture using a new resource: the Live Aid KG, a multimodal dataset aligning 1985 concert data with the Music Meta Ontology and linking to external multimedia assets. We present a systematic comparative evaluation of three distinct Retrieval-Augmented Generation (RAG) strategies over this graph: a purely symbolic KG-RAG, a text-enriched Hybrid-RAG, and a structure-aware Graph-RAG. Our experiments reveal a quantifiable trade-off between the factual precision of symbolic retrieval, the contextual richness of hybrid methods, and the narrative coherence of graph-based traversal. Our findings offer actionable insights for designing personalised and controllable storytelling systems.

AVGen-Bench: A Task-Driven Benchmark for Multi-Granular Evaluation of Text-to-Audio-Video Generation

Text-to-Audio-Video (T2AV) generation is rapidly becoming a core interface for media creation, yet its evaluation remains fragmented. Existing benchmarks largely assess audio and video in isolation or rely on coarse embedding similarity, failing to capture the fine-grained joint correctness required by realistic prompts. We introduce AVGen-Bench, a task-driven benchmark for T2AV generation featuring high-quality prompts across 11 real-world categories. To support comprehensive assessment, we propose a multi-granular evaluation framework that combines lightweight specialist models with Multimodal Large Language Models (MLLMs), enabling evaluation from perceptual quality to fine-grained semantic controllability. Our evaluation reveals a pronounced gap between strong audio-visual aesthetics and weak semantic reliability, including persistent failures in text rendering, speech coherence, physical reasoning, and a universal breakdown in musical pitch control. Code and benchmark resources are available at http://aka.ms/avgenbench.

DialBGM: A Benchmark for Background Music Recommendation from Everyday Multi-Turn Dialogues

Selecting an appropriate background music (BGM) that supports natural human conversation is a common production step in media and interactive systems. In this paper, we introduce dialogue-conditioned BGM recommendation, where a model should select non-intrusive, fitting music for a multi-turn conversation that often contains no music descriptors. To study this novel problem, we present DialBGM, a benchmark of 1,200 open-domain daily dialogues, each paired with four candidate music clips and annotated with human preference rankings. Rankings are determined by background suitability criteria, including contextual relevance, non-intrusiveness, and consistency. We evaluate a wide range of open-source and proprietary models, including audio-language models and multimodal LLMs, and show that current models fall far short of human judgments; no model exceeds 35% Hit@1 when selecting the top-ranked clip. DialBGM provides a standardized benchmark for developing discourse-aware methods for BGM selection and for evaluating both retrieval-based and generative models.

Jamendo-MT-QA: A Benchmark for Multi-Track Comparative Music Question Answering

Recent work on music question answering (Music-QA) has primarily focused on single-track understanding, where models answer questions about an individual audio clip using its tags, captions, or metadata. However, listeners often describe music in comparative terms, and existing benchmarks do not systematically evaluate reasoning across multiple tracks. Building on the Jamendo-QA dataset, we introduce Jamendo-MT-QA, a dataset and benchmark for multi-track comparative question answering. From Creative Commons-licensed tracks on Jamendo, we construct 36,519 comparative QA items over 12,173 track pairs, with each pair yielding three question types: yes/no, short-answer, and sentence-level questions. We describe an LLM-assisted pipeline for generating and filtering comparative questions, and benchmark representative audio-language models using both automatic metrics and LLM-as-a-Judge evaluation.

Leveraging Artist Catalogs for Cold-Start Music Recommendation

The item cold-start problem poses a fundamental challenge for music recommendation: newly added tracks lack the interaction history that collaborative filtering (CF) requires. Existing approaches often address this problem by learning mappings from content features such as audio, text, and metadata to the CF latent space. However, previous works either omit artist information or treat it as just another input modality, missing the fundamental hierarchy of artists and items. Since most new tracks come from artists with previous history available, we frame cold-start track recommendation as 'semi-cold' by leveraging the rich collaborative signal that exists at the artist level. We show that artist-aware methods can more than double Recall and NDCG compared to content-only baselines, and propose ACARec, an attention-based architecture that generates CF embeddings for new tracks by attending over the artist's existing catalog. We show that our approach has notable advantages in predicting user preferences for new tracks, especially for new artist discovery and more accurate estimation of cold item popularity.