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Google has used AI to revamp one of the most beloved films of all time for a 360-degree Sin City screen with the highest resolution in the world. The rerolled version of The Wizard of Oz will debut this August at The Sphere, the Las Vegas entertainment venue with a famously globular LED screen. Whether a technical marvel, dystopian nightmare fuel or some combination, the project will surely continue The Sphere's penchant for extravagant spectacles that persuade tourists to plunk down hundreds of dollars to sit for a few hours in one of its 17,600 seats. Sphere Entertainment, the company behind the venue, worked on the project with Google, Magnopus and Warner Bros. Discovery, which owns The Wizard of Oz rights. Google describes it as an "epic undertaking of creativity and technology," humbly likening it to the cinematic boundaries broken by the acclaimed Technicolor original. "We're taking a beloved movie, but we are re-creating it," Google Cloud CEO Thomas Kurian told The Wall Street Journal. "The only other way you could do it is to go back [in time] and film it with the cameras that the Sphere uses." The 1939 original.Warner Bros. Discovery Google used generative AI models from its Gemini family on the project, most notably Veo 2 and Imagen 3. The company not only had to magnify the original 35mm film for a 160,000-square-foot screen composed of 16,000 LEDs but also had to account for camera cuts that removed characters from the frame. For example, in a Kansas scene between Dorothy, Auntie Em and Miss Gulch, Uncle Henry (who was also in the room but off-camera) will be visible on the much wider screen. It did so primarily through an AI super-resolution tool (generating new pixels to fit the much higher-res screen), AI outpainting (generating new parts of a scene stretching beyond the original celluloid) and performance generation (incorporating composites of the actors into these expanded environments). To help fine-tune the AI models, Google didn't limit the models' training to the original footage. It also fed them supplementary material like the shooting script, production illustrations, photographs, set plans and scores teaching them about characters' and environmental details and production elements like camera focal lengths. The company also consulted with professional filmmakers for character actions, expressions and performance. "Now, Dorothy's freckles snap into focus, and Toto can scamper more seamlessly through more scenes," Google claimed. The companies behind the project (perhaps contradictorily) claim that, despite AI touching "over 90 percent of the movie," it "respects the original in every way." Google says no new dialogue lines were added, and there isn't a note of new music sung. If the glimpse shown in the preview below (via tabGeeks) is any indication, Dorothy has all the overly smoothed-out hallmarks we've come to expect from AI-upscaled faces. But we'll leave final judgment for the sun-drenched Sin City tourists who spend their hard-earned (or hard-won) cash on following the Gemini-infused road beginning on August 28. This article originally appeared on Engadget at https://www.engadget.com/entertainment/google-used-ai-to-reconceptualize-the-wizard-of-oz-for-the-las-vegas-sphere-194504769.html?src=rss
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Samsung has finally detailed the prices of the new TVs it announced at CES 2025. The company is selling updated version of The Frame TV, multiple ranges of OLED TVs with faster processors and The Frame Pro, a high-end version of its popular TV / digital picture frame. The major upgrade The Frame Pro offers over the original The Frame is a 4K Neo QLED display and the Wireless One Connect Box. Samsung's Neo QLED displays use MiniLEDs to offer improved brightness and local dimming. To better sell the illusion that The Frame Pro is a picture frame, the Wireless One Connect Box lets you hide the cables you'd normally plug into your TV in a cabinet, and wirelessly transmit their inputs directly to your display. For those upgrades, plus the included NQ4 AI Gen3 Processor, The Frame Pro is $2,199 for a 65-inch model, $3,199 for a 75-inch model and $4,299 for the 85-inch model. Samsung says an 83-inch model will be available at a later date. Samsung The changes to The Frame are more modest. The TV now sports a refresh rate of up to 144Hz and also comes with the NQ4 AI Gen3 processor. The chip powers video upscaling on top of AI-powered features like "Click to Search," the ability to look up an actor's bio while watching something, and "Live Translate," the ability to generate real-time captions of whatever you're watching in another language. If you want The Frame, you'll pay $899 for the 43-inch model, $1,099 for the 50-inch model, $1,299 for the 55-inch model and $1,799 for the 65-inch model. The updates to Samsung's more traditional OLED TVs vary depending on the series and size you purchase, but all of the new TVs support Samsung's AI-powered features. The S95F comes with the NQ4 AI Gen3, a new glare-free display, Samsung's "brightest-ever OLED screen" and the Motion Xcelerator 165Hz feature for smooth gameplay during demanding video games. The S90F gets the same chip and Motion Xcelerator 144Hz (for a slightly lower refresh rate) and the S85F uses the NQ4 AI Gen2 processor and Motion Xcelerator 120Hz. The S95F starts at $2,299, with sizes that range from 55 inches to 75 inches. The S90F starts at $1,299 for the 42-inch model and can go up to 83 inches. The S85F, meanwhile, starts at $1,499 for the 55-inch model and also goes up to 83 inches. All of Samsung's new TVs are available to order today, and the company is guaranteeing seven years of software updates to the TVs' One UI Tizen operating system when you purchase.This article originally appeared on Engadget at https://www.engadget.com/home/home-theater/samsung-is-not-selling-the-frame-pro-for-cheap-185607096.html?src=rss
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Sony is beefing up the PlayStation Plus Game Catalog for Extra and Premium subscribers with a bevy of new additions for April. The headliner here is Hogwarts Legacy. This is one of the biggest blockbusters of the past couple of years, even in the face of J.K. Rowling doing her darndest to destroy her personal Hogwarts legacy with anti-trans nonsense. For the uninitiated, its an open-world action RPG set at Harry Potters favorite wizarding school. However, the game takes place in the 1890s, over a hundred years before Potter and his buds careened around the campus. The game hits the service on April 15. Also on the docket this month is the puzzler Blue Prince. This is actually a day-one launch for the platform. The reviews of this one have been particularly effusive, with most people praising the clever puzzles, the atmospheric game world and the addition of roguelike mechanics. Itll be available for download on April 10. The second installment of Dont Nods Lost Records: Bloom & Rage will also be available on April 15 for subscribers as a day-one launch. This follow-up concludes the time-twisting narrative adventure thats set in both 1995 and 2022. This is generally considered a spiritual successor to the iconic Life is Strange. Other games dropping this month include EA Sports PGA Tour and the restaurant management sim PlateUp! PS4 players are also getting a little treat, as Battlefield 1 will be available from April 15.This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/hogwarts-legacy-and-blue-prince-come-to-playstation-plus-game-catalog-in-april-175501864.html?src=rss
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What kind of person would you be in the face of a disaster thats beyond explanation? Would you help distressed neighbors and open your home even to sketchy-looking strangers in the hope that theres strength in numbers, or go it alone regardless of how heavily the odds are stacked against you? Would you still brush your teeth every day? The horror in Francis Coulombes RPG Look Outside is all encompassing. There is the cosmic element: something incomprehensible is happening beyond the walls of your apartment building and its in your best interest to not even look outside, let alone go there. And as you quickly learn, anyone who has looked or been outside is transformed in unimaginable ways, making for some extreme (and extraordinarily creative) body horror. But in much of the game leading up to its multiple climactic endings, the unease also stems from how it makes you look inside at the choices youve made and the person youve become in order to survive. Despite trying to take an empathetic approach, I still found myself in situations that left my character (and me) wracked with guilt. There is a gnawing sense of doubt that grows over the course of the game, repeatedly making me question whether Id, say, made a bad call and been too quick to kill that neighbor whose entire head is teeth, or if my hand was really forced into making a very upsetting sacrifice. After a while, the most unnerving thing is looking in the mirror. And you have to do that a lot in this game, because hygiene affects your stats. Francis Coulombe/Devolver Digital It all begins with your character, Sam (you can change the name, if you want), waking up after a strange dream with a strong urge to look outside. You are immediately given the choice between satisfying your curiosity and listening to your gut, and youll find yourself grappling with that dilemma time and time again. At this point, you also meet Sybil, the mysterious next-door neighbor who only speaks to you through the wall, with one glaring eyeball peering out of a large crack. Sybil, whom its unclear if you should trust, tells you that everything will blow over in 15 days if you just wait it out. You need to scavenge for resources if youre going to make it that long, though, and once you leave your apartment and get a chance to talk to some other neighbors, you may decide you want to take a more active role in getting to the bottom of the catastrophe. Some neighbors, particularly a few robed amateur astronomers who appear to be in a cult, seem to know quite a bit about whats going on, and its insinuated that doing tasks for them will help you figure out the how and why of the phenomena around you. Others are more focused on addressing their immediate needs and will try to rope you into their causes: locating missing people, picking up laundry, cleaning the messes left behind by eldritch horrors, etc. Theres a full on war happening somewhere in the building, which you can choose to play a part in if youre so inclined. Your landlord will unsurprisingly still demand you pay him rent despite the circumstances. If you choose to play in Normal mode, like I did, Sybil is your only save point, so youll have to return home regularly. Easy mode autosaves. All interactions are turn-based, and as you explore the apartment building, youll run into tons of enemies and potential allies but the line between the two isnt always easy to distinguish. Sometimes you can only attack or try to escape, which answers the question for you, but other times, you have the opportunity to talk and ask questions. The turn-based nature allows you to take a moment and evaluate each new encounter, but theres always an air of ambiguity about everyones trustworthiness. Even when youre back at your apartment, where you can shower, rest, do some cooking and crafting, and play video games, people will come along and knock on your door, and youll have to make up your mind about whether you should let them in. The thing is, surviving can be pretty difficult once you really get going if youre on your own. Enemies will outnumber and overpower you. Thats where it becomes helpful to have a few allies. With as many as three other people in your party, the scale tips heavily in your favor. I took the trusting approach, for better or worse. This resulted in me having a pretty solid group of fighters on my side, but a pair of those same allies kicked me out of my own bedroom and complained about my cooking. The creature designs come disgustingly, beautifully alive in the pixel art style. Body horror can be really hard to stomach, and something is often lost for me in the process of consuming it when its intended to seem realistic either because Im hiding behind my hands and only taking tiny peeks through my fingers, or because it ends up achieving the opposite effect and just looks ridiculous without meaning to. But Coulombes art equally embraces the horrifying and the absurd, and the effect of that balance is powerful. Nothing was ever so disturbing that I couldnt look straight at it, but there were certainly moments that gave me a genuine scare or made my skin crawl. Even the characters that arent being transformed, like the protagonist, look a little grotesque, which adds to how unsettling everything feels. But just when the dread would reach a fever pitch, something overtly silly would be thrown in almost as if to splash some cold water on the whole thing and say, yes this is the apocalypse but were still human, we still have a sense of humor. Francis Coulombe/Devolver Digital So much of the joy of playing this game is discovering all the tricks it has up its sleeve, so I wont get into any descriptions of bosses, puzzles or the building itself, other than to say that the latter has a whole House of Leaves thing going on that is unbelievably frustrating at times, but in a way that only adds to the brilliance of it all. There is no map to guide you, either. The soundtrack, composed by Eric Shumaker, keeps in perfect step with every emotion the environment evokes, and I could probably write an entire separate review about how good it is. All of this builds up to an absolute cosmic gut-punch of an ending (or endings, there are several) that completely changed the way I felt about the game up until that point. In the end, it becomes something much, much bigger than it once seemed, and the feelings were almost overwhelming. I cant stop thinking abut it. By now Ive played Look Outside many hours beyond what a typical run would be, just picking apart every detail and turning over every stone to try and figure out all the secrets, reach all the conclusions. I have died in all sorts of strange ways, and lived to see wildly different fates pan out. I went into this only with the expectation of cool art and a relatively unique approach to survival horror, and came away shook from what turned out to be one of the best cosmic horror games Ive played in a while, maybe ever. Look Outside, published by Devolver Digital, is only available on Steam for now, but I sure hope it makes its way to other platforms soon so more people can experience it. This article originally appeared on Engadget at https://www.engadget.com/gaming/look-outside-is-an-unexpected-cosmic-horror-masterpiece-that-shook-me-to-the-core-171542211.html?src=rss
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Anthropic is joining the ranks of OpenAI in offering a more expensive tier of its flagship chatbot. On Wednesday, the company announced Claude Max. Starting today, you can either pay $100 or $200 per month to use Claude up to 5x or 20x more than you can with Anthropic's existing Pro plan. The company told Engadget it's introducing the Max tier in response to the popularity of Claude 3.7 Sonnet. The new hybrid reasoning model, which excels at coding tasks, has been so popular with users, many are asking to use it as much as they want. With tokens for Claude 3.7 Sonnet costing significantly more than what Google and others charge for access to their lightweight models, Anthropic isn't quite ready to offer unlimited usage of the new model. However, you'll find even OpenAI's $200 per month Pro plan has its own set of restrictions, with monthly limits imposed on "very compute intensive" features like Deep Research. Part of the reason Anthropic is offering two different price points at the Max tier is so that it can give flexibility to customers as their needs change. Additionally, those same users will gain priority access to new models and capabilities as Anthropic releases them.This article originally appeared on Engadget at https://www.engadget.com/ai/anthropics-max-plan-offers-nearly-unlimited-claude-usage-for-200-per-month-170032710.html?src=rss
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