Confidence in LLMs is a useful indicator of model uncertainty and answer reliability. Existing work mainly focused on single-turn scenarios, while research on confidence in complex multi-turn interactions is limited. In this paper, we investigate whether LLM-based search agents have the ability to communicate their own confidence through verbalized confidence scores after long sequences of actions, a significantly more challenging task compared to outputting confidence in a single interaction. Experimenting on open-source agentic models, we first find that models exhibit much higher task accuracy at high confidence while having near-zero accuracy when confidence is low. Based on this observation, we propose Test-Time Scaling (TTS) methods that use confidence scores to determine answer quality, encourage the model to try again until reaching a satisfactory confidence level. Results show that our proposed methods significantly reduce token consumption while demonstrating competitive performance compared to baseline fixed budget TTS methods.

Understanding Theory of Mind is essential for building socially intelligent multimodal agents capable of perceiving and interpreting human behavior. We introduce MoMentS (Multimodal Mental States), a comprehensive benchmark designed to assess the ToM capabilities of multimodal large language models (LLMs) through realistic, narrative-rich scenarios presented in short films. MoMentS includes over 2,300 multiple-choice questions spanning seven distinct ToM categories. The benchmark features long video context windows and realistic social interactions that provide deeper insight into characters' mental states. We evaluate several MLLMs and find that although vision generally improves performance, models still struggle to integrate it effectively. For audio, models that process dialogues as audio do not consistently outperform transcript-based inputs. Our findings highlight the need to improve multimodal integration and point to open challenges that must be addressed to advance AI's social understanding.

Mallal says he wants to see a "broadly accessible and easy-to-use programme where artists are compensated for their work". Beeban Kidron, a cross-bench peer and leading campaigner against the government proposals, says AI film-making tools are "fantastic" but "at what point are they going to realise that these tools are literally built on the work of creators?" She adds: "Creators need equity in the new system or we lose something precious." YouTube says its terms and conditions allow Google to use creators' work for making AI models – and denies that all of YouTube's inventory has been used to train its models. Mallal calls his use of AI to make films "prompt craft", a phrase that uses the term for giving instructions to AI systems. When making the Ukraine film, he says he was amazed at how quickly a camera angle or lighting tone could be adjusted with a few taps on a keyboard.

The Tribeca Film Festival will debut five short films made by AI, as detailed by The Hollywood Reporter. The shorts will use OpenAI's Sora model, which transforms text inputs into create video clips. This is the first time this type of technology will take center stage at the long-running film festival. "Tribeca is rooted in the foundational belief that storytelling inspires change. Humans need stories to thrive and make sense of our wonderful and broken world," said co-founder and CEO of Tribeca Enterprises Jane Rosenthal.

In the first thirty seconds of the director and artist Paul Trillo's short film "Thank You for Not Answering," a woman gazes out the window of a subway car that appears to have sunk underwater. A man appears in the window swimming toward the car, his body materializing from the darkness and swirling water. It's a frightening, claustrophobic, violent scene--one that could have taken hundreds of thousands of dollars of props and special effects to shoot, but Trillo generated it in a matter of minutes using an experimental tool kit made by an artificial-intelligence company called Runway. The figures in the film appear real, played by humans who may actually be underwater. But another glance reveals the uncanniness in their blank eyes, distended limbs, mushy features.

In late March, a well-funded artificial intelligence startup hosted what it said was the first ever AI film festival at the Alamo Drafthouse theater in San Francisco. The startup, called Runway, is best known for cocreating Stable Diffusion, the standout text-to-image AI tool that captured imaginations in 2022. Then, in February of this year, Runway released a tool that could change the entire style of an existing video with just a simple prompt. Runway told budding filmmakers to have at it and later selected 10 short films to showcase at the fest. The short films were mostly demonstrations of technology; well-constructed narratives took a backseat.

A shower of pink petals rains down in slow motion against an ethereal backdrop of minimalist white arches, bathed in the soft focus of a cosmetics advert. The camera pulls back to reveal the petals have clustered together to form a delicate puffy armchair, standing in the centre of a temple-like space, surrounded by a dreamy landscape of fluffy pink trees. It looks like a luxury zen retreat, as conceived by Glossier. The aesthetic is eerily familiar: these are the pastel tones, tactile textures and ubiquitous arches of Instagram architecture, an amalgamation of design tropes specifically honed for likes. An ode to millennial pink, this computer-rendered scene has been finely tuned to seduce the social media algorithm, calibrated to slide into your feed like a sugary tranquilliser, promising to envelop you in its candy-floss embrace.

Artificial intelligence has been a buzzword for futurists as long as computers have existed, but 2022 was the year the public started to dread its advancement. With the chatbot ChatGPT released to the public and generating complex answers to millions of prompts in seconds, many people in the business of storytelling have been worried about new competition. Hollywood screenwriters don't have to know how to save the cat if a computer can do it for them. This has been a year loaded with dramatic uncertainty for the industry, from the wild oscillations of the streaming market to the bombardment of doom-and-gloom prognoses for arthouse cinema. But these ephemeral dramas have nothing on the fear of encroaching A.I.

Artificial Intelligence has changed video editing dynamics significantly. It has affected the video editing industry, as with the help of AI, users can now effortlessly create and edit videos. AI technologies are now painless to access, and today anyone can use machine learning software. You will be amazed to know that for video marketing, AI has become one of the essential technologies and the most in-demand tool because of its unique features, such as abilities to react, sense, adapt, and act. With the help of AI technology, you will be able to produce videos using advanced in-house video editors as together, they can create short films within just a couple of minutes. The best thing about them is that you will not have to worry about music or other tools, as it immediately fixes all your editing problems.

Robotics Field has revolutionized today's world. Sophia Humanoid robot is attending television interviews, appearing on the cover of ELLE magazine. She was imitated on HBO as the first non-human "innovation champion" of the UN. In a tech conference held soon after its awakening, the Kingdom of Saudi Arabia even gave citizenship to Sophia. A humanoid robot is a robot with its body shape built to resemble the human body. The design may be for functional purposes, such as interacting with human tools and environments, for experimental purposes, such as the study of bipedal locomotion, or for other purposes.