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Dropbox relaunches as an enterprise collaboration workspace – TechCrunch



Dropbox is evolving from a file-storage system to an enterprise software portal, where you can coordinate work with your team. Today the company launches a new version of Dropbox that allows you to launch apps with shortcuts for G Suite and more, plus use built-in Slack message-sending and Zoom video calls. It lets you search across all your files on your device and inside your other enterprise tools, and communicate and comment on your team’s work. Dropbox is also becoming a task manager, with the ability to add notes and tag co-workers in to-do lists attached to files.

The new Dropbox launches today for all of its 13 million business users across 400,000 teams plus its consumer tiers. Users can opt-in here for early access and businesses can turn on early access in their admin panel. “The way we work is broken,” CEO Drew Houston said to cue up the company’s mission statement: “to design a more enlightened way of working.”

Dropbox seems to have realized that file storage by itself is a dying business. With storage prices dropping and any app being able to add their own storage system, it needed to move up the enterprise stack and become a portal that opens and organizes your other tools. Becoming the enterprise coordination layer is a smart strategy, and one that it seems Slack was happy to partner into rather than building itself.

As part of the update, Dropbox is launching a new desktop app for all users so it won’t have to live inside your Mac or Windows file system. When you click a file, you can see a preview and presence data about who has viewed it, who is currently and who has access.

The launch includes deep integrations with Slack, so you can comment on files from within Dropbox, and Zoom, so you can video chat without leaving the workspace. Web and enterprise app shortcuts relieve you from keeping all your other tools constantly open in other tabs. Dropbox’s revamped search tool lets you crawl across your computer’s file system and all your cloud storage across other productivity apps.

But what’s most important about today’s changes is that Dropbox is becoming a task-management app. Each file lets you type out descriptions, to-do lists and tag co-workers to assign them tasks. An Activity Feed per file shows comments and actions from co-workers so you don’t have to collaborate in a separate Google Doc or Slack channel.

When asked about how Dropbox decided who to partner with (Slack, Zoom) versus who to copy (Asana), VP of biz dev Billy Blau essentially dodged the question while citing the “shared ethos” of Dropbox’s partners.

Houston kicked off the San Francisco launch event by pointing out that it’s easier to find info from the public than our own company’s knowledge that’s scattered across our computers and the cloud. The “Finder” on our computers hasn’t evolved to embrace a post-download era. He described how people spend 60% of our office time on work about work, like organization and communication, instead of actually working — a marketing angle frequently used by task-management startup Asana that Dropbox is now competing with more directly. “We’re going to help you get a handle on all this ‘work about work,’ ” Dropbox writes. Yet Asana has been using that phrase as a core of its messaging since 2013.

Now Dropbox wants to be your file tree, your finder and your desktop for the cloud. The question is whether files are always the central unit of work that comments and tasks should be pegged to, or whether it should be the task and project at the center of attention with files attached.

It will take some savvy onboarding and persistence to retrain teams to see Dropbox as their workspace instead of their computer’s desktop or their browser. But if it can become the identity and collaboration layer that connects the fragmented enterprise software, it could outlive file storage and stay relevant as new office tools emerge.

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Snap, HBO Max partner to launch AR experiences for ‘House of the Dragon’ premiere – TechCrunch



To celebrate the premiere of HBO’s highly anticipated “Game of Thrones” prequel, “House of the Dragon,” HBO Max is partnering with Snap to give users access to in-app AR experiences. For the show’s premiere on August 21, Snap and HBO Max are releasing a new selfie and worldview Lens, along with Landmarker Lenses, that let you immerse yourself into the show’s fantasy world.

The selfie Lens transforms you into a fire-breathing dragon. In the worldview mode, the Lens leverages sky segmentation technology to unleash flying, fire-breathing dragons above you so you can pretend to be part of the Game of Thrones world. Snap says the Lens will go live in regions around the world, including Australia, Europe, India, the Middle East and Northern Africa, North America and more. The Lens can be accessed via the Lens Carousel in the app.

As for the Landmarker Lenses, Snap and HBO Max have coordinated with Lens creators from around the world to build custom AR experiences in their local markets. The Landmarker Lenses will offer users another way to engage with the show, as they will reveal AR renderings of the show’s dragons over local landmarks all over the globe.

The first Lenses will launch for the premiere in Los Angeles at Venice Beach Grand Canals, in Rio De Janeiro at the Princess Isabel Statue, in London at the Tower Bridge, in Chennai at the Sankagiri Fort, in Mumbai at the CST Station and in Prague at the Charles Bridge. The Lenses will be unlockable via the Lens Carousel when users are near a Landmarker location.

Snap and HBO Max Lens for House of the Dragon

Image Credits: Snap

There will be around 20 new Landmarker Lenses released throughout the season from creators in more than 10 countries. Snap says as new dragons are introduced over the course of the season, Landmarker experiences featuring those dragons will be made available. The Lenses will focus on three key show moments: the series premiere, pivotal mid-season episodes and the season finale.

The launch comes as Snap says more than 250 million users engage with augmented reality every day on average on the app and that Snapchat sees over 6 billion AR Lens plays every day on average. The company also says more than 250,000 Lens Creators have built 2.5 million Lenses through its AR creation tool, Lens Studio. In addition, Snap says over 300 developers have reached more than a billion views on their Lenses that and Lenses built by its community have been viewed more than 5 trillion times.

“House of the Dragon” is set 200 years before the events of “Game of Thrones. The series will focus on the beginning of the end of House Targaryen, as the infamous Dance of Dragons will take center stage as family members of House Targaryen fight for the Iron Throne.

HBO is going all in with AR experiences for “House of the Dragon,” as the series has its own companion AR app called DracARys. The app rolled out globally on July 25 across iOS and Android devices and lets fans raise their own virtual dragon.

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How W4 plans to monetize the Godot game engine using Red Hat’s open-source playbook – TechCrunch



A new company from the creators of the Godot game engine is setting out to grab a piece of the $200 billion global video game market — and to do so, it’s taking a cue from commercial open source software giant Red Hat.

Godot, for the uninitiated, is a cross-platform game engine first released under an open source license back in 2014, though its initial development pre-dates that by several years. Today, Godot claims some 1,500 contributors, and is considered one of the world’s top open source projects by various metrics. Godot has been used in high-profile games such as the Sonic Colors: Ultimate remaster, published by Sega last year as the first major mainstream game powered By Godot. But Tesla, too, has apparently used Godot to power some of the more graphically-intensive animations in its mobile app.

Among Godot’s founding creators is Juan Linietsky, who has served as head of development for the Godot project for the past 13 years, and who will now serve as CEO of W4 Games, a new venture that’s setting out to take Godot to the next level.

W4 quietly exited stealth last week, but today the Ireland-headquartered company has divulged more details about its goals to grow Godot and make it accessible for a wider array of commercial use-cases. On top of that, the company told TechCrunch that it has raised $8.5 million in seed funding to make its mission a reality, with backers including OSS Capital; Lux Capital; Sisu Game Ventures; and — somewhat notably — Bob Young, the cofounder and former CEO of Red Hat, an enterprise-focused open-source company that IBM went on to acquire for $34 billion in 2019.

But first… what is a game engine, exactly?

Game plan

Godot editor demo

In simple terms, a game engine serves up the basic building blocks required for developers to create games, and may include anything from renderers for 2D or 3D graphics, to scripting and memory management. It’s basically a software framework that developers can use and reuse without having to redesign the wheel with each new game they create.

“This allows developers to utilize pre-made functionality that is common to most games when creating their own, and only create the parts that make the game unique,” Linietsky explained to TechCrunch.

While many companies, particularly larger game studios, develop their own engines in-house, as games and the associated development processes have become more complex, third-party general purpose game engines have grown in popularity. This includes long-established incumbents such as Unity, developed by tech powerhouse Unity Software, which is currently in the process of merging with IronSource.

One reason why a studio might use a third-party game engine is to cut down on in-house development costs, but a trade-off here is that it then has to work with a gargantuan code-base which it has limited control over. And that is why Godot has gained some fans through the years — as an open-source project, it gives developers an oven-baked game engine that they can tweak and fine-tune to their own needs, with improvements pushed back to the development community for everyone to benefit from.

“The result is reduced development costs and more freedom to innovate,” Linietsky said. “Godot brings to the game industry the same benefits that enterprise software has been enjoying from it [open source software] for decades.”

The open source factor

Red Hat Inc. signage is displayed outside the New York Stock Exchange (NYSE)

Anyone who has even remotely paid attention to the technology sphere over the past decade or so will have noticed that open source is now big business. The likes of Elastic and Cockroach Labs have built billion-dollar businesses off the back of open source projects, while Aiven recently hit double-unicorn status for a business that helps enterprises make the most of open source technologies in cloud environments.

But Red Hat, arguably, remains one of the biggest success stories from the open source world, selling enterprises premium support and services for some of the world’s biggest community-driven projects, from Linux to Kubernetes.

“Companies like Red Hat have proven that with the right commercial offerings on top, the appeal of using open source in enterprise environments is enormous,” Linietsky said. “W4 intends to do this very same thing for the game industry.”

It’s an interesting parallel, for sure, and one that seems pretty obvious when presented with such a comparison. Linux’s open source credentials were what led it to become the leading operating system for web servers, while Android’s mobile market share dominance can substantively be attributed to its Linux kernel base. Elsewhere, other open source projects such as Kubernetes are powering enterprise adoption of microservices and container technologies.

In truth, Godot is nowhere near having the kind of impact in gaming that Linux has had in the enterprise, but it’s still early days — and this is exactly where W4 could make a difference.

“We expect Godot to take the same route in the game industry as other open source software has taken in the enterprise, which is to slowly become the de facto standard,” Linietsky continued. “It is very difficult for companies that create proprietary software to compete with the massive talent pool that popular open source projects have, and unappealing for software users to concede the freedom to use software as they please to a third-party entity.”

On top of that, having one of Red Hat’s original founders on board as an investor can only be construed as a major coup for a startup that is just eight months old.

“Bob is an incredible human being who helped create a whole new type of business where nobody expected it was possible,” Linietsky continued. “He identified the opportunity for Godot and W4 as very similar to Linux and Red Hat two decades ago, and has been very kind to share his wisdom with us, as well as becoming an investor in our company.”

Support and services

Concept illustration depicting technical support

Concept illustration depicting technical support

W4’s core target market will be broad — it’s gunning for independent developers and small studios, as well as medium and large gaming companies. The problem that it’s looking to solve, ultimately, is that while Godot is popular with hobbyists and indie developers, companies are hesitant to use the engine on commercial projects due to its inherent limitations — currently, there is no easy way to garner technical support, discuss the product’s development roadmap, or access any other kind of value-added service.

But perhaps more importantly, while Godot is touted as a cross-platform game engine spanning the web, mobile, and desktop, it has hitherto lacked direct support for games consoles. The reason for this is that as an open source project served under a permissive MIT license, Godot can’t provide support for consoles because it wouldn’t be allowed to publish the code required to interact with the proprietary hardware — game studios that develop for consoles have to sign strict non-disclosure agreements. Plus, console makers will only work with registered legal entities, which Godot is not.

Put simply, Godot can’t be a community-driven open source project and support consoles at the same time. But there are ways around this, which is why W4 hopes to make money by offering a porting service to help developers convert their existing games into a console-compatible format. 

“W4 will offer console ports to developers under very accessible terms,” Linietsky said. “Independent developers won’t need to pay upfront to publish, while for larger companies there will be commercial packages that include support.”

Elsewhere, W4 is developing a range of products and services which it’s currently keeping under wraps, with Linietsky noting that they will most likely be announced at Game Developers Conference (GDC) in San Francisco next March.

“The aim of W4 is to help developers overcome any problem developers may stumble upon while trying to use Godot commercially,” Linietsky added.

It’s worth noting that there are a handful of commercial companies out there already, such as Lone Wolf Technology and Pineapple Works, that help developers get the most out of Godot — including console porting. But Linietsky was keen to highlight one core difference between W4 and these incumbents: it’s expertise.

“The main distinctive feature of W4 is that it has been created by the Godot project leadership, which are the individuals with the most understanding and insight about Godot and its community,” he said.


Of Godot’s 1,500 or so contributors, 10 are more-or-less permanent hires, paid via community donations. Similarly, W4’s current team of 12 largely consists of long-standing Godot contributors, spread across eight different countries in the Americas and Europe. This is much like how other companies built on an open source foundation started out, including Red Hat and’s parent Automattic, which was one of the most well-known “distributed” company out there, long before the remote-work revolution came along in 2020.

Indeed, distributed work is one of the core defining characteristics of open source software development. By way of example, Linietsky is based in Spain, while cofounder and COO Rémi Verschelde works from Denmark. The other two founders, CTO Fabio Alessandrelli and CMO Nicola Farronato, operate from different locations in Italy.

But every legal entity needs to choose somewhere as its corporate home. And similar to many tech companies, W4 elected Dublin, Ireland as its official HQ — though this presence is really just on paper, only.

“We are based in Ireland because two of the cofounders have previously established there, have relatives, and are very familiar with the Irish ecosystem,” Linietsky said.

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After CNN+ shutdown, Discovery+ adds a CNN Originals hub to its U.S. service – TechCrunch



Today, Discovery+ subscribers in the U.S. get access to over 800 episodes of CNN content through a dedicated CNN Originals hub. The network’s three brands — CNN Original Series, CNN Films, and HLN Original Series — will provide viewers with a selection of titles such as “Anthony Bourdain: Parts Unknown,” “Stanley Tucci: Searching for Italy,” “Real Life Nightmare,” “Death Row Stories,” “Race for the Vaccine,” among others.

Subscribers can access the hub within the Discovery+ app or on the web. Supported devices include Amazon Fire devices, iOS devices, Apple TVs, Samsung Smart TVs, VIZIO Smart TVs, Roku devices, Android TVs, and other Android devices.

According to the company, the hub will get an initial offering of CNN Originals for viewers to stream, with select CNN Original Series and HLN Original Series added later. More titles will be announced in a few months.

The announcement was initially made earlier this month, ahead of Warner Bros Discovery’s second-quarter results. The news also comes five months after the CNN+ streaming service was quickly shut down, most likely disappointing the 10,000 or more people streaming the service for the one month it had been in existence.

Now CNN fans can stream the content on Discovery+ at $4.99 per month, along with a variety of other documentaries, home improvement shows, true crime, lifestyle, and other content from networks Investigation Discovery, HGTV, TLC, and Food Network.

CNN+ would only have CNN content at $5.99, so having the hub on Discovery+ is a much better value.

“True crime, food, and travel programming are among the most-watched genres for discovery+ viewers, so these titles from CNN will fit right in with our best-in-class collection of unscripted content,” JB Perrette, President and CEO of Warner Bros. Discovery Streaming, said in a statement at the beginning of August.

Other titles on the new hub include “1968: The Year That Changed America,” “American Dynasties: The Kennedys,” “American Style,” “The Bush Years: Family, Duty, Power,” “Chasing Life with Dr. Sanjay Gupta,” “Christiane Amanpour: Sex and Love Around the World,” “Crimes of the Century,” “Declassified: Untold Stories of American Spies” (Seasons 1-3), “Diana,” “First Ladies,” “Nomad with Carlton McCoy,” “Reframed: Marilyn Monroe,” “The People v. The Klan,” “United Shades of America with W. Kamau Bell” (Seasons 1-6), “Beyond Reasonable Doubt,” “The Dead Wives Club,” “The Killer Truth,” and lots more.

There will also be select titles from the CNN Special Reports collection like “Assault on Democracy: The Roots of Trump’s Insurrection.”

With CNN+ gone, Warner Bros. Discovery decided to integrate CNN Originals into its streaming strategy both with this new dedicated hub on Discovery+ as well as by adding titles to HBO Max. The CNN Original “Who’s Talking to Chris Wallace?” is premiering on HBO Max this fall.

On September 30, HBO Max will also gain content from Chip and Joanna Gaines’ Magnolia Network, such as the titles “Fixer Upper: Welcome Home,” “The Lost Kitchen,” and “Restoration Road with Clint Harp.”

In the second quarter of 2022, Warner Bros. Discovery reported that the total number of direct-to-consumer subscribers across HBO, HBO Max, and Discovery+ was 92.1 million.


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