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Create Wes Roth - Luma AI Stuns the ENTIRE Industry Transcript.txt
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Wes Roth - Luma AI Stuns the ENTIRE Industry Transcript.txt
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| 1 |
+
0:00
|
| 2 |
+
so you've seen the insane text to video
|
| 3 |
+
0:02
|
| 4 |
+
AI models coming out open AI Sora was
|
| 5 |
+
0:05
|
| 6 |
+
probably the best looking one yet but
|
| 7 |
+
0:07
|
| 8 |
+
not available to the public another next
|
| 9 |
+
0:09
|
| 10 |
+
gen model that made its appearance was
|
| 11 |
+
0:11
|
| 12 |
+
called cing but we had to have a Chinese
|
| 13 |
+
0:14
|
| 14 |
+
mobile number to use it so I think a lot
|
| 15 |
+
0:17
|
| 16 |
+
of us assume that we're not going to see
|
| 17 |
+
0:19
|
| 18 |
+
the top-of-the-line AI video models
|
| 19 |
+
0:21
|
| 20 |
+
anytime soon at least ones that we can
|
| 21 |
+
0:23
|
| 22 |
+
get a Hands-On ones we can
|
| 23 |
+
0:26
|
| 24 |
+
use but Lumi makes an appearance and
|
| 25 |
+
0:30
|
| 26 |
+
it's good really good but most
|
| 27 |
+
0:33
|
| 28 |
+
importantly it's available to use now
|
| 29 |
+
0:36
|
| 30 |
+
well it looks like everyone on the
|
| 31 |
+
0:37
|
| 32 |
+
planet is trying it out right now so the
|
| 33 |
+
0:39
|
| 34 |
+
demand is SK High it took me oh about 3
|
| 35 |
+
0:43
|
| 36 |
+
hours to generate this one prompt so
|
| 37 |
+
0:46
|
| 38 |
+
expect to give it a day or two before it
|
| 39 |
+
0:47
|
| 40 |
+
can start generating stuff on the fly
|
| 41 |
+
0:50
|
| 42 |
+
but let me show you some stuff it can do
|
| 43 |
+
0:52
|
| 44 |
+
some of this stuff will be somewhat not
|
| 45 |
+
0:54
|
| 46 |
+
safe for work if you know what I mean
|
| 47 |
+
0:57
|
| 48 |
+
and the last one will be straight up
|
| 49 |
+
1:00
|
| 50 |
+
scary like horror movie scary it's
|
| 51 |
+
1:03
|
| 52 |
+
called the tales from the other side
|
| 53 |
+
1:06
|
| 54 |
+
I'll leave that one for last in case
|
| 55 |
+
1:07
|
| 56 |
+
you're watching this alone at night in
|
| 57 |
+
1:11
|
| 58 |
+
the dark because I'm going to say it now
|
| 59 |
+
1:14
|
| 60 |
+
ai generated horror fakes have the
|
| 61 |
+
1:16
|
| 62 |
+
potential to be the scariest things
|
| 63 |
+
1:18
|
| 64 |
+
we've ever seen here's another YouTube
|
| 65 |
+
1:21
|
| 66 |
+
Creator in the AI space his channel is
|
| 67 |
+
1:24
|
| 68 |
+
theoretically media and he got Early
|
| 69 |
+
1:26
|
| 70 |
+
Access to this I'll leave a link to his
|
| 71 |
+
1:29
|
| 72 |
+
video down below but he was able to do
|
| 73 |
+
1:31
|
| 74 |
+
some image to video so for example
|
| 75 |
+
1:34
|
| 76 |
+
creating an image in mid journey and
|
| 77 |
+
1:36
|
| 78 |
+
then animating that with Luma Ai and he
|
| 79 |
+
1:39
|
| 80 |
+
was also able to create some scenes from
|
| 81 |
+
1:41
|
| 82 |
+
his own prompts so this I think is a
|
| 83 |
+
1:44
|
| 84 |
+
really good non cherry-picked example of
|
| 85 |
+
1:48
|
| 86 |
+
what Luma AI can do here it is if you
|
| 87 |
+
Early Access Showcase
|
| 88 |
+
1:52
|
| 89 |
+
ever played Hitman this is your chance
|
| 90 |
+
1:54
|
| 91 |
+
to recreate that as your very own movie
|
| 92 |
+
1:56
|
| 93 |
+
Very Dynamic very action-packed the
|
| 94 |
+
1:59
|
| 95 |
+
second version from that same prompt um
|
| 96 |
+
2:01
|
| 97 |
+
you know obviously per prompt you get
|
| 98 |
+
2:03
|
| 99 |
+
two generations uh yielded this as a
|
| 100 |
+
2:05
|
| 101 |
+
result and yes while there is some
|
| 102 |
+
2:08
|
| 103 |
+
decoherence and so each time it
|
| 104 |
+
2:10
|
| 105 |
+
generates two different ones so I got to
|
| 106 |
+
2:12
|
| 107 |
+
say that first one is very very good I
|
| 108 |
+
2:15
|
| 109 |
+
mean the fingers right the hands are a
|
| 110 |
+
2:18
|
| 111 |
+
nightmare but I mean it does look like
|
| 112 |
+
2:20
|
| 113 |
+
he's looking down the sights of the gun
|
| 114 |
+
2:21
|
| 115 |
+
that he's shooting in the prompt they St
|
| 116 |
+
2:23
|
| 117 |
+
that the Assassin should be bald which
|
| 118 |
+
2:26
|
| 119 |
+
it nailed I got to say it's pretty good
|
| 120 |
+
2:28
|
| 121 |
+
there it is he's shooting the gun
|
| 122 |
+
2:30
|
| 123 |
+
leaning around the corners I love it
|
| 124 |
+
2:32
|
| 125 |
+
next is Pirates of the Caribbean or
|
| 126 |
+
2:35
|
| 127 |
+
something like it right so some sort of
|
| 128 |
+
2:37
|
| 129 |
+
a adventure on a pirate
|
| 130 |
+
2:41
|
| 131 |
+
ship pretty cool and this is possibly
|
| 132 |
+
2:44
|
| 133 |
+
one of my favorites so this is uh an
|
| 134 |
+
2:46
|
| 135 |
+
image that he made so he made a static
|
| 136 |
+
2:48
|
| 137 |
+
image I'm not sure if it was mid Journey
|
| 138 |
+
2:50
|
| 139 |
+
but taking that image and adding it into
|
| 140 |
+
2:52
|
| 141 |
+
Luma Ai and the dream machine is what
|
| 142 |
+
2:55
|
| 143 |
+
this thing is called so Luma AI is the
|
| 144 |
+
2:56
|
| 145 |
+
company this is the dream machine this
|
| 146 |
+
2:58
|
| 147 |
+
is what it does so you can you can see
|
| 148 |
+
3:00
|
| 149 |
+
here it animates the movements she's
|
| 150 |
+
3:02
|
| 151 |
+
looking kind of keeping eyes on the
|
| 152 |
+
3:05
|
| 153 |
+
camera and one thing that's very
|
| 154 |
+
3:06
|
| 155 |
+
interesting is that you're able to add
|
| 156 |
+
3:08
|
| 157 |
+
certain prompts to make it for example
|
| 158 |
+
3:11
|
| 159 |
+
for her to change positions so here's
|
| 160 |
+
3:13
|
| 161 |
+
one with her hands
|
| 162 |
+
3:15
|
| 163 |
+
folded that's what that looks like so
|
| 164 |
+
3:18
|
| 165 |
+
her folding her hands across her body
|
| 166 |
+
3:21
|
| 167 |
+
again the arms and everything else looks
|
| 168 |
+
3:24
|
| 169 |
+
insane and not very good but I got to
|
| 170 |
+
3:27
|
| 171 |
+
say the fact that you can say what the
|
| 172 |
+
3:29
|
| 173 |
+
position should be what the movement
|
| 174 |
+
3:30
|
| 175 |
+
should be and that gets animated from a
|
| 176 |
+
3:32
|
| 177 |
+
static image that's pretty exciting
|
| 178 |
+
3:34
|
| 179 |
+
right so I'll put the links down below
|
| 180 |
+
Dream Machine Features
|
| 181 |
+
3:36
|
| 182 |
+
so you can try this for yourself and in
|
| 183 |
+
3:38
|
| 184 |
+
a minute I'll show you the best of luma
|
| 185 |
+
3:41
|
| 186 |
+
Labs like the best Generations that it
|
| 187 |
+
3:44
|
| 188 |
+
can make so you can see what it's
|
| 189 |
+
3:46
|
| 190 |
+
capable of at if you're picking the best
|
| 191 |
+
3:48
|
| 192 |
+
examples so of course as you're
|
| 193 |
+
3:49
|
| 194 |
+
generating various examples various
|
| 195 |
+
3:51
|
| 196 |
+
samples some of them will be good some
|
| 197 |
+
3:54
|
| 198 |
+
of them will be bad so often times
|
| 199 |
+
3:55
|
| 200 |
+
picking the best shot will come down to
|
| 201 |
+
3:58
|
| 202 |
+
generating 100 shots with maybe slightly
|
| 203 |
+
4:00
|
| 204 |
+
different prompts and then picking out
|
| 205 |
+
4:02
|
| 206 |
+
the best ones that's similar to how we
|
| 207 |
+
4:05
|
| 208 |
+
often times approach mid journey and
|
| 209 |
+
4:06
|
| 210 |
+
these other things like magnific
|
| 211 |
+
4:08
|
| 212 |
+
upscaler you do multiple variations with
|
| 213 |
+
4:10
|
| 214 |
+
different parameters different settings
|
| 215 |
+
4:12
|
| 216 |
+
different prompts to hopefully capture
|
| 217 |
+
4:14
|
| 218 |
+
that perfect thing which is not too
|
| 219 |
+
4:16
|
| 220 |
+
dissimilar to how for example some
|
| 221 |
+
4:18
|
| 222 |
+
photographers approach photo shoots
|
| 223 |
+
4:20
|
| 224 |
+
right sometimes if you've ever seen a
|
| 225 |
+
4:22
|
| 226 |
+
professional photo shoot the
|
| 227 |
+
4:23
|
| 228 |
+
photographer will point the camera hold
|
| 229 |
+
4:24
|
| 230 |
+
down the button you hear that rapid
|
| 231 |
+
4:26
|
| 232 |
+
machine fire click that super fast
|
| 233 |
+
4:28
|
| 234 |
+
clicking of the camera as it's taking
|
| 235 |
+
4:30
|
| 236 |
+
dozens and dozens of shots and then
|
| 237 |
+
4:32
|
| 238 |
+
afterwards they go through it one by one
|
| 239 |
+
4:34
|
| 240 |
+
picking out the best ones some of the
|
| 241 |
+
4:36
|
| 242 |
+
newest phone cameras also do the same
|
| 243 |
+
4:38
|
| 244 |
+
thing right they take a little clip and
|
| 245 |
+
4:40
|
| 246 |
+
you can pick out the best the perfect
|
| 247 |
+
4:42
|
| 248 |
+
sort of still moment within that shot
|
| 249 |
+
4:43
|
| 250 |
+
and the reason that's important to
|
| 251 |
+
4:45
|
| 252 |
+
understand is because if you're trying
|
| 253 |
+
4:46
|
| 254 |
+
to produce something that's like
|
| 255 |
+
4:47
|
| 256 |
+
cinematic something that's like movie
|
| 257 |
+
4:49
|
| 258 |
+
quality yeah you might have to produce
|
| 259 |
+
4:52
|
| 260 |
+
hundreds of shots thousands perhaps have
|
| 261 |
+
4:54
|
| 262 |
+
some sort of a filtering process maybe
|
| 263 |
+
4:56
|
| 264 |
+
even do a little touch-ups here and
|
| 265 |
+
4:58
|
| 266 |
+
there but then once you put it together
|
| 267 |
+
5:00
|
| 268 |
+
the results can be stunning so let's
|
| 269 |
+
5:01
|
| 270 |
+
take a look at this and in a second I'll
|
| 271 |
+
5:03
|
| 272 |
+
show you what's possible if you're
|
| 273 |
+
5:04
|
| 274 |
+
willing to go through and find the best
|
| 275 |
+
5:06
|
| 276 |
+
shots so Luma labs and this is their
|
| 277 |
+
5:09
|
| 278 |
+
dream machine which is an AI model that
|
| 279 |
+
5:11
|
| 280 |
+
makes high quality realistic videos fast
|
| 281 |
+
5:13
|
| 282 |
+
from text and images So currently it's
|
| 283 |
+
5:15
|
| 284 |
+
taking they say 120 seconds to generate
|
| 285 |
+
5:17
|
| 286 |
+
One Clip but right now there's a huge CU
|
| 287 |
+
5:20
|
| 288 |
+
for how there a huge cue so it's taking
|
| 289 |
+
5:22
|
| 290 |
+
hours but you can see when it's in Q so
|
| 291 |
+
5:25
|
| 292 |
+
before it starts processing and they're
|
| 293 |
+
5:26
|
| 294 |
+
saying that it's a highly scalable and
|
| 295 |
+
5:28
|
| 296 |
+
efficient Transformer model train Direct
|
| 297 |
+
5:29
|
| 298 |
+
on videos making capable of generating
|
| 299 |
+
5:31
|
| 300 |
+
physically accurate consistent and
|
| 301 |
+
5:33
|
| 302 |
+
eventful shots and it sounds like they
|
| 303 |
+
5:35
|
| 304 |
+
will have more and more abilities to
|
| 305 |
+
5:38
|
| 306 |
+
customize the thing that you're trying
|
| 307 |
+
5:39
|
| 308 |
+
to capture as this thing gets rolled out
|
| 309 |
+
5:41
|
| 310 |
+
to more users they're going to be adding
|
| 311 |
+
5:42
|
| 312 |
+
these functionalities and it sounds like
|
| 313 |
+
5:44
|
| 314 |
+
there's a bit of a trade-off between how
|
| 315 |
+
5:46
|
| 316 |
+
eventful a shot will be versus
|
| 317 |
+
5:47
|
| 318 |
+
consistency versus how custom you want
|
| 319 |
+
5:49
|
| 320 |
+
it to be so if you want a long shot with
|
| 321 |
+
5:52
|
| 322 |
+
very specific things in it then it might
|
| 323 |
+
5:54
|
| 324 |
+
approach a point where the character on
|
| 325 |
+
5:56
|
| 326 |
+
the shot is not really doing anything
|
| 327 |
+
5:57
|
| 328 |
+
just standing still whereas if you let
|
| 329 |
+
5:58
|
| 330 |
+
it be a little bit creative I can go and
|
| 331 |
+
6:00
|
| 332 |
+
generate something with a lot of action
|
| 333 |
+
6:02
|
| 334 |
+
so there's a little bit of a trade-off
|
| 335 |
+
6:03
|
| 336 |
+
happening there we talked about this it
|
| 337 |
+
6:05
|
| 338 |
+
can create high quality video from both
|
| 339 |
+
6:08
|
| 340 |
+
text and images so you can upload your
|
| 341 |
+
6:10
|
| 342 |
+
favorite image and then have that be
|
| 343 |
+
6:12
|
| 344 |
+
brought to life so things incredibly
|
| 345 |
+
6:14
|
| 346 |
+
fast 120 frames in 120 seconds and here
|
| 347 |
+
6:18
|
| 348 |
+
they're talking about consistent
|
| 349 |
+
6:20
|
| 350 |
+
characters and this is something that I
|
| 351 |
+
6:21
|
| 352 |
+
did notice about the videos the
|
| 353 |
+
6:23
|
| 354 |
+
characters stay consistent dealing with
|
| 355 |
+
6:26
|
| 356 |
+
some of the previous text to video
|
| 357 |
+
6:28
|
| 358 |
+
models throughout the shop the character
|
| 359 |
+
6:30
|
| 360 |
+
can morph into something completely
|
| 361 |
+
6:33
|
| 362 |
+
different here whatever else you can say
|
| 363 |
+
6:35
|
| 364 |
+
I got to say they stay pretty consistent
|
| 365 |
+
6:37
|
| 366 |
+
there's still some glitches with the
|
| 367 |
+
6:38
|
| 368 |
+
fingers and hands but the character
|
| 369 |
+
6:40
|
| 370 |
+
doesn't like fundamentally flip and turn
|
| 371 |
+
6:43
|
| 372 |
+
into something completely different they
|
| 373 |
+
6:45
|
| 374 |
+
can also do a lot of the different
|
| 375 |
+
6:46
|
| 376 |
+
camera movements Zoom pan rotate Etc
|
| 377 |
+
6:50
|
| 378 |
+
that's going to be able to create a lot
|
| 379 |
+
6:52
|
| 380 |
+
of really stunning cinematic shots and
|
| 381 |
+
6:54
|
| 382 |
+
some like dramatic close-ups Etc the
|
| 383 |
+
6:57
|
| 384 |
+
fact that they can go from underwater to
|
| 385 |
+
6:58
|
| 386 |
+
above water with this little bear here
|
| 387 |
+
7:01
|
| 388 |
+
is uh pretty cool I got to say and I got
|
| 389 |
+
7:03
|
| 390 |
+
to give them credit for doing this so
|
| 391 |
+
7:05
|
| 392 |
+
they spell out their current limitations
|
| 393 |
+
7:07
|
| 394 |
+
right so they're saying what are we bad
|
| 395 |
+
7:09
|
| 396 |
+
at what is this model currently what
|
| 397 |
+
7:10
|
| 398 |
+
doesn't it do pretty well so morphing so
|
| 399 |
+
7:13
|
| 400 |
+
if a car has to morph into a different
|
| 401 |
+
7:15
|
| 402 |
+
color or a different car they're not
|
| 403 |
+
7:16
|
| 404 |
+
doing that too well quite yet movement
|
| 405 |
+
7:18
|
| 406 |
+
so this dog gliding along the the ground
|
| 407 |
+
7:21
|
| 408 |
+
so maybe if there's some sort of a
|
| 409 |
+
7:22
|
| 410 |
+
background foreground type of thing
|
| 411 |
+
7:23
|
| 412 |
+
maybe it's not that good text is
|
| 413 |
+
7:25
|
| 414 |
+
notoriously difficult to do for these
|
| 415 |
+
7:27
|
| 416 |
+
both image models and video models
|
| 417 |
+
7:30
|
| 418 |
+
and then Janis which I don't know what
|
| 419 |
+
7:32
|
| 420 |
+
that is I looked it up Janus it could be
|
| 421 |
+
7:35
|
| 422 |
+
referring to a god with two faces so
|
| 423 |
+
7:37
|
| 424 |
+
some sort of a two-faced deity so here
|
| 425 |
+
7:40
|
| 426 |
+
as you can see here's a polar bear maybe
|
| 427 |
+
7:42
|
| 428 |
+
the prompt was for it to have two front
|
| 429 |
+
7:44
|
| 430 |
+
ends two faces and basically I think
|
| 431 |
+
7:47
|
| 432 |
+
what you got to think of is like what
|
| 433 |
+
7:48
|
| 434 |
+
these models are trained on so if they
|
| 435 |
+
7:50
|
| 436 |
+
see tons of hours of footage of polar
|
| 437 |
+
7:52
|
| 438 |
+
bears they can reproduce a polar bear
|
| 439 |
+
7:55
|
| 440 |
+
how many hours of footage of two-headed
|
| 441 |
+
7:57
|
| 442 |
+
polar bears are there in the wild
|
| 443 |
+
7:58
|
| 444 |
+
probably not as many but the big message
|
| 445 |
+
8:01
|
| 446 |
+
here I think is that when Sora came out
|
| 447 |
+
8:04
|
| 448 |
+
there wasn't anything quite like it we
|
| 449 |
+
8:06
|
| 450 |
+
had pabs we had Runway ml they were good
|
| 451 |
+
8:10
|
| 452 |
+
but they weren't still a inspiring they
|
| 453 |
+
8:13
|
| 454 |
+
were they had that AI generated look so
|
| 455 |
+
8:15
|
| 456 |
+
you could make some cool things with it
|
| 457 |
+
8:17
|
| 458 |
+
some of the best stuff that I saw with
|
| 459 |
+
8:19
|
| 460 |
+
it lean more towards like mystical and
|
| 461 |
+
8:21
|
| 462 |
+
horror because just how weird the video
|
| 463 |
+
8:25
|
| 464 |
+
looked here I think we're definitely at
|
| 465 |
+
8:26
|
| 466 |
+
a point where a lot more thing SC be
|
| 467 |
+
8:29
|
| 468 |
+
done do you want something that's a
|
| 469 |
+
8:30
|
| 470 |
+
little bit more romantic do you want a
|
| 471 |
+
8:32
|
| 472 |
+
cinematic shot do you want an action
|
| 473 |
+
8:34
|
| 474 |
+
shot do you want like this whatever this
|
| 475 |
+
8:36
|
| 476 |
+
bear and Swine things are over here some
|
| 477 |
+
8:39
|
| 478 |
+
sort of a leather clawed badasses that
|
| 479 |
+
8:42
|
| 480 |
+
are walking away from an explosion like
|
| 481 |
+
8:44
|
| 482 |
+
you want to do that you can do that and
|
| 483 |
+
8:47
|
| 484 |
+
now we saw this sort of next step in in
|
| 485 |
+
8:49
|
| 486 |
+
these AI video models not just from Sora
|
| 487 |
+
8:52
|
| 488 |
+
which we couldn't get a hands- on
|
| 489 |
+
8:54
|
| 490 |
+
although people in the Hollywood have
|
| 491 |
+
8:55
|
| 492 |
+
been apparently have early access to it
|
| 493 |
+
8:57
|
| 494 |
+
and then we had cing which you had to
|
| 495 |
+
8:59
|
| 496 |
+
have a Chinese mobile number to use and
|
| 497 |
+
9:01
|
| 498 |
+
now finally this which now everyone can
|
| 499 |
+
9:05
|
| 500 |
+
use now you're limited to a certain
|
| 501 |
+
9:06
|
| 502 |
+
amount of generations here's the pricing
|
| 503 |
+
9:08
|
| 504 |
+
by the way so you get 3 free Generations
|
| 505 |
+
9:10
|
| 506 |
+
per month so each generation is two
|
| 507 |
+
9:13
|
| 508 |
+
different shots so two samples and you
|
| 509 |
+
9:15
|
| 510 |
+
can upgrade to have 120 Generations at
|
| 511 |
+
9:17
|
| 512 |
+
30 per month 400 at 100 bucks a month
|
| 513 |
+
9:20
|
| 514 |
+
and 2,000 Generations if you're willing
|
| 515 |
+
9:22
|
| 516 |
+
to Shell out 500 per month which again
|
| 517 |
+
9:25
|
| 518 |
+
if you're using this to create some sort
|
| 519 |
+
9:26
|
| 520 |
+
of features movies you're probably going
|
| 521 |
+
9:29
|
| 522 |
+
to need need that but with that said let
|
| 523 |
+
9:30
|
| 524 |
+
me show you some of the best of things
|
| 525 |
+
9:33
|
| 526 |
+
that people have created using this Luma
|
| 527 |
+
9:36
|
| 528 |
+
Labs dream machine if this was
|
| 529 |
+
9:37
|
| 530 |
+
interesting please make sure you're
|
| 531 |
+
9:39
|
| 532 |
+
subscribed because we're going to be
|
| 533 |
+
9:40
|
| 534 |
+
covering this in depth as soon as the
|
| 535 |
+
9:42
|
| 536 |
+
traffic demand dies down a little bit
|
| 537 |
+
9:44
|
| 538 |
+
and it's possible to generate these
|
| 539 |
+
9:46
|
| 540 |
+
videos we're going to be doing a deep
|
| 541 |
+
9:48
|
| 542 |
+
dive and seeing what's possible with
|
| 543 |
+
9:50
|
| 544 |
+
something like this seeing is it
|
| 545 |
+
9:52
|
| 546 |
+
possible to create our very own movie or
|
| 547 |
+
9:55
|
| 548 |
+
cartoon or anime of some sort so stay
|
| 549 |
+
9:58
|
| 550 |
+
tuned lots more than coming make sure
|
| 551 |
+
10:00
|
| 552 |
+
you're subscribed and enjoy
|
| 553 |
+
Demos and Showcases
|
| 554 |
+
10:04
|
| 555 |
+
[Music]
|
| 556 |
+
10:34
|
| 557 |
+
at this point life seemed to be a
|
| 558 |
+
10:37
|
| 559 |
+
NeverEnding
|
| 560 |
+
10:39
|
| 561 |
+
Circle again and
|
| 562 |
+
10:42
|
| 563 |
+
again I did the same
|
| 564 |
+
10:50
|
| 565 |
+
routine like that auto taxi that flies
|
| 566 |
+
10:53
|
| 567 |
+
round and round all changed when I met
|
| 568 |
+
10:57
|
| 569 |
+
her Yuki the shrin keeper she was trying
|
| 570 |
+
11:01
|
| 571 |
+
to stop the robot sent to destroy the
|
| 572 |
+
11:04
|
| 573 |
+
Tor I felt the urge to help her and
|
| 574 |
+
11:07
|
| 575 |
+
deactivated the
|
| 576 |
+
11:08
|
| 577 |
+
bot she thanked me and showed around the
|
| 578 |
+
11:11
|
| 579 |
+
shrine's
|
| 580 |
+
11:12
|
| 581 |
+
garden I knew the corporation would send
|
| 582 |
+
11:15
|
| 583 |
+
more Bots but at that moment nothing
|
| 584 |
+
11:18
|
| 585 |
+
else mattered only the shrine only Yuki
|
| 586 |
+
11:33
|
| 587 |
+
[Music]
|
| 588 |
+
11:41
|
| 589 |
+
[Applause]
|
| 590 |
+
11:44
|
| 591 |
+
[Music]
|
| 592 |
+
11:58
|
| 593 |
+
[Music]
|
| 594 |
+
12:12
|
| 595 |
+
[Music]
|
| 596 |
+
12:17
|
| 597 |
+
me
|
| 598 |
+
12:18
|
| 599 |
+
[Music]
|
| 600 |
+
13:10
|
| 601 |
+
[Music]
|
| 602 |
+
13:19
|
| 603 |
+
close your
|
| 604 |
+
13:23
|
| 605 |
+
eyes count
|
| 606 |
+
13:32
|
| 607 |
+
think of
|
| 608 |
+
13:36
|
| 609 |
+
home and
|
| 610 |
+
13:41
|
| 611 |
+
[Music]
|
| 612 |
+
13:44
|
| 613 |
+
open you're
|
| 614 |
+
13:46
|
| 615 |
+
never
|
| 616 |
+
13:48
|
| 617 |
+
[Music]
|
| 618 |
+
13:49
|
| 619 |
+
never coming home again
|
| 620 |
+
13:59
|
| 621 |
+
it's passed
|
| 622 |
+
14:02
|
| 623 |
+
[Music]
|
| 624 |
+
14:04
|
| 625 |
+
away it's gone
|
| 626 |
+
14:10
|
| 627 |
+
away it's
|
| 628 |
+
14:13
|
| 629 |
+
pass
|
| 630 |
+
14:16
|
| 631 |
+
[Music]
|
| 632 |
+
14:18
|
| 633 |
+
away it's
|
| 634 |
+
14:19
|
| 635 |
+
[Music]
|
| 636 |
+
14:27
|
| 637 |
+
gone hey my name is Abel and let me tell
|
| 638 |
+
14:32
|
| 639 |
+
you the story of
|
| 640 |
+
14:36
|
| 641 |
+
[Music]
|
| 642 |
+
14:44
|
| 643 |
+
f on the other side the other side you
|
| 644 |
+
14:51
|
| 645 |
+
never know
|
| 646 |
+
15:04
|
| 647 |
+
desperate wondering soul will come my
|
| 648 |
+
15:07
|
| 649 |
+
friend
|
| 650 |
+
15:13
|
| 651 |
+
for
|
| 652 |
+
15:18
|
| 653 |
+
the you never
|
| 654 |
+
15:26
|
| 655 |
+
[Music]
|
| 656 |
+
15:33
|
| 657 |
+
[Music]
|
| 658 |
+
|