The iRobot Roomba 694 is back on sale for $180 via Amazon, which is a savings of 35 percent or $95. This isn’t the lowest price ever for the well-regarded robovac, but it’s darned close. There likely won’t be a price drop this stark until Prime Day or the holidays.
The Roomba 694 isn’t one of the company’s flagship models, but it’s still a highly efficient design that excels with standard cleaning tasks. As a matter of fact, this robovac topped our list of the best budget robot vacuums. We loved the handy mobile app that helps people plan routes, schedule cleanings and perform basic maintenance tasks. We also enjoyed the powerful suction, which makes short work of pet hair, dust and debris.
The 694 will return to the charging base on its own, which is always nice, and it runs anywhere from 45 to 90 minutes on a single charge, depending on the flooring. This is a no-frills vacuum, however, so there isn’t a mopping feature or a large debris tank. It’s also somewhat larger than many of its siblings, so it could struggle to get underneath certain items of furniture.
This is part of a larger Amazon sale on iRobot devices, with discounts on just about every model the company makes. For instance, the high-end iRobot Roomba Combo j5+ is on sale for $500, a discount of $300. This machine can both vacuum and mop, and it’ll even self-empty debris into the included container.
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'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
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
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
Most smartphone games are designed to be played with touch controls first and foremost. But if you want to stream games from an Xbox or PlayStation, or if you gravitate toward games with more complex control schemes like Call of Duty: Mobile or Diablo Immortal, a mobile gamepad like the Backbone One can make things more comfortable.
If this sounds appealing to you, Backbone is running a sale that brings the Lightning-based version of the One down to $70 at Amazon, Best Buy, Target and its own online store. While that's not an all-time low, it's still $30 off the controller's usual going rate.
In general, discounts on the device have been uncommon. The offer applies to both the standard black model and the PlayStation-branded white model, which are functionally the same but use different icons. The discount technically started earlier this week, but Backbone says it'll run through March 10. Unfortunately, the sale does not extend to the USB-C version of the device, so Android users or those who plan on upgrading to an iPhone 15 anytime soon should pass.
If you plan to play on an iPhone 14 or older for the next couple of years, though, this deal should be worthwhile. As my colleague Mat Smith noted in his review, the One fits snugly and works immediately with remote streaming apps and virtually every iOS game with controller support. It has all the requisite buttons to play modern games, including pressure-sensitive triggers and analog joysticks, along with a built-in headphone jack and a pass-through charging port. Its clicky face buttons are on the noisy side, and its d-pad is somewhat spongy. Still, its rounded grips keep it comfortable to hold over time, and it balances its weight better than an Xbox or PS5 pad hooked up to a mobile gaming clip. It also comes with a handy companion app, which you can use to quickly launch games and start party chats. If nothing else, it should be a more cost-effective alternative to cloud gaming handhelds like the PlayStation Portal.
This article originally appeared on Engadget at https://www.engadget.com/the-backbone-one-mobile-game-controller-is-30-percent-off-right-now-163014567.html?src=rss
Most smartphone games are designed to be played with touch controls first and foremost. But if you want to stream games from an Xbox or PlayStation, or if you gravitate toward games with more complex control schemes like Call of Duty: Mobile or Diablo Immortal, a mobile gamepad like the Backbone One can make things more comfortable.
If this sounds appealing to you, Backbone is running a sale that brings the Lightning-based version of the One down to $70 at Amazon, Best Buy, Target and its own online store. While that's not an all-time low, it's still $30 off the controller's usual going rate.
In general, discounts on the device have been uncommon. The offer applies to both the standard black model and the PlayStation-branded white model, which are functionally the same but use different icons. The discount technically started earlier this week, but Backbone says it'll run through March 10. Unfortunately, the sale does not extend to the USB-C version of the device, so Android users or those who plan on upgrading to an iPhone 15 anytime soon should pass.
If you plan to play on an iPhone 14 or older for the next couple of years, though, this deal should be worthwhile. As my colleague Mat Smith noted in his review, the One fits snugly and works immediately with remote streaming apps and virtually every iOS game with controller support. It has all the requisite buttons to play modern games, including pressure-sensitive triggers and analog joysticks, along with a built-in headphone jack and a pass-through charging port. Its clicky face buttons are on the noisy side, and its d-pad is somewhat spongy. Still, its rounded grips keep it comfortable to hold over time, and it balances its weight better than an Xbox or PS5 pad hooked up to a mobile gaming clip. It also comes with a handy companion app, which you can use to quickly launch games and start party chats. If nothing else, it should be a more cost-effective alternative to cloud gaming handhelds like the PlayStation Portal.
This article originally appeared on Engadget at https://www.engadget.com/the-backbone-one-mobile-game-controller-is-30-percent-off-right-now-163014567.html?src=rss
At its 14th Ability summit, which kicks off today, Microsoft is highlighting developments and collaborations across its portfolio of assistive products. Much of that is around Azure AI, including features announced yesterday like AI-powered audio descriptions and the Azure AI studio that better enables developers with disabilities to create machine-learning applications. It also showed off new updates like more languages and richer AI-generated descriptions for its Seeing AI tool, as well as new playbooks offering guidelines for best practices in areas like building accessible campuses and greater mental health support.
The company is also previewing a feature called “Speak For Me,” which is coming later this year. Much like Apple’s Personal Voice, Speak For Me can help those with ALS and other speech disabilities to use custom neural voices to communicate. Work on this project has been ongoing “for some time” with partners like the non-profit ALS organization Team Gleason, and Microsoft said it’s “committed to making sure this technology is used for good and plan to launch later in the year.” The company also shared that it’s working with Answer ALS and ALS Therapy Development Institute (TDI) to “almost double the clinical and genomic data available for research.”
One of the most significant accessibility updates coming this month is that Copilot will have new accessibility skills that enable users to ask the assistant to launch Live Caption and Narrator, among other assistive tools. The Accessibility Assistant feature announced last year will be available today in the Insider preview for M365 apps like Word, with the company saying it will be coming “soon” to Outlook and PowerPoint. Microsoft is also publishing four new playbooks today, including a Mental Health toolkit, which covers “tips for product makers to build experiences that support mental health conditions, created in partnership [with] Mental Health America.”
Ahead of the summit, the company’s chief accessibility officer Jenny Lay-Flurrie spoke with Engadget to share greater insight around the news as well as her thoughts on generative AI’s role in building assistive products.
“In many ways, AI isn’t new,” she said, adding “this chapter is new.” Generative AI may be all the rage right now, but Lay-Flurrie believes that the core principle her team relies on hasn’t changed. “Responsible AI is accessible AI,” she said.
Still, generative AI could bring many benefits. “This chapter, though, does unlock some potential opportunities for the accessibility industry and people with disabilities to be able to be more productive and to use technology to power their day,” she said. She highlighted a survey the company did with the neurodiverse community around Microsoft 365 Copilot, and the response of the few hundred people who responded was “this is reducing time for me to create content and it’s shortening that gap between thought and action,” Lay-Flurrie said.
The idea of being responsible in embracing new technology trends when designing for accessibility isn’t far from Lay-Flurrie’s mind. “We still need to be very principled, thoughtful and if we hold back, it’s to make sure that we are protecting those fundamental rights of accessibility.”
Elsewhere at the summit, Microsoft is featuring guest speakers like actor Michelle Williams and its own employee Katy Jo Wright, discussing mental health and their experience living with chronic Lyme disease respectively. We will also see Amsterdam’s Rijksmusem share how it used Azure AI’s computer vision and generative AI to provide image descriptions for over a million pieces of art for visitors who are blind or have low vision.
This article originally appeared on Engadget at https://www.engadget.com/microsofts-neural-voice-tool-for-people-with-speech-disabilities-arrives-later-this-year-161550277.html?src=rss
At its 14th Ability summit, which kicks off today, Microsoft is highlighting developments and collaborations across its portfolio of assistive products. Much of that is around Azure AI, including features announced yesterday like AI-powered audio descriptions and the Azure AI studio that better enables developers with disabilities to create machine-learning applications. It also showed off new updates like more languages and richer AI-generated descriptions for its Seeing AI tool, as well as new playbooks offering guidelines for best practices in areas like building accessible campuses and greater mental health support.
The company is also previewing a feature called “Speak For Me,” which is coming later this year. Much like Apple’s Personal Voice, Speak For Me can help those with ALS and other speech disabilities to use custom neural voices to communicate. Work on this project has been ongoing “for some time” with partners like the non-profit ALS organization Team Gleason, and Microsoft said it’s “committed to making sure this technology is used for good and plan to launch later in the year.” The company also shared that it’s working with Answer ALS and ALS Therapy Development Institute (TDI) to “almost double the clinical and genomic data available for research.”
One of the most significant accessibility updates coming this month is that Copilot will have new accessibility skills that enable users to ask the assistant to launch Live Caption and Narrator, among other assistive tools. The Accessibility Assistant feature announced last year will be available today in the Insider preview for M365 apps like Word, with the company saying it will be coming “soon” to Outlook and PowerPoint. Microsoft is also publishing four new playbooks today, including a Mental Health toolkit, which covers “tips for product makers to build experiences that support mental health conditions, created in partnership [with] Mental Health America.”
Ahead of the summit, the company’s chief accessibility officer Jenny Lay-Flurrie spoke with Engadget to share greater insight around the news as well as her thoughts on generative AI’s role in building assistive products.
“In many ways, AI isn’t new,” she said, adding “this chapter is new.” Generative AI may be all the rage right now, but Lay-Flurrie believes that the core principle her team relies on hasn’t changed. “Responsible AI is accessible AI,” she said.
Still, generative AI could bring many benefits. “This chapter, though, does unlock some potential opportunities for the accessibility industry and people with disabilities to be able to be more productive and to use technology to power their day,” she said. She highlighted a survey the company did with the neurodiverse community around Microsoft 365 Copilot, and the response of the few hundred people who responded was “this is reducing time for me to create content and it’s shortening that gap between thought and action,” Lay-Flurrie said.
The idea of being responsible in embracing new technology trends when designing for accessibility isn’t far from Lay-Flurrie’s mind. “We still need to be very principled, thoughtful and if we hold back, it’s to make sure that we are protecting those fundamental rights of accessibility.”
Elsewhere at the summit, Microsoft is featuring guest speakers like actor Michelle Williams and its own employee Katy Jo Wright, discussing mental health and their experience living with chronic Lyme disease respectively. We will also see Amsterdam’s Rijksmusem share how it used Azure AI’s computer vision and generative AI to provide image descriptions for over a million pieces of art for visitors who are blind or have low vision.
This article originally appeared on Engadget at https://www.engadget.com/microsofts-neural-voice-tool-for-people-with-speech-disabilities-arrives-later-this-year-161550277.html?src=rss
Adobe is bringing its generative AI (GAI) tech to mobile for the first time. Firefly GAI features are included in the beta of the new Express app on Android and iOS starting today. They should afford users more expansive creation and editing options while they’re on the go.
Using text prompts, you’ll be able to generate images and insert, remove or replace people, objects and other elements such as backgrounds. Quick Actions enable you to apply edits, remove backgrounds and resize images with a single tap. Video editing tools, a social content scheduler and collaboration options are available too. Creative Cloud subscribers can use the Express mobile app to import and edit designs from Illustrator and Photoshop.
Adobe says Firefly GAI is designed for commercial use. Assets generated using Firefly tools include a label to indicate they were forged in the fires of GAI.
During the beta, Express premium features are available to everyone for free, but they'll eventually be locked behind a $10 per month subscription. The number of users who can access the beta on iOS are limited. Those who are interested can sign up through Adobe. The Android beta of the new Express app is available in most countries on the Google Play Store.
This article originally appeared on Engadget at https://www.engadget.com/adobe-brings-firefly-generative-ai-to-mobile-for-the-first-time-in-express-153323032.html?src=rss