Technology
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.
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.
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.
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.
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.
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!”
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.
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.
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.
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.
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.
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…
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.
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).
It led us to interview Stu Maschwitz, Adam Lisagor, and others. We asked what they would want in an app, but it was ultimately up to us to decide what features work with our casual user experience.
Pros wanted two things: adjustability, and consistency. Adjustability was straightforward. Like Halide, we just needed a manual mode that lets you adjust the shutter, ISO, and more.
Consistency was a bit more nuanced. For example, Pros want to lock exposure settings at the start of the recording. This doesn’t happen with the iPhone’s first-party camera, where exposure settings can change mid-recording. This means that if someone walks into your video wearing a dark shirt, the image could change its overall brightness to compensate. This feels off, and you never see it in real movies.
However, locked exposure could confuse casual users. We could already imagine confused customer support emails like, “I started recording a movie inside my house, I walked outside, and everything was too bright!” They aren’t wrong. Most people expect their cameras to just work.
Exposure locking warranted a toggle, which we’d leave off by default.
But how would a professional know this feature exists, to begin with? We settled on an extra screen in our first-launch experience that lets you dig into all the customizable options.
Giving users extensive options makes things harder to test and develop, but we couldn’t take a one-size-fits-all approach. We think this struck a nice compromise, and everything felt on track for our February release.
January Battles
With Instant Grade now in our early alpha, something funny happened: we began using it all the time. It wasn’t because we had to, but because we loved the results. This was a good omen, since we had two months left on our schedule, and this was the point that the app should be coming together. Soon we’d have to shift gears into polishing the interface and hunting for bugs.
According to Sebastiaan, there’s a Dutch saying, “The last lead weighs the most.” It stems from typesetters, who had to take little lead letters and set them in a clamp to write out text. Near the end of a sentence, things get heavy, and the final words are the hardest to set.
Once an app rises in quality and things feel “real,” weaknesses stand out more, and as we were about to finish off our sentence, we realized we missed a word.
A few weeks into January, we knew something felt off. Stepping back, we realized it was onerous and silly to reach for manual exposure controls to create that signature “180-degree” look you see in films. If you aren’t a camera nerd, 180 degrees means nothing, so bear with me.
Just like a photograph, every frame of a film or video is exposed to light for a split second. The longer you expose an image, the more blur you see when objects move. While photographers generally avoid motion blur, in filmmaking, motion blur is a subtle detail that gives Hollywood films a certain feeling.
To that end, most cinematographers set their cameras to expose at half the frame rate; most movies are shot at 24 frames per second, with each image exposed at 1/48 of a second. The term “180-degree shutter” dates back to analog cameras, which had spinning wheels in front of their film gates.
All of this stuff overwhelms beginners. If we set out to make cinematic video accessible to everyone, we had to do more than make manual settings friendlier. Kino should just handle these settings for you. You tap the record button, and an algorithm handles the 180-degree shutter. It automated cinematic motion, so we branded it… “AutoMotion.”
I knocked out a simple version of AutoMotion in a few hours. It only worked when the user enabled that exposure-lock feature I talked about earlier because it was easiest to calculate these settings once, at the start of the recording, rather than updating it continuously. It didn’t take long to realize the feature was awesome. Combined with Instant Grade, it produced videos that really did look like they came from a cinema camera.
There were just two issues. First, AutoMotion can’t work in bright daylight without attaching an ND filter in front of the lens. It’s just a limitation of light and physics. Hey, if Kino is a smash hit, maybe Apple could address this with some sort of integrated ND filter in the iPhone 18? Until then, users will want to know if it’s active or not, so they have a chance to fiddle with lighting. We solved that by turning the “auto” button green when you’re good to go.
The second issue came from feedback from our early testers. They expected exposure to continue to adjust during recording. And— ugh — they were right. If we were to serve beginners, “AutoMotion” had to work out of the box without toggling any advanced features. So we made the difficult decision to derail the schedule a bit to get this working with continuous auto-exposure.
Onboarding Reset
We love to make the onboarding in our apps fun. We started with a little book in Halide that works as a manual, recalling old vintage camera manuals. In Orion, you unbox your ‘appliance’. We had big plans for Kino, but we were short on time and our plans to use a subcontractor had fallen through, which meant that we had to build it ourselves.
Scaling back our ambitions, we married our two past approaches: Kino would open up to a similar “manual” concept that we previously used in Halide and Orion. If we had time, we’d add a little unboxing.
It was also time to nail our app’s overall styling. We wanted something less ‘campy’ than Orion’s over-the-top 80s-electronics theme. There would be no custom VCR display typefaces, but we did take inspiration from Sony’s vintage camcorders.
With Halide and Kino being siblings, we wanted stylistic consistency, but this time with more color. Sebastiaan initially conceived of our built-in presets having small, emoji-like icons or frame previews, though he settled on more film-like packaging.
Working with longtime collaborator and designer Jelmar Geertsma, we even created a set of retro-like feature graphics for some of the features of the app. We only ended up using these on the box you open to start the app, but that’s OK. They’re still really cool.
Jelmar’s work is also in other areas of the app — like in our very own family of typefaces we call Ambrotype, including a monospaced version that shines everywhere from the format settings to the timecode.
Death by a Thousand Configurations
Halide introduced us to the reality that everyone shoots differently, and video brings even more choices. For instance, Hollywood filmmakers usually shoot at 24 frames per second, while respected video creators like Marques Brownlee prefer 30 FPS. Rather than present every possible option, we started with a drop-down menu that let users pick from common presets:
This was too limiting for pros, so if you needed more than that, we have a nice screen to build your own custom configuration:
This felt perfect from a product perspective, but once you give users infinite control to customize settings, they are guaranteed to come across every weird bug in iOS.
For example, we discovered that on the iPhone 15 Pro it isn’t possible to shoot:
1) Apple Log video;
2) at 60 FPS;
3) with stabilization enabled;
4) when shooting from the telephoto camera.
We can’t explain why that one particular camera has the issue, but if the user configured things that way, the video stream shuts down. We called these “dead viewfinder” problems. We haven’t done the math on how many permutations there are for settings across all iPhones, but suffice to say there are a lot.
Despite how much we thought we knew about the iPhone’s AV system, we spent a good chunk of January discovering weird edge cases and searching for workarounds.
February: The Schedule Changes
January’s setbacks cost weeks of our schedule. Entering February, we knew exactly what to ship with Kino 1.0, but hitting our deadline would mean sacrificing quality. The app wouldn’t be polished, and we felt uneasy about how few devices we had tested.
We considered limiting Kino only to the latest devices at launch, but as it turns out the App Store doesn’t have a way to limit device support at a granular level. Apple wants iPhones to have a long life, so it makes sense they make it hard for developers to opt out of supporting older devices.
It was a tough pill to swallow, but we accepted that we weren’t going to hit the 1.0 deadline that we announced. We kept our chin up and acknowledged that it happens to the best of teams. “A delayed game is eventually good, but a rushed game is forever bad.”
Rather than throw out the deadline entirely, we changed the goalposts. We’d release a feature-complete beta version to a large group of testers. Over paternity leave, the team would collect bug reports and other feedback, so I could hit the ground running when I returned. We’d target the new launch date for the end of May, coinciding with the seven-year anniversary of Halide 1.0.
With the new schedule in place, we began compiling a beta tester list, preparing release notes, writing up known bugs, and… and… well, then life had other plans.
On February 7, 2024, our prenatal check-up discovered my wife had run out of amniotic fluid. That’s bad. We ended up shipping our son, Ethan Marc Sandofsky, that day.
I’m off for a bit.
Spring 2024: The Final Stretch
I’ll take over here. Hey, it’s Sebastiaan! I am the other half of the team building things. While I can’t code (much), we luckily entered Ben’s paternity leave with Kino solid enough for a beta release without his involvement.
While a deadline slipping is always a bad situation, it was also an opportunity for us to seize on extra time to build out our product more. While we’d gather feedback, index our weak spots and find bugs, I was going to work hard on the most important part of the app: helping people get great-looking shots.
I like to say that there are two ways to help people get a better picture. You can create a shiny button — whether that is a preset, filter, effect, algorithm, or something else — to make an image look beautiful. This helps a lot: it can make otherwise unimpressive shots look great, is super approachable, and often simple. The problem, possibly, can be that everyone gets similar results.
The second way, which is far more difficult, isn’t to make the image nicer looking. Instead of offering a button, offer teachings. Make the user better at photo- or videography. It’s far more difficult, but also more satisfying for users, and allows anyone to discover their own style.
Ideally, Kino would cover both of these. But it meant a lot of extra work — extra work I now had some time for…
In Grade Company
Video is far more complicated than photography, and Apple Log allowed for beautiful results that were far from homogenous with the color-grade presets I made for Kino. That being said, I mostly edit photos — video color work wasn’t my expertise.
I decided to reach out to the people I admired the most in the field. Some were longtime friends, like Adam Lisagor. An incredibly kind man with an inimitable studio Sandwich Video, he was eager to help — bless him. Other, newer friends like Tyler Stalman, whose presets and videos I absolutely loved also got on board with enthusiasm.
Stu Maschwitz was a new acquaintance, introduced to me when we went to ask pros in our network — a fantastic, gentle, patient and hyper-talented guy who helped me a lot during my process, to the point of sitting down with me in his studio to talk about color, workflow and pipelines. I returned the favor by personally implementing his suggestions.
Then there were people I wasn’t that close with. I had never chatted with Kevin Ong or Evan Schneider, but after I explained our vision for Kino they too were interested in working with us. Evan ended up providing me with tons of helpful feedback — he is a fantastically skilled colorist and creative, and was generous with his time to help me become wiser about the craft and to help Kino be as great as it could be.
Then there were the teachings.
Teachings, to me, don’t mean dropping a textbook or floating tips in the app.
The best software interfaces are obvious, and empowering in their intuitiveness.
Not all concepts can be intuitive from the start, but if you think about it, there’s a name for a simple, pared-down interface or example of a complex problem: it’s a lesson. Whether it’s a scenario of two trains meeting in math class, or a simpler interface to camera exposure that shows you how the image changes as you swipe a slider, they both help you get acquainted with the fundamentals of something by absorbing the underlying concepts. It does that by only giving you a little bit at a time in an understandable way. If you remove complexity, what remains is more clear, and less overwhelming.
I worked tirelessly on re-doing our onboarding, thinking of ways we could help people get started, and sketching out a set of online resources that users could immediately dig into. Covering frequently asked questions, but also writing a detailed manual for those who wanted to go deep.
For my last coup, I would exceed what we’d done before: I would film some tutorial videos to help people get started.
I am incredibly proud with how much of this we managed to get done, but my inexperience with video led me to one major realization: video is hard, and takes a ton of time. I managed to get great color grades in from myself and my dear new and old friends, and designed our best website yet with the most resources at launch, but tutorial videos didn’t fit into the crunch time.
In early March, Ben’s mother-in-law visited for a few weeks to help ease his workload at home, giving him a chance to check in and survey the major bugs. It helped ease the transition into…
April to May: the Home Stretch
Hey! It’s Ben, and I’m back, (with a) baby!
As planned, I returned to work in April, hitting the ground running. Most bugs discovered in our wide beta test were fairly mundane, but it still felt like the right call setting the launch in May, rather than pushing to make April.
As we fixed bugs, tested older devices, and tied up loose ends, Sebastiaan worked on the final version of ShotWithKino.com. Our friend Adam at Sandwich helped us with the final, authoritative test of Kino: using it on a real production.
The experience was wonderful, messy, and genuine. When the crew ran into issues, we quickly fixed them and turned around a new build. It was a great way to harden Kino for its 1.0 release. There was only one remaining item on the to-do list: charging money.
I doubt anyone who makes products enjoys the part where you ask for money, and it’s even worse with App Stores, where people do not like paying for apps. It’s no wonder that the two dominant business models are advertising and freemium.
When we launched Halide in 2017, folks found it a breath of fresh air that we just charged up-front for our product in an era when subscriptions and in-app purchases were becoming the norm.
When we launched Halide Mark II in 2020, conventional wisdom said that the pay-up-front business model was dead. We decided to change things up by offering a low-cost subscription in addition to a pay-once option. Subscriptions were a huge win: let us offer free trials, Apple takes a smaller portion of sales, and predictable, recurring revenue made our business healthier and more sustainable.
We considered following Halide’s business model, but building a great “paywall” takes time. And honestly, we just didn’t feel up for a wave a negative reviews at launch.
Ever since Halide began offering subscriptions, we started receiving a steady trickle of negative reviews. People see that the app is free to download, and get upset to find out we charge money; adding all-caps text at the top of our listing warning people that Halide costs money did not help. On top of this, some people leave negative reviews for any apps that offer subscriptions at all, even though we continue to have a pay-once option. We have thick skin so it isn’t the end of the world, because this stuff gets exhausting.
If people claim they’ll support non-subscription products, and they’re happy to pay for products upfront, let’s give it a go and see what happens. We decided to make Kino pay upfront at launch.
The Launch
On May 29, 2024, we released Kino into the world, to overwhelmingly positive reviews. It shot to the #1 top-paid app, where it remained for three days.
As for revenue, Kino made 25% more than Halide 1.0’s launch, after adjusting for inflation. Sales significantly decayed after a week, but if there’s anything I’ve learned since launching Halide 1.0, it’s that the story never ends with the launch. It’s the end of the story’s first act.
The hard part comes next, as you’re inundated with bug reports and feature requests, and you ask yourself “What did I get myself into?”
Despite the 100 beta testers leading up to the launch, the larger audience introduced a slew of new bug reports. Most trouble came from users on older phones, usually when recording at 60 frames per second. Other bugs were simply random, like the image stabilization system causing trouble with our AutoMotion algorithm.
Luckily, WWDC arrived a few weeks later, and I showed up to Cupertino with a long list of questions in hand for Apple’s AV engineers.
It took a month to squash these major bugs, getting Kino in a stable post-launch state. Then we shifted our attention toward feature requests, which we launched last week.
Kino 1.1: The First Big Update
Following our goal of serving both casual and high-end user needs, we shipped features for each group.
For the Pros: Manual White Balance
Our high-end users asked for extensive control over white balance. Much more so than Halide, where we simply let users pick from several presets — which we do because RAW images allow for full white balance control during editing anyway.
When shooting video, you might want to dial in a specific white balance that’s consistent with multiple cameras, or you want to ensure that every shot in a series has the same settings. Whatever your reason, Kino supports both white balance presets, and manual configurations through our beautiful, tactile picker.
Tap to Focus
When researching Kino’s UI, we noticed people are ultra-careful to not touch their screens during recording. After all, one errant tap could cause a sudden change in focus, ruining a shop. We made the conscious decision to launch Kino without the “tap to expose” or “tap to focus” that you see in Apple’s camera app.
While professionals are comfortable fiddling with a focus dial, it turns out everyone else expects the camera on their phone to support tap to focus. Even professionals prefer to tap to focus at times. So we went ahead and added a tap to focus, but with an option to disable it.
Better Both Ways
Remember Sebastiaan’s talk about buttons and teachings?
Well, we worked on a lot more of both. We added three new Grade presets, and a short tutorial for beginners that pops up the first time you open the app.
Sebastiaan also made a comprehensive tutorial video. Check out our Quick Start guide! More to come.
Finally, we changed the default setup when you first launch the app. Previously, we things to mimic Apple’s own camera app, for the sake of consistency. In retrospect, we should configure it in a way that stands out from Apple’s camera. To that end, we now default Kino to shooting Apple Log with a beautiful grade applied.
Revisiting Price
Kino’s revenue is off to a great start, but nowhere near the level of Halide. That’s to be expected, as it took several major releases for Halide to hit its stride.
That being said, we’re going to experiment with its price. Kino is normally $20, but we launched at $10. To celebrate our 1.1 launch, we’re running one more 50% off sale. With those data points, we’re going to play around with prices until we find the sweet spot. That might end up being $15, or it might be $60. After that, maybe we’ll be ready to assess the state of pay-up-front apps in 2024.
Final Thoughts on Kino 1.0
We set out to build Kino in four months, and while we’re proud we launched that beta, we did not hit that deadline. I do think we could have hit it if we hadn’t struggled with quirks in Apple’s AV platform, managed to delegate more things like onboarding, and didn’t ship AutoMotion in our 1.0.
However, every project has surprises, and sometimes products are way better off by letting things gestate a bit longer. There will always be things out of your control, no matter how many resources you throw at a problem. “Nine women can’t make a baby in one month.”, as they say.
It’s still the early days, but we’re bullish on Kino’s potential. There’s undoubtedly a lot of work ahead, but we’re going to take a break from Kino to focus on… Halide!
We’re ecstatic about Halide’s future thanks to the lessons we learned these last six months. Kino yielded new technology we can bring over to Halide, from our fresh image processing pipeline to our improved SwiftUI chops.
Just as valuable was the fresh perspective. As I mentioned at the start, we’re now in the home stretch of a huge new feature in Halide, but we’re picking up where we left off with a fresh set of eyes. Can the next stage of Halide strike a similar balance between novice and professional?
It’s tempting to tell you more, but Kino reaffirmed our decision to err on the side of surprise. We’ll talk plenty about the product when it’s done. If there’s anything we’ve learned in the last year, it’s that you never know what’s ahead.
Science & Environment
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.”
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.”
“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.
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.”
Technology
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!
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.
Meet the Host
Andrew Davidson
SVP/Chief Insights Officer, Mintel Comperemedia.
Meet the Guests
Brian Benway
Senior Analyst, Gaming and Entertainment, Mintel Reports US.
Jan Urbanek
Senior Analyst, Consumer Technology, Mintel Reports Germany.
Mintel News
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.
More from Mintel
-
Mintel Technology Reports
Mintel’s Technology market research help you anticipate what’s next in the Technology industries….
-
Global Outlook on Sustainability: A Consumer Study 2024-25
Get the latest sustainability data, with insights on consumers, products and markets to inform your innovation strategy and build your sustainability strategy….
Podcast
2024-03-15T03:16:00+00:00
2024
0
Latest insights
June 6, 2024
In the exciting world of Artificial Intelligence (AI), prompts are instructions or queries you enter into the AI interface to get responses. If you want helpful responses, you…
November 28, 2023
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. Learn…
Download the Latest Market Intelligence
Science & Environment
Archaeologists make stunning underwater discovery of ancient mosaic in sea off Italy
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.
“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.
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.
“The work is still long and complex, but we are sure that it will offer many prompts and great satisfactions,” the park said.
Technology
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.
Six engine static fire of Flight 6 Starship pic.twitter.com/fzJz9BWBn6
— SpaceX (@SpaceX) September 19, 2024
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.
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.
Science & Environment
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.
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.
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.
“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.
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.
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.
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.
And he said that work must start urgently, as the “vultures began dying in the 1990s. India has not done anything three decades on.”
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.”
“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.”
Technology
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
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.
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.
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.
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).
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.
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.
-
Sport10 hours ago
Joshua vs Dubois: Chris Eubank Jr says ‘AJ’ could beat Tyson Fury and any other heavyweight in the world
-
News1 day ago
You’re a Hypocrite, And So Am I
-
News11 hours ago
Israel strikes Lebanese targets as Hizbollah chief warns of ‘red lines’ crossed
-
Sport10 hours ago
UFC Edmonton fight card revealed, including Brandon Moreno vs. Amir Albazi headliner
-
Technology9 hours ago
iPhone 15 Pro Max Camera Review: Depth and Reach
-
Science & Environment13 hours ago
How one theory ties together everything we know about the universe
-
Science & Environment21 hours ago
Sunlight-trapping device can generate temperatures over 1000°C
-
News8 hours ago
Brian Tyree Henry on voicing young Megatron, his love for villain roles
-
Science & Environment24 hours ago
Quantum time travel: The experiment to ‘send a particle into the past’
-
CryptoCurrency10 hours ago
2 auditors miss $27M Penpie flaw, Pythia’s ‘claim rewards’ bug: Crypto-Sec
-
CryptoCurrency10 hours ago
Bitcoin miners steamrolled after electricity thefts, exchange ‘closure’ scam: Asia Express
-
CryptoCurrency10 hours ago
Cardano founder to meet Argentina president Javier Milei
-
CryptoCurrency10 hours ago
Dorsey’s ‘marketplace of algorithms’ could fix social media… so why hasn’t it?
-
CryptoCurrency10 hours ago
Low users, sex predators kill Korean metaverses, 3AC sues Terra: Asia Express
-
CryptoCurrency9 hours ago
Ethereum is a 'contrarian bet' into 2025, says Bitwise exec
-
CryptoCurrency10 hours ago
Arthur Hayes’ ‘sub $50K’ Bitcoin call, Mt. Gox CEO’s new exchange, and more: Hodler’s Digest, Sept. 1 – 7
-
CryptoCurrency10 hours ago
Treason in Taiwan paid in Tether, East’s crypto exchange resurgence: Asia Express
-
CryptoCurrency10 hours ago
Leaked Chainalysis video suggests Monero transactions may be traceable
-
CryptoCurrency10 hours ago
Journeys: Robby Yung on Animoca’s Web3 investments, TON and the Mocaverse
-
CryptoCurrency10 hours ago
Louisiana takes first crypto payment over Bitcoin Lightning
-
CryptoCurrency10 hours ago
Are there ‘too many’ blockchains for gaming? Sui’s randomness feature: Web3 Gamer
-
CryptoCurrency10 hours ago
Crypto whales like Humpy are gaming DAO votes — but there are solutions
-
CryptoCurrency10 hours ago
Help! My parents are addicted to Pi Network crypto tapper
-
CryptoCurrency10 hours ago
$12.1M fraud suspect with ‘new face’ arrested, crypto scam boiler rooms busted: Asia Express
-
CryptoCurrency10 hours ago
‘Everything feels like it’s going to shit’: Peter McCormack reveals new podcast
-
Science & Environment13 hours ago
Future of fusion: How the UK’s JET reactor paved the way for ITER
-
CryptoCurrency10 hours ago
SEC sues ‘fake’ crypto exchanges in first action on pig butchering scams
-
CryptoCurrency10 hours ago
Fed rate cut may be politically motivated, will increase inflation: Arthur Hayes
-
CryptoCurrency10 hours ago
Decentraland X account hacked, phishing scam targets MANA airdrop
-
CryptoCurrency10 hours ago
CZ and Binance face new lawsuit, RFK Jr suspends campaign, and more: Hodler’s Digest Aug. 18 – 24
-
CryptoCurrency10 hours ago
CertiK Ventures discloses $45M investment plan to boost Web3
-
CryptoCurrency10 hours ago
Memecoins not the ‘right move’ for celebs, but DApps might be — Skale Labs CMO
-
CryptoCurrency10 hours ago
Telegram bot Banana Gun’s users drained of over $1.9M
-
CryptoCurrency10 hours ago
DZ Bank partners with Boerse Stuttgart for crypto trading
-
CryptoCurrency10 hours ago
RedStone integrates first oracle price feeds on TON blockchain
-
CryptoCurrency10 hours ago
Bitcoin bulls target $64K BTC price hurdle as US stocks eye new record
-
CryptoCurrency10 hours ago
SEC asks court for four months to produce documents for Coinbase
-
CryptoCurrency10 hours ago
‘No matter how bad it gets, there’s a lot going on with NFTs’: 24 Hours of Art, NFT Creator
-
CryptoCurrency10 hours ago
Blockdaemon mulls 2026 IPO: Report
-
Business9 hours ago
Thames Water seeks extension on debt terms to avoid renationalisation
-
Politics9 hours ago
I’m in control, says Keir Starmer after Sue Gray pay leaks
-
Business9 hours ago
How Labour donor’s largesse tarnished government’s squeaky clean image
-
News8 hours ago
“Beast Games” contestants sue MrBeast’s production company over “chronic mistreatment”
-
News8 hours ago
Sean “Diddy” Combs denied bail again in federal sex trafficking case in New York
-
News8 hours ago
Brian Tyree Henry on his love for playing villains ahead of “Transformers One” release
-
Technology3 days ago
YouTube restricts teenager access to fitness videos
-
Science & Environment13 hours ago
‘Running of the bulls’ festival crowds move like charged particles
-
Politics24 hours ago
What is the House of Lords, how does it work and how is it changing?
-
Health & fitness2 days ago
Why you should take a cheat day from your diet, and how many calories to eat
-
MMA10 hours ago
UFC’s Cory Sandhagen says Deiveson Figueiredo turned down fight offer
-
MMA10 hours ago
Diego Lopes declines Movsar Evloev’s request to step in at UFC 307
-
Football9 hours ago
Niamh Charles: Chelsea defender has successful shoulder surgery
-
Football9 hours ago
Slot's midfield tweak key to Liverpool victory in Milan
-
Technology2 days ago
Can technology fix the ‘broken’ concert ticketing system?
-
Fashion Models9 hours ago
Miranda Kerr nude
-
Politics8 hours ago
Labour MP urges UK government to nationalise Grangemouth refinery
-
Science & Environment13 hours ago
Rethinking space and time could let us do away with dark matter
-
Entertainment8 hours ago
“Jimmy Carter 100” concert celebrates former president’s 100th birthday
-
CryptoCurrency10 hours ago
SEC settles with Rari Capital over DeFi pools, unregistered broker activity
-
News8 hours ago
Joe Posnanski revisits iconic football moments in new book, “Why We Love Football”
-
Health & fitness2 days ago
What 10 days of a clean eating plan actually does to your body and why to adopt this diet in 2022
-
Health & fitness2 days ago
When Britons need GoFundMe to pay for surgery, it’s clear the NHS backlog is a political time bomb
-
Science & Environment23 hours ago
Quantum to cosmos: Why scale is vital to our understanding of reality
-
Science & Environment1 day ago
How to wrap your mind around the real multiverse
-
Technology3 days ago
Trump says Musk could head ‘government efficiency’ force
-
Science & Environment1 day ago
Time may be an illusion created by quantum entanglement
-
Science & Environment22 hours ago
X-ray laser fires most powerful pulse ever recorded
-
Science & Environment22 hours ago
How indefinite causality could lead us to a theory of quantum gravity
-
Science & Environment21 hours ago
Doughnut-shaped swirls of laser light can be used to transmit images
-
Science & Environment19 hours ago
Why we are finally within reach of a room-temperature superconductor
-
Science & Environment19 hours ago
Black holes scramble information – but may not be the best at it
-
Science & Environment19 hours ago
The galactic anomalies hinting dark matter is weirder than we thought
-
Science & Environment10 hours ago
We may have spotted a parallel universe going backwards in time
-
CryptoCurrency10 hours ago
Telegram CEO cannot leave France, OpenSea receives Wells notice, and more: Hodler’s Digest, Aug. 25 – 31
-
CryptoCurrency10 hours ago
Five crypto market predictions that haven’t come true — yet
-
CryptoCurrency10 hours ago
Solana unveils new Seeker device, says it’s not just a ‘memecoin phone’
-
CryptoCurrency10 hours ago
Crypto scammers orchestrate massive hack on X but barely made $8K
-
CryptoCurrency10 hours ago
Bitcoiners are ‘all in’ on Trump since Bitcoin ’24, but it’s getting risky
-
CryptoCurrency10 hours ago
Real-world asset tokenization is the crypto killer app — Polygon exec
-
Science & Environment13 hours ago
Why we need to invoke philosophy to judge bizarre concepts in science
-
Science & Environment13 hours ago
Jupiter’s stormy surface replicated in lab
-
Politics13 hours ago
Owen Paterson loses ECHR appeal against report that preceded downfall | Owen Paterson
-
CryptoCurrency10 hours ago
Binance CEO says task force is working ‘across the clock’ to free exec in Nigeria
-
CryptoCurrency10 hours ago
Elon Musk is worth 100K followers: Yat Siu, X Hall of Flame
-
CryptoCurrency10 hours ago
Bitcoin price hits $62.6K as Fed 'crisis' move sparks US stocks warning
-
CryptoCurrency10 hours ago
Beat crypto airdrop bots, Illuvium’s new features coming, PGA Tour Rise: Web3 Gamer
-
CryptoCurrency10 hours ago
Bitcoin bull rally far from over, MetaMask partners with Mastercard, and more: Hodler’s Digest Aug 11 – 17
-
CryptoCurrency10 hours ago
VonMises bought 60 CryptoPunks in a month before the price spiked: NFT Collector
-
CryptoCurrency10 hours ago
Vitalik tells Ethereum L2s ‘Stage 1 or GTFO’ — Who makes the cut?
-
CryptoCurrency10 hours ago
Ethereum falls to new 42-month low vs. Bitcoin — Bottom or more pain ahead?
-
Politics9 hours ago
The Guardian view on 10 Downing Street: Labour risks losing the plot | Editorial
-
Politics9 hours ago
‘Appalling’ rows over Sue Gray must stop, senior ministers say | Sue Gray
-
Business8 hours ago
UK hospitals with potentially dangerous concrete to be redeveloped
-
Business8 hours ago
Axel Springer top team close to making eight times their money in KKR deal
-
News8 hours ago
Sean “Diddy” Combs denied bail again in federal sex trafficking case
-
News8 hours ago
Brian Tyree Henry on voicing young Megatron, his love for villain roles
-
CryptoCurrency8 hours ago
Coinbase’s cbBTC surges to third-largest wrapped BTC token in just one week
-
Politics7 hours ago
Why is Sue Gray at the centre of a new political storm? | Sue Gray
-
News6 hours ago
Woman sues Florida sheriff after mistaken arrest lands her in jail on Christmas
-
News12 hours ago
Church same-sex split affecting bishop appointments
You must be logged in to post a comment Login