RealmIQ: SESSIONS with LISA TRUBLET DE NERMONT

 In this episode of RealmIQ: Sessions, Host Curt Doty talks with Lisa Trublet de Nermont, a film tech entrepreneur and former Vimeo exec, shares the origin and mission of her new AI platform: Sinima, the first AI operating system (OS) for filmmakers. Designed to protect and empower creators, Sinima aims to bring ethical IP management, ownership, and monetization into the evolving AI filmmaking landscape. Lisa and the host dive into the intersection of AI, Web3, traditional Hollywood, and creator-first ecosystems, discussing the risks of generative AI misuse, the failure of big tech to protect artists, and how Sinima could redefine the future of filmmaking.

🧠 Topics Discussed:

• Lisa’s career from film marketing to B2B SaaS to founding Cinema
• Vulnerabilities of creators using mainstream AI platforms (e.g., Runway, Midjourney, OpenAI)
• The IP ownership crisis and unethical training data practices
• Sinima as a creator-first AI OS with Web3 and blockchain integration
• Watermarking, real-time IP misuse alerts, and military-grade protection
• The Sinima marketplace for creators to sell trained assets and models
• Token usage monitoring for production efficiency and cost control
• Sinima’s support for hybrid filmmaking and legacy tool integration
• A new model for A-list talent to control and monetize their likeness
• Democratizing Hollywood: talent, unions, and the future of collaboration
• Replacing fragmented AI toolchains with seamless, frictionless production
• Future of AI films: hybrid vs. fully AI-generated
• Sinima’s startup strategy: lean, smart, and ethics-first
• Call to action for investors, guilds, and creators to join the movement

💬 Pull Quotes:

“We’re not building a tool. We’re building an operating system—for filmmakers to own, create, and monetize their IP, ethically.” — Lisa

“Legacy Hollywood is slow and bloated. Cinema is lean and lightning-fast—built by filmmakers, for filmmakers.” — Lisa

“We don't even have access to what users build. It's like a bank vault for your IP.” — Lisa

“People have shiny object syndrome. They're moving fast without thinking about the intellectual property damage.” — Lisa

“Studios are chasing cost savings. But the real value is re-employing the creative workforce with new models of ownership.” — Curt

“Imagine if Scorsese trained his own tone, look, and style—and sold it. That’s the future Sinima enables.” — Lisa

“The first truly AI-generated film will be judged like any other. It won't be an AI film. It will be a film.” — Curt

“Actors should have the right to license themselves for reshoots. It’s flexibility and fairness, not replacement.” — Lisa

“If we don’t build ethical AI platforms now, the studios will lose their talent. Full stop.” — Lisa

“I’m not trying to be first. I’m trying to be right.” — Lisa

Join the Waitlist - https://www.bright-theory.com/sinima-os

Transcript

Welcome everybody. Let's get into it. This is season three and I am excited to introduce today's guest Lisa Trublet de Nermont. She is a film tech founder and has contributed to over 500 million in marketing. Source pipeline for global tech brands.

Most recently leading global demand generation at Vimeo, one of my favorite platforms. She is a creative executive strategist and builder at the intersection of legacy media and emerging technology. Quite the background. She is here today to also talk about her new AI platform, SINIMA, the first AI operating system, or os for filmmakers and creators.

And I would add, trying to do it the right way. Lisa, welcome. How are you doing today? Thank you. That was quite an intro. I feel so undeserving. Well, it's all you. So, tell me a little bit about your journey from being that. Tech executive for, with one of our favorite brands, platforms we use every day, and then becoming really an, an entrepreneur and launching your own platform in ai.

How did that come about? And, and tell me about your journey. Yeah, I think, you know, it's been 20 years in the making. 20 years ago, gosh, I was just graduating and figuring out my life. And I think since then my career has been 50-part, 50% parts filmmaking within the production, post-production space and the marketing side of things.

And then on the other side of that, I got quite deeply involved in technology and B2B SaaS, for example, quite interestingly, because one part of that is the, the filmmaking side of things is. A little bit archaic in terms of their technology stacks because they're quite, they're using very many legacy systems, but doing the most astounding creative work.

And then on the tech side, the technology is so advanced, but the creativity I felt was lacking. And so, I, I made my way through to Vimeo via a, a friend, a colleague who ultimately referred me for a role, which I was really grateful for. But I was impacted by a round of layoffs that happened in January.

And at that point, I realized. I think I've got something. I've been sitting on this idea for a while, especially since the AI revolution, and I was like, there's got to be a way for people to do this better and more ethically. And so that cinema was born at three o'clock in the morning when I couldn't sleep one night, and I was just like, we've got to build this.

So, I immediately started with the prototype. The prototype since its inception, has evolved quite substantially since, you know, the first rendition of it. But I'm really proud of it and I'm proud of where we're going with it. I think we are going to be leaders in the space of ethical AI around IP creation for studios for major conglomerates, but also the individual creator, somebody who wants to know that if they're creating something, it's not going to get stolen or reused or repurposed down the line.

And if it does, there's actionable steps to take to secure their ip. And so that's where we're at. Cool. So, when you talk about ethics the major concern has been around IP and whether you should put your IP into, you know, platforms like runway, sora, VEO 3 and do you start to lose your rights and ownership of that of said material?

And so how are you different or how are you protecting ip? Yeah, I mean, that's a great question. So, we are really at the inter, we're really the only cinematic intelligence company that's at the intersection of Web3 and open A and Gen ai. So. How we differentiate is we're not building another tool. We're building an entire operating system that has the creator first economy, and then it's also got the filmmaker first economy and ensuring that the IP is consistently protected from the moment that it's created.

So, there's two sides to what we're building. One is you can tinker around with your open-source mythology, which is your open ai. As your soars, you can integrate what you've already built. If you want to build off of that and actually train your own ip, you can do that in cinema, in our vault. And so, we're allowing, for the first time ever, I.

One of the first cinematic intelligence companies to allow the user to be able to model their own per IP on their own language model. So, we're basically just trying to democratize the opportunity to train your models because I think everybody is so reliant on the SORs and the runways and the open eyes of the world, and it's very overwhelming for somebody coming from the film industry who comes from a very traditional way of filmmaking.

So, I'm just excited to bring this to the community and make sure that when they are thinking about creating something new, it might feel really great seeing your imagery and your ideals come to life, but you really do lose all control once you're building it in those platforms. Yeah. What we're going to be able to do for our users and our creators and filmmakers is anything that they build and model off of in cinema is a hundred percent theirs.

We don't even have access to it. It's kind of like a bank, like we don't actually, we don't have access to see what they've been building or anything like that. So, it's, it's really protected. Right. So, it's, it's firewalled mm-hmm. And it you don't train on other people's IP and, and they own whatever they put in, right?

Mm-hmm.

So, what's, yeah, so what's crazy is, you know, what's happening with Disney and Universal, my former employer are suing Midjourney. Yep. Just saw that. And, and so there's speculation about you know, not just monetary compensation, but what does that mean for the future of a platform like, maybe they go down, right? Which can happen. Titans, tech titans fall, or somehow studios create. What you're building so that a filmmaker comes in and uses, you know, the Walt Disney AI filmmaker machine, it's a walled garden in itself. And so, the concern is that. What seemed like, what was a democratizing media for creatives and aspiring filmmakers, or aspiring AI filmmakers now will sudden be, suddenly be cordoned off and controlled by once again, big studios, not necessarily big tech, but big studios.

Do you, do you see that as a possible future or, I. Sorry to interrupt you there. I'm this.

I think people have got shiny object syndrome right now, and I think what we're seeing in the filmmaking generative AI space around, like I said, all you know, runway Midjourney, sora, they're moving so fast that I don't know that they've even thought about the intellectual property damage and lost thereof.

A year or two from now, it's only a matter of time before companies like myself and any other tech stack will come along and completely dominate that industry. The thing is with cinema is we really are reaching and trying to target these major studios who are looking for that IP protection component.

We, I, I would go as far as saying we probably have close to military grade IP protection that we're implementing through our proprietary tech stack. It's going to, for example, the studios will have access and control over their ip, which I think is really, really important. But will they also get real time alerts when their IP is being misused right away?

As opposed to finding out about it, you know, further down the line, which is also a really great tactic we do. The other component is we do a watermark stamping, so they'll always be able to track and trace where they're going with their ip, the how that impacts the individual user, because I think it's all very well to talk about studios and me.

Like staying on top of this Disney mid journey situation. So, we'll get into that in just a second. But I think more importantly, the individual creators, the visual effects artists, the cinematic artists, the people who have been building this industry for hundreds of years are now at a loss, and they're reeling in trying to figure out how are they going to live through this next chapter.

And I think it's really more of an evolution than it is a complete takeaway from what they know and what they do. And so, with SINIMA, They're going to be able to come in and essentially train everything that they've learned over the years, whether it's through Google documents or it's, I don't know, some sort of image or creativity or editing style or run chase sequence or a pack or something like that.

They can upload it, model it in their own secure platform, decide if they want to distribute it or not, or they can sell it within the cinema marketplace. Okay. Their IP is consistently tracked and watermarked from the moment they plug it into cinema, and then once they've sent it off into distribution, they're going to get real time alerts when any, any moment that their IP is being misused.

So, no one is doing that at the moment. I'm kind of nervous to give away a little secret, but first you've heard of it so. The marketplace. Yeah. It's brilliant. And I think that it, you know, you talk about the creator economy and creators, it's not just filmmakers. Yeah. The creator economy has always been searching for the holy grail of how they own their content and how to monetize their content.

Yeah. And so, I think it's fascinating what you just said because the displacement of visual effects workers, of which there's thousands all over the world. Yeah. They will quickly be out of work. 'Cause the studios will embrace AI production putting them out of work. And so, what you're saying is leverage their experience, build IP based on.

They're technical prowess with AI models within SINIMA and then sell those as packages to studios who could partake of your system as the system to make films for the studios. Yeah, so ultimately where I'd like to see cinema. Five years from now is to be the go-to for primary IP ownership. And I'm not going to say we're going to take away from studios because they've got their own thing that they're building and, and creating, and I think it's really wonderful.

But I think it's about time that that creators and filmmakers take ownership of what they've been building for the last couple of years. Right. I feel like so much is given and lost and taken through the studio system. Again, huge respect for studios. They've got a big thing going and it's great, but I think we're at this crux right now that if we don't support our filmmakers and our visual effects artists and everybody that's lost their jobs, millions and millions of people, we have lost such an important part of history, and I think I'm, I'm trying so desperately to preserve that and treat.

The creativity that they've created over the last couple of years, almost as artifacts. So, we're talking like Martin Scorsese can use cinema to upload all of his own IP that he hasn't sold off, model it, train it, and then sell his own pack or whatever he wants to do. Tone, style, texture, whatever it is in the marketplace for hundreds of thousands of dollars.

Or you can get your individual creator, filmmaker, editor. Even a visual effects artist or a set designer can come in and sell any sort of replicated model of what they're willing to distribute. And they have very, very crystal-clear usage rights. And if those usage rights are violated, they get sent and each an instant cease and desist.

So, we really are thinking creator, filmmaker first, and I don't think a lot of people are doing that. No, no one's doing it. This technology race and what I. What you're doing is that you've, you've sat back for a little while and, and watched this debacle happen. Mm-hmm. Oh yeah. Right? And you as a, what I call an alt-tech company are sitting there observing.

Don't need to be first, first to market, but I'm learning from all the mistakes, both legal, creatively, copyright, everything that everyone else is making big tech wise. And, and coming up with something different, and I think that's so smart and incredible and it, and it's very important because I've been in product development for 10 years and, and I know that it sometimes it doesn't pay to be first to market.

Yeah. Learn from other people's mistakes. Save your money. Sit on your money and spend it wisely. Developing models that learn from the failures of those who went first. Oh my gosh. So well said. I think if I had started this any sooner, it would've crumbled. It would've been replicated. What I'm really proud of is that we're building something that's not easy to replicate, because there's a lot that I can't mention on this call, but behind the scenes, like I said, we're at the intersection of Web3, blockchain and you know, generative AI and also traditional tech stacks, like bringing them all into one house to operate seamlessly together.

When cinema initially started, it was this concept of frictionless filmmaking because what I noticed instantly was. Any creator, if I look at LinkedIn or Instagram, you know, you, you ask them what their tech stack was to create a 32nd piece of film or sort of any sort of motion sequence. It was chatGPT for the prompt, and then it was Midjourney for the conceptualization, and then it was runway for the actual visualization and.

It just, there were so many different other elements to it. I'm like, so people are really averaging on anything between five to about 10 different tech stacks just to produce a 30 seconder. Yeah. How do we make that more frictionless? Bring it all into one platform. And so that's what cinema's also going to be able to do.

But not only that, but you can also merge in with your traditional tech stack. So, there's a lot of people playing in this field right now that doesn't differentiate us a whole ton. But I think really the core of what we do is the ability to obviously bring all that in-house. It's our marketplace, it's our proprietary technology around IP security.

And it's also just the ability to train on your own LLMs. And so that's, we're trying to democratize the space for people who are coming into it fresh and new and very overwhelmed by it. So also, just re-employ a huge portion of the economy. And I also think that the economy is going to take such a hit. I know people are saying.

AI is obviously great. It is, but I think that if we can reemploy our cinematic artists, I think that we've, we can add a, a great bump to the economy as well in a positive direction. So that's what I'm really proud of. That's great. It, so it seems like one aspect is and this has always been a, an elusive goal, is being an integrator.

Right. Because you see this multimodal world of varying tech stacks. Mm-hmm. And the challenge is how to integrate them without necessarily trying to reinvent Right. What Midjourney is doing, or yeah. We don't need to, or runway or sora. And so, is it, is it possible, is this part of your plan?

You license some of those platforms to be integrated into your platform? Yeah, so the plan is to have clients and customers integrate their own tech stack, right? So, if they've already got an account with chat, GBT saw, runway, whatever it is, just integrate your accounts. It's simple as that. If they are going to integrate for the first time and open up an account within those platforms through cinema, we take an array of share from that.

Yeah, I think it's, it's, we're constantly thinking about the se the most seamless way to create film. And I, I would go as far as to say five years from now, possibly sooner, I want to be the first person to have built cinema, obviously, to have created the first feature film using purely ai. And right now, we're not there.

We've got a couple of. Tweaks and tinkering to do, and I think it's going to take us a while to build, you know, really robust tech stack to get there. Obviously token usage is a huge thing. Something else I should mention around, around cinema is that it really is the first operating system of its kind where you can understand your token usage from a monetization perspective.

So, in traditional filmmaking, you hire freelancers, editors, whatever it is, right? So, they send you an invoice, you pay them, it's done. Cinema now also has an entirely different. Economy behind the scenes around token usage, which I don't think a lot of people are thinking about. Think about how inefficient some people are using their tokens right now.

What if you hire an editor who's using 40 million tokens to create, you know, a 32nd piece that's really bad. Yeah. Right. And then you can monitor another editor who is using. 10,000 tokens to create a 32nd piece. That's fantastic. So now you know what you editor to work with. There's a whole component to it that we're really excited to build out around the efficiency of token usage, paired with the ability to upload real cash to buy more tokens within these platforms.

So, it's, it's pretty cool. Yeah. And you know, there's something that is often forgotten is how collaborative. The film industry is, mm-hmm. The process of filmmaking. Yep. It has always been collaborative and for this kind of first two years of experimenting with AI video, right. Whether they're films or not is debatable, but AI and video as a distinction, you know, it's been a lot of solo operators going multimodal and just doing what they can.

Making crazy ass shit that, you know, is it a film, is there a narrative? Is there a hero's journey? Yeah. Are there character arcs? It's like all those things of film making film writing are, aren't there. And that's done through collaboration with Yep. A lot of different people, certainly visual effects.

You know, at end of any movie there's a hundred visual effects companies and a hundred employees under each one of those visual effects companies all working on one film. So, so what's cool about what you're talking about in building is that you're, you're enabling. Collaboration, you're bringing collaboration back to what has been a lot of solo efforts around AI filmmaking, when in fact to really make a great film.

Yeah. And whatever that first film is that comes out, that's done completely in ai, it's going to go under a lot of scrutiny. Oh, for sure. Yeah. Percent.

It's a collaborative effort. Yeah. And no one can be the one expert that brings it all together solo, but it requires the expertise of all these people who have been making films for years who have found themselves rebirthed in your marketplace and can contribute to what is a new medium. Yeah. In one platform.

Right? Right. There's no need for us to live and breathe in 20 different universes. I think it’s; we're in due time now. We're, we all need to be operating from the same system. I want to touch on that Disney Midjourney crisis. Okay. I think they filed on like the 11th of June or something. And it's interesting, I think it's also around 150,000 per infringement, right?

Yeah. And it just got me thinking. I even think that that's too low. Because you know, the infringement is, well, if you, if you quantify that by the millions of people who have used it erroneously, oh. Is that how they're doing it? Yeah. Yeah. So, imagine, I mean, I, I was cri I'm, again, I sit back and critique people thinking they can just make a, a Star Wars digital comic book because.

They are using ai. And I was like, okay, but did you get the rights to do that from Disney? Yep. You know, or Lucasfilm, it's like, yeah, what? What are you talking about? It's like, yeah, you can't do that. Yeah. Like a year ago I was tinkering around with some image generation tools, and I could very easily, you know, replicate Ozzy Osborne and you know, Dave Grohl and.

Taylor Swift and I was like, why am I allowed to do this? Like, this does not feel ethical. And that was also when the wheels started turning. I'm like, I would be so pissed if I had spent decades building this elaborate IP vault for myself, and suddenly someone can just go and replicate me without my permission.

Like, and that's really the heart of cinema. It's like, yes, people are all, A question came up the other day in an investor call around you know, people are going to do this anyway. Why do we care? I'm like. We care because we care, and people will come to our platform for the most secure ip. Yeah, end of story.

There's always going to be somebody who's trying to do something bad out there. But if we can be the people in the industry who genuinely care on are doing the right thing for the studios as well as for the individual creators, I think we've got something quite special. Yeah, let's have the good guys win for ones for the good girls, right?

Yeah, exactly. No, it's so interesting. And also, just the amount of money that is being lost to like video piracy is, I think it's something around like 75 billion a year. It's just so much. It's, it's unimaginable how much is happening. And this is, you know, this has been happening for years and years and years, but AI is just propelling it to a new level now.

Right, and, and as investors or tech companies are investing into ai billions, billions, and billions of dollars, it seems like. Can't you just dedicate hundreds of millions to licensing deals with IP owners so that there we, God, you can do things the right way. Yeah, yeah. Just carve it out, you know? Yeah.

Just say, okay, 10% goes to licensing. Yeah. I mean, if you're an investor, you can make those demands of what is being done with your money. Yeah. It's so true. I. Yes. I think that that is the direction that investors and VCs and angel investors, if they were really thinking smartly about like the next 10 years, that's where they should be putting their money.

Something else I was thinking about from the A-list talent, right? Like people like the Nicole Kidman's of the world, Reese Witherspoon, Viola Davis. I actually predict and probably foresee a world where a-list talent and, and pretty much any creator can own their entire supply chain. I would probably go as far as to say, I don't know if there's a real need for the traditional.

Talent agent and manager system as we know it right now. Potentially IP talent management could be a thing, right? Mm-hmm. I also think they probably, if they don't want to handle the legalities and the paperwork, sure they'll probably get an agent to manage the IP component. But this is also something that I'm thinking about consistently with cinema.

How does cinema operate as the IP talent management component? So, if Nicole Kidman comes and says, I've recorded the, these songs with Keith, you know, her husband. It's completely ours. How do we build off of this? They can come to cinema, upload their music safely, secured in cinema, always have a hundred percent right ownership.

We don't own anything. They can go and remodel, rebuild off of that, build out movies, build out shorts, reels, anything, a whole new song if they want to do and distribute it on their own within cinema as well. Where's the agent? Where's the studio? They don't need. They don't need it. So, there is a component where I think that we are able to allow a-list talent to also free themselves a little bit from the clutches and the claws of talent management and talent, talent ownership in a sense.

I think that's quite revolutionary. I don't know that that's going to be an all-encompassing solution for everyone. I think that the more tech savvy a-list talents would be, you know, quite interested in that. But I think people who enjoy the traditional talent management and agency partnership, I think they'll probably stay where they're at.

Yeah. I. You just have to look to Taylor Swift and Beyonce to understand that they get it. They do. Yeah. They get about, you know, yeah. Creating their own worlds, right? Yeah. And monetizing it in their own way. And so true. But you know, then how do you democratize that model? Yeah. To not only a-list talent in Hollywood, but to everyone, you know, up and down the supply chain of.

Creativity. Yeah. Right. Authors, singers’ writers everything. Gaming. The gaming industry. Yeah.

You know, will the big video game publishers die off? And then the people who have been building the games say I'm my own studio and I can do whatever and, and live, live and monetize within cinema. I think that that's the future. And I think big studios, big production companies who own the rights to a lot of these things are going to have to start thinking a little bit more laterally and like out the box if they want to stay relevant.

You, you mentioned as well, I brought it up earlier around the owning. I feel like artists will essentially own their entire supply chain. I really do see that as the future, and I think that cinema would be the perfect place for them to start. This is where we, the most important thing to understand about cinema is.

It's truly from ideation all the way through to distribution and monetization. It's not just a tool; it's not just one component of the supply chain. It's everything. And so, when I'm raising, I'm currently raising seed for cinema. Mm-hmm. And I think some of the questions I get around, oh, this is too big.

This is, you know, this is a lot. And I'm like, I get it. I've, I've worked in tech for a very long time. I know what a big endeavor and I is know what is. A tool, we are building something massive to shape the next generation of filmmaking. It is big and we need investors on board who are excited about the big and not scared, like terrified of it.

So, I, I'm very happy to say that we are moving in progressively in a great direction with some of our investors. I'm also looking to partner with A List talent as well. People who are really interested, obviously, and care about the cinematic industry and want to reemploy a lot of their friends, their, their communities, people who have helped films.

But also, who have a, a need and an interest in technology and want to, you know, stay ahead and stay current. So, we're in the process of chatting with a bunch of talent agents and just seeing where we can land on that. That's great. You know, what you're presenting is a very different alternative and a different type of threat to the old Hollywood system.

Having gone through the union battles and strikes, you know, two years ago when all this was beginning with generative ai, I don't think anyone imagined a revolutionary model that isn't taking away their likeness, but. It's actually empowering them in a way that is countered to the whole studio system and the unions both on the, you know, the guild side as well as the Teamsters and electricians and all those people.

Yeah, all of. Do you? So, so, so that's refreshing. That's completely refreshing. And I, I think something that was not even conceived of me two years ago, and I, I, I, I have always believed that it's going to be creative people who can think outta the box who will solve these critical problems, not just from creatively expressing yourself with these amazing tools, but it is challenging.

Existing business models inventing new business models, thinking out of the box to imagine a different world and a different way of doing things than 120 years of Hollywood history. Yeah, and I, I think you mentioned something about the guilds, and you know, the unions, you know, something that we really.

We'll need to do as an organization is get really close to these guilds and unions and build a really healthy partnership with them and trust because we are really looking out for their best interest as well. We are also building a cinema guild, so this is true excellence in ai, innovation and, you know, mythology and builds, and people who are really in this space in a very ethical way.

Focusing on speed with role, focusing on quality and ethical. So yeah, I'm excited. I'm, I'm busy building up the board for that. We'll eventually have a, a voting panel. We'll also have a ceremony where we'll, you know, celebrate the arts and cinematic intelligence through ai. One thing that's also just really cool about cinema is that you really are able to bring in your legacy tool stack, like I mentioned earlier, and as well as overlay that with your AI technology.

And you can decide, you can choose your journey how we support. Large studios are by consistently staying on par with their ethics and their protocol and their procurement processes, but also being that infrastructure where they can hire, build, distribute, edit, anything they want to do in one platform.

I'm sure you know this better than anyone, but when you probably had to hire like freelancers and like talent, it's just like you have to send it off to your billing department and then you have to get the quote from there and Oh God, it's just such a mess. So yeah, we're, we really are thinking about frictionless filmmaking at every possible capacity, right?

Like it's, like I said, it's not a small project's, a massive project we're building for the infrastructure of filmmaking to come. So. Yeah, I'm, I'm excited to be having this conversation because I feel like this is the first time that I'm like really publicly declaring it and hoping the right people will come to us.

Oh, fantastic. And, and I mean, I, I knew a little, but I know a lot more now and it's even more fantastic than my initial understanding, so congratulations to you. Thank you. You know, there's this talk in Hollywood about, is the first AI film feature film going to be 100% ai, or is it going to be some type of hybrid model that incorporates, you know, live action and real actors into the story?

And you know, there's, there's not necessarily a battle, but there's, you know, various ways and levers to pull in terms of creating. The best type of film, right? Yeah. And my, my concern has always been about the, an ai films that have been made are, Hey, they're all doomsday, they're robots, they're cyborgs, and they're fantastic.

They're sci-fi. It's like, that's a great genre to show off that new technology, but you know. Where is Harrison Ford in the middle of all that? Where is dramatic performances by actors in all of that, and how do they get integrated and, and, and so that's, you know, that that will be an expectation of anybody going to the theaters when they see this first AI film that's in theaters.

It's going to be judged against, you know, the theater that's in the next theater, next door that's totally live action and has talent and all that stuff. And, you know, it can't live in a vacuum. cause you, you're, you're, you're eventually saying, you're ultimately saying this is a film, not an AI film. It's a film.

It's a film, yeah. I used AI and partially or whatever. To what proportion. But it's a film to be judged against the same films that are coming out that same weekend. Superman comes out today, you know and, and it's already, I think, going to make their numbers. So, you know what, with your platform are you, are, are you able to support the hybrid approach as well?

Yes, hundred percent. And that's actually where we're starting. I, I do see a world where films will be made a hundred percent with ai and I think there was a special on recently, Oprah Winfrey just had Sam Altman on one of her shows, and then she also had some influencers talking about, I. Where AI was a year ago in video generation, one year ago, 2024.

And there's this video of the Rock, I think it's the rock circulating of how bad this is an AI video. And it's terrible. Yeah. And then they played the same video one year later, and then you can't tell that it's ai, like it's so immaculate. So, if we're there right now. In a five second frame, I do think we're going to get to a place where, like I said earlier, the Nicole kittens of the world are going to come to cinema to own, replicate, build, and distribute and license their ip, their voice, their tonality, their facial expressions their characteristics, their everything.

And. Essentially sit back and watch a film being made with their ip, but earning the same amount of money, less time on sets, same amount of money. So that's the world that I envision. I know that actors love to act and that's not something we're trying to take away from them, but we want them to earn. And there's also this no secret in Hollywood that actors are not really getting paid what they should be getting paid since their profit.

Their IP is really living in perpetuity. It's always going to be there forever and ever and ever. We've got actors who have done legacy TV and legacy film, and they can hardly make their rent or their mortgage. Like that should not be happening. Yeah. We have to bring back the glamor to, to filmmaking in a way that is admirable.

That is aspirational, because I think the storytellers of our world. Is what helps people with depression. Suicidal ideations help people in LGBT communities, people who are different neurodivergent, and if we strip away the storytelling component from that, I think we've lost everything. Like I can't live in a world where there is no true storytelling, so.

Yes, cinema will come in and able to model and replicate and do whatever they want to do, but at that point, the talent can decide how much of their body they want to use in terms of ip. Maybe they're not available for reshoots, right? They can say, yes, all right, I will license myself to you for my reshoot, which is a two-week process.

I can't be there. I've got another film that's never been done before. So, like, let's add that flexibility so they don't lose, and that the studio timeline is able to keep going with their schedule. So that's the kind of stuff that I'm excited about with cinema. Well, and, and very worthwhile to be excited about because you're challenging the norm and the Hollywood system is broken and we're, we're seeing it be.

Self-destruct in front of her eyes first with the streaming disruption, right? Yeah. You know, Netflix and Amazon will be the winners there. And you know, every studio didn't need to build a streaming app. It was Folly. Yeah. And so, the whole notion of distribution. And being the copycat of Netflix.

Well, you can't, you can't copycat Netflix. They spent years building a technology that works. Yeah. Worldwide. Right? And you just can't replicate it. So that was a mistake. But now, you know, getting over these threats of ai. The studios are looking for ways to save money on production, right?

They just look at it as a cost benefit analysis and wow, we can make, you know, film, especially these kind of genre films like sci-fi and fantasy. For, you know, 30% of the cost. Fantastic. Let's do it right? Mm-hmm. So, the only people making money in that scenario is the studios and, you know, maybe the directors.

Yeah. But left by the wayside are the entire visual effects community, let alone, you know, many of the actors. So, so that's a path that's being aggressively taken. I was a little disheartened by the Lionsgate. President, I think talking about what they're doing with ai because Lionsgate was a pioneer with James Cameron and Anthropic in making a deal.

And my understanding of that early deal was that okay, they're going to. Build an LLM based on all their films, you know, whether it's John Wick or you know, all the other great movies that they have, including James Bond. Yeah, I remember that. James Bond, no. Anyway no, that's MGM now anyway, so and then, you know, have filmmakers come in, use that LLM to, you know, make more affordable.

Movie production, but, but what happened was they said, oh, no, no, just scan in John Wick, make it anime and make it PG rated instead of R, and they can pump out an animated John Wick in three hours. Yeah. You see? And it was like. That's a very, dare I say it, uneducated way to go about it. I feel like that is shiny object syndrome at its finest.

It's like, oh, we want to be a part of this AI thing, but we we're just going to do it like this. It's like, well actually hold on a minute. Because the thing is, are they using open source through philanthropic? Right. They probably are. And so there, yeah, IP is everywhere, and if it's not open source and they've somehow closed it, that's great, but to spend that much money on.

A really bad idea. Yeah. Quite frankly is concerning to me. There are just better ways to do it and smarter people to help with that process. And I think if studios really get it right, and the way that they get this right is by partnering pe with, with really fantastic talent in this space. People who are innovating in this space, who have constantly got their eyes on like 10 years from now versus right now.

I think, like I mentioned a few times already, is people need to get out of this shiny object syndrome and realize that if we don't do something about the ethics of AI right now on the ip, we're going to see a mass exodus of talent owning their entire. Their entire supply chain because they can't trust the studios, or they can't trust their talent managers or anything like that.

So that is the way and the way to win people's hearts, I think, in this industry is to consistently put them. Hearts and minds and reading those new contracts because in those new contracts, yes, yes. They're definitely going to have clauses that say, we have the right to like to replicate you. And so, before they sign those, there needs to be an alternative.

And I believe it's going to be cinema and the world you're building. Oh, that's sweet. Let's hope so. Yeah, I, I'm very excited about it. We've got a huge journey ahead of us. But the thing is, I've been able, I, I have no business developing an entire operating. Tech stack, but I've been fully able to flesh out the whole prototype, right?

So, we're moving at lightning speed. We're staying super nimble. I think we've got five people total that we're still in the process of hiring three more. But we're not going to be a bloated company. We're, we're also raising a fairly conservative amount. We're not. Going after, you know, 30 million and all that stuff that I'm seeing, I'm seeing people raise like $6 million for like a tool in the AI era.

And I'm like, why? So yeah, we, we are asking for a very conservative amount with a very lean but mean team. So, I'm excited about the next chapter. Okay. So, as we get to our end here is there a place where people can go to learn more about cinema and hear about your journey and your product and your, your philosophy?

Yeah, absolutely. They can go to try cinema ai. And oh, actually I will drop in the link with you. Maybe you could pop it in the video, in the comment section. I think that'll be better. But yeah, we have a wait list generating couple people on board already. People all over the world have gotten quite a bit of interest from Singapore, from South Africa where I'm originally from.

So yeah, excited to see the traction and we welcome every single person in the film. Cinematic community. If even if you're a makeup artist or a set designer or a visual effects editor or an audio professional, you know, I, I welcome you into this space because this is where you're going to be able to earn a livelihood again.

And not just earn but potentially earn very well. Because there's no cap, right? Like traditional sets and, and film sets. You're there the whole day. You've got to set budget. You negotiate your rates and that's it. But this is recurring revenue while you're sleeping, you know, built on your ip, and I think it's.

Wonderful. Okay. Well, listen, thank you so much Lisa. We want to have you back as you make progress on your platform and your funding and a launch date. We want to, we want to know it all. So, we'll have you back. And so, thanks to all of you. For tuning in and catch more of our real IQ sessions on your favorite podcast platforms, please follow and smash that subscribe button.

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