This is because, as noted by Pew In 2021, about eight in ten Americans got their news from digital devices. But local news is facing an existential crisis in our country, with ad revenues plummeting, newspapers closing, and many rural communities becoming ‘news deserts’ without access to local reporting.” Senator Amy Klobuchar (D-MN)
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“As the daughter of a newspaperman, I understand firsthand the vital role that a free press plays in strengthening our democracy. The current media model is not necessarily conducive to a free market economy as the model does not seem to fit how the internet has changed the paradigm regarding media and the press. In other words, newsrooms that invest in producing important journalism for the public to consume and make it readily available on major digital platforms, as noted in a Los Angeles Times Editorial, can’t earn sufficient advertising revenue to cover their costs. While at the same time, news deserts expand.Įqually as disturbing for news organizations is that even when Google, for example, links to news articles providing content selections for consumers, reports show fully 65% of users never bother to click through to the news publishers’ websites. These industry behemoths grow while local media declines as evidenced by the more than 30,000 industry jobs lost since 2008 according to a Pew Research Report.
The dual role of the media defined by Random House as the “ explicit capacity of advocacy and implicit ability to frame political issues,” has been compromised is part as the result of a few powerful platforms like Facebook and Google consume and control the lion’s share of digital advertising and in most instances, are now the main source of news consumption for many consumers. Hyperreal is also looking to open its services to regular folks.At a time in our nation’s history when a free press is more essential to sustaining our democracy than ever before, political forces, changing technology and antitrust laws have inadvertently conspired to weaken the nation’s fourth estate. But he said the company has expanded to working with corporate clients to develop branded characters and mascots. Scott, a veteran of computer graphic design in the video game world who supervised the motion-capture work of Gollum on “The Lord of the Rings: The Two Towers,” declined to share details about Hyperreal’s future work with other A-list stars. You have to embrace that and move forward with that.” But none of them replace what makes you unique and how you are driving forward your vision.
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“There’s playbooks, and a lot of people write about how to do business or write about how to make things,” Scott told TheWrap. Why VFX Companies Want to Craft Your Hyper-Real Avatar for the MetaverseĬommenting on his strategy for sustaining his company’s growth, Scott emphasized the very thing that makes the Hypermodels so lifelike: human individuality. The fact that the digital versions of real, flesh-and-blood humans are owned by their real, flesh-and-blood human selves (or their estate) means that they can one day bring those models into other virtual spaces in the metaverse - a critical component to Web3 and the metaverse. (With 60 million views, “Jump” is the most-watched video featuring a virtual being.) Signaling confidence in Hyperreal’s continued growth, the Korean giant CJ ENM took a minority stake in Hyperreal in April. and, with entertainment mogul Simon Fuller and Verizon, invented an AI-driven alien pop princess named Alta B who appeared with the boy band Now United in their “Jump” video. Hyperreal, which is known for its “Hypermodel” digital humans, has in two years created a near-perfect double of pop star Madison Beer (for a performance that won a Webby for Tech Achievement) made Paul McCartney resemble a Beatles-era version of himself designed a virtual model of the late rapper The Notorious B.I.G. It’s that he’s putting those creations into the hands of the talent themselves, empowering them to drive the innovation.
The true innovation of Remington Scott’s company, Hyperreal, is not just that he’s created strikingly lifelike digital versions of stars who are living or dead (or completely fictional).
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