ClarityCut AI Unveils New Creative Engine for Branded Video Production
SEATTLE, June 04, 2025 (GLOBE NEWSWIRE) —
CLEANZONE HVAC LLC has introduced the next evolution of video creation with the latest update to its AI-powered platform, ClarityCut AI. Designed for content creators, educators, and digital marketers, ClarityCut now offers an all-new Creative Engine to automate and personalize the post-production process like never before.
AI That Understands Content — Not Just Code
Unlike traditional video editors, ClarityCut AI analyzes context, tone, and pacing to dynamically cut and shape content. Whether you're producing a 60-second vertical video or a branded YouTube episode, the platform adapts editing flow, visual elements, and audio to match the message.
New Features Introduced– **Smart Templates 2.0**: Intelligent theme detection that matches video tone with branded overlays and transitions.– **Real-Time AI Feedback**: As you edit, ClarityCut now provides live suggestions to improve audience retention.
– **Voice Profile Matching**: Enhances audio clarity and consistency across multi-speaker videos.
Creator Spotlight: Real Results from Real Users
'Before ClarityCut, I spent hours editing each piece. Now, I can create 5–6 polished clips in one afternoon — and they look better than ever,' shared Laura Kim, a digital educator with over 200K followers.
'It feels like a creative partner, not a tool. I trust it with client content because it saves time and delivers consistent results,' said Aaron Miles, owner of a boutique marketing firm in Austin.
Subscription Plans with Creative Teams in MindStarter – Free– Up to 5 monthly videos– AI cutting + auto subtitles
– SD resolution with watermark
Creator – $29/month– Unlimited exports– 4K resolution– Brand kits + templates
– No watermark
Studio – $99/month– Team workflows– API & integrations– White-label outputs
– VIP onboarding
About ClarityCut AI
ClarityCut AI is an AI-powered video editing solution developed by CLEANZONE HVAC LLC. With an emphasis on intelligent automation, brand personalization, and intuitive design, the platform empowers anyone to turn raw footage into professional, on-brand content in minutes.
Contact Information
Website: https://claritycut.ai
Email: [email protected] ClarityCut AI — Because editing should feel like creating, not waiting.
A photo accompanying this announcement is available at:
https://www.globenewswire.com/NewsRoom/AttachmentNg/79688d76-e3d6-4868-90ba-205660ad1035
Disclaimer: The above press release comes to you under an arrangement with GlobeNewswire. Business Upturn takes no editorial responsibility for the same.
GlobeNewswire provides press release distribution services globally, with substantial operations in North America and Europe.
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USA Today
an hour ago
- USA Today
The role reversal in caring for parents is 'wild.' Taylor Swift knows it all too well.
When Taylor Swift's father, Scott Swift, underwent a quintuple bypass surgery this summer, he said what many dads in his situation might say to their kids: "You guys are busy... don't come." But the pop star knew better. She was there with her mom and brother when her dad woke up from his procedure, and stayed with him as he recovered. "We just all moved in with him for the whole summer, pretty much," Swift said, adding that he needed help walking around. "He was, like, the loveliest patient ever. He just kept saying, 'thank you' over and over again." Swift opened up about her father's surgery, and her role as one of his caregivers, during her appearance on her boyfriend Travis Kelce's podcast, "New Heights," which he co-hosts with his brother Jason Kelce. During the interview, which has garnered more than 15 million views on YouTube since it streamed on Aug. 13, Swift also talked about her life during the Eras Tour, falling for Travis Kelce, her approach to social media, her new sourdough making obsession and she announced her next album, "The Life of a Showgirl." Swift said she, her brother Austin Swift and her mother Andrea Swift took shifts caring for her dad as he recovered from surgery, and said he's now "doing incredibly well." Sharing details about her dad's health was a rare moment for Swift, who tends to not discuss her family's personal lives. Swift's caregiving story is also significant in the care world, where advocates are always trying to spread awareness about the struggles of caregivers, who now make up nearly 25% of the American adult population, according to a recent report from the AARP and the National Alliance for Caregiving. Other celebrities have recently come forward to tell their own caregiving stories, including Academy Award-nominated actor Bradley Cooper and Emmy Award-winning actress Uzo Aduba. "It is a reminder that everyone has a care concern," said Jocelyn Frye, president of the National Partnership for Women & Families. "Everyone wants their mom or their dad, their spouse, their child, their family member to be cared for. Having high profile people who presumably have access to resources talk about their struggles also is a reminder that these issues are hard for everyone." Dr. Myechia Minter-Jordan, AARP's CEO, said the organization hears every day from family caregivers who are managing medications, coordinating appointments, bathing loved ones, navigating insurance claims and "doing it all while working, raising children, and trying to stay afloat financially and emotionally." "Taylor Swift's openness about caring for her father shines a light on what 63 million Americans are experiencing right now," Minter-Jordan said. "Perhaps most heartbreaking, nearly a quarter of caregivers say they feel completely alone. When public figures like Taylor share their caregiving journey, it helps break that isolation, validates caregivers' experiences, and underscores why we must build systems that see them, value them, and support them.' 'Parent-child reversal' Swift said her father's five heart blockages were detected in a resting stress test, not in his yearly EKG. "He's been telling all his friends, 'You need to get the stress test,'" Swift said. "Because that's what's actually preventative." Once the blockages were found, Swift said, "it all happened really quick." "It was kind of wild, because it was, like... it was very parent-child reversal," Swift said. She recalled fighting with her parents as a teenager when she would sneak her cell phone into her room at night to talk to friends. When her dad was recovering, she said, Swift and her brother had to monitor their dad's cell phone use. "I'm having these moments where I'm like, this dude built play sets and swing sets and cribs for me. I'm building his shower chair and his walker and his bed," she said. "It's just surreal, man." Swift mentioned her mother recently got a new knee, too, and "is doing great." "This was just, like, the summer of my parental upgrades," Swift joked. "We're just upgrading the parents, making sure that they live to be at least 186 years old. Because they're two of my best friends." Caring for her parents, Swift said, was "actually one of the most special things that's ever happened to me." "Spending all that time with them this summer," Swift said. "You have those long talks that you don't have when it's, like, a small, concentrated period of time." Madeline Mitchell's role covering women and the caregiving economy at USA TODAY is supported by a partnership with Pivotal and Journalism Funding Partners. Funders do not provide editorial input. Reach Madeline at memitchell@ and @maddiemitch_ on X.
Business Upturn
an hour ago
- Business Upturn
Global Times: GT investigates: Japan constructs image as a ‘victim of war' through WWII films, revealing distorted historical perspective
Beijing, China, Aug. 15, 2025 (GLOBE NEWSWIRE) — This year marks the 80th anniversary of victory in the Chinese People's War of Resistance against Japanese Aggression (1931-45) and the World Anti-Fascist War. With films like Dead to Rights and Dongji Rescue gaining popularity during the summer season, they have stirred patriotic sentiments among many Chinese. Simultaneously, several war-themed films have been released or re-released in Japan this summer, which focus on portraying Japan as a 'victim' suffering 'hardships' during the war, while rarely addressing Japan's historical crimes of aggression that caused huge suffering in various Asian countries. What constitutes a correct perspective on World War II （WWII） history? Can history be arbitrarily rewritten through cinema? On the day of the 80th anniversary of Japan's unconditional surrender, the Global Times presents an investigative article, exposing how Japan promotes historical revisionism through film narrative and creates a one-sided image of Japan as a 'victim of the war' so as to distort history. In a sense, this summer is witnessing a 'war of film narratives' between China and Japan. In late July, at a roadshow event for the film Dead to Rights in Shanghai, director Shen Ao told the audience that, beyond the visible war of fire and smoke, there exists an invisible war – a war of culture. 'To this day, this war has not ended; it continues to struggle online and within the public discourse,' Shen said. 'Therefore, I hope this film, these photographs, and these materials can alert the audience to distinguish friend from foe, and recognize right from wrong.' Perhaps not everyone immediately grasped Shen's warning, but a glance at Japan this summer reveals that since July, according to descriptions from Japanese media and publicly released trailers, at least seven films related to WWII have been released or re-released. Most of these films emphasize Japan's suffering as a 'victim,' while seldom mentioning Japan's historical acts of aggression and crimes. Why is there such a stark divergence in the narratives surrounding WWII between China and Japan, despite being situated within the same historical context? What historical perspective is Japan attempting to convey to its citizens and the world through its films? Some scholars studying histories of China and Japan pointed out that these Japanese WWII films, to some extent, aim to distort the narrative of the war, creating a false and biased collective memory among the populace that can essentially foster a 'collective amnesia' which allows Japan to forget its identity as a perpetrator and instead emphasize its pathos of being a 'victim.' A 'pathos factory' This summer, Chinese cinema screens have been presenting a series of films commemorating the War of Resistance. Dead to Rights tells the story of ordinary people risking their lives to preserve and disseminate photographs documenting Japanese atrocities, embodying the national spirit of 'defending every inch of our land.' Dongji Rescuerecounts the humanitarian act of Chinese fishermen rescuing Allied prisoners of war while under Japanese gunfire, offering a different perspective on the history presented in the documentary The Sinking of the Lisbon Maru. Mountains and Rivers Bearing Witness vividly portrays China's significant contributions to the global anti-fascist victory on the Eastern Front. Set for a September 18 release, 731 Biochemical Revelations exposes the heinous bacterial warfare crimes committed by the Japanese army. Yu Peng, chief director of Mountains and Rivers Bearing Witness, told the Global Times that the film extends beyond the battlefield between China and Japan to present the attitudes of countries such as the UK, the US, and the Soviet Union at different stages. From patriotic sentiment to the shared future of humanity, these currently released or upcoming works collectively shape China's cinematic portrayal of WWII history: a remembrance of suffering, but more importantly, a commemoration of justice, resistance and peace. In sharp contrast, around the same time in Japan, at least seven WWII films released or re-released have constructed a completely different historical narrative. The documentary Kurokawa no Onnatachi, which premiered on July 12, according to Japanese media, focuses on some maidens 'who were forced to 'sexually entertain' Soviet soldiers' and aims to 'show the strength of the women who publicly spoke about their tragedy,' while seldom talking about the fact that Japan waged the war as an aggressor. Similarly, Nagasaki: In the Shadow of the Flash, released on August 1, presents the tragedy of the nuclear explosion at Nagasaki through the eyes of three students, repeatedly questioning the value of life, while downplaying the fact that Nagasaki was a crucial military base for the Japanese army during WWII. Friday marks the 80th anniversary of Japan's unconditional surrender. According to Japanese media, the film Yukikaze will be released on this day. The film portrays the WWII Japanese destroyer Yukikaze as a 'lucky ship that rescued crew members,' promoting its narrative of 'saving lives during fierce battles,' while glossing over the fact that the ship was a weapon of Japan's aggression. On the occasion of the 80th anniversary of the World Anti-Fascist War, Japan has skirted around its heavier historical responsibilities, using films like these to construct a 'factory of pathos.' On social media, some Japanese viewers expressed emotion over the students in Nagasaki: In the Shadow of the Flash, who, 'in a time when the atomic bombing itself was not yet widely known,' 'faced the destruction of their city and massive casualties – an experience no one had ever endured before.' While the trauma indeed existed, these Japanese films, through single-perspective narratives, transform serious reflections on aggression and anti-aggression, war and peace, into simple laments for Japan's own 'suffering' from its defeat, said several Chinese history scholars reached by the Global Times. Xu Luyang, the screenwriter of Dead To Rights, told the Global Times that Japan has yet to offer a sincere apology or face up to history objectively and honestly. Although 80 years have passed since the war, attitudes and understanding of the war reflect the subjective tendencies of people's spiritual worlds. Germany has continuously reflected on its fascist war through various aspects of national thought, law, intellectuals, and media since WWII; Japan, while having sporadic reflections, lacks a comprehensive and thorough review, standing in stark contrast to Germany, he noted. Against the backdrop of insufficient societal reflection on the war in Japan, it is unsurprising that some Japanese films, which are steeped in a 'victim mentality,' find a market in Japan. Sun Ge, a research fellow at the Chinese Academy of Social Sciences focusing on critical Asian studies and comparative ideology, attributed the lack of deep reflection on war in Japan to a 'generational fracture' that emerged in the 1960s. 'In Japan, post-war accountability has primarily been driven by those who personally experienced the war. They advocate for social reflection, emphasizing the need to understand China's position as a victim,' Sun told the Global Times on Wednesday. However, with the restructuring of the Cold War landscape, the strengthening of US-Japan relations since the 1960s, and the complex relationships between Japan and the Taiwan Straits, the continuity of this historical accountability has been disrupted across generations. With the gradual decline of reflection on history by Japanese authorities and society, a 'victim mentality' started taking its place. Industry insiders indicate that this mentality is fully reflected in many Japanese WWII films, which have become one of the main producers and disseminators of Japan's 'victimhood narrative.' Self-proclaimed 'victim' In this 'war of film narratives,' Japan frequently employs the tactic of portraying itself as a 'victim' in its films. In an interview in May 2024, Japanese director Hirokazu Kore-eda frankly said that when Japanese people make films about the war, they very often depict Japan as a victim. 'But when you look at it objectively, Japan wasn't a victim, and we're not good at admitting and dealing with our status as the aggressor. You don't really see that in Japanese films,' Kore-eda said in an article published on the website of the Cannes Film Festival on May 22, 2024. Kore-eda's observations are vividly echoed in Japan's recent WWII films. Some industry insiders and audiences may notice that these movies frequently employ several cognitive tactics to construct and amplify a 'victimhood narrative.' For example, many of these films focus on the tragic stories of certain Japanese soldiers or civilians, creating a 'pathos aesthetic' that evokes sympathy for the 'sacrificed,' thereby sidestepping the causes of the war and the essence of Japan's aggression. Additionally, many films conflate 'anti-defeat' ideology with anti-war sentiment, concentrating on Japan's 'pain of defeat' rather than reflecting on its acts of aggression. Moreover, some of these films prefer to personalize war narratives, delving into the 'growth' stories of one or several Japanese individuals during the war, while downplaying discussions of national culpability. These tactics are evident in recently released films. A Chinese moviegoer in Japan who goes by the name 'Sun' shared with the Global Times her thoughts after attending a preview screening of Yukikaze. She said that despite the film's star-studded cast, she found it difficult to empathize with the content. 'The plot is dry, overly sentimental throughout, and even laughably ridiculous in some parts,' Sun said. A few critical voices have also emerged on social media regarding recent Japanese WWII films, including some sober reflections on history. 'Convey [the reality of] war without beautifying it,' one Japanese netizen commented on X on August 6. 'War must never be repeated.' There are still voices within Japanese academia and civil society calling for honest acknowledgment and reflection on the country's history of aggression. Unfortunately, amid Japan's generally right-leaning social climate, these voices often go unheard, with the truth of history drowned out by nationalist rhetoric. Sun told the Global Times that today, most Japanese born after the war don't feel a responsibility for the war. Although exceptions exist, such as the renowned 'Article 9 Association' dedicated to preserving anti-war and peaceful thought, these voices remain marginal in mainstream discourse in the country. The overall silence in Japanese society regarding historical reflection is due not only to the right-leaning atmosphere, but also to a collective tendency to evade these issues. 'Anti-war stances inherently require presenting the complexity of reality, which entails self-criticism or reflection. For both the media and the public, this is an arduous task – yet for various reasons, the (Japanese) public often shies away from confronting these issues,' Sun said. During an interview with the Global Times, Wang Guangsheng, director of the Japanese Culture Research Center of Capital Normal University, referenced the perspective of Japanese scholar Masaki Nakamasa in his work that can be translated as Japan and Germany: Two Traditions of Postwar Thought. Nakamasa contends that Germany's earnest postwar reflection was, in essence, 'born of necessity,' as it was compelled to improve relations with neighboring nations to secure space for development. In contrast, under the US-Japan alliance framework, Japan's geopolitical reality eliminated the imperative to seek forgiveness from victimized nations like China and South Korea, objectively diminishing incentives for profound remorse, Wang said. Furthermore, disparities in postwar tribunals created unresolved historical burdens: German war criminals faced explicit accountability for crimes against peace, war crimes, and crimes against humanity. Japan, however, lacked comparable judicial processes, with its government frequently evading responsibility by invoking 'sovereign immunity,' resulting in its lack of a clear understanding of its own culpability, the expert said. 'Collective amnesia' in Japan The prevalence of Japan's 'victimhood narrative' regarding WWII on the screen is regarded as an inevitable result of the country's long-standing rightward political shift and the pervasive influence of historical revisionism. Ryuji Ishida, a scholar of modern and contemporary Japanese history, told the Global Times that contrary to the notion that 'historical revisionism [only] emerged as a significant trend in the 1990s after the collapse of the Cold War,' the view that 'conservative and right-wing factions of historical revisionism have always been mainstream (in Japanese society) aligns more closely with reality.' In July, the Global Times conducted field interviews in Tokyo and Nagano, Japan, discovering a severe gap in Japanese youth's awareness of their country's modern history of aggression. For example, at the Iida City Peace Memorial Hall in Nagano Prefecture, which permanently exhibits physical evidence of the infamous Unit 731's human experiments, students in the nearby study area were completely unaware of its existence; young Japanese visitors to the notorious Yasukuni Shrine treated it as just a normal shrine, with no understanding of its ties to Japan's war of aggression. This 'collective historical amnesia' is closely tied to Japan's long-promoted 'victimhood narrative.' Recently, Japanese football star Keisuke Honda sparked widespread controversy after initially denying the Nanjing Massacre, then later admitting his mistake after reviewing historical materials. However, after coming under attack from some right-wing netizens in Japan, he claimed that further research was needed and no conclusion could be drawn. Some scholars on China-Japan relations believed that Honda's farce was a stark manifestation of the pervasive influence of Japan's long-standing cognitive infiltration of the 'vicitimhood narrative,' and the tragedy of the 'collective amnesia' in the country. In an environment characterized by collective avoidance and 'amnesia,' lots of Japanese war films, whether intentionally or unintentionally, have become cognitive tools for Japan to gloss over its historical transgressions. Many viewers may have noticed that in this 'war of film narratives' surrounding WWII, numerous Japanese films tend to focus on 'playing the victim' and 'emotional manipulation,' while many Chinese films on similar themes generally document history and restore the truth in an objective way. This represents one of the most significant differences between Chinese and Japanese films on WWII. Xu, the screenwriter of Dead to Rights, noted that photographs in his film symbolize the 'revelation of truth,' which remains a core dispute between China and Japan regarding the Nanjing Massacre. 'A country that once committed heinous crimes and launched brutal aggression against China, yet refuses to acknowledge its past is our close neighbor. ' From this perspective, Xu said that the film's revelation of truth is 'undoubtedly a form of resistance and a counterattack.' Regarding Japan's wartime actions, there is considerable public consensus on Japan's victimhood, such as the atomic bombings of Hiroshima and Nagasaki and the air raids across Japan, regarding which the suffering inflicted by war is widely acknowledged, said Japanese Communist Party member and House of Councillors member Taku Yamazoe. 'Yet, eight decades later, Japan has failed to reach a consensus on its role as a perpetrator. I believe this stems from the government's reluctance to squarely acknowledge its responsibility,' Yamazoe told the Global Times. Prior to the publication of this article, some Japanese media had reported that Japanese Prime Minister Shigeru Ishiba had decided to forgo delivering an official statement on the 80th anniversary of Japan's unconditional surrender, unlike his predecessors. Instead, he would issue 'personal views.' However, it remained undecided when and in what form this would be presented. On August 6, the official account of the US Embassy in China claimed in a post on Weibo that 80 years ago on August 6, the US and Japan ended a devastating war in the Pacific. Yet for the past eight decades, the US and Japan have stood shoulder to shoulder in safeguarding peace and prosperity in the Pacific region. This statement was met with ridicule and criticism from many Chinese netizens who said that such a post misleadingly suggests that the US and Japan had joined forces to end the Pacific War, thereby seriously distorting history. These 'news developments' have added increasing weight to the 'cultural war' warning issued by director Shen during the roadshow for Dead to Rightsat the end of July. They also serve as a reminder to Chinese filmmakers, that the role of cinema is not only to document a period of history, but also to solidify a nation's correct understanding of that history, and to showcase the conscience that ought to be shown. Company: Global TimesContact Person: Anna Li Email: [email protected] Website: City: Beijing
Business Upturn
an hour ago
- Business Upturn
DEALISM Launches World's First AI Agent Designed to Empower Individual Sales Professionals for WhatsApp Business
By GlobeNewswire Published on August 15, 2025, 23:00 IST Singapore, Aug. 15, 2025 (GLOBE NEWSWIRE) — DEALISM PTE. LTD. announced the launch of DEALISM, the world's first AI agent purpose-built to transform the daily workflow of individual salespeople for WhatsApp business. Powered by advanced large language model(LLM), deep learning, reasoning model, reinforce learning(RL) and multi-agent, DEALISM acts as a 24/7 intelligent sales partner—handling complex, proactive, multi-turn customer conversations, automating repetitive tasks, and continuously self-learning from each interaction to deliver better outcomes. A Solution Born from Experience DEALISM's vision comes from the firsthand experience of its founder, Leo Huan. As the former president of China's first publicly listed SaaS company, Leo has left behind a platform with over $15 billion in GMV to build something new: an AI-driven agent focused on empowering individual sales professionals. Before founding his new venture, Leo was an investor at Hillhouse Capital, one of China's top investment firms. In 2018, he joined the pioneering SaaS firm as COO and Co-President, where he managed a sales team of over 3,000 people, covering both direct sales and distributor channels. Despite the company's scale, Leo saw first-hand the inefficiencies—lengthy sales onboarding, underperforming CRM systems, and knowledge that was difficult to transfer and scale. Leo noticed that while many companies were starting to use AI to improve their sales processes, these changes were mostly limited to making existing workflows more efficient—like an engine running in place, rather than moving forward. 'I don't want to create just another system that documents sales steps. I want AI to truly learn and apply sales experience, to understand brands and products, and to improve through real conversations. Just like what we are doing for WhatsApp business,' Leo says. 'If we succeed, sales will no longer rely on the traditional 'master-apprentice' model, where experience and skills are shared only by word of mouth. Instead, sales knowledge can be updated, shared, and adapted automatically—just like a real person.' Disclaimer: The above press release comes to you under an arrangement with GlobeNewswire. Business Upturn takes no editorial responsibility for the same. Ahmedabad Plane Crash GlobeNewswire provides press release distribution services globally, with substantial operations in North America and Europe.
