logo
KT fuses AI with sports, K-pop at MWC 2025

KT fuses AI with sports, K-pop at MWC 2025

Korea Herald03-03-2025
KT Corp. announced Monday that it is introducing an AI-driven K-culture experience zone at this year's Mobile World Congress trade show for mobile communications in Barcelona, Spain.
Aimed at showcasing AI's role in everyday life, the zone, called "K-Stadium," features a futuristic sports arena and a K-pop dance challenge zone.
K-Stadium is designed to enhance fan engagement using AI. One of its key features is an AI-powered real-time subtitle translation system, which provides multilingual subtitles for spectators who don't speak Korean.
Another highlight is AI Lee Kang-in, a "digital human" modeled after the Korean national soccer player. Visitors can receive a personalized welcome message in his voice simply by entering their name. Additionally, fans can enjoy the 'AI Cheer Song' feature, which allows them to customize their own team anthem.
The company plans to implement these AI features at KT WIZ Park in Suwon, Gyeonggi Province, making it the first professional sports stadium in Korea to integrate AI-driven fan experiences.
KT is also showcasing the K-Pop Dance Challenge, an interactive experience developed in collaboration with Genie Music. This program enables participants to dance alongside AI-generated performers using augmented reality and motion-capture technology, creating a realistic stage performance. Recognizing K-pop's global appeal, KT has made the challenge available in approximately 40 languages.
"AI should be more than just technology; it should be a natural part of daily life that people around the world can experience and enjoy," said Yoon Tae-sik, head of KT's Brand Strategy Division. "Beyond MWC25, KT will continue expanding AI-driven experiences for all."
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

'We're seeing AI-enhanced workflows, not replacement': Storytek CEO Sten-Kristian Saluveer
'We're seeing AI-enhanced workflows, not replacement': Storytek CEO Sten-Kristian Saluveer

Korea Herald

time7 hours ago

  • Korea Herald

'We're seeing AI-enhanced workflows, not replacement': Storytek CEO Sten-Kristian Saluveer

AI takes center stage as Bucheon Film Festival explores cinema's future BUCHEON, Gyeonggi Province -- The 29th Bucheon International Fantastic Film Festival opened Thursday with a bold statement on cinema's future, selecting as its opening film "About a Hero" -- a hybrid documentary by Piotr Winiewicz featuring an AI-generated screenplay trained on Werner Herzog's complete filmography. The festival's commitment to exploring artificial intelligence runs deep, with 11 AI films among its 217-title program and a three-day conference dedicated to examining how the technology is reshaping creative processes in cinema. Sunday marked the first day of the festival's AI conference at Bucheon Art Center, bringing together industry pioneers, technologists and policymakers to examine practical applications and future implications of AI-driven production. The sessions revealed both the technology's rapid development and the film industry's varied responses to its integration. Sunday's conference began with presentations from leading Korean producers working with AI technology. Roy Oh, who runs the YouTube channel Oddy Studio, premiered his short film "Color My Garden," a biographical piece about Frida Kahlo told from the artist's perspective. The film, created using tools like Midjourney and Runway, showcased the creator's signature style of blending classical art with contemporary settings. While the film at times exhibits the uncanny sleekness and occasional awkwardness of AI-generated content -- repetitive compositions, abrupt cuts between scenes -- moments of genuine visual innovation were palpable, particularly in sequences showing flowers blooming from Kahlo's body. "It's not just what AI makes, it's how we make AI tell your story," Oh said, describing his week-long production process that treats AI collaboration like "writing a book in real time." Lee Sang-wook of MBC C&I Content Lab followed with a demonstration of AI's integration into traditional television production, showing how his team enhanced space scenes in a TV show by combining AI-generated visuals with live actors. Viewers who watched the show responded positively to the hybrid approach. "Starting from prompts, we can now visualize concepts that would have cost millions," Lee said. His lab, launched in 2024, runs training workshops for aspiring creators and has produced several award-winning AI films, including "Mateo," which won the grand prize at Korea's first AI International Film Festival. The afternoon panel discussion, originally intended to focus on AI, quickly pivoted to broader industry concerns about Korea's declining theater attendance and competition from streaming platforms. Featuring festival director Shin Chul, French National Cinema Center President Gaetan Bruel and producer Lee Dong-ha, the conversation centered on Korea's struggling film industry and potential lessons from France's protective measures. Bruel outlined the French government's comprehensive support system, including mandatory "holdback" periods that reserve theatrical releases for four months before they are available for streaming. In Korea, films often appear on platforms within weeks of theatrical release. "In France, we had 181 million tickets sold last year — only a 10 percent decrease from pre-pandemic levels," Bruel noted, comparing it to Korea's nearly 50 percent drop. He emphasized that, in France, people with the most streaming subscriptions are often the most avid moviegoers. The French model mandates streaming platforms reinvest part of their revenue into local content -- a system that generated €900 million for 180 projects by 140 independent production companies. When asked about AI's impact on cinema's future, Bruel expressed measured skepticism. "Cinema is about emotions, about the infinite complexity of dialogue," he said. "While AI brings new possibilities, I have more reasons to be concerned than enthusiastic. The risk is reducing the extent of creativity." The day's most practical analysis came from Sten-Kristian Saluveer, CEO of Storytek and Strategic Advisor for Cannes NEXT, who delivered a recorded lecture mapping AI's integration across global film production. His presentation showcased how major festivals beyond BIFAN have adapted, with Rotterdam and Tribeca now accepting AI films in their official competitions. Saluveer highlighted the evolution from "AI artists" to "AI studio directors" -- creatives who combine traditional filmmaking knowledge with technical expertise. Major studios now use AI for pre-visualization, with one TV series generating 24 VFX shots in a single day versus weeks it would take using conventional methods. "We're seeing AI-enhanced workflows where the technology supports rather than replaces traditional filmmaking," Saluveer explained. The applications extend beyond visual effects into budgeting, script development and regulatory compliance -- what he termed a comprehensive "optimization paradigm." Genre filmmaking would particularly benefit from this trend, with tools like Veo helping independent horror directors create proof-of-concept materials previously requiring studio backing. Looking ahead, Saluveer predicted the rise of AI-transparent filmmaking within a few years, in which the technology becomes as ubiquitous and routine as digital cameras. "Instead of thinking narrowly about AI producing visual content, it's becoming a huge optimizer," he said, emphasizing that success requires investing in talent development over the acquisition of tools. "Great filmmakers powered with AI will make great AI films. Underskilled filmmakers will ultimately make bad films."

Can new policies reduce foreign firms' lead in autonomous driving?
Can new policies reduce foreign firms' lead in autonomous driving?

Korea Herald

time9 hours ago

  • Korea Herald

Can new policies reduce foreign firms' lead in autonomous driving?

Industry urges government to open more roads for self-driving vehicles, reduce pushback from taxi and bus drivers South Korea's autonomous vehicle industry is at a crossroads as the government prepares to unveil a new R&D roadmap to address regulatory challenges and embrace innovative technologies. With global competitors like Tesla and Waymo rapidly advancing, industry watchers suggest that the Korean government should adopt practical strategies to foster the growth of this key artificial intelligence innovation. E2E becomes new trend According to media reports on Sunday, the industry ministry plans to unveil an autonomous driving R&D roadmap later this year, aimed at overcoming the limitations of the current regulatory framework for 'rule-based or modular' self-driving technologies. The new policy is expected to adopt a hybrid approach, combining the adaptability of 'learning-based end-to-end (E2E)' technology with the safety and control advantages of rule-based modular components. Rule-based systems determine driving maneuvers primarily through predefined rules and algorithms, guided by LiDAR equipment that delivers precise, real-time 3D mapping of the surrounding environment. But these systems face drawbacks such as high costs and poor performance in bad weather conditions. Korean regulators have prioritized these systems for their safety -- predictable and explainable vehicle operation. In contrast, Tesla's recently unveiled robotaxi uses a camera-centric, learning-based E2E approach that directly translates visual data through a single neural network to control a vehicle, bypassing the 'perception' and 'planning' processes in the modular approach. While E2E systems excel in adaptability, as they are not limited by preprogrammed rules, they are often called 'black boxes' for their unexplainable decision processes, which complicates safety validation. Waymo, which previously focused on the modular approach, is actively developing E2E technologies through its End-to-End Multimodal Model for Autonomous Driving project. Limited road access, strong pushback Hyundai Motor Group is also reportedly pursuing the E2E approach through its autonomous driving subsidiary, 42dot. However, industry insiders here call for more aggressive governmental support, as the auto giant faces hurdles in advancing these technologies in Korea due to policy limitations. 'Hyundai Motor has the capacity to develop E2E technology,' said a source familiar with the matter on condition of anonymity. 'But one of the major hurdles for companies developing autonomous driving technologies, including Hyundai Motor Group, is that there is little area available to collect enough real-world data necessary for substantial technological advancement.' As of June, there were 42 government-designated areas for autonomous vehicles in Korea's 17 cities and provinces, and only 455 vehicles were approved for operation. Even after the designation of these sites, several local governments have either failed to operate AV services or have done so inefficiently, leading to low performance ratings. By contrast, China is rapidly advancing in this field with dedicated highway lanes and extensive testing zones in major cities such as Beijing and Shanghai, supporting companies such as BYD in leveraging the E2E approach for autonomous driving. In the US, 38 states have authorized extensive public road testing, providing significantly larger areas for these vehicles as of last year. 'To develop and advance E2E tech like Tesla, the government needs to designate, for example, the entire Teheran-ro (in Gangnam, a 3.5-kilometer, 10-lane road) and deploy over 100 vehicles there,' the source suggested. 'To achieve Korea's goal of commercializing Level 4 self-driving technology (where vehicles can operate fully autonomously within specific areas), regulators should focus on establishing effective policy measures for the industry.' Kim Pil-su, a car engineering professor at Daelim University, echoed that view and said, 'To spur the growth of Korea's AV industry, the government should also address and mitigate backlash from taxi and bus drivers, who view self-driving vehicles as a threat to their businesses. This pressure forces companies to conduct AV testing in less-populated areas with low demand for their vehicles, leading to inefficient data collection.' Due to these restrictions in the domestic self-driving industry, Hyundai Motor has pushed for R&D overseas. In addition to its R&D center in Korea, 42dot has two centers in Poland and the US, and is reportedly opening two more in China and Australia. Last year, 42dot completed its two-year autonomous shuttle service around the Cheonggyecheon stream area as part of a Seoul City pilot project. The city began the recruitment process for the next AV operators last month, after delaying the original schedule earlier this year due to low demand.

Why YG Entertainment needs a breakthrough group – now more than ever
Why YG Entertainment needs a breakthrough group – now more than ever

Korea Herald

time10 hours ago

  • Korea Herald

Why YG Entertainment needs a breakthrough group – now more than ever

With its last mega-act launched in 2016, the K-pop giant is racing to build the next big thing as legacy stars lose momentum YG Entertainment, once home to Korea's most influential K-pop groups, is under mounting pressure to develop its next major intellectual property. While the company remains one of the so-called "Big Four" K-pop agencies — alongside SM, JYP and Hybe — it has yet to introduce a new act that rivals the global dominance of its legacy stars. The last truly game-changing group YG Entertainment debuted was Blackpink, nearly a decade ago in 2016. Since then, it has launched Treasure in 2020 and Babymonster in 2024. However, neither has reached the level of superstardom expected from a YG act. Only Babymonster is positioned to carry the YG banner forward — and even that momentum is fragile. According to K-pop Radar, which tracks global artist data, only Blackpink and Babymonster made the Korean top 20 list for 2024, in 14th and 19th place, respectively. The rankings, released in February, showed Blackpink dropping one spot from last year — edged out by the return of BTS members Jin and J-Hope from military service — while still maintaining a strong presence. Babymonster made a notable leap, entering the top 20 for the first time after being unranked in 2023. On the global chart, by contrast, BTS and Blackpink remained in the top tier, while Babymonster showed remarkable growth by securing the No. 4 spot. Other YG acts like Treasure and Winner failed to appear in either ranking. Big Bang, now a trio following the departures of Seungri and T.O.P, also did not make the global list. On the International Federation of the Phonographic Industry's 2024 list of the world's top 10 recording artists, no YG acts — not even Blackpink — were featured. The only K-pop groups that made the list were Seventeen of Pledis Entertainment at No. 3 and Stray Kids of JYP Entertainment at No. 5. While Babymonster has gained visibility on global charts, public perception suggests otherwise. 'For a girl group from one of the industry's top agencies, Babymonster hasn't stood out compared to similarly timed debuts,' said music critic Lim Hee-yun. 'It's been nearly two years since Babymonster's debut, and neither Treasure nor Babymonster has shown particularly remarkable growth. YG needs to try again.' Financial indicators reflect this as well. Despite Babymonster's recent releases, the group's impact on YG Entertainment's stock performance has been negligible. Blackpink remains YG Entertainment's most valuable asset. In August 2023, the company initially failed to secure a full-group contract renewal with the quartet, signing only individual activity agreements instead. During the months of uncertainty that followed, YG posted an operating loss of 20.5 billion won ($15 million). The full-group contract was eventually renewed in December, but the episode underscored just how critical Blackpink is to the company's financial stability. Last month, optimism returned when YG announced upcoming activities for Blackpink and other artists. The company's stock jumped from 87,000 won on June 27 to 95,200 won on July 1, but dipped again following renewed public scrutiny over Yang's trial for alleged luxury goods smuggling. The fact that Blackpink's group activities still move the needle underscores how little YG Entertainment has done to secure a generational handoff. YG Entertainment's historical strength came from betting big on high-impact acts. But in today's hypercompetitive K-pop market — where even mid-tier agencies are churning out breakthrough talent — waiting for another Blackpink-tier hit may no longer be a viable strategy. YG Entertainment is currently betting heavily on the launch of its next rookie girl group set to debut later this year. Yang has described the group as 'the new protagonists of YG's girl group legacy,' signaling a make-or-break moment for the agency. 'Hundreds of groups debut every year,' Lim said. 'Even if you have a strong lineup, it's important to nurture the next group early. That's how you build a sustainable revenue model. Loyal fans — the core consumers of K-pop — expect high moral standards and emotional dedication from artists. A single controversy can alienate them, or cause them to shift to a newer, more appealing rookie.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store