Zongyang (Zane) Qiu|邱宗扬

Unified multimodal generation covers discrete, continuous, and hybrid paradigms. Discrete approaches with single-codebook visual tokenizers align naturally with text modeling but have limited representational capacity. Continuous and hybrid approaches retain richer visual representations, but they model text and images in heterogeneous spaces with different training objectives, potentially introducing optimization conflicts between modalities with misaligned representation spaces. These choices expose a central question: how to efficiently model high-capacity visual representations alongside textual content in a shared optimization space within a single backbone. We present Intern Lumina U2, to our knowledge the first diffusion language model to represent multi-codebook visual tokens in a fully discrete space. Each visual position is represented by a group of codes from complementary codebooks, increasing its representational capacity while preserving compatibility with discrete text modeling. At the input, the embeddings are concatenated at each position; at the output, a lightweight multi-codebook autoregressive head predicts the codes within each position sequentially, while the diffusion backbone processes all positions in parallel. Built on the unified 4D representation of AToken, Intern Lumina U2 supports image, video, and 3D inputs within a single backbone and achieves leading performance among unified models in visual understanding, image generation, and image editing. We further build a full-stack training, inference, and evaluation system on both Ascend and NVIDIA platforms to verify the cross-platform effectiveness of our model. We also improve the inference efficiency through a stability-aware sampling strategy, which combines confidence-plateau-guided unmasking approach with drift-triggered cache refreshing mechanisms, accelerating image generation by 4.45×.

Unified multimodal models (UMMs) are motivated by the hope that understanding and generation reinforce each other but controlled ablations repeatedly find that adding a generation objective leaves understanding flat. Joint-training studies cannot settle the disagreement: with overlapping supervision, a gain cannot be attributed to the architecture rather than the data. To further investigate the relationship between the two directions in UMMs, we separate them by construction. A novel visual entity, a rendered 3D asset paired with a pseudo-word screened for absence from the frozen model’s behavior, is bound through exactly one task direction, and the untrained direction is then measured. We find that the channel is real in both directions, but the directions differ in kind: generation training installs a name the model can only match among candidates; understanding training installs one it can also produce. What governs cross-task usability is where the binding enters the shared computation. An alignment probe predicts export across 36 configurations (Spearman ρ = +0.68). That objective’s alignment term, maximized in closed form over activations with every weight frozen, makes a concept drawable when injected at layer 7 of 28 and is indistinguishable from the base model from layer 14 on, while the weight-based version of the same edit peaks at layers 10-14. In an observational series of four models, this window appears only where the understanding pathway is a semantic vision encoder, suggesting that unified weights are not enough: the two directions must share a semantic format at the entry point. Exploiting the rule, a mid-stack alignment objective acquires the concept for a 0.1% relative loss of the model’s general text-to-image ability, against 41% for the standard generative route.

Emotion plays a pivotal role in video-based expression, but existing video generation systems predominantly focus on low-level visual metrics while neglecting affective dimensions. Although emotion analysis has made progress in the visual domain, the video community lacks dedicated resources to bridge emotion understanding with generative tasks, particularly for stylized and non-realistic contexts. To address this gap, we introduce EmoVid, the first multimodal, emotion-annotated video dataset specifically designed for creative media, which includes cartoon animations, movie clips, and animated stickers. Each video is annotated with emotion labels, visual attributes (brightness, colorfulness, hue), and text captions. Through systematic analysis, we uncover spatial and temporal patterns linking visual features to emotional perceptions across diverse video forms. Building on these insights, we develop an emotion-conditioned video generation technique by fine-tuning the Wan2.1 model. The results show a significant improvement in both quantitative metrics and the visual quality of generated videos for text-to-video and image-to-video tasks. EmoVid establishes a new benchmark for affective video computing. Our work not only offers valuable insights into visual emotion analysis in artistically styled videos, but also provides practical methods for enhancing emotional expression in video generation.