Latest news with #Glance
Wall Street Journal
4 hours ago
- Business
- Wall Street Journal
Indian Unicorn InMobi's CEO Says Profit in Sight for Glance Consumer AI Business
Indian tech unicorn InMobi expects its Google-backed subsidiary Glance to turn profitable over the next year, its chief executive says, anticipating rising demand for its AI-powered shopping services. Chief Executive Naveen Tewari said that Glance should be able to hit profitability in the next 12 months as it rolls out offerings on its new generative artificial-intelligence shopping platform.
Hindustan Times
5 days ago
- Business
- Hindustan Times
Samsung brings AI-powered lock screen shopping to select Galaxy mobile phones
Samsung has rolled out a new AI-powered shopping feature directly on the lock screens of select Galaxy smartphones in the US. This initiative comes through a partnership with Glance AI, a company owned by mobile advertising firm InMobi, which specialises in e-commerce experiences driven by generative AI. According to a 9to5Google report, Galaxy phone users can now opt into this shopping experience that allows them to see themselves virtually wearing different outfits and styles. The feature uses selfies or images provided by users to create realistic renderings of how various clothes might look on them. Users can then save these images as wallpapers or share them. Also read: Meta's deal for nuclear power is likely cheaper than Microsoft's, Jefferies says Jason Shim, head of the Galaxy Store in the US, said this integration offers a personalised and interactive shopping experience on the lock screen, designed to engage users more directly. The AI system uses Google's Gemini and Imagen models to generate visuals and suggest apparel options. The service pulls from more than 400 brands and retailers, including Levi's, Old Navy, and Tommy Hilfiger, according to the reports. Users can purchase items through the app with a simple tap. The AI also keeps track of current trends, local events, and social media, which will provide them with timely updates on sales and promotions. Also read: Samsung Galaxy S25 review: Flagship features in a handful package This new shopping feature will be available on several Galaxy phone models, such as the Galaxy S22, S23, S24, and S25 series, excluding the Edge version of the S25. Users can download the Glance AI app through the Galaxy Store to access the service. Glance first announced its AI shopping concept last month. The company said that the experience centres on the user, tailoring clothing suggestions based on selfies and personal data like age, body type, gender, and height. Also read: Samsung Galaxy S25 Ultra review: Almost the perfect Android flagship Beyond apparel, Glance plans to expand its AI-powered styling services to cover beauty products, accessories, and travel recommendations later this year. This ongoing development aims to provide a broader range of personalised shopping options for Galaxy users through AI technology.
Yahoo
5 days ago
- Business
- Yahoo
Samsung 手機鎖屏變 AI 衣櫃，鍾意更可一鍵購買新衣？
相信大家已經有試過不少 AI 換衣的玩意，可以把照片中的自己換成不同風格的衣服。Samsung 更想到把這玩法變成合作商機，與 Glance 合作在 Galaxy 手機的鎖屏加入生成式 AI元素，把用戶平常當作鎖屏畫面的自拍照換上不同衣服，增加新鮮感。如果看到有合意的，甚至可以一鍵購買這件新衣服。 Glance AI 會為用戶的自拍照「換上」來自美國 400 家品牌和零售商的衣服，每天轉換不同設計，而且可以一鍵購買。不過暫時 Glance AI 與 Samsung 的合作會是美國限定，用戶需要自行前往 Galaxy Store 下載有關 app 才會享受這 AI 換衣功能，而且首批支援近年機型，日後會再擴展至其他機款。不過 Glance AI 本身也有上架 Google Play 和 App Store，有興趣的朋友也可以自己試試看。 首批機型包括： Galaxy S25、S25+、S25 Ultra Galaxy S24、S24+、S24 Ultra、S24 FE Galaxy S23、S23+、S23 Ultra、S23 FE Galaxy S22、S22+、S22 Ultra 更多內容： Samsung rolling out lockscreen 'AI shopping experience' to Galaxy phones starting today Glance and Samsung Galaxy Store Partner to Redefine Mobile Commerce: Launching a New AI Shopping Experience for Samsung Users in US 緊貼最新科技資訊、網購優惠，追隨 Yahoo Tech 各大社交平台！ 🎉📱 Tech Facebook： 🎉📱 Tech Instagram： 🎉📱 Tech WhatsApp 社群： 🎉📱 Tech WhatsApp 頻道： 🎉📱 Tech Telegram 頻道：
Sydney Morning Herald
6 days ago
- Entertainment
- Sydney Morning Herald
‘I didn't want to': How John Clarke's daughter surprised herself with a doco about her dad
Not many people knew John Clarke as well as his daughter Lorin – 'we worked together in the same office for decades, on and off,' she says. But she's as surprised as anyone that she has made a movie about the much-loved writer, actor and comedian, who died suddenly while bushwalking at age 68 in 2017. 'It's the last thing I wanted to do,' she says. 'I didn't get up every morning going, 'I must tell his story.' But then when other people tried to, saying, 'We think this is the story. We don't want you to be involved, but we'd like all the rights and everything', suddenly I thought, 'Shit, I do want to protect his legacy.'' The result of that effort is Not Only Fred Dagg But Also John Clarke, a feature-length documentary that will screen in public for the first time at the Melbourne International Film Festival in August. It is one of 20 titles announced on Thursday in MIFF's First Glance. It wasn't the thought of someone dishing dirt on Dad that ultimately got Lorin Clarke over the line. It was the likelihood that they wouldn't even try. The thesis of the filmmaking team from New Zealand that in 2020 approached the Clarke family – Lorin, her sister Lucia, and their mother, Helen McDonald, an art historian and author in her own right – was that John was the foundation stone of the country's comedy. Without him, there would be no Flight of the Conchords, no Rhys Darby, no Taika Waititi. 'It was so wrong, it was hero worship,' she says. 'And my mum said to me, 'If something were to be made and it were a hagiography, that would be a real shame', because he wouldn't appreciate that. He'd be so allergic to the idea.' In crafting her version of his life, Lorin has had access not just to his vast treasure trove of archives ('the man did not throw out an envelope') but also a series of interviews she conducted with him for a podcast that never eventuated. The biggest gift, though, was a document her husband, Stewart, (who helped John with his IT needs) found on his computer four days after his death. 'The whole desktop was empty except for a single Word document, about 70 pages long, titled 'For Lauren and Lucia',' she says. 'He'd written everything down: 'this is how I felt in primary school' ... 'I remember looking out the window in the classroom and thinking this …' It blew my mind that he did this, that he didn't tell us, and that there was no instruction. I just went, 'Holy shit. Well, I guess I'm making a film.'' The portrait she has painted of her father is intimate, and it straddles the public and the private. Growing up in New Zealand, he was deeply scarred by his parents' disastrous marriage – 'they hated each other,' says Lorin, 'as their life project. Really, that was their whole thing' – was expelled from high school, dropped out of university, and at age 22 became a national sensation when his parody of a sheep farmer appeared for the first time on the country's only television station. Fred Dagg was at first scorned by critics but was quickly embraced by audiences. When Clarke decided to relocate to Australia in 1977, at the age of 29, it was in part to escape the long shadow cast by his comedic creation. Lorin's film, of course, traces the career milestones, but it does much more. 'If you went to see a film about John Clarke, and you came away with all the things you could Google about John Clarke, what's the point,' she says of the task she set herself. She didn't expect to unearth tales about a shady hidden life, and nor did she. There was no secret second family, no dreadful kinks. The girls had a childhood that was, Lorin says, 'offensively idyllic … it was just creativity, it was like Heide without the drugs and the partner sharing. It was in Greensborough, but it felt like a Tuscan mountainside, a glorious, funny, playful place to be.' Finding people to say a bad word about John wasn't easy. But one of Lorin's favourite moments in the film comes when his nominal boss at the ABC, Kate Torney – who as news director had oversight of the interview Clarke and his writing partner Brian Dawe did each week from 2000 until his death – observes that 'he didn't love management'. Given his clear loathing of bureaucracy, that might be the understatement of the century. The other features John Ruane, director of Death in Brunswick (1990), in which Clarke played Dave, the gravedigger mate of Sam Neill's bumbling Carl. When Lorin asks Ruane to recall his first impressions of John, he stares down the barrel of the camera and says: 'When I met your father, I thought he was an arrogant, cantankerous …' She could not have been more delighted. Nor, it transpired, could John's widow. 'I called Mum later, and told her what [Ruane] had said,' Clarke recalls. 'And she said [of the director], 'I always liked him.''
The Age
6 days ago
- Entertainment
- The Age
‘I didn't want to': How John Clarke's daughter surprised herself with a doco about her dad
Not many people knew John Clarke as well as his daughter Lorin – 'we worked together in the same office for decades, on and off,' she says. But she's as surprised as anyone that she has made a movie about the much-loved writer, actor and comedian, who died suddenly while bushwalking at age 68 in 2017. 'It's the last thing I wanted to do,' she says. 'I didn't get up every morning going, 'I must tell his story.' But then when other people tried to, saying, 'We think this is the story. We don't want you to be involved, but we'd like all the rights and everything', suddenly I thought, 'Shit, I do want to protect his legacy.'' The result of that effort is Not Only Fred Dagg But Also John Clarke, a feature-length documentary that will screen in public for the first time at the Melbourne International Film Festival in August. It is one of 20 titles announced on Thursday in MIFF's First Glance. It wasn't the thought of someone dishing dirt on Dad that ultimately got Lorin Clarke over the line. It was the likelihood that they wouldn't even try. The thesis of the filmmaking team from New Zealand that in 2020 approached the Clarke family – Lorin, her sister Lucia, and their mother, Helen McDonald, an art historian and author in her own right – was that John was the foundation stone of the country's comedy. Without him, there would be no Flight of the Conchords, no Rhys Darby, no Taika Waititi. 'It was so wrong, it was hero worship,' she says. 'And my mum said to me, 'If something were to be made and it were a hagiography, that would be a real shame', because he wouldn't appreciate that. He'd be so allergic to the idea.' In crafting her version of his life, Lorin has had access not just to his vast treasure trove of archives ('the man did not throw out an envelope') but also a series of interviews she conducted with him for a podcast that never eventuated. The biggest gift, though, was a document her husband, Stewart, (who helped John with his IT needs) found on his computer four days after his death. 'The whole desktop was empty except for a single Word document, about 70 pages long, titled 'For Lauren and Lucia',' she says. 'He'd written everything down: 'this is how I felt in primary school' ... 'I remember looking out the window in the classroom and thinking this …' It blew my mind that he did this, that he didn't tell us, and that there was no instruction. I just went, 'Holy shit. Well, I guess I'm making a film.'' The portrait she has painted of her father is intimate, and it straddles the public and the private. Growing up in New Zealand, he was deeply scarred by his parents' disastrous marriage – 'they hated each other,' says Lorin, 'as their life project. Really, that was their whole thing' – was expelled from high school, dropped out of university, and at age 22 became a national sensation when his parody of a sheep farmer appeared for the first time on the country's only television station. Fred Dagg was at first scorned by critics but was quickly embraced by audiences. When Clarke decided to relocate to Australia in 1977, at the age of 29, it was in part to escape the long shadow cast by his comedic creation. Lorin's film, of course, traces the career milestones, but it does much more. 'If you went to see a film about John Clarke, and you came away with all the things you could Google about John Clarke, what's the point,' she says of the task she set herself. She didn't expect to unearth tales about a shady hidden life, and nor did she. There was no secret second family, no dreadful kinks. The girls had a childhood that was, Lorin says, 'offensively idyllic … it was just creativity, it was like Heide without the drugs and the partner sharing. It was in Greensborough, but it felt like a Tuscan mountainside, a glorious, funny, playful place to be.' Finding people to say a bad word about John wasn't easy. But one of Lorin's favourite moments in the film comes when his nominal boss at the ABC, Kate Torney – who as news director had oversight of the interview Clarke and his writing partner Brian Dawe did each week from 2000 until his death – observes that 'he didn't love management'. Given his clear loathing of bureaucracy, that might be the understatement of the century. The other features John Ruane, director of Death in Brunswick (1990), in which Clarke played Dave, the gravedigger mate of Sam Neill's bumbling Carl. When Lorin asks Ruane to recall his first impressions of John, he stares down the barrel of the camera and says: 'When I met your father, I thought he was an arrogant, cantankerous …' She could not have been more delighted. Nor, it transpired, could John's widow. 'I called Mum later, and told her what [Ruane] had said,' Clarke recalls. 'And she said [of the director], 'I always liked him.''
