What We Saw at AI on the Lot

Let's talk about what we saw at Hollywood's premier AI in media conference. We'll unpack how the industry is dividing into 2 camps: AI that enhances existing workflows versus fully synthetic generation. Plus SAG-approved AI films, the blurring line between real and AI-generated content, and the debate whether these tools will help creators do more or simply replace jobs.

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The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.

Transcript

The main sort of thing here is, is AI gonna help me be better and do more, or is it just gonna take my job away? And we of course, want the first one. 

All right, Addy, we're here. We are at AI on the Lot. Hey Joey. How's your day going? It's been in this room a lot of the time. 

Yeah, and I presented, I had a talk. You and Todd are the busiest people on this lot today. 

And Mike, who's also running behind the scenes. Give shout to Mike, who's been helped put this together.

Yeah, so I've been in here talking to some cool people, but I've not really been out at the events. You're gonna have to fill me in. Yes. Yeah. First off. Yeah, I'm on the lot in Culver City. 

Yeah. 

You've run into a couple fans. 

Yeah. I'm really thankful, uh, because these fans are not crazy rabbit fans. They're professional m and e, you know, folks like us.

And, uh, yeah, shout out to Bastian who left our first review. Just saw him briefly shout out to Ken and then Mariana, my friend, who I had no idea listen to our podcast and, uh, you know, we tend to skew male statistically, so it's, I'm really thankful. We're really thankful that we have female listeners out there.

We obviously make the show for everybody, whether if you're into tech, if you're into tech, if you're into filmmaking, this is the show for you. And. The response I got was really positive. They come to the show to catch up on everything going on. One of the big questions that somebody asked me was like, how do you do all the research for the show twice a week?

How do you edit and how do you cut? So I guess all that hard work is being consumed in the right way. 

People are seeing it and appreciating it. Yeah. That's awesome to hear. I, I sort of met a fan. Oh yeah. Yeah. Tell 

me 

about your fan experience. I know, I'm sorry, because I'm. Blanking on your name, but going into throwback to, I think we were talking about Lightcraft Jetset and Yeah.

Uh, Star Wars, uh, fan film that was made using it. And the behind the scenes footage had a very wrinkled green screen, and I think I commented that, um, it was the worst green screen I've ever seen. Oh. And so he said, Hey, you Joey from the PO from podcast. Yeah. Yeah. He is like. I'm the guy who made the worst green screen you ever saw.

Oh, no, I didn't mean, but I meant that as a compliment to the software because the green screen is very wrinkled, but the final composite looked pretty good, so I was impressed with the compositing job. 

Okay. Well there you go. If you're listening, I'm sure this person's gonna listen to this episode. We thank you for your amazing composite job.

Yeah. Remember when I, uh, negatively talked about the Star Wars AI film at TED Talk with Rob Bredow. Yes. I hope I don't run into him anytime soon, but I think the internet as a whole crapped on it. I

think we offered helpful criticism and did not tear it apart as much as the internet did. 

Yeah, I I don't think I'll be working on it ILM anytime soon.

Uh, speaking of working, do you have a, an announcement? 

Yeah, yeah. I, I finally have, um. Well, I'm back on the full-time side of things, so, you know, I did my freelance consulting gigs and those were a lot of fun. So I've joined Stability AI. 

Awesome. Congrats. 

Thank you. And, uh, it's, it's a very high profile company.

Uh, a lot of my friends who are here on AI on the Lot gave me hugs, gave me congratulations. It's really good, positive feedback that I've joined the right company. 

Mm-hmm. 

Having said that, uh, good thought to be in. Yeah, good day. This is appropriate. Somebody said it the best. They're like, he actually needs to be here.

We're just pretending. Uh, so I'm doing, uh. Enterprise solutions, which is a fancy way of saying that I help big companies acclimate to AI solutions at scale. Mm-hmm. Okay. So like it is not just about generating 10 images, it's about generating millions of them. Right. And so how do you do that? 

The crazy behind the scenes stuff where like the real power is behind these, where the real money is 

being 

made.

Right. And right now the real money, unfortunately is not on the VFX side just yet. It's still on the brands, agencies. Mm-hmm. Product photography, virtual try ons and those kinds of things. Yeah. Oh, uh, one caveat, uh, you and I love doing this show. Uh, we've been doing it since January. We're still gonna continue to do this show.

And this is in no way related to Stability AI. They don't sponsor this. This is Addie and Joey doing our thing. 

Yeah, these are our personal views, not representative non-company views your Yeah. Employer. 

Yeah. And obviously I'll have a little bit of bias towards our products, uh, at work, but, you know, I am fair to all of the other companies as well.

I am actually very much excited about all the progress that I saw on the show here mm-hmm. And everything that's going on. So just from like a sheer passion of what's happening with ai, I am very happy to be here. 

Yeah. So what have you seen today outside of this uh, room? 

Yeah, so let's take a step back and just really talk about the theme and sort of where the show is at today versus It was where it was at when it started three years ago.

It was the third year. Yeah. 

Look, we're at Culver Theater. This is not a cheap venue. And Todd and the team did an amazing job to elevate this show to where it is in just three years. Mm-hmm. And we are seeing. Very, very top level. VFX executives walking around amongst us. I saw execs from Netflix. Some of them I recognized.

Some of them I just said, oh, easier. I saw some from Amazon. And of course, uh, some from that I didn't recognize Asteria, the company that we talked about in the past, they have heavy presence here. Some of my friends, my colleagues from my last job who are now at Asteria. It's really cool to see them all in all, the show has elevated itself and I think is becoming more of a serious show.

Uh, some of the guests have flown in from around the world to just be here on panels. 

Yeah, yeah. That's always felt like kind of the most legitimate show for kind of talking about ai, but seriously in like a professional m and e pipeline and how. It can be used Yeah. At the, the highest level of, of, of media entertainment.

And it makes sense that it's in LA, right? Yeah, of course. I mean, you have the executives here, you have a lot of the thought leadership here. And, uh, if it was, you know, in Vegas, maybe a lot of these execs would not go over there to attend. Right. So location wise makes sense. The format is great. It's just two days, uh, each day.

And that was a big jump because. This last year it was, it was just one day. In the past two years, it's been one day now it's expanded to two days multi-track programming. Uh, two and a half days was like a film screening on Friday. But yeah, two full days of programming. So yeah, big Leap. 

And then, uh, 1200 tickets.

They taught how to limited and I think they completely sold out. Thank yeah. I could definitely feel it because every talk that I attended, if you're like five minutes late into the entrance, you're standing or you're, you're not finding a seat in the, uh, theaters. Yeah, that's cool. So I would say this is a good enough show to where if you are outside of LA, it's worth traveling to.

Mm-hmm. Like if you have the disposable income and if you are pursuing a career in AI or thinking about switching over to ai. This is the conference for you? Yeah. Because this is really the finger on the pulse. Yeah. 

What do you see? Okay, 

so the, uh, I, you know, I, you know me, I like to chat. I like to mingle.

Uh, I like my, my, a lot of my friends are here, so I had a hard time. I. Uh, between just mingling and chatting on the hallway versus attending an actual conference. That was 

the 

issue with these 

Yeah. 

Events. 

Yeah. 

So, uh, I did attend, uh, three or four of them, and the one that really moved me was the one moderated by our friend Jess

with Kevin Baillie from Eyeline, co-founder of Wonder Dynamics, and then the CO CEO of Flawless AI. It, it was about basically where AI is at today, and because these are the movers and players, some of the most high profile movers and players in the industry, what are your thoughts on the future? So for one, I think the way they were viewing AI solutions, first of all, they all had something to say about the label, right?

Like, there's nothing intelligent about any of this. Why are we calling it artificial intelligent? We're still prompting, there's still a human operator behind it. Okay. So there was like a little bit of, uh, like the 

label of AI itself? Yeah. Okay. Because I know we've talked about, and I'm like, my issue has been just.

More of a classification of the different types of uses, and AI is such a broad bucket term, totally gets convoluted and with what you're actually doing. 

Yeah. So I think, uh, the, the four big players there had that same vein of thought, and then the other thing was like, why are we calling it generative?

Mm-hmm. Uh, because you're still not. Fully creating new things. You're, you know, repurposing old things and turning into new things. So I, uh, taxidermy aside, uh, one of the big sort of ideas was AI can really, right now in filmmaking, go into two different directions. On one hand, you have prompt and fully synthetic generation.

Mm-hmm. Creating a human from scratch. That's not a real human being. Mm-hmm. Things like that. On the left, you are plugging AI into an existing workflow, existing pipeline. Mm-hmm. And making that pipeline far more efficient, far cheaper, and so on. It's the latter that a lot of the companies want to be associated with.

I think, um, ethically it's easier to do the latter. Yeah. Financially there's more money in the latter. And at the same time, some of the filmmakers who are here are using the fully synthetic route because. That you can totally do that too. 

Yeah, I mean, I gave a talk when I did leave here, I gave a talk about, that firmly sits in the second bucket.

It was about AI system editing tools and yeah, kind of expanded on what I talked about and, and did at uh, HPA and I think that talk will be online. So I'm not gonna go into like the details of what I talked about. But yeah, definitely the bucket of just like, how can we use these? Speed up an existing process with a variety of tools.

Yeah, there's a lot of kind of good questions afterwards of Yeah. Dealing with large amounts of archival footage. If this would replace an assistant editor, which I didn't have a good answer to 'cause I don't work on those big of a productions that often, but that one would. Yeah. It stood out to me though because I would, I would see is, well, for the professional letters that I do know, they don't touch the media like at all.

They just cut. 

Yeah. 

So I think this would maybe replace a second assistant. Yeah. Or kind of, or your regular assistant editor can just work more efficiently. Sure. But like, you know, I'm like, yeah, organizing and importing media and dealing with all that stuff. That's exactly it. I'm like used to the, you know, creator, you know, you just wear every hat.

But like, you know, my friends like cut network TV and reality shows. You know, I'm like, I asked them about. Editing questions or details is like, I don't touch. He's like, I don't, I just cut. He's like, my assistant does that. Yeah. So I don't think on the highest level that type of stuff's going anywhere.

Yeah. Uh, the, the main sort of thing here is, is AI gonna help me be better and do more, or is it just gonna take my job away? And we of course, want the first one. 

Yeah. I mean, I think that might just take a mindset shift or how you harness it. Yeah. Depending on what your job is or what you're trying to do.

Yeah. And you know, I mean, the common theme is yes. It will enable you to do more if you take the initiative or if you, you know, move, like have a project, you wanna get off the ground, you can get that going. Yeah. If you're. Looking to kind of just have a job, you know, in a gig economy kinda space. But like that has a defined role.

Yeah. That defined role could get replaced. 

Absolutely. The other thing was, uh, a big presence by Asteria, who we've covered here before. So Paul Trilla was here on a panel with Michael Goi, and a couple other people. You know, it was basically about like. Yeah, it was a level setting. Talk about Michael Goi said it the best.

He's like, the main thing is that we still consider the main thing to be the main thing we did. You know that. So he's basically saying if AI is a distraction mm-hmm. You're doing it wrong. Like the main thing is still filmmaking and telling a story. Yeah. The stories. But yeah, it doesn't matter about the technique, it doesn't matter about the tools, the tool.

Yeah. Don't let AI distract you. Yeah. And I think that's, that's my big takeaway here. Obviously I work at a nanny company now. It is a big deal. But having said that, the fundamental aspects of our lives are not really gonna change. 

Yeah. So I mean, I've been in here speaking to d different people and, uh, David de Bianca from a girl studio.

Yep. We were talking, and a lot of the stuff they're doing, a whole variety of representing creators, support work, their own original IP work. But you know, the common theme that we kept coming back to is just like at the core of everything they're trying to do is just tell a good story. And this. Using these different tools.

Yeah. To tell a good story. 

Mm-hmm. Absolutely. The other interesting take, uh, I think this was Scott Mann from Flawless ai. He had such a sharp insight. Is AI gonna take us into a world where it's a race to the bottom, both financially, but also quality wise? Like, are we just gonna make cheaper and crappier stuff because it's just easier to do that.

Or the AI swap 

bucket, the AI bucket, is that bucket just gonna get bigger and bigger Uhhuh? Or if AI is such an amazing tool, are we now able to make even better films, even stuff that we can't dream of today? 

I mean, it's probably be both. I mean, I think it's just the same. I think it's the same issue or just same, you know, thing that happened with like the digital revolution.

Yeah. Where it's like, okay, yes, it's way easier to make a video now. You don't have to like go rent film and get it processed or have like the technical knowledge bar has dropped a lot. 

Yeah. 

There's a lot of crappy films. There's a lot of just crappy content, you know? I mean. YouTube, what's the crazy number?

Like I'm making it up. Millions of hours. Uploaded hours per second. Yeah. Second a day. Right? No one's watching, you know, 99.999% of that. 

They are watching the 

noise 

though, 

so Yeah. It's just taking that even further now. Sure. Anyone can just go to Google or runway and just make a, a couple video shots and edit together.

Yeah. 

And upload it. 

Yeah. 

Is it gonna be great? Is anyone gonna watch it? Sure. Probably not. Yeah. So yeah, there'll be a lot more noisy slop. But it opens up opportunities for people who wanna take advantage of it, like the same way VHS. Digital opened up opportunities for people. 

I hope so. I hope, I mean, yeah, and it totally tracks with the way we saw the revolution with the internet and being able to share videos and then of course digital cameras, digital editing machines where, how, how quickly you can send up videos.

The other important thing that was covered was, uh, I think this was Kevin Baillie at Eyeline. He said something to the effect of, you know, in the old days you can judge a book by its cover because you could look at. Production quality of a film. Yeah. And if it was obviously low in production quality, then you know, it didn't get the funding that it deserved.

So the story wasn't as good as it could be. So you can kind of judge a book by its cover. If it's a cheap, crappy movie, it probably is. Mm-hmm. Not gonna be great. Now because of everything we have, right? Access to high level computer graphics, tools, access to ai, access to nice cameras, production quality is in almost invisible.

You can't tell what's cheap and what's not. 

Yeah. 

So now it's really about the storytelling. Yeah. More than ever before and 

in some ways tactics and how you structure it. Yeah, I mean, this kind of reminds me and goes back to the YouTube and Netflix convergence. You know, YouTube is such a game and we talk about this and like it's big focus on our videos where it's like they click and I was like, yeah, we gotta like hook you and keep you engaged in the first like.

Five to 10 seconds. Yeah. Give you a reason to keep watching in the same world with like Netflix, depending on the movie, depending on the Netflix show, but you know, a lot of Netflix original shows, if you watch 'em, it's like, you know, starts on the crazy action scene or something, and then it's like three days earlier.

But it's like something. Yeah. 'cause the quality on Netflix, everything's like, you know, good high quality. It's so elevated. Yeah. So in this case of the ai, it's like. How do you keep people watching? Yeah. And it's like restructuring your story or giving it another reason why the barrier for good technical quality is is low.

Interesting you say that, uh, Netflix's representative said something to the effect of, you know, we don't really care about budget. To us it's all about quality, right? Because quality enables Finlay is to tell a better story. It obviously it benefits. The company, you have more viewership and everything.

More watch time, all watch 

hours, all that. Yeah. So it's, it's really good about quality at the end of the day. 

Yeah. One thing with the slop though, that may be more worrying is what happens to the point though, when. It's slop, but you like, can't tell it's slop anymore. Yeah. So like, have you seen the kangaroo, the emotional support kangaroo video?

Oh no. Do I have to It was posted on an AI account and clarified that it was AI when it first went around. Okay. But it, it's like a cell phone looking video, like a, uh, a, a boarding, uh, an airplane where like the steward is telling like a woman, she can't board with her emotional support. Kangaroo. It's a, it is a kangaroo with like a little vest like a dog.

Like holding the plane ticket, but like it looks like at first glance it looks like someone shot on a cell phone. Like it looks pretty good. 

Yeah. And 

the post was clarified. You know, it's AI and ha ha ha joke, but now I'm seeing this video go around. 

Yeah. 

Today 

I think it was on X, it had like 500,000 likes.

So it had people 

fool a hundred percent. The original post was 

clarified, like this is ai. But then people took the video. Yeah. Now other counts have reposted it. Okay. And it has like millions of views. Yeah. And no clarity that it is ai and yet blue showing the video almost. 

That looks pretty good. Yeah. It looks like an iPhone video.

Yeah. 

This, this, this is 

the stuff that we're 

gonna see a lot more of this is 

like, would be the slot bucket. We're all like having a, this is the bucket, but like, we can't quite tell. Same with like the pope, you know, in the, in the white. Oh, in the white. Yeah. Right. It's going to, it gets the clicks. It's like also, also that meme where it's like, yeah, haha, I can't, you know, like I'm not seeing any more AI videos on Lean anymore.

Ha ha. And then it's like the horrified look. 'cause it's like. Oh, like you realize like it's because you can't tell. Yeah. Everything's 

ai. Dude, the co-founder of Wonder Dynamics, Nicola said it the best. He's like, look, a lot of AI companies are building for one thing and one thing only revenue. Mm-hmm. And most of the revenue does not come from film and tv.

We're a tiny fraction of the market. Obviously we know this. Most of the revenues from social media. 

This is the world. It's the 

kangaroo videos because yeah, that's where a lot of the social media 

and e-commerce or e-commerce. 

Yeah. Um, so because it's skewed that way, you are gonna see more low quality stuff, right?

Like it's not about. They don't have this high technical, 

um, 

level. Yeah. And they don't even 

have a quality bar, right? Yeah. It's just about clicks. Yeah. Unfortunately, that is, is what's gonna drive innovation and that is hopefully is what's gonna get us better tools on our end. 

Yeah. 

We're gonna have to live through this.

Yeah. I mean, even, I was watching a YouTube tutorial now and then I'm just like. Questioning the guy's movement. And I'm like, is this an avatar or is this a real thing? Sure. And then I think it was a real, I think it really was him, but I think, I think he's AI now. I was just like, 

we might have an AI president next election cycle.

We won't even know it. Is 

it 

real? 

Are 

you ai? You're hearing 

a simulation right now? 

You know, I ran into Tim Moore, our friend 

Tim Moore from Vu. Yeah. Yeah. So I did hear, uh, I did get to catch the talk, but I heard he was, uh, tag teaming up with, uh, Rick Champagne at Nvidia. Yeah. Uh, 'cause they got a partnership.

Right. So the View Nvidia partnership obviously has to do with AI and generative ai. Unfortunately, I missed that talk and I'm waiting to go back into the event after this pod and catch up with them. Okay, cool. Yeah. Yeah. 

I will say I went down to Tampa. I got a sneak peek at the next gen of the View studio.

Right. They're building and rethinking of how that will create with ai. Yeah. So stay tuned for the pre video on the channel. 

Yeah, and it's really interesting, something similar. Yeah. The view went from a studio network provider to a hardware manufacturer to now AI software company like, and Tim's being able to navigate all those things really well.

So I'm really, you know, yeah. They 

build really slick products and like really, uh, intuitive interfaces for just like. Very simple, like using this powerful stuff on the backend, but like the user experience Yeah. Is like very streamlined, 

very Apple like. Yeah. Very 

easy. I would say the UX is probably best in the VP game.

Yeah, yeah. You know? Yeah. They have a whole kiosk where you just be like, yeah, and just. Right track and drop and slide stuff around. I 

think even my mom can do it. 

The mom test. Yeah. One thing going back to in your, the panel that you were talking about in the bucket of the AI to assist 

Yeah. 

The process and then the fully synthetic, fully 

synthetic, 

what did you, what did you hear about in the, uh, the fully synthetic realm?

Yeah. I, I, I attended a 30 minute talk on. Character LORAs. LORAs are, as you know, lower rank adaptation models. It's how you fine tune a jar, a large model. So how do you generate a LO to have consistent character throughout a short film or a feature film? And it was really insightful. So the training data for LORAs comes from volumetric data.

Mm. So in order to train aor, they are actually feeding it real human data, consistent data, and then once the LoRa is trained, then they're using it to as a starting point and then putting VFX on top of that. 

Mm. Okay. 

So it's still not fully synthetic, but it's a. Very novel, very new way to create films.

Yeah. I spoke with, uh, uh, Kavan the Kid who has, they have Phantom X AI generative studio, and they had a film premiere yesterday. Okay. That was, uh, fully generative. I. But you sag actors and was fully SAG approved. Wow. And so what does this mean and what, what, how did you, uh, how'd you, uh, pull this off?

Yeah. And so basically they casted SAG actors. Yeah. They wanted, it was gonna be fully generated, but they wanted the characters to have be based on, you know, have the look of real people and Yeah. Be based on actors that are recognizable. And I believe they, I, I don't wanna put words in your mouth. I don't think he specifically said LORA, but I'm assuming LORA, they train a model on that.

On each factor and then use that when they were generating. I believe it was just gen regular, like, uh, yeah, you could, you could 

do both. So LORA is the easier, faster way, or you can fully retrain a giant model. It's called full weight training. 

Would, would that be to just generate the person again, or would that be like your, 

everything about that 

person.

Everything. But 

when you were generat, if you were generating a, a shot with it, would that also include the environment too, or Correct. So you have train, you have to 

train it on environment. So if, if like the movie's in Wakanda, you have to give it Wakanda reference. You 

got a cast 

of characters, would they each need a model or would they all be in these?

I think you could train it all together. Okay. Yeah. So if it's like a cast of 10. 

This 

process 

too. No, this is, this is the way, this is the way. And 

you know, I was asking too about like hybrid filmmaking and sort of segmentation of like real actors and virtual backgrounds. But he was like, you know, for this process and where things are at now, it just looks better if it's all synthetic.

'cause if it's like real people and it's synthetic background, it's like right now it's still just looks weird. It is 

jarring. 

Yeah. 'cause your brain knows what's real and what's not. Yeah. So it's 

like 

real people. Yeah. Their real likeness. Trained. So the whole thing has that synthetic look. Yeah. Um, so yeah, I will have some clips because I'm curious.

I 

take it back about Screen Actors Guild because I, I kind of crapped on them last time over the Darth Vader thing that they really should not give in Fortnite trouble because they did it the right way and they're just doing it as a show of force that they are anti ai. In this instance, it feels like.

They're very much in support of ai. Yeah. 

He was like, they were, you know, curious and they were, I mean there was just like, everything in the, in the, in the agreement just had to clarify like any training data. It's like, it is just for this project. 

Yeah. 

And that makes sense. I mean that's, you know, a logical, it's their 

canary in the coal mine for them.

'cause uh, you know, this won't be the last SAG actors in an AI film. If anything, this is the very first one of many 

and I'm sure they wanna understand it or just, you know, how are we gonna navigate this in the future? So, yeah, I thought, I thought that was interesting. And then also I was speaking to another, uh, Max Einhorn who, oh.

Uh, was with the creator of the, uh, Cinema Synthetica Competition. Okay. Uh, but he created a production company that's just focused on producing the rere for like documentary, historical, kind of, uh, you know, Discovery Channel ish, kind of when they did documentaries, uh, discovery Channel like programs. You know, you, but, but more for like also kind of foreign markets.

Okay. Where they're like, the budgets aren't great. Yeah. You know, but they're doing these period things and they like always struggled with like getting budgets or doing something that looks good. Yeah. And gen AI has like, fit the gap for Oh, interesting. A lot of these smaller productions where they just don't have options or budgets to do something that.

Looks cool, historically accurate, um, and just like elevates That 

totally makes sense. The videos. Yeah. I would imagine like, uh, Egypt video. Yeah. Egypt, you can't fly a crew to Egypt. 

Yeah. Or even to recreate it would be hundreds or 

Yeah. Or even if you green screen it and then com composite that still costs money.

Yeah. So just 

stuff where that's like, these are, you know, tv uh, broadcast TV and like other markets where like there are not big budgets. Yeah. Um, so this fit Oh, that's fantastic. It's very like interesting like focused use case. Yeah. Uh, where it's like, yeah, that. Makes sense. 'cause a lot of times there's just no option any, uh, any other way.

Yeah. Generative AI is already plugging into some use cases as is. Mm-hmm. Like we don't have to wait for the future. It's already working now for X, Y, and Z. 

Yeah. Oh cool. So yeah, I mean this is, uh, the end of day one. So we still have all day two tomorrow. 

Yeah. I've gotta get back to work. I won't be here tomorrow, but are you gonna be here?

I'll be around tomorrow. Make sure you catch the coconuts. You don't know about the coconuts? I don't know about 

the coconuts. 

Alright. So, uh, where they set up the launch, uh, there's a sponsored booth by a company called Cantina Uhhuh. Uh, it's an AI app that lets you talk to AI avatars as a friend, like Uhhuh, you know, friend.

I don't know how I feel about it, that yeah, the, a male or a female friend and, uh, in order to get this incredibly fresh. Coconut that they just cracked open and put a straw in. You have to download the app and show them the app. So I did that and, uh, the was for the coconut. Yeah, 

it was really good. So get the coconut.

That doesn't, that doesn't sell me. 'cause I don't like coconuts. So 

the water, I don't like coconut water. Oh man. It's the best. You gotta try. I've tried 

every coconut water version. 'cause people are like, no, you gotta try this one. 

Yeah. Every time I'm just 

like, 

I mean, the stuff in the bottle is like the equivalent of canned coffee versus fresh coffee.

I like 

that. I'll drink both of those. Uh, coffee. 

You, you gotta try Fresh Coconut from Cantina. They're not sponsoring the show. They just gave me a free coconut. Dammit. I'm already talking about them. Really? You 

just really 

like 

the app? 

Yes. I already had it on my phone, just showed it to them. Your co-host replacing me.

Oh, cool. That was fun. Uh, we can wrap it up here. So, uh, yeah, links for everything as usual@denoisepodcast.com and, uh, all the interviews and stuff that we're doing in between will be on, uh, the channel and. AI on the Lots, uh, social channel. 

Shout out to Mariana, uh, garish. Fernando, Eric, uh, Ken Bastion everybody that I saw at the show today.

Thank 

you 

for listening.