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You Can (Not) Build a Pro Video Camera App in Four Months

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You Can (Not) Build a Pro Video Camera App in Four Months

It’s been seven years since we launched a little side project, Halide. We built it for us: we didn’t set out to ‘disrupt’ the world of camera apps, or get rich. We wanted to build a beautiful, powerful, and delightful camera app that we would enjoy using.

Working on finishing up Halide 1.0 — May 2017

It exceeded our wildest expectations and quickly grew to become an award-winning photography app and a legitimate business. Soon, we quit our jobs to work on apps full-time. Yes, that’s plural, apps.

From what we learned building Halide full-time, we spun out one-off projects such as Orion and Spectre (that one went places — a little long exposure app that won 2019 App of the Year). While these were fun diversions, Halide remained the focus of our company. It was what we worked on most days of the week, for the last seven years.

There was just one thing we knew we’d never add to Halide: video. Ever since Halide 1.0, users asked for it, but we knew it wouldn’t work. Photography and cinema are different mediums that call for different user experiences.

Instead, Sebastiaan and I talked about building a completely separate app, a “Halide for video.” Talk never went past the “Wouldn’t it be cool…” phase, because we weren’t sure if we could juggle a second major app. We’re a small team. Ridiculously small. One designer and developer.

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The team, circa 2019 – photographed by Apple for a feature exclusive to the Japanese App Store. ありがとう!

We knew expectations were sky high, and honestly, nothing excited us about iPhone video. It felt photography was at the forefront of the camera innovations.

Our attitude quickly changed in November 2023, and we launched our video app, Kino, six months later. This is the story of why we made the plunge, its whirlwind development, the results, and where we go from here.

Fall 2023: “How hard could it be?”

At the end of last summer, Sebastiaan and I launched Orion, a free app that helps turn your iPad into an HDMI monitor.

We normally take our time with new projects. Both Halide and Spectre each took one year to ship (though, in our defense, these started as side projects). Orion was a fun challenge to see if our two-man company could ship a brand-new app in 45 days, and it went really well. It reset expectations of what we could accomplish quickly, but it felt a bit exhausting toward the end.

We expected to spend the rest of the year slowing down and turning our attention to Halide. We were in the home stretch of a brand new feature that we were very excited about, and with another month or two of work, we could bring it across the finish line.

I could also use a little breather for the rest of the year, as I expected my first kid at the end of February.

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Those plans changed moments after the Orion release, with Apple’s unveiling of the iPhone 15 Pro. We watch every keynote paying close attention to changes in photography, which we’ll weave into our fall Halide update. This time we were blown away by the announcement of “log video.”

Log video is a very big deal. It contains much more information than conventional iPhone video, allowing ridiculous control over the final image. Apple called it Apple Log. Of course.

Apple Log video is fantastic for professional-looking video — but it requires some editing.

As Apple Log made waves in the filmmaking community, we got a sense of déjà vu. Our minds went back to the Summer of 2016, when Apple iPhones would soon capture RAW photos, allowing incredible editing superpowers. Sebastiaan and I felt that was the right time to build Halide. Now, with Apple Log, we felt iPhone video was about to have its RAW moment.

That said, there are only so many hours in the day. Could we add another major app to our portfolio without supporting ou breadwinner, Halide?

Well, Halide is overdue for a refresh. Its foundations were built seven years ago, and Apple’s newer technologies would vastly improve the product. Orion wasn’t just a fun side project, it was a test as to whether Apple’s new technologies were mature enough to start rolling into Halide. If so, how much do they improve our productivity? The result was “yes,” and “a ton.” We were able to accomplish some tasks for Orion in hours that would take days in Halide.

But Orion wasn’t nearly as complex as Halide. Our video app would let us build a foundation for the future. While our photo and video apps would never share user interfaces, we could architect them to share underlying technologies. If we do this right, we can manage the workload.

The Deadline

Maybe the hardest part of our job is planning everything around Apple’s schedule. We spend summers readying our apps for the Fall iOS release, which launches alongside new iPhones. Then we scramble to test our apps and support the new camera hardware. If we’re lucky, we get six months a year to define our product direction.

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Our desk is always a pile of iPhones of various generations – and the pile grows every fall.

That said, constraints help you focus. We decided that Orion had to launch when iOS 17 dropped, because we expected lots of similar apps to pop up over time, and we wanted to be there right out of the gate. Orion had to ship in 45 days, so we made it work.

I’m not advocating crunch time, where developers work long hours for the sake of unrealistic deadlines. Quite the opposite. Deadlines force us to accept that we won’t get everything done in 1.0. We have the freedom to cut as many features as needed to keep things sustainable. The old adage goes, “Work expands so as to fill the time available for its completion,” but can’t the same be true for work shrinkage?

The question was whether we could ship a whole new camera app within four months, before my baby’s due date. It might sound ridiculous, given Halide 1.0 took one year to ship, but Orion proved how much more productive we could be with the latest technology, and this time we were building a camera with seven years of experience in Apple’s AV stack.

One reason that Halide and Spectre each took a year was that we handled 100% of each project ourselves. With Orion, we worked with Anton Heestand on its wonderful over-the-top onboarding, and Cabel Sasser wrote us an intro song! It turns out we can delegate work and collaborate with friends without losing any character.

The biggest risk with our four-month deadline had nothing to do with code. We were worried that we didn’t yet understand what we were building. There were already plenty of free apps that let you record Apple Log. What could our new app bring to the table?

Defining the Product

After surveying the app landscape, we quickly realized that every app that supports Apple Log targets advanced users. These types of users look at a high-end camera rig and go, “Wow! Cool!”

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If you look at this and you go ‘hell yeah’, yes, you are that kind of user.

Don’t get me wrong, we love this stuff, but we weren’t excited to build a high-end tool exclusive to pros. But as we dug into the techniques of filmmaking, I had a flashback to the late 90s and early 2000s. I grew up on the cusp of digital filmmaking and had lots of fun making short movies with friends.

Tequila (2006)

In the mid-2000s, we used a ridiculous camera that had been modified to shoot 10-bit log footage. That hacked camera required a handful of portable hard drives that would overheat at the worst times, but these technical shenanigans piqued my
curiosity, and led me down a path where I now build camera apps for a living.

Returning to the world of filmmaking excited me. I could build an app for 99% of people just starting who wish they could record beautiful, cinematic videos, but can’t make heads or tails of “colorspaces” or “shutter angles.” I had the chance to
build the camera I wish I had decades ago.


If we have one guiding principle, it’s the belief that “intuitive” and “powerful” do not have to be mutually exclusive. We thought our app could deliver 95% of the features demanded by high-end professionals without making the app too complex for novices. We’d start with an approachable 1.0, and carefully layering on more advanced features over time.

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It turned out, Sebastiaan had been quietly designing concepts for a video app for quite a while. This is how early some of Kino’s most recognizable visual elements were born, like the recording tally light ring that follows the curvature of your iPhone’s screen, or the little segmented audio levels.

one of Sebastiaan’s early Sketch explorations of a video app, codenamed ‘Amalfi’

That said, the worst way to explore a product is with a pixel-perfect version. A beautiful UX takes extra time, and pretty images can distract you from fundamental problems. So in the interest of speed, I spent the next few weeks focusing on a functional prototype that resembled Sebastiaan’s concepts. It could record Apple Log footage, connect to an external microphone, and let us quickly experiment with UI concepts.

We call this style ‘brutalist’

In December 2023, just as our prototype built momentum, news broke that Filmic Pro— the most popular filmmaking app on the App Store— was shutting down. This left a vacuum in the ecosystem of filmmaking apps and a material loss in our tiny community of camera apps.

Normally, we don’t pre-announce products. Part of it might be Sebastiaan’s ex-Apple penchant for secrecy, to announce stuff and surprise and delight. But it also raises expectations and runs the risk of committing to features that might not work out. At the same time, the demise of Filmic was an invaluable opportunity to announce our new app and test demand. We decided to pre-announce.

First, our app needed a name, and we didn’t want to repeat the pronunciation ambiguity of “Halide.” (Note: Sebastiaan says Hey-lide, and I say Hal-ide, but we switch every other week.) Sebastiaan floated a name that both encapsulated ‘craft video’ and sounded friendly: Kino.

I spent 24 hours shooting an announcement video with our alpha build, and we launched a teaser page at shotwithkino.com.

The reception to our video was overwhelmingly positive, and it felt like we had a hit on our hands.

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Now we just had to ship it. Wait… what were we shipping?

December: Instant Grade

Sometimes building products is like writing a story. Writers don’t go, “Once upon a time,” and finish the story in one pass. Many writers approach a blank page with ideas for characters, major plot points, and themes running through their heads. The hard part is forming loose ideas into a cohesive structure. It’s called “cracking the story,” and there’s a similar process in building products.

We decided a good starting point was to shoot videos. When you’re forced to eat your own dog food, you quickly figure out what works and what doesn’t. In a meta turn of events, we made a video about making Kino.

We appreciated the natural look of Apple Log footage, as it didn’t have the same post-processing you see in iPhone video. The hard part is giving log footage a nice treatment. Straight out of the camera, Apple Log looks… uh…

A frame from an Apple Log video. By design, log video is quite washed out.

Log footage is supposed to look that way. It just contains the ingredients that can make up gorgeous images, and it’s your job to bake them. You’re supposed to bring it into a high-end tool like Davinci Resolve to “color grade” it. While these tools feel empowering to professionals, to a novice, they feel as intuitive as the cockpit of a commercial airplane.

We knew Kino could be a game changer if it let everyone grade their footage right in the app with a tap, by using a handful of packaged presets.

But why stop there? We could let you import a preset from anywhere. Apple Log was only a month old, but pros were already selling great grade packs, ready to be imported into your favorite editing suite.

We saw that people like Evan Schneider and Tyler Stalman had made some beautiful presets.

And if you’re a high-end user, you could even author your own looks in Resolve! Speaking of the high end…

Tackling the High End

On the other end of the spectrum, we had to figure out what professionals demand. We packed up and flew down to Los Angeles, where Sebastiaan booked us into the only NFT hotel in town (Sebastiaan Note: So sorry, I had no idea).

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Science & Environment

What caused the hydrothermal explosion at Yellowstone National Park? A meteorologist explains

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What caused the hydrothermal explosion at Yellowstone National Park? A meteorologist explains


Yellowstone National Park visitors were sent running and screaming Tuesday when a hydrothermal explosion spewed boiling hot water and rocks into the air. No one was injured, but it has left some wondering: How does this happen and why wasn’t there any warning? 

The Weather Channel’s Stephanie Abrams said explosions like this are caused by underground channels of hot water, which also create Yellowstone’s iconic geysers and hot springs. 

“When the pressure rapidly drops in a localized spot, it actually forces the hot water to quickly turn to steam, triggering a hydrothermal explosion since gas takes up more space than liquid,” Abrams said Wednesday on “CBS Mornings.” “And this explosion can rupture the surface, sending mud and debris thousands of feet up and more than half a mile out in the most extreme cases.” 

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Tuesday’s explosion was not that big, Abrams said, “but a massive amount of rocks and dirt buried the Biscuit Basin,” where the explosion occurred.   

A nearby boardwalk was left with a broken fence and was covered in debris. Nearby trees were also killed, with the U.S. Geological Survey saying the plants “can’t stand thermal activity.” 

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“Because areas heat up and cool down over time, trees will sometimes die out when an area heats up, regrow as it cools down, but then die again when it heats up,” the agency said on X.

The USGS said it considers this explosion small, and that similar explosions happen in the national park “perhaps a couple times a year.” Often, though, they happen in the backcountry and aren’t noticed.

“It was small compared to what Yellowstone is capable of,” USGS Volcanoes said on X. “That’s not to say it was not dramatic or very hazardous — obviously it was. But the big ones leave craters hundreds of feet across.”

The agency also said that “hydrothermal explosions, “being episodes of water suddenly flashing to steam, are notoriously hard to predict” and “may not give warning signs at all.” It likened the eruptions to a pressure cooker.

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While Yellowstone sits on a dormant volcano, officials said the explosion was not related to volcanic activity. 

“This was an isolated incident in the shallow hot-water system beneath Biscuit Basin,” the USGS said. “It was not triggered by any volcanic activity.” 





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What happened to the Metaverse?

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What happened to the Metaverse?

S6
Ep135


What happened to the Metaverse?

Host Andrew Davidson is joined by technology experts Brian Benway and Jan Urbanek in a discussion about the Metaverse. Our experts shed light on the latest technological and hardware advancements and marketing strategies from Big Tech. What will it take for the Metaverse to gain mainstream popularity? Listen now to find out!

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Head over to Mintel’s LinkedIn to let us know what you think of today’s episode, and visit mintel.com to become a member of our free Spotlight community.

Visit the Mintel Store to explore all our technology research and buy a report today.

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Meet the Host

Andrew Davidson

SVP/Chief Insights Officer, Mintel Comperemedia.

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Meet the Guests

Brian Benway

Senior Analyst, Gaming and Entertainment, Mintel Reports US.

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Jan Urbanek

Senior Analyst, Consumer Technology, Mintel Reports Germany.

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For the latest in consumer and industry news, top trends and market perspectives, stay tuned to Mintel News featuring commentary from Mintel’s team of global category analysts.

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Archaeologists make stunning underwater discovery of ancient mosaic in sea off Italy

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Archaeologists make stunning underwater discovery of ancient mosaic in sea off Italy


More than 30,000 ancient coins found

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More than 30,000 ancient coins found off the coast of Italy

00:50

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Researchers studying an underwater city in Italy say they have found an ancient mosaic floor that was once the base of a Roman villa, a discovery that the local mayor called “stupendous.” 

The discovery was made in Bay Sommersa, a marine-protected area and UNESCO World Heritage Site off the northern coast of the Gulf of Naples. The area was once the Roman city of Baia, but it has become submerged over the centuries thanks to volcanic activity in the area. The underwater structures remain somewhat intact, allowing researchers to make discoveries like the mosaic floor. 

The Campi Flegrei Archaeological Park announced the latest discovery, which includes “thousands of marble slabs” in “hundreds of different shapes,” on social media

452639775-795071199481548-6552179372358771133-n.jpg
A part of the mosaic floor being excavated. 

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Edoardo Ruspantini


“This marble floor has been at the center of the largest underwater restoration work,” the park said, calling the research “a new challenge” and made “very complicated due to the extreme fragment of the remains and their large expansion.”

The marble floor is made of recovered, second-hand marble that had previously been used to decorate other floors or walls, the park said. Each piece of marble was sharpened into a square and inscribed with circles. The floor is likely from the third century A.D., the park said in another post, citing the style of the room and the repurposing of the materials as practices that were common during that time. 

452533330-795071436148191-6754360492272000857-n.jpg
The remains of collapsed walls that cover the mosaic floor. 

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Parco Archeologico Campi Flegrei


Researchers are working carefully to extract the marble pieces from the site, the park said. The recovery work will require careful digging around collapsed walls and other fragmented slabs, but researchers hope to “be able to save some of the geometries.” 

Once recovered, the slabs are being brought to land and cleaned in freshwater tanks. The marble pieces are then being studied “slab by slab” to try to recreate the former mosaic, the park said. 

452615453-795071266148208-4364365545620230344-n.jpg
Researchers work to rearrange the mosaic tiles after bringing them up from underwater. 

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Parco Archeologico Campi Flegrei


“The work is still long and complex, but we are sure that it will offer many prompts and great satisfactions,” the park said. 



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SpaceX fires up Starship engines ahead of fifth test flight

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SpaceX fires up Starship engines ahead of fifth test flight

SpaceX has just performed a static fire of the six engines on its Starship spacecraft as it awaits permission from the Federal Aviation Administration (FAA) for the fifth test flight of the world’s most powerful rocket.

The Elon Musk-led spaceflight company shared footage and an image of the test fire on X (formerly Twitter) on Thursday. It shows the engines firing up while the vehicle remained on the ground.

For flights, the Starship spacecraft is carried to orbit by the first-stage Super Heavy booster, which pumps out 17 million pounds of thrust at launch, making it the most powerful rocket ever built.

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The Super Heavy booster and Starship spacecraft — collectively known as the Starship — have launched four times to date, with the performance of each test flight showing improvements over the previous one.

The first one, for example, exploded shortly after lift off from SpaceX’s Starbase facility in Boca Chica, Texas, in April last year, while the second effort, which took place seven months later, achieved stage separation before an explosion occurred — an incident that was captured in dramatic footage. The third and fourth flights lasted much longer and achieved many of the mission objectives, including getting the Starship spacecraft to orbit.

The fifth test flight isn’t likely to take place until November at the earliest, according to a recent report. It will involve the first attempt to use giant mechanical arms to “catch” the Super Heavy booster as it returns to the launch area. SpaceX recently expressed extreme disappointment at the time that it’s taking the FAA to complete an investigation that will pave the way for the fifth Starship test, and has said that it’ll be ready to launch the vehicle within days of getting permission from the FAA.

Once testing is complete, NASA wants to use the Starship, along with its own Space Launch System rocket, to launch crew and cargo to the moon and quite possibly for destinations much further into space such as Mars. NASA is already planning to use a modified version of the Starship spacecraft to land the first astronauts in five decades on the lunar surface in the Artemis III mission, currently set for 2026.

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Painkiller used in cattle wiped out India’s vultures, and scientists say that led to 500,000 human deaths

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Painkiller used in cattle wiped out India's vultures, and scientists say that led to 500,000 human deaths


New Delhi — Scientists say Indian farmers’ eager uptake of a painkiller for their cattle in the 1990s has led to the inadvertent deaths of half of a million people and massive economic losses — not from any harm to the cattle, but from the loss of millions of vultures, scavengers that historically devoured animals’ remains before they could rot and become vectors for disease.

In early 1990s, the patent on a painkiller called diclofenac lifted, making it cheap and widely available for India’s massive agricultural sector. Farmers use it to treat a wide array of conditions in cattle. But even a small amount of the drug is fatal to vultures. Since the beginning of its widespread use in India, the domestic vulture population has dropped from a whopping 50 million to just a few thousand — and according to a study published by the American Economic Association, the impact on humans has been monumental, reflecting the vital role the scavengers play.

Vultures have been a crucial part of India’s ecosystems for centuries. According to the authors of the study, entitled “The Social Costs of Keystone Species Collapse: Evidence From The Decline of Vultures in India,” the large, homely birds are a “keystone species” — one that plays an irreplaceable role in an ecosystem. 

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They’re the only scavengers that feed entirely on carcasses, and they do it extremely efficiently, quickly devouring the remains and leaving little behind to spread disease. The study authors say India’s vultures would typically eat at least 50 million animal carcasses every year, before their population was decimated.

World Wildlife Day
A vulture feeds on a buffalo carcass at the Kaziranga National Park in Assam, India, in a March 3, 2024 file photo.

Anuwar Hazarika/NurPhoto/Getty


In doing so, they prevented the dead farm animals from rotting, and the deadly bacteria and other pathogens that thrive in carcasses from being transmitted into human populations.

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“In a country like India with prohibitions on eating beef, most cattle end up turning into carcasses,” Anant Sudarshan, an associate professor of economics at the University of Warwick in England, who co-authored the study, told CBS News. “Vultures provide an incredible disposal service for free. … A group of vultures takes about 45 minutes to turn a cow carcass into bone.”

The vultures’ keen appetite also helped keep the populations of competing scavengers in check, such as feral dogs and rats, which can transmit rabies and a host of other diseases.

In 1994, farmers began giving diclofenac to their cattle and other livestock. The drug causes kidney failure and death in vultures that feed on the carcasses of animals given the painkiller, and the population of the birds shrank from 50 million to just 20,000 over the course of the ensuing decade alone.

Without the vultures around to do the job, farmers started disposing their dead livestock in local bodies of water, which caused water pollution — and another way for pathogens to reach humans.

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Vultures on dead prey
A file photo shows vultures eating an animal carcass in India.

Amit Pasricha/INDIAPICTURE/Universal Images Group/Getty


Sudarshan and study co-author Eyal Frank, an environmental economist at the University of Chicago Harris School of Public Policy, examined the impact of the drastically reduced vulture population on human health by mapping vulture habitats with health data from more than 600 districts in India. They said their research shows 100,000 human deaths every year between 2000 and 2005 could be linked with the decreased vulture populations. 

It also shows economic losses they estimated at $69 billion per year, largely associated with premature human deaths due to the collapse of the scavenger population.

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These deaths were caused, according to their research, by the spread of diseases that a thriving vulture population would have mitigated. Stray dog populations, and with them, the spread of rabies, also increased during the timeframe, as did the amount of bacteria measured in many local water sources.

“India is now the largest center of rabies in the world, as the feral dog population has grown dramatically,” Sudarshan told CBS News.

Rainy Weather In Kashmir
A young man fishes in the Jhelum river in Sopore, Jammu and Kashmir, India, June 12, 2024, as feral dogs watch from the bank. 

Nasir Kachroo/NurPhoto/Getty

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Without a major vulture rebound, the study authors said the spread of disease and resulting deaths will only continue in the coming years, as will the costs associated with health care.

India did ban diclofenac for veterinary use in 2006, but Sudarshan said the ban needs to be enforced much more effectively. He and Eyal have called for more conservation funding to boost vulture populations, but they’ve warned that even if the Indian government does mount a major effort, it will take at least a decade for the species to bounce back to the extent required because they’re “slow reproducers.”

As an alternative to bringing the vultures back, Sudarshan said India could build a network of incinerators around the country, but the estimated cost of that is about $1 billion per year, and they would use a huge amount of energy and create considerable air pollution, which is already a major problem for India. 

“So, it makes more sense to bring back the natural way of dealing with the millions of animal carcasses that India produces each year,” he said.

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And he said that work must start urgently, as the “vultures began dying in the 1990s. India has not done anything three decades on.”

Zojila Pass : one of the world's most dangerous roads
A vulture is seen next to the carcass of sheep at the Zojila Pass in India, in a June 7, 2022 file photo.

Faisal Khan/Anadolu Agency/Getty


The government does spend about $3 million per year to save India’s native tigers. Sudarshan said while vultures may be far less of a tourist attraction, there’s a broader question about “the basis of our conservation policy.”

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“Our paper shows that the cost of losing them [vultures] is about $69 billion a year, which is far higher than any benefits the tiger” brings, he said, adding: “We need to think from a cost effectiveness point of view and growth view, how should we pick species to conserve?”

“Understanding the role vultures play in human health underscores the importance of protecting wildlife – and not just the cute and cuddly,” said his co-author, Frank. “They all have a job to do in our ecosystems that impacts our lives.”



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Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max

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Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max

Apple has recently announced its new flagship smartphones, including the iPhone 16 Pro Max, the largest one. In this article, we’ll compare it to the best Samsung has to offer, the Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max. These two devices are quite different when it comes to design, but that’s not where the similarities end, not at all, quite the contrary, actually. There is plenty to talk about here.

As we usually do, we will first list the specifications of both smartphones and will then move to compare them across a number of other categories. We will compare their designs, displays, performance, battery life, cameras, and audio output. There are quite a few differences to talk about here, as the two companies have completely different approaches. Let’s get down to it, shall we?

Specs

Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max, respectively

Screen size:
6.9-inch Dynamic AMOLED 2X (flat, adaptive 120Hz, HDR10+, 2,600 nits max brightness)
6.9-inch LTPO Super Retina XDR OLED ( flat, 120Hz, HDR, 2,000 nits)
Display resolution:
3120 x 1440
2868 x 1320
SoC:
Qualcomm Snapdragon 8 Gen 3 for Galaxy (4nm)
Apple A18 Pro (3nm)
RAM:
12GB (LPDDR5X)
16GB (LPDDR5X)
Storage:
256GB/512GB/1TB (UFS 4.0)
128GB/256GB/512GB/1TB (UFS 3.1)
Rear cameras:
200MP (wide, f/1.7 aperture, OIS, multi-directional PDAF, 0.6um pixel size), 12MP (ultrawide, 120-degree FoV, f/2.2 aperture, Dual Pixel PDAF 1.4um pixel size), 10MP (telephoto, f/2.4 aperture, OIS, Dual Pixel PDAF, 1.12um pixel size, 3x optical zoom), 50MP (periscope telephoto, OIS, PDAF, 5x optical zoom)
48MP (wide, f/1.8 aperture, 1/1.28-inch sensor, 1.22um pixel size, sensor-shift OIS), 48MP (ultrawide, f/2.2 aperture, 0.7um pixel size, PDAF), 12MP (periscope telephoto, f/2.8 aperture, 1/3.06-inch sensor, 1.12um pixel size, 3D sensor-shift OIS, 5x optical zoom).
Front cameras:
12MP (wide, f/2.2 aperture, Dual Pixel PDAF, 22mm lens)
12MP (f/1.9 aperture, PDAF, 1/3.6-inch sensor size, OIS)
Battery:
5,000mAh
Not confirmed yet
Charging:
45W wired, 15W wireless, 4.5W reverse wireless (charger not included)
38W wired & 25W MagSafe & Qi2 wireless, 7.5W Qi wireless, 5W reverse wired
Dimensions:
162.3 x 79 x 8.6mm
163 x 77.6 x 8.3 mm
Weight:
232/233 grams
227 grams
Connectivity:
5G, LTE, NFC, Wi-Fi, USB Type-C, Bluetooth 5.3
Security:
Ultrasonic in-display fingerprint scanner & facial scanning
Face ID (3D facial scanning)
OS:
Android 14 with One UI 6.1
iOS 18
Price:
$1,299+
$1,199+
Buy:
Samsung Galaxy S24 Ultra (Best Buy)
Apple iPhone 16 Pro Max

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Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max: Design

The moment you lay your eyes on the two phones you’ll realize how different they are. The Galaxy S24 Ultra has a flat top and bottom sides, but its left and right sides are curved. All sides of the iPhone 16 Pro Max are flat, though they are slightly rounded toward the edges. Apple did that so that the phone is more comfortable to hold. Both phones do include flat displays with cutouts on them. The Galaxy S24 Ultra has a little hole at the top of the display, while the iPhone 16 Pro Max has a rather large pill-shaped cutout.

The bezels around their displays are very thin, and uniform. All the physical buttons sit on the right-hand side of the Galaxy S24 Ultra. The iPhone 16 Pro Max has a power/lock key there and a Camera Control button. On the left, you’ll find the volume up and down buttons, and the Action Button. The two devices have considerably different camera setups on the back. Each of the Galaxy S24 Ultra’s four cameras protrudes directly from the back side. There is no dedicated camera island. The exact opposite is true for the iPhone 16 Pro Max. Its camera island sits in the top-left corner with three cameras.

Both of these phones are made out of titanium and glass. They have a titanium frame. They are both also IP68 certified for water and dust resistance. Corning’s Gorilla Armor sits on the back of Samsung’s handset. Apple’s device has a “Corning-made glass” on the back. The two phones are almost the same in terms of height, while the Galaxy S24 Ultra is slightly wider. They are almost identical in terms of thickness. Both phones are quite slippery, and the Galaxy S24 Ultra is 5 grams heavier.

Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max: Display

The Galaxy S24 Ultra feautres a 6.8-inch QHD+ 3120 x 1440 Dynamic LTPO AMOLED 2X display. That panel has an adaptive refresh rate of up to 120Hz. It also offers support for HDR10+ content, and its peak brightness is at 2,600 nits. The screen-to-body ratio is around 88%, while the display aspect ratio is 19.5:9. The Gorilla Armor from Corning sits on top of the display in order to protect it.

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Samsung Galaxy S24 Ultra review AM AH 09

The iPhone 16 Pro Max, on the flip side, has a 6.9-inch LTPO Super Retina XDR OLED display. That display has an adaptive refresh rate of up to 120Hz. HDR10 is supported, as is Dolby Vision. The peak brightness here is 2,000 nits. The screen-to-body ratio on the iPhone 16 Pro Max is around 91%. The display aspect ratio is 19.5:9. This display is protected by the Ceramic Shield glass.

Both of these panels are great. They are vivid, bright, and have great viewing angles. The blacks are deep, and the touch response is good. Neither phone has high-frequency PWM dimming, though. The Galaxy S24 Ultra does technically get brighter, but the difference is not that big, not even in direct sunlight. What the Galaxy S24 Ultra does have an advantage with is… glare. The Gorilla Armor on top of the display is unbelievable in that regard.

Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max: Performance

The Snapdragon 8 Gen 3 for Galaxy fuels the Galaxy S24 Ultra. That is a 4nm chip and Qualcomm’s best one at the time of writing this. The phone is also equipped with 12GB of LPDDR5X RAM and UFS 4.0 flash storage. The iPhone 16 Pro Max is fueled by the Apple A18 Pro processor. That is a 3nm chip, by the way. The phone is also equipped with 8GB of RAM and NVMe flash storage. Neither phone offers expandable storage, by the way.

With that being said, both phones do offer great performance. Our iPhone 16 Pro (Max) review is not ready yet, but plenty of impressions are already there. In any case, both devices are very fluid in terms of day-to-day use. They can jump between apps without a problem, and getting them to slow down is a chore. They do great regardless of what you’re doing, even when it comes to a bit more advanced things such as video processing.

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What about gaming, though? Well, they’re great in that regard too. Non-demanding games are, of course, not a problem, but the same goes for truly demanding titles too. Each of these two smartphones can run basically anything you can think of, and do it really well. Titles like Genshin Impact are not a problem at all. They will get warm, but not too much, and that won’t affect the gaming performance at all.

Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max: Battery

There is a 5,000mAh battery included inside the Galaxy S24 Ultra. Apple still didn’t confirm what battery it used in the iPhone 16 Pro Max, though. It is tipped to be a 4,676mAh unit, but we’re still not 100% sure. Apple’s handsets usually have smaller batteries compared to their Android counterparts, due to the way iOS operates, but that doesn’t mean they have inferior battery life. In fact, both of these smartphones are outstanding in that regard.

We were in awe of the Galaxy S24 Ultra’s battery life when we first reviewed it. The iPhone 16 Pro Max is showing a similar promise, actually. Getting to over 7-8 hours of screen-on-time is a possibility on both phones, though your mileage may vary, of course. That will depend on a number of factors. The point is, we were unable to drain the battery life of either phone in a day. We could have done that with constant gaming, of course, but with general heavy use, no… that didn’t happen.

What about charging? Well, the Galaxy S24 Ultra supports 45W wired, 15W wireless, and 4.5W reverse wireless charging. The iPhone 16 Pro Max, on the other hand, supports 45W wired, 25W MagSafe wireless, 15W Qi2 wireless, 7.5W Qi wireless, and 5W reverse wired charging. Do note that neither smartphone comes with a charger in the retail box, however. All you’ll get is a cable.

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Samsung Galaxy S24 Ultra vs Apple iPhone 16 Pro Max: Cameras

The Samsung Galaxy S24 Ultra comes with four cameras on the back, while Apple’s handset has three rear cameras. The Galaxy S24 Ultra includes a 200-megapixel main camera, a 12-megapixel ultrawide unit (120-degree FoV), a 10-megapixel telephoto unit (3x optical zoom), and a 50-megapixel periscope telephoto camera (5x optical zoom). The iPhone 16 Pro Max, on the other hand, has a 48-megapixel main camera, a 48-megapixel ultrawide unit, and a 12-megapixel periscope telephoto camera (5x optical zoom).

Samsung Galaxy S24 Ultra review AM AH 04

The main camera sensors on the two phones are similar in terms of size. Both devices do a really good job with photos, though the results are different. Samsung’s images still look more processed, although Apple has been heading more and more in that direction. Both phones like brightening up the shadows during the day, even though the Galaxy S24 Ultra’s images do end up looking a bit more contrasty. The iPhone 16 Pro Max was more reliable for us in terms of balanced photos, for what it’s worth, but the Galaxy S24 Ultra was not far off.

Both ultrawide cameras do a good job, and keep a similar color profile to the main shooters. The results are notably different, though, as are with the main cameras. Something similar can be said for the telephoto cameras. This was a tossup between the two setups, as it all depended on what distance we were capturing. At times we preferred shots from the iPhone, but it was mostly from Samsung. Both devices also do a good job in low light and love to brighten up scenes, though Samsung more than Apple. That goes for all three cameras, by the way. The iPhone 16 Pro Max easily wins the video comparison.

Audio

Both of these smartphones include stereo speakers, and they’re really good on both ends. They’re loud enough, and the sound output is detailed enough. We did not notice noticeable distortion or anything like that.

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There is no audio jack on either phone, but you can use their Type-C ports to connect your wired headphones. Alternatively, Bluetooth 5.3 is on offer for wireless audio connections… on both smartphones.

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