How the Creative Industry is Adopting AI with Miora, Tencent’s Creative Agent

This episode was a special collaboration project with Tencent’s Behind the Penguin podcast. AI Proem remains editorially independent but is open to collaborating with companies and individuals if that means they can bring better resources/ guests/ insights to the AI Proem audience.

I speak to Serrino Liu, the AI Product Expert at Miora, Tencent. He is responsible for product innovation across film, 3D, and the interactive formats built on top of them, bringing AI agents into real content-creation and workflows.

He tells me that Miora is not another image or video generator. Rather, it is a creative agent studio that runs entire workflows for filmmaking, e-commerce, game and 3D professionals.

What makes the conversation unusual is Miora’s stance on models: it deliberately routes across mainstream models from different providers: DeepSeek for documentation, Seedance for video, Hunyuan Image for graphics, and models from direct competitors like ByteDance and Kling. Serrino is refreshingly candid about why: Miora is not a foundation-model company, and every improvement in the underlying models flows back into the product. He also unpacks Miora’s relationship with Tencent’s office agent WorkBuddy (”two pieces on the same board” where one manages the workspace, the other the creative work), and how the newly launched Hy Image3.5 preview is “professional-grade” in the sense that matters: usable, consistent, and able to survive revision, not just prettier.

The heart of the episode is a nuanced take on taste and judgment. Serrino splits creative work into what can be verified, such as frame format, dialogue, and character consistency — and what only a human can judge: whether the emotion lands, whether the camera movement serves the story. Features like the new StoryWeave and side-by-side version comparison are built to keep the human in the loop, “a partner in making, not replacing.” The same philosophy extends to memory: Miora’s visible, editable memory system exists to kill tedious repetition — remembering your color palette, your story decisions, your style — so the next revision respects everything you’ve already decided, instead of forcing you to re-explain yourself.

The episode closes with two big-picture exchanges. On geographies of preference in AI adoption, Serrino argues the difference between Hollywood and Asia is less about values than stakes: Hollywood’s AI debate arrived as a contract question (consent, credit, compensation), while Asia’s arrived as a capacity question — enormous demand meeting thin mid-tier production, with both anxieties eventually converging. And in his contrarian take on a fully automatic creative AGI, he lands the episode’s most quotable line: in creative work, the most expensive thing was never execution — it’s knowing who to pass the ball to. Craft will always change, but the author and the user never do.

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Chapters

00:00 Welcome from Macau: Meet Serrino Liu

03:35 What Is Miora? Agents, Memory & the Professional Harness

04:53 One Product, Many Models: Routing, Rivals & Token Economics

11:14 Building for Real Creators: The StoryWeave Approach

18:12 Taste, Judgment & Keeping the Human in the Loop

28:09 Memory as a Creative Asset & the Hy Image3.5 preview Launch

37:20 Asia vs Hollywood: Two Different AI Stories

44:23 Misconceptions, Copyright & a Contrarian View on AGI

AI generated transcript, for reference only

Grace Shao: hello everyone welcome back to AI Proem Podcast this is your host Grace Shao. Today’s episode is very special because we’re partning up with Behind the Penguin a newly launched Tencent backed podcast. We’re in Macau today because we are at the 2026 International Film Camp and joining us today is Serrino Liu, Tencent’s Miora AI product expert. He had just revealed and demonstrated Miora’s capabilities in film making to industry really excited to hear from him today about how the creative industry is reacting to AI, adopting AI and how he sees the future ai I’m really excited to hear from him not only just about the product itself but how the industry is embracing AI or maybe not.

Serrino Liu: Okay, thank you so much for introducing me and it’s great opportunity to meet with all kinds of the different directors today and I think I actually have already got some questions I wanted. I think this conversation about making film with AI is actually welcoming a different a gate for the young director to try AI with some film production and I should say i’m only speaking for the room and not industry. But in the room nobody was impressed with the film itself, though like the output anymore. It’s actually how they can steer it.

Grace Shao: It’s very cool. But before we get more into Miora and the Tencent’s ecosystem and just how AI is being adopted. I just found your personal background very interesting actually before we start recording we just had a brief chat and you’re actually a French/Russian/ Chinese descent, but now you just returned from the US to China to work for Tencent. You have a very interesting professional journey as well. You’re an artist by training, having studied design at Parsons, studied CS at NYU, studied at Harvard. Tell us a bit about yourself and what brought you to Miora and the vision that you have for Miora.

Serrino Liu: okay thank you. Though “artist” is a hat I‘m not sure I’ve earned — I‘m really a generalist. From computer science, design and business and machine learning and AI... I have touched all of it. But it sounds pretty scattered but I think there is a clear line behind it. It’s like I know the tech I know the product and the whole time i’ve been obsessed with is just one thing: How much idea in someone’s head can get real and that is actually the reason I joined Miora. I want to see how creative agent can provide some opportunities for customers for users to get some inspiration from their head to the real life and to see their inspiration come true.

Grace Shao: If you had to use one or two sentences to describe Miora or what it is today. How would you describe it?

Serrino Liu: I think it’s just agents and memory and the professional harness to serve as the assistant directing different area.

Grace Shao: so it’s not really a generic AI image or video generator in any sense.

Serrino Liu: No, it’s not. It’s more like a creative agent studio or like a system for you in personal so it can help you to do some professional work and jobs etc.

Grace Shao: Very cool. So what industries do you think Miora can be used in or is being used in right now?

Serrino Liu: I think we have some targeting area like the e-commerce, filmmaking, game and even 3D... Those different areas have some different professional harnesses with the agent to do the specific workflow to serve this kind of area.

Grace Shao: but I imagine for each of those use cases just mentioned or each of those industries just mentioned, their need for how to even use a creative tools actually very different right, so in that sense how are you guys optimizing which models you’re using because I understand that actually miora routes through quite a few different kinds of models from different providers and it’s not like solely committed to just offering Hunyuan.

Serrino Liu: Yeah, so Miora isn’t just tied to a single model we’re actually routing different mainstream models like the Seedance and the different agent model as well. So user can pick what fits their needs best and in particular Miora is actually one of the way (for) the hunyuan model to reach the overseas uses. We have the newly launched Hy Image3.5 preview releasing today and that is actually the agents own choices to inside the Miora and users can actually choose it.

Grace Shao: but so say in my workflow, I need to script some data I need to …

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