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Twinnin, AI Actors Platform, Opens Seed Funding Round

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EXCLUSIVE: Controversial AI platform Twinnin, which “bridges the gap between artificial intelligence and humans,” is targeting at least $3M via its first seed funding round, leading to a $25M post-money valuation.

The film and TV industry app, which is backed by Google and Nvidia and aims to “protect and monetise human identity in the age of artificial intelligence,” clones an actors face, creating a likeness that can then be sold on to studios or brands for use in shows, movies or ads. Actors can sign up for $14.99 per year to post their digital likeness on the app and receive callouts. Studios or brands can subscribe to a number of different tiers, with the most expensive costing $1,200 per month.

As it fires the starting gun on its debut funding round, Twinnin said it has already been promised inbound funding of $3M and now has 2,000 signed-up twins. It has spent the past few weeks holding stakeholder events and meetings, some with those on the more skeptical end of the AI spectrum.

The $3M has been pledged as part of a seed funding round that has interest from an unnamed “prospective lead investor” and “angels including notable JP Morgan C Suite,” according to Twinnin. The outfit said it is “letting the wider market respond before committing to a lead.” Twinnin pegged its post-money valuation at $25M. While the AI likeness market is nascent, it compared itself in size and scope to ElevenLabs, the synthetic-voice infrastructure company that raised seed at $12M post-money in 2022. “ElevenLabs proved the trajectory,” said Twinnin founder Katrien Grobler. “What it didn’t prove is that voice was the only category. Face is bigger. And it is open.”

The funding will be spent on tech, team and scale. Twinnin anticipates a subsequent Series A funding round in 12-14 months if it hits revenue and KPI targets.

Since launch, Twinnin said its number of subscribers has doubled weekly. The app has proven controversial, as we revealed last month. Prior to launch, one agency was criticized for promoting Twinnin to the parents of those under the age of 18. The UK’s Agents of Young Performers Association subsequently told us it “raises serious ethical questions around the consent of a minor.”

Twinnin, which is owned by tech firm AI Kat, has since launch held events and had meetings with the likes of actors union Equity and casting platform Spotlight. “Equity is happy to speak with AI companies who seek to work with performers in an ethical way which centres consent, transparency and fair pay. However, Equity does not endorse any particular platform,” an Equity spokeswoman recently told us after the union’s meeting with Twinnin.

Upon today’s funding round, Grobler said her “vision is that by 2030, not all humans in AI content are synthetic, which is where things are heading today, but that 50% are real original humans, licensed digital twins from Twinnin.”

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HLD Talent Signs Content Creator Heather Bowling

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EXCLUSIVE: GK Barry agency HLD Talent has signed content creator and By Babes co-founder Heather Bowling.

The social media star, business owner and neurodiversity advocate is joining up with the likes of Barry, Mariam Musa and Shakira Khan at the London-based HLD, which is lead by creators agent Hannah Holland.

She is known as a the co-founder of By Babes, a UK-based and community-driven beauty and cosmetics brand, and creates much of her content around the company’s focus and products.

HLD called her “bold, ambitious and completely herself” and noted that she has a “built an incredibly loyal and highly engaged audience who have grown with her and who are invested in far more than just the content she creates.”

Bowling appeared on Season 5 of Footasylum’s YouTube series Locked In and made an appearance on Barry’s podcast Saving Grace.

“As she enter this next chapter, we’ll be working together to build on everything she’s already created, while opening up new opportunities across premium fashion and beauty, entrepreneurship, media, presenting and beyond,” said HLD in a statement.

Bowling was previously with Insanity.

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‘Harry Potter’ Producer David Barron Backs AI ‘The Call Of The Wild’

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EXCLUSIVE: David Barron, the British film producer with credits on six Harry Potter films, is entering the generative artificial intelligence space.

Barron has agreed to produce an AI adaptation of Jack London’s 1903 novel The Call of the Wild, which is written and directed by Simon Rumley (Crushed, Red White & Blue).

The film will be generated at nmatic, with CGI and traditional VFX helping deliver more complex scenes. Filmmakers are billing it as the first faithful adaptation of London’s novel because it will be made from Buck’s subjective experience.

“London’s canvass is so epic, the Alaskan geography so gruelling, the dog and wolf fights so visceral that a faithful cinematic adaptation has hitherto been logistically and financially impossible,” said Barron. ”But technology has finally caught up with London’s vision, and we believe now is the time to do justice.”

The Call of the Wild tells the story of a pampered St. Bernard dog, who is torn from his life of privilege in California’s Santa Clara Valley and is sold into the brutal world of the 1890s Klondike Gold Rush, where he discovers the wild instinct that has always lurked within.

The film has been adapted for the screen several times, including a 2020 Michael Green film starring Harrison Ford.

David Barron, Mark Sandell (A Liar’s Autobiography) and Nick Price produce. Chris Catchpole, Carl Lyttle, and Toby White head up prompting and technical at nmatic.

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‘My Home Of Wind And Sand’ Acquired By Lightdox For World Sales

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EXCLUSIVE: Lightdox has acquired world sales rights to the documentary My Home of Wind and Sand ahead of its world premiere Tuesday at the Zurich Film Festival.

Filmmaker Patrick Wally spent over a decade on his film, a portrait of women’s rights, human rights and climate activist Najla Mohamed Lamin, who was born in a Sahrawi refugee camp in Algeria. Lamin has led a peaceful campaign supporting the right of Western Sahara to self-determination, a dream of Sahrawi refugees that has been frustrated for more than half a century.

Nobel Peace Prize nominee Greta Thunberg is expected to attend Tuesday’s world premiere and will participate in a conversation afterwards with Lamin. Thunberg visited the Sahrawi refugee camps last year, where she and Lamin conducted a workshop on climate change.

Director Patrick Wally

Director Patrick Wally

Courtesy of WyFilm

“Told through conversations with the filmmaker – who gradually becomes visible inside the story – the documentary refuses to reduce Najla to a symbol of a geopolitical conflict,” notes a synopsis. “Western Sahara is experienced through one person living its consequences in real time. Najla addresses international institutions, builds practical spaces for women and children, raises her family and continues to argue for peaceful resistance even as a generation born in exile grows older without a political resolution.”

The synopsis continues, “When armed conflict resumes after decades of ceasefire, the convictions that have shaped Najla’s public life are tested. The film follows her as she asks what pacifism, patience and agency can mean when history seems immovable – and whether one person can still create change inside circumstances that appear impossible.”

Najla Mohamed Lamin at the dunes near the Sahrawi refugee camp of Smara.

Najla Mohamed Lamin at the dunes near the Sahrawi refugee camp of Smara.

Courtesy of WyFIlm

Anna Berthollet, CEO of Lightdox, commented, “Najla has lived her entire life with an unresolved conflict. Yet Patrick’s film is not a geopolitical story; it is an intimate portrait of how she chooses to live, raise her children and build a future for her community. He spent eleven years following her journey and bringing her story and mission to the screen. At a time when Western Sahara is once again receiving international attention, we believe it is important that Najla’s perspective is part of that conversation. We feel very humbled to have been entrusted with bringing Patrick and Najla’s deeply personal story to audiences around the world.”

The border wall berm and Moroccan military base
separating the Moroccan occupied territory from the
Polisario controlled territory of Western Sahara.

The border wall berm and Moroccan military base separating the Moroccan occupied territory from the
Polisario controlled territory of Western Sahara.

Courtesy of WyFilm

The unresolved status of Western Sahara has been largely ignored in the U.S. and much of the West, but it has kept the Sahrawi people in terrible limbo. Spain ruled the territory as its colonial possession for the better part of a hundred years, but after it ceded claims in the mid-1970s, hopes for the territory to determine its own future were dashed when Morocco took control of much of Western Sahara. The Polisario Front, representing the Indigenous Sahrawi people, seeks self-determination and is supported by Algeria (where the refugee camps are located). The United Nations officially designates Western Sahara as a “Non-Self-Governing Territory.”

In a director’s statement, Wally said, “When I met Najla ten years ago, I knew this film needed to be made. At the time I had never heard of the issue of Western Sahara. I thought of myself as reasonably informed about the struggles shaping the world, yet I knew nothing about more than 200,000 Sahrawis living for generations in refugee camps in the Algerian desert, established after the war and displacement of 1975. That absence in my own awareness shocked me.

“What struck me first, however, was not the conflict in the abstract but Najla herself. I was surprised by my own assumptions. Here was a woman raised in a refugee camp who was exceptionally articulate, politically precise and full of a vision for the future. She spoke about peaceful resistance, about a generation born in the camps, and about the endurance required to believe in a bright future when nobody outside seems able to see it.”

An aerial view of the Sahrawi refugee camp Smara, in the Algerian desert, near Tindouf.

An aerial view of the Sahrawi refugee camp Smara, in the Algerian desert, near Tindouf.

Courtesy of WyFilm

Along with directing, Wally serves as the film’s cinematographer. The film is produced by Shirin Hooshmandi, Najla Mohamed Lamin, and Patrick Wally. Anna Kirst edited the film, with additional editing by Daniel Rutz. The music is by Ahmed Zain.

In addition to Tuesday’s world premiere at the Zurich Film Festival, My Home of Wind and Sand will hold public screenings on Wednesday, Thursday and Sunday.

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