Neuralink's brain chip has been implanted into a second patient as part of early human trials, Elon Musk told podcast host Lex Fridman on Saturday. The company hasn't disclosed when the surgery took place or the name of the recipient, according to Reuters.

Musk said 400 of the electrodes on the second patient's brain are working out of 1,024 implanted. "I don't want to jinx it but it seems to have gone extremely well," he said. "There's a lot of signal, a lot of electrodes. It's working very well." 

The device allows patients with spinal cord injuries to play video games, use the internet and control electronic devices using their thoughts alone. In May, the company announced that it was "accepting applications for the second participant" in trials following FDA approval. 

The original Neuralink implant patient, Nolan Arbaugh, described the surgery as "super easy." In a demo, the company showed how Arbaugh was able to move a cursor around the screen of a laptop, pause an on-screen music device and play chess and Civilization VI.

Arbaugh himself participated in the marathon podcast with Musk and Fridman. He said that the device allows him to make anything happen on a computer screen just by thinking it, helping reduce his reliance on caregivers. 

However, problems cropped up shortly after his surgery when some of electrodes retracted from his brain. The issue was partly rectified later on by modifying the algorithm to make the implants more sensitive. Neuralink told the FDA that in a second procedure, it would place the implant’s threads deeper into the patient’s brain to prevent them from moving as much as they did in Arbaugh’s case.

Neuralink previously tested its implant in animals, including chimps, and some of those testing practices have been the subject of federal investigations. 

Despite those issues, the company said it had over 1,000 volunteers for its second surgical trial. Musk said he expects Neuralink to implant its chips in up to eight more patients by the end of 2024.  

This article originally appeared on Engadget at https://www.engadget.com/neuralink-successfully-implants-its-chip-into-a-second-patients-brain-123013864.html?src=rss

© SOPA Images via Getty Images

HBO has released the first teaser for The Last of Us season two and while short, it offers clues as to what we can expect when the series debuts in 2025. It starts off with Joel (Pedro Pascal) in conversation with a new character played by Catherine O'Hara (seemingly his therapist), reckoning with his past actions. "Did you hurt her?" she asks. "I saved her," he replies. 

On top of O'Hara's unknown role, we see other characters for the first time including Kaitlyn Dever's Abby, Jeffrey Wright reprising his video game voice role as Isaac, and Dina, played by Isabela Merced. Meanwhile, Joel's brother Tommy (Gabriel Luna) and Ellie (Bella Ramsey) appear briefly in some intense action scenes.

As revealed last year, showrunners Craig Mazin and Neil Druckmann decided to split the events from The Last of Us Part II video game into two seasons, since the story was far more complex than the original. The second season will be just seven episodes to create a natural break, while the third season will be "significantly larger," they said. 

The original series mostly followed the events of the game, with some smart deviations and changes. Expect more of the same for season two, though the teaser already shows one significant divergence. In the game, Joel only confesses the events that occurred at the hospital to his brother, but here, he's telling O'Hara's character. 

The teaser appeared as part of HBO's Coming to Max trailer, along with previews for The Penguin, Dune: Prophecy, It: Welcome to Derry, and our first peek at A Knight of the Seven Kingdoms, the next Game of Thrones spinoff. 

This article originally appeared on Engadget at https://www.engadget.com/hbo-drops-the-first-teaser-for-the-last-of-us-season-two-120035871.html?src=rss

©

© HBO

The surprise 2022 hit PowerWash Simulator has already seen loads of extra content like a DeLorean car washing DLC and even a special edition to aid mental health research. However, the latest update gave users more than developer FuturLab bargained for, according to a recent post on X.

The company released a cruise ship DLC yesterday (Summer Seasonal 2024), but multiple users on Steam complained that they couldn't play it. While a fix was being readied, an upcoming level called "Muckingham Files 4" was somehow released for free onto Steam. Consequently, users on that platform (and no others) can now play both levels.

The Summer Seasonal release lets you make a rusty, grubby cruise ship sparkle again. Meanwhile, Muckingham Files 4 lets users blast graffiti off the vandalized mansion of crypto enthusiast Devon King or clean the firefighting plane of Floraine Perez following a flight over "Mount Rushless."

Much like certain YouTube videos, PowerWash Simulator provides the simple but satisfying experience of blasting gunk off of different objects and... nothing else, really. Folks on Steam get to double up the fun this month, but FuturLab apparently doesn't want them to rub it in the faces of other platforms' users. "Just pretend it didn't happen," the developer advised. 

This article originally appeared on Engadget at https://www.engadget.com/powerwash-simulators-developers-accidentally-gave-steam-players-a-free-update-120056355.html?src=rss

© FuturLab

The surprise 2022 hit PowerWash Simulator has already seen loads of extra content like a DeLorean car washing DLC and even a special edition to aid mental health research. However, the latest update gave users more than developer FuturLab bargained for, according to a recent post on X.

The company released a cruise ship DLC yesterday (Summer Seasonal 2024), but multiple users on Steam complained that they couldn't play it. While a fix was being readied, an upcoming level called "Muckingham Files 4" was somehow released for free onto Steam. Consequently, users on that platform (and no others) can now play both levels.

The Summer Seasonal release lets you make a rusty, grubby cruise ship sparkle again. Meanwhile, Muckingham Files 4 lets users blast graffiti off the vandalized mansion of crypto enthusiast Devon King or clean the firefighting plane of Floraine Perez following a flight over "Mount Rushless."

Much like certain YouTube videos, PowerWash Simulator provides the simple but satisfying experience of blasting gunk off of different objects and... nothing else, really. Folks on Steam get to double up the fun this month, but FuturLab apparently doesn't want them to rub it in the faces of other platforms' users. "Just pretend it didn't happen," the developer advised. 

This article originally appeared on Engadget at https://www.engadget.com/powerwash-simulators-developers-accidentally-gave-steam-players-a-free-update-120056355.html?src=rss

© FuturLab

I’ve always been a PC guy, even when other content creators were waving MacBooks around. I’ll state up front that I don’t game, so everything I do on a laptop revolves around video editing. To handle that, I use a high-end desktop Windows machine at home and up till recently had a Gigabyte Aero 15X laptop for video editing on the go.

Then, the Aero 15X died. The keyboard stopped working and the Thunderbolt 3 port failed. I didn’t even really mourn the loss — it was always noisy and hot. Battery life was never great, and to do any serious video work, I had to plug it in with a comically large and heavy power brick.

It was time for a new laptop, but I had no intention of reliving my Gigabyte experience. Instead, I wanted to find the best laptop for image and video editing — a lightweight, powerful and cool computer with long battery life. I needed to edit 4K video on DaVinci Resolve while doing color correction, as well as adding effects and titles. I also do RAW photo editing, so I’d be using Photoshop and Lightroom regularly, too.

I eyed a MacBook Pro M3, but figured it would be too expensive. After checking, I was surprised to find that the gap between the price of a new MacBook Pro and a Windows laptop with similar performance has been less since Apple started using its own Silicon.

So I made the leap and purchased a 16-inch MacBook Pro with an M3 Pro chip (12-core CPU and 18-core GPU), 36GB of RAM and 512GB of storage. From what I’d read, that would be enough to handle challenging edits. I paid $3,100 in Canada including taxes, with the same machine selling for about $200 less in the US.

Steve Dent for Engadget

I put my new MacBook to work right away when I created a video review of the Nikon Z8 while in Vancouver. Later, I edited a review of the Fujifilm X100 VI in London and did a hands-on video for Panasonic’s S9 camera from Japan. Those projects gave me a good feel for the MacBook’s performance, battery life and usability while on the road.

Back at home, I was curious to compare the MacBook to my desktop PC. While not state-of-the-art, the latter still has impressive specs with an AMD Ryzen 9 5900 12-core CPU, NVIDIA RTX 3080 Ti GPU and 64GB of RAM. To that end, I expected the two machines to be relatively competitive, performance-wise.

I use mirrorless cameras like the Canon EOS R6 II and Panasonic’s S5 II, which output up to 6K 10-bit 4:2:2 Log H.264 or H.265 Quicktime files. Those formats usually tax a computer’s processor and GPU, so I wasn’t expecting real-time playback.

However, I noticed that I could smoothly play those video files in DaVinci Resolve on my MacBook Pro with no rendering or conversion required. I can’t do that on my well-specced desktop PC, so what was going on?

It turns out that even recent NVIDIA and AMD GPUs can’t decode many of those commonly used formats in real time, as systems integrator and benchmark specialist Puget Systems revealed recently. It is doable with some of the formats (not H.264) on newer Intel CPUs with Quick Sync tech on DaVinci Resolve 18 Studio or later.

Steve Dent for Engadget

The ability to edit these files straight out of the camera was a major quality-of-life improvement, as it eliminated a time- and storage-wasting step.

I also saw real-time playback on my Mac in most circumstances with no rendering. That includes sequences with 6K and 8K video, color correction on most clips, titles, multiple layers, optical-flow time-warping and stabilization.

In contrast, my high-end desktop PC not only requires me to convert my video files but also to enable timeline rendering, particularly with 6K or 8K video. Both of those things take up time and can consume hundreds of gigabytes of disc space.

While the MacBook felt fast, I also wanted to see how it compared to my Windows machine more objectively. I used the PugetBench Creator benchmark suite, which compares performance between machines on commonly used creator apps like Photoshop, Premiere Pro and Davinci Resolve.

Considering my PC didn’t perform as well for video-editing, the results surprised me. The MacBook Pro M3 did come out on top in Photoshop tests, garnering an overall score of 10,076 compared to 7,599 for my desktop PC. That’s largely due to the superior M3 processor.

Steve Dent for Engadget

However, my PC out-benchmarked the MacBook Pro for video-editing by a pretty wide margin, thanks to its faster GPU. The Apple machine saw an overall score of 4,754 on the Premiere Pro PugetBench tests in high power mode, while my PC hit 8,763.

There are no public PugetBench tests yet for DaVinci Resolve, but Puget Systems’ own scores show that high-end PCs handily outperform high-end MacBook Pro models on that app. The PC is generally better when working with RAW formats and easily beats the MacBook Pro for GPU effects, AI features and encoding to H.264 and H.265 formats.

These results show that benchmarks don't paint a full picture. The relative power of a computer depends on what you’re doing with it, and in my case, the ability to edit certain video formats without rendering outweighed pure speed. However, people who use more effects or work with ProRes or RAW formats may be better off with a powerful PC.

All that said, a lot of the stuff I hated about my Windows laptop had nothing to do with performance. I was often annoyed by my Aero 15X’s weight (if you include the power brick), heat, noise, build quality and relatively useless trackpad.

Since I bought the MacBook Pro 16, I’ve never felt it get overly hot and the fans rarely kick in, even while editing video. By contrast, there’s not a single Windows creator PC I’ve heard of that doesn’t generate excessive heat and fan noise under intensive loads.

Steve Dent for Engadget

Another major bonus with the MacBook is that it offers the same performance whether plugged in or not, but the same can’t be said for most PCs. Many throttle down when unplugged, substantially reducing performance.

If you need to edit on the go and don’t have access to AC power, the MacBook wins here as well. While editing on DaVinci Resolve, it can go three to four hours on battery power alone, triple what my Gigabyte laptop could do. And it takes the MacBook Pro just 1.5 hours to get to a full charge, compared to around 2 hours minimum for Dell’s XPS 17 9730. It charges considerably faster, as well.

It’s also less of a grunt to lug than my Aero was, as it weighs a less and the charger is much lighter, too. Finally, the trackpad is much better, to the point that I can even edit videos without a mouse, something I could never say with the Aero or any other PC laptop I’ve owned.

While I have my quibbles — I dislike the webcam notch, for instance — I've otherwise found the MacBook Pro 16 M3 to be nearly perfect. As it stands now, Windows laptops using Intel and AMD silicon might be able to match it in performance, but they lag far behind in efficiency. That may change with the new Qualcomm laptops or NVIDIA’s upcoming 5000-series GPUs, but for now, Apple’s products are hard to beat for traveling content creators like me.

Update June 24, 2023: The article has been corrected to state that the Gigabyte Aero 15x has a Thunderbolt 3 port, not a Lightning port. 

This article originally appeared on Engadget at https://www.engadget.com/the-latest-macbook-pro-beats-my-high-end-pc-for-content-creation-130053351.html?src=rss

© Steve Dent for Engadget

There's a bit of an Apple price war happening between Amazon and B&H Photo, which is good news for buyers. The 13-inch MacBook Air M3 with 256GB of storage and 8GB of RAM just hit its lowest price yet at both Amazon and B&H, falling to just $899 or $200 (18 percent) off the retail price. In addition, the 14-inch MacBook Pro with an M3 Pro chip (18GB of RAM, 512GB storage) is on sale for $1,699, or 15 percent ($300) off at Amazon and B&H — another all-time low.

We think the 13-inch MacBook Air with the M3 chip is the best laptop for most people and, unsurprisingly, it's also our top pick for the best MacBook you can buy. Engadget's Devindra Hardawar gave it a score of 90 in his review when the computer came out last month. It's slim and light yet sturdy, and the keyboard and trackpad are comfortable to use.

The bright display is accurate and the battery will far outlast a typical workday. The new chip gives the notebook a performance boost according to our benchmark testing, which should help power users but may not be noticed as much for productivity chores. The only potential drawback is USB-C ports located only on one side, but otherwise this is a fantastic laptop, especially at that price. Again, you can purchase it either at Amazon or B&H Photo Video in multiple colorways. Note that other configurations (more RAM and storage) are also on sale, though with lesser discounts.

If extra performance is required, the 14-inch MacBook Pro with 18GB or RAM and 512GB storage is on sale for $1,699 — again, at both B&H and Amazon. Apple released the new 2023 MacBook Pro last November with three different M3 chips: the standard, M3 Pro and M3 Max. The mid-range model is what's currently on sale and offers a 14.2-inch screen, a Liquid Retina XDR display and a magic keyboard with touch ID. It has 18GB of RAM, a 14-core GPU and 512GB of SSD storage. Plus, it has 18 hours of battery life.

This is a solid model for creators as the M3 Pro has power to burn and it's very connection-friendly with three Thunderbolt 4 ports, an HDMI port, a headphone jack, a MagSafe charging port and even an SDXC card slot. If you've been looking to buy, it's best to act soon before the deal ends or stock runs out.

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/apples-macbook-air-m3-drops-to-an-all-time-low-of-899-124519802.html?src=rss

© Engadget

After announcing several new Xbox Series X consoles including a $600 special edition model, Microsoft may be working on another one. In response to a question from IGN about portable gaming, Xbox chief Phil Spencer said "I think we should have a handheld."

That's a vague comment, but it certainly shows that the company is taking notice of all the portable PC gaming devices out there like the new Rog Ally X from ASUS and no doubt Sony's PlayStation Portal remote handheld. Such a device would also make a lot of sense for the Xbox platform. 

"The future for us in hardware is pretty awesome, and the work that the team is doing around different form factors, different ways to play," he said. He then deferred any future questions about consoles to Xbox president Sarah Bond.

Spencer hypothetically kiboshed the idea of a Sony-like internet- or cloud-only device when asked about it, though. "I think being able to play games locally is really important," he said.  

This by no means confirms the development of such a device and it wasn't the right event for such an announcement in any case. "Today was about the games... but we will have a time to come out and talk more about platform, and we can't wait to bring it to you." 

This article originally appeared on Engadget at https://www.engadget.com/microsoft-xbox-chief-phil-spencer-i-think-we-should-have-a-handheld-123046226.html?src=rss

© Microsoft

ASUS has been busy at Computex 2024 this year, announcing not only the ROG Ally X gaming handheld but a bunch of new laptops. Now, the company has moved on to monitors, unveiling several interesting entertainment and content creation models, including its first Google TV and 8K ProArt displays.

The 27-inch 4K (IPS) ZenScreen Smart MS27UC is the company's latest entertainment display. As mentioned, it's ASUS' first with Google TV and includes a remote with a built-in Google Assistant microphone. 

ASUS

Along with what ASUS calls "ultra-thin display bezels and a small footprint stand," it has built-in front output 5W Harman Kardon speakers and a headphone port on the back. One unusual feature is a rear shelf that lets you store a keyboard, mouse and the Google TV remote. Other features include a DisplayPort 1.4 and HDMI 2.0 port, USB-C (PD 90W), dual-band WiFi, Bluetooth 5.0 and Miracast.

ASUS

ASUS also dropped some impressive (and probably fairly expensive) ProArt displays aimed at content creators. The first is the ASUS ProArt Display 8K PA32KCX, what ASUS calls "the world's first 8K mini-LED professional monitor." The 32-inch display offers 7,680 x 4,320 resolution and a peak brightness of 1,200 nits (sustained brightness 1,000) nits, thanks to the Mini LED tech with 4,096 local dimming zones.

It offers professional level specs, with a delta E of less than 1 in terms of color accuracy, true 10-bit color and 97 percent coverage of the DCI-P3 (HDI) color gamut. It includes a built-in motorized flip colorimeter for auto- and self-calibration, while offering dual Thunderbolt 4 ports with up to 96 watts of power delivery (along with HDMI 2.1 and DisplayPort 2.1 ports).

ASUS

Meanwhile, The 27-inch ProArt 5K PA27JCV and 32-inch PorArt 6K PA32QCV displays support 5,120 x 2,880 and 6,016 x 3,384 resolutions respectively. ASUS doesn't say what display technology is used, but they have something it calls "LuxPixel" technology that uses an anti-glare coating that offers a "paper-like" effect without softening the image.

Both offer 99 percent DCI-P3 coverage, a Delta E less than 2 and DisplayPort™ over USB-C® with 96 W power delivery. Both appear to be fairly low profile and come with with metal stands.

ASUS

Finally, ASUS showed off some new dual-screen displays that may appear in laptops or standalone monitors down the road. Those include the ZenScreen Duo OLED, that features a 14-inch 16:10 FHD dual-0LED display that can fold out to 21 inches for increased productivity. So far, there are no prices are delivery dates set for any of the new displays. 

This article originally appeared on Engadget at https://www.engadget.com/asus-zenscreen-smart-27-inch-monitor-is-its-first-with-google-tv-120015995.html?src=rss

© ASUS

Apple is working on a version of its Siri voice assistant that will use advanced AI powered by large language models (LLMs), Bloomberg has reported. The technology will allow users to perform specific app functions with their voices, such as opening documents, sending emails and more. 

The new version of Siri will only work on Apple's own apps to start with. It won't arrive with iOS 18 but may be released subsequently as an update early next year, the report states.

The assistant will be able to analyze your phone's activity and automatically enable Siri-controlled features. It'll support "hundreds" of commands but will only be able to process one at a time at first, according to the article. Later, Siri will support multiple tasks in a single request. 

At first, supported commands would include sending or deleting emails, opening a specific site in Apple News, emailing a web link or asking for an article summary. Once multiple commands are enabled, it'll be able to summarize a recorded meeting then text it to a colleague, all in one request. "Or, an iPhone could theoretically be asked to crop a picture and then email it to a friend," Bloomberg's Mark Gurman wrote.

It's unclear which LLM Apple will use to power this version of Siri, but the company reportedly just reached a deal with OpenAI to integrate ChatGPT into iOS 18. At the same time, Apple may also be negotiating with Google to integrate Gemini AI into search on iPhones. Apple will reportedly handle many AI requests on-device, while using the cloud for more complex commands. 

Apple is expected to focus on AI for its WWDC 2024 conference that runs from June 10 to June 14. At that point, it may reveal that it reached a deal with OpenAI to integrate ChatGPT into iOS 18. We may also see AI-powered features like voice memo transcriptions and summaries, website recaps, automated message replies and more. 

This article originally appeared on Engadget at https://www.engadget.com/apple-is-reportedly-overhauling-siri-with-ai-for-improved-voice-controls-120033411.html?src=rss

© Engadget

The Federal Aviation Administration (FAA) has given Amazon permission to fly its delivery drones beyond visual line of sight (BVLOS). With that hurdle cleared, the company claims it can fly farther and expand drone service, providing customers faster delivery and a larger selection of items, Amazon announced in a blog post.

Until now, the FAA has only allowed Amazon to fly drones as far as someone could see them from the ground. That way, spotters or pilots could ensure that drones weren't interfering with aircraft. However, the constraint seriously limited how far the drones could travel.

To move beyond that, Amazon said it spent years developing "onboard detect-and-avoid technology." It submitted engineering information to the FAA including operation, maintenance and performance details. Flight tests were then conducted in the presence of FAA inspectors around airplanes, helicopters and a hot air balloon to "demonstrate how the drone safely navigated away from each one of them," Amazon said. 

With BVLOS approval in hand, the company plans to expand its delivery area around its drone facility at College Station, Texas. Later in 2024, drone deliveries will be integrated into its broader delivery network.

Last month, Amazon announced that it was halting drone deliveries at one of its first test sites in Lockeford, California, without providing a specific reason. At the same time, it said it would launch drone deliveries in the West Valley, Phoenix metro area.

This article originally appeared on Engadget at https://www.engadget.com/amazon-has-permission-to-fly-its-drones-over-longer-distances-133602573.html?src=rss

© Amazon

Amazon is permanently offering free restaurant delivery via Grubhub+ as part of its Prime subscription, the company announced. If you live in the US and pay $139 per year for a Prime subscription, you'll pay no fee for eligible GrubHub orders over $12. You'll also see lower service fees, five percent credit back on pickup orders and exclusive offers. 

That works out to a value of $120 per year, according to Amazon. The retail giant had previously offered Prime clients a free one-year subscription to GrubHub+, but after that year was up, you had to pay $129 per year on top of your Prime subscription. Now, it appears to be a permanent Prime inclusion.

Amazon's US customers can access GrubHub on Amazon.com and in the Amazon Shopping app with an "identical" ordering experience and prices to Grubhub.com or Grubhub's app, according to Amazon. To activate the offer, go to Amazon.com/grubhub. On top of the free delivery, Prime members can get $5 off GrubHub orders of $25 or more through June 2nd.

Though widely used, restaurant delivery services have been controversial. Both restaurants and customers complain about high delivery fees and drivers often receive low pay while shouldering heavy workloads. Most fees don't go to the driver, so many customers feel the need to add a tip onto the already high fees. In Europe, a deal was recently struck to reclassify millions of food delivery app workers as employees. 

Amazon's Prime membership includes other perks like Prime Video and free same-day delivery. However, it recently added an additional $3 per month fee to get Prime Video without ads (except for sporting events). Meanwhile, unlimited grocery delivery from Whole Foods or Amazon Fresh costs an additional $10 per month. 

This article originally appeared on Engadget at https://www.engadget.com/amazon-prime-customers-in-the-us-now-get-free-grubhub-delivery-075319082.html?src=rss

© Amazon

Boom's supersonic XB-1 test jet has received Federal Aviation Administration (FAA) approval to fly past Mach 1, the company announced. Tests are slated to take place later this year at the Black Mountain Supersonic Corridor in Mojave, CA, and the results could help prove the feasibility of the design in areas like fuel consumption, speeds and flight characteristics.

"Following XB-1’s successful first flight, I’m looking forward to its historic first supersonic flight,” said Boom Supersonic founder and CEO Blake Scholl. "We thank the Federal Aviation Administration for supporting innovation and enabling XB-1 to continue its important role of informing the future of supersonic travel."

The approval arrives just weeks after a successful X-B1 test flight at subsonic speeds by a pair of test pilots. It follows a thorough review and environmental assessment, and mandates a chaise plane to trail the XB-1 to monitor and record flight safety, according to the company.

The company will conduct 10-20 flights before attempting to break the speed of sound. It will "systematically expand the flight envelope during that time" to confirm performance and handling qualities, Boom said, while performing in-flight checks of all systems and demonstrating a safe margin to flutter/vibration boundaries. Test pilot Tristan "Geppetto" Brandenberg will be at the controls during the first supersonic flight.

Passenger flights are still a long way off, though. The XB-1 is a scaled-down version of Boom's ultimate goal, a commercial liner called Overture that's expected to carry under 100 passenger at "business class" comfort levels. The company has said that plane will be able to fly from Tokyo to Seattle in four hours and thirty minutes. 

The company has seen its share of issues, with test plans delayed and a rupture with original engine manufacturer Rolls-Royce. The company subsequently partnered with a company called FTT to develop its own custom "Symphony" jet engine. Still, the company already has customers lined up, with American Airlines and United Airlines having place orders for multiple jets. 

NASA is also working on a supersonic jet called the X-59 with a reduced sonic profile, but Boom Supersonic hasn't provided much detail on how it plans to reduce the, well, supersonic boom.

This article originally appeared on Engadget at https://www.engadget.com/booms-xb-1-supersonic-jet-has-been-authorized-to-break-the-speed-of-sound-120036963.html?src=rss

© Boom Supersonic

As part of World Password Day (yes, that's a thing), Google is hyping up its security achievements and sharing updates on its latest endeavors. The company revealed passkey adoption metrics for the first time and said they have been used more than one billion times by 400 million Google accounts. "Since launching, passkeys have proven to be faster than passwords, since they only require users to simply unlock their device using a fingerprint, face scan or pin to log in," Google wrote.

The company launched broad support for passkeys in 2022 and rolled them out across its services a year ago. Over the past 12 months, the technology has been adopted by Amazon, 1Password, Dashlane, Docusign and others, joining companies like eBay, PayPal and WhatsApp. Google boasted that the tech helped Kayak users sign in 50 percent faster and said Dashlane has seen a 70 percent increase in conversion with passkeys. 

Google will soon be expanding passkeys to users at the highest risk of targeted attacks as part of its Advanced Protection Program (APP). That offering is aimed at individuals including campaign workers and candidates, journalists, human rights workers and others, according to the company. 

"APP enrollment traditionally required the use of hardware security keys as a second factor, but users will soon have the option to enroll with any passkey in addition to using their hardware security keys," Google wrote. "This expanded passkey support will help reduce the barrier of entry to APP while still providing phishing resistant authentication... [and] is coming during a critical election year." 

It's also expanding Cross-Account Protection to safeguard users on multiple platforms. That system lets Google share security notifications about suspicious event with non-Google apps and services. "This is a critical benefit since cybercriminals often use an initial entry point as a foothold to gain access to more of your information." 

Google suggests creating a passkey for your account to benefit from the new protections. In the meantime, practice good password hygiene by using long passwords with a mix of characters, numbers and symbols, applying two-factor authentication (2FA), never recycling passwords and more. According to HIPAA, attackers can crack a simple 8-number password in just 37 seconds, but it takes 19 quadrillion years to break an 18-digit cypher with a mix of numbers, upper and lowercase letters and symbols. 

This article originally appeared on Engadget at https://www.engadget.com/google-says-its-secure-entry-passkeys-have-been-used-a-billion-times-120001230.html?src=rss

© The Pancake of Heaven!/Wikimedia

TikTok and Universal Music Group (UMG) have signed a deal that will allow Taylor Swift, Olivia Rodrigo, The Weeknd and other artists to return to the platform, the companies announced in a press release. Universal pulled songs from its roster of performers back in February and with some exceptions, its music hasn't been there since. Both sides are now "working expeditiously" to get content back on the platform that's home to a billion-plus users. 

A key part of the deal is artist protection from generative AI. "TikTok and UMG will work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters," the companies wrote. "TikTok is also committed to working with UMG to remove unauthorized AI-generated music from the platform, as well as tools to improve artist and songwriter attribution."

Also part of the deal are "new monetization opportunities" from TikTok's recent expansion into e-commerce. TikTok will reportedly also assist artists by providing tools around analytics, integrated ticketing, an "Add to Music App" and more. 

Universal took the drastic move of pulling music earlier this year, forcing the platform to mute videos or replace tracks with options from other labels. "As our negotiations continued, TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth," UMG said at the time. 

Last month, Taylor Swift's songs returned to TikTok, likely because she has full control of her own catalogue and was able to strike a separate deal. Some songs by other UMG artists, including Ariana Grande, also started appearing on the platform.

The dispute appears to be water under the bridge, but it's the least of TikTok's problems at the moment. US Congress recently voted in favor of a bill that would see TikTok banned in a year unless owner ByteDance sells the app. 

This article originally appeared on Engadget at https://www.engadget.com/olivia-rodrigo-drake-and-other-universal-artists-return-to-tiktok-094057811.html?src=rss

© Samir Hussein via Getty Images

Over a year after announcing it would acquire Mint Mobile for up to $1.35 billion, T-Mobile has closed the deal. With the Un-Carrier's purchase of parent Ka'ena Corporation, it will not only get Mint, but internationally focused prepaid operator Ultra Mobile and wholesale wireless provider Plum. T-Mobile also promised to keep Mint Mobile's $15 per month/5GB offering that's among the least costly in the US.

Mint Mobile is backed by Ryan Reynolds, who is believed to own 20 to 25 percent of the company. The purchase was announced back in March 2023, but the FCC only approved the deal last week. Mint will continue to be operated as a separate brand with Reynolds as pitchman and founders David Glickman and Rizwan Kassim joining T-Mobile to guide the brands. 

Mint Mobile's $15 plan has a few loopholes, namely you have to pay for three months at the start to get that rate, then pay for an entire year to keep it ($180 in total). As a perk, T-Mobile is offering "unlimited" (40GB with throttling, really) data for the first months. Customers will also get unlimited talk and text in Canada, along with 3GB of roaming data. 

Mint's rivals include T-Mobile itself, which has a very similar plan but a hard cap at 5GB, along with AT&T, which offers 15GB for $25 including 10GB of hotspot data. A one-year contract and up-front payment is required for the latter. 

This article originally appeared on Engadget at https://www.engadget.com/t-mobile-finally-owns-ryan-reynolds-backed-mint-mobile-082450117.html?src=rss

© T-Mobile

Embracer Group has been on a losing streak of late, having recently missed out on a $2 billion investment, laid off thousands of employees and sold one of its key properties, Gearbox, at a fire-sale price. Now, the company has announced plans to split into three separate, publicly listed entities, Bloomberg reported. 

The first is Middle-earth Enterprises & Friends, specializing in AAA games and and overseeing the Dead Island, Killing Floor, Kingdom Come Deliverance, Tomb Raider and The Lord of the Rings franchises. Studios under its purview include Crystal Dynamics, Dambuster Studios, Eidos-Montréal, Flying Wild Hog Studios, Tripwire, Vertigo Games, Warhorse Studios and 4A Games. This company will remain within the current listing as Embracer Group for now.

The second is Asmodee, which will handle the tabletop gaming segment of Embracer Group. Titles it's overseeing include Ticket to Ride, 7 Wonders, Azul, CATAN, Dobble and Exploding Kittens. Finally, Coffee Stain & Friends is the company's indie-centric group, with properties including Deep Rock Galactic, Goat Simulator, Satisfactory, Wreckfest, Teardown and Valheim.  

"This move has been made with the intention to unleash the full potential of each team and provide them with their own leadership and strategic direction," said Embracer Group CEO Lars Wingefors. "This is the start of a new chapter, a chapter that I intend to remain part of as an active, committed, and supportive shareholder of all three new entities, with an evergreen horizon."

Embracer Group went on an epic buying streak between 2019-2022 when borrowing was cheap, acquiring studios and entertainment groups including Crystal Dynamics, Gearbox Entertainment, Dark Horse Media, Middle-earth Enterprises and many, many others. Those came with gaming franchises including Tomb Raider, Deus Ex, Borderlands and Saints Row.

It was forced to restructure, though, when it lost out on a $2 billion partnership deal (reportedly with Savvy Games, funded by the Saudi government). It subsequently laid off 8 percent of its staff (as of February 2024), or nearly 1,400 employees. The company also sold off Borderlands developer Gearbox for $460 million, a fraction of the $1.3 billion it was valued at three years prior. 

This article originally appeared on Engadget at https://www.engadget.com/embracer-group-is-splitting-up-its-messy-gaming-empire-into-three-different-companies-120006822.html?src=rss

© Crystal Dynamics

The developer behind the popular, award-winning and slightly bawdy Baldur's Gate 3 confirmed that it won't be doing Baldur's Gate 4 — but it does have other irons in the fire. 

 "We won't be introducing any major new narrative content to the story of Baldur's Gate 3 (BG3) or its origin characters and companions, nor will we be making expansions or Baldur’s Gate 4," Larian Studio wrote in a community update on Steam. "We’re currently working on two new projects and we couldn’t be more excited about what the future has in store."

Larian promised more news about the new games "later down the line," but did give a hint about the style. "Know that even as our focus turns to these new games, the sensibilities that brought you Baldur’s Gate 3 are alive and well here at the Larian castle. I don’t know if we’re going to pull it off, but looking at our narrative, visual and gameplay plans, I think what we’re working on now will be our best work ever."

Baldur's Gate 3 has been praised for its breadth, character development, puzzles, combat, D&D fidelity and, of course, intimate relationships. It sold around 15 million copies, far exceeding the expectations of the studio, while pretty much sweeping game accolades over the last year. Namely, it took game of the year prizes at The Game Awards, The Steam Awards, D.I.C.E. awards, Streamer Awards, Hugo Awards, GLAAD Media Awards and others.

Director Swen Vincke previously revealed that the studio dropped plans for BG3 DLC and a sequel, partly due to constraints imposed by the Dungeons & Dragons 5th Edition mechanics. Still, there's no question of a sequel for the Hasbro-owned property. "We've done our job. It's a story with a beginning, a middle and an end. So let's pass the torch to another studio to pick up this incredible legacy," he added. 

This article originally appeared on Engadget at https://www.engadget.com/baldurs-gate-3-developer-confirms-it-wont-make-the-sequel-091930642.html?src=rss

© Larian Studio

The developer behind the popular, award-winning and slightly bawdy Baldur's Gate 3 confirmed that it won't be doing Baldur's Gate 4 — but it does have other irons in the fire. 

 "We won't be introducing any major new narrative content to the story of Baldur's Gate 3 (BG3) or its origin characters and companions, nor will we be making expansions or Baldur’s Gate 4," Larian Studio wrote in a community update on Steam. "We’re currently working on two new projects and we couldn’t be more excited about what the future has in store."

Larian promised more news about the new games "later down the line," but did give a hint about the style. "Know that even as our focus turns to these new games, the sensibilities that brought you Baldur’s Gate 3 are alive and well here at the Larian castle. I don’t know if we’re going to pull it off, but looking at our narrative, visual and gameplay plans, I think what we’re working on now will be our best work ever."

Baldur's Gate 3 has been praised for its breadth, character development, puzzles, combat, D&D fidelity and, of course, intimate relationships. It sold around 15 million copies, far exceeding the expectations of the studio, while pretty much sweeping game accolades over the last year. Namely, it took game of the year prizes at The Game Awards, The Steam Awards, D.I.C.E. awards, Streamer Awards, Hugo Awards, GLAAD Media Awards and others.

Director Swen Vincke previously revealed that the studio dropped plans for BG3 DLC and a sequel, partly due to constraints imposed by the Dungeons & Dragons 5th Edition mechanics. Still, there's no question of a sequel for the Hasbro-owned property. "We've done our job. It's a story with a beginning, a middle and an end. So let's pass the torch to another studio to pick up this incredible legacy," he added. 

This article originally appeared on Engadget at https://www.engadget.com/baldurs-gate-3-developer-confirms-it-wont-make-the-sequel-091930642.html?src=rss

© Larian Studio

DJI is entering the portable power station market in the US and Europe with the launch of the Power 1000 and Power 500 aimed at home users or road warriors. The devices (released in China at the end of last year) can be used to power small appliances or charge devices like laptops or drones, and work in concert with solar panels to provide power on the road. 

The Power 1000 (13kg or 29 pounds) has a 1,024 Wh capacity and can output up to 2,200W — enough to run a home microwave oven for about 1.3 hours and a car refrigerator for 19 hours, or charge a drone up to 12 times. The Power 500 (7.3 kg or 16.3 pounds) delivers 512 Wh of capacity and 1,000W of output for half the price.

DJI

The larger version supports 1200W fast recharge or 600W standard recharging (540W and 270W for the smaller version). Both can be fast-charged in 70 minutes for a 100 percent battery or 50 minutes to an 80 percent charge. Along with standard AC plugs, both have a pair of USB-C PD output ports that support 140W/100W charging for the Power 1000/Power 500 — enough for most laptops.

The market is fairly saturated with such devices (Jackery, Bluetti, Anker, others), but DJI is pitching this as an ideal way to charge its drones and other products. Released in China in December, it was already available in the US at Amazon and elsewhere via the grey market. 

The Power 1000 is now on sale for $1,000 at DJI's store, while the Power 500 costs $500. You can add a 120W Zignes solar panel for $299. For the latter, you'll need DJI's Power Solar Panel Adapter Module or DJI Power Car Power Outlet to SDC Power Cable.

This article originally appeared on Engadget at https://www.engadget.com/djis-new-backup-battery-can-power-small-appliances-charge-your-drone-130037610.html?src=rss

© DJI

Google has fired 28 employees involved in protests against the company's "Project Nimbus" cloud contract with the Israeli government, according to an internal memo seen by The Verge. That follows the arrest and suspension of nine employees on April 16 and a previous firing related to the same project last month. 

Some of the fired workers were forcibly removed after occupying the office of Google Cloud CEO Thomas Kurian. Google head of global security Chris Rackow said that the company "will not tolerate" such incidences and warned that the company could take further action. 

"If you’re one of the few who are tempted to think we’re going to overlook conduct that violates our policies, think again," he told employees in a letter. "The company takes this extremely seriously, and we will continue to apply our longstanding policies to take action against disruptive behavior — up to and including termination."

Behavior like this has no place in our workplace and we will not tolerate it. It clearly violates multiple policies that all employees must adhere to — including our Code of Conduct and Policy on Harassment, Discrimination, Retaliation, Standards of Conduct, and Workplace Concerns.

However, workers in the "No Tech for Apartheid" group organizing the protests called the dismissals "a flagrant act of retaliation." It added that the Google saying protests largely involve people not working at the company is "insulting," adding that the push to drop Project Nimbus is supported by "thousands" of their colleagues. 

"In the three years that we have been organizing against Project Nimbus, we have yet to hear from a single executive about our concerns,” it wrote in a Medium post. "Google workers have the right to peacefully protest about terms and conditions of our labor. These firings were clearly retaliatory.”

This article originally appeared on Engadget at https://www.engadget.com/google-fired-28-workers-who-protested-israeli-government-cloud-contract-084444878.html?src=rss

© The Pancake of Heaven!/Wikimedia

Rivian generally had a good day yesterday, launching the R2 SUV along with the surprise R3 crossover and dune buggy-esque R3X that were met with general acclaim. Buried in that press release, however, was the news that the automaker is halting production of its $5 billion Georgia plant in order to save money. 

Instead of building the R2 in Georgia as originally planned, the company will start production of the electric SUV at its existing Normal, Illinois plant. "Beyond significantly reducing the amount of capital needed to bring R2 to market, the company believes this approach considerably reduces risk to the launch and associated ramp," the company said. 

The move will also allow Rivian to bring the R2 to market sooner, in the first half of 2026, while saving the company $2.25 billion in capital spending in the short term. That's important since it has been burning through cash of late, according to recent reports.

Elliot Ross Studio

Of all the EV startups to come along of late, Rivian has been one of the most promising thanks to significant investments from Amazon, Ford and others. The company's electric R1T pickup and R1S SUV were also widely praised for their attractive designs, healthy range and more. 

Ramping up an automotive startup is no easy feat, though, especially in a market that's been tough on EVs of late — with even stalwart Tesla feeling the pinch. It doesn't help that startup rivals like Fisker are having serious cash flow issues, as it may spook consumers wary of untested EV brands.

Rivian selected Georgia as the site for its second EV factory back in 2021, receiving up to $1.5 billion in state incentives. At the time, the company said it hoped to eventually produce 400,000 electric vehicles there annually. With plant changes, the Normal, Illinois facility will augment capacity to 215,000 units annually across R1T, R1S, EDV, RCV, and R2.

The Georgia location remains in the picture, but Rivian only said it construction would restart later. "Rivian’s Georgia plant remains an extremely important part of its strategy to scale production of R2 and R3," it said in a statement. 

This article originally appeared on Engadget at https://www.engadget.com/rivian-is-halting-construction-of-its-5-billion-georgia-plant-to-save-money-082236810.html?src=rss

© Rivian

Leica's SL family has always been the most "mirrorless" looking of its cameras, offering pro photographers handling that's similar to rivals like Canon and Sony. That continues with the launch of the SL3, a 60-megapixel (MP) model that looks nothing like its famous rangefinder cameras, offering a new phase-detect autofocus system, 8K video capability and more.

The new model has the same sensor as the M11 rangefinder and Q3 compact models, but very much resembles the SL2 and tips the scale at a hefty 767 grams. It's also IP54-rated so you can shoot in weather conditions ranging from 14 to 104°F without worrying about dust, moisture etc. 

Leica

The biggest change in the layout is a new dial on the left top (all the dials are blank as you can customize them any way you want). At the back, Leica moved the three key buttons (play, function and menu) to the right, and changed the power switch to a button. 

The SL3 now has a new 3.2″ 2.3m-dot LCD, and unlike past models, it can tilt (but not swivel). The EVF has also been updated to a higher-resolution 5.76m-dot 0.78x OLED version. As for storage, it supports both CFexpress type B and SD UHS-II memory cards. It comes with a full-sized HDMI and USB-C charging ports, along with mic/headphone jacks.

Leica

The new sensor increases resolution from 47 MP on the SL2 up to 60 MP, a significant bump. It's likely similar to the sensor Sony uses on the A7R V, and supports a wide native ISO range from 50-100,000, with a claimed 15 stops of dynamic range. 

It can shoot bursts up to 15fps, but more importantly, offers a new phase-detect AF system that's faster and more intelligent, according to the company. It combines phase detection, contrast and object autofocus for faster and more consistent performances. That includes face and eye detection, along with a new animal detection feature. It's also supposed to be better at tracking action, Leica says. 

Leica

As for video, the SL3 can record internally in DCI 8K 8192 x 4320 at 30 fps and DCI 4K at up to 60p with a maximum bitrate of 600Mb/s. It can also record externally via the HDMI output, also at DCI 8K and DCI 4K up to 60fps. Those resolutions are all available in 10-bit with the choice of L-Log Rec. 2020 and HLG Rec. 2020. It supports ProRes recording, but only up to 1080p. 

As you're probably expecting, the SL3 isn't cheap at $6,995, though it is significantly cheaper than the $9,000 M11. It's now available at B&H Photo Video and elsewhere.

This article originally appeared on Engadget at https://www.engadget.com/leicas-sl3-mirrorless-camera-offers-a-60-megapixel-sensor-and-8k-video-181501226.html?src=rss

© Leica Camera USA

Sony is so closely associated with full-frame mirrorless cameras that it’s easy to forget it also sells the A6000 APS-C lineup — particularly since the last one, the A6600, came out five long years ago in 2019. The flagship A6700 finally arrived last year, though, with a feature list that appeared to be worth the wait.

It’s the same price the A6600 was at launch four years ago, but addresses its predecessor’s main flaws by boosting resolution a bit and reducing rolling shutter. At the same time, it’s been likened to a mini-FX30 cinema camera as it has the same sensor and video capabilities.

I’ve never been a big fan of Sony’s A6000 series. But now that the A6700 has been out a while, I was keen to see if it lived up to some of the hype and how it compared to rival Canon and Fujifilm models. As you’ll see, it’s mostly good news with just a little bit of bad.

Body and handling

One of the things I’ve disliked about Sony’s APS-C bodies over the years is the usability and looks, especially compared to Fujifilm’s good-looking and easy-to-use models. I wouldn’t call the A6700 beautiful, but at least Sony has rectified the handling part.

The redesigned grip is larger and more comfortable, making it more comfortable to use over a full day. At the same time, Sony added a new control dial on the front, making the camera easier to use in manual or priority modes.

It includes a new dedicated photo, video and S&Q dial, letting you keep settings separate for each. Menus are a big step up too, as the A6700 uses the improved system from recent full-frame models. The only thing missing is a joystick, but the focus point can be adjusted using the d-pad-like dial on the back.

Steve Dent for Engadget

The A6700 is also the first Sony APS-C camera with an articulating display, so it’s better for vloggers than the flip-up display on past models. The relatively low resolution EVF is a weak point as it’s difficult at times to check focus, but it does the job most of the time. .

Another negative is the single card slot, but at least it supports high-speed UHS-II cards. Luckily, it has the same large battery as full-frame models, which gives it an excellent 570 shot CIPA rating.

Other features include microphone and headphone ports (along with support for Sony’s hot shoe audio accessories), a USB-C port for charging and data transfers and an HDMI port. The latter, unfortunately, is of the fiddly and fragile micro variety.

All of that adds up to a 6000-series camera I’d happily use for most types of work. Previously, I found those models not up to the job, especially for video.

Performance

Steve Dent for Engadget

Performance is more of a mixed bag, though. Lossless RAW bursts are possible at up to 11 fps, either in mechanical or electronic shutter modes. That compares to the 15 and 30fps for the similarly priced Canon EOS R7 and 15/20 fps for the Fujifilm X-T5. That’s quite a deficit considering the latter two have much higher resolution sensors.

The A6700 only stores up to 36 compressed RAW frames before the buffer fills, compared to 45 on the A6600 and comparable to rivals. Based strictly on speed, though, the R7 and X-T5 are better action cameras.

Fortunately, the autofocus is superb and that’s arguably more important for a consumer camera. In continuous mode, you’ll get reliable results even with fast moving subjects. And the AI tracking locks onto eyes and faces, ensuring you won’t miss important shots of rowdy kids, soccer games and more.

Steve Dent for Engadget

It also works with airplanes, animals, birds, cars or trains and insects. Unlike Canon’s auto system, though, you have to tell the A6700 exactly what you’re tracking. Once you’ve set it up the way you want, though, it’s a touch more reliable than Canon’s system, and significantly better than the X-T5..

The five-axis in-body stabilization is good but not great, offering 5 stops compared to 8 on the EOS R7 and 7 on the Fuji X-T5. Still, I was able to take sharp photos down to about an eighth of a second.

Rolling shutter was my main complaint with the A6600, but it’s now much improved and about as good as you get without a stacked sensor. It’s still present, though, so you’ll want to use the mechanical shutter for fast-moving subjects like propellers and trains.

Image Quality

With a new 26-megapixel sensor, The A6700 captures more detail than past 24-megapixel models. As mentioned, though, it’s lacking compared to the 32.5-megapixel Canon R7 and 40-megapixel X-T5.

Colors are mostly spot-on, but I still prefer Canon’s skin tones. JPEGs look good out of the camera, if a touch over-sharpened. With 14-bit RAW uncompressed files, I found plenty of room to adjust and tweak images, dialing down bright areas or adding detail to shadows. Keep in mind that when shooting bursts, though, RAW files are captured with only 12-bits of color fidelity.

There is a benefit to the lower resolution. The A6700 is better in low light than rivals, with noise well controlled up to ISO 6400. Images are usable up to ISO 12800, but anything beyond up to the ISO 102,400 limit is for emergency use only. It’s best to emphasize shadow exposure at high ISOs, as lifting those even a couple of stops creates excessive noise.

Video

The A6700 is so far above its predecessor for video that it’s useless to compare them. Rather, think of it as a cheaper, smaller FX30 cinema camera with the same image quality. The main difference is that the A6700 doesn’t have the same cooling capability, as I’ll discuss shortly.

It subsamples the full sensor width for 4K at 30 and 60 fps, so video is sharper than the X-T5 or R7. And the A6700 beats both of those models by having a 4K 120fps mode, though it’s cropped significantly at 1.58x.

Due to the relatively small body and lack of fans, you’ll need to be wary of overheating at 120p, as it’ll cut out after 20-30 minutes. For indoor shooting, you can generally shoot at up to 4K 60p without any stoppages with the “auto power temp” setting on “high.” Outside on a hot day, however, you may hit the limits and need to wait for the camera to cool down.

Like the FX30, you can shoot all video modes with 10-bit with S-Log3 capture. You can also load your own LUTs either to make log footage easier to monitor, or bake it into the final image.

Steve Dent for Engadget

Rolling shutter is still present, so you’ll still need to be careful with whip pans, fast subjects and the like. However, it’s far less bothersome than on past Sony crop sensor models.

It has a video feature that’s actually lacking on the FX3, namely auto-framing. That’s handy for vloggers as it can crop in and follow them as they move around the frame — with less quality loss than the ZV-E1 (this feature is finicky on the A6700 so be sure to test it first). It also offers focus compensation that digitally eliminates breathing, and again, this extra resolution compared to the ZV-E1 results in a sharper result.

Stabilization for video isn’t quite as good as the ZV-E1, though. The active mode is fine for handheld use and slow pans, but doesn’t do a lot to smooth out footsteps, and adds a 1.13x crop.

As for video quality, you’re seeing the same accurate colors and solid low-light capability as with photos. The 10-bit log options allow for plenty of flexibility in post, especially with contrasty images.

Wrap-up

Steve Dent for Engadget

The A6700 is easily Sony’s best APS-C camera yet, excelling at both photos and video, and offering much better handling. Despite being far more capable than the A6600, it carries the same $1,400 price.

As a photo camera, it’s slower than its main competition, the Canon R7 and Fujifilm X-T5, so those models are better for shooting action. Sony’s autofocus is slightly better though, and faster bursts are worthless if photos aren’t sharp.

As a video camera, though, it beats its main rivals across the board. All told, it’s a great option for content creators or hybrid shooters who favor video but do some photography. If that’s you, I’d highly recommend it.

This article originally appeared on Engadget at https://www.engadget.com/sony-a6700-review-the-companys-best-aps-c-camera-yet-164540597.html?src=rss

© Steve Dent for Engadget

The sheer number of computer monitors on the market is enough to intimidate anyone lookin to add one to their workspace or gaming rig. Plus, the technology has evolved rapidly even in just the past year alone with OLED Flex, QD-OLED and built-in smart platforms becoming more prevalent in new monitors. That’s on top of big improvements in things like color accuracy, image quality, size and resolution as well. But fear not, Engadget can help you make sense of the computer monitor space and help you decide which monitors (or, at the very least, type of monitor) is right for you. Whether you’re a business user, a content creator, a multitasker or into competitive gaming, you have plenty of options to choose from and we’ve outline our top picks below.

Factors to consider

Panel type

The cheapest monitors are still TN (twisted nematic), which are strictly for gamers or office use. VA (vertical alignment) monitors are also relatively cheap, while offering good brightness and a high contrast ratio. However, content creators will find that IPS (in-plane switching) LCD displays deliver better color accuracy, picture quality and viewing angles.

If maximum brightness is important, a quantum dot LCD display is the way to go — those are typically found in larger displays. OLED monitors are now available and offer the best blacks and color reproduction, but they lack the brightness of LED or quantum dot displays. Plus, they cost a lot. The latest type of OLED monitor, called QD-OLED from Samsung, just came out in 2022. The most notable advantage is that it can get a lot brighter, with monitors shown at CES 2022 hitting up to 1,000 nits of peak brightness.

MiniLEDs are now widely used in high-end displays. They’re similar to quantum dot tech, but as the name suggests, it uses smaller LED diodes that are just 0.2mm in diameter. As such, manufacturers can pack in up to three times more LEDs with more local dimming zones, delivering deeper blacks and better contrast.

Screen size, resolution and display format

In this day and age, screen size rules. Where 24-inch displays used to be more or less standard (and can still be useful for basic computing), 27-, 32-, 34- and even 42-inch displays have become popular for entertainment, content creation and even gaming these days.

Nearly every monitor used to be 16:9, but it’s now possible to find 16:10 and other more exotic display shapes. On the gaming and entertainment side, we’re also seeing curved and ultrawide monitors with aspect ratios like 21:9. If you do decide to buy an ultrawide display, however, keep in mind that a 30-inch 21:9 model is the same height as a 24-inch monitor, so you might end up with a smaller display than you expected. As a rule of thumb, add 25 percent to the size of a 21:9 monitor to get the vertical height you’d expect from a model with a 16:9 aspect ratio.

A 4K monitor is nearly a must for content creators, and some folks are even going for 5K or all the way up to 8K. Keep in mind, though, that you’ll need a pretty powerful computer to drive all those sharp pixels. And 4K resolution should be paired with a screen size of 27 inches and up, or you won’t notice much difference between 1440p. At the same time, I wouldn’t get a model larger than 27 inches unless it’s 4K, as you’ll start to see pixelation if you’re working up close to the display.

One new category to consider is portable monitors designed to be carried and used with laptops. Those typically come in 1080p resolutions and sizes from 13-15 inches. They usually have a lightweight kickstand-type support that folds up to keep things compact.

Samsung

HDR

HDR is the buzzy monitor feature to have these days, as it adds vibrancy to entertainment and gaming – but be careful before jumping in. Some monitors that claim HDR on the marketing materials don’t even conform to a base standard. To be sure that a display at least meets minimum HDR specs, you’ll want to choose one with a DisplayHDR rating with each tier representing maximum brightness in nits.

However, the lowest DisplayHDR 400 and 500 tiers may disappoint you with a lack of brightness, washed out blacks and mediocre color reproduction. If you can afford it, the best monitor to choose is a model with DisplayHDR 600, 1000 or True Black 400, True Black 500 and True Black 600. The True Black settings are designed primarily for OLED models, with maximum black levels at .0005 nits.

Where televisions typically offer HDR10 and Dolby Vision or HDR10+, most PC monitors only support the HDR10 standard, other than a few (very expensive) models. That doesn’t matter much for content creation or gaming, but HDR streaming on Netflix, Amazon Prime Video and other services won’t look quite as punchy. In addition, the best gaming monitors are usually the ones supporting HDR600 (and up), rather than content creation monitors – with a few exceptions. 

Refresh rate

Refresh rate is a key feature, particularly on gaming monitors. A bare minimum nowadays is 60Hz, and 80Hz and higher refresh rates are much easier on the eyes. However, most 4K displays top out at 60Hz with some rare exceptions and the HDMI 2.0 spec only supports 4K at 60Hz, so you’d need at least DisplayPort 1.4 (4K at 120Hz) or HDMI 2.1. The latter is now available on a number of monitors, particularly gaming displays. However, it’s only supported on the latest NVIDIA RTX 3000- and 4000-series, AMD RX 6000-series GPUs.

Inputs

There are essentially three types of modern display inputs: Thunderbolt, DisplayPort and HDMI. Most monitors built for PCs come with the latter two, while a select few (typically built for Macs) will use Thunderbolt. To add to the confusion, USB-C ports may be Thunderbolt 3 and by extension, DisplayPort compatible, so you may need a USB-C to Thunderbolt or DisplayPort cable adapter depending on your display.

Color bit depth

Serious content creators should consider a more costly 10-bit monitor that can display billions of colors. If budget is an issue, you can go for an 8-bit panel that can fake billions of colors via dithering (often spec’d as “8-bit + FRC”). For entertainment or business purposes, a regular 8-bit monitor that can display millions of colors will be fine.

Color gamut

The other aspect of color is the gamut. That expresses the range of colors that can be reproduced and not just the number of colors. Most good monitors these days can cover the sRGB and Rec.709 gamuts (designed for photos and video respectively). For more demanding work, though, you’ll want one that can reproduce more demanding modern gamuts like AdobeRGB, DCI-P3 and Rec.2020 gamuts, which encompass a wider range of colors. The latter two are often used for film projection and HDR, respectively.

Console gaming

Both the Xbox Series X and Sony’s PS5 can handle 4K 120Hz HDR gaming, so if you’re into resolution over pure speed, you’ll want a monitor that can keep up and provide the best gaming experience possible. 4K resolution, HDR and at least 120Hz is the minimum starting point, but fortunately there are 27-inch displays with those specs starting at well under $1,000.

Pricing and parts shortages

Though the pandemic has eased, monitor supply is still a bit tighter than pre-pandemic levels due to supply and demand issues. To that end, you may have trouble finding monitors at Amazon, B&H or elsewhere for the suggested retail price point. For our guide below, we’re basing our picks on the MSRP, as long as the street price doesn’t exceed that by more than $25.

Best monitors under $200

Best monitors under $400

Best monitors under $500

Best monitors under $1,000

This article originally appeared on Engadget at https://www.engadget.com/how-to-buy-a-monitor-143000069.html?src=rss

© ASUS

Ford EVs will gain access to Tesla's Superchargers across the US and Canada starting today, becoming the first non-Tesla vehicles to do so, Ford announced. The companies cemented the fast charging pact last year and numerous other automakers followed suit later on. The expanded network will be a big benefit for the Ford and its customers amid news that sales of its EVs have heavily sagged.

Current Ford EVs use CCS type chargers, so current customers must order the Fast Charging Adapter (NACS) compatible with Tesla's Superchargers (below). That will be available at no charge to new and existing clients in the BlueOval charge network until June 30, 2024. After that, it will cost $230 including estimated taxes and shipping. Starting in 2025, Ford EVs will come standard with the NACS charging system. 

Ford

Customers can use the FordPass App to locate the new Tesla Superchargers, just as they would when looking for BlueOval chargers. Tesla Superchargers will also be coming to Apple Maps EV routing, Google Maps EV routing, and the Ford Connected built-in navigation BlueOval charge network.

As for payment, you'll be able to handle that through the FordPass app and Charge Assist app in the vehicle's touchscreen. "This means customers simply have to plug in and charging will automatically start with [costs] managed through FordPass." BlueOval charge network membership is required, and if you're not yet enrolled, you'll be prompted to do so when order the NACS adapter (check's Ford's website for more details).

Tesla's 15,000+ strong Supercharger network will more than double Ford EV owners' access to fast DC chargers. With that, it will have 28,000 fast chargers and 126,000 chargers total. The company notes that a lack of charging stations is the second largest barrier after price for customers potentially selecting EVs instead of ICE or PHEV vehicles. 

The news is good for Ford and other automakers who will get a big boost in the number of fast charging spots. However, Tesla owners will see a lot more Supercharger competition. Last year, the US government opened $2.5 billion in funding for community EV chargers

With declining EV sales, Ford was recently forced to lower Mach E prices by $3,100 to $8,100, it recently said in a financial statement. The company also cut production of that model and the F-150 Lightning pickup truck due to the slowdown.

This article originally appeared on Engadget at https://www.engadget.com/ford-ev-owners-can-now-use-tesla-superchargers-in-the-us-and-canada-130053549.html?src=rss

© Ford

Legal claims are starting to pile up against Microsoft and OpenAI, as three more news sites have sued the firms over copyright infringement, The Verge reported. The Intercept, Raw Story and AlterNet filed separate lawsuits accusing ChatGPT of reproducing news content "verbatim or nearly verbatim" while stripping out important attribution like the author's name.

The sites, all represented by the same law firm, said that if ChatGPT trained on copyright material, it "would have learned to communicate that information when providing responses." Raw Story and AlterNet added that OpenAI and Microsoft must have known that the chatbot would be less popular and generate lower revenue if "users believed that ChatGPT responses violated third-party copyrights." 

The news organizations note in the lawsuit that OpenAI offers an opt-out system for website owners, meaning that the company must be aware of potential copyright infringement. Microsoft and OpenAI have also said that they'll defend customers against legal claims around copyright infringement that might arise from using their products, and even pay for incurred costs.

Late last year, The New York Times sued OpenAI and Microsoft for copyright infringement, saying it "seeks to hold them responsible for the billions of dollars in statutory and actual damages". OpenAI asked a court to dismiss that claim, saying the NYT took advantage of a ChatGPT bug that made it recite articles word for word.

The companies also face lawsuits from multiple non-fiction authors accusing them of "massive and deliberate theft of copyrighted works," and by comedian Sarah Silverman over similar claims. 

This article originally appeared on Engadget at https://www.engadget.com/more-news-organizations-sue-openai-and-microsoft-over-copyright-infringement-061103178.html?src=rss

© NurPhoto via Getty Images

After teasing it for the past couple of weeks, Google is rolling out a new sign-in page with a slightly cleaner design. The changes are small and don't affect functionality, but it's something that users encounter often, and Google has been using the previous version since it changed its logo, as far as I can see. 

The refresh puts the sign-in (and sign-up) page more in line with the company's Material Design ethic introduced back in 2014. To that end, it's now aligned left (instead of centered) and features an orientation that automatically adjusts to your screen's size — so it's wider on PC screens and narrower on smartphones. It shows up on all types of devices, but may not appear on older browsers, the company said. 

The biggest previous change Google made to its sign-in page was putting password entry onto a second page back in 2015. That update was made "in preparation for future authentication solutions that complement passwords," and to reduce confusion among people who have multiple Google accounts, it said at the time. 

Google emphasized that the change will be permanent, much like the switch to Gmail's integrated view. The rollout will be fairly gradual, starting on February 21 and set for completion by March 4, 2024.

This article originally appeared on Engadget at https://www.engadget.com/googles-sign-in-and-sign-up-pages-have-a-new-look-111546179.html?src=rss

© Google

Nintendo's about to kick off its first event of the year with the Direct Partner Showcase focused on upcoming third-party games for Switch. We could see the first news about Xbox titles like Pentiment coming to other platforms and maybe, hopefully more about the much-delayed Hollow Knight sequel, Silksong. The 25-minute presentation kicks off at 9AM ET today (February 21) and you can watch it below.

As mentioned, today's Direct could be more significant than a typical showcase. Last week, Microsoft announced that it would begin bringing some of its exclusive titles to "other consoles," likely meaning the Switch and Sony's PlayStation 5.

Microsoft didn't elaborate much more than that, but rumors cite Hi-Fi Rush, Pentiment, Sea of Thieves and Grounded as likely first titles moving to other platforms. The only thing we know for certain, though, is that Starfield and Indiana Jones and the Great Circle will remain Xbox exclusives for now. 

Apart from that, there are a few upcoming third-party games without release dates including Contra: Operation Galuga and Penny's Big Breakaway, so Nintendo might give us more info about those. We're also hoping to hear about Hollow Knight: Silksong which, last we heard in May 2023, was delayed and had no updated release window. 

This article originally appeared on Engadget at https://www.engadget.com/watch-the-first-nintendo-direct-of-2024-here-at-9am-et-133026295.html?src=rss

© NurPhoto via Getty Images

An appeals court has blocked a $1 billion copyright verdict from 2019 against US internet service provider Cox Communications and ordered a retrial, Arts Technica has reported. A three-judge panel ruled unanimously that Cox didn't profit directly from its users' piracy, rebutting claims from Sony, Universal and Warner. 

The judges did affirm the original jury's finding of willful contributory infringement from the trial, first announced back in 2018. To that effect, they ordered a new damages trial that may reduce the size of the award.

"We reverse the vicarious liability verdict and remand for a new trial on damages because Cox did not profit from its subscribers' acts of infringement, a legal prerequisite for vicarious liability," the panel wrote. It added that "no reasonable jury could find that Cox received a direct financial benefit from its subscribers' infringement of Plaintiffs' copyrights." 

Cox allegedly refused to take "reasonable measures" to fight piracy, according to the original allegations. Internet providers are supposed to terminate the accounts of offending users, but the ISP only conducted temporary disconnections and warned some users more than 100 times. The labels claimed it even instituted a cap on accepted copyright complaints and cut back on anti-piracy staffers.

However, the judges said that Sony offered no causal connection between infringement and higher revenues for Cox. "No evidence suggest that customers chose Cox's Internet service, as opposed to a competitor's, because of any knowledge or expectation about Cox's lenient response to infringement." 

Under the US Digital Millennium Copyright Act (DMCA) and EU rules, ISPs enjoy "safe harbor" protections that shield them from liability for user actions. However, that only holds if they comply with specific requirements and address copyright violations promptly — and in this case, Cox didn't do that, the judges said. 

"The jury saw evidence that Cox knew of specific instances of repeat copyright infringement occurring on its network, that Cox traced those instances to specific users, and that Cox chose to continue providing monthly Internet access to those users... because it wanted to avoid losing revenue," the ruling states. The case is now headed back to a US District court.

This article originally appeared on Engadget at https://www.engadget.com/appeals-court-overturns-1-billion-copyright-lawsuit-against-cox-130810427.html?src=rss

© Quasar

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

This article originally appeared on Engadget at https://www.engadget.com/best-vlogging-camera-151603452.html?src=rss

© Steve Dent/Engadget

Walmart is buying Smart TV manufacturer Vizio for $2.3 billion, the retail giant announced as part of its latest earnings report. While Walmart has long been one of the major sellers of Vizio TVs, the company says the acquisition "enables a profitable advertising business that is rapidly scaling" via the company's SmartCast OS. The deal is still subject to regulatory approval. 

Vizio sells solid mid-range TVs, most equipped with its SmartCast operating system that supports free ad-supported content. The company recently refreshed its lineup with a more intuitive user interface and faster startups and app switching. 

Walmart, meanwhile, prominently features the brand on its shelves (along with TCL), as anyone who has gone there lately has probably noticed. The retailer already has its own TV house brand, ONN, but those sets are very much on the low end, usually selling for under $500. 

More importantly, the companies plan to combine their respective ad businesses. Walmart already has a $2.7 billion ad business, but Vizio would increase its access to key consumer info like viewership data. It would also effectively give Walmart more eyeballs for its ads — for instance, companies that sell goods at Walmart could also run ads on Vizio TVs, all of which could be tracked by the retailer. 

"We believe the combination of these two businesses would be impactful as we redefine the intersection of retail and entertainment," said Walmart VP Seth Dallaire. "Our technology will help bring a scaled, connected TV advertising platform to Walmart Connect," added Vizio CEO William Wang. 

The acquisition may also be a counter to Amazon's in-house Fire TV business, both in terms of television retailing and advertising, as The Wall Street Journal reported last week. Amazon has one of the largest ad businesses in the US behind Alphabet and Meta, and smart TVs help it gather personalized consumer data for targeted advertising. 

This article originally appeared on Engadget at https://www.engadget.com/walmart-is-buying-smart-tv-maker-vizio-for-23-billion-130725953.html?src=rss

© Vizio

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

This article originally appeared on Engadget at https://www.engadget.com/fujifilms-x100vi-is-a-big-step-forward-for-the-tiktok-famous-compact-camera-100918040.html?src=rss

© Fujifilm

An appeals court has blocked a $1 billion copyright verdict from 2019 against US internet service provider Cox Communications and ordered a retrial, Arts Technica has reported. A three-judge panel ruled unanimously that Cox didn't profit directly from its users' piracy, rebutting claims from Sony, Universal and Warner. 

The judges did affirm the original jury's finding of willful contributory infringement from the trial, first announced back in 2018. To that effect, they ordered a new damages trial that may reduce the size of the award.

"We reverse the vicarious liability verdict and remand for a new trial on damages because Cox did not profit from its subscribers' acts of infringement, a legal prerequisite for vicarious liability," the panel wrote. It added that "no reasonable jury could find that Cox received a direct financial benefit from its subscribers' infringement of Plaintiffs' copyrights." 

Cox allegedly refused to take "reasonable measures" to fight piracy, according to the original allegations. Internet providers are supposed to terminate the accounts of offending users, but the ISP only conducted temporary disconnections and warned some users more than 100 times. The labels claimed it even instituted a cap on accepted copyright complaints and cut back on anti-piracy staffers.

However, the judges said that Sony offered no causal connection between infringement and higher revenues for Cox. "No evidence suggest that customers chose Cox's Internet service, as opposed to a competitor's, because of any knowledge or expectation about Cox's lenient response to infringement." 

Under the US Digital Millennium Copyright Act (DMCA) and EU rules, ISPs enjoy "safe harbor" protections that shield them from liability for user actions. However, that only holds if they comply with specific requirements and address copyright violations promptly — and in this case, Cox didn't do that, the judges said. 

"The jury saw evidence that Cox knew of specific instances of repeat copyright infringement occurring on its network, that Cox traced those instances to specific users, and that Cox chose to continue providing monthly Internet access to those users... because it wanted to avoid losing revenue," the ruling states. The case is now headed back to a US District court.

This article originally appeared on Engadget at https://www.engadget.com/appeals-court-overturns-1-billion-copyright-lawsuit-against-cox-130810427.html?src=rss

© Quasar

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

This article originally appeared on Engadget at https://www.engadget.com/best-vlogging-camera-151603452.html?src=rss

© Steve Dent/Engadget

Walmart is buying Smart TV manufacturer Vizio for $2.3 billion, the retail giant announced as part of its latest earnings report. While Walmart has long been one of the major sellers of Vizio TVs, the company says the acquisition "enables a profitable advertising business that is rapidly scaling" via the company's SmartCast OS. The deal is still subject to regulatory approval. 

Vizio sells solid mid-range TVs, most equipped with its SmartCast operating system that supports free ad-supported content. The company recently refreshed its lineup with a more intuitive user interface and faster startups and app switching. 

Walmart, meanwhile, prominently features the brand on its shelves (along with TCL), as anyone who has gone there lately has probably noticed. The retailer already has its own TV house brand, ONN, but those sets are very much on the low end, usually selling for under $500. 

More importantly, the companies plan to combine their respective ad businesses. Walmart already has a $2.7 billion ad business, but Vizio would increase its access to key consumer info like viewership data. It would also effectively give Walmart more eyeballs for its ads — for instance, companies that sell goods at Walmart could also run ads on Vizio TVs, all of which could be tracked by the retailer. 

"We believe the combination of these two businesses would be impactful as we redefine the intersection of retail and entertainment," said Walmart VP Seth Dallaire. "Our technology will help bring a scaled, connected TV advertising platform to Walmart Connect," added Vizio CEO William Wang. 

The acquisition may also be a counter to Amazon's in-house Fire TV business, both in terms of television retailing and advertising, as The Wall Street Journal reported last week. Amazon has one of the largest ad businesses in the US behind Alphabet and Meta, and smart TVs help it gather personalized consumer data for targeted advertising. 

This article originally appeared on Engadget at https://www.engadget.com/walmart-is-buying-smart-tv-maker-vizio-for-23-billion-130725953.html?src=rss

© Vizio

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

This article originally appeared on Engadget at https://www.engadget.com/fujifilms-x100vi-is-a-big-step-forward-for-the-tiktok-famous-compact-camera-100918040.html?src=rss

© Fujifilm

TikTok is in the EU's crosshairs over potential Digital Services Act (DSA) breaches around the safety of minors and other matters. The formal proceedings will focus on addictive algorithms, the "rabbit hole effect," age verification issues and default privacy settings. The European Commission is also probing ad transparency and data access for researchers, it said in a press release. 

The probe is focusing on the privacy and safety of minors. The Commission will look at the potentially negative aspects of TikTok's design and algorithms, including addictive behavior and "rabbit hole effects" that can lead to harmful content. The assessment aims to "counter potential risks for the exercise of the fundamental right to the person's physical and mental well-being [and] the respect of the rights of the child," the EC wrote. 

As part of that, it's also examining TikTok's age verification tools that are supposed to prevent access by minors to inappropriate content. At the same time, it will force the social media site to ensure high levels of privacy, safety and security for minors with regard to default privacy settings — much as it did for Meta's Instagram and Facebook.

Europe is also looking into TikTok compliance with DSA obligations to "provide a searchable and reliable repository for advertisements." At the same time, it's investigating suspected shortcomings in researcher access to TikTok's publicly accessible data, as required by the DSA. 

After the proceedings open, The Commission will continue to gather evidence. The procedure allows it to take further enforcement steps including interim measures and non-compliance decisions.

TikTok (and parent ByteDance) was already forced to make large changes for EU users to meet the DSA by giving users the choice to not let algorithms power their For You Page (FYP). It also introduced new harmful content reporting options and dropped personalized ads for EU users aged 13 to 17. 

The EU is already investigating TikTok, along with Meta, to determine what they've done to mitigate illegal content and misinformation related to the ongoing violence in the Middle East. In 2022, Meta was hit with a $414 million fine for requiring personalized ads. It's rumored to be introducing a paid tier as a way to allow users to get rid of personalized ads — and TikTok may also be working on such a scheme. Civil rights groups are urging the EU to reject these plans, labelling them "pay for privacy."

This article originally appeared on Engadget at https://www.engadget.com/the-eu-opens-a-wide-ranging-probe-into-tiktok-132036506.html?src=rss

© Getty Images

After letting rival camera companies catch up for the last few years, Sony laid down a gauntlet with the 24.6-megapixel A9 III. It’s the world’s first mirrorless camera with a global shutter, a much-awaited holy grail feature. It completely eliminates rolling shutter distortion found on CMOS cameras by reading the entire sensor at once. It also boosts speed and removes the need for a mechanical shutter.

As a pioneering product, it’s not cheap at $6,000, but you can expect the technology to come down in price in the future. And there is a downside: Image quality is reduced compared to regular cameras, due to the nature of a global shutter.

Is it worth trading off image quality for extra speed and lack of distortion, especially compared to stacked sensor cameras that are already pretty quick? To find out, me and my pro photographer friends put a final production model through a variety of shooting scenarios.

Body and handling

The A9 III is Sony’s best handling-camera yet, borrowing all the latest features of recent models like the A7R V. It’s very light for a full-frame camera at just 617 grams. And the redesigned grip is more comfortable and secure, which is a big help to working pros, especially with heavy lenses. By comparison, Sony's A1 can be hard on one’s hands over a full day, according to my photographer pals.

There are three top control dials, making it easy to find primary settings in fully manual mode. It has a pair of dual dials, with one for video, photos and S&Q plus shooting modes, and the other controlling burst along with autofocus. You also get a rear joystick, control dial and no less than 5 custom buttons.

With everything well-placed, it’s a cinch to shoot manually. When you do need to delve into the menus, those are also well laid out. Settings are divided logically into categories, while the home menu shows key options (shutter speed, white balance, etc.) at a glance. Everything can be customized, and you can back up your settings to a memory card.

The high-resolution two million dot rear display is of course touch sensitive for focus and menu control. It flips out and tilts up or down to please both photographers and creators. The viewfinder is the best on any camera, with 9.44 million dots at 120Hz, or half that at 240Hz. That level of sharpness makes it easy to check focus and colors. Again, this is Sony flexing its tech muscles as the primary camera EVF supplier.

Battery life is a solid 500 shots, but you can double that with a new $400 vertical grip, which also gives you a better hold of the camera. It has a dual-card slot setup with both SD UHS II and CFexpress. As usual with Sony, the latter is the slower Type A variety, though. Those are less than half the speed of CFexpress type A, but their smaller size allows Sony to do the dual slot setup.

Other key features include headphone and mic ports, with the option to add Sony brand microphones or audio accessories to the hotshoe. There’s also a full-sized HDMI port, USB-C charging port, ethernet, live-streaming capability and more.

Performance

With the global shutter, dual Bionz processors and the same dedicated AI processor found on the A7R V,, Sony’s A9 III is the fastest full-frame camera in the world. Compressed RAW bursts can be shot at an incredible 120 fps with autofocus and auto-exposure, or you can dial that down to 60 fps or 30 fps.

Steve Dent for Engadget

A big caveat is that the 120 fps mode only works with supported Sony lenses, while third-party lenses are all limited to 15 fps. Hopefully the company will address that in a future firmware update.

The buffer holds 200 RAW frames, so it fills up in less than two seconds at maximum speed. It takes longer to clear the buffer than it should due to the CFexpress Type A cards. If you use SD UHS II cards instead, it takes about twice as long to clear.

In any case, shooting at 120 fps is major overkill most of the time unless you like wading through thousands of photos later on. Sony does have a solution, though. You can shoot at, say, a still-very-fast 30 fps, then press the C5 button to enable the top speed at key moments. That way, you’ll get the shot you want without wasting frames.

The A9 III is also the first Sony camera to use a pre-capture mode that saves a second of photos when you half-press the shutter button. After you fully press it, those photos are saved along with any taken after.

Nathanael Charpentier

Your photos will usually be sharp, too. The 759 phase-detect focus points allow for extremely rapid and accurate autofocus in most situations. For regular continuous AF, it can keep up with even the fastest action.

The AI-powered subject detection shines too. Face tracking works with subjects farther away and it follows someone tenaciously, even when they duck behind obstacles. Human tracking is fast and fluid, and you can easily see if it’s locked onto eyes, face or body.

It can detect birds, animals (or both), along with insects, cars and trains. You can also select any distinctive object and the system will usually track it reliably.

The bottom line is that it rarely misses focus, so it’s great for professional sports, wildlife, weddings and more. Of course it’s not infallible and can mix up subjects, but is better than any camera I’ve tried to date.

Nathanael Charpentier

The A9 III has no need for a mechanical shutter because there’s no rolling shutter distortion, meaning you can shoot in complete silence at all times. With that, it’s perfect for sports like golf, as you can shoot a player in mid-swing without disturbing them, and a club in motion won’t be distorted.

It also allows for extremely fast shutter speeds up to 1/80,000th and it can sync with supported flashes all the way up to that speed. It also eliminates the flicker and banding from venue lights, another big aid for sports photographers.

Sony has also improved its in-body stabilization significantly, boosting it to 8 stops with supported lenses. That allows shots down to a quarter second or less, matching Canon’s EOS R3 and besting the Nikon Z9 and Sony’s own A1.

Image quality

As mentioned, the primary issue with this camera is image quality. So is how much does it fall below regular CMOS cameras? To test that, I shot in situations including gymnasiums, night scenes, bird shooting, an airport and more.

There’s no question that dynamic range is reduced compared to Sony cameras like the A1, at least by a stop. The reason is that the sensor has less light capacity due to the space taken up by the extra electronics.

It also has a smaller ISO range, both on the high and low end. Minimum ISO is not great at 250 and at the high end, ISO is limited to 25,600, half that of the A9 II.

In general, there’s more noise and less dynamic range at any given ISO setting than the A9 II. At the same time, the resolution is lower than rivals like the Nikon Z9 and Sony’s own A7R V and A1. So for landscapes, portraits and other types of photography where dynamic range and resolution is important (and speed isn’t), the A9 III isn’t the best choice.

That said, you’d need to pixel peep to notice any major difference in image quality between rival 24-megapixel cameras up to about ISO 6400. For the intended audience of sports, action and wildlife shooters, it’s more than sufficient.

Beyond that, images are noisier, but still usable up to the maximum ISO 25,600 with noise reduction (Sony appears to have more aggressive noise reduction for JPEG images at higher ISOs). I had no difficulty extracting good shots in dark scenes at ISO 6400 or even ISO 12,800. And as mentioned, you have more control with a flash than any other camera on the market – so that’s a solid option in low light.

Otherwise, images are typical for Sony, with accurate colors and skin tones. The 14-bit RAW files are easy to work with and allow some pushing and pulling, particularly in highlights.

Video

Steve Dent for Engadget

Sony took advantage of the global shutter to make the A9 III its most capable mirrorless camera for video. 4K at up to 60 fps is supersampled using the full 6K sensor width, while 4K at 120 fps can also be shot using the full sensor, albeit with pixel binning. That mode supports full 120 fps playback as well, or slower playback modes via the slow and quick (S&Q) setting.

RAW 4K capture at 60 fps is also possible using an external recorder. All of those modes are available with 10-bit S-Log 3 recording to expand dynamic range in challenging lighting conditions.

That’s just the start of the A9 III’s video powers. Autofocus is as fast and accurate in video as stills mode and has all the same AI features. That means you’ll be sure to keep even fast-moving subjects sharp, whether they’re people, birds, animals or vehicles.

Those who prefer to shoot manually can employ Sony’s handy focus map feature. It has the auto-framing seen on previous Sony models like the ZV-E1 that lets YouTubers move around while filming themselves. You also get the digital zoom feature that reduces focus breathing for supported lenses, with some loss of quality.

Steve Dent

Airplane propeller distortion in video is a telltale sign of a rolling shutter camera, so naturally we had to test the A9 III at an airport against Sony’s stacked sensor A1. Our findings? While the A1 still produces bendy propellers, they’re of course dead straight on the A9 III. That trivial test has large implications. You can shoot things like whip pans or a fast moving train that you’d never try with a rolling shutter sensor. And since everything is exposed at once like a film camera, it’s more cinematic.

The A9 III does have some video competition, as RED just launched a pair of full-frame global shutter cinema cameras last month.

It has the same excellent video stabilization capabilities as the ZV-E1. Regular optical stabilization is good for handheld shots without much movement, or you can kick in the dynamic active mode for walking. That provides near gimbal levels of smoothness, though there’s a considerable zoom and loss of sharpness.

Much as with photos, video quality isn’t quite up to other full-frame cameras, with more noise in general. I shot in S-Log3 most of the time to maximize dynamic range and was satisfied with the results. In low light, I was forced to use some noise reduction.

Quality is still better than any APS-C mirrorless or cinema camera. I think the global shutter advantages, particularly the elimination of rolling shutter, will be worth the tradeoff in quality for a large number of videographers.

Wrap-up

Steve Dent for Engadget

Sony launched its first full-frame mirrorless camera, the A7, years before rivals, and was first to market with backside illuminated and stacked sensors. Lately though, rivals (especially Canon) have been catching up and the field has leveled. With the first global shutter camera, Sony has taken a leap ahead once again.

Image quality has held global sensor cameras back, but Sony clearly felt that the time was finally right. It was a wise calculation — the A9 III is far better than I expected for a first-gen product. It offers mind-blowing speeds and incredible video capabilities, with a relatively small cost in image quality..

Its primary rivals are the $4,800 Canon R3, Sony’s own $6,500 A1, the $5,650 Nikon Z9 and $3,800 Z8, all stacked sensor cameras. The latter three offer much higher resolution and better picture quality, plus shooting speeds that are still darn fast. They all have some rolling shutter, though, along with flicker and flash sync issues that don’t exist on the A9 III.

Whether it’s worth risking that kind of money on new and unproven stacked sensor tech depends on the buyer. Action photographers and videographers won’t blink at the cost if they advantages of global shutter will help them make money. Unless you really need those benefits, though, Nikon’s Z9 and Z8, along with Sony’s A1, are more versatile cameras — and the Z8 is significantly cheaper.

This article originally appeared on Engadget at https://www.engadget.com/sony-a9-iii-review-the-future-of-cameras-is-fast-130057924.html?src=rss

© Steve Dent for Engadget

Apple's second-generation Pencil aimed at artists and creators is on sale at close to the lowest price we've seen. You can now grab one for $79, a full 39 percent ($30) off the regular price. That makes it an easy buy if you have a compatible tablet and are looking for Apple's Pencil model with the widest array of features. 

Apple designed the second-generation Pencil specifically to work with the iPad, and it's the best stylus you can snap up for the company's tablets. It offer low latency, along with a double-tap feature that you can customize to switch between preferred tools. Other features include tilt sensitivity, pressure sensitivity and what Apple claims is "pixel-perfect precision."

One big advantage that the second-gen Apple Pencil has over its two siblings is wireless charging, as it attaches magnetically to the side of a compatible iPad while it recharges. You'll need a relatively recent iPad Air, iPad mini or iPad Pro, but the magnetic charger on the side of those tablets gives you an easy way to stow your stylus while powering it. You don't have to think about cables, or buy a case with a pen slot.

If you don't need all the second-gen model's features and want to spend a bit less, Apple's Pencil (USB-C) is also on sale for $70 (11 percent off), near it's all-time-low price. It offers the same precision and magnetic mount, but lacks pressure sensitivity, wireless charging and the double tap drawing tool feature.  

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/apples-second-generation-pencil-is-just-79-right-now-112551674.html?src=rss

© Engadget

Nintendo's "Switch 2" was widely expected to arrive sometime this year, but a new rumor is putting that timeline into question. Now, the company is telling publishers that the next-gen console is slated for release in the first quarter of 2025, according to VGC, Eurogamer and other sources. That would line up with the release of the original Switch, which was announced in October 2016 but came out in March 2017. 

Publishers were reportedly briefed recently on the launch date change from late 2024 to early 2025. Several sources said they were working on Switch 2 games with releases planned for early 2025. One key title could be the long-delayed Metroid Prime 4, which is still on Nintendo's release schedule but has no specific date attached. 

Earlier this month, Nintendo slightly bumped its fiscal 2024 Switch sales forecast from 15 million to 15.5 million, compared to 18 million and 23 million in 2022 and 2021. Nintendo's stock slid today based on the release delay rumors, according to Reuters.

Not much is known about the future device, including the name. Rumors suggest it will have backward compatibility with Switch, along with 4K capabilities and visual quality similar to that of the PS5 and Series X. In any case, this year is bound to be a busy one for the company — if the new console does launch in Q1 2025, it'll likely be announced at a Nintendo Direct showcase later this year.

This article originally appeared on Engadget at https://www.engadget.com/nintendos-switch-2-may-not-arrive-until-2025-090934042.html?src=rss

© Engadget