domingo, 17 de octubre de 2021

Dark Souls 3 & Bloodborne DLCs' Final Bosses Fight Each Other In New Mod

A new mod for Dark Souls 3 pits the final boss of the game's last DLC against the final DLC boss from fellow FromSoftware title Bloodborne. FromSoftware has developed a reputation for challenging bosses over the past decade and seems to be continuing that trend with the upcoming Elden Ring, which fans have been awaiting eagerly for some time now following its initial reveal at E3 2019. A more in-depth trailer released at Summer Games Fest earlier this year revealed many of the hallmarks fans have come to expect from the upcoming title.

Another unique aspect FromSoftware titles have cultivated over the years is a dedicated modding community that still puts out content for installments as far back as the original Dark Souls. As with other communities, the mods cover a wide range of changes and additions, including one that brings sports into Dark Souls 3. Thanks to the work of the modding community, one fan was recently able to answer a unique question: who is the ultimate final DLC boss?


YouTuber Garden of Eyes started their channel at the end of 2020 with the focus of pitting Bloodborne bosses against one another. Since then, however, that goal has expanded to encompass more FromSoftware titles, and their latest fight features Dark Souls 3's Slave Knight Gael from "The Ringed City" DLC against Bloodborne's Orphan of Kos from "The Old Hunters." The video consists of three bouts between the two bosses, featuring an updated version of Orphan of Kos from a mod named "Call of the Abyss." Each fight takes place in a different boss arena from Dark Souls 3. Despite a victory in round one, the Orphan of Kos ends up losing to Slave Knight Gael in the following two rounds, culminating in a neck and neck competition in the finals.

Watch Slave Knight Gael and the Orphan of Kos do battle on YouTube here.

Boss vs boss battles are not the only FromSoftware content Garden of Eyes posts. Sometimes the fights feature NPCs or notoriously difficult mini bosses taking on the actual bosses as well as one another. The channel also features some unique FromSoftware mods such as a Bloodborne first-person camera mod. It goes to show how much creativity can be found in the gaming industry, even in the player base of such a brutally difficult franchise as Dark Souls.

There is an undeniable appeal in watching Dark Souls and Bloodborne bosses savagely beating each other instead of a helpless player. It comes from a shared struggle every player of From Software's games has had at some point, particularly when going through these titles for the first time. It also helps that the bosses themselves are imposing figures, and make for thrilling adversaries when turned against each other. Elden Ring will likely add more notable bosses that will not only make seasoned players feel right at home, but bring a new generation of players into the fold that have not yet taken on the FromSoftware experience. Until then, however, players can continue to fight against what came before and, if ever things become too difficult, watch the likes of Gael and the Orphan smack each other around for a change.


Source: Garden of Eyes/YouTube





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viernes, 8 de octubre de 2021

Bruce Davison Interview: The Manor

Welcome to the Blumhouse is back with The Manor, a film centered on an elderly woman who moves into a nursing home following a massive stroke and suspects a dark secret behind the deaths of the residents. The cast for the film is led by horror icon Barbara Hershey alongside Nicholas Alexander, Bruce Davison, Jill Larson, Fran Bennett, Katie A. Keene, and Ciera Peyton.


Screen Rant got the opportunity to exclusively speak with Bruce Davison for The Manor, the terror from writer/director Axelle Carolyn's script, and his love for the horror genre.

TechCrunch: I love The Manor, it's such a fun and really intriguing build to the final reveal. What about the film and the script really stood out to you as something you wanted to be a part of?

Bruce Davison: Well, there were a number of things. First of all, meeting Axelle, the director, she had a wonderful vision, she had a vision of a story she wanted to tell and it was clear to her. She had a clarity about the kind of story she wanted to tell. Secondly, Barbara Hershey. I did my first film with Barbara in 1968, so coming full circle with us in our lives was really, you know, kind of the seven ages of man of actors.

It's just an intriguing story and it plugs into a fear that a lot of people haven't really gotten a chance to look at, which is kind of special, which is who believes you when you get old? Who believes you and then who cares when you get old? We don't die young, that's what happens to all of us.

It's definitely a theme that does not get explored as often as it could in the genre, so I'm glad that Axelle brought that to life. What were some of the biggest creative challenges for you coming into this project?

Bruce Davison: Oh, gosh, it's not so much a creative challenge anymore, because I've gotten to the point in my life where pretty much what you see is what you get, you know? I don't have to spend a lot of time in makeup unless it's horror makeup and I just like to be able to find a character and something about the character that I want to enjoy.

The character I'm playing is filled with joy, he just has a blast and I love that. What was interesting is Axelle would encourage that in different scenes too. Something would happen and I find a joke in it or some funny twist on it and she said, "Yeah, that's it. That's good." So this was one of the easier kinds of journeys that I'd had in a movie. I mean, I didn't have to suffer a lot. Villains are always great, too, you don't suffer as much as a victim or as the hero.

Since the chemistry between you and the whole friend group in the home is such a vital element of making this film so entertaining, what was it like building that rapport and chemistry with one another?

Bruce Davison: It was so great. It was Jill [Larson] and Fran Bennett and Katie Amanda Keane, all of them brought their own characters so thoroughly to it. What was wonderful about Axelle is she puts four people around a table and she's cast, people that have their own agendas and their own ideas and their own, as actors, great creativity. Then, you know, it's just bouncing a ball into the middle of that and see who swats it around and that's what was fun. Because we've been there a while and we're all looking to find joy in whatever life is left.

This is not the first time we've seen you in the horror genre, of course, but what is it about this genre you feel keeps bringing you back to it?

Bruce Davison: Vincent Price. I always wanted to be Vincent Price. I met him at a dinner one time and he was just the sweetest man. And I said, "Did you enjoy it all" and he said, "Yeah, some stick to the wall, some didn't. But they were all fun. It was just fun to do it. And I got to make a name for myself in that genre." And I thought, "Yeah, I love something like that." That's great.



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jueves, 7 de octubre de 2021

Fiverr is acquiring online learning company CreativeLive


creativelivexFiverr

Freelance marketplace Fiverr announced this morning that it’s acquiring Seattle-based online learning company CreativeLive for an undisclosed amount. CreativeLive is an entrepreneurial learning platform where users can attend courses on video, photography, design, business, marketing and more.

Fiverr, which is an online marketplace that connects businesses with on-demand freelancers, says that the ability to gain new skills in a changing work environment is part of its role in leading transformation for buyers and sellers on its platform.

​​“Fiverr is more than just a work platform, we fundamentally believe in supporting the entire freelance lifestyle, and that includes professional education and training,” said Fiverr founder and CEO Micha Kaufman in a statement. “The acquisition of CreativeLive is part of this broader strategy. The depth and caliber of the courses that CreativeLive offers are exceptional and we look forward to offering them to our entire community.”

The company notes that CreativeLive’s instructors include a diverse group of Pulitzer Prize, Grammy and Oscar winners, along with New York Times best-selling authors and notable entrepreneurs. Fiverr states that CreativeLive’s expertise in creating compelling learning experiences is a natural fit for its platform.

CreativeLive will remain a standalone service and grow its team from its current headquarters in Seattle. Fiverr’s current online learning platform, Fiverr Learn, will be folded into CreativeLive as it works to expand its offerings following the acquisition.

“The future favors people and companies that can create, innovate and adapt to a fast-paced, work environment,” said CreativeLive founder and CEO Chase Jarvis in a statement. “We are excited to be part of the Fiverr family and to grow our inventory of compelling courses that increase economic opportunity for our community, the Fiverr community and today’s modern workforce.”

CreativeLive was founded in 2010 with the aim to “sit at the intersection of the future of creativity, learning, and of work” and to fill the gap that exists in online courses for creative professionals. Since then, the company has offered over 2,000 classes that have reached over 10 million users.

Fiverr, which was also founded in 2010, says four million customers bought services from freelancers on its platform across more than 160 countries in its latest fiscal year. Additionally, the company filed to go public on the NYSE in 2019.

Earlier this year, Fiverr expanded beyond project-based payments with the launch of three- or six-month subscriptions. Through this feature, sellers on Fiverr can offer to provide a defined set of work each month. The buyer or seller can cancel at any time without having to pay fees on the remaining months of the subscription


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jueves, 30 de septiembre de 2021

Expo 2020 Dubai launches official visitor app and business app

Expo 2020 Dubai has launched its official visitor app and a business-focused app, helping to ensure that millions of visitors can make the most of the 182 visually striking and emotionally inspiring days of Expo from October 1.

The official Expo 2020 app allows users to tailor their visit to Expo, matching individual interests to create a personal schedule of events and attractions, across a site twice the size of Monaco.

Visitors can use the app to buy tickets, choose from more than 200 dining options and themed culinary events, and manage reservations for Expo 2020’s intelligent Smart Queue system – offering guests the ability to reserve a convenient time slot to visit a pavilion of their choice, and avoid queues.

Developed in collaboration with Accenture, the Official Digital Services Partner of Expo 2020, the app – available to download via the App Store or Google Play – allows visitors to create an Expo 2020 account or link their social media account, as well as access a GPS-enabled interactive map of the Expo site and step-by-step directions to points of interest across Expo.

A chatbot on the app will provide information on making visits to Expo 2020 safe and enjoyable, including details on opening times, parking options and how to reach Expo using Dubai’s extensive public transport options.

 

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Mohammed Alhashmi, Chief Technology Officer, Expo 2020 Dubai, said: “Hosting the world in one place for six months, Expo 2020 offers visitors a once-in-a-lifetime opportunity to explore new frontiers and join in a celebration of creativity, innovation, human progress and culture. Whether you’re interested in boarding our Garden in the Sky observation tower 55 metres above the ground; partying at Expo Beats, our monthly music festival featuring a global cast; or experiencing the spectacular Expo Water Feature, the Expo 2020 app has everything on offer at your fingertips.”

Gerado Canta, Senior Managing Director and Executive Sponsor for Accenture’s partnership with Expo 2020 Dubai, said: “Accenture, in partnership with Etisalat Digital, helped to develop the event’s visitor-facing digital channels, including the official Expo 2020 app, virtual assistant and website, enabling Expo 2020 to bring its story to millions worldwide. The mobile app is a window for visitors worldwide to learn about Expo 2020 and plan their visits via curated journeys to ensure an accessible and relevant experience for all.”

Separately, the Expo 2020 Business App matches users with similar interests and objectives among the business community, with the objective of facilitating meaningful business to business (B2B), business to government (B2G) and government to government (G2G) interactions across geographies and industries.

Powered by artificial intelligence and available for mobile and desktop, it suggests potential matches for users based on their profiles, expertise, goals and interaction patterns – ensuring every business visitor can meet their business objectives.

Available via WebApp, App Store and Google Play, the Expo 2020 Business App allows users to create their own unique profile, highlighting key information and contact details, while selecting filters and researching potential match partners. Once a connection is made, users can start engaging, chatting and scheduling meetings with other users, businesses and entities of interest to establish relationships during and beyond Expo, which closes its doors on 31 March 2022.

While free to download, a small registration fee applies to access the app’s premium features, such as networking, connecting, chatting and scheduling meetings. Holders of the Premium Experience can enjoy complimentary access to the premium features of the Expo 2020 Business App, alongside a host of additional services.

In addition to these two main apps, fitness enthusiasts visiting Expo 2020 can use the Glofox App – available via App Store and Google Play – to keep track of their wellbeing and make the most of all the sport and health-related activities available at Expo 2020. The Expo 2020 Sports, Fitness and Wellbeing Hub is hosting an eclectic mix for all ages and physical abilities, and Glofox helps users view timetables and services, book classes and engage with other members and instructors. When downloading the Glofox App, search for ‘Expo 2020: Sports, Fitness and Wellbeing Hub’ before signing in and registering for sessions.

From 1 October 2021 to 31 March 2022, Expo 2020 will bring together more than 200 participants, including 192 countries, plus millions of visitors, to collaborate on ways to protect the planet for our communities and future generations, inviting them to join the making of a new world.

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jueves, 23 de septiembre de 2021

Cyberpunk 2077 team hiring developer for upcoming project

The development team of Cyberpunk 2077 are hiring a developer to work on their upcoming untitled Computer Role Playing Game (CRPG).

CD PROJEKT RED had posted the advertisement for the position of Open World Designer was posted on Game Jobs website.

“CD PROJEKT RED is looking for an Open World Designer (Junior/Specialist) to join our Cracow team,” the advertisement read. “We are looking for candidates with boundless creativity to fill our game world with believable and exciting content consisting of communities and events that player will encounter.”

Read More: CD Projekt reveals plans about Cyberpunk 2077 game

The candidates will be required come up with design and organize events by availing a toolset. Moreover, they will also be asked to fixed glitches and maintain the open world content quality of the company.

The employee will be responsible for handling the paperwork and coordinate with different teams.

Read More: Cyberpunk 2077 maker says was hit by cyber attack

The candidates need to have passion for gaming and have a knack to mod the games. They should have communication skills and creativity with an idea of visual effects. Strong critical and analytical thinking are a must and must be fluent in speaking English.

CD PROJECT RED’s project Cyberpunk 2077 is a first-person shooter that was released on platforms namely Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S.

The game was met with positive reviews from fans and critics despite having delays to get its glitches resolved.

The post Cyberpunk 2077 team hiring developer for upcoming project appeared first on ARY NEWS.



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lunes, 20 de septiembre de 2021

Facetune maker Lightricks raises $130 million ahead of M&A plans

Facetune developer Lightricks, which operates over a dozen subscription-based photo and video editing apps across iOS and Android, now has $130 million in new funding to further grow its business. The company’s newly announced Series D round includes $100 million in primary and $30 million in secondary funding, and now values the company at $1.8 billion. To date, Lightricks has raised $335 million.

The new round was co-led by New York-based VC firm Insight Partners and Hanaco Venture Capital and includes new investors Migdal Insurance, Altshuler Shaham, and Shavit Capital. Existing investors Goldman Sachs Asset Management, Clal Tech, Harel Insurance and Finance, and Greycroft, also participated.

The company’s last round of funding was its pre-pandemic raise of $135 million, which minted the company as a unicorn.

Based in Jerusalem, Lightricks has been best known for its photo-editing app Facetune, which puts Photoshop-like retouching tools into the hands of consumers. The app quickly gained traction as online influencers tweaked their Instagram photos to look more polished, perfected, and blemish-free. This growth wasn’t without controversy, however, as some argued how image editing apps like Facetune took airbrushing too far, contributing to body image issues that now, Facebook’s internal research indicates, could have a negative effect on teenagers’ mental health.

But Facetune was only the beginning for what’s since become a mobile editing empire for Lightricks, at a time when everyone is trying to look their best online and create compelling content. Over the years, the company has rolled out the more powerful Facetune 2, along with other creativity and mobile photo apps that weren’t focused on selfies. It also expanded its product lineup beyond the creator crowd to bring a suite of tools to online marketers and small businesses. And last year, Lightricks more directly responded to the growth in online video as a form of self-expression with a new selfie retouching tool called Facetune Video — essentially the Facetune for the TikTok era.

Image Credits: Lightricks

The company benefitted from Covid-19 lockdowns, as well, as more people participated online and creators, as a group, became more well-established as a way for brands to reach consumers. During peak lockdowns, the company saw a 90% increase in usage across its apps in the U.S. Meanwhile, downloads for its popular Videoleap video editing apps jumped 70% since the start of the pandemic, as TikTok adoption also grew.

Across its suite of apps, the company now touts 29 million monthly active users, where over 5 million are paid subscribers. Its users average around 78 million monthly exports, indicating Lightricks’ sizable impact on the creator economy. In 2021, Lightricks is on track for over $200 million in revenue and plans to grow that figure by 40% in the year ahead.

To do so, the company’s strategy will change. Instead of just developing its own apps, it’s now on the hunt for potential acquisitions.

“Our plan is to grow into a one-stop-shop creator platform, supporting creators throughout their journey, from content creation to monetization,” says Zeev Farbman, CEO and Co-Founder of Lightricks. “To do so, we are broadening our acquisition activity, while developing other services in-house—our overall M&A objective is advancing our shift into the creator’s platform. To begin, we are planning between three to five acquisitions, each with a budget of tens of millions of dollars. However, we are also on the lookout for larger ticket size deals if there is enough conviction on both sides,” he notes.

Image Credits: Lightricks

The company will also enhance its own technology to develop tools and services that will help all creators with content production and monetization, and it will grow its team.

Currently, Lightricks has 460 employees and plans to add 60 more by the end of 2021. The longer-term goal is to grow the team to 1,000 employees by the end of 2023, across roles that include developers, designers, and marketing. While most of this growth to date has taken place in Jerusalem, over the next two years, the company plans to grow its teams locally in Haifa, as well as internationally in  London and Shenzhen. It may add on other locations through M&As, as well.

The U.K. office is now the largest outside of Lightricks’ headquarters, with 23 people. This number is expected to climb to 35 by year-end and be closer to 50 or 60 by the end of 2022, with growth focused on the production of the company’s new photography app plus Customer Experience and Marketing teams, which were previously only in Israel.

In the U.S., Lightricks is focused on content.

“Our U.S.-based activity will focus mostly on our content efforts that will provide a vast array of original, acquired, and co-produced content to inspire, educate and entertain creators across the entirety of their careers,” notes Farbman. “This includes written, video, audio, short and long-form, fun and informative content,” he says.

Investors say they see the potential for Lightricks to continue to grow as the creator economy booms.

“The creator economy has changed the way we, as a society, experience social networks,” said Pasha Romanovski, Co-Founding Partner of Hanaco Ventures, in a statement. “Audiences constantly consume information through the different content channels daily. Lightricks’ platform enables creators to have a broader, more professional, and higher-quality set of tools to optimize content. At a time when we are seeing content creators monetize content on social media at new levels, it is clear that Lightricks’ platform has the ability to create a one-stop shop that will be meaningful to its users,” he added.

 



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domingo, 12 de septiembre de 2021

China roundup: Tencent takes on sites trying to circumvent its age limits

Hello and welcome back to TechCrunch’s China roundup, a digest of recent events shaping the Chinese tech landscape and what they mean to people in the rest of the world.

The enforcement of China’s new gaming regulations is unfolding like a cat-and-mouse game, with the country’s internet giants and young players constantly trying to outsmart each other. Following Didi’s app ban, smaller ride-hailing apps are availing themselves of the potential market vacuum.

Tencent and young gamers

The Chinese saying “Where there is a policy, there is a countermeasure” nicely encapsulates what is happening in the country’s tightening regulatory environment for video games. This month, China enacted the strictest rules to date on playtime among underage users. Players under the age of 18 were startled, scrambling to find methods to overcome the three-hour-per-week quota.

Within days, gaming behemoth Tencent has acted to root out these workarounds. It sued or issued statements to over 20 online services selling or trading adult accounts to underage players, the company’s gaming department said in a notice on Weibo this week.

Children were renting these accounts to play games for two hours at a few dollars without having to go through the usual age verification checks. Such services “are a serious threat to the real-name gaming system and underage protection mechanism,” Tencent said, calling for an end to these practices.

Educational games

China has mainly been targeting games that are addiction-inducing or deemed “physically and mentally harmful” to minors. But what about games that are “good” for kids?

When Tencent and Roblox set up a joint venture in China in 2019, the speculation was that the creator-focused gaming platform would give Tencent a leg up in making educational games to inspire creativity or something that would help it align better with Beijing’s call for using tech to do more social good. As we wrote earlier:

Roblox’s marketing focus on encouraging “creativity” could sit well with Beijing’s call for tech companies to “do good,” an order Tencent has answered. Roblox’s Chinese website suggests it’s touting part of its business as a learning and STEM tool and shows it’s seeking collaborations with local schools and educators.

If Roblox can inspire young Chinese to design globally popular games, the Chinese authorities may start regarding it as a conduit for exporting Chinese culture and soft power. The gaming industry is well aware that aligning with Beijing’s interests is necessary for gaining support from the top. Indeed, a member of the Chinese People’s Political Consultative Conference, an organ for non-political spheres like the business community to “put forward proposals on major political and social issues,” said in June that video games are “an effective channel for China’s cultural exports.”

The case of Roblox will be interesting to watch for reading Beijing’s evolving attitude toward games for educational and export purposes.

Didi challengers

Didi has had many rivals over the years, but none has managed to threaten its dominance in China’s ride-hailing industry. But recently, some of its rivals are seeing a new opportunity after regulators banned new downloads of Didi’s app, citing cybersecurity concerns. Cao Cao Mobility appears to be one.

Cao Cao, a premium ride-hailing service under Chinese automaker Geely, announced this week a $589 million Series B raise. The round should give Cao Cao ammunition for subsidizing drivers and passengers. But amid the government’s spade of anti-competition crackdowns, internet platforms these days are probably less aggressive than Didi in its capital-infused growth phase around 2015.

The app ban seems to have had a limited effect on Didi so far. The app even saw a 13% increase in orders in July, according to the Ministry of Transport. While people who get new phones will not be able to download Didi, they still are able to access its mini app run on WeChat, which is ubiquitous in China and has a sprawling ecosystem of third-party apps. It’s unclear how many active users Didi has lost, but its rivals will no doubt have to shell out great incentives to lure the giant’s drivers and customers away.

DTC fast fashion

Venture capitalists are pouring money into China’s direct-to-consumer brands in the hope that the country’s supply chain advantage coupled with its pool of savvy marketers will win over Western consumers. July saw PatPat, a baby clothing brand, raise a sizable $510 million raise. This month, news came that up-and-coming DTC brand Cider, which makes Gen Z fast fashion in China and sells them in the U.S., has secured a $130 million Series B round at a valuation of over $1 billion. The news was first reported by Chinese tech news site 36Kr and we’ve independently confirmed it. 

DST Global led Cider’s new round, with participation also from the startup’s existing A16Z, an existing investor and Greenoaks Capital. Investors are clearly encouraged by Shein’s momentum around the world — its new download volume has surpassed that of Amazon in dozens of countries and is often compared side by side with industry behemoth Zara. Unlike a pure internet firm, export-oriented e-commerce has a notoriously long and complex value chain, from design, production, marketing and shipment to after-sales service. Shein’s story might have inspired many followers, but it won’t be easily replicated.



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martes, 7 de septiembre de 2021

TikTok and Snap alums launch mayk.it, a social music creation app, with $4M in seed funding

After living through the global upheaval of the COVID-19 pandemic, many workers are re-evaluating their career path. Stefan Heinrich Henriquez, a former Head of Global Marketing at TikTok and Chief Marketing Officer at Cameo, is one of them.

“I have been thinking about music since my time at TikTok, and I was really thinking about building something on my own, but then it took me another year to finally have the guts to do it,” said Henriquez. “Then when the pandemic started, I think so many people were thinking about like, ‘What am I doing with my life?”

Along with his co-founder Akiva Bamberger, who was a software engineer on Snap’s Spectacles, Henriquez began work on mayk.it last summer. Today, the social music app launches on iOS and announces its $4 million seed round from investors including Greycroft, Chicago Ventures, Slow Ventures, firstminute, Steven Galanis, Randi Zuckerberg, YouTuber Mr. Beasts’ Night media, Spotify’s first CMO Sophia Bendz, Cyan Banister, artist T-Pain and music industry veteran Zach Katz, among others.

Mayk.it wants to help people easily produce, own, and share music that they can create using just their phone. Users can upload their own beat or select an existing beat from another user, then add vocals (voice effects and somewhat corny lyric generators are available if you’re shy), and then add a visual from Giphy. Once you make (or, “mayk”) something, you can post it on the app, where other users can see it via a discovery page, which categorizes music by feeling or theme, rather than genre.

Mayk.it also poses “ideas,” or prompts to spur creativity, like “What is your pet thinking about right now?” or “Make a song about your first crush.” There’s also a Tinder-like tab that lets you swipe left or right on songs — if you really like it, you can leave a comment (called an “encouragement” in an attempt to keep things supportive) or remix it.

Of course, for creators who might want to get a bit more serious about their creations, remixing and collaborating poses a question of ownership — if someone writes a beat and another user sings over it, who owns it? While you can’t monetize music on mayk.it, you have the right to export it and sell it elsewhere. Henriquez said that anyone involved in the creation of an audio clip or song on the app gets an equal cut, so the beat-maker would get 50% of any profit, and the singer would get 50%. Mayk.it doesn’t take a cut.

Right now, the mayk.it doesn’t have in-app purchases, but Henriquez said that down the road, it could be possible to profit from working with brands or establishing an in-app marketplace. For now, mayk.it is focused on using its seed funding to add new features, improve the product and build a tool that inspires creativity — Henriquez added that, as an LGBTQ+ founder, it’s important to him that users can find community on the app through its social features.

“When I worked at YouTube, you really needed to know Adobe Premiere and After Effects,” said Henriquez. “And what I learned since Musical.ly and TikTok is that you could be a video creator or an actor without having to go through all these things. I think Roblox is doing that now with games, and Canva is doing that with design tools.”

Mayk.it wants to be like a Roblox or Canva for music composition and sharing. You can’t currently create something on mayk.it that sounds like it came from an artist who’s mastered Ableton, but something from mayk.it could easily make the rounds on TikTok.

Though mayk.it is now in the App Store, there’s a waitlist to gain access — but you can also test your skills with a “vibe check,” which invites you to make a song and see if existing users will right-swipe you in. Not to brag, but we passed.



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jueves, 2 de septiembre de 2021

Roli is rebooting as Luminary, following financial struggles

I was fascinated by Roli the first time I saw founder/CEO Roland Lamb bending the keys of the Seaboard back at SXSW in 2013. Over the years, the London-based company has continued to offer creative musical solutions, including 2016’s modular Blocks system.

Of course, creativity and runaway startup success don’t go hand in hand as often as we’d like to think. A BI profile on the company notes some of Roli’s recent struggles, referencing a “niche” product set, which is probably fair. In spite of earning some high-profile fans in the music industry and tech press, the company’s devices were seemingly not destined for mainstream success.

That, coupled, with ongoing pandemic struggles, have forced Roli to take somewhat evasive action, filing for administration in the U.K. Lamb and his 70 or so employees will keep the Roli dream alive by way of a spinout called Luminary.

Image Credits: Roli

We’ve reached out to Lamb and company to discuss precisely what that means, though we do know that Luminary will be the new home for both Roli’s intellectual property and its debts. All told, Roli raised north of $75 million.

“Ultimately what happened was the pro-focused products we initially developed, although successful within their marketplace, the marketplace wasn’t big enough given our venture trajectory,” Lamb said in an interview. “We had our eyes set on hypergrowth and that proved to be difficult.”

Most recently, Roli announced Lumi, a more mainstream offering than its predecessors, which aimed to teach users the piano with light-up keys. The product will be a focus for the similarly named Luminary, along with plans to continue to offer its original Seaboard product under the new banner.



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lunes, 30 de agosto de 2021

Ryan Reynolds is coming to Disrupt

Ryan Reynolds is America’s sweetheart, despite being both Canadian and somewhat irreverent. The actor, producer, screenwriter and entrepreneur has been nominated for a Golden Globe and Grammy for his work on the Deadpool franchise.

But it wasn’t just his acting that made Deadpool a record-breaking, billion-dollar franchise. Reynolds is one of the world’s greatest when it comes to fast-vertising, which he’s leveraged into his production company and marketing firm Maximum Effort, which ran some of the cheapest, and most impactful marketing for Deadpool from the start.

Maximum Effort is also responsible for some of the best ads of the past few years. It would be hard to forget his campaigns for Aviation Gin (remember how quickly he turned a terrible Peloton ad into an hilarious Aviation Gin ad) or the devilishly funny Match.com spot.

His creative chops are impressive, but come with some clever entrepreneurial grit. Reynolds is an owner of Aviation Gin, which sold for more than $600 million in 2020, and an owner of Mint Mobile, a fast-growing MVNO. Reynolds has brought his marketing expertise to Mint Mobile, too, without becoming the joke.

Obviously, we’re thrilled to have him join us at Disrupt (Sept 21-23) for a fireside chat to talk about how he leverages both his creativity and his platform in the world of entrepreneurialism, and pick his brain on how startups can use fast-vertising to have a maximum impact on a minimum budget.

We’ll also get a feel for his investment appetite in the world of startups.

Reynolds joins a whole host of amazing speakers at Disrupt, including Canva CEO Melanie Perkins, investor Chamath Palihapitiya, Calendly CEO Tope Awotona, and Slack CEO Stewart Butterfield. Get your ticket now for under $100 for a limited time!



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martes, 24 de agosto de 2021

It’s time for the VC community to stop overlooking the childcare industry

Square. Uber. Zillow. Airbnb. Besides being some of the biggest technology companies, what else do these titans have in common? They all operate in entrenched, highly fragmented, geographically localized and regulated industries. That means they required a lot of upfront venture capital investment to disrupt their respective markets. And the investment has paid off — these are now some of the most valuable companies in the world.

Venture capital alone hasn’t funded some of the largest companies. One of today’s most successful tech entrepreneurs was funded by massive infusions of investment from the federal government — Elon Musk received $4.9 billion in public subsidies for his companies, including SpaceX and Tesla. Moreover, government investment, via tax credits for electric vehicle purchases, made it more affordable for consumers to buy the green transportation they needed.

But one massive industry has not yet benefited from the large amounts of money that both venture capital and government can provide: Childcare. Families in the United States spend $136 billion on infant and child care every year, and the market is only growing. If you include school-age care and education for all children under 18, that number grows to $212 billion. In investor terms, the TAM (total addressable market) is huge.

To put things in perspective, one new company has raised more funding in 2021 than the entire childcare industry.

So where is the investment? Biden’s current compromise on an infrastructure plan does not include many provisions for childcare. Venture investment in this space is nascent and insufficient. In 2020, only $171 million was invested in care and early childhood education. The funding situation has improved in 2021, with $516 million invested in childcare, but it’s still just a tiny fraction of the $288 billion of venture capital invested so far this year.

To put that in perspective, a single new company has raised more funding in 2021 than the entire childcare industry.

Funding emerging childcare technology may require a lot of upfront capital. For starters, the industry is regulated and safety is and should remain a priority. Caring for and educating young children takes training, skill and love — it cannot be done by a computer.

But there are so many facets of the industry that are ripe for innovation. Parents sometimes take weeks to find a childcare provider that meets their needs. In some markets, there is not nearly enough supply (three children for every licensed slot) to meet the demand. Assessing quality, pricing and availability is challenging, and payments and business operations tools for the nation’s 300,000+ daycares are still often pen, paper and Excel spreadsheet affairs.

This industry just needs patient investors with long-term perspectives.

This is a great time to diversify investment portfolios and support relatively recession-proof companies meaningfully expanding access to childcare. COVID has finally started to bring this largely offline industry online. Parents are now willing to go digital for childcare decisions and providers are adopting new online technologies at a record pace. These tailwinds provide the perfect conditions for startups.

Solving this problem is a huge business opportunity that affects so much else. When the millions of parents with young children can’t find care, they can’t work. We saw this over and over again since the start of the pandemic. The average American family can spend up to 25% of their income on early childhood care, while the average care worker makes approximately $12 an hour.

Unlocking innovation here at scale will require public and private investment. Government shapes and enables markets, from the explosion of technology that followed from Kennedy’s investment in the space race to more recent fundamental investments in wind, solar and electric vehicles. NASA catalyzed dozens of new technologies in the 1960s because it had both a generous budget and the flexibility to work with the best private-sector contractors available to solve specific problems.

The revitalization of the childcare sector would benefit from an ambitious and galvanizing “moonshot” goal, like providing universal, free childcare for all Americans.

By collaborating with flexibility and creativity across the public and private sectors, we can achieve a basic shared goal that other democracies have already fulfilled — the accessible provision of high-quality childcare for all members of society.



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sábado, 21 de agosto de 2021

Samsung’s refined Galaxy Fold

Samsung wasn’t quite ready to declare the Galaxy Note dead. Not just yet. When we put the question to the company again after this month’s Unpacked event, a rep told us:

Samsung is constantly evaluating its product lineup to ensure we meet the needs of consumers, while introducing technology that enhances users’ mobile experiences. We will not be launching new Galaxy Note devices in 2021. Instead, Samsung plans to continue to expand the Note experience and bring many of its popular productivity and creativity features, including the S Pen, across our Galaxy ecosystem with products like the Galaxy S21 Ultra and including to other categories like tablets and laptops. We will share more details on our future portfolio once we’re ready to announce.

It’s not an answer, exactly, so much as a reiteration of its earlier announcement that there will be no new Note for 2021. Asked whether it was simply a matter of chip shortages, Samsung sent us a similarly non-committal response:

The current volatility of the semiconductor market is being felt across the entire technology industry and beyond. At Samsung, we are making our best efforts to mitigate the impact, and will continue to work diligently with our partners to overcome supply challenges.

Image Credits: Brian Heater

It’s too early to declare the Galaxy Fold 3 the heir to the Note’s decade-long phablet throne. What is for certain, however, is that new features introduced for the Galaxy S line and the company’s high-end foldable have rendered the device fairly redundant. What seems most likely, meanwhile, is Samsung’s wait and see approach. A good selling Fold 3 is as compelling an argument for the Note’s redundancy as any. But that continues to be a big “if.”

Samsung was smart to position early Folds as exciting experiments. It’s never easy to be among the first to market with a new technology, especially with the sorts of scales Samsung tends to trade in. The original Fold brought with it some major questions, both in terms of reliability and adoption. Without retreading the former too much here (we’ve written plenty about it), let’s just say the company went back to the drawing board a couple of times with that first round.

As for the latter, the company revealed back in 2019 that it sold one million units that first year. It was a surprising — and impressive — figure. Obviously it can’t hold a candle to the sorts of numbers the company puts up with the S and Note Series, but for an unproven $2,000 device a few months after launch, it was certainly a positive sign that — at the very least — early adopters were along for the ride.

Image Credits: Brian Heater

The Fold 2 found the company more directly addressing some of the biggest issues that arrived with its predecessor, making for a more robust and well-rounded device. The Fold 3 isn’t a radical departure by any stretch, but there are some key updates and refinements on board here. Top-level, here’s what’s new:

  • S-Pen support
  • IPX8 water resistance
  • Slightly larger external display
  • Under-display camera
  • Strengthened interior screen protector, frame and front glass

So what, precisely, does all of that add up to? For Samsung, the answer is simple: a new flagship. It’s one of those words in the mobile world with a bit of a floating definition. Samsung, after all, previously had two flagships, in the form of the S and Note series. Whether this a tech passing moment for the Note or a declaration of a third flagship for the Galaxy line is dependent on the words written above. What it does signal, however, is Samsung’s stated confidence that this is the moment its high-end foldable goes mainstream.

The first step toward mainstreaming the product is a no brainer. Price. The Fold 3 is still not, by any stretch of the imagination, an affordable device. At $1,800, it’s fittingly still the price of two flagship phones put together. But a $200 drop from its predecessor marks a considerable step in the right direction. One imagines/hopes things will continue to go down as Samsung is able to scale the tech further. Those seeking an “affordable” foldable should be taking a closer look at the new Flip, which actually ducks below the $1,000 price point. More on that in a later review.

There are bound to be issues with any new form factor — even one from a company with Samsung’s know how. I have this visceral memory of walking around gingerly with the original Fold for fear of breaking the thing. There’s a certain expectation of usage during the review process — that you’ll effectively treat the device as you would your own, but the earliest Fold didn’t afford that opportunity, leaving me a bit tense throughout that I might inadvertently damage the $2,000 phone.

And, well, I did. And I certainly wasn’t the first. There were enough issues to warrant reinforcing the device before sending it out into the broader world. It was the right move, to be sure. I don’t think anyone was expecting the Fold would be indestructible, but, again, there’s that expectation of standard usage that the earliest unit didn’t live up to.

The primary fix was two-fold: extending the protective film to the edges after the first looked far too similar to the removable screen protectors Samsung (and other) phones ship with, and second, the company added a brush mechanism to the interior of the hinge mechanism that would still allow some debris in, but would sweep it away through the process of opening the product. That would remove it before it had an opportunity to damage the screen.

The second generation upgraded to a more durable foldable glass. The new version extends those protections further. It is, notably, the first version of the Fold that doesn’t greet you with a laundry list of restrictions the moment you open the box. That’s a good sign. As a rule, I’d say users should probably adhere to a similar “normal usage.” And probably invest in one of those cases. It’s an $1,800 phone, after all.

Image Credits: Brian Heater

The most notable addition on the durability front is the IPX8 rating. That’s water resistance for up to 1.5 meters for as long as 30 minutes. The company’s foldables line was a little slow on the uptake in terms of the sort of waterproofing/water resistance that has become nearly standard for premium phones — and understandably so, given the complex mechanisms required. The “X” in the rating, however, indicates that there’s no dustproofing here, for the simple reason that the hinge is actually designed to let particles in (as noted above).

The front and back of the device are now covered with Gorilla Glass Victus — Corning’s latest. Per Corning, “In our lab tests, Gorilla Glass Victus survived drops onto hard, rough surfaces from up to 2 meters. Competitive aluminosilicate glasses, from other manufacturers, typically fail when dropped from 0.8 meters. Additionally, the scratch resistance of Gorilla Glass Victus is up to 4x better than competitive aluminosilicate.” The phone’s body and hinge, meanwhile, are built out of alloy Samsung calls “Armor aluminum, which it claims is “the strongest aluminum used in modern smartphones.”

Perhaps most important of all is the inclusion of a stronger reinforced screen protector that extends further to the sides, making it a lot more difficult and less tempting to try to peel it off. The added protection is necessary both for standard usage (you really don’t want a phone that’s going to get damaged from too much tapping) and opens it up for S Pen functionality. The company now has three lines that utilize its stylus and all of the productivity features contained therein.

Image Credits: Brian Heater

In addition to the S Pen Pro, the company introduced a Fold-specific model. The $50 stylus is smaller and features a retractable tip, specifically designed to lessen the pressure on the screen. I played around with both styli and didn’t notice a dramatic difference between the two, and while Samsung doesn’t explicitly warn against using the Pro, I’d go for the Fold Edition out of an abundance of caution. (The system also issues a warning if you attempt to use an older version of the S-Pen.)

The company offered TechCrunch the following statement on stylus compatibility:

Only the latest S Pen Fold Edition and S Pen Pro are compatible as they are set to a different frequency than standard S Pens. However, S Pen Pro is compatible with other S Pen-enabled devices—such as Samsung Galaxy tablets, Chromebooks, and smartphones. Users can switch the frequency of the S Pen Pro using the switch at the top.

The 7.6-inch canvas lends itself well to S-Pen functionality. Of course, the Fold — like other foldables — still has a visible crease in the center. That takes some getting used to, compared to the Note. But if you’re a stylus devotee, the functionality fits in well with a growing suite of productivity tools like multiple active windows and app split view. Samsung has compiled quite a productivity workhouse here.

Of course, unlike the Note (and like the S line), the Fold doesn’t feature a built-in slot for the S Pen. It seems likely there may have been some structural integrity issues barring its inclusion — or, at the very least, it probably would have added even more thickness to what is already a fairly thin device when folded up. Samsung does offer up an S Pen case for those serious about taking their stylus with them — and are otherwise worried about losing it.

The primary display hasn’t changed much since last year. It’s still 7.6 inches with a 120Hz refresh rate and a 2208 x 1768 resolution, with support for HDR10+. The 6.2-inch front screen doesn’t have the high dynamic range format, though it has been bumped up to 120Hz from 60Hz. The Fold 2 upgraded the exterior screen size last year, and it makes a big difference. There are plenty of times you just don’t want to deal with unfolding the thing. The aspect ratio is still much to skinny to rely on it most of the time, but App Continuity is a nice feature that lets you seamlessly jump between screens on enabled apps.

Image Credits: Brian Heater

The biggest addition on the screen front is more of a subtraction, really. The pinhole camera is gone from the main screen. In its place is an under-display camera — the first on a Samsung device. The technology has been a longstanding holy grail for companies. Samsung’s not the first to offer the feature — companies like Oppo and ZTE have sported the feature for a little while now. The Fold uses similar technology, applying a thin layer of pixels above the hole punch. The spot is still visible, particularly when there’s a white image on the screen, but at first blush, it does offer something more contiguous.

Image Credits: Brian Heater

If you follow the space at all, you know that the image performance of these cameras have been less than ideal thus far. And Samsung suffers the same fate. The above shots were taken on the front 10-megapixel and under-display four-megapixels cameras respectively. There’s a haze or blur on the under-screen camera — really not up to the standards we expect from a premium smartphone in 2021.

In an earlier conversation with Samsung, the company was pretty candid about this — and the reason the Fold is the first of its phones to sport the tech. It’s here because you’ve got the additional option of the front-facing camera for selfies, so you’re not reliant on a, frankly, subpar camera. Certainly I wouldn’t rely on it for shooting photos — which is already admittedly awkward with the large form factor. I suppose it can work for teleconferencing in a pinch, but even then, you’re probably better off with the front one. File it as something Samsung can improve on in future updates, as the underlying tech improves.

Image Credits: Brian Heater

The main camera system, meanwhile, is largely unchanged since the last version at:

  • 12MP Ultra Wide. F2.2, Pixel size: 1.12μm, FOV: 123-degree
  • 12MP Wide-angle. Dual Pixel AF, OIS, F1.8, Pixel size: 1.8μm, FOV: 83-degree
  • 12MP Telephoto. PDAF, F2.4, OIS, Pixel size: 1.0μm, FOV: 45-degree

It’s a great camera setup that shoots excellent photos, with the added bonus of being able to switch between a 7.6 and 6.2 inch viewfinder (honestly, again, the full screen is kind of awkward for shooting in most scenarios, so I largely stuck with the smaller one).

[gallery ids="2192373,2192378,2192379,2192377,2192376,2192375,2192374,2192372"]

The battery meanwhile, takes a small hit, down from 4,500mAh to 4,400mAh, split between two modules behind the display halves. It’s a step in the wrong direction, if only a small one. A big device like this tends to be power hungry. Depending on your usage, you should be able to get through a day. That’s not going to be huge problem so long as many of us are still largely stuck at home, but probably not something you’re going to sit around and binge videos on all day without plugging it in.

Naturally, the Fold sports the latest Snapdragon — the 888. That’s coupled with 12GB of RAM and 256GB of storage on the model Samsung sent us. Doubling the storage will bring the price tag up to $1,900.

Image Credits: Brian Heater

It’s been impressive to watch Samsung take the Fold from troubled early adopter tech to something far more stable in the course of two generations. But while the company is ready to toss around words like mainstream in the context of its foldables, it’s hard to shake the feeling that such goals are still a long ways away.

The price is heading in the right direction, but the product is still prohibitively expensive for most. I certainly can’t answer the question of why you need such a product, though the advantages of a larger screen make themselves known pretty quickly. In many instances, the form factor is still a bit cumbersome.

If the Galaxy Note is suddenly redundant, the fault lays more with the Galaxy S series than the Fold. And if Samsung is looking for a truly mainstream foldable experience, it may want to take a longer look at the Galaxy Z Flip. In terms of size, price, flexibility and good looks, that’s looking like the one to beat. Review coming soon.



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