While Google and OpenAI have been racing to win the AI crown over the past year, we've seemingly reverted away from the idea of speaking to virtual assistants. Generative AI products have typically launched with text-only inputs, and only later add the ability to search images and basic voice commands. At Google I/O today, the company showed off Gemini Live, a new mobile experience for natural conversations with its AI.
Google offered up a few potential use cases; You could have a conversation with Gemini Live to help prepare for a job interview, where it could potentially ask you relevant questions around the positions. It could also give you public speaking tips if you want to research a speech. What makes Gemini Live unique is that you'll be able to speak at your own pace, or even interrupt its responses if you'd like. Ideally, it should be more like having a conversation with a person, instead of just voicing smart assistant commands or generative AI queries.
At I/O, Google also showed off Project Astra, a next-generation virtual assistant that takes the concept of Gemini Live even further. Astra is able to view your camera feed and answer questions in real-time. It's unclear how long that'll take to arrive, but Google says some of Astra's live video features will come to Gemini Live later this year. Gemini Live will be available for Gemini Advanced subscribers in the next few months.
Catch up on all the news from Google I/O 2024 right here!
This article originally appeared on Engadget at https://www.engadget.com/with-gemini-live-google-wants-you-to-relax-and-have-a-natural-chat-with-ai-181329788.html?src=rss It's all AI all the time at Google I/O! Today, Google announced its new AI media creation engines: Veo, which can produce "high-quality" 1080p videos; and Imagen 3, its latest text-to-image framework. Neither sound particularly revolutionary, but they're a way for Google to keep up the fight against OpenAI's Sora video model and Dall-E 3, a tool that has practically become synonymous with AI-generated images.
Google claims Veo has "an advanced understanding of natural language and visual semantics" to create whatever video you have in mind. The AI generated videos can last "beyond a minute." Veo is also capable of understanding cinematic and visual techniques, like the concept of a timelapse. But really, that should be table stakes for an AI video generation model, right?
To prove that Veo isn't out to steal artist's jobs, Google has also partnered with Donald Glover and Gilga, his creative studio, to show off the model's capabilities. In a very brief promotional video, we see Glover and crew using text to create video of a convertible arriving at a European home, and a sailboat gliding through the ocean. According to Google, Veo can simulate real-world physics better than its previous models, and it's also improved how it renders high-definition footage.
"Everybody's going to become a director, and everybody should be a director," Glover says in the video, absolutely earning his Google paycheck. "At the heart of all of this is just storytelling. The closer we are to be able to tell each other our stories, the more we'll understand each other."
It remains to be seen if anyone will actually want to watch AI generated video, outside of the morbid curiosity of seeing a machine attempt to algorithmically recreate the work of human artists. But that's not stopping Google or OpenAI from promoting these tools and hoping they'll be useful (or at least, make a bunch of money). Veo will be available inside of Google's VideoFX tool today for some creators, and the company says it'll also be coming to YouTube Shorts and other products. If Veo does end up becoming a built-in part of YouTube Shorts, that's at least one feature Google can lord over TikTok.
As for Imagen 3, Google is making the usual promises: It's said to be the company's "highest quality" text-to-image model, with "incredible level of detail" for "photorealistic, lifelike images" and fewer artifacts. The real test, of course, will be to see how it handles prompts compared to Dall-E 3. Imagen 3 handles text better than before, Google says, and it's also smarter about handling details from long prompts.
Google is also working with recording artists like Wyclef Jean and Bjorn to test out its Music AI Sandbox, a set of tools that can help with song and beat creation. We only saw a brief glimpse of this, but it's led to a few intriguing demos:
The sun rises and sets. We're all slowly dying. And AI is getting smarter by the day. That seems to be the big takeaway from Google's latest media creation tools. Of course they're getting better! Google is pouring billions into making the dream of AI a reality, all in a bid to own the next great leap for computing. Will any of this actually make our lives better? Will they ever be able to generate art with genuine soul? Check back at Google I/O every year until AGI actually appears, or our civilization collapses.
Catch up on all the news from Google I/O 2024 right here!
This article originally appeared on Engadget at https://www.engadget.com/google-unveils-veo-and-imagen-3-its-latest-ai-media-creation-models-173617373.html?src=rss They say "Twitter isn't real life," but Black Twitter proved otherwise. For years, that phrase has been a way to ignore the real-world impact of social media conversations, especially when they spark radically new ideas. But that's clearly not true when you look at Black Twitter, an unofficial community made up of the site's black users, which inspired culturally significant movements with hashtags like #BlackLivesMatter and #OscarsSoWhite. Hulu's new documentary, "Black Lives Matter: A People's History," adapted from Jason Parham's Wired article, explores the rise and global influence of the community. Over the course of three engaging and often hilarious episodes, the series cements itself as an essential cultural document.
"The way I would define Black Twitter is a space where Black culture specifically was hanging out in a digital way," said Prentice Penny, the series director and former show-runner of HBO's Insecure, in an interview on the Engadget Podcast. "And even though it was a public space — clearly, it's Twitter, anybody can get on it — it still felt like you were having conversations with your friends that are like on the back of the bus. Or like on the stoop, or in the lunchroom. I mean, that's the energy of it."
In particular, Penny says that Twitter felt special because there was no real hierarchy, especially in the early days. That meant that even celebrities weren't immune to being mocked, or acting out on their own social media profiles (like Rihanna's notorious early Twitter presence). Twitter in its heyday felt like a place where money or class didn't really matter.
"This was kind of an equalization of a lot of things, that somebody in Kentucky who nobody knows could have the same strong opinion as someone who you revere, right?" Penny said. "And I think that's what made the space so fresh, because we don't really have spaces that are kind of a level playing ground in this country."
Twitter also felt genuinely different from the other social networks in the late 2000s. At the time, Facebook was mostly focused on connecting you with schoolmates and family members — it wasn't really a place for simply hanging out and joking around. Prentice notes that the forced brevity on Twitter also made it unique, since you had to really focus on what you were trying to say in 140 characters.
"Each of the creators [in the series] had a different idea of what Twitter should be," Penny added. "Some thought it should be a town square, some people thought it should be a news information thing... I think like with Black culture, the one thing we do really well is, because we're often given the scraps of things, we have to repurpose something, like taking the worst of the pig and making soul food... I think we are really good at taking things that could kind of be different things and make it be pliable for us."
The documentary recounts the many ways Black Twitter leveraged the platform, both for fun and for kicking off serious social movements. The community helped make live-tweeting TV shows a common occurrence, and it's one reason Scandal became a hit TV show. But Black users also helped raise the profile around Trayvon Martin's killing by George Zimmerman. His eventual acquittal led to the creation of the #BlackLivesMatter hashtag, a movement which sparked national protests in 2020 following the killing of George Floyd and other Black Americans.
If you've been online and following the Black Twitter community for years, the Hulu documentary may not seem particularly revelatory. But there's value in charting the impact of cultural movements, especially given how quickly social media and the tech world moves.
This article originally appeared on Engadget at https://www.engadget.com/hulus-black-twitter-documentary-is-a-vital-cultural-chronicle-161557720.html?src=rss More than anything, Star Wars: Episode 1 - The Phantom Menace is a fascinating cultural object. It's been 25 years since I saw the film in theaters, and over a decade since I last rewatched it (in a vain attempt to help my Trekkie wife catch up to the prequels). I've had enough time to process the initial disappointment and embarrassment of introducing my wife to Jar Jar Binks. So when Disney announced it was bringing the prequel trilogy back to theaters, I was practically giddy about revisiting them to see how George Lucas's final films compared to the onslaught of Star Wars media we've experienced over the past decade. Was The Phantom Menace as bad as I'd remembered? Well, yes and no.
In 1999, I knew Episode 1 would be a bit of a slog as soon as we hit the second line of the opening crawl: "The taxation of trade routes to outlying star systems is in dispute." Really, George? This was what Star Wars fans were waiting for since 1983's Return of the Jedi? During this rewatch, I was more tickled than annoyed by the many baffling narrative choices: The empty drama of a trade blockade; the confusing decision to establish a romance between a literal child and an older teenager; and throwing in Jar Jar Binks to appease kids amid the hideously dull dialog.
It's as if The Phantom Menace was written and directed by an alien who hadn't actually seen a movie, or engaged in any aspect of pop culture, since the early '80s. At the same time, that near-outsider perspective is part of the film's charm. Seeing a society slowly lose control of an idealistic democracy to a power-hungry dictator is a lot for a PG-rated fantasy film. Yet that also sets up the first two prequels to feel eerily-prescient beside the global response to 9/11.
By the time we reached 2005's Revenge of the Sith, the allusions to George W. Bush's Patriot Act and Global War on Terror were hard to miss. "This is how liberty dies, with thunderous applause," Padme says as her fellow Senators hand over emergency powers to Palpatine, turning Supreme Chancellor Palpatine into the Emperor, and transforming the Galactic Republic into the Galactic Empire.
Beyond political machinations, The Phantom Menace is filled with loads of gorgeous imagery: Naboo's lush palace and aquatic Gungan city; the designs of new ships and weapons; and, of course, every single outfit worn by Princess Amidala. It would have been nice if these visuals cohered into the narrative better, but their presence makes it clear that Lucas was surrounded by world-class talent, like renowned costume designer Trisha Biggar.
The Phantom Menace also leaps to life in its handful of action set-pieces. Sure, maybe the pod-race goes on a bit too long, but the sense of speed, scale and bombastic sound throughout is still absolutely thrilling. (The film's sound team — Gary Rydstrom, Tom Johnson, Shawn Murphy and John Midgley — was nominated for an Oscar, but lost out to The Matrix.)
And yes, the entire Duel of the Fates fight is still an absolute banger. There's no doubt that The Phantom Menace would have been a stronger film with less-clunky dialog and more character development shown through action. At one point in the fight, all of the participants are separated by laser barriers. Qui-Gon Jinn meditates, almost completely at peace. Darth Maul prowls like a caged lion. And Obi-Wan Kenobi is simply eager to get on with the fight, like a hot-shot student who just wants to show off. That sequence tells you more about those characters than the remaining two hours of the film.
While I didn't come around to loving Jar Jar Binks during this rewatch, his very existence as a fully-CG character felt more significant than ever. Voiced by the actor and comedian Ahmed Best, Jar Jar was roundly trashed upon release and his implementation was far from seamless. But it was also the first time we saw a motion-captured performance be transformed into a fully-realized character. Now that technology is so common in movies we practically take it for granted.
"You can’t have Gollum without Jar Jar," Best said in a recent interview for The New York Times. "You can’t have the Na’vi in ‘Avatar’ without Jar Jar. You can’t have Thanos or the Hulk without Jar Jar. I was the signal for the rest of this art form, and I’m proud of Jar Jar for that, and I’m proud to be a part of that. I’m in there!”
In 2017, Best offered an expanded version of his thoughts in a Twitter thread (via ScreenRant): "Jar Jar helped create the workflow, iteration process and litmus test for all CGI characters to this day. On some days the code was being written in real time as I was moving. To deny Jar Jar's place in film history is to deny the hundreds of VFX technicians, animators, code writers and producers their respect. People like John Knoll, Rob Coleman and scores of others who I worked with for two years after principal photography was ended to bring these movies to you."
I've learned the best way to watch The Phantom Menace is to take in the aspects that I like and replace Lucas's many baffling choices with my own head canon. The story of Anakin Skywalker being born through the sheer power of the Force and becoming the Jedi's Chosen One? That's interesting! Inventing Midi-chlorians to give people a literal Jedi power score? That's bad, to hell with you! (Midi-chlorians are still technically canon, but they've been largely ignored in recent Star Wars media.)
This time around, I couldn't help but imagine how a more natural and energetic storyteller would have tackled The Phantom Menace. Surely they wouldn't front-load trade disputes and taxation. A more skilled writer, like Andor's Tony Gilroy, could thoughtfully weave together the Republic's potential downfall. And I'd bet most people wouldn't waste Ewan McGregor's Obi-Wan by keeping him off-screen for an hour, while everyone else goes on a pod-racing adventure. (It sure would be nice to have him spend more time with Anakin!)
I still haven't seen Topher Grace's fabled 85-minute edit of the Star Wars prequels, but his decision to start in the middle of Phantom Menace's climactic lightsaber battle makes sense. So much of Episode 1 feels entirely superfluous when the real story of Anakin Skywalker is about falling in love, being tempted by the Dark Side and ultimately betraying his master.
This article originally appeared on Engadget at https://www.engadget.com/i-guess-i-learned-how-to-appreciate-the-phantom-menace-173010855.html?src=rss