Canon has unveiled the 24-megapixel EOS M50 Mark II with relatively minor updates to the popular original aimed mostly at creators. The biggest change is an upgraded Dual Pixel autofocus system that now allows for continuous eye-tracking in video, rather than in just some still modes as before. That will make it more practical for interviews or vlogging (albeit in HD only and not 4K) as the camera can keep your subject in focus by itself.
It can also capture vertical video that you can stream on YouTube live using a smartphone connection. And for vloggers, the flip-out display offers a tap-to-record button, along with tap-to-focus and a movie self timer. On the photo side, the EOS M50 II now has an electronic shutter option. Topping off the new options is webcam support with Canon’s EOS utility software.
Over the past few years, deepfakes have emerged as the internet’s latest go-to for memes and parody content.
It’s easy to see why: They enable creators to bend the rules of reality like no other technology before. Through the magic of deepfakes, you can watch Jennifer Lawrence deliver a speech through the face of Steve Buscemi, see what Ryan Reynolds would’ve looked like as Willy Wonka, and even catch Hitler and Stalin singing Video Killed The Radio Star in a duet.
For the uninitiated, deepfake tech is a form of synthetic media that allows users to superimpose a different face on someone else’s in a way that’s nearly indistinguishable from the original. It does so by reading heaps of data to understand the face’s contours and other characteristics to naturally blend and animate it into the scene.
At this point, you’ve probably come across such clips on platforms like
Zhiyun has released another accessory, the Smooth-XS smartphone gimbal, for those who regularly use mobile content in their business or for leisure. How does it compare?
Gimbals are increasingly becoming a natural choice of kit investment not just for professionals creating commercial content with camera bodies but also for those who want to create more polished mobile content for social media, either to supplement an existing business with quick but sleek-looking content or for personal leisure, such as family or travel memories.
This is where smartphone gimbals come into play, and I got to review the Zhiyun Smooth-XS, which is aimed at users looking to create content on the go.
Smooth-XS is a compact and lightweight smartphone gimbal that comes in four different colors. Coated with anti-slip rubber, the grip is comfortable to hold. It measures 69 mm in length, 56 mm in width, and 267 mm in height.
By Niklas Pollard, Douglas Busvine and Daniel Trotta
STOCKHOLM/BERLIN (Reuters) – Two scientists won the 2020 Nobel Prize in Chemistry on Wednesday for creating genetic ‘scissors’ that can rewrite the code of life, contributing to new cancer therapies and holding out the prospect of curing hereditary diseases.
Emmanuelle Charpentier, who is French, and American Jennifer Doudna share the 10 million Swedish crown ($1.1 million) prize for developing the CRISPR/Cas9 tool to edit the DNA of animals, plants and microorganisms with precision.
“The ability to cut the DNA where you want has revolutionized the life sciences,” Pernilla Wittung Stafshede of the Swedish Academy of Sciences told an award ceremony.
Charpentier, 51, and Doudna, 56, become the sixth and seventh women to win a Nobel for chemistry, joining Marie Curie, who won in 1911, and more recently, Frances Arnold, in 2018.
It is the first time since 1964, when Britain’s Dorothy Crowfoot
There are currently over 50 million creators on Youtube, Instagram, Twitch, TikTok, and other social media platforms. Two million of them are full-time, and they earn six figure salaries by creating content daily or weekly. And that massive distributed content creation engine means that about 90% of the video, audio, photo, and text-based content consumed today by Gen Z is created by individuals, not corporations.
That’s a massive cultural shift.
These are just a few of the insights from a recent report on the “creator economy” by Yuanling Yuan, senior associate at SignalFire, and investment firm.
“The number of those long tail amateur influencers/creators is going to explode. I think by our data, this should grow from 50 million to a 100 million and possibly even larger,” Yuan told me in
Smule’s AutoRap goes live with Lenses, powered by the Snap Camera, bringing Snap’s AR innovations to Smule’s music-first community
Smule Inc., the global leader in interactive music creation, today announced its integration with Snap to bring imaging and augmented reality (AR) capabilities directly into the Smule app ecosystem, starting with hip-hop music app AutoRap. Smule has integrated Lenses, powered by Snap Camera Kit, showcasing the potential of AR to create even more engaging musical performances through dynamic visual elements.
Smule and Snap are bringing together the best of social music and digital imaging to offer both user bases even more immersive experiences. AutoRap, Smule’s recently revamped app for hip-hop enthusiasts, rappers and beat makers, is a fitting launch pad for the new Lenses, considering the significant role that creativity and individualism play in the genre.
A judge denied an attempt by a group of TikTok creators to temporarily block the pending ban of the video-sharing app on U.S. app stores, which is set to happen within the day.
Douglas Marland, Cosette Rinab, and Alec Chambers said in a temporary restraining order request to the U.S. District Court for the Eastern District of Pennsylvania that they earn their living from TikTok, The Verge reported. Marland has 2.7 million subscribers, Rinab has 2.3 million subscribers, and Chambers has 1.8 million subscribers.
The three TikTok creators claimed that they will “lose access to tens of thousands of potential viewers and creators every month, an effect amplified by the looming threat to close TikTok altogether.”
Judge Wendy Beetlestone admitted that TikTok’s ban from U.S. app stores will be an “inconvenience” to the group. However, they were not able to prove that the ban will cause “immediate, irreparable harm” as
A judge in Pennsylvania has rejected a request from three TikTok content creators to temporarily block a ban on the app set to go into effect Sunday night, which would bar new downloads from Google and Apple’s app stores in the US.
Douglas Marland, Cosette Rinab, and Alec Chambers said they “earn a livelihood from the content they post on TikTok,” saying the platform’s “For You” page is unique among social media platforms, because its algorithm allows “little-known creators to show their content to a large audience,” according to the court filing.
Marland has 2.7 million TikTok subscribers, Rinab has 2.3 million, and Chambers has 1.8 million. The three argued that they would “lose access to tens of thousands of potential viewers and creators every month, an effect amplified by the looming threat to close TikTok altogether.”
In an unusual move, Apple has agreed to not collect the App Store’s 30% “tax” on purchases made through Facebook’s app for live paid events — but only through the end of 2020. Moreover, Apple will still take a 30% cut of paid livestreams from video-game creators using the paid-livestream feature.
The ongoing clash of tech titans is the latest in the public fight some app developers are waging against Apple over its App Store business practices, which they say are unfair.
Facebook complained that Apple agreed only to a short moratorium on collecting in-app fees for paid live events, which it launched last month. For its part, Facebook says it won’t take a cut of creators or businesses’ revenue for livestreaming events until at least August 2021, citing economic hardships inflicted by the COVD pandemic.
“Apple has agreed to provide a brief, three-month respite after which struggling businesses will
During the final episode of Variety‘s Sustainability in Hollywood event presented by Toyota Mirai, Rob Bredow, senior vice president and chief creative officer at Industrial Light & Magic, and Janet Lewin, senior vice president and general manager at ILM and co-producer of “The Mandalorian,” talked to artisans editor Jazz Tangcay about how the virtual production of “The Mandalorian” has allowed the show to reduce its carbon footprint.
When Bredow and Lewin were first approached to sign on to “The Mandalorian,” producer Jon Favreau had just wrapped two virtual production-based films, including “The Lion King.” And with his upcoming project, Favreau and the team hoped to use virtual reality tools to create an authentic story from the “Star Wars” universe.
Lewin said the key to creating a live-action film through virtual production is “moving post-production to pre-production,” which means creating and editing the backdrops prior to the shooting.