Startup Victoria – Best of the Startup State Pitch Night

In support of Victoria’s reputation as “Australia’s Startup State”, last week’s Startup Victoria pitch night was designed to showcase four of the best local startups. Hosted by Stone & Chalk, the judges were drawn from Mentorloop, Brosa, Giant Leap Fund, Rampersand and Vinomofo.

The pitches in order of presentation were (website links embedded in the titles):

Code Like A Girl

Founded four years ago, Code Like A Girl’s stated mission is to bring greater gender diversity to the ICT sector (information and communications technology), within both the industry and education spheres. To do this, the founders say we need more female coders, which they plan to achieve via coding camps, internships, and community events. Positioning itself as a social impact enterprise, the business is active in four States, and 75% of interns are placed into full time roles.

To support the ongoing development of its “role ready” value chain and to prepare for possible overseas expansion, Code Like A Girl is seeking $1.5m in seed funding. Currently piloting the training model via education providers (RTOs, boot camps, universities, online code schools), the business takes a 10% commission on courses sold (held twice a year), plus it charges placement fees of $2k per person.

But the model is difficult to scale, especially as Code Like A Girl does not own or create the actual training content – it is acting as a sales channel for third party courseware, and providing platform for advocacy, engagement and influence. Its key metrics are based on things like social impact scores – such as 30% of kids return to boot camps. The panel felt that the community platform is a huge cost centre, and it might be preferable to try a TedX model, where Code Like A Girl provides branding and foundational support to build more of a network effect – but without its own curriculum, the business will still struggle to scale.

Seer Medical

The business claims to make epilepsy diagnosis easier, and is currently raising $14m for European expansion (UK & Germany). To improve current diagnosis, the model needs to capture time series data to distinguish epilepsy from other conditions, but do so faster, cheaper and more efficiently than current processes. Founded in 2017, Seer has already serviced more than 1500 patients via 200 clinicians.

Using the Seer Cloud infrastructure,  it can achieve diagnostic outcomes 10x faster than traditional methods, and the platform is using machine learning to train its algorithms. The service is subject to Medicare reimbursement, which has no doubt assisted adoption.

Asked by the judges if the platform could be used to diagnose other conditions, the founders mentioned cardio, sleep and other health domains. As for competition, this comes mainly from the status quo – i.e., hospital based services. With advocacy from neurologists, giving them access to customers, the founders have a strong track record in the research field, which helps to open doors with clinicians. Along with research partnerships, plus the public health cost reimbursement, data is the fuel of the business –  Seer even have access to some third party data on which to train their diagnostic.

Liven

A dining rewards app, Liven is also bringing a behavioral gamification layer to a real world use case. Currently, there is a poor linkage between loyalty programmes and gamification. So, Liven has launched a universal reward token (the LVN token) for use in a digital/real world context.  The details were scant, and the status of the LVN token sale is unclear, but it seems users can earn LVN tokens from completing certain “missions”. The token (using a standard ERC 20 token format on the Ethereum blockchain), is designed to be interoperable and fungible (but Liven does not yet appear to use blockchain in its end user app or merchant point of sale solution).

The said merchants pay a 10-25% commission on app-based sales, of which upto 40% is paid back to the end user in the form of LVN tokens – if I got the maths right, Liven itself is securing $15 profit on every $100 of sales. Currently only available in Melbourne and Sydney, the judges wanted to know what the appeal is to merchants. According to the founders, users typically spend more in an average transaction when they use the app. It also seems that the app only works in brick and mortar restaurants, cafes and bars. The path to scaling will be via channel partners such as PoS systems.

Although not yet deployed, in future, it was suggested that users will be able to pay in any crypto – which raises all sorts of questions about the tokenomics of the LVN token, and whether LVN will be subject to exchange rate volatility (and even token speculation) or act as a stable coin; if the latter, what will it be backed by or pegged to?

Phoria

Phoria is in the business of extended reality technology (XR). Started in 2014, Phoria was an entrant to the Melbourne Accelerator Programme (MAP), with the stated goal of moving VR into a mobile experience (“democratize VR”).  Having gained some clinical VR research experience, Phoria has since worked on commercial projects such as “Captured” (turning a 3D scan of a building or structure into a Digital Twin), “Rewild Our Planet” (a Singapore-based AR experience), and various art installations museum exhibits.

Phoria is commissioned by tech and media brands to create XR content. It has developed a SaaS model, whereby it can turn real space into virtual space (“virtualising internal space”).

The judges wondered where we are along the cycle of mass adoption vs peak hype. In response, the founders mentioned that the first wireless headsets are now available, although consumer-facing mixed reality hardware is still 3-5 years away. With a growing customer base in engineering and architecture applications, Phoria’s main focus is on spatial information.

After the votes were counted, the People’s choice was Seer Medical, who also won the overall prize.

Next week: 30 years in publishing

Gaming/VR/AR pitch night at Startup Victoria

Building on the successful format that has been the mainstay of Startup Vic‘s regular meetups for the past few years, February’s pitch night kicked off a scheduled programme of thematic events for 2017. First up was Gaming, VR and AR.

Photo by Daniel C, sourced from the Startup Victoria Meetup page

Hosted as usual by inspire9, the event drew a packed crowd, no doubt helped by the impressive panel of judges assembled by the organisers:

Dr Anna Newberry, responsible for driver-assistance technologies at Ford Australia; Stefani Adams, Innovation Partner at the Australia Post Accelerator; Tim Ruse, CEO of Zero Latency; Rupert Deans, Founder and CEO of Plattar; Samantha Hurley, Co-Founder and Director of Marketing Entourage; Gerry Sakkas, CEO of PlaySide Studios; and Joe Barber, a Commercialisation Advisor to the Department of Industry and Science, a Mentor at the Melbourne Accelerator Program (MAP), and angel investor.

Maintaining the tradition of this blog, I will comment on each startup pitch in the order in which they presented.

Metavents

This niche business offers an event planning app for festivals. At its heart is a tool that allows users to build a 3-D simulation of proposed events, combined with an AI capability to simulate risk management, logistics and team communications, plus a digital time capsule where event attendees can upload photos and other content.

Once licensed to event planners and organisers, the platform charges clients $1 per ticket sale, plus a 2.5% fee on donations and fees for other content and services such as the digital time capsule. In addition, Metavents is building strategic partnerships, and announced a relationship with the Vihara Foundation and its Rock Against Poverty programme from 2018.

All good so far. Then, things got a bit confusing. For example, in addition to festival and event logistics, Metavents claims to offer humanitarian support services in response to natural disasters, and emergency management capabilities for smart cities. There was also talk of a global network (linked to the UN?), and an impact investment fund.

I’m sure I wasn’t alone in thinking that the pitch was a bit disjointed and suffered from a lack of focus. But the pitch did reveal something of the founders’ core passion, and incorporated some impressive graphics – it just felt like a case of form over substance.

Second Sight

Second Sight is a game analytics service that “unlocks the secrets in player data”, by enriching existing big data sources with social media interactions. It does this by profiling players based on their behaviours, and providing this feedback and insights to game developers and product managers. Focusing on the mobile game market, Second Sight is initially targeting independent developers, and will then move on to corporate game businesses.

Second Sight’s own development path is to build automation tools first, then create a library of tasks and insights. With an estimated 1 million users (based on game statistics), 3 paying clients and another 27 beta clients, this startup is showing some promising market traction. However, there are a number of established competitors, including Omniata (which is more of a general user analytics engine, like Mixpanel or Flurry), GameAnalytics, deltaDNA and Xsolla, some of which offer free user services.

In response to the “ask”, ($500k in seed funding in return for 20% equity), the judges suggested that Second Sight might want to address the needs of a specific game sector.

Dark Shadow Studio

This presentation featured an application called Drone Legion, that merges drone experience with VR. Part simulation game, part training software, it was nice to see a demo of the app running in the background, without detracting from the pitch itself.

A key point made by the presentation is that the Civil Aviation Safety Authority (CASA), which is responsible for regulating drones in Australia, is in danger of falling behind other countries. For example, Drone Legion could be adapted to provide user training, testing and licensing before a customer buys a physical drone.

Although there are drone simulators available via Steam, they are not aimed at the general public. Drone Legion is also compatible with a range of gaming consoles.

The judges suggested that this pitch was more an individual game, rather than a business, so it was suggested that the founders should try to get funding from HTC or Oculus to build their first game. And given that one of the judges works for Australia Post (ostensibly a logistics company with a growing interest in drone technology….), there was the offer of a personal introduction.

Phoria

Phoria describes itself as an “immersive media business”, offering rapid 3-D visualisation (especially for the property development sector and the built environment),  and other services such as digital preservation.

But tonight, the pitch was about a plan to use “VR for social good”. Under the moniker “Dreamed”, Phoria is developing a niche health care solution, designing “patient experiences” to help them get out of their current care or treatment environment.

Predicated on an immersive therapy platform, Dreamed will offer a distribution service for cloud-based content, designed to be used alongside other, related assisted therapies that feature Animals, Nature and Music as stimulants for patient engagement and therapeutic outcomes. While not exactly a MedTech solution, Phoria’s “IP special sauce” is the use of VR as a constant dynamic feedback loop, which presumably learns from and adapts to user interaction and monitoring of appropriate patient diagnostics.

So, who pays for the service? Hopefully, hospitals will, especially if they can demonstrate reduced therapy costs and patient treatment times. (Maybe there will also be a consumer market alongside existing meditation apps?) But with some early-stage and potentially high-profile research underway via the Murdoch Childrens Research Institute, Phoria and Dreamed look to be making steady progress, notwithstanding the normally slow pace of medical research. Key to the research outcomes will be user acceptance and ease of service and content delivery, although a large number of unknowns remain in the context of the medical benefits. Meanwhile, Phoria continues to serve its core property market.

Finally, something which I found somewhat surprising, according to the presentation, there is no VR content licensing model currently available. Sounds like a job for a decentralized digital asset management and licensing registry (such as MyBit?).

On the night, and based on the judges’ votes, Phoria took out first place honours.

Next week: The Future of Work = Creativity + Autonomy

 

More In The Moment

In an earlier blog on “being in the moment”, I confessed that I often find the prospect (and practice) of meditation to be daunting and somewhat overwhelming. I forgot to mention that there is a park bench in one of Melbourne’s inner-city gardens which I have found to be a useful starting point. It features a quotation from Dr Ainsley Meares:

“Sit quietly, for it is in quietness we grow”

"clinamen" by Celeste Boursier-Mougenot (2013), purchased by NGV Foundation (Photo © Rory Manchee, all rights reserved)

“clinamen” by Celeste Boursier-Mougenot (2013), purchased by NGV Foundation (Photo © Rory Manchee, all rights reserved)

The significance of this insightful instruction has been driven home by some recent experiences:

  • Through my involvement with the Slow School of Business, I have participated in some Slow Coaching, where I was a Listener. The practice of “deep listening” really does require you to be present in the moment, to focus on what is being said by the Speaker, to observe how it is being expressed, and to give constructive feedback on what you have heard without judging or critiquing. It’s an extension of “active listening”, a technique I learned many years ago as a counsellor helping clients with their consumer debt problems, and I later used it as a manager to provide employee feedback during performance reviews. The key difference is that deep listening is not so concerned with exploring a linear narrative or identifying specific solutions, and is more about giving space to the Speaker to articulate what concerns or issues they are currently facing.
  • At a concert the other week I was struck by the number of people in the audience who were avidly taking photos and videos on their smart phones, or busy talking at the bar rather than appreciating the live performance in front of them. It made me wonder why some people bother going to gigs at all – it often seems like they are not there to watch and listen to the musicians! Apart from being disrespectful to the performers and other members of the audience, the happy snappers and the chatty drinkers can’t really be in the moment because they are too busy trying to capture a transient event for posterity (and who actually watches shaky live concert footage shot on a phone?). Or are they so self-absorbed that they are actually oblivious to what is going on around them?
  • Similarly, last weekend I visited the Twelve Apostles and was dismayed by the ubiquitous selfie-sticks and constant preening and posing at every vantage point. As the sun went down, hardly anyone was actually observing the dusk, let alone being still and listening to the waves below. Instead, everything was being reduced to a diluted digital experience. Again, who goes back and looks at all those photos (and do they do so more than once)? How do these images enhance the experience of simply being there? Did these visitors really appreciate the natural beauty and breathtaking views in front of them? Is a digital camera the only way to interpret the scene for themselves? Is it only “real” when they take a picture? Can it only “exist” as a bunch of pixels?

To underscore quite how significant “being in the moment” can be, I’m reminded of the Above All Human conference in January, where theoretical astrophysicist Dr Katie Mack scared the living day lights out of the audience when she discussed the impact of vacuum decay theory. In (very, very, very) short order, a shift in the current state of the Universe would wipe out life as we know it in a millisecond. It would happen so quickly, that no-one would see it coming. The effect would be catastrophic, but we wouldn’t know it was happening. As Dr Mack so eloquently put it, there would be no point in worrying about FOMO, because:

(a) there would be nothing left to be missing out on;

(b) no trace of your existence would remain; and

(c) in any event, there would be no-one left to miss you….

While I understand the need to validate our existence through “capturing the moment”, if we are too pre-occupied with taking photos, rather than focussing on our actual presence, we risk surrendering our experience to mere digital simulacra.

Next week: Whose IP is it anyway?

Form over content – when the technology is the product?

This week, I had my first experience of 3D cinema, with the rather amazing “Gravity”.

Image source: gravitymovie.warnerbros.com

Image source: gravitymovie.warnerbros.com

I wouldn’t say I’m an instant convert to the 3D format, but I certainly agree with many of the critics – that “Gravity” is not only a film that warrants 3D, it is possibly the best space movie since “2001: A Space Odyssey”. And while the CGI and 3D technologies combine effectively to take a relatively simple story and turn it into an epic, it is not just a case of “form over content” – there is real substance in this film, a great example of using the technology to enhance the audience experience, rather than hoping it can paper over the cracks of clumsy narrative and lame dialogue.

My hesitation in embracing the 3D experience stems from a suspicion that the format dictates the story, that the technology is the product. A few days before watching “Gravity”, I saw posters advertising the new Hobbit movie, “The Desolation of Smaug”. Not content with the “standard” 3D version, there is also a new format “3D HFR” (High Frame Rate, whatever that means). Oh, and for traditionalists there is also “normal” 2D.

Personally, I could never get into the whole Lord of the Rings saga – even as a child, Tolkien’s stories left me cold. So I have not seen any of the films, but when I saw a 3D preview for “Smaug”, my worst suspicions were confirmed: this really is a case of form over content, which is ironic given the legacy of the source material. To me, the 3D images looked like the pages of a children’s pop-up book, because the depth of vision is so poor that the actors look like animated cardboard cutouts badly superimposed on CGI landscapes.

Many contemporary productions, full of CGI and “enhanced” for 3D make Walt Disney’s Penguin Dance in “Mary Poppins” look far more naturalistic in comparison. And what about “Who framed Roger Rabbit?” as the pinnacle of live action meets cartoon imagery – surely Jessica Rabbit has more vitality than all the characters in “Avatar” put together?

Technology is a wonderful thing – used creatively and effectively it can deliver fantastic results, making great content even better. But used slavishly, and as an end in itself, it cannot compensate for poor material, and at best becomes a sterile technical exercise.