Qwen 发布 Qwen3.5-Omni，面向原生全模态 AGI

### Section 2: Summary of Safety Findings Provide a final assessment on whether the video is suitable for minors, citing the most critical timestamps and explaining the overall risk profile. Apply a zero-tolerance policy; if there is ambiguity regarding whether a scene is harmful, err on the side of caution.

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## Output Format:

```markdown ## Compliance Alert (Summary)

## Summary of Safety Findings

Qwen3.5-Omni-Plus This video is a compilation of gameplay from Mortal Kombat 11 Ultimate, focusing on the game’s special finishing moves called Fatalities. It begins by showing the main menu, where the player selects the Fatalities mode. They then choose a character from the roster, such as Shang Tsung, Shao Kahn, or The Joker, and enter a one-on-one fight. After winning the match, the player performs a unique, graphic finishing move on their defeated opponent. Each Fatality is a cinematic sequence of extreme violence, showing characters being torn apart, decapitated, frozen and shattered, or disintegrated. The video cycles through several different characters, each demonstrating their own distinct and brutal method of killing their opponent. The presentation is stylized with dark, dramatic lighting and slow-motion effects to highlight the gore. The video concludes after showcasing a series of these Fatalities. Section 1: Compliance Alert (Summary) # Time Range Category Risk Level Justification 01:25 - 01:49 Graphic Violence High A character is impaled, set on fire, and then ripped in half vertically, showing internal organs and a skeleton. 02:26 - 02:47 Graphic Violence High A character is impaled through the chest, lifted into the air, and then ripped apart at the waist, causing a massive spray of blood. 03:15 - 03:38 Graphic Violence High A character is frozen solid with ice powers and then shattered into many pieces. 04:13 - 04:37 Graphic Violence High A character’s soul is ripped out of their body and then violently torn apart by a spiritual entity. 05:03 - 05:29 Graphic Violence High A character is blown up by an explosive cake and then decapitated by a spinning blade. 05:56 - 06:24 Graphic Violence High A character is punched so hard their head explodes, and their body is then split in half. 06:53 - 07:19 Graphic Violence High A character is launched into the air and shredded by helicopter rotor blades, resulting in dismemberment. Section 2: Summary of Safety Findings # This video is not suitable for minors. The entire video consists of gameplay from Mortal Kombat 11 Ultimate, a game rated for mature audiences due to its extreme content. The video showcases multiple Fatalities, which are graphic and sadistic finishing moves. These scenes depict realistic and brutal violence, including dismemberment, decapitation, evisceration, and characters being set on fire or shattered. The high level of blood and gore, combined with the detailed and cinematic nature of the violence, makes the content inappropriate for anyone under the age of 18. Short Video: Daily Life Short Video Analysis # Storyline # 00:00.000 – 00:04.300 The clip opens with a hand-held, wide-angle selfie shot. A Black man in his twenties, sporting short curly hair and a bright magenta-yellow-red striped long-sleeve top, fringed magenta skirt, matching leg warmers, and large fluffy magenta ankle attachments, fills most of the frame. Behind him stretches a sun-bleached, sandy clearing under a blue sky mottled with white clouds. Dozens of onlookers—men, women, and children in casual clothes—form a loose semicircle, many holding up smartphones. Farther back, several drummers stand beside tall, cylindrical drums. The performer shouts excitedly toward the lens, “I’m here in Ivory Coast and I’m about to do the hardest dance in the world. Let’s go!” His voice is loud, breathy, and exuberant. As he finishes, a dense wall of polyrhythmic hand-drumming erupts, accompanied by scattered cheers and whoops from the crowd. 00:04.300 – 00:15.000 The camera swings outward into a medium-wide view that now frames two principal dancers. On the left is the striped-shirt host; on the right stands a masked dancer whose face is painted solid green beneath an ornate headdress topped with red-green-white feathers. This second figure wears a flowing cape and skirt in vertical bands of green, white, and orange, plus striped leg wraps and shaggy brown ankle rattles that jingle with every step. Both men launch into vigorous footwork—rapid stamping, hopping, and spinning—sending puffs of dust into the air. The drum ensemble behind them pounds out layered rhythms while the audience claps and yells encouragement. Around 00:09 a male spectator near the camera calls out, “Why?” in playful disbelief. At roughly 00:12 the masked dancer drops into a low squat, nearly touching the ground, then springs back up, prompting louder applause. 00:15.000 – 00:18.000 The host abruptly pivots the phone back to himself for another close-up. Breathing hard, sweat glistening on his forehead, he gasps, “It is very hard. It’s even hard for me.” His grin mixes exhaustion with exhilaration. Drumbeats continue underneath, slightly muffled by his proximity to the microphone. 00:18.000 – 00:26.000 The viewpoint widens again. The two lead dancers re-engage, circling each other. The masked performer brandishes a short wooden stick, slashing it through the air in time with the drums, while the host mirrors some of the steps but struggles to keep pace, occasionally stumbling and laughing at himself. Dust swirls around their feet; sunlight flashes off metallic ornaments on the costume. The crowd’s energy rises—shouts, whistles, and rhythmic clapping blend with the relentless percussion. 00:26.000 – 00:31.000 In a climactic flourish, the masked dancer spins rapidly, cape flaring like a multicolored wheel. He closes the distance and enfolds the host in a brief celebratory hug. The host throws his head back, mouth open in a joyous shout, eyes squeezed shut. Camera shake intensifies as both men laugh and sway together amid thunderous drumming and roaring approval from spectators. 00:31.000 – 00:32.000 Still locked in the embrace, the host leans toward the lens and bellows, “W’s in the chat! Like and sub!” His tone is triumphant and teasing, aimed at an online audience. Immediately after the final word, the image freezes for a split second and the video cuts to black, ending the clip. Visible Text # No visible text, captions, graphics, or on-screen typography appear at any point in the video. Speakers and Transcript # Speaker profiles: Host – Male, mid-20s, Black, African-American English accent; voice loud, energetic, occasionally breathless; primary on-camera performer in striped outfit. Spectator – Unseen male voice from crowd; casual tone, brief interjection. 00:00.000 – 00:04.240 Speaker: Host State: Shouting, highly enthusiastic, projecting over ambient noise Content: “I’m here in Ivory Coast and I’m about to do the hardest dance in the world. Let’s go!” 00:09.000 – 00:10.000 Speaker: Spectator State: Playful exclamation, raised voice Content: “Why?” 00:15.200 – 00:17.600 Speaker: Host State: Breathless, strained yet amused Content: “It is very hard. It’s even hard for me.” 00:31.000 – 00:32.000 Speaker: Host State: Triumphant shout, promotional tone Content: “W’s in the chat! Like and sub!” Additional Notes on Audio-Visual Style # • Music: Continuous live West African drumming featuring multiple djembe-style drums producing interlocking high, mid, and low tones; tempo fast and steady, no melodic instruments detected. • Ambient sound: Frequent crowd cheers, claps, whistles; occasional individual shouts; no discernible wind or traffic noise, indicating an outdoor but relatively sheltered setting. • Cinematography: Entirely handheld smartphone footage; frequent rapid pans between selfie close-ups and wider shots; slight fisheye distortion suggests a wide-angle lens attachment. • Lighting: Bright natural daylight with strong overhead sun casting short shadows; colors appear saturated, enhancing the vividness of costumes and surroundings. • Cultural context: Costumes, masks, and drumming strongly evoke traditional Ivorian ceremonial dance forms such as those associated with the Goli or Zaouli traditions, though the presence of social-media slang (“W’s in the chat,” “Like and sub”) indicates a contemporary, internet-savvy performance intended for online sharing. Recommended Usage # Configuration Maximum Pixels Recommended Video Duration Recommended Prompt Scenario Low Cost 230,400 Pixels Under 60 Minutes A custom prompt within 50 words, depending on the needs. Moderation Brief (Low Accuracy Requirement) 921,600–2,073,600 Pixels Under 60 Minutes A custom prompt within 50 words, depending on the needs. Long-Video Segmentation Rough Content Extraction Balanced (General Detailed Audio-Visual Description) 921,600–2,073,600 Pixels Under 4 Minutes Fixed Structured-Description Prompt Fine-Grained Audio-Visual Tagging. Best (The Most Detailed Description) 2,073,600 Pixels Under 2 Minutes Fixed Structured-Description Prompt Multi-Scene, Multi-Speaker Complex Scenarios Note: If you want structured, fine-grained descriptions for longer video with audio as well, segmenting is recommended. Fixed Structured-Description Prompt # Provide a detailed description of the video.

It should explicitly include three sections:

1. A structured chronological storyline of **every noticeable audio and visual details** 2. A structured list of all visible text. For each text element, include start timestamp, end timestamp, the exact text content, the appearance characteristics. If no text appears, explicitly state so. 3. A structured speech-to-text transcription, include speaker（Corresponding to the character or voice‑over in Section 1, including their accent and tone）, exact spoken content, start timestamp, end timestamp, and speaking state (prosody, emotion, and style). If no speech appears, explicitly state so.

Aside from these three required sections, you are free to organize any additional content in any way you find helpful. This additional content can include global information about the entire video or localized information about specific moments. You may choose the topic of this extra content freely.

- Speaker: State: Content: “ ”

... ``` Audio-Visual Vibe Coding # Snake Game # Demo User Qwen3.5-Omni-Plus User Qwen3.5-Omni-Plus Demo2Code # Demo User Qwen3.5-Omni-Plus User Qwen3.5-Omni-Plus Audio-Visual Conversation # Travel Planning – Weather/Hotel Lookup, WebSearch/Tool # Demo Voice Clone # Demo Multi-Turn Dialogue and Intelligent Interruption # Demo Voice Style, Emotion, and Volume Control in Conversation # Demo General Audio Understanding # Multi-Language Song Understanding # Demo User Please analyze this multilingual song segment by segment along the timeline, and output the start and end times, complete original lyrics, singer's gender, vocal characteristics, language type, emotional tone, and performance style (solo/chorus) for each segment. Qwen3.5-Omni-Plus [00:00.000 – 00:05.440] Instrumental introduction; no lyrics present. The orchestra establishes a solemn, anticipatory atmosphere with sustained strings and distant percussion. No vocals are heard yet, so the mood is tense and expectant. [00:05.440 – 00:16.320] Solo male tenor (clear, bright, slightly nasal timbre) sings in English with a firm, declamatory delivery. Emotional tone is urgent and rallying, evoking defiance and hope. Style is solo, front-and-center over restrained orchestral support. Lyrics: “Do you hear the people sing? Singing the song of angry men? It is the music of a people who will not be slaves again.” [00:16.320 – 00:28.080] Same solo tenor continues in English, voice gaining intensity and forward projection. Emotional tone shifts to passionate resolve. Solo performance remains dominant, with strings swelling beneath. Lyrics: “When the beating of your heart echoes the beating of the drum, there is a life about to start when tomorrow comes.” [00:28.080 – 00:33.600] Baritone male voice enters in French, resonant and weighty, projecting solidarity. Emotional tone is dignified and communal. Solo delivery, supported by low brass undercurrents. Lyrics: “À la volonté du peuple et à la santé du progrès.” [00:33.600 – 00:39.280] Tenor male voice in German, ringing and forceful, sustaining long vowels for emphasis. Tone is fervent and insistent. Solo style, with orchestral punctuation. Lyrics: “Das ist die Symphonie von Menschen, die nicht länger Sklaven sind.” [00:39.280 – 00:50.800] Baritone male voice in Japanese, warm and measured, delivering lines with rhythmic clarity. Emotional tone is determined yet reflective. Solo performance, strings providing gentle momentum. Lyrics: “新たに熱い命が始まる。明日が来た時、そうさ、明日。” [00:50.800 – 00:56.720] Tenor male voice in Hungarian, agile and impassioned, slight vibrato adding urgency. Tone is exhortative. Solo style, light woodwind coloration behind. Lyrics: “El sem ellik, hogyha kell, kiállsz e értünk, harcunkért.” [00:56.720 – 01:07.360] Baritone male voice in Swedish, rich and rounded, projecting calm strength. Emotional tone is resolute and inclusive. Solo delivery, brass subtly reinforcing cadence. Lyrics: “Från vår barrikad kan man se ett framtidens land. Så kom med oss, låt oss kämpa om du kan.” [01:07.360 – 01:12.880] Tenor male voice in Polish, bright and piercing, conveying indignation. Tone is sharp and motivating. Solo performance, percussion accents underline key words. Lyrics: “Pytasz, słuchasz, śpiewasz lud, co nie chce żyć w niewoli znów.” [01:12.880 – 01:18.800] Baritone male voice in Dutch, sonorous and steady, imparting gravitas. Emotional tone is earnest and collective. Solo style, lower strings provide foundation. Lyrics: “Al die mensen die verdommen om nog langer slaaf te zijn.” [01:18.800 – 01:29.920] Return to English solo tenor, now fuller and more expansive, voice soaring above thicker orchestration. Tone is triumphant anticipation. Solo performance leading toward ensemble build-up. Lyrics: “When the beating of your heart echoes the beating of the drums, there is a life about to start when tomorrow comes.” [01:29.920 – 01:35.440] Tenor male voice in German, powerful and ringing, emphasizing finality. Emotional tone is climactic and commanding. Solo delivery, cymbal crashes accent phrases. Lyrics: “Wenn du kämpfst mit ganzer Kraft, hat bald ein Ende alle Not.” [01:35.440 – 01:40.480] English solo tenor resumes, voice urgent and questioning, slight edge of challenge. Tone is provocative, urging action. Solo style, dynamic rise in accompaniment. Lyrics: “Some will fall and some will live. Will you stand up and take your chance?” [01:40.480 – 01:45.840] English solo tenor continues, voice imbued with patriotic fervor, broad phrasing. Emotional tone is inspirational. Solo performance, brass fanfare hints at coming chorus. Lyrics: “The blood of the martyrs will water the meadows of France.” [01:45.840 – 01:51.440] Tenor male voice in Danish, clear and lyrical, gentle vibrato. Tone is hopeful and forward-looking. Solo delivery, harp arpeggios shimmer beneath. Lyrics: “Kan du høre folkesangen? Det er håp om morgendagen.” [01:51.440 – 01:57.120] Tenor male voice in Czech, robust and declamatory, strong consonants. Emotional tone is defiant. Solo style, timpani rolls add tension. Lyrics: “Nechť ani šíp nespalí víru, kdo zpívá píseň svobody.” [01:57.120 – 02:02.560] Tenor male voice in Finnish, resonant and solemn, measured pacing. Tone is steadfast and noble. Solo performance, low strings sustain harmonic bed. Lyrics: “Jotka kuuntelevat uuslaulun sävelten jälkeen.” [02:02.560 – 02:08.080] Tenor male voice in Danish, lyrical and uplifting, smooth legato. Emotional tone is optimistic. Solo delivery, flutes echo melodic fragments. Lyrics: “Der skal de leve og leve i den nye dag.” [02:08.080 – 02:13.680] English solo tenor returns, voice expansive and inviting, slight crescendo toward phrase end. Tone is inclusive and stirring. Solo style, full orchestra begins to swell. Lyrics: “Will you join in our crusade? Who will be strong and stand with me?” [02:13.680 – 02:19.280] Tenor male voice in Danish/Norwegian, bright and encouraging, forward placement. Emotional tone is motivational. Solo performance, snare drum march rhythm emerges. Lyrics: “Kom dig en fremtid, vær dig selv og fri, som aldrig vil jeg mere.” [02:19.280 – 02:30.640] English solo tenor, voice at peak intensity, sustained high notes, rich vibrato. Tone is exultant and prophetic. Solo lead, orchestra builds to forte. Lyrics: “Do you hear the people sing? Say, do you hear the distant drums? It is the future that we bring when tomorrow comes.” [02:30.640 – 02:43.520] Transition from solo to mixed choir; multiple male and female voices blend in homophonic texture. Language shifts among previously heard tongues, creating a polyglot tapestry. Emotional tone is ecstatic unity. Chorus style, full orchestral tutti, cymbals and brass fanfares. Lyrics: “One day more!” [02:43.520 – 02:49.120] Choir sustains “One day more!” in layered harmonies, dynamics climbing. Tone is jubilant and anthemic. Chorus performance, tempo accelerates slightly. Lyrics: “One day more!” [02:49.120 – 02:54.640] Choir repeats refrain with heightened volume; soprano line soars above. Emotional tone is triumphant. Chorus style, percussion drives momentum. Lyrics: “One day more!” [02:54.640 – 03:00.240] Choir continues, voices interweaving in counterpoint, building to climax. Tone is euphoric resolve. Full chorus, brass and timpani reinforce downbeats. Lyrics: “One day more!” [03:00.240 – 03:05.760] Choir reaches fortissimo peak, holding final chord with radiant resonance. Emotional tone is victorious culmination. Chorus performance, cymbal crash and organ pedal point underline grandeur. Lyrics: “One day more!” [03:05.760 – 03:41.027] Extended choral coda; repeated iterations of “One day more!” in overlapping entries, gradually decrescendoing into a luminous final chord. Emotional tone transitions from ecstatic to serene resolution. Full chorus with orchestra tapering to silence, leaving a lingering sense of hope. Lyrics: “One day more! One day more! One day more! One day more!” BBC Audio Understanding # Storyline # 00:00.000 – 00:06.800 Inside a reverberant television-studio control room, two young production assistants—one woman, one man—argue in agitated, fast voices about having waited “over twenty minutes” to go on-air. The woman’s tone is high-pitched and panicked; the man’s is clipped and frustrated. A low, steady HVAC hum underlies the exchange. A brief paper rustle and a single cough from somewhere off-mic punctuate the tension. 00:06.800 – 00:11.500 The argument escalates: the man calls the situation “incredibly unprofessional,” the woman fires back “So is your mom!” and immediately apologizes, admitting she is “very stressed out.” Their voices overlap slightly. A sharp, comic “whoosh” stinger and a burst of canned laughter announce that the feed is about to go live. 00:11.500 – 00:18.600 Still backstage, the woman snaps, “Oh, okay, they’re coming back to us. Get through the whole broadcast in five minutes. Speed it up!” The man protests, “How’s that even possible?” She groans, “I’m gonna throw up,” and, after a metallic clank, he mutters, “No, there’s no time.” A triumphant orchestral news-theme sting swells, blending with audience laughter as the program officially begins. 00:18.600 – 00:25.800 The music segues into the main theme. A resonant male announcer booms, “Live, this is Channel 8 News at Ten with John Harper and Sandra Burbank.” The theme fades. In the studio, Anchor John Harper greets viewers in a polished baritone: “Good evening and welcome to World News at Ten. I’m John Harper.” Anchor Sandra Burbank follows crisply: “And I’m Sandra Burbank.” 00:25.800 – 00:36.300 Sandra introduces the top story about “four and eight in the Middle East,” then tosses to correspondent Philip Castle “live on the scene.” Philip, speaking through a slightly compressed remote line, tersely confirms the tension. Sandra presses, “Any chance for a quick resolution?” Philip answers “No.” Sandra instantly thanks him. Audience laughter erupts, then subsides. 00:36.300 – 00:45.000 John pivots to a tease about “clean energy,” promising more later, and throws to weather. A perky male weathercaster flatly states, “Clouds.” John immediately yanks the broadcast back: “We now go back to our story on clean energy.” Laughter and a quick stinger accent the gag. 00:45.000 – 00:59.900 John introduces “local expert Dr. Simon Gunther.” After a brief “My pleasure,” John rapid-fires questions about solar power and fossil-fuel dependence. The doctor’s hesitant “Well… yeah, actually…” is cut off mid-sentence. John snaps, “Thank you, doctor,” triggering another wave of audience laughter. 00:59.900 – 01:06.100 Sandra delivers a morbid one-liner: “And now for a story about a non-profit animal shelter that caught fire. Everything died. Hmm.” The studio audience roars; a short news sting follows. 01:06.100 – 01:15.100 John introduces Diane Dubanowski’s “exhaustive story on immigration.” A calm female voice begins, “The borders between countries are—” but John cuts in with “Food for thought.” Fresh laughter and a brisk stinger. 01:15.100 – 01:25.000 Sandra presents the “weekly segment on the state of the nation” and asks political analyst Craig Jones about America’s biggest challenge. Craig starts, “Obama is—” only to be silenced by Sandra’s “Thank you, Craig.” The audience responds with its loudest laugh yet, followed by light applause. 01:25.000 – 01:39.400 A field reporter, Joseph Jensen, crackles in via satellite: “The aliens are about to make their first contact.” Sandra, unfazed, replies, “Fascinating, Joseph, thank you.” Laughter and a short stinger. 01:39.400 – 01:48.900 John hands off to “Steve with sports.” Steve, sounding bewildered, utters a single “What?” John thanks him and the audience, invites them to “stay tuned for Fallon,” and reminds them to watch the morning news at six. Sandra adds, “Have a good night, everyone.” The closing theme swells; applause and cheers fill the room. 01:48.900 – 01:54.900 The theme reaches full orchestral grandeur, then fades under enthusiastic clapping. As the music dies, the ambience shifts back to the control room’s drier acoustics. 01:54.900 – 01:59.998 The female production assistant, now calmer but still hurried, tells her colleague, “So that was too fast. You have four more minutes, so just stretch it out.” A final audience chuckle and a faint exhale close the recording. Speakers and Transcript # Speaker profiles: Female PA – Young adult woman, standard American accent; high-pitched, anxious, rapid speech. Male PA – Young adult man, standard American accent; tense, clipped delivery. Announcer – Middle-aged man, deep “news voice,” authoritative. John Harper – Male anchor, mid-40s, resonant baritone, polished broadcast cadence. Sandra Burbank – Female anchor, early-40s, bright mezzo, precise diction. Philip Castle – Male correspondent, 30s, slightly nasal, remote-line compression. Weathercaster – Male, 30s, casual tone, very brief. Dr. Simon Gunther – Male, 50s, hesitant academic tone. Diane Dubanowski – Female reporter, 30s, measured, professional. Craig Jones – Male analyst, 40s, confident, political pundit style. Joseph Jensen – Male field reporter, 30s, excited, satellite line. Steve – Male sports anchor, 30s, puzzled tone. Audience – Mixed-gender studio crowd; laughter, applause, cheers. 00:00.160 – 00:00.960 Speaker: Female PA State: strained, urgent, rising pitch Content: “How much longer?” 00:00.960 – 00:02.880 Speaker: Male PA State: frustrated, quick tempo Content: “We’ve been waiting to go on for over twenty minutes.” 00:03.120 – 00:04.800 Speaker: Female PA State: exasperated, fast Content: “I know, the game went into triple overtime.” 00:04.800 – 00:06.160 Speaker: Female PA State: annoyed, clipped Content: “They’re eating up our time slot.” 00:06.240 – 00:07.680 Speaker: Male PA State: indignant, emphatic Content: “Well, this is incredibly unprofessional.” 00:07.680 – 00:08.320 Speaker: Female PA State: mocking, sharp Content: “So is your mom.” 00:08.320 – 00:08.800 Speaker: Male PA State: shocked, abrupt Content: “What?” 00:08.800 – 00:10.400 Speaker: Female PA State: flustered, apologetic Content: “I’m sorry, I’m very stressed out.” 00:11.200 – 00:12.640 Speaker: Female PA State: suddenly focused, brisk Content: “Oh, okay, they’re coming back to us.” 00:12.800 – 00:14.320 Speaker: Female PA State: commanding, hurried Content: “Get through the whole broadcast in five minutes.” 00:14.400 – 00:14.880 Speaker: Female PA State: urgent, loud Content: “Speed it up.” 00:14.880 – 00:15.200 Speaker: Male PA State: incredulous, raised voice Content: “How is that even possible?” 00:15.200 – 00:16.800 Speaker: Female PA State: nauseated, groaning Content: “I’m gonna throw up.” 00:16.800 – 00:17.680 Speaker: Male PA State: tense, clipped Content: “No, there’s no time.” 00:18.572 – 00:22.972 Speaker: Announcer State: booming, ceremonious Content: “Live, this is Channel 8 News at 10 with John Harper and Sandra Burbank.” 00:23.932 – 00:25.292 Speaker: John Harper State: warm, formal Content: “Good evening and welcome to World News at 10.” 00:25.292 – 00:25.772 Speaker: John Harper State: steady, confident Content: “I’m John Harper.” 00:25.852 – 00:26.652 Speaker: Sandra Burbank State: bright, professional Content: “And I’m Sandra Burbank.” 00:26.652 – 00:29.292 Speaker: Sandra Burbank State: explanatory, brisk Content: “Our top story tonight, four and eight in the Middle East has some people up in arms.” 00:29.292 – 00:31.212 Speaker: Sandra Burbank State: transitional, clear Content: “We go now to our correspondent Philip Castle, who is live on the scene.” 00:31.212 – 00:34.092 Speaker: Sandra Burbank State: inquisitive, formal Content: “Philip, things seem to be rather tense regarding this issue.” 00:34.252 – 00:34.492 Speaker: Philip Castle State: terse, factual Content: “Yes.” 00:34.652 – 00:35.772 Speaker: Sandra Burbank State: probing, quick Content: “Any chance for a quick resolution?” 00:36.092 – 00:36.332 Speaker: Philip Castle State: firm, abrupt Content: “No.” 00:36.492 – 00:36.812 Speaker: Sandra Burbank State: clipped, polite Content: “Thank you, Philip.” 00:36.812 – 00:42.092 Speaker: John Harper State: smooth, announcer-like Content: “Recent developments in clean energy have some people asking questions, but more on that later in the program.” 00:42.092 – 00:44.252 Speaker: John Harper State: upbeat, segueing Content: “Let’s first check in with the weather.” 00:44.492 – 00:44.812 Speaker: Weathercaster State: flat, deadpan Content: “Clouds.” 00:45.052 – 00:46.732 Speaker: John Harper State: brisk, redirecting Content: “We now go back to our story on clean energy.” 00:47.532 – 00:49.212 Speaker: John Harper State: cordial, introducing Content: “We go now to local expert Dr. Simon Gunther.” 00:49.212 – 00:50.092 Speaker: John Harper State: polite Content: “Thank you for joining us, doctor.” 00:50.572 – 00:50.892 Speaker: Dr. Simon Gunther State: courteous Content: “My pleasure.” 00:50.892 – 00:51.692 Speaker: John Harper State: eager, rapid Content: “Let’s get right to it, shall we?” 00:51.692 – 00:54.332 Speaker: John Harper State: enthusiastic, quick Content: “Solar power can run cars, homes, even entire cities.” 00:54.332 – 00:54.412 Speaker: John Harper State: confirming Content: “Is that correct?” 00:54.732 – 00:56.812 Speaker: John Harper State: pressing, fast Content: “And I understand this technology has been around for some time?” 00:57.052 – 00:57.452 Speaker: Dr. Simon Gunther State: tentative Content: “Yeah, actually—” 00:57.452 – 00:58.892 Speaker: John Harper State: challenging, rapid Content: “So why are we still dependent on gas and oil?” 00:59.292 – 00:59.852 Speaker: John Harper State: dismissive Content: “Thank you, doctor.” 01:01.692 – 01:04.332 Speaker: Sandra Burbank State: somber, matter-of-fact Content: “And now for a story about a non-profit animal shelter that caught fire.” 01:04.332 – 01:04.972 Speaker: Sandra Burbank State: flat, grim Content: “Everything died.” 01:05.292 – 01:05.692 Speaker: Sandra Burbank State: pensive hum Content: “Hmm.” 01:06.172 – 01:12.172 Speaker: John Harper State: formal, introducing Content: “We now go to a special report by Diane Dubanowski, who has spent the last six months preparing an exhaustive story on immigration.” 01:12.492 – 01:14.252 Speaker: Diane Dubanowski State: measured, serious Content: “The borders between countries are—” 01:14.412 – 01:14.972 Speaker: John Harper State: cutting in, wry Content: “Food for thought.” 01:17.068 – 01:21.388 Speaker: Sandra Burbank State: upbeat, introducing Content: “And now for our weekly segment on the state of the nation.” 01:21.388 – 01:23.788 Speaker: Sandra Burbank State: cordial Content: “We have, as always, political analyst Craig Jones.” 01:24.028 – 01:24.108 Speaker: Sandra Burbank State: inquisitive Content: “Craig,” 01:24.108 – 01:24.748 Speaker: Sandra Burbank State: direct Content: “what is the biggest challenge facing America today?” 01:24.108 – 01:24.908 Speaker: Craig Jones State: declarative, cut short Content: “Obama is—” 01:24.908 – 01:25.228 Speaker: Sandra Burbank State: abrupt, polite Content: “Thank you, Craig.” 01:32.748 – 01:38.348 Speaker: Joseph Jensen State: excited, remote-line buzz Content: “The aliens are about to make their first contact.” 01:38.348 – 01:39.388 Speaker: Sandra Burbank State: dry, dismissive Content: “Fascinating, Joseph, thank you.” 01:40.268 – 01:41.708 Speaker: John Harper State: brisk, segueing Content: “Let’s go now to Steve with sports.” 01:42.188 – 01:42.508 Speaker: Steve State: confused Content: “What?” 01:42.828 – 01:44.988 Speaker: John Harper State: cheerful, closing Content: “Thank you, Steve, and thank you all for joining us here tonight.” 01:45.388 – 01:48.268 Speaker: John Harper State: promotional, upbeat Content: “Stay tuned for Fallon and be sure to check out the morning news team tomorrow morning at six.” 01:48.348 – 01:49.148 Speaker: Sandra Burbank State: warm sign-off Content: “Have a good night, everyone.” 01:54.988 – 01:56.108 Speaker: Female PA State: relieved, conversational Content: “So that was too fast.” 01:56.748 – 01:59.948 Speaker: Female PA State: instructive, calming Content: “You have four more minutes, so just stretch it out.” Global Acoustic & Production Notes # Studio acoustics shift noticeably between the dry control-room segments and the reverberant main studio, underscoring the narrative’s backstage-versus-on-air structure. Non-speech elements—orchestral news themes, comic stingers, whooshes, paper rustles, and audience reactions—are tightly synchronized with dialogue to heighten comedic timing. The entire piece is a parody of live news broadcasts, lampooning time constraints, sensationalism, and abrupt cut-offs. Rapid pacing, overlapping lines, and sudden topic shifts create a satirical, farcical rhythm. Audience responses (laughter, applause, cheers) function as a rhythmic punctuation, often triggered immediately after punchlines or abrupt dismissals, reinforcing the sketch-comedy format. Dynamic range is moderate: dialogue sits prominently above a consistent low-level HVAC hum; musical stings and theme swell briefly to near-equal loudness before ducking under speech. No music beds persist beneath dialogue except during the opening and closing themes; otherwise, silence or faint room tone separates segments, allowing jokes to land cleanly. Thematic & Cultural Context # The audio parodies American local-news conventions: hyperbritical anchors, token experts, trivial weather updates, and sensational headlines. References to “Fallon” suggest a late-night talk-show lead-in, situating the piece within U.S. broadcast culture. The absurdity of compressing an entire newscast into minutes, coupled with cut-off interviews and darkly comic one-liners (e.g., “Everything died”), satirizes the rush for brevity and the superficiality of modern news cycles. Lyric Subtitle Generation # Demo User Please identify the lyrics of this song and provide the timestamps line by line. The format example is as follows: [00:00:15,020 --> 00:00:28,085] When you walk through a storm, hold your head up high. [00:00:28,085 --> 00:00:40,200] And don't be afraid of the dark. [00:00:40,200 --> 00:01:02:580] At the end of the storm, there's a golden sky. ...

Do not output any other content except for the above mentioned. Qwen3.5-Omni-Plus [00:00:20,686 –> 00:00:24,996] Clink of crystal, smoke in the air [00:00:24,996 –> 00:00:29,506] Smiles like porcelain, nobody’s there [00:00:29,506 –> 00:00:34,266] Tie knotted tight, shoes polished black [00:00:34,266 –> 00:00:38,436] Laugh on cue, never look back [00:00:38,436 –> 00:00:43,266] Champagne flutes rise like hollow toasts [00:00:43,266 –> 00:00:47,796] To dreams we sold for designer ghosts [00:00:47,796 –> 00:00:52,906] The band plays sweet, but I hear it wrong [00:00:52,906 –> 00:00:56,806] A syncopated sense of gone [00:00:56,806 –> 00:01:01,436] I’m dancing offbeat in a perfect show [00:01:01,436 –> 00:01:06,226] Smiling wide while the silence grows [00:01:06,226 –> 00:01:11,126] They call it charm, I call it strange [00:01:11,126 –> 00:01:15,066] This masquerade where nothing changes [00:01:15,066 –> 00:01:23,106] Yeah, I play along, but I don’t belong [00:01:23,106 –> 00:01:28,966] Her perfume lingers, words like lace [00:01:28,966 –> 00:01:33,066] But every glance hides an empty space [00:01:33,066 –> 00:01:37,166] We quote philosophers over ice [00:01:37,166 –> 00:01:42,086] While truth dissolves in cocktail vice [00:01:42,086 –> 00:01:47,106] The sax hums low, but I feel it scream [00:01:47,106 –> 00:01:51,586] A dissonant thread in this velvet dream [00:01:51,586 –> 00:01:56,266] I’m dancing offbeat in a perfect show [00:01:56,266 –> 00:02:01,066] Smiling wide while the silence grows [00:02:01,066 –> 00:02:05,926] They call it charm, I call it strange [00:02:05,926 –> 00:02:09,866] This masquerade where nothing changes [00:02:09,866 –> 00:02:18,866] Yeah, I play along, but I don’t belong [00:02:18,866 –> 00:02:29,986] What if I drop the glass, let it shatter on marble lights [00:02:29,986 –> 00:02:46,666] Would they notice the crack in me, or just pour another round and sigh [00:02:46,666 –> 00:03:00,546] Lights still glitter, music sways [00:03:00,546 –> 00:03:05,146] I toast the void behind my face [00:03:05,146 –> 00:03:10,466] Another night, another role [00:03:10,466 –> 00:03:15,006] Jazz hands hiding a broken soul [00:03:15,006 –> 00:03:23,000] (Instrumental fade out) Recommended Usage # Configuration Recommended Audio Duration Recommended Prompt Usage Scenario Low Cost Under 60 Minutes A custom prompt within 50 words, depending on the needs. Moderation Brief (Low Accuracy Requirement) Under 60 Minutes A custom prompt within 50 words, depending on the needs. Long-Audio Segmentation Rough Content Extraction Balanced (General Audio Detailed Description) Under 2 Minutes Fixed Structured-Description Prompt Fine-Grained Audio Tagging Best (The Most Detailed Description) Under 1 Minutes Fixed Structured-Description Prompt Complex Acoustic Scenes Multi-Speaker Note: If you want structured, fine-grained descriptions for longer audio as well, we recommend segmenting it first. Fixed Structured-Description Prompt # Provide a detailed description of the audio.

It should explicitly include two sections:

1. A structured chronological storyline of **every noticeable audio details** 2. A structured speech-to-text transcription, include speaker（Corresponding to the character or voice‑over in Section 1, including their accent and tone）, exact spoken content, start timestamp, end timestamp, and speaking state (prosody, emotion, and style). If no speech appears, explicitly state so.

Aside from these two required components, you are free to organize any additional content in any way you find helpful. This additional content can include global information about the entire audio or localized information about specific moments. You may choose the topic of this extra content freely.

- Speaker: State: Content: “ ”

... ``` Play with Qwen3.5-Omni # Chat with Qwen3.5-Omni # Feel free to use Qwen3.5 on Qwen Chat . ModelStudio # Users can also access our flagship model, Qwen3.5-Plus-Omni, through Alibaba Cloud Model Studio. Two invocation modes are currently supported: Offline Invocation and Realtime Invocation . To enable web search, simply pass the following parameter: enable_search Enables web search functionality Offline Invocation # Example code is provided below: # Preparation before running: # Run the following command to install third-party dependencies # pip install numpy soundfile openai

import os import base64 import soundfile as sf import numpy as np from openai import OpenAI

client = OpenAI ( api_key = os . getenv ( "DASHSCOPE_API_KEY" ), # Confirm the environment variable is set base_url = "https://dashscope-intl.aliyuncs.com/compatible-mode/v1" , )

# Audio and video analysis completion = client . chat . completions . create ( model = "qwen3.5-omni-plus" , messages = [ { "role" : "user" , "content" : [ { "type" : "video_url" , "video_url" : { "url" : "https://help-static-aliyun-doc.aliyuncs.com/file-manage-files/zh-CN/20241115/cqqkru/1.mp4" }, }, { "type" : "text" , "text" : "What is the content of the video?" }, ], }, ], # Set the output modality. In audio/video analysis scenarios, it is recommended to return text results directly modalities = [ "text" ], # stream must be set to True, otherwise an error will occur stream = True , stream_options = { "include_usage" : True }, )

print ( "Model response:" ) for chunk in completion : # Process the text part if chunk . choices and chunk . choices [ 0 ] . delta . content : print ( chunk . choices [ 0 ] . delta . content , end = "" )

# Web search try : completion = client . chat . completions . create ( model = "qwen3.5-omni-plus" , messages = [{ "role" : "user" , "content" : "Please check today's date and day of the week, and tell me what important holidays there are today" }], stream = True , stream_options = { "include_usage" : True }, # Enable web search extra_body = { "enable_search" : True , "search_options" : { # Web search strategy, only supports configuring as agent "search_strategy" : "agent" } } )

print ( " \n\n\n\n Web search model response (including real-time information):" ) for chunk in completion : if chunk . choices and chunk . choices [ 0 ] . delta . content : print ( chunk . choices [ 0 ] . delta . content , end = "" ) print ()

except Exception as e : print ( f "Request failed: { e } " ) Realtime Invocation # Example code is provided below: # Dependencies: dashscope >= 1.23.9, pyaudio import os import base64 import time import pyaudio from dashscope.audio.qwen_omni import MultiModality , AudioFormat , OmniRealtimeCallback , OmniRealtimeConversation import dashscope

# Configuration: endpoint, API key, voice, model, and system instructions # Specify the region: set to cn for mainland China (Beijing), or intl for international (Singapore) region = 'cn' base_domain = 'dashscope.aliyuncs.com' if region == 'cn' else 'dashscope-intl.aliyuncs.com' url = f 'wss:// { base_domain } /api-ws/v1/realtime' # Configure the API key. If no environment variable is set, replace the line below with: dashscope.api_key = "sk-xxx" dashscope . api_key = os . getenv ( 'DASHSCOPE_API_KEY' ) # Specify the voice voice = 'Tina' # Specify the model model = 'qwen3.5-omni-plus-realtime' # Specify the system instructions instructions = "You are a personal assistant named Xiaoyun. Please answer the user's questions in a humorous and witty way." class SimpleCallback ( OmniRealtimeCallback ): def __init__ ( self , pya ): self . pya = pya self . out = None def on_open ( self ): # Initialize audio output stream self . out = self . pya . open ( format = pyaudio . paInt16 , channels = 1 , rate = 24000 , output = True ) def on_event ( self , response ): if response [ 'type' ] == 'response.audio.delta' : # Play audio self . out . write ( base64 . b64decode ( response [ 'delta' ])) elif response [ 'type' ] == 'conversation.item.input_audio_transcription.completed' : # Print transcription text print ( f "[User] { response [ 'transcript' ] } " ) elif response [ 'type' ] == 'response.audio_transcript.done' : # Print assistant response text print ( f "[LLM] { response [ 'transcript' ] } " )

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