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At the AI ​​Film Festival, humanity triumphed over technology

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In the third episode of “Creative Dialogues,” an interview series produced by the film division of the generative AI startup Runway, multimedia artist Claire Hentschker expresses her fear that AI will commodify the artistic process to the point where art becomes homogenized, regressing to its sort of derivative identity.

“Are you getting a narrower and narrower average of existing things?” she asks. “And then – as you average it – everything will just be a blur?”

These are the questions I asked myself Wednesday during a screening of the top 10 finalists of the second annual AI Runway Film Festival who available on request on the Runway website as of this morning.

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This 12 months, Runway had two premieres, one in Los Angeles and the other in New York. I attended a performance in New York that took place at the Metrograph, a theater known for its art theater and avant-garde performances.

“Pounamu” – the story of a young bird exploring the wider world.
Image credits: Samuel Schrag

I’m completely happy to report that AI shouldn’t be accelerating in the future… at the very least not yet. However, the director’s trained eye – the human touch – makes a transparent difference in the effectiveness of the “AI film”.

All movies submitted to the festival featured artificial intelligence in some form, including AI-generated backgrounds and animations, synthetic narratives, and bullet time-style computer graphics. None of the elements appeared to be at the level of what cutting-edge tools like OpenAI’s Sora could produce, but that was to be expected given that the majority submissions were finalized earlier in the 12 months.

Indeed, it was obvious – sometimes painfully so – which parts of the movies were the product of the artificial intelligence model, reasonably than the actor, cinematographer or animator. Even otherwise strong scripts were let down at times by unsatisfactory generative AI effects.

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Take, for instance, “Dear Mom” by Johans Saldana Guadalupe and Katie Luo, which, in her own words, tells the story of a daughter’s loving relationship along with her mother. It’s a tearjerker. But the Los Angeles freeway scene, with all the trademark weirdness of AI-generated movies (e.g. warped cars, weird physics), broke my spell.

At the film festival
A scene from the movie “Dear Mom”.
Image credits: Johans Saldana Guadalupe and Katie Luo

The limitations of recent artificial intelligence tools looked as if it would limit some movies.

As my colleague Devin Coldewey recently wrote, control through generative models – especially people who generate video – is elusive. Simple issues in traditional filmmaking, comparable to selecting the color of a personality’s clothing, require workarounds because each shot is created independently of the others. Sometimes even workarounds don’t help.

The resulting incoherence was on display at the festival, where several movies amounted to little greater than interconnected vignettes, connected by narrative and soundtrack. Carlo De Togni and Elena Sparacino’s “L’éveil à la création” showed how boring this formula could possibly be, with slideshow-like transitions that will make for a greater interactive storybook than a movie.

Léo Cannone “Where do grandmothers go when they get lost?” also falls into the vignette category – but it surely still triumphs because of its honest script (a baby describing what happens to their grandmothers after their deaths) and an exceptionally strong performance by its child star. The remainder of the audience looked as if it would agree; the film received one in all the more spirited ovations of the evening.

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At the film festival
Giant grannies imagined by artificial intelligence.
Image credits: Leo Cannone

For me, this sums up the festival in a nutshell. Human input, reasonably than artificial intelligence, often makes the difference. Emotionality in a baby actor’s voice? It’s related to you. Artificial intelligence generated backgrounds? Less.

That was actually true of the festival’s Grand Prix winner “Get Me Out,” which documents one Japanese man’s struggle to get well from the psychological effects of immigration to the U.S. on him as a baby. Filmmaker Daniel Antebi depicts a person’s panic attacks using artificial intelligence-generated graphics – graphics that ultimately proved less effective than photos. The film ends with a shot of a person walking up the bridge as the streetlights on the boardwalk flash one after the other. It’s haunting – and delightful – and definitely took ages to capture.

At the film festival
In “Get Me Out” a person struggles together with his emotions – literally.
Image credits: Daniel Antebi

It could be very possible that at some point generative artificial intelligence will have the ability to recreate such scenes. Perhaps cinematography will eventually get replaced by hints – a casualty of the ever-growing datasets (albeit with a troubling copyright status) on which startups like Runway and OpenAI train their video generation models.

But that day shouldn’t be today.

As the screening ended and the awardees marched to the front of the theater to take their photos, I could not help but notice the cameraman standing in the corner documenting the entire event. Perhaps, on the contrary, artificial intelligence won’t ever replace some things, comparable to the humanity that we humans deeply desire.

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This article was originally published on : techcrunch.com

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Redpoint collects USD 650 million 3 years after the last large fund at an early stage

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Redpoint Ventures, an organization based in San Francisco, which is a few quarter of a century, collected $ 650 million at an early stage, in keeping with A regulatory notification.

The latest RedPoint fund corresponds to the size of its previous fund, which was collected barely lower than three years ago. On the market where many enterprises reduce their capital allegations, this cohesion may indicate that limited partners are relatively satisfied with its results.

The company’s early stage strategy is managed by 4 managing partners: Alex Bard (pictured above), Satish Dharmraraj, Annie Kadavy and Eric Brescia, who joined the company in 2021 after he served as the operational director of Githuba for nearly three years.

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The last outstanding investments of the RedPoint team at an early stage include AI Coding Pool Pool, which was founded by the former partner Redpoint and CTO GitHub Jason Warner, distributed laboratories of SQL database programmers and Platform Management Platform Platform Levelpath.

A multi -stage company also conducts a development strategy led by Logan Barlett, Jacob Effron, Elliot Geidt and Scott Raney partners. Last 12 months, Redpoint raised its fifth growth fund at USD 740 million, which is a small increase in the USD 725 million fund closed three years earlier.

The recent RedPoint outputs include the next insurance, which was sold for $ 2.6 billion in March, Tastemada Startup Media Travel -utar -Media was enriched by Wonder for $ 90 million, and the takeover of Hashicorp $ 6.4 billion by IBM.

Redpoint didn’t answer the request for comment.

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(Tagstranslate) Early Stage Venture Capital (T) Basenside (T) Redpoint Venture Partners

This article was originally published on : techcrunch.com
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Tensor9 helps suppliers implement software in any environment using digital twins

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Enterprises must access latest software and artificial intelligence tools, but they’ll not risk sending their sensitive data to external software suppliers as a service (SAAS). Tensor9 He tries to help software firms to get more corporate customers, helping them implement the software directly in the client’s technological stack.

TENSOR9 transforms the software supplier code into the format needed to implement their client in the technological environment. Tensor9 then creates a digital twin of implemented software or a miniaturized infrastructure model of implemented software, so TENSOR9 customers can monitor how the software works in their customer environment. TENSOR9 will help firms to be placed in any premise, from the cloud to a bare server.

Michael Ten-POW, co-founder and general director of TENSOR9, told Techcrunch that the pliability to tendsor9 to send software to any assumption and using digital double technology in order to help in distant monitoring, helps to face out from other firms, comparable to Octopus implementation or non, which also help firms implement software in the client’s environment.

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“You can’t just throw the wall software, or it is very difficult to throw the wall software and know what is happening, be able to find problems, debrieve them, fix them,” said Ten-POW (in the photo above, on the left). “They see how it works, they can debate it, can log in and understand what problems are and fix them.”

He said that time is suitable for Tensor9 technology on account of the wind from the creation of AI. Companies and financial institutions wish to simply accept AI technology, but they’ll not risk sending their data to third parties.

“Enterprise search seller can succeed, say, JP Morgan and say:” Hey, I’d love access to your entire six data parabetts to construct an intelligent search layer in order that your internal employees can confer with the company’s given company, “it is not possible to work,” said this-POW.

Ten-Pow, a former engineer in AWS, said he had a “long, quite winding path” to run the tensor9. He came up with the company’s idea, working on one other potential concept that failed. He spent some time, wondering if he would discover an answer to make it easier for software suppliers to accumulate a SOC 2 certificate, a frame compliance frame to help them unlock customers who required their suppliers.

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Although it failed, he discovered from clients’ connections that what firms really wanted was software to act in their very own technological environment. But many programming firms, especially startups, shouldn’t have any resources to provide a specially to order for each company customer.

This sentiment became the premise of Tensor9, which Ten-POW began in 2024. Later this 12 months he brought two of his former colleagues, Matthew Michie and Matthew Shanker, as co-founders.

The company found early grip with AI. Since then, they began to expand to work in other industries, including: attempting to get your hands on enterprises, corporate databases and data management. The company currently cooperates with AI, including: 11x, REELL AI and DYNA AI.

TENSOR9 BootstrePPRE for the first 12 months, and recently raised a round of $ 4 million, led by Wing VC with the participation of UP Ventures levels, Devang Sachdev with the Ventures model, Nvangels, Angelic group of former employees of NVIDIA and other Investors of Angels. This POW said that the involvement of investors with this idea was not too difficult, for the rationale that VC they talked to see how their portfolio firms struggle with this exact problem. Tensor9 simply needed to steer investors that they were an appropriate team for work.

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“We have a simple model, but there are many complexities under the covers, which makes it happen, difficult technical challenges that we solved to make it happen,” said Ten-Pow. “I think it was one of the things that helped us convince investors to invest in us.”

The company plans to utilize funds for employment and construct one other generation of its technology in order that it could cooperate with clients in larger vertical number.

“There was evolution from (on the premise) to the cloud and we think that this idea of ​​the software lives where it must and works where it must, is the next step, which is a kind of synthesis of previous local and cloud ideas,” Ten-POW said.

(Tagstranslate) artificial intelligence

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Kai Cenat teases his University of Streamer, but some influentially warn of the defect in creating content

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Twitch Megastar Kai Cenat confirmed that his once historical “Streamer University” is officially starting, a number of months after the first raising of the concept during the live broadcast of 2025. While the idea already generates noise amongst aspiring creators who’re comfortable to equalize their content of content, some are concerned about the fee for the full -time lifestyle.

According to the price trailer announcing his Streamer University contained a sentence At Hogwarts, a university, which is the scenery of a preferred film and film franchise. In the film, Cenat writes letters to potential streamers, informing them about their selection to the university.

“I am excited that I can introduce you to the most sincere welcome at the first class of Streamer University,” said Cenat. “Here you will find a school where chaos is encouraged and the content is a king … I can’t wait to see you all in the campus for the first semester.”

The original Cenat idea consisted of renting a brick university and mortar to rearrange his classes, but details about these specific logistics, the same to location, dates or exchange materials have not yet been announced; But earlier, he raised the concept that other content creators, the same to Mrbeast or Mark Rober, helping to point free university classes.

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The Cenata website, which he created for potential content creators, says that “streamers of all environments” can learn “both unrealized, upcoming and recognized creators.”

However, Mrbeast, which didn’t confirm his commitment, recently warned about the drawback of creating content during the February interview about Steven Bartlett’s podcast.

“If my mental health were a priority, I would not be as successful as I did,” said Bartlett during the discussion.

According to Shira Lazar, co -founder of Creatorcare, a newly launched Soffee service, which goals to help the creators of content in matters of mental health specific to their occupation, often content creators Fight fear, Depression and disordered food, in addition to income fluctuations.

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“() Fear of the disappearance of burning fuels in a system, which constantly requires feeding channels. I am like Joan Rivers; I will create until I die, so I want to make sure that I can develop,” said Lazar in an interview.

Amy Kelly, a co -founder of audit health therapy and a licensed family therapist, whose clients consist of many content creators, said The Outlet said that the influencers industry itself just just won’t be built to take care of the creators who feed her.

“Social media is not only a platform – it’s a recruiter,” she said, as she noticed, that 57% of teenagers gene with in the USA He said they’d turn into influential If he receives a likelihood. “We cultivate teenagers in a digital working force with proven threats to mental health – a modern equivalent of sending children to a coal mine without protective equipment.”

As Lazar said in an interview: “The creator’s economy exploded, but the support systems did not meet. Because more gene from this space is professionally entering, we must treat it like a real workplace. This means sustainable systems not only for monetization, but also for mental health.”

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This article was originally published on : www.blackenterprise.com
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