CutClaw: Agentic Hours-Long Video Editing via Music Synchronization

Editing the video content with audio alignment forms a digital human-made art in current social media. However, the time-consuming and repetitive nature of manual video editing has long been a challenge for filmmakers and professional content creators alike. In this paper, we introduce CutClaw, an autonomous multi-agent framework designed to edit hours-long raw footage into meaningful short videos that leverages the capabilities of multiple Multimodal Language Models~(MLLMs) as an agent system. It produces videos with synchronized music, followed by instructions, and a visually appealing appearance. In detail, our approach begins by employing a hierarchical multimodal decomposition that captures both fine-grained details and global structures across visual and audio footage. Then, to ensure narrative consistency, a Playwriter Agent orchestrates the whole storytelling flow and structures the long-term narrative, anchoring visual scenes to musical shifts. Finally, to construct a short edited video, Editor and Reviewer Agents collaboratively optimize the final cut via selecting fine-grained visual content based on rigorous aesthetic and semantic criteria. We conduct detailed experiments to demonstrate that CutClaw significantly outperforms state-of-the-art baselines in generating high-quality, rhythm-aligned videos. The code is available at: https://github.com/GVCLab/CutClaw.

OmniCodec: Low Frame Rate Universal Audio Codec with Semantic-Acoustic Disentanglement

Large Language Models (LLMs) have advanced audio generation through discrete representation learning. However, most existing neural codecs focus on speech and emphasize reconstruction fidelity, overlooking unified low frame rate modeling across diverse audio domains, including speech, music, and general sound. Moreover, high reconstruction quality does not necessarily yield semantically informative representations, limiting effectiveness in downstream generation tasks. We propose OmniCodec, a universal neural audio codec tailored for low frame rate. It adopts a hierarchical multi-codebook design with semantic-acoustic decoupling by leveraging the audio encoder of the pre-trained understanding model, along with a self-guidance strategy to improve codebook utilization and reconstruction. Compared with the Mimi codec, experiments show that OmniCodec achieves outstanding performance at the same bitrate, delivering superior reconstruction quality while also providing more semantically informative representations that benefit downstream generation tasks. Our model and code will be open-sourced. Our demo page is available.

Not Like Transformers: Drop the Beat Representation for Dance Generation with Mamba-Based Diffusion Model

Dance is a form of human motion characterized by emotional expression and communication, playing a role in various fields such as music, virtual reality, and content creation. Existing methods for dance generation often fail to adequately capture the inherently sequential, rhythmical, and music-synchronized characteristics of dance. In this paper, we propose \emph{MambaDance}, a new dance generation approach that leverages a Mamba-based diffusion model. Mamba, well-suited to handling long and autoregressive sequences, is integrated into our two-stage diffusion architecture, substituting off-the-shelf Transformer. Additionally, considering the critical role of musical beats in dance choreography, we propose a Gaussian-based beat representation to explicitly guide the decoding of dance sequences. Experiments on AIST++ and FineDance datasets for each sequence length show that our proposed method effectively generates plausible dance movements while reflecting essential characteristics, consistently from short to long dances, compared to the previous methods. Additional qualitative results and demo videos are available at \small{https://vision3d-lab.github.io/mambadance}.

Cinematic Audio Source Separation Using Visual Cues

Cinematic Audio Source Separation (CASS) aims to decompose mixed film audio into speech, music, and sound effects, enabling applications like dubbing and remastering. Existing CASS approaches are audio-only, overlooking the inherent audio-visual nature of films, where sounds often align with visual cues. We present the first framework for audio-visual CASS (AV-CASS), leveraging visual context to enhance separation quality. Our method formulates CASS as a conditional generative modeling problem using conditional flow matching, enabling multimodal audio source separation. To address the lack of cinematic datasets with isolated sound tracks, we introduce a training data synthesis pipeline that pairs in-the-wild audio and video streams (e.g., facial videos for speech, scene videos for effects) and design a dedicated visual encoder for this dual-stream setup. Trained entirely on synthetic data, our model generalizes effectively to real-world cinematic content and achieves strong performance on synthetic, real-world, and audio-only CASS benchmarks. Code and demo are available at \url{https://cass-flowmatching.github.io}.

Art2Mus: Artwork-to-Music Generation via Visual Conditioning and Large-Scale Cross-Modal Alignment

Music generation has advanced markedly through multimodal deep learning, enabling models to synthesize audio from text and, more recently, from images. However, existing image-conditioned systems suffer from two fundamental limitations: (i) they are typically trained on natural photographs, limiting their ability to capture the richer semantic, stylistic, and cultural content of artworks; and (ii) most rely on an image-to-text conversion stage, using language as a semantic shortcut that simplifies conditioning but prevents direct visual-to-audio learning. Motivated by these gaps, we introduce ArtSound, a large-scale multimodal dataset of 105,884 artwork-music pairs enriched with dual-modality captions, obtained by extending ArtGraph and the Free Music Archive. We further propose ArtToMus, the first framework explicitly designed for direct artwork-to-music generation, which maps digitized artworks to music without image-to-text translation or language-based semantic supervision. The framework projects visual embeddings into the conditioning space of a latent diffusion model, enabling music synthesis guided solely by visual information. Experimental results show that ArtToMus generates musically coherent and stylistically consistent outputs that reflect salient visual cues of the source artworks. While absolute alignment scores remain lower than those of text-conditioned systems-as expected given the substantially increased difficulty of removing linguistic supervision-ArtToMus achieves competitive perceptual quality and meaningful cross-modal correspondence. This work establishes direct visual-to-music generation as a distinct and challenging research direction, and provides resources that support applications in multimedia art, cultural heritage, and AI-assisted creative practice. Code and dataset will be publicly released upon acceptance.

Evaluating Disentangled Representations for Controllable Music Generation

Recent approaches in music generation rely on disentangled representations, often labeled as structure and timbre or local and global, to enable controllable synthesis. Yet the underlying properties of these embeddings remain underexplored. In this work, we evaluate such disentangled representations in a set of music audio models for controllable generation using a probing-based framework that goes beyond standard downstream tasks. The selected models reflect diverse unsupervised disentanglement strategies, including inductive biases, data augmentations, adversarial objectives, and staged training procedures. We further isolate specific strategies to analyze their effect. Our analysis spans four key axes: informativeness, equivariance, invariance, and disentanglement, which are assessed across datasets, tasks, and controlled transformations. Our findings reveal inconsistencies between intended and actual semantics of the embeddings, suggesting that current strategies fall short of producing truly disentangled representations, and prompting a re-examination of how controllability is approached in music generation.

InfiniteDance: Scalable 3D Dance Generation Towards in-the-wild Generalization

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.

Evaluating Semantic Fragility in Text-to-Audio Generation Systems Under Controlled Prompt Perturbations

Recent advances in text-to-audio generation enable models to translate natural-language descriptions into diverse musical output. However, the robustness of these systems under semantically equivalent prompt variations remains largely unexplored. Small linguistic changes may lead to substantial variation in generated audio, raising concerns about reliability in practical use. In this study, we evaluate the semantic fragility of text-to-audio systems under controlled prompt perturbations. We selected MusicGen-small, MusicGen-large, and Stable Audio 2.5 as representative models, and we evaluated them under Minimal Lexical Substitution (MLS), Intensity Shifts (IS), and Structural Rephrasing (SR). The proposed dataset contains 75 prompt groups designed to preserve semantic intent while introducing localized linguistic variation. Generated outputs are compared through complementary spectral, temporal, and semantic similarity measures, enabling robustness analysis across multiple representational levels. Experimental results show that larger models achieve improved semantic consistency, with MusicGen-large reaching cosine similarities of 0.77 under MLS and 0.82 under IS. However, acoustic and temporal analyses reveal persistent divergence across all models, even when embedding similarity remains high. These findings indicate that fragility arises primarily during semantic-to-acoustic realization rather than multi-modal embedding alignment. Our study introduces a controlled framework for evaluating robustness in text-to-audio generation and highlights the need for multi-level stability assessment in generative audio systems.

Wideband Near-Field Sensing in ISAC: Unified Algorithm Design and Decoupled Effect Analysis

To advance integrated sensing and communications (ISAC) in sixth-generation (6G) extremely large-scale multiple-input multiple-output (XL-MIMO) networks, a low-complexity compressed sensing (CS)-based dictionary design is proposed for wideband near-field (WB-NF) target localization. Currently, the massive signal dimensions in the WB-NF regime impose severe computational burdens and high spatial-frequency coherence on conventional grid-based algorithms. Furthermore, a unified framework exploiting both wideband (WB) and near-field (NF) effects is lacking, and the analytical conditions for simplifying this model into decoupled approximations remain uncharacterized. To address these challenges, the proposed algorithm mathematically decouples the mutual coherence function and introduces a novel angle-distance sampling grid with customized distance adjustments, drastically reducing dictionary dimensions while ensuring low coherence. To isolate the individual WB and NF impacts, two coherence-based metrics are formulated to establish the effective boundaries of the narrowband near-field (NB-NF) and wideband far-field (WB-FF) regions, where respective multiple signal classification (MUSIC) algorithms are utilized. Simulations demonstrate that the CS-based method achieves robust performance across the entire regime, and the established boundaries provide crucial theoretical guidelines for WB and NF effect decoupling.

Voices of Civilizations: A Multilingual QA Benchmark for Global Music Understanding

We introduce Voices of Civilizations, the first multilingual QA benchmark for evaluating audio LLMs' cultural comprehension on full-length music recordings. Covering 380 tracks across 38 languages, our automated pipeline yields 1,190 multiple-choice questions through four stages - each followed by manual verification: 1) compiling a representative music list; 2) generating cultural-background documents for each sample in the music list via LLMs; 3) extracting key attributes from those documents; and 4) constructing multiple-choice questions probing language, region associations, mood, and thematic content. We evaluate models under four conditions and report per-language accuracy. Our findings demonstrate that even state-of-the-art audio LLMs struggle to capture subtle cultural nuances without rich textual context and exhibit systematic biases in interpreting music from different cultural traditions. The dataset is publicly available on Hugging Face to foster culturally inclusive music understanding research.