Daily Papers

Audio-driven bimanual piano motion generation requires precise modeling of complex musical structures and dynamic cross-hand coordination. However, existing methods often rely on acoustic-only representations lacking symbolic priors, employ inflexible interaction mechanisms, and are limited to computationally expensive short-sequence generation. To address these limitations, we propose PianoFlow, a flow-matching framework for precise and coordinated bimanual piano motion synthesis. Our approach strategically leverages MIDI as a privileged modality during training, distilling these structured musical priors to achieve deep semantic understanding while maintaining audio-only inference. Furthermore, we introduce an asymmetric role-gated interaction module to explicitly capture dynamic cross-hand coordination through role-aware attention and temporal gating. To enable real-time streaming generation for arbitrarily long sequences, we design an autoregressive flow continuation scheme that ensures seamless cross-chunk temporal coherence. Extensive experiments on the PianoMotion10M dataset demonstrate that PianoFlow achieves superior quantitative and qualitative performance, while accelerating inference by over 9\times compared to previous methods.

Automating the synthesis of coordinated bimanual piano performances poses significant challenges, particularly in capturing the intricate choreography between the hands while preserving their distinct kinematic signatures. In this paper, we propose a dual-stream neural framework designed to generate synchronized hand gestures for piano playing from audio input, addressing the critical challenge of modeling both hand independence and coordination. Our framework introduces two key innovations: (i) a decoupled diffusion-based generation framework that independently models each hand's motion via dual-noise initialization, sampling distinct latent noise for each while leveraging a shared positional condition, and (ii) a Hand-Coordinated Asymmetric Attention (HCAA) mechanism suppresses symmetric (common-mode) noise to highlight asymmetric hand-specific features, while adaptively enhancing inter-hand coordination during denoising. The system operates hierarchically: it first predicts 3D hand positions from audio features and then generates joint angles through position-aware diffusion models, where parallel denoising streams interact via HCAA. Comprehensive evaluations demonstrate that our framework outperforms existing state-of-the-art methods across multiple metrics.

Piano playing requires agile, precise, and coordinated hand control that stretches the limits of dexterity. Hand motion models with the sophistication to accurately recreate piano playing have a wide range of applications in character animation, embodied AI, biomechanics, and VR/AR. In this paper, we construct a first-of-its-kind large-scale dataset that contains approximately 10 hours of 3D hand motion and audio from 15 elite-level pianists playing 153 pieces of classical music. To capture natural performances, we designed a markerless setup in which motions are reconstructed from multi-view videos using state-of-the-art pose estimation models. The motion data is further refined via inverse kinematics using the high-resolution MIDI key-pressing data obtained from sensors in a specialized Yamaha Disklavier piano. Leveraging the collected dataset, we developed a pipeline that can synthesize physically-plausible hand motions for musical scores outside of the dataset. Our approach employs a combination of imitation learning and reinforcement learning to obtain policies for physics-based bimanual control involving the interaction between hands and piano keys. To solve the sampling efficiency problem with the large motion dataset, we use a diffusion model to generate natural reference motions, which provide high-level trajectory and fingering (finger order and placement) information. However, the generated reference motion alone does not provide sufficient accuracy for piano performance modeling. We then further augmented the data by using musical similarity to retrieve similar motions from the captured dataset to boost the precision of the RL policy. With the proposed method, our model generates natural, dexterous motions that generalize to music from outside the training dataset.

It has been a long-standing research goal to endow robot hands with human-level dexterity. Bi-manual robot piano playing constitutes a task that combines challenges from dynamic tasks, such as generating fast while precise motions, with slower but contact-rich manipulation problems. Although reinforcement learning based approaches have shown promising results in single-task performance, these methods struggle in a multi-song setting. Our work aims to close this gap and, thereby, enable imitation learning approaches for robot piano playing at scale. To this end, we introduce the Robot Piano 1 Million (RP1M) dataset, containing bi-manual robot piano playing motion data of more than one million trajectories. We formulate finger placements as an optimal transport problem, thus, enabling automatic annotation of vast amounts of unlabeled songs. Benchmarking existing imitation learning approaches shows that such approaches reach state-of-the-art robot piano playing performance by leveraging RP1M.

Recently, artificial intelligence techniques for education have been received increasing attentions, while it still remains an open problem to design the effective music instrument instructing systems. Although key presses can be directly derived from sheet music, the transitional movements among key presses require more extensive guidance in piano performance. In this work, we construct a piano-hand motion generation benchmark to guide hand movements and fingerings for piano playing. To this end, we collect an annotated dataset, PianoMotion10M, consisting of 116 hours of piano playing videos from a bird's-eye view with 10 million annotated hand poses. We also introduce a powerful baseline model that generates hand motions from piano audios through a position predictor and a position-guided gesture generator. Furthermore, a series of evaluation metrics are designed to assess the performance of the baseline model, including motion similarity, smoothness, positional accuracy of left and right hands, and overall fidelity of movement distribution. Despite that piano key presses with respect to music scores or audios are already accessible, PianoMotion10M aims to provide guidance on piano fingering for instruction purposes. The source code and dataset can be accessed at https://github.com/agnJason/PianoMotion10M.

Bimanual robotic manipulation is a long-standing challenge of embodied intelligence due to its characteristics of dual-arm spatial-temporal coordination and high-dimensional action spaces. Previous studies rely on pre-defined action taxonomies or direct teleoperation to alleviate or circumvent these issues, often making them lack simplicity, versatility and scalability. Differently, we believe that the most effective and efficient way for teaching bimanual manipulation is learning from human demonstrated videos, where rich features such as spatial-temporal positions, dynamic postures, interaction states and dexterous transitions are available almost for free. In this work, we propose the YOTO (You Only Teach Once), which can extract and then inject patterns of bimanual actions from as few as a single binocular observation of hand movements, and teach dual robot arms various complex tasks. Furthermore, based on keyframes-based motion trajectories, we devise a subtle solution for rapidly generating training demonstrations with diverse variations of manipulated objects and their locations. These data can then be used to learn a customized bimanual diffusion policy (BiDP) across diverse scenes. In experiments, YOTO achieves impressive performance in mimicking 5 intricate long-horizon bimanual tasks, possesses strong generalization under different visual and spatial conditions, and outperforms existing visuomotor imitation learning methods in accuracy and efficiency. Our project link is https://hnuzhy.github.io/projects/YOTO.

We present BimArt, a novel generative approach for synthesizing 3D bimanual hand interactions with articulated objects. Unlike prior works, we do not rely on a reference grasp, a coarse hand trajectory, or separate modes for grasping and articulating. To achieve this, we first generate distance-based contact maps conditioned on the object trajectory with an articulation-aware feature representation, revealing rich bimanual patterns for manipulation. The learned contact prior is then used to guide our hand motion generator, producing diverse and realistic bimanual motions for object movement and articulation. Our work offers key insights into feature representation and contact prior for articulated objects, demonstrating their effectiveness in taming the complex, high-dimensional space of bimanual hand-object interactions. Through comprehensive quantitative experiments, we demonstrate a clear step towards simplified and high-quality hand-object animations that excel over the state-of-the-art in motion quality and diversity.

Synthesizing human motion has advanced rapidly, yet realistic hand motion and bimanual interaction remain underexplored. Whole-body models often miss the fine-grained cues that drive dexterous behavior, finger articulation, contact timing, and inter-hand coordination, and existing resources lack high-fidelity bimanual sequences that capture nuanced finger dynamics and collaboration. To fill this gap, we present HandX, a unified foundation spanning data, annotation, and evaluation. We consolidate and filter existing datasets for quality, and collect a new motion-capture dataset targeting underrepresented bimanual interactions with detailed finger dynamics. For scalable annotation, we introduce a decoupled strategy that extracts representative motion features, e.g., contact events and finger flexion, and then leverages reasoning from large language models to produce fine-grained, semantically rich descriptions aligned with these features. Building on the resulting data and annotations, we benchmark diffusion and autoregressive models with versatile conditioning modes. Experiments demonstrate high-quality dexterous motion generation, supported by our newly proposed hand-focused metrics. We further observe clear scaling trends: larger models trained on larger, higher-quality datasets produce more semantically coherent bimanual motion. Our dataset is released to support future research.

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

We present a novel approach to synthesize dexterous motions for physically simulated hands in tasks that require coordination between the control of two hands with high temporal precision. Instead of directly learning a joint policy to control two hands, our approach performs bimanual control through cooperative learning where each hand is treated as an individual agent. The individual policies for each hand are first trained separately, and then synchronized through latent space manipulation in a centralized environment to serve as a joint policy for two-hand control. By doing so, we avoid directly performing policy learning in the joint state-action space of two hands with higher dimensions, greatly improving the overall training efficiency. We demonstrate the effectiveness of our proposed approach in the challenging guitar-playing task. The virtual guitarist trained by our approach can synthesize motions from unstructured reference data of general guitar-playing practice motions, and accurately play diverse rhythms with complex chord pressing and string picking patterns based on the input guitar tabs that do not exist in the references. Along with this paper, we provide the motion capture data that we collected as the reference for policy training. Code is available at: https://pei-xu.github.io/guitar.

Contact-rich bimanual manipulation involves precise coordination of two arms to change object states through strategically selected contacts and motions. Due to the inherent complexity of these tasks, acquiring sufficient demonstration data and training policies that generalize to unseen scenarios remain a largely unresolved challenge. Building on recent advances in planning through contacts, we introduce Generalizable Planning-Guided Diffusion Policy Learning (GLIDE), an approach that effectively learns to solve contact-rich bimanual manipulation tasks by leveraging model-based motion planners to generate demonstration data in high-fidelity physics simulation. Through efficient planning in randomized environments, our approach generates large-scale and high-quality synthetic motion trajectories for tasks involving diverse objects and transformations. We then train a task-conditioned diffusion policy via behavior cloning using these demonstrations. To tackle the sim-to-real gap, we propose a set of essential design options in feature extraction, task representation, action prediction, and data augmentation that enable learning robust prediction of smooth action sequences and generalization to unseen scenarios. Through experiments in both simulation and the real world, we demonstrate that our approach can enable a bimanual robotic system to effectively manipulate objects of diverse geometries, dimensions, and physical properties. Website: https://glide-manip.github.io/

For robotic manipulation, existing robotics datasets and simulation benchmarks predominantly cater to robot-arm platforms. However, for humanoid robots equipped with dual arms and dexterous hands, simulation tasks and high-quality demonstrations are notably lacking. Bimanual dexterous manipulation is inherently more complex, as it requires coordinated arm movements and hand operations, making autonomous data collection challenging. This paper presents HumanoidGen, an automated task creation and demonstration collection framework that leverages atomic dexterous operations and LLM reasoning to generate relational constraints. Specifically, we provide spatial annotations for both assets and dexterous hands based on the atomic operations, and perform an LLM planner to generate a chain of actionable spatial constraints for arm movements based on object affordances and scenes. To further improve planning ability, we employ a variant of Monte Carlo tree search to enhance LLM reasoning for long-horizon tasks and insufficient annotation. In experiments, we create a novel benchmark with augmented scenarios to evaluate the quality of the collected data. The results show that the performance of the 2D and 3D diffusion policies can scale with the generated dataset. Project page is https://openhumanoidgen.github.io.

Simulation-based data synthesis has emerged as a powerful paradigm for enhancing real-world robotic manipulation. However, existing synthetic datasets remain insufficient for robust bimanual manipulation due to two challenges: (1) the lack of an efficient, scalable data generation method for novel tasks, and (2) oversimplified simulation environments that fail to capture real-world complexity. We present RoboTwin 2.0, a scalable simulation framework that enables automated, large-scale generation of diverse and realistic data, along with unified evaluation protocols for dual-arm manipulation. We first construct RoboTwin-OD, a large-scale object library comprising 731 instances across 147 categories, each annotated with semantic and manipulation-relevant labels. Building on this foundation, we develop an expert data synthesis pipeline that combines multimodal large language models (MLLMs) with simulation-in-the-loop refinement to generate task-level execution code automatically. To improve sim-to-real transfer, RoboTwin 2.0 incorporates structured domain randomization along five axes: clutter, lighting, background, tabletop height and language instructions, thereby enhancing data diversity and policy robustness. We instantiate this framework across 50 dual-arm tasks spanning five robot embodiments, and pre-collect over 100,000 domain-randomized expert trajectories. Empirical results show a 10.9% gain in code generation success and improved generalization to novel real-world scenarios. A VLA model fine-tuned on our dataset achieves a 367% relative improvement (42.0% vs. 9.0%) on unseen scene real-world tasks, while zero-shot models trained solely on our synthetic data achieve a 228% relative gain, highlighting strong generalization without real-world supervision. We release the data generator, benchmark, dataset, and code to support scalable research in robust bimanual manipulation.

We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.

Human motion generation stands as a significant pursuit in generative computer vision, while achieving long-sequence and efficient motion generation remains challenging. Recent advancements in state space models (SSMs), notably Mamba, have showcased considerable promise in long sequence modeling with an efficient hardware-aware design, which appears to be a promising direction to build motion generation model upon it. Nevertheless, adapting SSMs to motion generation faces hurdles since the lack of a specialized design architecture to model motion sequence. To address these challenges, we propose Motion Mamba, a simple and efficient approach that presents the pioneering motion generation model utilized SSMs. Specifically, we design a Hierarchical Temporal Mamba (HTM) block to process temporal data by ensemble varying numbers of isolated SSM modules across a symmetric U-Net architecture aimed at preserving motion consistency between frames. We also design a Bidirectional Spatial Mamba (BSM) block to bidirectionally process latent poses, to enhance accurate motion generation within a temporal frame. Our proposed method achieves up to 50% FID improvement and up to 4 times faster on the HumanML3D and KIT-ML datasets compared to the previous best diffusion-based method, which demonstrates strong capabilities of high-quality long sequence motion modeling and real-time human motion generation. See project website https://steve-zeyu-zhang.github.io/MotionMamba/

We introduce a novel task within the field of 3D dance generation, termed dance accompaniment, which necessitates the generation of responsive movements from a dance partner, the "follower", synchronized with the lead dancer's movements and the underlying musical rhythm. Unlike existing solo or group dance generation tasks, a duet dance scenario entails a heightened degree of interaction between the two participants, requiring delicate coordination in both pose and position. To support this task, we first build a large-scale and diverse duet interactive dance dataset, DD100, by recording about 117 minutes of professional dancers' performances. To address the challenges inherent in this task, we propose a GPT-based model, Duolando, which autoregressively predicts the subsequent tokenized motion conditioned on the coordinated information of the music, the leader's and the follower's movements. To further enhance the GPT's capabilities of generating stable results on unseen conditions (music and leader motions), we devise an off-policy reinforcement learning strategy that allows the model to explore viable trajectories from out-of-distribution samplings, guided by human-defined rewards. Based on the collected dataset and proposed method, we establish a benchmark with several carefully designed metrics.

The recently emerging text-to-motion advances have spired numerous attempts for convenient and interactive human motion generation. Yet, existing methods are largely limited to generating body motions only without considering the rich two-hand motions, let alone handling various conditions like body dynamics or texts. To break the data bottleneck, we propose BOTH57M, a novel multi-modal dataset for two-hand motion generation. Our dataset includes accurate motion tracking for the human body and hands and provides pair-wised finger-level hand annotations and body descriptions. We further provide a strong baseline method, BOTH2Hands, for the novel task: generating vivid two-hand motions from both implicit body dynamics and explicit text prompts. We first warm up two parallel body-to-hand and text-to-hand diffusion models and then utilize the cross-attention transformer for motion blending. Extensive experiments and cross-validations demonstrate the effectiveness of our approach and dataset for generating convincing two-hand motions from the hybrid body-and-textual conditions. Our dataset and code will be disseminated to the community for future research.

Imitation learning from human demonstrations is an effective means to teach robots manipulation skills. But data acquisition is a major bottleneck in applying this paradigm more broadly, due to the amount of cost and human effort involved. There has been significant interest in imitation learning for bimanual dexterous robots, like humanoids. Unfortunately, data collection is even more challenging here due to the challenges of simultaneously controlling multiple arms and multi-fingered hands. Automated data generation in simulation is a compelling, scalable alternative to fuel this need for data. To this end, we introduce DexMimicGen, a large-scale automated data generation system that synthesizes trajectories from a handful of human demonstrations for humanoid robots with dexterous hands. We present a collection of simulation environments in the setting of bimanual dexterous manipulation, spanning a range of manipulation behaviors and different requirements for coordination among the two arms. We generate 21K demos across these tasks from just 60 source human demos and study the effect of several data generation and policy learning decisions on agent performance. Finally, we present a real-to-sim-to-real pipeline and deploy it on a real-world humanoid can sorting task. Videos and more are at https://dexmimicgen.github.io/

Bimanual dexterous manipulation is a critical yet underexplored area in robotics. Its high-dimensional action space and inherent task complexity present significant challenges for policy learning, and the limited task diversity in existing benchmarks hinders general-purpose skill development. Existing approaches largely depend on reinforcement learning, often constrained by intricately designed reward functions tailored to a narrow set of tasks. In this work, we present a novel approach for efficiently learning diverse bimanual dexterous skills from abundant human demonstrations. Specifically, we introduce BiDexHD, a framework that unifies task construction from existing bimanual datasets and employs teacher-student policy learning to address all tasks. The teacher learns state-based policies using a general two-stage reward function across tasks with shared behaviors, while the student distills the learned multi-task policies into a vision-based policy. With BiDexHD, scalable learning of numerous bimanual dexterous skills from auto-constructed tasks becomes feasible, offering promising advances toward universal bimanual dexterous manipulation. Our empirical evaluation on the TACO dataset, spanning 141 tasks across six categories, demonstrates a task fulfillment rate of 74.59% on trained tasks and 51.07% on unseen tasks, showcasing the effectiveness and competitive zero-shot generalization capabilities of BiDexHD. For videos and more information, visit our project page https://sites.google.com/view/bidexhd.

Learning a generalizable bimanual manipulation policy is extremely challenging for embodied agents due to the large action space and the need for coordinated arm movements. Existing approaches rely on Vision-Language-Action (VLA) models to acquire bimanual policies. However, transferring knowledge from single-arm datasets or pre-trained VLA models often fails to generalize effectively, primarily due to the scarcity of bimanual data and the fundamental differences between single-arm and bimanual manipulation. In this paper, we propose a novel bimanual foundation policy by fine-tuning the leading text-to-video models to predict robot trajectories and training a lightweight diffusion policy for action generation. Given the lack of embodied knowledge in text-to-video models, we introduce a two-stage paradigm that fine-tunes independent text-to-flow and flow-to-video models derived from a pre-trained text-to-video model. Specifically, optical flow serves as an intermediate variable, providing a concise representation of subtle movements between images. The text-to-flow model predicts optical flow to concretize the intent of language instructions, and the flow-to-video model leverages this flow for fine-grained video prediction. Our method mitigates the ambiguity of language in single-stage text-to-video prediction and significantly reduces the robot-data requirement by avoiding direct use of low-level actions. In experiments, we collect high-quality manipulation data for real dual-arm robot, and the results of simulation and real-world experiments demonstrate the effectiveness of our method.

Learning musical structures and composition patterns is necessary for both music generation and understanding, but current methods do not make uniform use of learned features to generate and comprehend music simultaneously. In this paper, we propose PianoBART, a pre-trained model that uses BART for both symbolic piano music generation and understanding. We devise a multi-level object selection strategy for different pre-training tasks of PianoBART, which can prevent information leakage or loss and enhance learning ability. The musical semantics captured in pre-training are fine-tuned for music generation and understanding tasks. Experiments demonstrate that PianoBART efficiently learns musical patterns and achieves outstanding performance in generating high-quality coherent pieces and comprehending music. Our code and supplementary material are available at https://github.com/RS2002/PianoBart.

Capturing intricate and subtle variations in human expressiveness in music performance using computational approaches is challenging. In this paper, we propose a novel approach for reconstructing human expressiveness in piano performance with a multi-layer bi-directional Transformer encoder. To address the needs for large amounts of accurately captured and score-aligned performance data in training neural networks, we use transcribed scores obtained from an existing transcription model to train our model. We integrate pianist identities to control the sampling process and explore the ability of our system to model variations in expressiveness for different pianists. The system is evaluated through statistical analysis of generated expressive performances and a listening test. Overall, the results suggest that our method achieves state-of-the-art in generating human-like piano performances from transcribed scores, while fully and consistently reconstructing human expressiveness poses further challenges.

Bimanual manipulation is essential for achieving human-like dexterity in robots, but the large-scale and diverse bimanual robot datasets remain scarce due to hardware heterogeneity across robotic platforms. To address the challenge, we present RoboCOIN, a comprehensive multi-embodiment bimanual manipulation dataset with over 180,000 demonstrations collected from 15 distinct robotic platforms. The dataset covers 16 scenarios, including residential, commercial, and working environments, with 421 tasks systematically organized by bimanual coordination patterns and object properties. Our key innovation is a hierarchical capability pyramid that provides multi-level annotations, spanning trajectory-level concepts, segment-level subtasks, and frame-level kinematics. We further develop CoRobot, a comprehensive processing framework featuring Robot Trajectory Markup Language (RTML) for quality assessment, automated annotation generation, and unified multi-embodiment management. Extensive experiments demonstrate the reliability and effectiveness of RoboCOIN in multi-embodiment bimanual learning, with significant performance improvements across various model architectures and robotic platforms. The complete dataset and framework are open-sourced and publicly available for further research purposes. Project website: https://FlagOpen.github.io/RoboCOIN/.

Human motion generation plays a vital role in applications such as digital humans and humanoid robot control. However, most existing approaches disregard physics constraints, leading to the frequent production of physically implausible motions with pronounced artifacts such as floating and foot sliding. In this paper, we propose Morph, a Motion-free physics optimization framework, comprising a Motion Generator and a Motion Physics Refinement module, for enhancing physical plausibility without relying on costly real-world motion data. Specifically, the Motion Generator is responsible for providing large-scale synthetic motion data, while the Motion Physics Refinement Module utilizes these synthetic data to train a motion imitator within a physics simulator, enforcing physical constraints to project the noisy motions into a physically-plausible space. These physically refined motions, in turn, are used to fine-tune the Motion Generator, further enhancing its capability. Experiments on both text-to-motion and music-to-dance generation tasks demonstrate that our framework achieves state-of-the-art motion generation quality while improving physical plausibility drastically.

Human motion video generation has garnered significant research interest due to its broad applications, enabling innovations such as photorealistic singing heads or dynamic avatars that seamlessly dance to music. However, existing surveys in this field focus on individual methods, lacking a comprehensive overview of the entire generative process. This paper addresses this gap by providing an in-depth survey of human motion video generation, encompassing over ten sub-tasks, and detailing the five key phases of the generation process: input, motion planning, motion video generation, refinement, and output. Notably, this is the first survey that discusses the potential of large language models in enhancing human motion video generation. Our survey reviews the latest developments and technological trends in human motion video generation across three primary modalities: vision, text, and audio. By covering over two hundred papers, we offer a thorough overview of the field and highlight milestone works that have driven significant technological breakthroughs. Our goal for this survey is to unveil the prospects of human motion video generation and serve as a valuable resource for advancing the comprehensive applications of digital humans. A complete list of the models examined in this survey is available in Our Repository https://github.com/Winn1y/Awesome-Human-Motion-Video-Generation.

Dance, as an art form, fundamentally hinges on the precise synchronization with musical beats. However, achieving aesthetically pleasing dance sequences from music is challenging, with existing methods often falling short in controllability and beat alignment. To address these shortcomings, this paper introduces Beat-It, a novel framework for beat-specific, key pose-guided dance generation. Unlike prior approaches, Beat-It uniquely integrates explicit beat awareness and key pose guidance, effectively resolving two main issues: the misalignment of generated dance motions with musical beats, and the inability to map key poses to specific beats, critical for practical choreography. Our approach disentangles beat conditions from music using a nearest beat distance representation and employs a hierarchical multi-condition fusion mechanism. This mechanism seamlessly integrates key poses, beats, and music features, mitigating condition conflicts and offering rich, multi-conditioned guidance for dance generation. Additionally, a specially designed beat alignment loss ensures the generated dance movements remain in sync with the designated beats. Extensive experiments confirm Beat-It's superiority over existing state-of-the-art methods in terms of beat alignment and motion controllability.

Generating natural and expressive human motions from textual descriptions is challenging due to the complexity of coordinating full-body dynamics and capturing nuanced motion patterns over extended sequences that accurately reflect the given text. To address this, we introduce BiPO, Bidirectional Partial Occlusion Network for Text-to-Motion Synthesis, a novel model that enhances text-to-motion synthesis by integrating part-based generation with a bidirectional autoregressive architecture. This integration allows BiPO to consider both past and future contexts during generation while enhancing detailed control over individual body parts without requiring ground-truth motion length. To relax the interdependency among body parts caused by the integration, we devise the Partial Occlusion technique, which probabilistically occludes the certain motion part information during training. In our comprehensive experiments, BiPO achieves state-of-the-art performance on the HumanML3D dataset, outperforming recent methods such as ParCo, MoMask, and BAMM in terms of FID scores and overall motion quality. Notably, BiPO excels not only in the text-to-motion generation task but also in motion editing tasks that synthesize motion based on partially generated motion sequences and textual descriptions. These results reveal the BiPO's effectiveness in advancing text-to-motion synthesis and its potential for practical applications.

Multimodal Large Language Models (MLLMs) have significantly advanced embodied AI, and using them to benchmark robotic intelligence has become a pivotal trend. However, existing frameworks remain predominantly confined to single-arm manipulation, failing to capture the spatio-temporal coordination required for bimanual tasks like lifting a heavy pot. To address this, we introduce BiManiBench, a hierarchical benchmark evaluating MLLMs across three tiers: fundamental spatial reasoning, high-level action planning, and low-level end-effector control. Our framework isolates unique bimanual challenges, such as arm reachability and kinematic constraints, thereby distinguishing perceptual hallucinations from planning failures. Analysis of over 30 state-of-the-art models reveals that despite high-level reasoning proficiency, MLLMs struggle with dual-arm spatial grounding and control, frequently resulting in mutual interference and sequencing errors. These findings suggest the current paradigm lacks a deep understanding of mutual kinematic constraints, highlighting the need for future research to focus on inter-arm collision-avoidance and fine-grained temporal sequencing.

Bimanual manipulation is critical to many robotics applications. In contrast to single-arm manipulation, bimanual manipulation tasks are challenging due to higher-dimensional action spaces. Prior works leverage large amounts of data and primitive actions to address this problem, but may suffer from sample inefficiency and limited generalization across various tasks. To this end, we propose VoxAct-B, a language-conditioned, voxel-based method that leverages Vision Language Models (VLMs) to prioritize key regions within the scene and reconstruct a voxel grid. We provide this voxel grid to our bimanual manipulation policy to learn acting and stabilizing actions. This approach enables more efficient policy learning from voxels and is generalizable to different tasks. In simulation, we show that VoxAct-B outperforms strong baselines on fine-grained bimanual manipulation tasks. Furthermore, we demonstrate VoxAct-B on real-world Open Drawer and Open Jar tasks using two UR5s. Code, data, and videos are available at https://voxact-b.github.io.

Existing methods for expressive music performance rendering rely on supervised learning over small labeled datasets, which limits scaling of both data volume and model size, despite the availability of vast unlabeled music, as in vision and language. To address this gap, we introduce Pianist Transformer, with four key contributions: 1) a unified Musical Instrument Digital Interface (MIDI) data representation for learning the shared principles of musical structure and expression without explicit annotation; 2) an efficient asymmetric architecture, enabling longer contexts and faster inference without sacrificing rendering quality; 3) a self-supervised pre-training pipeline with 10B tokens and 135M-parameter model, unlocking data and model scaling advantages for expressive performance rendering; 4) a state-of-the-art performance model, which achieves strong objective metrics and human-level subjective ratings. Overall, Pianist Transformer establishes a scalable path toward human-like performance synthesis in the music domain.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Emotions are fundamental to the creation and perception of music performances. However, achieving human-like expression and emotion through machine learning models for performance rendering remains a challenging task. In this work, we present SyMuPe, a novel framework for developing and training affective and controllable symbolic piano performance models. Our flagship model, PianoFlow, uses conditional flow matching trained to solve diverse multi-mask performance inpainting tasks. By design, it supports both unconditional generation and infilling of music performance features. For training, we use a curated, cleaned dataset of 2,968 hours of aligned musical scores and expressive MIDI performances. For text and emotion control, we integrate a piano performance emotion classifier and tune PianoFlow with the emotion-weighted Flan-T5 text embeddings provided as conditional inputs. Objective and subjective evaluations against transformer-based baselines and existing models show that PianoFlow not only outperforms other approaches, but also achieves performance quality comparable to that of human-recorded and transcribed MIDI samples. For emotion control, we present and analyze samples generated under different text conditioning scenarios. The developed model can be integrated into interactive applications, contributing to the creation of more accessible and engaging music performance systems.

Gesture synthesis is a vital realm of human-computer interaction, with wide-ranging applications across various fields like film, robotics, and virtual reality. Recent advancements have utilized the diffusion model and attention mechanisms to improve gesture synthesis. However, due to the high computational complexity of these techniques, generating long and diverse sequences with low latency remains a challenge. We explore the potential of state space models (SSMs) to address the challenge, implementing a two-stage modeling strategy with discrete motion priors to enhance the quality of gestures. Leveraging the foundational Mamba block, we introduce MambaTalk, enhancing gesture diversity and rhythm through multimodal integration. Extensive experiments demonstrate that our method matches or exceeds the performance of state-of-the-art models.

In recent years, deep learning has significantly advanced the MIDI domain, solidifying music generation as a key application of artificial intelligence. However, existing research primarily focuses on Western music and encounters challenges in generating melodies for Chinese traditional music, especially in capturing modal characteristics and emotional expression. To address these issues, we propose a new architecture, the Dual-Feature Modeling Module, which integrates the long-range dependency modeling of the Mamba Block with the global structure capturing capabilities of the Transformer Block. Additionally, we introduce the Bidirectional Mamba Fusion Layer, which integrates local details and global structures through bidirectional scanning, enhancing the modeling of complex sequences. Building on this architecture, we propose the REMI-M representation, which more accurately captures and generates modal information in melodies. To support this research, we developed FolkDB, a high-quality Chinese traditional music dataset encompassing various styles and totaling over 11 hours of music. Experimental results demonstrate that the proposed architecture excels in generating melodies with Chinese traditional music characteristics, offering a new and effective solution for music generation.

Despite progress in controllable symbolic music generation, data scarcity remains a challenge for certain control modalities. Composer-style music generation is a prime example, as only a few pieces per composer are available, limiting the modeling of both styles and fundamental music elements (e.g., melody, chord, rhythm). In this paper, we investigate how general music knowledge learned from a broad corpus can enhance the mastery of specific composer styles, with a focus on piano piece generation. Our approach follows a two-stage training paradigm. First, we pre-train a REMI-based music generation model on a large corpus of pop, folk, and classical music. Then, we fine-tune it on a small, human-verified dataset from four renowned composers, namely Bach, Mozart, Beethoven, and Chopin, using a lightweight adapter module to condition the model on style indicators. To evaluate the effectiveness of our approach, we conduct both objective and subjective evaluations on style accuracy and musicality. Experimental results demonstrate that our method outperforms ablations and baselines, achieving more precise composer-style modeling and better musical aesthetics. Additionally, we provide observations on how the model builds music concepts from the generality pre-training and refines its stylistic understanding through the mastery fine-tuning.

Image animation has become a promising area in multimodal research, with a focus on generating videos from reference images. While prior work has largely emphasized generic video generation guided by text, music-driven dance video generation remains underexplored. In this paper, we introduce MuseDance, an innovative end-to-end model that animates reference images using both music and text inputs. This dual input enables MuseDance to generate personalized videos that follow text descriptions and synchronize character movements with the music. Unlike existing approaches, MuseDance eliminates the need for complex motion guidance inputs, such as pose or depth sequences, making flexible and creative video generation accessible to users of all expertise levels. To advance research in this field, we present a new multimodal dataset comprising 2,904 dance videos with corresponding background music and text descriptions. Our approach leverages diffusion-based methods to achieve robust generalization, precise control, and temporal consistency, setting a new baseline for the music-driven image animation task.

Music-driven choreography is a challenging problem with a wide variety of industrial applications. Recently, many methods have been proposed to synthesize dance motions from music for a single dancer. However, generating dance motion for a group remains an open problem. In this paper, we present rm AIOZ-GDANCE, a new large-scale dataset for music-driven group dance generation. Unlike existing datasets that only support single dance, our new dataset contains group dance videos, hence supporting the study of group choreography. We propose a semi-autonomous labeling method with humans in the loop to obtain the 3D ground truth for our dataset. The proposed dataset consists of 16.7 hours of paired music and 3D motion from in-the-wild videos, covering 7 dance styles and 16 music genres. We show that naively applying single dance generation technique to creating group dance motion may lead to unsatisfactory results, such as inconsistent movements and collisions between dancers. Based on our new dataset, we propose a new method that takes an input music sequence and a set of 3D positions of dancers to efficiently produce multiple group-coherent choreographies. We propose new evaluation metrics for measuring group dance quality and perform intensive experiments to demonstrate the effectiveness of our method. Our project facilitates future research on group dance generation and is available at: https://aioz-ai.github.io/AIOZ-GDANCE/

We study the problem of functional retargeting: learning dexterous manipulation policies to track object states from human hand-object demonstrations. We focus on long-horizon, bimanual tasks with articulated objects, which is challenging due to large action space, spatiotemporal discontinuities, and embodiment gap between human and robot hands. We propose DexMachina, a novel curriculum-based algorithm: the key idea is to use virtual object controllers with decaying strength: an object is first driven automatically towards its target states, such that the policy can gradually learn to take over under motion and contact guidance. We release a simulation benchmark with a diverse set of tasks and dexterous hands, and show that DexMachina significantly outperforms baseline methods. Our algorithm and benchmark enable a functional comparison for hardware designs, and we present key findings informed by quantitative and qualitative results. With the recent surge in dexterous hand development, we hope this work will provide a useful platform for identifying desirable hardware capabilities and lower the barrier for contributing to future research. Videos and more at https://project-dexmachina.github.io/

Text-guided dynamic 3D character generation has advanced rapidly, yet producing high-quality motion that faithfully reflects rich textual descriptions remains challenging. Existing methods tend to generate limited sub-actions or incoherent motion due to fixed-length temporal inputs and discrete frame-wise representations that fail to capture rich motion semantics. We address these limitations by representing motion with continuous differentiable B-spline curves, enabling more effective motion generation without modifying the capabilities of the underlying generative model. Specifically, our closed-form, Laplacian-regularized B-spline solver efficiently compresses variable-length motion sequences into compact representations with a fixed number of control points. Further, we introduce a normal-fusion strategy for input shape adherence along with correspondence-aware and local-rigidity losses for motion-restoration quality. To train our model, we collate BIMO, a new dataset containing diverse variable-length 3D motion sequences with rich, high-quality text annotations. Extensive evaluations show that our feed-forward framework BiMotion generates more expressive, higher-quality, and better prompt-aligned motions than existing state-of-the-art methods, while also achieving faster generation. Our project page is at: https://wangmiaowei.github.io/BiMotion.github.io/.

We present Bi-LAT, a novel imitation learning framework that unifies bilateral control with natural language processing to achieve precise force modulation in robotic manipulation. Bi-LAT leverages joint position, velocity, and torque data from leader-follower teleoperation while also integrating visual and linguistic cues to dynamically adjust applied force. By encoding human instructions such as "softly grasp the cup" or "strongly twist the sponge" through a multimodal Transformer-based model, Bi-LAT learns to distinguish nuanced force requirements in real-world tasks. We demonstrate Bi-LAT's performance in (1) unimanual cup-stacking scenario where the robot accurately modulates grasp force based on language commands, and (2) bimanual sponge-twisting task that requires coordinated force control. Experimental results show that Bi-LAT effectively reproduces the instructed force levels, particularly when incorporating SigLIP among tested language encoders. Our findings demonstrate the potential of integrating natural language cues into imitation learning, paving the way for more intuitive and adaptive human-robot interaction. For additional material, please visit: https://mertcookimg.github.io/bi-lat/

Conditional motion generation has been extensively studied in computer vision, yet two critical challenges remain. First, while masked autoregressive methods have recently outperformed diffusion-based approaches, existing masking models lack a mechanism to prioritize dynamic frames and body parts based on given conditions. Second, existing methods for different conditioning modalities often fail to integrate multiple modalities effectively, limiting control and coherence in generated motion. To address these challenges, we propose Motion Anything, a multimodal motion generation framework that introduces an Attention-based Mask Modeling approach, enabling fine-grained spatial and temporal control over key frames and actions. Our model adaptively encodes multimodal conditions, including text and music, improving controllability. Additionally, we introduce Text-Music-Dance (TMD), a new motion dataset consisting of 2,153 pairs of text, music, and dance, making it twice the size of AIST++, thereby filling a critical gap in the community. Extensive experiments demonstrate that Motion Anything surpasses state-of-the-art methods across multiple benchmarks, achieving a 15% improvement in FID on HumanML3D and showing consistent performance gains on AIST++ and TMD. See our project website https://steve-zeyu-zhang.github.io/MotionAnything

With rapid advances in generative artificial intelligence, the text-to-music synthesis task has emerged as a promising direction for music generation from scratch. However, finer-grained control over multi-track generation remains an open challenge. Existing models exhibit strong raw generation capability but lack the flexibility to compose separate tracks and combine them in a controllable manner, differing from typical workflows of human composers. To address this issue, we propose JEN-1 Composer, a unified framework to efficiently model marginal, conditional, and joint distributions over multi-track music via a single model. JEN-1 Composer framework exhibits the capacity to seamlessly incorporate any diffusion-based music generation system, e.g. Jen-1, enhancing its capacity for versatile multi-track music generation. We introduce a curriculum training strategy aimed at incrementally instructing the model in the transition from single-track generation to the flexible generation of multi-track combinations. During the inference, users have the ability to iteratively produce and choose music tracks that meet their preferences, subsequently creating an entire musical composition incrementally following the proposed Human-AI co-composition workflow. Quantitative and qualitative assessments demonstrate state-of-the-art performance in controllable and high-fidelity multi-track music synthesis. The proposed JEN-1 Composer represents a significant advance toward interactive AI-facilitated music creation and composition. Demos will be available at https://jenmusic.ai/audio-demos.

Language Models (LLMs) have emerged as powerful reasoning engines for embodied control. In particular, In-Context Learning (ICL) enables off-the-shelf, text-only LLMs to predict robot actions without any task-specific training while preserving their generalization capabilities. Applying ICL to bimanual manipulation remains challenging, as the high-dimensional joint action space and tight inter-arm coordination constraints rapidly overwhelm standard context windows. To address this, we introduce BiCICLe (Bimanual Coordinated In-Context Learning), the first framework that enables standard LLMs to perform few-shot bimanual manipulation without fine-tuning. BiCICLe frames bimanual control as a multi-agent leader-follower problem, decoupling the action space into sequential, conditioned single-arm predictions. This naturally extends to Arms' Debate, an iterative refinement process, and to the introduction of a third LLM-as-Judge to evaluate and select the most plausible coordinated trajectories. Evaluated on 13 tasks from the TWIN benchmark, BiCICLe achieves up to 71.1% average success rate, outperforming the best training-free baseline by 6.7 percentage points and surpassing most supervised methods. We further demonstrate strong few-shot generalization on novel tasks.

Bimanual robotic manipulation, which involves the coordinated control of two robotic arms, is foundational for solving challenging tasks. Despite recent progress in general-purpose manipulation, data scarcity and embodiment heterogeneity remain serious obstacles to further scaling up in bimanual settings. In this paper, we introduce Video Diffusion for Action Reasoning (Vidar), a two-stage framework that leverages large-scale, diffusion-based video pre-training and a novel masked inverse dynamics model for action prediction. We pre-train the video diffusion model on 750K multi-view videos from three real-world bimanual robot platforms, utilizing a unified observation space that encodes robot, camera, task, and scene contexts. Our masked inverse dynamics model learns masks to extract action-relevant information from generated trajectories without requiring pixel-level labels, and the masks can effectively generalize to unseen backgrounds. Our experiments demonstrate that with only 20 minutes of human demonstrations on an unseen robot platform (only 1% of typical data requirements), Vidar generalizes to unseen tasks and backgrounds with strong semantic understanding, surpassing state-of-the-art methods. Our findings highlight the potential of video foundation models, coupled with masked action prediction, to enable scalable and generalizable robotic manipulation in diverse real-world settings.

With the rise of online dance-video platforms and rapid advances in AI-generated content (AIGC), music-driven dance generation has emerged as a compelling research direction. Despite substantial progress in related domains such as music-driven 3D dance generation, pose-driven image animation, and audio-driven talking-head synthesis, existing methods cannot be directly adapted to this task. Moreover, the limited studies in this area still struggle to jointly achieve high-quality visual appearance and realistic human motion. Accordingly, we present MACE-Dance, a music-driven dance video generation framework with cascaded Mixture-of-Experts (MoE). The Motion Expert performs music-to-3D motion generation while enforcing kinematic plausibility and artistic expressiveness, whereas the Appearance Expert carries out motion- and reference-conditioned video synthesis, preserving visual identity with spatiotemporal coherence. Specifically, the Motion Expert adopts a diffusion model with a BiMamba-Transformer hybrid architecture and a Guidance-Free Training (GFT) strategy, achieving state-of-the-art (SOTA) performance in 3D dance generation. The Appearance Expert employs a decoupled kinematic-aesthetic fine-tuning strategy, achieving state-of-the-art (SOTA) performance in pose-driven image animation. To better benchmark this task, we curate a large-scale and diverse dataset and design a motion-appearance evaluation protocol. Based on this protocol, MACE-Dance also achieves state-of-the-art performance. Code is available at https://github.com/AMAP-ML/MACE-Dance.

While generative models have become effective at producing human-like motions from text, transferring these motions to humanoid robots for physical execution remains challenging. Existing pipelines are often limited by retargeting, where kinematic quality is undermined by physical infeasibility, contact-transition errors, and the high cost of real-world dynamical data. We present a unified latent-driven framework that bridges natural language and whole-body humanoid locomotion through a retarget-free, physics-optimized pipeline. Rather than treating generation and control as separate stages, our key insight is to couple them bidirectionally under physical constraints.We introduce a Physical Plausibility Optimization (PP-Opt) module as the coupling interface. In the forward direction, PP-Opt refines a teacher-student distillation policy with a plausibility-centric reward to suppress artifacts such as floating, skating, and penetration. In the backward direction, it converts reward-optimized simulation rollouts into high-quality explicit motion data, which is used to fine-tune the motion generator toward a more physically plausible latent distribution. This bidirectional design forms a self-improving cycle: the generator learns a physically grounded latent space, while the controller learns to execute latent-conditioned behaviors with dynamical integrity.Extensive experiments on the Unitree G1 humanoid show that our bidirectional optimization improves tracking accuracy and success rates. Across IsaacLab and MuJoCo, the implicit latent-driven pipeline consistently outperforms conventional explicit retargeting baselines in both precision and stability. By coupling diffusion-based motion generation with physical plausibility optimization, our framework provides a practical path toward deployable text-guided humanoid intelligence.

Text-driven human motion synthesis is capturing significant attention for its ability to effortlessly generate intricate movements from abstract text cues, showcasing its potential for revolutionizing motion design not only in film narratives but also in virtual reality experiences and computer game development. Existing methods often rely on 3D motion capture data, which require special setups resulting in higher costs for data acquisition, ultimately limiting the diversity and scope of human motion. In contrast, 2D human videos offer a vast and accessible source of motion data, covering a wider range of styles and activities. In this paper, we explore leveraging 2D human motion extracted from videos as an alternative data source to improve text-driven 3D motion generation. Our approach introduces a novel framework that disentangles local joint motion from global movements, enabling efficient learning of local motion priors from 2D data. We first train a single-view 2D local motion generator on a large dataset of text-motion pairs. To enhance this model to synthesize 3D motion, we fine-tune the generator with 3D data, transforming it into a multi-view generator that predicts view-consistent local joint motion and root dynamics. Experiments on the HumanML3D dataset and novel text prompts demonstrate that our method efficiently utilizes 2D data, supporting realistic 3D human motion generation and broadening the range of motion types it supports. Our code will be made publicly available at https://zju3dv.github.io/Motion-2-to-3/.

We introduce UniMuMo, a unified multimodal model capable of taking arbitrary text, music, and motion data as input conditions to generate outputs across all three modalities. To address the lack of time-synchronized data, we align unpaired music and motion data based on rhythmic patterns to leverage existing large-scale music-only and motion-only datasets. By converting music, motion, and text into token-based representation, our model bridges these modalities through a unified encoder-decoder transformer architecture. To support multiple generation tasks within a single framework, we introduce several architectural improvements. We propose encoding motion with a music codebook, mapping motion into the same feature space as music. We introduce a music-motion parallel generation scheme that unifies all music and motion generation tasks into a single transformer decoder architecture with a single training task of music-motion joint generation. Moreover, the model is designed by fine-tuning existing pre-trained single-modality models, significantly reducing computational demands. Extensive experiments demonstrate that UniMuMo achieves competitive results on all unidirectional generation benchmarks across music, motion, and text modalities. Quantitative results are available in the https://hanyangclarence.github.io/unimumo_demo/{project page}.

Leveraging human motion data to impart robots with versatile manipulation skills has emerged as a promising paradigm in robotic manipulation. Nevertheless, translating multi-source human hand motions into feasible robot behaviors remains challenging, particularly for robots equipped with multi-fingered dexterous hands characterized by complex, high-dimensional action spaces. Moreover, existing approaches often struggle to produce policies capable of adapting to diverse environmental conditions. In this paper, we introduce HERMES, a human-to-robot learning framework for mobile bimanual dexterous manipulation. First, HERMES formulates a unified reinforcement learning approach capable of seamlessly transforming heterogeneous human hand motions from multiple sources into physically plausible robotic behaviors. Subsequently, to mitigate the sim2real gap, we devise an end-to-end, depth image-based sim2real transfer method for improved generalization to real-world scenarios. Furthermore, to enable autonomous operation in varied and unstructured environments, we augment the navigation foundation model with a closed-loop Perspective-n-Point (PnP) localization mechanism, ensuring precise alignment of visual goals and effectively bridging autonomous navigation and dexterous manipulation. Extensive experimental results demonstrate that HERMES consistently exhibits generalizable behaviors across diverse, in-the-wild scenarios, successfully performing numerous complex mobile bimanual dexterous manipulation tasks. Project Page:https://gemcollector.github.io/HERMES/.

Controllable music generation remains a significant challenge, with existing methods often requiring model retraining or introducing audible artifacts. We introduce MusicRFM, a framework that adapts Recursive Feature Machines (RFMs) to enable fine-grained, interpretable control over frozen, pre-trained music models by directly steering their internal activations. RFMs analyze a model's internal gradients to produce interpretable "concept directions", or specific axes in the activation space that correspond to musical attributes like notes or chords. We first train lightweight RFM probes to discover these directions within MusicGen's hidden states; then, during inference, we inject them back into the model to guide the generation process in real-time without per-step optimization. We present advanced mechanisms for this control, including dynamic, time-varying schedules and methods for the simultaneous enforcement of multiple musical properties. Our method successfully navigates the trade-off between control and generation quality: we can increase the accuracy of generating a target musical note from 0.23 to 0.82, while text prompt adherence remains within approximately 0.02 of the unsteered baseline, demonstrating effective control with minimal impact on prompt fidelity. We release code to encourage further exploration on RFMs in the music domain.

Bimanual manipulation is essential in robotics, yet developing foundation models is extremely challenging due to the inherent complexity of coordinating two robot arms (leading to multi-modal action distributions) and the scarcity of training data. In this paper, we present the Robotics Diffusion Transformer (RDT), a pioneering diffusion foundation model for bimanual manipulation. RDT builds on diffusion models to effectively represent multi-modality, with innovative designs of a scalable Transformer to deal with the heterogeneity of multi-modal inputs and to capture the nonlinearity and high frequency of robotic data. To address data scarcity, we further introduce a Physically Interpretable Unified Action Space, which can unify the action representations of various robots while preserving the physical meanings of original actions, facilitating learning transferrable physical knowledge. With these designs, we managed to pre-train RDT on the largest collection of multi-robot datasets to date and scaled it up to 1.2B parameters, which is the largest diffusion-based foundation model for robotic manipulation. We finally fine-tuned RDT on a self-created multi-task bimanual dataset with over 6K+ episodes to refine its manipulation capabilities. Experiments on real robots demonstrate that RDT significantly outperforms existing methods. It exhibits zero-shot generalization to unseen objects and scenes, understands and follows language instructions, learns new skills with just 1~5 demonstrations, and effectively handles complex, dexterous tasks. We refer to https://rdt-robotics.github.io/rdt-robotics/ for the code and videos.

Handheld paradigms offer an efficient and intuitive way for collecting large-scale demonstration of robot manipulation. However, achieving contact-rich bimanual manipulation through these methods remains a pivotal challenge, which is substantially hindered by hardware adaptability and data efficacy. Prior hardware designs remain gripper-specific and often face a trade-off between tracking precision and portability. Furthermore, the lack of online feasibility checking during demonstration leads to poor replayability. More importantly, existing handheld setups struggle to collect interactive recovery data during robot execution, lacking the authentic tactile information necessary for robust policy refinement. To bridge these gaps, we present TAMEn, a tactile-aware manipulation engine for closed-loop data collection in contact-rich tasks. Our system features a cross-morphology wearable interface that enables rapid adaptation across heterogeneous grippers. To balance data quality and environmental diversity, we implement a dual-modal acquisition pipeline: a precision mode leveraging motion capture for high-fidelity demonstrations, and a portable mode utilizing VR-based tracking for in-the-wild acquisition and tactile-visualized recovery teleoperation. Building on this hardware, we unify large-scale tactile pretraining, task-specific bimanual demonstrations, and human-in-the-loop recovery data into a pyramid-structured data regime, enabling closed-loop policy refinement. Experiments show that our feasibility-aware pipeline significantly improves demonstration replayability, and that the proposed visuo-tactile learning framework increases task success rates from 34% to 75% across diverse bimanual manipulation tasks. We further open-source the hardware and dataset to facilitate reproducibility and support research in visuo-tactile manipulation.

Understanding bimanual human hand activities is a critical problem in AI and robotics. We cannot build large models of bimanual activities because existing datasets lack the scale, coverage of diverse hand activities, and detailed annotations. We introduce GigaHands, a massive annotated dataset capturing 34 hours of bimanual hand activities from 56 subjects and 417 objects, totaling 14k motion clips derived from 183 million frames paired with 84k text annotations. Our markerless capture setup and data acquisition protocol enable fully automatic 3D hand and object estimation while minimizing the effort required for text annotation. The scale and diversity of GigaHands enable broad applications, including text-driven action synthesis, hand motion captioning, and dynamic radiance field reconstruction. Our website are avaliable at https://ivl.cs.brown.edu/research/gigahands.html .

Fast and user-controllable music generation could enable novel ways of composing or performing music. However, state-of-the-art music generation systems require large amounts of data and computational resources for training, and are slow at inference. This makes them impractical for real-time interactive use. In this work, we introduce Musika, a music generation system that can be trained on hundreds of hours of music using a single consumer GPU, and that allows for much faster than real-time generation of music of arbitrary length on a consumer CPU. We achieve this by first learning a compact invertible representation of spectrogram magnitudes and phases with adversarial autoencoders, then training a Generative Adversarial Network (GAN) on this representation for a particular music domain. A latent coordinate system enables generating arbitrarily long sequences of excerpts in parallel, while a global context vector allows the music to remain stylistically coherent through time. We perform quantitative evaluations to assess the quality of the generated samples and showcase options for user control in piano and techno music generation. We release the source code and pretrained autoencoder weights at github.com/marcoppasini/musika, such that a GAN can be trained on a new music domain with a single GPU in a matter of hours.

Human motion generation, a cornerstone technique in animation and video production, has widespread applications in various tasks like text-to-motion and music-to-dance. Previous works focus on developing specialist models tailored for each task without scalability. In this work, we present Large Motion Model (LMM), a motion-centric, multi-modal framework that unifies mainstream motion generation tasks into a generalist model. A unified motion model is appealing since it can leverage a wide range of motion data to achieve broad generalization beyond a single task. However, it is also challenging due to the heterogeneous nature of substantially different motion data and tasks. LMM tackles these challenges from three principled aspects: 1) Data: We consolidate datasets with different modalities, formats and tasks into a comprehensive yet unified motion generation dataset, MotionVerse, comprising 10 tasks, 16 datasets, a total of 320k sequences, and 100 million frames. 2) Architecture: We design an articulated attention mechanism ArtAttention that incorporates body part-aware modeling into Diffusion Transformer backbone. 3) Pre-Training: We propose a novel pre-training strategy for LMM, which employs variable frame rates and masking forms, to better exploit knowledge from diverse training data. Extensive experiments demonstrate that our generalist LMM achieves competitive performance across various standard motion generation tasks over state-of-the-art specialist models. Notably, LMM exhibits strong generalization capabilities and emerging properties across many unseen tasks. Additionally, our ablation studies reveal valuable insights about training and scaling up large motion models for future research.

Retargeting human motion to robot poses is a practical approach for teleoperating bimanual humanoid robot arms, but existing methods can be suboptimal and slow, often causing undesirable motion or latency. This is due to optimizing to match robot end-effector to human hand position and orientation, which can also limit the robot's workspace to that of the human. Instead, this paper reframes retargeting as an orientation alignment problem, enabling a closed-form, geometric solution algorithm with an optimality guarantee. The key idea is to align a robot arm to a human's upper and lower arm orientations, as identified from shoulder, elbow, and wrist (SEW) keypoints; hence, the method is called SEW-Mimic. The method has fast inference (3 kHz) on standard commercial CPUs, leaving computational overhead for downstream applications; an example in this paper is a safety filter to avoid bimanual self-collision. The method suits most 7-degree-of-freedom robot arms and humanoids, and is agnostic to input keypoint source. Experiments show that SEW-Mimic outperforms other retargeting methods in computation time and accuracy. A pilot user study suggests that the method improves teleoperation task success. Preliminary analysis indicates that data collected with SEW-Mimic improves policy learning due to being smoother. SEW-Mimic is also shown to be a drop-in way to accelerate full-body humanoid retargeting. Finally, hardware demonstrations illustrate SEW-Mimic's practicality. The results emphasize the utility of SEW-Mimic as a fundamental building block for bimanual robot manipulation and humanoid robot teleoperation.

Human hands play a central role in interacting, motivating increasing research in dexterous robotic manipulation. Data-driven embodied AI algorithms demand precise, large-scale, human-like manipulation sequences, which are challenging to obtain with conventional reinforcement learning or real-world teleoperation. To address this, we introduce ManipTrans, a novel two-stage method for efficiently transferring human bimanual skills to dexterous robotic hands in simulation. ManipTrans first pre-trains a generalist trajectory imitator to mimic hand motion, then fine-tunes a specific residual module under interaction constraints, enabling efficient learning and accurate execution of complex bimanual tasks. Experiments show that ManipTrans surpasses state-of-the-art methods in success rate, fidelity, and efficiency. Leveraging ManipTrans, we transfer multiple hand-object datasets to robotic hands, creating DexManipNet, a large-scale dataset featuring previously unexplored tasks like pen capping and bottle unscrewing. DexManipNet comprises 3.3K episodes of robotic manipulation and is easily extensible, facilitating further policy training for dexterous hands and enabling real-world deployments.

Generating realistic human motion from given action descriptions has experienced significant advancements because of the emerging requirement of digital humans. While recent works have achieved impressive results in generating motion directly from textual action descriptions, they often support only a single modality of the control signal, which limits their application in the real digital human industry. This paper presents a Motion General-Purpose generaTor (MotionGPT) that can use multimodal control signals, e.g., text and single-frame poses, for generating consecutive human motions by treating multimodal signals as special input tokens in large language models (LLMs). Specifically, we first quantize multimodal control signals into discrete codes and then formulate them in a unified prompt instruction to ask the LLMs to generate the motion answer. Our MotionGPT demonstrates a unified human motion generation model with multimodal control signals by tuning a mere 0.4% of LLM parameters. To the best of our knowledge, MotionGPT is the first method to generate human motion by multimodal control signals, which we hope can shed light on this new direction. Codes shall be released upon acceptance.

Embodied Artificial Intelligence (Embodied AI) is an emerging frontier in robotics, driven by the need for autonomous systems that can perceive, reason, and act in complex physical environments. While single-arm systems have shown strong task performance, collaborative dual-arm systems are essential for handling more intricate tasks involving rigid, deformable, and tactile-sensitive objects. To advance this goal, we launched the RoboTwin Dual-Arm Collaboration Challenge at the 2nd MEIS Workshop, CVPR 2025. Built on the RoboTwin Simulation platform (1.0 and 2.0) and the AgileX COBOT-Magic Robot platform, the competition consisted of three stages: Simulation Round 1, Simulation Round 2, and a final Real-World Round. Participants totally tackled 17 dual-arm manipulation tasks, covering rigid, deformable, and tactile-based scenarios. The challenge attracted 64 global teams and over 400 participants, producing top-performing solutions like SEM and AnchorDP3 and generating valuable insights into generalizable bimanual policy learning. This report outlines the competition setup, task design, evaluation methodology, key findings and future direction, aiming to support future research on robust and generalizable bimanual manipulation policies. The Challenge Webpage is available at https://robotwin-benchmark.github.io/cvpr-2025-challenge/.

This paper presents an integrated system that transforms symbolic music scores into expressive piano performance audio. By combining a Transformer-based Expressive Performance Rendering (EPR) model with a fine-tuned neural MIDI synthesiser, our approach directly generates expressive audio performances from score inputs. To the best of our knowledge, this is the first system to offer a streamlined method for converting score MIDI files lacking expression control into rich, expressive piano performances. We conducted experiments using subsets of the ATEPP dataset, evaluating the system with both objective metrics and subjective listening tests. Our system not only accurately reconstructs human-like expressiveness, but also captures the acoustic ambience of environments such as concert halls and recording studios. Additionally, the proposed system demonstrates its ability to achieve musical expressiveness while ensuring good audio quality in its outputs.

Vision-language-action models (VLAs) trained on large-scale robotic datasets have demonstrated strong performance on manipulation tasks, including bimanual tasks. However, because most public datasets focus on single-arm demonstrations, adapting VLAs for bimanual tasks typically requires substantial additional bimanual data and fine-tuning. To address this challenge, we introduce TwinVLA, a modular framework that composes two copies of a pretrained single-arm VLA into a coordinated bimanual VLA. Unlike monolithic cross-embodiment models trained on mixtures of single-arm and bimanual data, TwinVLA improves both data efficiency and performance by composing pretrained single-arm policies. Across diverse bimanual tasks in real-world and simulation settings, TwinVLA outperforms a comparably-sized monolithic RDT-1B model without requiring any bimanual pretraining. Furthermore, it narrows the gap to state-of-the-art model π_0, which relies on extensive proprietary bimanual data and compute cost. These results establish our modular composition approach as a data-efficient and scalable path toward high-performance bimanual manipulation, leveraging public single-arm data.

In this paper, we propose a novel framework for music-driven dance motion synthesis with controllable key pose constraint. In contrast to methods that generate dance motion sequences only based on music without any other controllable conditions, this work targets on synthesizing high-quality dance motion driven by music as well as customized poses performed by users. Our model involves two single-modal transformer encoders for music and motion representations and a cross-modal transformer decoder for dance motions generation. The cross-modal transformer decoder achieves the capability of synthesizing smooth dance motion sequences, which keeps a consistency with key poses at corresponding positions, by introducing the local neighbor position embedding. Such mechanism makes the decoder more sensitive to key poses and the corresponding positions. Our dance synthesis model achieves satisfactory performance both on quantitative and qualitative evaluations with extensive experiments, which demonstrates the effectiveness of our proposed method.

This paper presents M^3GPT, an advanced Multimodal, Multitask framework for Motion comprehension and generation. M^3GPT operates on three fundamental principles. The first focuses on creating a unified representation space for various motion-relevant modalities. We employ discrete vector quantization for multimodal control and generation signals, such as text, music and motion/dance, enabling seamless integration into a large language model (LLM) with a single vocabulary. The second involves modeling model generation directly in the raw motion space. This strategy circumvents the information loss associated with discrete tokenizer, resulting in more detailed and comprehensive model generation. Third, M^3GPT learns to model the connections and synergies among various motion-relevant tasks. Text, the most familiar and well-understood modality for LLMs, is utilized as a bridge to establish connections between different motion tasks, facilitating mutual reinforcement. To our knowledge, M^3GPT is the first model capable of comprehending and generating motions based on multiple signals. Extensive experiments highlight M^3GPT's superior performance across various motion-relevant tasks and its powerful zero-shot generalization capabilities for extremely challenging tasks.

Human motion generation is a cut-edge area of research in generative computer vision, with promising applications in video creation, game development, and robotic manipulation. The recent Mamba architecture shows promising results in efficiently modeling long and complex sequences, yet two significant challenges remain: Firstly, directly applying Mamba to extended motion generation is ineffective, as the limited capacity of the implicit memory leads to memory decay. Secondly, Mamba struggles with multimodal fusion compared to Transformers, and lack alignment with textual queries, often confusing directions (left or right) or omitting parts of longer text queries. To address these challenges, our paper presents three key contributions: Firstly, we introduce KMM, a novel architecture featuring Key frame Masking Modeling, designed to enhance Mamba's focus on key actions in motion segments. This approach addresses the memory decay problem and represents a pioneering method in customizing strategic frame-level masking in SSMs. Additionally, we designed a contrastive learning paradigm for addressing the multimodal fusion problem in Mamba and improving the motion-text alignment. Finally, we conducted extensive experiments on the go-to dataset, BABEL, achieving state-of-the-art performance with a reduction of more than 57% in FID and 70% parameters compared to previous state-of-the-art methods. See project website: https://steve-zeyu-zhang.github.io/KMM

Human motion generation is often learned in Euclidean spaces, although valid motions follow structured non-Euclidean geometry. We present Riemannian Motion Generation (RMG), a unified framework that represents motion on a product manifold and learns dynamics via Riemannian flow matching. RMG factorizes motion into several manifold factors, yielding a scale-free representation with intrinsic normalization, and uses geodesic interpolation, tangent-space supervision, and manifold-preserving ODE integration for training and sampling. On HumanML3D, RMG achieves state-of-the-art FID in the HumanML3D format (0.043) and ranks first on all reported metrics under the MotionStreamer format. On MotionMillion, it also surpasses strong baselines (FID 5.6, R@1 0.86). Ablations show that the compact T+R (translation + rotations) representation is the most stable and effective, highlighting geometry-aware modeling as a practical and scalable route to high-fidelity motion generation.

Generating expressive audio performances from music scores requires models to capture both instrument acoustics and human interpretation. Traditional music performance synthesis pipelines follow a two-stage approach, first generating expressive performance MIDI from a score, then synthesising the MIDI into audio. However, the synthesis models often struggle to generalise across diverse MIDI sources, musical styles, and recording environments. To address these challenges, we propose MIDI-VALLE, a neural codec language model adapted from the VALLE framework, which was originally designed for zero-shot personalised text-to-speech (TTS) synthesis. For performance MIDI-to-audio synthesis, we improve the architecture to condition on a reference audio performance and its corresponding MIDI. Unlike previous TTS-based systems that rely on piano rolls, MIDI-VALLE encodes both MIDI and audio as discrete tokens, facilitating a more consistent and robust modelling of piano performances. Furthermore, the model's generalisation ability is enhanced by training on an extensive and diverse piano performance dataset. Evaluation results show that MIDI-VALLE significantly outperforms a state-of-the-art baseline, achieving over 75% lower Frechet Audio Distance on the ATEPP and Maestro datasets. In the listening test, MIDI-VALLE received 202 votes compared to 58 for the baseline, demonstrating improved synthesis quality and generalisation across diverse performance MIDI inputs.

Recently, active vision has reemerged as an important concept for manipulation, since visual occlusion occurs more frequently when main cameras are mounted on the robot heads. We reflect on the visual occlusion issue and identify its essence as the absence of information useful for task completion. Inspired by this, we come up with the more fundamental problem of Exploratory and Focused Manipulation (EFM). The proposed problem is about actively collecting information to complete challenging manipulation tasks that require exploration or focus. As an initial attempt to address this problem, we establish the EFM-10 benchmark that consists of 4 categories of tasks that align with our definition (10 tasks in total). We further come up with a Bimanual Active Perception (BAP) strategy, which leverages one arm to provide active vision and another arm to provide force sensing while manipulating. Based on this idea, we collect a dataset named BAPData for the tasks in EFM-10. With the dataset, we successfully verify the effectiveness of the BAP strategy in an imitation learning manner. We hope that the EFM-10 benchmark along with the BAP strategy can become a cornerstone that facilitates future research towards this direction. Project website: EFManipulation.github.io.

Grasping is a fundamental capability for robots to interact with the physical world. Humans, equipped with two hands, autonomously select appropriate grasp strategies based on the shape, size, and weight of objects, enabling robust grasping and subsequent manipulation. In contrast, current robotic grasping remains limited, particularly in multi-strategy settings. Although substantial efforts have targeted parallel-gripper and single-hand grasping, dexterous grasping for bimanual robots remains underexplored, with data being a primary bottleneck. Achieving physically plausible and geometrically conforming grasps that can withstand external wrenches poses significant challenges. To address these issues, we introduce UltraDexGrasp, a framework for universal dexterous grasping with bimanual robots. The proposed data-generation pipeline integrates optimization-based grasp synthesis with planning-based demonstration generation, yielding high-quality and diverse trajectories across multiple grasp strategies. With this framework, we curate UltraDexGrasp-20M, a large-scale, multi-strategy grasp dataset comprising 20 million frames across 1,000 objects. Based on UltraDexGrasp-20M, we further develop a simple yet effective grasp policy that takes point clouds as input, aggregates scene features via unidirectional attention, and predicts control commands. Trained exclusively on synthetic data, the policy achieves robust zero-shot sim-to-real transfer and consistently succeeds on novel objects with varied shapes, sizes, and weights, attaining an average success rate of 81.2% in real-world universal dexterous grasping. To facilitate future research on grasping with bimanual robots, we open-source the data generation pipeline at https://github.com/InternRobotics/UltraDexGrasp.

Synthesizing whole-body manipulation of articulated objects, including body motion, hand motion, and object motion, is a critical yet challenging task with broad applications in virtual humans and robotics. The core challenges are twofold. First, achieving realistic whole-body motion requires tight coordination between the hands and the rest of the body, as their movements are interdependent during manipulation. Second, articulated object manipulation typically involves high degrees of freedom and demands higher precision, often requiring the fingers to be placed at specific regions to actuate movable parts. To address these challenges, we propose a novel coordinated diffusion noise optimization framework. Specifically, we perform noise-space optimization over three specialized diffusion models for the body, left hand, and right hand, each trained on its own motion dataset to improve generalization. Coordination naturally emerges through gradient flow along the human kinematic chain, allowing the global body posture to adapt in response to hand motion objectives with high fidelity. To further enhance precision in hand-object interaction, we adopt a unified representation based on basis point sets (BPS), where end-effector positions are encoded as distances to the same BPS used for object geometry. This unified representation captures fine-grained spatial relationships between the hand and articulated object parts, and the resulting trajectories serve as targets to guide the optimization of diffusion noise, producing highly accurate interaction motion. We conduct extensive experiments demonstrating that our method outperforms existing approaches in motion quality and physical plausibility, and enables various capabilities such as object pose control, simultaneous walking and manipulation, and whole-body generation from hand-only data.

The multimodal nature of music performance has driven increasing interest in data beyond the audio domain within the music information retrieval (MIR) community. This paper introduces PianoVAM, a comprehensive piano performance dataset that includes videos, audio, MIDI, hand landmarks, fingering labels, and rich metadata. The dataset was recorded using a Disklavier piano, capturing audio and MIDI from amateur pianists during their daily practice sessions, alongside synchronized top-view videos in realistic and varied performance conditions. Hand landmarks and fingering labels were extracted using a pretrained hand pose estimation model and a semi-automated fingering annotation algorithm. We discuss the challenges encountered during data collection and the alignment process across different modalities. Additionally, we describe our fingering annotation method based on hand landmarks extracted from videos. Finally, we present benchmarking results for both audio-only and audio-visual piano transcription using the PianoVAM dataset and discuss additional potential applications.

Modern artistic productions increasingly demand automated choreography generation that adapts to diverse musical styles and individual dancer characteristics. Existing approaches often fail to produce high-quality dance videos that harmonize with both musical rhythm and user-defined choreography styles, limiting their applicability in real-world creative contexts. To address this gap, we introduce ChoreoMuse, a diffusion-based framework that uses SMPL format parameters and their variation version as intermediaries between music and video generation, thereby overcoming the usual constraints imposed by video resolution. Critically, ChoreoMuse supports style-controllable, high-fidelity dance video generation across diverse musical genres and individual dancer characteristics, including the flexibility to handle any reference individual at any resolution. Our method employs a novel music encoder MotionTune to capture motion cues from audio, ensuring that the generated choreography closely follows the beat and expressive qualities of the input music. To quantitatively evaluate how well the generated dances match both musical and choreographic styles, we introduce two new metrics that measure alignment with the intended stylistic cues. Extensive experiments confirm that ChoreoMuse achieves state-of-the-art performance across multiple dimensions, including video quality, beat alignment, dance diversity, and style adherence, demonstrating its potential as a robust solution for a wide range of creative applications. Video results can be found on our project page: https://choreomuse.github.io.

Text-driven controllable dance generation remains under-explored, primarily due to the severe scarcity of high-quality datasets and the inherent difficulty of articulating complex choreographies. Characterizing dance is particularly challenging owing to its intricate spatial dynamics, strong directionality, and the highly decoupled movements of distinct body parts. To overcome these bottlenecks, we bridge principles from dance studies, human anatomy, and biomechanics to propose Choreographic Syntax, a novel theoretical framework with a tailored annotation system. Grounded in this syntax, we combine professional dance archives with high-fidelity motion capture data to construct DanceFlow, the most fine-grained dance dataset to date. It encompasses 41 hours of high-quality motions paired with 6.34 million words of detailed descriptions. At the model level, we introduce DanceCrafter, a tailored motion transformer built upon the Momentum Human Rig. To circumvent optimization instabilities, we construct a continuous manifold motion representation paired with a hybrid normalization strategy. Furthermore, we design an anatomy-aware loss to explicitly regulate the decoupled nature of body parts. Together, these adaptations empower DanceCrafter to achieve the high-fidelity and stable generation of complex dance sequences. Extensive evaluations and user studies demonstrate our state-of-the-art performance in motion quality, fine-grained controllability, and generation naturalness.

In this work, we introduce PianoMime, a framework for training a piano-playing agent using internet demonstrations. The internet is a promising source of large-scale demonstrations for training our robot agents. In particular, for the case of piano-playing, Youtube is full of videos of professional pianists playing a wide myriad of songs. In our work, we leverage these demonstrations to learn a generalist piano-playing agent capable of playing any arbitrary song. Our framework is divided into three parts: a data preparation phase to extract the informative features from the Youtube videos, a policy learning phase to train song-specific expert policies from the demonstrations and a policy distillation phase to distil the policies into a single generalist agent. We explore different policy designs to represent the agent and evaluate the influence of the amount of training data on the generalization capability of the agent to novel songs not available in the dataset. We show that we are able to learn a policy with up to 56\% F1 score on unseen songs.

Despite transformative advances in generative motion synthesis, real-time interactive motion control remains dominated by traditional techniques. In this work, we identify two key challenges in bridging research and production: 1) Real-time scalability: Industry applications demand real-time generation of a vast repertoire of motion skills, while generative methods exhibit significant degradation in quality and scalability under real-time computation constraints, and 2) Integration: Industry applications demand fine-grained multi-modal control involving velocity commands, style selection, and precise keyframes, a need largely unmet by existing text- or tag-driven models. To overcome these limitations, we introduce MotionBricks: a large-scale, real-time generative framework with a two-fold solution. First, we propose a large-scale modular latent generative backbone tailored for robust real-time motion generation, effectively modeling a dataset of over 350,000 motion clips with a single model. Second, we introduce smart primitives that provide a unified, robust, and intuitive interface for authoring both navigation and object interaction. Applications can be designed in a plug-and-play manner like assembling bricks without expert animation knowledge. Quantitatively, we show that MotionBricks produces state-of-the-art motion quality on open-source and proprietary datasets of various scales, while also achieving a real-time throughput of 15,000 FPS with 2ms latency. We demonstrate the flexibility and robustness of MotionBricks in a complete production-level animation demo, covering navigation and object-scene interaction across various styles with a unified model. To showcase our framework's application beyond animation, we deploy MotionBricks on the Unitree G1 humanoid robot to demonstrate its flexibility and generalization for real-time robotic control.

Generating coherent and diverse human dances from music signals has gained tremendous progress in animating virtual avatars. While existing methods support direct dance synthesis, they fail to recognize that enabling users to edit dance movements is far more practical in real-world choreography scenarios. Moreover, the lack of high-quality dance datasets incorporating iterative editing also limits addressing this challenge. To achieve this goal, we first construct DanceRemix, a large-scale multi-turn editable dance dataset comprising the prompt featuring over 25.3M dance frames and 84.5K pairs. In addition, we propose a novel framework for iterative and editable dance generation coherently aligned with given music signals, namely DanceEditor. Considering the dance motion should be both musical rhythmic and enable iterative editing by user descriptions, our framework is built upon a prediction-then-editing paradigm unifying multi-modal conditions. At the initial prediction stage, our framework improves the authority of generated results by directly modeling dance movements from tailored, aligned music. Moreover, at the subsequent iterative editing stages, we incorporate text descriptions as conditioning information to draw the editable results through a specifically designed Cross-modality Editing Module (CEM). Specifically, CEM adaptively integrates the initial prediction with music and text prompts as temporal motion cues to guide the synthesized sequences. Thereby, the results display music harmonics while preserving fine-grained semantic alignment with text descriptions. Extensive experiments demonstrate that our method outperforms the state-of-the-art models on our newly collected DanceRemix dataset. Code is available at https://lzvsdy.github.io/DanceEditor/.

The field has made significant progress in synthesizing realistic human motion driven by various modalities. Yet, the need for different methods to animate various body parts according to different control signals limits the scalability of these techniques in practical scenarios. In this paper, we introduce a cohesive and scalable approach that consolidates multimodal (text, music, speech) and multi-part (hand, torso) human motion generation. Our methodology unfolds in several steps: We begin by quantizing the motions of diverse body parts into separate codebooks tailored to their respective domains. Next, we harness the robust capabilities of pre-trained models to transcode multimodal signals into a shared latent space. We then translate these signals into discrete motion tokens by iteratively predicting subsequent tokens to form a complete sequence. Finally, we reconstruct the continuous actual motion from this tokenized sequence. Our method frames the multimodal motion generation challenge as a token prediction task, drawing from specialized codebooks based on the modality of the control signal. This approach is inherently scalable, allowing for the easy integration of new modalities. Extensive experiments demonstrated the effectiveness of our design, emphasizing its potential for broad application.

We present OAKINK2, a dataset of bimanual object manipulation tasks for complex daily activities. In pursuit of constructing the complex tasks into a structured representation, OAKINK2 introduces three level of abstraction to organize the manipulation tasks: Affordance, Primitive Task, and Complex Task. OAKINK2 features on an object-centric perspective for decoding the complex tasks, treating them as a sequence of object affordance fulfillment. The first level, Affordance, outlines the functionalities that objects in the scene can afford, the second level, Primitive Task, describes the minimal interaction units that humans interact with the object to achieve its affordance, and the third level, Complex Task, illustrates how Primitive Tasks are composed and interdependent. OAKINK2 dataset provides multi-view image streams and precise pose annotations for the human body, hands and various interacting objects. This extensive collection supports applications such as interaction reconstruction and motion synthesis. Based on the 3-level abstraction of OAKINK2, we explore a task-oriented framework for Complex Task Completion (CTC). CTC aims to generate a sequence of bimanual manipulation to achieve task objectives. Within the CTC framework, we employ Large Language Models (LLMs) to decompose the complex task objectives into sequences of Primitive Tasks and have developed a Motion Fulfillment Model that generates bimanual hand motion for each Primitive Task. OAKINK2 datasets and models are available at https://oakink.net/v2.

This work introduces MotionLCM, extending controllable motion generation to a real-time level. Existing methods for spatial control in text-conditioned motion generation suffer from significant runtime inefficiency. To address this issue, we first propose the motion latent consistency model (MotionLCM) for motion generation, building upon the latent diffusion model (MLD). By employing one-step (or few-step) inference, we further improve the runtime efficiency of the motion latent diffusion model for motion generation. To ensure effective controllability, we incorporate a motion ControlNet within the latent space of MotionLCM and enable explicit control signals (e.g., pelvis trajectory) in the vanilla motion space to control the generation process directly, similar to controlling other latent-free diffusion models for motion generation. By employing these techniques, our approach can generate human motions with text and control signals in real-time. Experimental results demonstrate the remarkable generation and controlling capabilities of MotionLCM while maintaining real-time runtime efficiency.

Reconstructing 3Ds of hand-object interaction (HOI) is a fundamental problem that can find numerous applications. Despite recent advances, there is no comprehensive pipeline yet for bimanual class-agnostic interaction reconstruction from a monocular RGB video, where two hands and an unknown object are interacting with each other. Previous works tackled the limited hand-object interaction case, where object templates are pre-known or only one hand is involved in the interaction. The bimanual interaction reconstruction exhibits severe occlusions introduced by complex interactions between two hands and an object. To solve this, we first introduce BIGS (Bimanual Interaction 3D Gaussian Splatting), a method that reconstructs 3D Gaussians of hands and an unknown object from a monocular video. To robustly obtain object Gaussians avoiding severe occlusions, we leverage prior knowledge of pre-trained diffusion model with score distillation sampling (SDS) loss, to reconstruct unseen object parts. For hand Gaussians, we exploit the 3D priors of hand model (i.e., MANO) and share a single Gaussian for two hands to effectively accumulate hand 3D information, given limited views. To further consider the 3D alignment between hands and objects, we include the interacting-subjects optimization step during Gaussian optimization. Our method achieves the state-of-the-art accuracy on two challenging datasets, in terms of 3D hand pose estimation (MPJPE), 3D object reconstruction (CDh, CDo, F10), and rendering quality (PSNR, SSIM, LPIPS), respectively.

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

A great number of deep learning based models have been recently proposed for automatic music composition. Among these models, the Transformer stands out as a prominent approach for generating expressive classical piano performance with a coherent structure of up to one minute. The model is powerful in that it learns abstractions of data on its own, without much human-imposed domain knowledge or constraints. In contrast with this general approach, this paper shows that Transformers can do even better for music modeling, when we improve the way a musical score is converted into the data fed to a Transformer model. In particular, we seek to impose a metrical structure in the input data, so that Transformers can be more easily aware of the beat-bar-phrase hierarchical structure in music. The new data representation maintains the flexibility of local tempo changes, and provides hurdles to control the rhythmic and harmonic structure of music. With this approach, we build a Pop Music Transformer that composes Pop piano music with better rhythmic structure than existing Transformer models.

Recent advancements in human motion synthesis have focused on specific types of motions, such as human-scene interaction, locomotion or human-human interaction, however, there is a lack of a unified system capable of generating a diverse combination of motion types. In response, we introduce Sitcom-Crafter, a comprehensive and extendable system for human motion generation in 3D space, which can be guided by extensive plot contexts to enhance workflow efficiency for anime and game designers. The system is comprised of eight modules, three of which are dedicated to motion generation, while the remaining five are augmentation modules that ensure consistent fusion of motion sequences and system functionality. Central to the generation modules is our novel 3D scene-aware human-human interaction module, which addresses collision issues by synthesizing implicit 3D Signed Distance Function (SDF) points around motion spaces, thereby minimizing human-scene collisions without additional data collection costs. Complementing this, our locomotion and human-scene interaction modules leverage existing methods to enrich the system's motion generation capabilities. Augmentation modules encompass plot comprehension for command generation, motion synchronization for seamless integration of different motion types, hand pose retrieval to enhance motion realism, motion collision revision to prevent human collisions, and 3D retargeting to ensure visual fidelity. Experimental evaluations validate the system's ability to generate high-quality, diverse, and physically realistic motions, underscoring its potential for advancing creative workflows. Project page: https://windvchen.github.io/Sitcom-Crafter.

Recent models for video generation have achieved remarkable progress and are now deployed in film, social media production, and advertising. Beyond their creative potential, such models also hold promise as world simulators for robotics and embodied decision making. Despite strong advances, however, current approaches still struggle to generate physically plausible object interactions and lack physics-grounded control mechanisms. To address this limitation, we introduce KineMask, an approach for physics-guided video generation that enables realistic rigid body control, interactions, and effects. Given a single image and a specified object velocity, our method generates videos with inferred motions and future object interactions. We propose a two-stage training strategy that gradually removes future motion supervision via object masks. Using this strategy we train video diffusion models (VDMs) on synthetic scenes of simple interactions and demonstrate significant improvements of object interactions in real scenes. Furthermore, KineMask integrates low-level motion control with high-level textual conditioning via predictive scene descriptions, leading to effective support for synthesis of complex dynamical phenomena. Extensive experiments show that KineMask achieves strong improvements over recent models of comparable size. Ablation studies further highlight the complementary roles of low- and high-level conditioning in VDMs. Our code, model, and data will be made publicly available.

We introduce the Multi-Motion Discrete Diffusion Models (M2D2M), a novel approach for human motion generation from textual descriptions of multiple actions, utilizing the strengths of discrete diffusion models. This approach adeptly addresses the challenge of generating multi-motion sequences, ensuring seamless transitions of motions and coherence across a series of actions. The strength of M2D2M lies in its dynamic transition probability within the discrete diffusion model, which adapts transition probabilities based on the proximity between motion tokens, encouraging mixing between different modes. Complemented by a two-phase sampling strategy that includes independent and joint denoising steps, M2D2M effectively generates long-term, smooth, and contextually coherent human motion sequences, utilizing a model trained for single-motion generation. Extensive experiments demonstrate that M2D2M surpasses current state-of-the-art benchmarks for motion generation from text descriptions, showcasing its efficacy in interpreting language semantics and generating dynamic, realistic motions.

We propose the Multi-Track Music Machine (MMM), a generative system based on the Transformer architecture that is capable of generating multi-track music. In contrast to previous work, which represents musical material as a single time-ordered sequence, where the musical events corresponding to different tracks are interleaved, we create a time-ordered sequence of musical events for each track and concatenate several tracks into a single sequence. This takes advantage of the Transformer's attention-mechanism, which can adeptly handle long-term dependencies. We explore how various representations can offer the user a high degree of control at generation time, providing an interactive demo that accommodates track-level and bar-level inpainting, and offers control over track instrumentation and note density.

Music-driven 3D dance generation has attracted increasing attention in recent years, with promising applications in choreography, virtual reality, and creative content creation. Previous research has generated promising realistic dance movement from audio signals. However, traditional methods underutilize genre conditioning, often treating it as auxiliary modifiers rather than core semantic drivers. This oversight compromises music-motion synchronization and disrupts dance genre continuity, particularly during complex rhythmic transitions, thereby leading to visually unsatisfactory effects. To address the challenge, we propose MEGADance, a novel architecture for music-driven 3D dance generation. By decoupling choreographic consistency into dance generality and genre specificity, MEGADance demonstrates significant dance quality and strong genre controllability. It consists of two stages: (1) High-Fidelity Dance Quantization Stage (HFDQ), which encodes dance motions into a latent representation by Finite Scalar Quantization (FSQ) and reconstructs them with kinematic-dynamic constraints, and (2) Genre-Aware Dance Generation Stage (GADG), which maps music into the latent representation by synergistic utilization of Mixture-of-Experts (MoE) mechanism with Mamba-Transformer hybrid backbone. Extensive experiments on the FineDance and AIST++ dataset demonstrate the state-of-the-art performance of MEGADance both qualitatively and quantitatively. Code will be released upon acceptance.

Existing work in automatic music generation has primarily focused on end-to-end systems that produce complete compositions or continuations. However, because musical composition is typically an iterative process, such systems make it difficult to engage in the back-and-forth between human and machine that is essential to computer-assisted creativity. In this study, we address the task of personalizable, multi-track, long-context, and controllable symbolic music infilling to enhance the process of computer-assisted composition. We present MIDI-RWKV, a novel model based on the RWKV-7 linear architecture, to enable efficient and coherent musical cocreation on edge devices. We also demonstrate that MIDI-RWKV admits an effective method of finetuning its initial state for personalization in the very-low-sample regime. We evaluate MIDI-RWKV and its state tuning on several quantitative and qualitative metrics, and release model weights and code at https://github.com/christianazinn/MIDI-RWKV.

Dance requires skillful composition of complex movements that follow rhythmic, tonal and timbral features of music. Formally, generating dance conditioned on a piece of music can be expressed as a problem of modelling a high-dimensional continuous motion signal, conditioned on an audio signal. In this work we make two contributions to tackle this problem. First, we present a novel probabilistic autoregressive architecture that models the distribution over future poses with a normalizing flow conditioned on previous poses as well as music context, using a multimodal transformer encoder. Second, we introduce the currently largest 3D dance-motion dataset, obtained with a variety of motion-capture technologies, and including both professional and casual dancers. Using this dataset, we compare our new model against two baselines, via objective metrics and a user study, and show that both the ability to model a probability distribution, as well as being able to attend over a large motion and music context are necessary to produce interesting, diverse, and realistic dance that matches the music.

Handheld devices have opened up unprecedented opportunities to collect large-scale, high-quality demonstrations efficiently. However, existing systems often lack robust tactile sensing or reliable pose tracking to handle complex interaction scenarios, especially for bimanual and contact-rich tasks. In this work, we propose ViTaMIn-B, a more capable and efficient handheld data collection system for such tasks. We first design DuoTact, a novel compliant visuo-tactile sensor built with a flexible frame to withstand large contact forces during manipulation while capturing high-resolution contact geometry. To enhance the cross-sensor generalizability, we propose reconstructing the sensor's global deformation as a 3D point cloud and using it as the policy input. We further develop a robust, unified 6-DoF bimanual pose acquisition process using Meta Quest controllers, which eliminates the trajectory drift issue in common SLAM-based methods. Comprehensive user studies confirm the efficiency and high usability of ViTaMIn-B among novice and expert operators. Furthermore, experiments on four bimanual manipulation tasks demonstrate its superior task performance relative to existing systems. Project page: https://chuanyune.github.io/ViTaMIn-B_page/

This research introduces the Bi-VLA (Vision-Language-Action) model, a novel system designed for bimanual robotic dexterous manipulations that seamlessly integrate vision, language understanding, and physical action. The system's functionality was evaluated through a set of household tasks, including the preparation of a desired salad upon human request. Bi-VLA demonstrates the ability to interpret complex human instructions, perceive and understand the visual context of ingredients, and execute precise bimanual actions to assemble the requested salad. Through a series of experiments, we evaluate the system's performance in terms of accuracy, efficiency, and adaptability to various salad recipes and human preferences. Our results indicate a high success rate of 100% in generating the correct executable code by the Language module from the user-requested tasks. The Vision Module achieved a success rate of 96.06% in detecting specific ingredients and an 83.4% success rate in detecting a list of multiple ingredients.

Text-to-motion generation holds potential for film, gaming, and robotics, yet current methods often prioritize short motion generation, making it challenging to produce long motion sequences effectively: (1) Current methods struggle to handle long motion sequences as a single input due to prohibitively high computational cost; (2) Breaking down the generation of long motion sequences into shorter segments can result in inconsistent transitions and requires interpolation or inpainting, which lacks entire sequence modeling. To solve these challenges, we propose InfiniMotion, a method that generates continuous motion sequences of arbitrary length within an autoregressive framework. We highlight its groundbreaking capability by generating a continuous 1-hour human motion with around 80,000 frames. Specifically, we introduce the Motion Memory Transformer with Bidirectional Mamba Memory, enhancing the transformer's memory to process long motion sequences effectively without overwhelming computational resources. Notably our method achieves over 30% improvement in FID and 6 times longer demonstration compared to previous state-of-the-art methods, showcasing significant advancements in long motion generation. See project webpage: https://steve-zeyu-zhang.github.io/InfiniMotion/

Hand-Object Interaction (HOI) generation plays a critical role in advancing applications across animation and robotics. Current video-based methods are predominantly single-view, which impedes comprehensive 3D geometry perception and often results in geometric distortions or unrealistic motion patterns. While 3D HOI approaches can generate dynamically plausible motions, their dependence on high-quality 3D data captured in controlled laboratory settings severely limits their generalization to real-world scenarios. To overcome these limitations, we introduce SyncMV4D, the first model that jointly generates synchronized multi-view HOI videos and 4D motions by unifying visual prior, motion dynamics, and multi-view geometry. Our framework features two core innovations: (1) a Multi-view Joint Diffusion (MJD) model that co-generates HOI videos and intermediate motions, and (2) a Diffusion Points Aligner (DPA) that refines the coarse intermediate motion into globally aligned 4D metric point tracks. To tightly couple 2D appearance with 4D dynamics, we establish a closed-loop, mutually enhancing cycle. During the diffusion denoising process, the generated video conditions the refinement of the 4D motion, while the aligned 4D point tracks are reprojected to guide next-step joint generation. Experimentally, our method demonstrates superior performance to state-of-the-art alternatives in visual realism, motion plausibility, and multi-view consistency.

We present X-Dancer, a novel zero-shot music-driven image animation pipeline that creates diverse and long-range lifelike human dance videos from a single static image. As its core, we introduce a unified transformer-diffusion framework, featuring an autoregressive transformer model that synthesize extended and music-synchronized token sequences for 2D body, head and hands poses, which then guide a diffusion model to produce coherent and realistic dance video frames. Unlike traditional methods that primarily generate human motion in 3D, X-Dancer addresses data limitations and enhances scalability by modeling a wide spectrum of 2D dance motions, capturing their nuanced alignment with musical beats through readily available monocular videos. To achieve this, we first build a spatially compositional token representation from 2D human pose labels associated with keypoint confidences, encoding both large articulated body movements (e.g., upper and lower body) and fine-grained motions (e.g., head and hands). We then design a music-to-motion transformer model that autoregressively generates music-aligned dance pose token sequences, incorporating global attention to both musical style and prior motion context. Finally we leverage a diffusion backbone to animate the reference image with these synthesized pose tokens through AdaIN, forming a fully differentiable end-to-end framework. Experimental results demonstrate that X-Dancer is able to produce both diverse and characterized dance videos, substantially outperforming state-of-the-art methods in term of diversity, expressiveness and realism. Code and model will be available for research purposes.

Human motion modeling is important for many modern graphics applications, which typically require professional skills. In order to remove the skill barriers for laymen, recent motion generation methods can directly generate human motions conditioned on natural languages. However, it remains challenging to achieve diverse and fine-grained motion generation with various text inputs. To address this problem, we propose MotionDiffuse, the first diffusion model-based text-driven motion generation framework, which demonstrates several desired properties over existing methods. 1) Probabilistic Mapping. Instead of a deterministic language-motion mapping, MotionDiffuse generates motions through a series of denoising steps in which variations are injected. 2) Realistic Synthesis. MotionDiffuse excels at modeling complicated data distribution and generating vivid motion sequences. 3) Multi-Level Manipulation. MotionDiffuse responds to fine-grained instructions on body parts, and arbitrary-length motion synthesis with time-varied text prompts. Our experiments show MotionDiffuse outperforms existing SoTA methods by convincing margins on text-driven motion generation and action-conditioned motion generation. A qualitative analysis further demonstrates MotionDiffuse's controllability for comprehensive motion generation. Homepage: https://mingyuan-zhang.github.io/projects/MotionDiffuse.html

Generating full-body and multi-genre dance sequences from given music is a challenging task, due to the limitations of existing datasets and the inherent complexity of the fine-grained hand motion and dance genres. To address these problems, we propose FineDance, which contains 14.6 hours of music-dance paired data, with fine-grained hand motions, fine-grained genres (22 dance genres), and accurate posture. To the best of our knowledge, FineDance is the largest music-dance paired dataset with the most dance genres. Additionally, to address monotonous and unnatural hand movements existing in previous methods, we propose a full-body dance generation network, which utilizes the diverse generation capabilities of the diffusion model to solve monotonous problems, and use expert nets to solve unreal problems. To further enhance the genre-matching and long-term stability of generated dances, we propose a Genre&Coherent aware Retrieval Module. Besides, we propose a novel metric named Genre Matching Score to evaluate the genre-matching degree between dance and music. Quantitative and qualitative experiments demonstrate the quality of FineDance, and the state-of-the-art performance of FineNet. The FineDance Dataset and more qualitative samples can be found at our website.

Human animation from a single reference image shall be flexible to synthesize whole-body motion for either a headshot or whole-body portrait, where the motions are readily controlled by audio signal and text prompts. This is hard for most existing methods as they only support producing pre-specified head or half-body motion aligned with audio inputs. In this paper, we propose a versatile human animation method, i.e., VersaAnimator, which generates whole-body talking human from arbitrary portrait images, not only driven by audio signal but also flexibly controlled by text prompts. Specifically, we design a text-controlled, audio-driven motion generator that produces whole-body motion representations in 3D synchronized with audio inputs while following textual motion descriptions. To promote natural smooth motion, we propose a code-pose translation module to link VAE codebooks with 2D DWposes extracted from template videos. Moreover, we introduce a multi-modal video diffusion that generates photorealistic human animation from a reference image according to both audio inputs and whole-body motion representations. Extensive experiments show that VersaAnimator outperforms existing methods in visual quality, identity preservation, and audio-lip synchronization.

Synthesizing realistic human-object interaction motions is a critical problem in VR/AR and human animation. Unlike the commonly studied scenarios involving a single human or hand interacting with one object, we address a more generic multi-body setting with arbitrary numbers of humans, hands, and objects. This complexity introduces significant challenges in synchronizing motions due to the high correlations and mutual influences among bodies. To address these challenges, we introduce SyncDiff, a novel method for multi-body interaction synthesis using a synchronized motion diffusion strategy. SyncDiff employs a single diffusion model to capture the joint distribution of multi-body motions. To enhance motion fidelity, we propose a frequency-domain motion decomposition scheme. Additionally, we introduce a new set of alignment scores to emphasize the synchronization of different body motions. SyncDiff jointly optimizes both data sample likelihood and alignment likelihood through an explicit synchronization strategy. Extensive experiments across four datasets with various multi-body configurations demonstrate the superiority of SyncDiff over existing state-of-the-art motion synthesis methods.

Although existing text-to-motion (T2M) methods can produce realistic human motion from text description, it is still difficult to align the generated motion with the desired postures since using text alone is insufficient for precisely describing diverse postures. To achieve more controllable generation, an intuitive way is to allow the user to input a few motion frames describing precise desired postures. Thus, we explore a new Text-Frame-to-Motion (TF2M) generation task that aims to generate motions from text and very few given frames. Intuitively, the closer a frame is to a given frame, the lower the uncertainty of this frame is when conditioned on this given frame. Hence, we propose a novel Progressive Motion Generation (PMG) method to progressively generate a motion from the frames with low uncertainty to those with high uncertainty in multiple stages. During each stage, new frames are generated by a Text-Frame Guided Generator conditioned on frame-aware semantics of the text, given frames, and frames generated in previous stages. Additionally, to alleviate the train-test gap caused by multi-stage accumulation of incorrectly generated frames during testing, we propose a Pseudo-frame Replacement Strategy for training. Experimental results show that our PMG outperforms existing T2M generation methods by a large margin with even one given frame, validating the effectiveness of our PMG. Code is available at https://github.com/qinghuannn/PMG.

Current digital human studies focusing on lip-syncing and body movement are no longer sufficient to meet the growing industrial demand, while human video generation techniques that support interacting with real-world environments (e.g., objects) have not been well investigated. Despite human hand synthesis already being an intricate problem, generating objects in contact with hands and their interactions presents an even more challenging task, especially when the objects exhibit obvious variations in size and shape. To tackle these issues, we present a novel video Reenactment framework focusing on Human-Object Interaction (HOI) via an adaptive Layout-instructed Diffusion model (Re-HOLD). Our key insight is to employ specialized layout representation for hands and objects, respectively. Such representations enable effective disentanglement of hand modeling and object adaptation to diverse motion sequences. To further improve the generation quality of HOI, we design an interactive textural enhancement module for both hands and objects by introducing two independent memory banks. We also propose a layout adjustment strategy for the cross-object reenactment scenario to adaptively adjust unreasonable layouts caused by diverse object sizes during inference. Comprehensive qualitative and quantitative evaluations demonstrate that our proposed framework significantly outperforms existing methods. Project page: https://fyycs.github.io/Re-HOLD.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

3D Human motion generation is pivotal across film, animation, gaming, and embodied intelligence. Traditional 3D motion synthesis relies on costly motion capture, while recent work shows that 2D videos provide rich, temporally coherent observations of human behavior. Existing approaches, however, either map high-level text descriptions to motion or rely solely on video conditioning, leaving a gap between generated dynamics and real-world motion statistics. We introduce MotionDuet, a multimodal framework that aligns motion generation with the distribution of video-derived representations. In this dual-conditioning paradigm, video cues extracted from a pretrained model (e.g., VideoMAE) ground low-level motion dynamics, while textual prompts provide semantic intent. To bridge the distribution gap across modalities, we propose Dual-stream Unified Encoding and Transformation (DUET) and a Distribution-Aware Structural Harmonization (DASH) loss. DUET fuses video-informed cues into the motion latent space via unified encoding and dynamic attention, while DASH aligns motion trajectories with both distributional and structural statistics of video features. An auto-guidance mechanism further balances textual and visual signals by leveraging a weakened copy of the model, enhancing controllability without sacrificing diversity. Extensive experiments demonstrate that MotionDuet generates realistic and controllable human motions, surpassing strong state-of-the-art baselines.

Our goal is to synthesize 3D human motions given textual inputs describing simultaneous actions, for example 'waving hand' while 'walking' at the same time. We refer to generating such simultaneous movements as performing 'spatial compositions'. In contrast to temporal compositions that seek to transition from one action to another, spatial compositing requires understanding which body parts are involved in which action, to be able to move them simultaneously. Motivated by the observation that the correspondence between actions and body parts is encoded in powerful language models, we extract this knowledge by prompting GPT-3 with text such as "what are the body parts involved in the action <action name>?", while also providing the parts list and few-shot examples. Given this action-part mapping, we combine body parts from two motions together and establish the first automated method to spatially compose two actions. However, training data with compositional actions is always limited by the combinatorics. Hence, we further create synthetic data with this approach, and use it to train a new state-of-the-art text-to-motion generation model, called SINC ("SImultaneous actioN Compositions for 3D human motions"). In our experiments, that training with such GPT-guided synthetic data improves spatial composition generation over baselines. Our code is publicly available at https://sinc.is.tue.mpg.de/.

Conditional human motion generation is an important topic with many applications in virtual reality, gaming, and robotics. While prior works have focused on generating motion guided by text, music, or scenes, these typically result in isolated motions confined to short durations. Instead, we address the generation of long, continuous sequences guided by a series of varying textual descriptions. In this context, we introduce FlowMDM, the first diffusion-based model that generates seamless Human Motion Compositions (HMC) without any postprocessing or redundant denoising steps. For this, we introduce the Blended Positional Encodings, a technique that leverages both absolute and relative positional encodings in the denoising chain. More specifically, global motion coherence is recovered at the absolute stage, whereas smooth and realistic transitions are built at the relative stage. As a result, we achieve state-of-the-art results in terms of accuracy, realism, and smoothness on the Babel and HumanML3D datasets. FlowMDM excels when trained with only a single description per motion sequence thanks to its Pose-Centric Cross-ATtention, which makes it robust against varying text descriptions at inference time. Finally, to address the limitations of existing HMC metrics, we propose two new metrics: the Peak Jerk and the Area Under the Jerk, to detect abrupt transitions.

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

High-quality human motion data is becoming increasingly important for applications in robotics, simulation, and entertainment. Recent generative models offer a potential data source, enabling human motion synthesis through intuitive inputs like text prompts or kinematic constraints on poses. However, the small scale of public mocap datasets has limited the motion quality, control accuracy, and generalization of these models. In this work, we introduce Kimodo, an expressive and controllable kinematic motion diffusion model trained on 700 hours of optical motion capture data. Our model generates high-quality motions while being easily controlled through text and a comprehensive suite of kinematic constraints including full-body keyframes, sparse joint positions/rotations, 2D waypoints, and dense 2D paths. This is enabled through a carefully designed motion representation and two-stage denoiser architecture that decomposes root and body prediction to minimize motion artifacts while allowing for flexible constraint conditioning. Experiments on the large-scale mocap dataset justify key design decisions and analyze how the scaling of dataset size and model size affect performance.

Multimodal music generation aims to produce music from diverse input modalities, including text, videos, and images. Existing methods use a common embedding space for multimodal fusion. Despite their effectiveness in other modalities, their application in multimodal music generation faces challenges of data scarcity, weak cross-modal alignment, and limited controllability. This paper addresses these issues by using explicit bridges of text and music for multimodal alignment. We introduce a novel method named Visuals Music Bridge (VMB). Specifically, a Multimodal Music Description Model converts visual inputs into detailed textual descriptions to provide the text bridge; a Dual-track Music Retrieval module that combines broad and targeted retrieval strategies to provide the music bridge and enable user control. Finally, we design an Explicitly Conditioned Music Generation framework to generate music based on the two bridges. We conduct experiments on video-to-music, image-to-music, text-to-music, and controllable music generation tasks, along with experiments on controllability. The results demonstrate that VMB significantly enhances music quality, modality, and customization alignment compared to previous methods. VMB sets a new standard for interpretable and expressive multimodal music generation with applications in various multimedia fields. Demos and code are available at https://github.com/wbs2788/VMB.

Generating lifelike human motions from descriptive texts has experienced remarkable research focus in the recent years, propelled by the emerging requirements of digital humans.Despite impressive advances, existing approaches are often constrained by limited control modalities, task specificity, and focus solely on body motion representations.In this paper, we present MotionGPT-2, a unified Large Motion-Language Model (LMLM) that addresses these limitations. MotionGPT-2 accommodates multiple motion-relevant tasks and supporting multimodal control conditions through pre-trained Large Language Models (LLMs). It quantizes multimodal inputs-such as text and single-frame poses-into discrete, LLM-interpretable tokens, seamlessly integrating them into the LLM's vocabulary. These tokens are then organized into unified prompts, guiding the LLM to generate motion outputs through a pretraining-then-finetuning paradigm. We also show that the proposed MotionGPT-2 is highly adaptable to the challenging 3D holistic motion generation task, enabled by the innovative motion discretization framework, Part-Aware VQVAE, which ensures fine-grained representations of body and hand movements. Extensive experiments and visualizations validate the effectiveness of our method, demonstrating the adaptability of MotionGPT-2 across motion generation, motion captioning, and generalized motion completion tasks.

This paper introduces text2midi, an end-to-end model to generate MIDI files from textual descriptions. Leveraging the growing popularity of multimodal generative approaches, text2midi capitalizes on the extensive availability of textual data and the success of large language models (LLMs). Our end-to-end system harnesses the power of LLMs to generate symbolic music in the form of MIDI files. Specifically, we utilize a pretrained LLM encoder to process captions, which then condition an autoregressive transformer decoder to produce MIDI sequences that accurately reflect the provided descriptions. This intuitive and user-friendly method significantly streamlines the music creation process by allowing users to generate music pieces using text prompts. We conduct comprehensive empirical evaluations, incorporating both automated and human studies, that show our model generates MIDI files of high quality that are indeed controllable by text captions that may include music theory terms such as chords, keys, and tempo. We release the code and music samples on our demo page (https://github.com/AMAAI-Lab/Text2midi) for users to interact with text2midi.

This work targets a novel text-driven whole-body motion generation task, which takes a given textual description as input and aims at generating high-quality, diverse, and coherent facial expressions, hand gestures, and body motions simultaneously. Previous works on text-driven motion generation tasks mainly have two limitations: they ignore the key role of fine-grained hand and face controlling in vivid whole-body motion generation, and lack a good alignment between text and motion. To address such limitations, we propose a Text-aligned whOle-body Motion generATiOn framework, named HumanTOMATO, which is the first attempt to our knowledge towards applicable holistic motion generation in this research area. To tackle this challenging task, our solution includes two key designs: (1) a Holistic Hierarchical VQ-VAE (aka H^2VQ) and a Hierarchical-GPT for fine-grained body and hand motion reconstruction and generation with two structured codebooks; and (2) a pre-trained text-motion-alignment model to help generated motion align with the input textual description explicitly. Comprehensive experiments verify that our model has significant advantages in both the quality of generated motions and their alignment with text.

We present a controllable neural audio synthesizer based on Gaussian Mixture Variational Autoencoders (GM-VAE), which can generate realistic piano performances in the audio domain that closely follows temporal conditions of two essential style features for piano performances: articulation and dynamics. We demonstrate how the model is able to apply fine-grained style morphing over the course of synthesizing the audio. This is based on conditions which are latent variables that can be sampled from the prior or inferred from other pieces. One of the envisioned use cases is to inspire creative and brand new interpretations for existing pieces of piano music.

General-purpose robots need a versatile body and an intelligent mind. Recent advancements in humanoid robots have shown great promise as a hardware platform for building generalist autonomy in the human world. A robot foundation model, trained on massive and diverse data sources, is essential for enabling the robots to reason about novel situations, robustly handle real-world variability, and rapidly learn new tasks. To this end, we introduce GR00T N1, an open foundation model for humanoid robots. GR00T N1 is a Vision-Language-Action (VLA) model with a dual-system architecture. The vision-language module (System 2) interprets the environment through vision and language instructions. The subsequent diffusion transformer module (System 1) generates fluid motor actions in real time. Both modules are tightly coupled and jointly trained end-to-end. We train GR00T N1 with a heterogeneous mixture of real-robot trajectories, human videos, and synthetically generated datasets. We show that our generalist robot model GR00T N1 outperforms the state-of-the-art imitation learning baselines on standard simulation benchmarks across multiple robot embodiments. Furthermore, we deploy our model on the Fourier GR-1 humanoid robot for language-conditioned bimanual manipulation tasks, achieving strong performance with high data efficiency.

The physical properties of an object, such as mass, significantly affect how we manipulate it with our hands. Surprisingly, this aspect has so far been neglected in prior work on 3D motion synthesis. To improve the naturalness of the synthesized 3D hand object motions, this work proposes MACS the first MAss Conditioned 3D hand and object motion Synthesis approach. Our approach is based on cascaded diffusion models and generates interactions that plausibly adjust based on the object mass and interaction type. MACS also accepts a manually drawn 3D object trajectory as input and synthesizes the natural 3D hand motions conditioned by the object mass. This flexibility enables MACS to be used for various downstream applications, such as generating synthetic training data for ML tasks, fast animation of hands for graphics workflows, and generating character interactions for computer games. We show experimentally that a small-scale dataset is sufficient for MACS to reasonably generalize across interpolated and extrapolated object masses unseen during the training. Furthermore, MACS shows moderate generalization to unseen objects, thanks to the mass-conditioned contact labels generated by our surface contact synthesis model ConNet. Our comprehensive user study confirms that the synthesized 3D hand-object interactions are highly plausible and realistic.

Recent years have witnessed significant progress in generative models for music, featuring diverse architectures that balance output quality, diversity, speed, and user control. This study explores a user-friendly graphical interface enabling the drawing of masked regions for inpainting by an Hourglass Diffusion Transformer (HDiT) model trained on MIDI piano roll images. To enhance note generation in specified areas, masked regions can be "repainted" with extra noise. The non-latent HDiTs linear scaling with pixel count allows efficient generation in pixel space, providing intuitive and interpretable controls such as masking throughout the network and removing the need to operate in compressed latent spaces such as those provided by pretrained autoencoders. We demonstrate that, in addition to inpainting of melodies, accompaniment, and continuations, the use of repainting can help increase note density yielding musical structures closely matching user specifications such as rising, falling, or diverging melody and/or accompaniment, even when these lie outside the typical training data distribution. We achieve performance on par with prior results while operating at longer context windows, with no autoencoder, and can enable complex geometries for inpainting masks, increasing the options for machine-assisted composers to control the generated music.

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.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

We propose a system for rendering a symbolic piano performance with flexible musical expression. It is necessary to actively control musical expression for creating a new music performance that conveys various emotions or nuances. However, previous approaches were limited to following the composer's guidelines of musical expression or dealing with only a part of the musical attributes. We aim to disentangle the entire musical expression and structural attribute of piano performance using a conditional VAE framework. It stochastically generates expressive parameters from latent representations and given note structures. In addition, we employ self-supervised approaches that force the latent variables to represent target attributes. Finally, we leverage a two-step encoder and decoder that learn hierarchical dependency to enhance the naturalness of the output. Experimental results show that our system can stably generate performance parameters relevant to the given musical scores, learn disentangled representations, and control musical attributes independently of each other.

Human-human motion generation is essential for understanding humans as social beings. Current methods fall into two main categories: single-person-based methods and separate modeling-based methods. To delve into this field, we abstract the overall generation process into a general framework MetaMotion, which consists of two phases: temporal modeling and interaction mixing. For temporal modeling, the single-person-based methods concatenate two people into a single one directly, while the separate modeling-based methods skip the modeling of interaction sequences. The inadequate modeling described above resulted in sub-optimal performance and redundant model parameters. In this paper, we introduce TIMotion (Temporal and Interactive Modeling), an efficient and effective framework for human-human motion generation. Specifically, we first propose Causal Interactive Injection to model two separate sequences as a causal sequence leveraging the temporal and causal properties. Then we present Role-Evolving Scanning to adjust to the change in the active and passive roles throughout the interaction. Finally, to generate smoother and more rational motion, we design Localized Pattern Amplification to capture short-term motion patterns. Extensive experiments on InterHuman and InterX demonstrate that our method achieves superior performance. Project page: https://aigc-explorer.github.io/TIMotion-page/

This paper presents a comprehensive documentation of RenCon 2025, the revival of the expressive performance rendering competition which took place at ISMIR 2025 in Daejeon, Korea. The competition attracted 9 entries from international research groups, representing diverse approaches to expressive piano performance rendering. The two-phase assessment structure comprised a preliminary online evaluation and live real-time rendering at the conference. We analyze the competition format, participant demographics, system performance, and lessons learned for future iterations. The results demonstrate significant advances in expressive rendering capabilities while highlighting remaining challenges in achieving human-level musical expression.

Controllable music generation promotes the interaction between humans and composition systems by projecting the users' intent on their desired music. The challenge of introducing controllability is an increasingly important issue in the symbolic music generation field. When building controllable generative popular multi-instrument music systems, two main challenges typically present themselves, namely weak controllability and poor music quality. To address these issues, we first propose spatiotemporal features as powerful and fine-grained controls to enhance the controllability of the generative model. In addition, an efficient music representation called REMI_Track is designed to convert multitrack music into multiple parallel music sequences and shorten the sequence length of each track with Byte Pair Encoding (BPE) techniques. Subsequently, we release BandControlNet, a conditional model based on parallel Transformers, to tackle the multiple music sequences and generate high-quality music samples that are conditioned to the given spatiotemporal control features. More concretely, the two specially designed modules of BandControlNet, namely structure-enhanced self-attention (SE-SA) and Cross-Track Transformer (CTT), are utilized to strengthen the resulting musical structure and inter-track harmony modeling respectively. Experimental results tested on two popular music datasets of different lengths demonstrate that the proposed BandControlNet outperforms other conditional music generation models on most objective metrics in terms of fidelity and inference speed and shows great robustness in generating long music samples. The subjective evaluations show BandControlNet trained on short datasets can generate music with comparable quality to state-of-the-art models, while outperforming them significantly using longer datasets.

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.