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Netflix begins testing mobile games in its Android app in Poland

Netflix today announced it will begin testing mobile games inside its Android app for its members in Poland. At launch, paying subscribers will be able to try out two games, “Stranger Things: 1984” and “Stranger Things 3” — titles that have been previously available on the Apple App Store, Google Play and, in the case of the newer release, on other platforms, including desktop and consoles. While the games are offered to subscribers from within the Netflix mobile app’s center tab, users will still be directed to the Google Play Store to install the game on their devices.

To then play, members will need to confirm their Netflix credentials.

Members can later return to the game at any time by clicking “Play” on the game’s page from inside the Netflix app or by launching it directly from their mobile device.

“It’s still very, very early days and we will be working hard to deliver the best possible experience in the months ahead with our no ads, no in-app purchases approach to gaming,” a Netflix spokesperson said about the launch.

The company has been expanding its investment in gaming for years, seeing the potential for a broader entertainment universe that ties in to its most popular shows. At the E3 gaming conference back in 2019, Netflix detailed a series of gaming integrations across popular platforms like Roblox and Fortnite and its plans to bring new “Stranger Things” games to the market.

On mobile, Netflix has been working with the Allen, Texas-based game studio BonusXP, whose first game for Netflix, “Stranger Things: The Game,” has now been renamed “Stranger Things: 1984” to better differentiate it from others. While that game takes place after season 1 and before season 2, in the “Stranger Things” timeline, the follow-up title, “Stranger Things 3,” is a playable version of the third season of the Netflix series. (So watch out for spoilers!)

Netflix declined to share how popular the games had been in terms of users or installs, while they were publicly available on the app stores.

With the launch of the test in Poland, Netflix says users will need to have a membership to download the titles as they’re now exclusively available to subscribers. However, existing users who already downloaded the game from Google Play in the past will not be impacted. They will be able to play the game as usual or even re-download it from their account library if they used to have it installed. But new players will only be able to get the game from the Netflix app.

The test aims to better understand how mobile gaming will resonate with Netflix members and determine what other improvements Netflix may need to make to the overall functionality, the company said. It chose Poland as the initial test market because it has an active mobile gaming audience, which made it seem like a good fit for this early feedback.

Netflix couldn’t say when it would broaden this test to other countries, beyond “the coming months.”

The streamer recently announced during its second-quarter earnings that it would add mobile games to its offerings, noting that it views gaming as “another new content category” for its business, similar to its “expansion into original films, animation and unscripted TV.”

The news followed what had been a sharp slowdown in new customers after the pandemic-fueled boost to streaming. In North America, Netflix in Q2 lost a sizable 430,000 subscribers — its third-ever quarterly decline in a decade. It also issued weaker guidance for the upcoming quarter, forecasting the addition of 3.5 million subscribers when analysts had been looking for 5.9 million. But Netflix downplayed the threat of competition on its slowing growth, instead blaming a lighter content slate, in part due to COVID-related production delays.

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LOVE unveils a modern video messaging app with a business model that puts users in control

A London-headquartered startup called LOVE, valued at $17 million following its pre-seed funding, aims to redefine how people stay in touch with close family and friends. The company is launching a messaging app that offers a combination of video calling as well as asynchronous video and audio messaging, in an ad-free, privacy-focused experience with a number of bells and whistles, including artistic filters and real-time transcription and translation features.

But LOVE’s bigger differentiator may not be its product alone, but rather the company’s mission.

LOVE aims for its product direction to be guided by its user base in a democratic fashion as opposed to having the decisions made about its future determined by an elite few at the top of some corporate hierarchy. In addition, the company’s longer-term goal is ultimately to hand over ownership of the app and its governance to its users, the company says.

These concepts have emerged as part of bigger trends towards a sort of “Web 3.0,” or next phase of internet development, where services are decentralized, user privacy is elevated, data is protected and transactions take place on digital ledgers, like a blockchain, in a more distributed fashion.

LOVE’s founders are proponents of this new model, including serial entrepreneur Samantha Radocchia, who previously founded three companies and was an early advocate for the blockchain as the co-founder of Chronicled, an enterprise blockchain company focused on the pharmaceutical supply chain.

As someone who’s been interested in emerging technology since her days of writing her anthropology thesis on currency exchanges in “Second Life’s” virtual world, she’s now faculty at Singularity University, where she’s given talks about blockchain, AI, Internet of Things, Future of Work, and other topics. She’s also authored an introductory guide to the blockchain with her book “Bitcoin Pizza.”

Co-founder Christopher Schlaeffer, meanwhile, held a number of roles at Deutsche Telekom, including chief product & innovation officer, corporate development officer and chief strategy officer, where he along with Google execs introduced the first mobile phone to run Android. He was also chief digital officer at the telecommunication services company VEON.

The two crossed paths after Schlaeffer had already begun the work of organizing a team to bring LOVE to the public, which includes co-founders Chief Technologist Jim Reeves, also previously of VEON, and Chief Designer Timm Kekeritz, previously an interaction designer at international design firm IDEO in San Francisco, design director at IXDS and founder of design consultancy Raureif in Berlin, among other roles.

Image Credits: LOVE

Explained Radocchia, what attracted her to join as CEO was the potential to create a new company that upholds more positive values than what’s often seen today — in fact, the brand name “LOVE” is a reference to this aim. She was also interested in the potential to think through what she describes as “new business models that are not reliant on advertising or harvesting the data of our users,” she says.

To that end, LOVE plans to monetize without any advertising. While the company isn’t ready to explain its business model in full, it would involve users opting in to services through granular permissions and membership, we’re told.

“We believe our users will much rather be willing to pay for services they consciously use and grant permissions to in a given context than have their data used for an advertising model which is simply not transparent,” says Radocchia.

LOVE expects to share more about the model next year.

As for the LOVE app itself, it’s a fairly polished mobile messenger offering an interesting combination of features. Like any other video chat app, you can video call with friends and family, either in one-on-one calls or in groups. Currently, LOVE supports up to five call participants, but expects to expand that as it scales. The app also supports video and audio messaging for asynchronous conversations. There are already tools that offer this sort of functionality on the market, of course — like WhatsApp, with its support for audio messages, or video messenger Marco Polo. But they don’t offer quite the same expanded feature set.

Image Credits: LOVE

For starters, LOVE limits its video messages to 60 seconds, for brevity’s sake. (As anyone who’s used Marco Polo knows, videos can become a bit rambling, which makes it harder to catch up when you’re behind on group chats.) In addition, LOVE allows you to both watch the video content as well as read the real-time transcription of what’s being said — the latter which comes in handy not only for accessibility’s sake, but also for those times you want to hear someone’s messages but aren’t in a private place to listen or don’t have headphones. Conversations can also be translated into 50 languages.

“A lot of the traditional communication or messenger products are coming from a paradigm that has always been text-based,” explains Radocchia. “We’re approaching it completely differently. So while other platforms have a lot of the features that we do, I think that…the perspective that we’ve approached it has completely flipped it on its head,” she continues. “As opposed to bolting video messages on to a primarily text-based interface, [LOVE is] actually doing it in the opposite way and adding text as a sort of a magically transcribed add-on — and something that you never, hopefully, need to be typing out on your keyboard again,” she adds.

The app’s user interface, meanwhile, has been designed to encourage eye-to-eye contact with the speaker to make conversations feel more natural. It does this by way of design elements where bubbles float around as you’re speaking and the bubble with the current speaker grows to pull your focus away from looking at yourself. The company is also working with the curator of Serpentine Gallery in London, Hans Ulrich-Obrist, to create new filters that aren’t about beautification or gimmicks, but are instead focused on introducing a new form of visual expression that makes people feel more comfortable on camera.

For the time being, this has resulted in a filter that slightly abstracts your appearance, almost in the style of animation or some other form of visual arts.

The app claims to use end-to-end encryption and the automatic deletion of its content after seven days — except for messages you yourself recorded, if you’ve chosen to save them as “memorable moments.”

“One of our commitments is to privacy and the right-to-forget,” says Radocchia. “We don’t want to be or need to be storing any of this information.”

LOVE has been soft-launched on the App Store, where it’s been used with a number of testers and is working to organically grow its user base through an onboarding invite mechanism that asks users to invite at least three people to join. This same onboarding process also carefully explains why LOVE asks for permissions — like using speech recognition to create subtitles.

LOVE says its valuation is around $17 million USD following pre-seed investments from a combination of traditional startup investors and strategic angel investors across a variety of industries, including tech, film, media, TV and financial services. The company will raise a seed round this fall.

The app is currently available on iOS, but an Android version will arrive later in the year. (Note that LOVE does not currently support the iOS 15 beta software, where it has issues with speech transcription and in other areas. That should be resolved next week, following an app update now in the works.)

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Apple’s RealityKit 2 allows developers to create 3D models for AR using iPhone photos

At its Worldwide Developers Conference, Apple announced a significant update to RealityKit, its suite of technologies that allow developers to get started building AR (augmented reality) experiences. With the launch of RealityKit 2, Apple says developers will have more visual, audio and animation control when working on their AR experiences. But the most notable part of the update is how Apple’s new Object Capture API will allow developers to create 3D models in minutes using only an iPhone.

Apple noted during its developer address that one of the most difficult parts of making great AR apps was the process of creating 3D models. These could take hours and thousands of dollars.

With Apple’s new tools, developers will be able take a series of pictures using just an iPhone (or iPad, DSLR or even a drone, if they prefer) to capture 2D images of an object from all angles, including the bottom.

Then, using the Object Capture API on macOS Monterey, it only takes a few lines of code to generate the 3D model, Apple explained.

Image Credits: Apple

To begin, developers would start a new photogrammetry session in RealityKit that points to the folder where they’ve captured the images. Then, they would call the process function to generate the 3D model at the desired level of detail. Object Capture allows developers to generate the USDZ files optimized for AR Quick Look — the system that lets developers add virtual, 3D objects in apps or websites on iPhone and iPad. The 3D models can also be added to AR scenes in Reality Composer in Xcode.

Apple said developers like Wayfair, Etsy and others are using Object Capture to create 3D models of real-world objects — an indication that online shopping is about to get a big AR upgrade.

Wayfair, for example, is using Object Capture to develop tools for their manufacturers so they can create a virtual representation of their merchandise. This will allow Wayfair customers to be able to preview more products in AR than they could today.

Image Credits: Apple (screenshot of Wayfair tool))

In addition, Apple noted developers including Maxon and Unity are using Object Capture for creating 3D content within 3D content creation apps, such as Cinema 4D and Unity MARS.

Other updates in RealityKit 2 include custom shaders that give developers more control over the rendering pipeline to fine tune the look and feel of AR objects; dynamic loading for assets; the ability to build your own Entity Component System to organize the assets in your AR scene; and the ability to create player-controlled characters so users can jump, scale and explore AR worlds in RealityKit-based games.

One developer, Mikko Haapoja of Shopify, has been trying out the new technology (see below) and shared some real-world tests where he shot objects using an iPhone 12 Max via Twitter.

Developers who want to test it for themselves can leverage Apple’s sample app and install Monterey on their Mac to try it out. They can use the Qlone camera app or any other image capturing application they want to download from the App Store to take the photos they need for Object Capture, Apple says. In the fall, the Qlone Mac companion app will leverage the Object Capture API as well.

Apple says there are over 14,000 ARKit apps on the App Store today, which have been built by over 9,000 different developers. With the more than 1 billion AR-enabled iPhones and iPads being used globally, it notes that Apple offers the world’s largest AR platform.

read more about Apple's WWDC 2021 on TechCrunch

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Twitch introduces Animated Emotes for their 10th anniversary

Twitch announced today that it will release major updates to its Emotes this month to celebrate its 10th anniversary. These new features will include Animated Emotes, Follower Emotes and a Library for Emotes. 

Since the origin of the livestreaming platform for gamers, Emotes — Twitch’s version of emojis — have been a key component of Twitch culture. They’re micro memes, and images like Kappa, TriHard and PogChamp have come to carry meaning in the greater gaming world, even off the Twitch platform. 

“Emotes are a language that transcends countries,” said Ivan Santana, senior director of Community Product at Twitch. “Anywhere you are in the world, they mean the same thing for us.”

The Amazon-owned platform regularly adds new global Emotes, which can be used on any streamer’s channel. Individual creators can make custom Emotes for their own community, which paying subscribers can use across the platform. But the ability to add animated gifs as Emotes is something that the community has been asking for since Santana can remember. 

“I’ve been at Twitch for four years, and it’s something people have been asking for since before I joined,” Santana told TechCrunch. “It’s certainly been a very, very long time.” 

Streamers who lack animation skills need not worry. While the more tech-savvy among us can upload custom gifs, Twitch will provide six templates for streamers to choose from, which can animate their existing Emotes. These animations include Shake, Rave, Roll, Spin, Slide In and Slide Out. Viewers who are sensitive to animations will be able to turn off the feature in their Chat Settings. 

Image Credits: Twitch

Twitch is also beta testing Follower Emotes, which will be available to select Partners and Affiliates. This feature creates a fun, free incentive for viewers to hit the follow button on a channel they might be checking out for the first time. When viewers follow a channel, they’ll be notified when the creator is streaming, which can lead to an eventual subscription. Twitch takes 50% of streamers’ subscription money, creating a valuable revenue stream for the company.

In Q1 of 2021, Twitch viewership hit an all-time high, growing 16.5% since the previous quarter. Twitch viewers watched 6.34 billion hours of content in Q1, making up 72.3% of the market share. That’s double the total hours watched on Twitch in Q1 of 2020. Facebook Gaming and YouTube Gaming earned 12.1% and 15.6% of viewership in the sector, respectively. 

“For a long time, creators have been asking for better ways to attract and welcome new viewers into their channel,” said Santana. “The idea is generally to create a lot of excitement around that community, and more feelings ultimately of community.”

Creators with beta access will be able to upload up to five Emotes for their followers, but unlike Subscriber Emotes, followers won’t be able to use these across other channels. There’s no guarantee that Follower Emotes will be here to stay — Santana says it’s a feature Twitch is “experimenting” with — but if all goes well, the feature will roll out more widely later in the year.

Finally, the Library function will make it easier for creators to swap Emotes in and out of subscription tiers without having to delete and reupload them each time. This builds upon an upgrade that launched in January, which centralized channel-specific icons into an Emotes tab on the Creator Dashboard. As usual, new Emotes have to be approved by Twitch before they’re put into use. The Library will roll out soon to all Partners and Affiliates, staggered over a few months to account for an expected increase in volume of new Emotes. 

“As Twitch has scaled, we now have millions of communities across many different cultures across the world,” Santana said. “We can hand over more of the controls of our Emote language to our community, and let them sort of evolve in a way that we never could imagine that ultimately serves them in their unique ways.”

Twitch teased that there’s more in the works to celebrate the platform’s 10th anniversary, including an official 10-Year celebration. 

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NextMind’s Dev Kit for mind-controlled computing offers a rare ‘wow’ factor in tech

NextMind debuted its Dev Kit hardware at CES last year, but the hardware is now actually shipping, and the startup shared with me the production version to take a test drive. The NextMind controller is a sensor that reads electrical signals from your brain’s visual cortex, and translates those into input signals for a connected PC. A lot of companies have developed novel input solutions that use either eye tracking or electrical impulse input from the body, but NextMind’s is the first I’ve tried that worked instantly and wonderfully, providing a truly amazing experience of a kind that’s hard to find in the current world of relatively mature computing paradigms.

The basics

NextMind’s developer kit is just that — a product aimed at developers that’s meant to give them everything they need to get building software that works with NextMind’s hardware and APIs. It includes the NextMind sensor, which works with a range of headgear, including simple straps, Oculus VR headsets and even baseball hats, along with the software and SDK required to make it work on your PC.

Image Credits: NextMind

The package that NextMind provided me included the sensor, a fabric headband, a Surface PC with the engine pre-installed and a USB gamepad for use with one of the company’s pre-built software demos.

The sensor itself is lightweight, and can operate for up to eight hours continuously on a single charge. It can charge via USB-C, and its software is compatible with both Mac and PC, along with Oculus, HTC Vive and also Microsoft’s HoloLens.

Design and features

The NextMind sensor itself is surprisingly small and light — it fits in the palm of your hand, with two arms that extend slightly beyond that. It features an integrated clip mount that can be used to attach it to just about anything to secure it to your head. In terms of fit, you just need to ensure that the nine sets of two-pronged electrode sensors make contact with your skin, which NextMind provides instructions on doing by essentially making sure it straps snugly to your head, and then “combing” the device slightly (moving it up and down to get your hair out of the way).

It wears comfortably, though you will notice the electrodes pressing into your skin, especially over longer use periods. The ability to use a standard baseball cap with the clip makes it super convenient to install and wear, and it worked with the Oculus Rift and Oculus Quest headstraps easily and instantly, too.

Image Credits: NextMind

Setup was a breeze. I was guided by NextMind’s co-creators, but the app provides clear instructions as well. There’s a calibration process during which you look at an animation being displayed on the host PC, which helps the sensor identify the specific signals your occipital lobe is emitting when performing the target behaviour that you’ll later use to actually interact with NextMind-optimized software.

Here’s where it’s worth pausing to explain how NextMind is actually “reading your thoughts”: The sensor basically learns what it looks like when your brain is engaged in what the company calls “active, visual focus.” It does this using a common signal that it overlays on controllable elements of a software’s graphical user interface. That way, when you focus on a specific item, it can translate that into a “press” action, or a “hold and move,” or any other number of potential output results.

NextMind’s system is elegantly simple in conception, which is probably why it feels so powerful and rich in use. After the calibration process, I immediately jumped into the demos and was performing a range of actions effectively with my brain. First was media playback and window management on a desktop, and from there I moved on to composing music, entering a pin on a number pad and playing multiple games, including a platform where my mind control was supplementing my physical input on a USB gamepad to create a whole new level of fun and complex gameplay that wouldn’t be possible otherwise.

This is a Dev Kit, so the included software is just a small sampling of what could be possible with NextMind eventually, now that developers are able to build their own. What’s amazing is that the included samples are breathtaking on their own, providing an overall experience that is mind-bending in all the best possible ways. Imagining a future where NextMind hardware is even smaller and a seamless part of an overall computing experience that also includes traditional input is tantalizing, indeed.

Bottom line

NextMind’s Dev Kit is definitely just that — a Dev Kit. It’s intended for developers who are going to use it to write their own software that will take advantage of this unique, safe and convenient form of brain-computer interface (BCI). The kit retails for $399, and is now shipping. NextMind has plans to eventually consumerise the product, and to work with other OEMs as well on implementations, but for now, even in this state, it’s an awe-inspiring glimpse into what could well be the next major shift in our daily computing paradigm.

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WaveOne aims to make video AI-native and turn streaming upside down

Video has worked the same way for a long, long time. And because of its unique qualities, video has been largely immune to the machine learning explosion upending industry after industry. WaveOne hopes to change that by taking the decades-old paradigm of video codecs and making them AI-powered — while somehow avoiding the pitfalls that would-be codec revolutionizers and “AI-powered” startups often fall into.

The startup has until recently limited itself to showing its results in papers and presentations, but with a recently raised $6.5M seed round, they are ready to move towards testing and deploying their actual product. It’s no niche: video compression may seem a bit in the weeds to some, but there’s no doubt it’s become one of the most important processes of the modern internet.

Here’s how it’s worked pretty much since the old days when digital video first became possible. Developers create a standard algorithm for compressing and decompressing video, a codec, which can easily be distributed and run on common computing platforms. This is stuff like MPEG-2, H.264, and that sort of thing. The hard work of compressing a video can be done by content providers and servers, while the comparatively lighter work of decompressing is done on the end user’s machines.

This approach is quite effective, and improvements to codecs (which allow more efficient compression) have led to the possibility of sites like YouTube. If videos were 10 times bigger, YouTube would never have been able to launch when it did. The other major change was beginning to rely on hardware acceleration of said codecs — your computer or GPU might have an actual chip in it with the codec baked in, ready to perform decompression tasks with far greater speed than an ordinary general-purpose CPU in a phone. Just one problem: when you get a new codec, you need new hardware.

But consider this: many new phones ship with a chip designed for running machine learning models, which like codecs can be accelerated, but unlike them the hardware is not bespoke for the model. So why aren’t we using this ML-optimized chip for video? Well, that’s exactly what WaveOne intends to do.

I should say that I initially spoke with WaveOne’s cofounders, CEO Lubomir Bourdev and CTO Oren Rippel, from a position of significant skepticism despite their impressive backgrounds. We’ve seen codec companies come and go, but the tech industry has coalesced around a handful of formats and standards that are revised in a painfully slow fashion. H.265, for instance, was introduced in 2013, but years afterwards its predecessor, H.264, was only beginning to achieve ubiquity. It’s more like the 3G, 4G, 5G system than version 7, version 7.1, etc. So smaller options, even superior ones that are free and open source, tend to get ground beneath the wheels of the industry-spanning standards.

This track record for codecs, plus the fact that startups like to describe practically everything is “AI-powered,” had me expecting something at best misguided, at worst scammy. But I was more than pleasantly surprised: In fact WaveOne is the kind of thing that seems obvious in retrospect and appears to have a first-mover advantage.

The first thing Rippel and Bourdev made clear was that AI actually has a role to play here. While codecs like H.265 aren’t dumb — they’re very advanced in many ways — they aren’t exactly smart, either. They can tell where to put more bits into encoding color or detail in a general sense, but they can’t, for instance, tell where there’s a face in the shot that should be getting extra love, or a sign or trees that can be done in a special way to save time.

But face and scene detection are practically solved problems in computer vision. Why shouldn’t a video codec understand that there is a face, then dedicate a proportionate amount of resources to it? It’s a perfectly good question. The answer is that the codecs aren’t flexible enough. They don’t take that kind of input. Maybe they will in H.266, whenever that comes out, and a couple years later it’ll be supported on high-end devices.

So how would you do it now? Well, by writing a video compression and decompression algorithm that runs on AI accelerators many phones and computers have or will have very soon, and integrating scene and object detection in it from the get-go. Like Krisp.ai understanding what a voice is and isolating it without hyper-complex spectrum analysis, AI can make determinations like that with visual data incredibly fast and pass that on to the actual video compression part.

Image Credits: WaveOne

Variable and intelligent allocation of data means the compression process can be very efficient without sacrificing image quality. WaveOne claims to reduce the size of files by as much as half, with better gains in more complex scenes. When you’re serving videos hundreds of millions of times (or to a million people at once), even fractions of a percent add up, let alone gains of this size. Bandwidth doesn’t cost as much as it used to, but it still isn’t free.

Understanding the image (or being told) also lets the codec see what kind of content it is; a video call should prioritize faces if possible, of course, but a game streamer may want to prioritize small details, while animation requires yet another approach to minimize artifacts in its large single-color regions. This can all be done on the fly with an AI-powered compression scheme.

There are implications beyond consumer tech as well: A self-driving car, sending video between components or to a central server, could save time and improve video quality by focusing on what the autonomous system designates important — vehicles, pedestrians, animals — and not wasting time and bits on a featureless sky, trees in the distance, and so on.

Content-aware encoding and decoding is probably the most versatile and easy to grasp advantage WaveOne claims to offer, but Bourdev also noted that the method is much more resistant to disruption from bandwidth issues. It’s one of the other failings of traditional video codecs that missing a few bits can throw off the whole operation — that’s why you get frozen frames and glitches. But ML-based decoding can easily make a “best guess” based on whatever bits it has, so when your bandwidth is suddenly restricted you don’t freeze, just get a bit less detailed for the duration.

Example of different codecs compressing the same frame.

These benefits sound great, but as before the question is not “can we improve on the status quo?” (obviously we can) but “can we scale those improvements?”

“The road is littered with failed attempts to create cool new codecs,” admitted Bourdev. “Part of the reason for that is hardware acceleration; even if you came up with the best codec in the world, good luck if you don’t have a hardware accelerator that runs it. You don’t just need better algorithms, you need to be able to run them in a scalable way across a large variety of devices, on the edge and in the cloud.”

That’s why the special AI cores on the latest generation of devices is so important. This is hardware acceleration that can be adapted in milliseconds to a new purpose. And WaveOne happens to have been working for years on video-focused machine learning that will run on those cores, doing the work that H.26X accelerators have been doing for years, but faster and with far more flexibility.

Of course, there’s still the question of “standards.” Is it very likely that anyone is going to sign on to a single company’s proprietary video compression methods? Well, someone’s got to do it! After all, standards don’t come etched on stone tablets. And as Bourdev and Rippel explained, they actually are using standards — just not the way we’ve come to think of them.

Before, a “standard” in video meant adhering to a rigidly defined software method so that your app or device could work with standards-compatible video efficiently and correctly. But that’s not the only kind of standard. Instead of being a soup-to-nuts method, WaveOne is an implementation that adheres to standards on the ML and deployment side.

They’re building the platform to be compatible with all the major ML distribution and development publishers like TensorFlow, ONNX, Apple’s CoreML, and others. Meanwhile the models actually developed for encoding and decoding video will run just like any other accelerated software on edge or cloud devices: deploy it on AWS or Azure, run it locally with ARM or Intel compute modules, and so on.

It feels like WaveOne may be onto something that ticks all the boxes of a major b2b event: it invisibly improves things for customers, runs on existing or upcoming hardware without modification, saves costs immediately (potentially, anyhow) but can be invested in to add value.

Perhaps that’s why they managed to attract such a large seed round: $6.5 million, led by Khosla Ventures, with $1M each from Vela Partners and Incubate Fund, plus $650K from Omega Venture Partners and $350K from Blue Ivy.

Right now WaveOne is sort of in a pre-alpha stage, having demonstrated the technology satisfactorily but not built a full-scale product. The seed round, Rippel said, was to de-risk the technology, and while there’s still lots of R&D yet to be done, they’ve proven that the core offering works — building the infrastructure and API layers comes next and amounts to a totally different phase for the company. Even so, he said, they hope to get testing done and line up a few customers before they raise more money.

The future of the video industry may not look a lot like the last couple decades, and that could be a very good thing. No doubt we’ll be hearing more from WaveOne as it migrates from lab to product.

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Sony invests $400M in Chinese entertainment platform Bilibili

Sony said on Thursday that it is investing $400 million to secure a 4.98% stake in Chinese entertainment giant Bilibili.

10-year old Bilibili started as an animation site, but has expanded to other categories including e-sports, user-generated music videos, documentaries, and games. The service, which has amassed over 130 million users, has attracted several big investors over the years, including Chinese giants Tencent and Alibaba.

The announcement pushed Bilibili’s share up by 7.6% in pre-market trading. Sony has made the investment through its wholly-owned subsidiary Sony Corporation of America.

In a statement, Sony said the company believes China is a key strategic region in the entertainment business. BiliBili says it targets China’s Gen-Z. The vast majority of its users — about 80% — were born between 1990 and 2009.

The two companies have also agreed to pursue collaboration opportunities in the entertainment field in China, including animation and mobile game apps, they said.

You can read more about Bilibili’s business and dominance in China in my colleague Rita Liao’s piece here.

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Hit indie game Cuphead is headed to Tesla vehicles in August

Tesla’s games library is getting bigger, and the latest announced title is probably a familiar one to gaming fans: Cuphead. This indie game was released in 2017 for Xbox One and Windows after making a big debut in 2013, attracting a lot of attention thanks to its hand-drawn, retro Disney-esque animation style.

Tesla CEO Elon Musk revealed that Cuphead would be getting a Tesla port sometime in August, replying to a post in which Tesla announced its latest addition to the in-car arcade library: Chess. The game will run at 60fps on the in-car display, Musk added, noting that while 4K isn’t supported for Tesla’s screens, the game “doesn’t need” that high resolution.

Cuphead for Tesla coming out in August

— e^👁🥧 (@elonmusk) July 27, 2019

Cuphead has since been released for both macOS and Nintendo Switch, and has gained critical acclaim for its challenging gameplay in addition to its unique graphic style. The game works with one or two players (which Tesla cars also now support via gamepad controllers for some other titles) and basically involves side-scrolling run-and-gun action punctuated by frequent boss fights.

Musk continued on Twitter regarding the Cuphead port that it will use a Unity port for Tesla’s in-car OS, which is already done, and currently they’re in the process of refining the controls. A limit of available onboard storage will be solved by allowing added game storage via USB, so that Tesla owners will be able to add flash drives to hold more downloaded games.

Earlier this month, Netflix announced that it would be developing an animated series based on Cuphead, and the game has sold over 4 million copies world-wide so far. Tesla launched Tesla Arcade last month as a dedicated in-car app to host the growing collection of games it’s brought to the car – and it’s worth noting that you can only access these games while in park.

 

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Reality Check: The marvel of computer vision technology in today’s camera-based AR systems

Alex Chuang
Contributor

Alex Chuang is the Managing Partner of Shape Immersive, a boutique studio that helps enterprise and brands transform their businesses by incorporating VR/AR solutions into their strategies.

British science fiction writer, Sir Arther C. Clark, once said, “Any sufficiently advanced technology is indistinguishable from magic.”

Augmented reality has the potential to instill awe and wonder in us just as magic would. For the very first time in the history of computing, we now have the ability to blur the line between the physical world and the virtual world. AR promises to bring forth the dawn of a new creative economy, where digital media can be brought to life and given the ability to interact with the real world.

AR experiences can seem magical but what exactly is happening behind the curtain? To answer this, we must look at the three basic foundations of a camera-based AR system like our smartphone.

  1. How do computers know where it is in the world? (Localization + Mapping)
  2. How do computers understand what the world looks like? (Geometry)
  3. How do computers understand the world as we do? (Semantics)

Part 1: How do computers know where it is in the world? (Localization)

Mars Rover Curiosity taking a selfie on Mars. Source: https://www.nasa.gov/jpl/msl/pia19808/looking-up-at-mars-rover-curiosity-in-buckskin-selfie/

When NASA scientists put the rover onto Mars, they needed a way for the robot to navigate itself on a different planet without the use of a global positioning system (GPS). They came up with a technique called Visual Inertial Odometry (VIO) to track the rover’s movement over time without GPS. This is the same technique that our smartphones use to track their spatial position and orientation.

A VIO system is made out of two parts.

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The team behind Baidu’s first smart speaker is now using AI to make films

The HBO sci-fi blockbuster Westworld has been an inspiring look into what humanlike robots can do for us in the meatspace. While current technologies are not quite advanced enough to make Westworld a reality, startups are attempting to replicate the sort of human-robot interaction it presents in virtual space.

Rct studio, which just graduated from Y Combinator and ranked among TechCrunch’s nine favorite picks from the batch, is one of them. The “Westworld” in the TV series, a far-future theme park staffed by highly convincing androids, lets visitors live out their heroic and sadistic fantasies free of consequences.

There are a few reasons why rct studio, which is keeping mum about the meaning of its deliberately lower-cased name for later revelation, is going for the computer-generated world. Besides the technical challenge, playing a fictional universe out virtually does away the geographic constraint. The Westworld experience, in contrast, happens within a confined, meticulously built park.

“Westworld is built in a physical world. I think in this age and time, that’s not what we want to get into,” Xinjie Ma, who heads up marketing for rct, told TechCrunch. “Doing it in the physical environment is too hard, but we can build a virtual world that’s completely under control.”

rct studio

Rct studio wants to build the Westworld experience in virtual worlds. / Image: rct studio

The startup appears suitable to undertake the task. The eight-people team is led by Cheng Lyu, the 29-year-old entrepreneur who goes by Jesse and helped Baidu build up its smart speaker unit from scratch after the Chinese search giant acquired his voice startup Raven in 2017. Along with several of Raven’s core members, Lyu left Baidu in 2018 to start rct.

“We appreciate a lot the support and opportunities given by Baidu and during the years we have grown up dramatically,” said Ma, who previously oversaw marketing at Raven.

Let AI write the script

Immersive films, or games, depending on how one wants to classify the emerging field, are already available with pre-written scripts for users to pick from. Rct wants to take the experience to the next level by recruiting artificial intelligence for screenwriting.

At the center of the project is the company’s proprietary engine, Morpheus. Rct feeds it mountains of data based on human-written storylines so the characters it powers know how to adapt to situations in real time. When the codes are sophisticated enough, rct hopes the engine can self-learn and formulate its own ideas.

“It takes an enormous amount of time and effort for humans to come up with a story logic. With machines, we can quickly produce an infinite number of narrative choices,” said Ma.

To venture through rct’s immersive worlds, users wear a virtual reality headset and control their simulated self via voice. The choice of audio came as a natural step given the team’s experience with natural language processing, but the startup also welcomes the chance to develop new devices for more lifelike journeys.

“It’s sort of like how the film Ready Player One built its own gadgets for the virtual world. Or Apple, which designs its own devices to carry out superior software experience,” explained Ma.

On the creative front, rct believes Morpheus could be a productivity tool for filmmakers as it can take a story arc and dissect it into a decision-making tree within seconds. The engine can also render text to 3D images, so when a filmmaker inputs the text “the man throws the cup to the desk behind the sofa,” the computer can instantly produce the corresponding animation.

Path to monetization

Investors are buying into rct’s offering. The startup is about to close its Series A funding round just months after banking seed money from Y Combinator and Chinese venture capital firm Skysaga, the startup told TechCrunch.

The company has a few imminent tasks before achieving its Westworld dream. For one, it needs a lot of technical talent to train Morpheus with screenplay data. No one on the team had experience in filmmaking, so it’s on the lookout for a creative head who appreciates AI’s application in films.

rct studio

Rct studio’s software takes a story arc and dissects it into a decision-making tree within seconds. / Image: rct studio

“Not all filmmakers we approach like what we do, which is understandable because it’s a very mature industry, while others get excited about tech’s possibility,” said Ma.

The startup’s entry into the fictional world was less about a passion for films than an imperative to shake up a traditional space with AI. Smart speakers were its first foray, but making changes to tangible objects that people are already accustomed to proved challenging. There has been some interest in voice-controlled speakers, but they are far from achieving ubiquity. Then movies crossed the team’s mind.

“There are two main routes to make use of AI. One is to target a vertical sector, like cars and speakers, but these things have physical constraints. The other application, like Alpha Go, largely exists in the lab. We wanted something that’s both free of physical limitation and holds commercial potential.”

The Beijing and Los Angeles-based startup isn’t content with just making the software. Eventually, it wants to release its own films. The company has inked a long-term partnership with Future Affairs Administration, a Chinese sci-fi publisher representing about 200 writers, including the Hugo award-winning Cixin Liu. The pair is expected to start co-producing interactive films within a year.

Rct’s path is reminiscent of a giant that precedes it: Pixar Animation Studios . The Chinese company didn’t exactly look to the California-based studio for inspiration, but the analog was a useful shortcut to pitch to investors.

“A confident company doesn’t really draw parallels with others, but we do share similarities to Pixar, which also started as a tech company, publishes its own films, and has built its own engine,” said Ma. “A lot of studios are asking how much we price our engine at, but we are targeting the consumer market. Making our own films carry so many more possibilities than simply selling a piece of software.”

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