Our objective is the automatic generation of Audio Descriptions (ADs) for edited video material, such as movies and TV series. To achieve this, we propose a two-stage framework that leverages "shots" as the fundamental units of video understanding. This includes extending temporal context to neighbouring shots and incorporating film grammar devices, such as shot scales and thread structures, to guide AD generation. Our method is compatible with both open-source and proprietary Visual-Language Models (VLMs), integrating expert knowledge from add-on modules without requiring additional training of the VLMs. We achieve state-of-the-art performance among all prior training-free approaches and even surpass fine-tuned methods on several benchmarks. To evaluate the quality of predicted ADs, we introduce a new evaluation measure -- an action score -- specifically targeted to assessing this important aspect of AD. Additionally, we propose a novel evaluation protocol that treats automatic frameworks as AD generation assistants and asks them to generate multiple candidate ADs for selection.

Animated movies are captivating for their unique character designs and imaginative storytelling, yet they pose significant challenges for existing recognition systems. Unlike the consistent visual patterns detected by conventional face recognition methods, animated characters exhibit extreme diversity in their appearance, motion, and deformation. In this work, we propose an audio-visual pipeline to enable automatic and robust animated character recognition, and thereby enhance character-centric understanding of animated movies. Central to our approach is the automatic construction of an audio-visual character bank from online sources. This bank contains both visual exemplars and voice (audio) samples for each character, enabling subsequent multi-modal character recognition despite long-tailed appearance distributions. Building on accurate character recognition, we explore two downstream applications: Audio Description (AD) generation for visually impaired audiences, and character-aware subtitling for the hearing impaired. To support research in this domain, we introduce CMD-AM, a new dataset of 75 animated movies with comprehensive annotations. Our character-centric pipeline demonstrates significant improvements in both accessibility and narrative comprehension for animated content over prior face-detection-based approaches. For the code and dataset, visit https://www.robots.ox.ac.uk/~vgg/research/animated_ad/.

We propose a novel feed-forward 3D editing framework called Shap-editor. Prior research on editing 3D objects primarily concentrated on editing individual objects by leveraging off-the-shelf 2D image editing networks, utilizing a process called 3D distillation, which transfers knowl-edge from the 2D network to the 3D asset. Distillation ne-cessitates at least tens of minutes per asset to attain sat-isfactory editing results, thus it is not very practical. In contrast, we ask whether 3D editing can be carried out di-rectly by a feed-forward network, eschewing test-time op-timization. In particular, we hypothesise that this process can be greatly simplified by first encoding 3D objects into a suitable latent space. We validate this hypothesis by building upon the latent space of Shap-E. We demonstrate that direct 3D editing in this space is possible and efficient by learning a feed-forward editor network that only requires approximately one second per edit. Our experiments show that Shap-Editor generalises well to both in-distribution and out-of-distribution 3D assets with different prompts and achieves superior performance compared to methods that carry out test-time optimisation for each edited instance.

The objective of this paper is a model that is able to discover, track and segment multiple moving objects in a video. We make four contributions: First, we introduce an object-centric segmentation model with a depth-ordered layer representation. This is implemented using a variant of the transformer architecture that ingests optical flow, where each query vector specifies an object and its layer for the entire video. The model can effectively discover multiple moving objects and handle mutual occlusions; Second, we introduce a scalable pipeline for generating multi-object synthetic training data via layer compositions, that is used to train the proposed model, significantly reducing the requirements for labour-intensive annotations, and supporting Sim2Real generalisation; Third, we conduct thorough ablation studies, showing that the model is able to learn object permanence and temporal shape consistency, and is able to predict amodal segmentation masks; Fourth, we evaluate our model, trained only on synthetic data, on standard video segmentation benchmarks, DAVIS, MoCA, SegTrack, FBMS-59, and achieve state-of-the-art performance among existing methods that do not rely on any manual annotations. With test-time adaptation, we observe further performance boosts.