It’s getting to the point these days that we can’t even trust our own eyes with the amounts of digital trickery, trolling, misinformation and disinformation dominating social media. Heck, even reputable tech companies are selling us solutions to reimagine historical events. Not Leica, though! The venerated camera company officially announced the hotly-anticipated M11-P on Thursday, its first camera to incorporate the Content Credential secure metadata system.

Content Credentials are the result of efforts by the Content Authenticity Initiative (CAI), “a group of creators, technologists, journalists, and activists leading the global effort to address digital misinformation and content authenticity,” and the Coalition for Content Provenance and Authenticity (C2PA), “a formal coalition dedicated exclusively to drafting technical standards and specifications as a foundation for universal content provenance.” These intertwined industry advocacy groups created Content Credentials system in response to growing abuse and misuse of generative AI systems in creating and spreading misinformation online. 

“The Leica M11-P launch will advance the CAI’s goal of empowering photographers everywhere to attach Content Credentials to their photographs at the time of capture,” Santiago Lyon, Head of Advocacy and Education at CAI, said in a press statement, “creating a chain of authenticity from camera to cloud and enabling photographers to maintain a degree of control over their art, story and context.”

“This is the realization of a vision the CAI and our members first set out four years ago, transforming principles of trust and provenance into consumer-ready technology,” he continued.

Content Credentials works by capturing specific metadata about the photograph — the camera used to take it, as well as the location, time and other details about the shot — and locks those in a secure “manifest” that is bundled up with the image itself using a cryptographic key (the process is opt-in for the photog). Those credentials can easily be verified online or on the Leica FOTOS app. Whenever someone subsequently edits that photo, the changes are recorded to an updated manifest, rebundled with the image and updated in the Content Credentials database whenever it is reshared on social media. Users who find these images online can click on the CR icon in the pictures corner to pull up all of this historical manifest information as well, providing a clear chain of providence, presumably, all the way back to the original photographer. The CAI describes Content Credentials as a “nutrition label” for photographs. 

The M11-P itself is exactly what you’d expect from a company that’s been at the top of the camera market since the middle of the last century. It offers a 60 MP BSI CMOS sensor on a Maestro-III processor with 256 GB of internal storage. The M11-P is now on sale but it’s also $9,480 at retail so, freelancers, sorry.

This article originally appeared on Engadget at https://www.engadget.com/leicas-m11-p-is-a-disinformation-resistant-camera-built-for-wealthy-photojournalists-130032517.html?src=rss

Source: Engadget – Leica’s M11-P is a disinformation-resistant camera built for wealthy photojournalists

As with all things Google of late, AI capabilities are coming to Maps. The company announced a slew of machine learning updates for the popular app Thursday including an “Immersive View” for route planning, deeper Lens integration for local navigation and more accurate real-time information. 

Back in May at its I/O developer conference, Google executives debuted Immersive View for routes, which provides navigation shots of your planned route. Whether you’re on foot, bike, taking public transportation or driving, this will allow you to scrub back and forth through street level, turn-by-turn visuals of the path you’re taking. The feature arrives on iOS and Android this week for Amsterdam, Barcelona, Dublin, Florence, Las Vegas, London, Los Angeles, Miami, New York, Paris, San Francisco, San Jose, Seattle, Tokyo and Venice.

Just because you can see the route to get where you’re going doesn’t guarantee you’ll be able to read the signage along the way. Google is revamping its existing AI-based Search with Live View feature in Maps. Simply tap the Lens icon in Maps and wave your phone around, the system will determine your precise street level location and be able to direct you to nearby resources like ATMs, transit stations, restaurants, coffee shops and stores. 

The map itself is set to receive a significant upgrade. Buildings along your route will be more accurately depicted within the app to help you better orient yourself in unfamiliar cities, lane details along tricky highway interchanges will be more clearly defined in-app as well. Those updates will arrive for users in a dozen countries including the US, Canada, France and Germany over the next few months. US users will also start to see better in-app HOV lane designations and European customers should expect a significant expansion of Google’s AI speed limit sign reader technology out to 20 nations in total. 

Google Maps also runs natively in a growing number of electric vehicles, as part of the Android Automotive OS ecosystem. That Maps is getting an update too as part of the new Places API. Starting this week, drivers will see increased information about nearby charging stations including whether the plugs work with their EV, the power throughput of the charger, and whether the plug has been used recently — an indirect means of inferring whether or not the station is out of service, which Google helpfully points out, is the case around 25 percent of them. 

Even search is improving with the new update. Users will be soon able to look for nearby destinations that meet more esoteric criteria, such as “animal latte art” or “pumpkin patch with my dog,” results of which are gleaned from the analysis of “billions of photos shared by the Google Maps community,” per a Google blog post Thursday.   

This article originally appeared on Engadget at https://www.engadget.com/google-maps-update-ai-immersive-view-search-ev-charger-location-130015451.html?src=rss

Source: Engadget – Google updates Maps with a flurry of AI features including ‘Immersive View for routes’

Image Line continues to admirably stick to its guns, delivering free updates for life to FL Studio users. And every update brings something new and noteworthy, rarely are they simple bug fixes. FL Studio 21.2 is no different, bringing two of the biggest updates in some time. 

First up is the introduction of stem separation. This is huge for producers who want to dabble in remixing, but can’t get access to official stems for songs they want to reimagine. But it’s also a boon for anyone who is into sampling. At some point we’ve all come across a record that we absolutely love the drums or strings on, but can’t seem to find a clean enough section of the song without vocals or bass. This is a feature that has proven particularly popular in DJ focused apps like Serato and Djpro, but is obviously of interest to more traditional music producers as well. 

FL Studio handled the handful of tests I tossed at it pretty admirably. The quality and busyness of the mix made a huge difference in how effectively it was able to pull out individual tracks, but that’s no surprise. It’s also limited to drums, bass, vocals and “instruments” which covered literally everything else. 

When I pulled in a mix of an instrumental track I was working on it snagged the drums perfectly. The bass was isolated, but sounded thin and distant, while the “instruments” (two guitars and a synth) had a regular click in it that seemed like it might have been bleeding through from the hi-hats. The Escorts’ “All We Need Is Another Chance” and Beyonce’s “Freedom” fared better. While there was definitely some digital artifacts in the drums on “Freedom” they’d have been barely noticeable in a full mix. The bass and vocals came out perfectly, though. (By the way, reduced to just drums, bass and vocals, it still hits hard.) 

In general the stem separator fared best with drums and vocals. Though, I dream of the day when the technology is advanced enough for me to single out things like guitars or strings. 

The other major addition is one that might prove a little controversial, FL Cloud. There is a free tier, but its most exciting features are locked behind a subscription service, though, one that delivers a solid value. For one it puts all of Image Line’s samples and sound packs directly in your DAW and will tempo sync and time stretch them to match your project. If you pay for a subscription, you have unlimited access to all of these, including the new packs released every month — no worrying about credits or monthly caps like you might find on Splice. The free tier gives you access to free sounds, but you’ll have to pay for premium sample packs.

FL Cloud also includes an AI mastering tool. You get a basic version of this for free, but paying unlocks more advanced options tailored to specific genres. And lastly, subscribers get access to distribution tools powered by DistroKid directly from within FL Studio. 

While there will undoubtedly be some users irked by even this limited implementation of a subscription model, it’s hard to argue with the value. $8 a month, or $80 a year gets you unlimited royalty free samples, advanced AI mastering and distribution to all the major streaming services. That’s the same price as a Loopcloud sample subscription on its own, which has pretty stringent monthly limits and significantly cheaper than any Splice sub. Image Line is even offering an introductory discount of $50 for the first year and a one month free trial to all FL Studio users. 

Finally there’s also a new instrument added to the native FL Studio plugins called Kepler that is a pretty solid recreation of the Roland Juno 6. FL Studio 21.2 is available now as a free update for existing users, though some features, like the Kepler plugin are only available with the Producer edition or higher.

This article originally appeared on Engadget at https://www.engadget.com/fl-studio-212-can-separate-the-bass-vocals-and-drums-from-your-favorite-songs-140041298.html?src=rss

Source: Engadget – FL Studio 21.2 can separate the bass, vocals and drums from your favorite songs

The following article contains major spoilers for Season Four, Episode Nine

Star Trek: Lower Decks takes its name and premise from a late episode of Star Trek: The Next Generation. “Lower Decks” pivots away from the show’s usual format to focus on four junior crew members and is told mostly from their perspective. One of them is Sito Jaxa (Shannon Fill) who had appeared two years earlier as a cadet in “The First Duty.” That episode focused on Wesley Crusher’s involvement in a conspiracy to cover up an accident that killed a fellow cadet. It also gave us our first look at Nicholas Locarno (Robert Duncan McNeill), the episode’s ostensible villain. Locarno was, at some point, intended to be the helm officer in Voyager and was named as such in an early draft of the series’ bible. But, during pre-production, Locarno’s name was dropped and McNeill instead played Tom Paris, with the same backstory. Producers have, in various interviews, said the issue hinged on Locarno’s redeemability after his actions in “The First Duty.” But it’s equally plausible that the character was changed to avoid paying royalties to the character’s creators. But, even if you knew none of the above information, I don’t think you’d get any less out of this week’s episode of Lower Decks. Because while this series was conceived at the get-go to play to the crowd and bury itself in references, it rarely does so at the expense of telling a good story.

Mariner is once again throwing herself into harm’s way to save her friends without regard to her own safety. Her cavalier attitude to life, death, and her own career have threaded through much of this season to the point that now, even Captain Freeman is worried. She pulls the rest of Beta shift into a plan that’ll keep her daughter out of harm’s way on the next mission. Starfleet thinks the rogue ship destroying everything in its path might be targeting former officers. The list of at-risk individuals includes high-profile figures like Dr. Crusher but, this being Lower Decks, the Cerritos is sent off to find Nicholas Locarno. And while that’s going on, Freeman sends Mariner, Boimler, Tendi and T’Lyn on what she hopes will be a zero-stakes assignment to fix a weather buoy in orbit around Sherbal V. Except, of course, the crew’s shuttle is attacked by a Klingon Bird of Prey and the crew have to beam down to the hostile planet below.

Meanwhile, Freeman, Shaxs and Rutherford head to what can only be described as a Star Wars planet where Locarno is meant to be plying his trade. Despite its reputation as a wretched hive of scum and villainy, it’s got a muscular bureaucracy that the inhabitants use to frustrate Starfleet officers. The episode makes full use of that disconnect between the stuffed-shirt crew and the rougher corners of the universe. It was rare that we’d see the Next Generation crew really get their elbows dirty – the best I can call to mind is the awkward moments in “Gambit.” There’s just something inherently funny about the primary-colored space communist scouts encountering hairy-assed people who live in the “real world.” That’s before you get to Captain Freeman trying to beat up a Balok puppet that turns out to be a real alien. Of course, it’s a double bluff – at each turn, the villains put bureaucratic obstacles in Starfleet’s way but wave through a sinister bounty hunter type out of spite. Except the bounty hunter in question is Billups wearing a silly helmet, who got the necessary data to track down Locarno.

On the planet, the rest of Beta Shift is left fending for their lives as chaotic weather makes survival even harder. It doesn’t help that the victims of other attacks, explorers from several other alien races, are all fighting to the death for supremacy. Mariner, frustrated at the gang’s wise refusal to fight their way to safety, opts to go it alone and bumps into a Klingon. But their own fight to the death is interrupted by a rainstorm of glass shards and, while they shelter, Mariner finally reveals the source of her angst. She’s been sabotaging her career because she’s deeply resentful about Starfleet, and her role within it. When she signed up, she’d bought into the idea of exploring strange new worlds, but instead the Federation has been embroiled in an endless parade of galaxy-threatening wars. Her best friend was Sito Jaxa, from “Lower Decks,” who in that episode was sent to her death on a covert mission. Starfleet quite literally chewed up and spat out one of her friends, but as much as Mariner may hate what Starfleet is, she can’t quite just walk away because of what the Starfleet ideal represents. And you don’t need to be fluent with the events of a TV series from 31 years ago — Good God, I feel old — or the para-narrative around Voyager’s pre-production, to appreciate that dilemma. Of course, her Klingon opponent counters, saying that Mariner’s angst dishonors Sito’s sacrifice, and that she needs to get on with the job at hand. And, much as she agrees, she adds (just before hugging her former opponent) that she’s still duty-bound to call out when Starfleet “can do better.” 

Despite its love of self-referentiality, Star Trek has often struggled with any degree of on-screen self-interrogation. There are moments, best exemplified by the Root Beer scene in “The Way of the Warrior,” where the show touches on the values it espouses. The show’s numerous creative teams have often pushed the idea that Starfleet, and the Federation, aren’t as noble a force as the myth suggests. With Beyond, Simon Pegg wanted to focus on the nature of the Federation as a colonizing force, even if that concept is almost entirely erased from the finished film. I’ll leave it to better writers than I to explore this in depth, but it’s rare we get moments where Starfleet officers wonder, out loud or in private, if they aren’t the universally good force they’ve been led to believe they are. This thread is also paid off in the B-story as Freeman and Co. are told, more or less, that nobody in the real world likes having them around. Sure, it’s a gag in a sitcom, and our sympathies are almost universally with the Starfleet crew, but the fact it’s here at all isn’t to be sniffed at.

By the time we’ve reached the cliffhanger, Beta shift is trying to cajole the warring parties to work together. And, if we’re honest, the idea of disparate groups coming together to solve a problem as a whole is, surely, an idea worth upholding. But before we can see if they are able to be rescued, Mariner is beamed away to an ultra-minimalist starship. After forcing the door, she comes face-to-face with her rescuer / captor, and it’s… Nicholas Locarno.

This article originally appeared on Engadget at https://www.engadget.com/star-trek-lower-decks-goes-back-to-its-beginnings-130001207.html?src=rss

Source: Engadget – Star Trek: Lower Decks goes back to its beginnings