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❰𝗬𝘂𝗚𝗶𝗢𝗵 𝗧𝗵𝗲 𝗖𝗵𝗿𝗼𝗻𝗶𝗰𝗹𝗲𝘀❱ ‘Konami Animation' is flexing its creative muscles with a showcase of their YuGiOh animation prowess❗️ While it's an impressive display of talent, it's key to mention that, as of now, there's no official promise of a YuGiOh animation series. 📺 Video credit: Konami Animation ©スタジオ・ダイス／集英社・テレビ東京・KONAMI ©Konami... show more

YGO News

119,224 subscribers

129,681 views • 2 years ago •via X (Twitter)

Arts Gaming Science & Technology

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10 Comments

Nizzy2 years ago

The streets want this so bad bruh. The fallen of albaz lore would be the best lore to kick off their venture into animation

Alejandro Frank Rodriguez2 years ago

one thing I loved about the OG anime was when they got sucked into the virtual world and the cards were actual personalities. gonna love seeing more lore/mythology. Enough with the card battling seasons lets see this type of stuff!!!

指揮官Τιμ⚥🔞 PysOps Survivor, DDR OG, No More Tears2 years ago

Finally, I would love to see the storyline in which Dharc (男) would finally live with the main quartet of Wynn (女), Eria(女), Hiita(女), and Aussa(女). Goblin of Greed is the antagonist of their story.

Keith Siopes2 years ago

Please make a Yugioh animation like this

Yana Khetsu2 years ago

Please konami you can now do it

Don’t support Sweet Baby Inc.2 years ago

Can we please have anew Rush Duel video game in development released after the next 3~4 years? I love Yugioh in the realm of video games.

Honton2 years ago

@NichigoX

literally who🍯💗🦇2 years ago

It’s the Final Fantasy 7 PS3 tech demo all over again. People will be begging them to do this for years.

Hattan Alshutaifi2 years ago

Amazing I hope duel monsters has own anime series outside of card game anime series because the art style and animation look so stunning fascinating and brilliant

Nani2 years ago

Please give us actual lore like how Master duel does but in video form!

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jhey ʕ•ᴥ•ʔ

542,234 views • 2 years ago

I really hope you can understand the issue here. When you own a Xiaomi, Vivo, Huawei, or OPPO device, you'll notice this long-standing problem with Samsung's One UI: the back gesture feels sluggish and is prone to accidental touches. Compared to other operating systems, Samsung’s app return animation is noticeably slower and more laggy. Take a look at this video—it's a comparison between One UI 8.5 and OPPO's ColorOS 16. We have to admit there’s a gap between them. OPPO’s return animation is much smoother and more responsive, with no sense of delay. The animation path is consistent—wherever you open from, it returns along the same path. On the other hand, One UI 8.5 has serious issues. Its return animation path is inconsistent and doesn’t respond immediately. The touch input interferes with page scrolling in the Gallery app, causing photos to shift out of place. As you can see in the video, after a few attempts, the dog’s mouth becomes completely visible. In short, this subtly affects your user experience, even if you haven’t noticed it yet, or if you feel something is off but can’t pinpoint the cause. Now that I’ve identified the problem for you, I hope Samsung addresses it as soon as possible. By the way, this problem cannot be solved through Home Up.

I really hope you can understand the issue here. When you own a Xiaomi, Vivo, Huawei, or OPPO device, you'll notice this long-standing problem with Samsung's One UI: the back gesture feels sluggish and is prone to accidental touches. Compared to other operating systems, Samsung’s app return animation is noticeably slower and more laggy. Take a look at this video—it's a comparison between One UI 8.5 and OPPO's ColorOS 16. We have to admit there’s a gap between them. OPPO’s return animation is much smoother and more responsive, with no sense of delay. The animation path is consistent—wherever you open from, it returns along the same path. On the other hand, One UI 8.5 has serious issues. Its return animation path is inconsistent and doesn’t respond immediately. The touch input interferes with page scrolling in the Gallery app, causing photos to shift out of place. As you can see in the video, after a few attempts, the dog’s mouth becomes completely visible. In short, this subtly affects your user experience, even if you haven’t noticed it yet, or if you feel something is off but can’t pinpoint the cause. Now that I’ve identified the problem for you, I hope Samsung addresses it as soon as possible. By the way, this problem cannot be solved through Home Up.

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m3taversal

37,309 views • 1 year ago

Apple Maps 3d is insanely impressive now (see video below) Google on the other hand decided to build an insanely clunky solution to display 3d maps to avoid using mobile GPUs: A Google server streams (!) a live video of its 3d rendered map to you, the result is a disastrous: a super laggy and clunky 3d view full of video compression artefacts with a response time of 2-3 seconds for every movement And I know WHY they built that, someone felt it was not inclusive to only have 3d maps that are high performing on iOS because Apple's GPUs are insanely fast and can deal with it (as you can see below in Apple Maps) but they wanted to support inferior phones, I get it But then they also decided to worsen the experience for iOS users who could easily run 3d natively on its GPU It's just an insane product decision, there's no way to cut it: they could have super smooth 3d like Apple Maps but neutered it with a clunky live stream Even more insane because Google does have native 3d on iOS in a completely different app that nobody uses: Google Earth Is 3d important? Not rly for nav no but it shows again something about Google's engineering decisions, like the redesign of the Google OAuth Login screen that made zero sense Nobody is speaking up against bad ideas in Google meetings, everyone's too scared of HR maybe, it's the opposite of a meritocracy and it's just super visible from using Google products right now

Apple Maps 3d is insanely impressive now (see video below) Google on the other hand decided to build an insanely clunky solution to display 3d maps to avoid using mobile GPUs: A Google server streams (!) a live video of its 3d rendered map to you, the result is a disastrous: a super laggy and clunky 3d view full of video compression artefacts with a response time of 2-3 seconds for every movement And I know WHY they built that, someone felt it was not inclusive to only have 3d maps that are high performing on iOS because Apple's GPUs are insanely fast and can deal with it (as you can see below in Apple Maps) but they wanted to support inferior phones, I get it But then they also decided to worsen the experience for iOS users who could easily run 3d natively on its GPU It's just an insane product decision, there's no way to cut it: they could have super smooth 3d like Apple Maps but neutered it with a clunky live stream Even more insane because Google does have native 3d on iOS in a completely different app that nobody uses: Google Earth Is 3d important? Not rly for nav no but it shows again something about Google's engineering decisions, like the redesign of the Google OAuth Login screen that made zero sense Nobody is speaking up against bad ideas in Google meetings, everyone's too scared of HR maybe, it's the opposite of a meritocracy and it's just super visible from using Google products right now

@levelsio

1,488,981 views • 1 year ago

Gavin's takes on Microsoft, Google, Meta, & Amazon: Microsoft ($MSFT): "I like Satya, I admire him. He's an exceptional CEO, and I give him a lot of credit for the decisions he's made. But he did go from, "We're going to make Google dance," to being the product manager of Copilot in 3 years. The decision Satya is making now, which the market has punished him for, but I think is the right decision — who knows how fast Azure could be growing if they were willing to just sell GPUs to OpenAI. 'We're going to use our compute internally to make our own products better.' One reason Copilot was so bad, or has been so bad, is that there wasn't enough compute available. They're fixing that. He's making good decisions that are risky decisions, to position Microsoft for this world where frontier models are no longer API-accessible. It's a really courageous decision that I give him a lot of credit for. Microsoft probably would be an $800 stock today if they were using their GPUs to serve solely OpenAI and Anthropic's capacity instead of using them for their own products." Google ($GOOG): "Google was incredible last year because they had that TPU advantage, which is now gone. The reason I think they're still in a great position is they have the most compute of everyone. We talked about the value of installed bases being higher as a result of shortages — they have the biggest installed base of compute. Google I/O is this week. If they don't release something that even slightly leapfrogs OpenAI and/or Claude, that's interesting. It's not a disaster for Google, it's just interesting. Between the amount of data they have, the YouTube data, the amount of compute, the search business — Google's never not going to be in a good position. You see that with GCP going crazy." Meta ($META): "You've got to give Zuckerberg immense credit, for what he's done in terms of making Meta an AI-first company internally. He is the only one of those true internet giants to have done that. I give him a lot of credit for paying up when he did for contracts, that talent. And Muse was a really big upside surprise. It was the first model from MSL, and it's not on the Pareto frontier with xAI, Google's one entrant, OpenAI and Claude, but it's pretty close. That was very impressive to me. So Meta is in a better position — still not as strong of an absolute position as Google, but a better position." Amazon ($AMZN): "Amazon is in a really strong position because of Trainium. You're going to see real P&L efficiencies from robotics over the next 18 months in their retail business. I actually think Nova — their internal models are not where Muse is, but they're better than they get credit for. The two companies who are the most deeply engaged with startups are Amazon and Nvidia by a mile. It's going to end up being a pretty big advantage for Nvidia and Amazon — with Google right behind them — to have this engagement that you just don't see from these other hyperscalers."

Gavin's takes on Microsoft, Google, Meta, & Amazon: Microsoft ($MSFT): "I like Satya, I admire him. He's an exceptional CEO, and I give him a lot of credit for the decisions he's made. But he did go from, "We're going to make Google dance," to being the product manager of Copilot in 3 years. The decision Satya is making now, which the market has punished him for, but I think is the right decision — who knows how fast Azure could be growing if they were willing to just sell GPUs to OpenAI. 'We're going to use our compute internally to make our own products better.' One reason Copilot was so bad, or has been so bad, is that there wasn't enough compute available. They're fixing that. He's making good decisions that are risky decisions, to position Microsoft for this world where frontier models are no longer API-accessible. It's a really courageous decision that I give him a lot of credit for. Microsoft probably would be an $800 stock today if they were using their GPUs to serve solely OpenAI and Anthropic's capacity instead of using them for their own products." Google ($GOOG): "Google was incredible last year because they had that TPU advantage, which is now gone. The reason I think they're still in a great position is they have the most compute of everyone. We talked about the value of installed bases being higher as a result of shortages — they have the biggest installed base of compute. Google I/O is this week. If they don't release something that even slightly leapfrogs OpenAI and/or Claude, that's interesting. It's not a disaster for Google, it's just interesting. Between the amount of data they have, the YouTube data, the amount of compute, the search business — Google's never not going to be in a good position. You see that with GCP going crazy." Meta ($META): "You've got to give Zuckerberg immense credit, for what he's done in terms of making Meta an AI-first company internally. He is the only one of those true internet giants to have done that. I give him a lot of credit for paying up when he did for contracts, that talent. And Muse was a really big upside surprise. It was the first model from MSL, and it's not on the Pareto frontier with xAI, Google's one entrant, OpenAI and Claude, but it's pretty close. That was very impressive to me. So Meta is in a better position — still not as strong of an absolute position as Google, but a better position." Amazon ($AMZN): "Amazon is in a really strong position because of Trainium. You're going to see real P&L efficiencies from robotics over the next 18 months in their retail business. I actually think Nova — their internal models are not where Muse is, but they're better than they get credit for. The two companies who are the most deeply engaged with startups are Amazon and Nvidia by a mile. It's going to end up being a pretty big advantage for Nvidia and Amazon — with Google right behind them — to have this engagement that you just don't see from these other hyperscalers."

Invest Like the Best

52,492 views • 2 months ago

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

37,206 views • 1 year ago

// finding the balance between real and believable similar to my previous post of the "Hell Pig" (Entelodont specifies) - this is an Ankylosaur battle idle standoff. - Breaking rules In games, more than films, you can get away with breaking a lot of rules. Here's a couple just for fun. 1. The shell: it's not suppose to flex, it's just like a turtles shell. 🐢 2. the feet: every step has a little slide. With the weight of this creature, I'm pretty sure there would be no sliding whatsoever. - Why break the rules? Cause it's FUN! 🤣- I mean seriously, video game animation gives you the most freedom to exaggerate and do things that normally don't happen in real life! In order to push the performance, you have to pick and choose a few spots that you can cheat. Besides, if the general weight/timing of the creature is good and the cheating isn't over the top, you're eyes will believe that the motion is accurate! ;) - Bonus info: In my previous post I mentioned we had 3 days to animate these battle idle standoffs. But what I forgot to mention in that I had a lot of practice on many quad creatures before jumping on these. We also had pre-production where where we tested out the rigs so that we could get comfortable with them.

// finding the balance between real and believable similar to my previous post of the "Hell Pig" (Entelodont specifies) - this is an Ankylosaur battle idle standoff. - Breaking rules In games, more than films, you can get away with breaking a lot of rules. Here's a couple just for fun. 1. The shell: it's not suppose to flex, it's just like a turtles shell. 🐢 2. the feet: every step has a little slide. With the weight of this creature, I'm pretty sure there would be no sliding whatsoever. - Why break the rules? Cause it's FUN! 🤣- I mean seriously, video game animation gives you the most freedom to exaggerate and do things that normally don't happen in real life! In order to push the performance, you have to pick and choose a few spots that you can cheat. Besides, if the general weight/timing of the creature is good and the cheating isn't over the top, you're eyes will believe that the motion is accurate! ;) - Bonus info: In my previous post I mentioned we had 3 days to animate these battle idle standoffs. But what I forgot to mention in that I had a lot of practice on many quad creatures before jumping on these. We also had pre-production where where we tested out the rigs so that we could get comfortable with them.

John Animates

26,304 views • 2 years ago

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎

// a few thoughts on remote work for animators (especially important for aspiring animators) my story: let's rewind the clock back to this animation. You're looking at a very rare 17 year old gameplay prototype animation done for the next gen Prince of Persia series at the time. What crazy about this clip is that it was done by 1 animator in a couple days. I literally saw it animated from start to end with my own eyes. The animation quality in this clip is off the charts, especially when you take into account the animations being released during that era. Now imagine me, in my squeaky chair, swiveling around every few hours to feast my eyes on this animator's dual 27-inch ViewSonic CRT screens. There was an air of magic in those moments, seeing the Prince of Persia coming to life only a few meters from my desk. When I would turn back to try and resume my work, my first thoughts were always "how the heck is he animating so fast and so well!" - What's even more puzzling was how he had so much control over the 3dsmax Biped, it had NO friggen F-curves, for crying out loud! loll - who was this animator? The monitors I would stare at from my desk belonged to Emile Ghorayeb. Just search his name and you'll see his IMDB credits. He was THAT good back then so you can only imagine how insanely good he is right now! Today, he's a very good friend of mine that I love very much and we have a lot of wonderful industry related memories that we share! - why does going to the office matter? Every day going to the office, I'd be really excited to see my team and eager to see what Emile was working on! I couldn't wait to dive into my own animations, driven by the aspiration that one day, just maybe, I could reach a level of skill and finesse comparable to the incredible quality he brought to his animations. - conclusion Remote work is wonderful, don't get me wrong, it's given us all opportunities we would have never had before and I'm super grateful for it. That said, for next generation of talent that hasn't yet experienced it. Try and work from the office, if you can. In my opinion, it's the best place to learn, to get inspired and certainly the best place to make some wonderful friends that will be a part of your animation journey for life! Thanks for reading if you made it this far! ps. turn on the sound and enjoy this rare gem of animation! 💎

John Animates

101,426 views • 2 years ago

Make Art Not War: The Battle for Creativity It's Adobe's annual Max event in London today and scott belsky's spotlight on AI paints a clear picture: AI isn't just on Adobe's agenda, it is the agenda. Adobe has already scored a home run with generative fill in Photoshop, a feature now spawning entire categories of memes - including my own video, which surprisingly garnered a million views. However, Adobe's ambitions extend beyond still imagery. The Tanker Charges Towards Video At Max, Adobe's Chief Product Officer put an emphasis on AI video generation with Firefly Video. The tech tanker is charging full steam ahead to the next obvious modality for creation, leaving a wake of disruption for any upstarts bold enough to challenge it. The announcement isn't new, but it showcases the emphasis on new product development with a marked increase in the velocity we can expect from the creative tech behemoth. The company that defined the norms of video editing with Premiere, and motion graphics with After Effects, has now entered the realm of AI-powered creation. The wake-up call is clear - the tankers are moving fast. Goliath vs. The Upstarts This development spells a daunting challenge for the numerous start-ups that dared to dethrone Adobe in recent years. For plenty of use cases people have been asking: Why use Photoshop when you have MidJourney? Why use Premiere when you have Descript? Why use After Effects when you have Runway? These aspiring disruptors sought to chip away at Adobe's dominance by offering more specialized, user-friendly solutions - a process that can be characterized as the 'unbundling' of Adobe. Now, they face a head-to-head collision with the very Goliath they sought to topple. Creators' Toolkit: A New Addition But this imminent clash isn't just a tale of corporate competition. This is a story about the tools of creation and their impact on creators themselves and the very canvas of creation. The advent of Firefly, Adobe's AI-driven offering, reflects a broadening recognition of artificial intelligence as an integral part of the creator's toolkit. In other words, Adobe's massive ecosystem of creators needn't wade out into new waters to acquire AI capabilities -- they will simply be infused into the products they already know and (mostly) love, but more critically -- need to use every day to get creative stuff done. The Increasing Stickiness of Adobe's Tools The intersection of AI and creative tools like Photoshop's generative fill is transforming how creators perceive and interact with AI. When they encounter the innovative features of generative fill, they're not primarily thinking about the AI technology that powers it. Instead, they're marveling at the cool new tool that's now part of their beloved Photoshop. This immediate affinity for "Photoshop" masks the sophisticated technology behind it, essentially furthering Adobe's stronghold on the creative industry. Layer in Adobe's stance to training their AI models with sources like Adobe Stock that promise rock-solid data provenance, and you can see Adobe clearly wants to seem like the responsible adults in the room. After all Adobe elected not to put the Behance catalog to work, perhaps rightly so given the ethical backlash to the scraping Artstation imagery. Adobe's Thirty Something Conundrum But it's not all rainbows and sunshine. While Adobe sails ahead full steam, there's an intriguing conundrum waiting in the wings. With 30-year-old codebases forming the foundation of its most popular tools, Adobe faces a significant challenge: its software has back pain. But it's not just a technical problem -- it's also a philosophical one, akin to the ship of Theseus. Can Adobe modernize and refactor its code bases without sacrificing the essence that made these tools indispensable to creators? Can they innovate without alienating their long-time users who've grown accustomed to the 'Adobe way' of doing things? An Unexpected Solution? Interestingly, solutions might emerge from unexpected quarters. Perhaps it'll take an army of developers armed with GitHub Co-Pilot to alleviate Adobe's refactoring nightmare. By automating parts of the refactoring process, it could accelerate the evolution of Adobe's legacy tools, making them more adaptable to the rapidly progressing tech landscape while preserving their core functionality. In a twist of irony, the AI that's reshaping Adobe's offerings might just come to the rescue of its own legacy. As Adobe navigates these murky waters, opportunities are emerging for new entrants in the field. Startups might also find their moment to shine in the midst of Adobe's strategic and technological shifts. With their innovative approaches and less-encumbered platforms, they have the chance to offer alternative solutions to creators seeking novel, efficient, and intuitive tools. The Battle for Creativity The tech giant's journey through a massive transformation at a previously unfathomable speed will set the course for the next era of creative technology. Given the sheer ubiquity of Adobe tools today, it's by far the most common way creators will experience AI. But let's be honest -- this transformation will not be easy. The future of creative tech isn't written yet and as a growing line up of new entrants vie for the prize, one thing's for sure: it's going to be a darn good fight. Make Art Not War In the end, it is the creators who stand to gain the most. As Adobe and its competitors lock horns, they'll strive to deliver increasingly powerful, intuitive, and efficient tools. But, it's up to the creators themselves to harness these innovations. Only by embracing and mastering these new tools can they unlock their full creative potential. So what are you waiting for? Wield these new tools at your disposal and turn your imagination into reality. We are the architects of a new era of creative self expression. If you enjoyed this, drop a like and retweet. Follow Bilawal Sidhu for more writing on creative tech and AI.

Make Art Not War: The Battle for Creativity It's Adobe's annual Max event in London today and scott belsky's spotlight on AI paints a clear picture: AI isn't just on Adobe's agenda, it is the agenda. Adobe has already scored a home run with generative fill in Photoshop, a feature now spawning entire categories of memes - including my own video, which surprisingly garnered a million views. However, Adobe's ambitions extend beyond still imagery. The Tanker Charges Towards Video At Max, Adobe's Chief Product Officer put an emphasis on AI video generation with Firefly Video. The tech tanker is charging full steam ahead to the next obvious modality for creation, leaving a wake of disruption for any upstarts bold enough to challenge it. The announcement isn't new, but it showcases the emphasis on new product development with a marked increase in the velocity we can expect from the creative tech behemoth. The company that defined the norms of video editing with Premiere, and motion graphics with After Effects, has now entered the realm of AI-powered creation. The wake-up call is clear - the tankers are moving fast. Goliath vs. The Upstarts This development spells a daunting challenge for the numerous start-ups that dared to dethrone Adobe in recent years. For plenty of use cases people have been asking: Why use Photoshop when you have MidJourney? Why use Premiere when you have Descript? Why use After Effects when you have Runway? These aspiring disruptors sought to chip away at Adobe's dominance by offering more specialized, user-friendly solutions - a process that can be characterized as the 'unbundling' of Adobe. Now, they face a head-to-head collision with the very Goliath they sought to topple. Creators' Toolkit: A New Addition But this imminent clash isn't just a tale of corporate competition. This is a story about the tools of creation and their impact on creators themselves and the very canvas of creation. The advent of Firefly, Adobe's AI-driven offering, reflects a broadening recognition of artificial intelligence as an integral part of the creator's toolkit. In other words, Adobe's massive ecosystem of creators needn't wade out into new waters to acquire AI capabilities -- they will simply be infused into the products they already know and (mostly) love, but more critically -- need to use every day to get creative stuff done. The Increasing Stickiness of Adobe's Tools The intersection of AI and creative tools like Photoshop's generative fill is transforming how creators perceive and interact with AI. When they encounter the innovative features of generative fill, they're not primarily thinking about the AI technology that powers it. Instead, they're marveling at the cool new tool that's now part of their beloved Photoshop. This immediate affinity for "Photoshop" masks the sophisticated technology behind it, essentially furthering Adobe's stronghold on the creative industry. Layer in Adobe's stance to training their AI models with sources like Adobe Stock that promise rock-solid data provenance, and you can see Adobe clearly wants to seem like the responsible adults in the room. After all Adobe elected not to put the Behance catalog to work, perhaps rightly so given the ethical backlash to the scraping Artstation imagery. Adobe's Thirty Something Conundrum But it's not all rainbows and sunshine. While Adobe sails ahead full steam, there's an intriguing conundrum waiting in the wings. With 30-year-old codebases forming the foundation of its most popular tools, Adobe faces a significant challenge: its software has back pain. But it's not just a technical problem -- it's also a philosophical one, akin to the ship of Theseus. Can Adobe modernize and refactor its code bases without sacrificing the essence that made these tools indispensable to creators? Can they innovate without alienating their long-time users who've grown accustomed to the 'Adobe way' of doing things? An Unexpected Solution? Interestingly, solutions might emerge from unexpected quarters. Perhaps it'll take an army of developers armed with GitHub Co-Pilot to alleviate Adobe's refactoring nightmare. By automating parts of the refactoring process, it could accelerate the evolution of Adobe's legacy tools, making them more adaptable to the rapidly progressing tech landscape while preserving their core functionality. In a twist of irony, the AI that's reshaping Adobe's offerings might just come to the rescue of its own legacy. As Adobe navigates these murky waters, opportunities are emerging for new entrants in the field. Startups might also find their moment to shine in the midst of Adobe's strategic and technological shifts. With their innovative approaches and less-encumbered platforms, they have the chance to offer alternative solutions to creators seeking novel, efficient, and intuitive tools. The Battle for Creativity The tech giant's journey through a massive transformation at a previously unfathomable speed will set the course for the next era of creative technology. Given the sheer ubiquity of Adobe tools today, it's by far the most common way creators will experience AI. But let's be honest -- this transformation will not be easy. The future of creative tech isn't written yet and as a growing line up of new entrants vie for the prize, one thing's for sure: it's going to be a darn good fight. Make Art Not War In the end, it is the creators who stand to gain the most. As Adobe and its competitors lock horns, they'll strive to deliver increasingly powerful, intuitive, and efficient tools. But, it's up to the creators themselves to harness these innovations. Only by embracing and mastering these new tools can they unlock their full creative potential. So what are you waiting for? Wield these new tools at your disposal and turn your imagination into reality. We are the architects of a new era of creative self expression. If you enjoyed this, drop a like and retweet. Follow Bilawal Sidhu for more writing on creative tech and AI.

Bilawal Sidhu

72,192 views • 3 years ago

A 20 YEAR OLD IS PULLING $30,000 A MONTH PRODUCING CHILDREN'S CARTOONS. SHE HAS NO ANIMATORS. SHE DOES NOT DRAW. SHE IS RUNNING A MEDIA EMPIRE FROM HER BEDROOM. She posts a video telling her viewers they could be driving Lamborghinis. She says her secret is YouTube automation. She specifically targets the children's niche because the videos get millions of views and require zero original thought. She doesn't hire a creative team. She uses an AI platform called Swagga. She opens YouTube and finds a baby show that is already going viral. She copies the transcript of the video. She pastes the transcript into Swagga's chat and types one sentence: "Make me a prompt for a similar video." The AI acts as her art director. It breaks down the viral video and writes a hyper-detailed prompt to recreate it. She copies the prompt. She switches to the video generator. She selects the Sora model. She hits generate. Three minutes later, she has a fully rendered, broadcast-ready 3D animation. It is perfectly optimized for toddlers. She didn't write it. She didn't animate it. She just copied and pasted a transcript. She uploads the video to YouTube, TikTok, and Instagram. The algorithms push it to millions of iPads. The ad revenue rolls in. A traditional animation studio spends months and a small fortune to produce one episode. She spends three minutes and zero dollars. The traditional creator economy is obsessed with talent. The ghost economy is obsessed with leverage. Most people will watch her video and think it's a scam. A few will open a new tab.

A 20 YEAR OLD IS PULLING $30,000 A MONTH PRODUCING CHILDREN'S CARTOONS. SHE HAS NO ANIMATORS. SHE DOES NOT DRAW. SHE IS RUNNING A MEDIA EMPIRE FROM HER BEDROOM. She posts a video telling her viewers they could be driving Lamborghinis. She says her secret is YouTube automation. She specifically targets the children's niche because the videos get millions of views and require zero original thought. She doesn't hire a creative team. She uses an AI platform called Swagga. She opens YouTube and finds a baby show that is already going viral. She copies the transcript of the video. She pastes the transcript into Swagga's chat and types one sentence: "Make me a prompt for a similar video." The AI acts as her art director. It breaks down the viral video and writes a hyper-detailed prompt to recreate it. She copies the prompt. She switches to the video generator. She selects the Sora model. She hits generate. Three minutes later, she has a fully rendered, broadcast-ready 3D animation. It is perfectly optimized for toddlers. She didn't write it. She didn't animate it. She just copied and pasted a transcript. She uploads the video to YouTube, TikTok, and Instagram. The algorithms push it to millions of iPads. The ad revenue rolls in. A traditional animation studio spends months and a small fortune to produce one episode. She spends three minutes and zero dollars. The traditional creator economy is obsessed with talent. The ghost economy is obsessed with leverage. Most people will watch her video and think it's a scam. A few will open a new tab.

ZER

100,261 views • 9 days ago

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 1ST MERCH DROP!!! StarlightDaryl 🎵✨🔭 🔜 Found Futures 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 1ST MERCH DROP!!! StarlightDaryl 🎵✨🔭 🔜 Found Futures 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

WUNDER RiKU 🎵🪽 Songwriter | WONDERLaND ELATION💿

38,394 views • 5 months ago