Security teams log 54% of successful attacks and alert on just 14%. The rest move through your environment unseen.
The Picus whitepaper shows how breach and attack simulation tests your SIEM and EDR rules so threats stop slipping by detection.
Over 900 automatic tank gauge (ATG) systems across the United States, used to monitor fuel and chemical storage tanks across various critical infrastructure sectors, have been found exposed online and are vulnerable to ongoing attacks.
ATG systems are electronic monitoring devices used to remotely track fuel, chemicals, or other liquids in storage tanks, automating inventory control, environmental leak detection, and regulatory compliance. While they’re commonly used at gas stations to monitor fuel tank levels, they can also be found in industrial settings to track chemical storage tanks.
On Tuesday, the Cybersecurity and Infrastructure Security Agency (CISA), the FBI, the NSA, the Department of Energy, and other U.S. government partners issued a joint advisory warning critical infrastructure organizations to secure internet-exposed ATG systems against ongoing attacks.
The federal agencies warned that threat actors target such devices to alter system settings in command execution attacks after exploiting various security flaws, including hardcoded credentials, authentication bypasses, SQL injection vulnerabilities, OS command execution flaws, and privilege escalation weaknesses.
“The recent malicious cyber activity observed by the authoring organizations—which the U.S. government has not yet attributed to a nation-state or threat actor group—involves cyber threat actors compromising internet-exposed ATG systems and subsequently modifying them through command execution,” the joint advisory warned.
As CISA cautioned, following successful compromises, the attackers could disable system alerts, increasing the risk of leaks or equipment failures and even causing permanent damage to the targeted tank systems.
In light of CISA’s advisory, Internet security watchdog Shadowserver warned today that over 1,000 ATG systems were exposed online, with the vast majority (909 devices) in the United States.

”We added scanning of Automatic Tank Gauge (ATG) systems to our Accessible ICS reporting with 1061 IPs seen on 2026-06-05 (on port 10001/tcp),” Shadowserver said. “This is after weeding out vast majority which appear to be honeypots (including ports 8001/9001).”
Critical infrastructure organizations are advised to restrict remote access to ATG systems from the Internet as soon as possible and implement controlled access through firewalls, VPNs, or access control lists.
They should also replace default passwords on vulnerable devices with strong credentials, apply security updates, monitor systems for unauthorized changes, and implement multi-factor authentication where possible.
CISA’s warning comes after a May CNN report that Iranian hackers had breached ATG systems connected to the Internet at multiple gas stations across the United States. Iranian hacking groups were linked to these incidents based on their previous history of targeting fuel management systems and other industrial control technologies.
After hacking the devices with weak or nonexistent passwords, the attackers reportedly manipulated the display readings but did not alter the actual fuel levels. Although these incidents didn’t cause any physical damage, they raise concerns that such attacks could hinder automated fuel leak detection and similar safety-related functions.
In April, another joint advisory issued by U.S. federal agencies linked Iranian state-backed hackers to attacks targeting Rockwell Automation/Allen-Bradley PLC devices since March 2026, causing financial losses and operational disruptions.
Cybersecurity firm Censys reported one day later that 74.6% (3,891 hosts) of such industrial control systems found exposed online globally were from the United States.
Security teams log 54% of successful attacks and alert on just 14%. The rest move through your environment unseen.
The Picus whitepaper shows how breach and attack simulation tests your SIEM and EDR rules so threats stop slipping by detection.
The national project will capture a baseline that will be used to create a clearer image of how research is understood and utilised in Ireland.
Research Ireland has launched the Research in Ireland Barometer 2026, a new national project designed to build a richer, more inclusive understanding of how people across Ireland encounter, engage with, and experience research in their everyday lives.
The Barometer will focus on capturing lived experiences, primarily the stories, context and perspectives that often shape how people relate to research. Serving as a baseline for the coming years, the project will aim to create a clearer picture of how research is understood, trusted and encountered across different communities.
Commenting, the director of research for society at Research Ireland, Dr Ruth Freeman, said: “The Research in Ireland Barometer 2026 represents an important step in opening up conversations about research across society. It is also essential to shaping how we engage with society as a public body.
“Rather than focusing solely on a simple, statistical survey, we are taking a community-engaged approach to understand how people experience research in their everyday lives, from the decisions they make to the information they encounter and trust.”
Freeman explained that the organisation is actively seeking information from people aged 16 and older, across Ireland – and particularly those who feel as though their experiences are not often captured in traditional surveys. Individuals have three months to contribute to the survey.
She said, “By listening to people’s lived experiences and meeting people where they are, we aim to build a richer, more inclusive understanding of research and ensure it remains connected to the needs and experiences of the public.”
In early March, Research Ireland also unveiled its inaugural strategy for development of the country’s research and innovation landscape over the next five years. The aim of the strategy is to fund 3,800 new PhDs, support 14 enhanced research centres and deliver 150 research awards in collaboration with Government departments.
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This week, we’re shaking things up a little, with Tom Nardi still in the host seat, and someone besides Al Williams in the other, namely Kristina Panos.

In Hackaday news, we have a new Frikkin’ Lasers Challenge going on now, although we acknowledge that no one can actually enter their project into it at the moment. We hope to have that fixed in short order. Procrastinators, disregard.
You’ll have to wait another week for the triumphant return of What’s That Sound, but we do have an audio mailbag for you this week. Thanks, Dillon!
We look at loading SEGA games from a vinyl record, discuss a really cool project that puts live plane data on your ceiling, and debate the name ‘PopTuber’. We also discuss DIY routers, and stress over the future of electronic shelf labels.
Check out the links below if you want to follow along, and as always, tell us what you think about this episode in the comments!
Download in DRM-free MP3 and share it with your favorite PopTuber.
iFi Audio is bringing the Gryphon back with sharper teeth. The new iFi iDSD GR 2 arrives at High End Vienna 2026 as the next-generation successor to the xDSD Gryphon, a portable DAC/headphone amplifier that we have covered before and one that earned a loyal following for squeezing a lot of desktop-style flexibility into a travel-friendly chassis.
Priced at $529 USD, the iDSD GR 2 is not a minor refresh. iFi says the new model has been rebuilt around an all-new DAC architecture, upgraded fully balanced amplification, an OLED touchscreen interface, JVCKENWOOD’s K2HD Technology, and lossless Bluetooth connectivity.
That puts the GR 2 in the middle of a very competitive portable DAC/amp market where battery life, output power, codec support, usability, and actual headphone-driving ability matter more than anything. As always, the spec sheet looks promising. The listening will decide whether the Gryphon legend still breathes fire or just got a new badge.

The iFi iDSD GR 2 is more than a cosmetic update to the xDSD Gryphon. iFi has moved to a new PCM1795 DAC with a bespoke balanced circuit design, upgraded the fully balanced amplifier section, and increased output to 1,513mW RMS into 32 ohms — a claimed 50% jump over its predecessor.
The control side gets a colour OLED touchscreen with capacitive controls, while wireless support moves to Bluetooth 5.4 with aptX Lossless and LDAC. Wired users are not being ignored either, with USB, S/PDIF, and line-level connectivity all included.
The GR 2 also adds JVCKENWOOD’s K2HD Technology, XBass+, XSpace, Hybrid Power Mode for better long-term battery health, and iFi Nexis app support for OTA updates and deeper control. There is a lot packed into this portable DAC/headphone amp, especially at a price point we expected to be higher based on early rumors surrounding the GR 2.
The iFi iDSD GR 2 also updates the wireless side with Bluetooth 5.4, including support for aptX Lossless and LDAC.
That gives the GR 2 stronger wireless credentials than many portable DAC/amps, especially for users who want to connect from a phone, tablet, or laptop without giving up higher-quality codec support. aptX Lossless can deliver 16-bit/44.1kHz CD-quality playback under the right conditions, while LDAC offers bitrates up to 990kbps for compatible Android devices.
There are still the usual Bluetooth caveats. Codec support depends on the source device, connection stability, and the listening environment. iPhone users will not get aptX Lossless or LDAC from iOS, so the GR 2’s wired USB input will still matter for Apple users who want higher-resolution playback.
The biggest internal change inside the iFi iDSD GR 2 is the move to the Burr-Brown PCM1795 DAC, which iFi says is being used in one of its products for the first time.
That matters because this is not just a chip swap. The PCM1795 is a current-output DAC, which gives iFi more room to design its own I/V conversion and output stages around the chipset. In the GR 2, that includes a bespoke balanced circuit, Class A op-amps, and a signal path that is now fully balanced from the preamp section to the headphone stage.
iFi also says it has removed unnecessary electronic switching from the circuit, which should help reduce distortion across the signal path. The goal is lower noise, cleaner conversion, and a more transparent presentation without abandoning the warmer tonal balance that many listeners associate with iFi’s portable DAC/amp designs.
We will dig further into how much of that shows up in actual listening, but on paper, this is one of the most meaningful engineering changes between the older xDSD Gryphon and the new iDSD GR 2.

The iFi iDSD GR 2 also adds a colour OLED touchscreen with capacitive controls, which should make the device easier to use without digging through layers of menus.
That matters on a portable DAC/headphone amp with this many features. Input selection, gain, filters, Bluetooth status, battery information, and sound processing modes all need to be easy to access, especially when the device is being used with a phone, laptop, tablet, or digital transport.
The new interface gives the GR 2 a more modern control system than the older xDSD Gryphon, and it should make day-to-day adjustments faster and less frustrating.
The iFi iDSD GR 2 introduces a new Hybrid Power Mode designed to manage how the unit draws power during longer listening sessions.
When connected to an external power supply, the GR 2 can prioritize external power instead of constantly running from the internal battery. If the amplifier section needs additional current, it can draw from the battery briefly, then return to external power once demand drops.
That should help reduce unnecessary battery cycling, which matters if the GR 2 spends a lot of time connected to a desk, laptop, or fixed audio system. Portable DAC/amps are still battery-dependent devices, and long-term battery health is not a small detail unless you enjoy turning expensive gear into a paperweight with balanced outputs.
It is a practical feature, not a flashy one, but it could make the GR 2 more useful for listeners who move between portable and desktop setups.


The iFi iDSD GR 2 also gets a meaningful power increase, with iFi claiming up to 1,513mW RMS into 32 ohms. That is said to be 50% more headphone drive than the original xDSD Gryphon.
That level of output should make the GR 2 a realistic option for many full-sized planar magnetic and dynamic headphones from the balanced output, not just sensitive IEMs and easy-to-drive portable models. It also gives users more headroom before the amplifier starts to feel strained.
There are still some important blanks to fill in. We are waiting to see how the GR 2 handles higher-impedance loads above 200 ohms, where voltage swing matters more than headline wattage into 32 ohms. And to be clear, this is not designed for electrostatic headphones, which require their own dedicated energizer or amplifier.
On paper, the extra output is one of the GR 2’s more useful upgrades. More power only matters if it comes with control, low noise, and clean gain, but the numbers suggest iFi is aiming beyond the usual pocket-DAC crowd.
The iFi iDSD GR 2 also includes JVCKENWOOD’s K2HD Technology, which is designed to process digital recordings by restoring some of the harmonic information that can be reduced during digital mastering, compression, or conversion.
That does not mean it magically turns every file into a master tape. The goal is more specific: to add a degree of harmonic reconstruction and tonal density to digital playback without forcing users into a fixed sound profile. iFi says the GR 2 also includes a lighter K2 mode, which offers a similar approach without upsampling.
The GR 2 also provides four selectable digital filters, giving listeners some control over how the DAC handles timing, roll-off, and overall presentation. Some users will hear those differences more clearly than others, depending on the headphones, source material, and how allergic they are to menus.

| iDSD GR 2 | xDSD Gryphon | |
|---|---|---|
| Price | $529 | $499 |
| Format Support | PCM 768kHz DSD512 Bluetooth 5.4 |
PCM 768kHz DSD512 Bluetooth 5.1 |
| Bluetooth Codecs | aptX Lossless aptX Adaptive aptX LDAC, LHDC/HWA, AAC, SBC |
aptX Adaptive aptX LDAC, LHDC/HWA, AAC, SBC |
| DAC & I/V Stage | Burr-Brown PCM1795 with bespoke I/V stage | Burr-Brown DSD1793 using internal I/V stage |
| XMOS Chipset | XU316 | XU216 |
| Inputs | USB-C Bluetooth 5.4 S/PDIF (Optical & Coaxial) 3.5mm Line 4.4mm Line (new true balanced design) |
USB-C Bluetooth 5.1 S/PDIF Optical & Coaxial) 3.5mm Line 4.4mm Line |
| Amplifier Chipset | TRPA6120 | MAX97220 |
| Line Outputs | 3.5mm SE 4.4mm Balanced (4.37Vrms) |
3.5mm SE 4.4mm Balanced (6.7Vrms) |
| Headphone Outputs | 3.5mm S-Balanced 4.4mm Balanced |
3.5mm S-Balanced 4.4mm Balanced |
| Output Power (RMS) | >1,513mW @ 32Ω (4.4mm Balanced) >567mW @ 322Ω (3.5mm S-Balanced) |
>1,000mW@ @ (4.4mm Balanced) >320mW @ 325 (3.5mm S-Balanced) |
| K2HD Technology | Yes | – |
| Digital Filters | BP, GTO, MIN, STD | BP, GTO, MIN, STD |
| Battery | Li-Po 4,900mAh | Li-Po 3,600mAh |
| Hybrid Battery Mode | Yes – akin to “Desktop” mode | – |
| Nexis Compatibility | Yes | – |
| Display | 2.3″ OLED Color Touchscreen | 2.08″ Black and White |

The iFi iDSD GR 2 looks like a meaningful step beyond the older xDSD Gryphon, not just a cosmetic refresh. We know it uses a new Burr-Brown PCM1795 DAC, a fully balanced circuit design, upgraded amplification rated at up to 1,513mW RMS into 32 ohms, a larger color OLED touchscreen, Bluetooth 5.4 with aptX Lossless and LDAC, JVCKENWOOD K2HD processing, four digital filters, XBass+, XSpace, Hybrid Power Mode, and iFi Nexis app support. At $529 USD (£529 / €549 / $799 CAD), it also lands lower than early rumors suggested, which makes the feature set more interesting. Nevertheless, the hardware story is promising.
Where to buy: $529 at iFi Audio (Available July 6, 2026)

Apple plans to show off iOS 27 at its Worldwide Developers Conference early next week, and details already surfacing from internal builds and reports give a clear sense of the practical shifts users will notice first. One adjustment stands out right away for its effect on long-held habits. Notifications currently appear from the top of the screen, and a downward swipe from the middle opens the full list in Notification Center. In current internal versions of iOS 27, those alerts instead slide in from the left side. Reaching Notification Center requires a downward swipe from the top-left portion of the screen. A swipe from the center area now surfaces search or an interface for asking the assistant directly.
The decision to change the natural flow of scrolling originates from a deliberate attempt to place search and helper features in the most natural spot. The animation for incoming alerts now follows the new direction, making the overall experience feel much more consistent. People who have been using the swipe routinely for years may find themselves attempting to return to the Notification Center by habit, but instead being taken to the search panel. This prioritizes getting you to the information or request as quickly as possible, without the need for another tap.
Sale
The Find My app also gets a slight design change. New icons appear in the navigation tab bar, freshening up the overall design, but the fundamentals remain same. The big news is Siri. Siri is expected to receive a substantial overhaul, changing it into a true conversation tool rather than a collection of one-time queries. It will contain a designated area for these back-and-forth conversations, where you can connect by voice or text. Siri will understand what you’re saying based on the context of what you’re looking at on your screen or what’s open. Conversations can be shared between devices via iCloud. You’ll also have basic control over chat history, allowing you to delete previous conversations after a month, a year, or keep them forever.

According to early reports, the experience might begin in preview mode, as many of Apple’s prior enhancements did. Some builds additionally have a potential feature that allows customized requests to be transmitted via ChatGPT. The animation work is also related to the Dynamic Island, with descriptions of flowing glassy effects that limit interaction rather than bursting out all over the place. The Clean Up option in the Photos app is getting a much-needed upgrade in iOS 27. Apple is also experimenting with allowing you to edit your images with phrases or voice commands, like “crop the top left corner” or “make the colors stronger.” This one may arrive later, rather than right away.

Other rumors indicate that the Camera app will have its own direct link to the assistant for specific tasks, as well as a few AI-powered choices to refocus your photographs or make parts of them larger. All of this is part of a bigger push to simply integrate AI capabilities into areas where they are already being used.

According to all of the leaks thus far, iOS 27 is all about smoothing out the wrinkles and making current features work more seamlessly, rather than delivering any fresh new whiz-bang features. Support is expected to return to the iPhone 12 and all subsequent generations, but some of the more complex AI features will likely remain exclusive to newer hardware. Then, during WWDC, we’ll get a better sense of what’s going on, when to expect things, and how everything works together in the grand scheme.
[Source]
An anonymous reader quotes a report from 9to5Google: There’s been a lot of pushback in recent months around the impact of AI data centers on local communities, with the use of water being a key issue for many. Google, in an expansion of its “water stewardship” programs, is making commitments that include replenishing more water than it uses at its data center sites. AI data centers go through a lot of water use in cooling the hardware used to power models, and Google is no exception. While Google stands by saying that the impact of AI data centers on U.S. water consumption is “small,” it also says it is focusing on “protecting local water resources in all aspects of our data center operations.”
In a post, Google explains five new commitments regarding water use at its data centers in the U.S. These include replenishing more water than is consumed at data centers, helping local utilities to modernize water infrastructure, using air-cooled solutions in areas where watersheds are at risk, “transparently” reporting water use at data centers, and focusing on “alternative and reclaimed” water solutions. […] In a linked paper (PDF), Google says it will replenish 120% of the water it uses at data center sites by 2030. Google is also committing $17 million to new water stewardship projects in Georgia, Iowa, Michigan, Minnesota, Missouri, Nebraska, and Texas in addition to 165 other projects already in place throughout the U.S.
The transition from analog switches back to mechanical isn’t perfect, either. When you plug in a normal switch and press the “scan” button to reset the board, the multi-input functionality still stays semi-functional. In my testing, where I set a WASD half-press to be the normal letter, and a full press to be [Shift + WASD], pressing any of those keys and a second key immediately after would cause the next input to combine with the Shift input, resulting in wOrdS with raNdOMly capitaLized letters! The strangest part is that the G-Hub app knows when a mechanical switch is plugged in, and gives you an alert that the multi-input won’t work with a standard switch, but it doesn’t default to the key’s standard input to avoid issues.
The tedium of swapping out switches, scanning, and changing keymaps every time you start up a game is not ideal. I found myself groaning at the prospect, and using only the mechanical switches for gaming. Much like glasses with transition lenses, the BMW i8, or a McRib, this keyboard creates a hybrid version of two things that is, across the board, worse than its individual parts.
One nice touch is that the removable angled feet on the underside of this keyboard also function as keycap and switch pullers. If you’re traveling with this keyboard, you’ll always have these tools with you. But it also means, if you don’t like using your keyboard at an 8-degree angle, you’ll have awkwardly-designed switch and keycap pullers sitting on your desk. The mild added convenience of part-time storage is nowhere near as practical as the standard flip-out feet and separate keycap/switch puller that most keyboards today include. It’s also not as practical as Steelseries’ silicone flap to hide a keycap puller.
Photograph: Henri Robbins
If you’re expecting a keyboard of this caliber to have a complex internal assembly, you’re right on the money. Taking it apart involves removing the bottom feet and the back sticker, removing a few screws, removing the back panel, unscrewing another dozen screws, then separating the front and middle sections, after which you’re left with four major components: The top shell, the main assembly of the PCB and plate,, the middle shell (which houses the LED bar, along with the daughterboard housing the USB-C port back buttons), and the bottom shell. While disassembly is fairly lengthy, I actually quite like the assembly. Besides the adhesive feet, everything seems incredibly rigid and well-designed internally. The only real improvement would be replacing the plastic screw posts with heat-set metal threads.
While the AI fundraising machine keeps breaking its own records, some founders are building in the other direction. Mirror founder Brynn Putnam just raised money for Board, a startup focused on bringing people together through in-person games and social experiences. Cyberdeck creators are going viral crafting whimsical DIY computers that literally encourage users to touch grass. Unlike the AI-free browser crowd, this doesn’t just feel like backlash, […]
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I consider Blackmagic’s DaVinci Resolve to be among the best professional-grade desktop non-linear video editing software out there.
You’ll find it a core part of our guides to the best free video editing software and best video editing software we’ve ever tested. So, I was keen to see what the latest version (21), offers. And to say I was surprised would be an understatement. This is one of those tools that just keeps getting better.
And as its latest major update has just been officially released, I thought it would be a great opportunity to see what Resolve 21 has to offer.
You can download the free app by clicking here.
This is going to be a quick section: DaVinci Resolve is free.
There are no one-off fees, and certainly no subscription costs. Nothing. Nada. Zilch. We all know of Adobe’s continuous (and pricy) subscription plans, and even Apple are now embracing the subscription model with its Apple Creator Studio collection. But Resolve bucks the trend, and remains a bright beacon of hope in a dystopian subscription landscape.
Now there are limitations to Resolve, but these are generous: your exports are limited to 4K and 60fps, and any hardware acceleration is throttled, for instance. That’s because Blackmagic also have Resolve Studio, which unlocks export resolutions up to 32K and 120fps, offer more advanced color correction, additional effects, and also introduces a slew of AI-driven tools, all for a one-off price of $300.
But don’t let that put you off: Resolve should fit most people’s needs, this review will focus on the free version.
Before we delve into what’s new, if you’re unfamiliar with what DaVinci Resolve is, let’s take a broad look at what it offers. Yes, it’s a video editor, but how good can it be considering it’s free? I mean, have you seen Windows Movie Maker? And iMovie used to show so much promise, but has now fallen by the wayside.
But Resolve is so much more than a basic and limited video tool. Despite it being free, it should really be compared to Apple’s Final Cut Pro and Adobe’s Premiere Pro. Within a single program, you can catalogue your clips, build your edit, apply transitions and titles, create complex effects, perform advanced color correction, perfect the audio, and finally export your completed project.
No need to venture into After Effects or Audition, or anything like that (unless you want to of course): pretty much everything can be done within Resolve. In order to achieve this, Resolve is divided into sections, which are referred to as ‘Pages’.
‘Media’ is where you ingest and organise your clips, ‘Cut’ and ‘Edit’ are two ways to build your project – ‘Cut’ having a simplified interface, while ‘Edit’ offers more versatile options. I see ‘Cut’ as ideal for newcomers to the editing world, but I also love the fact you can effortlessly move from one Page to the other and although you might not be able to alter the more advanced functions in ‘Cut’, if you added them while in ‘Edit’, you’ll still be able to preview them while in ‘Cut’.
Next is ‘Fusion’ – which is probably the trickiest Page. It’s where you create special effects, but rather than dragging a function onto a clip, Fusion uses the concept of nodes: you add effects to your worktop then connect clips to those effects. It’s an incredibly versatile and powerful way of working – once you get used to it.
And getting used to it you must, as that concept is also present in ‘Color’, Resolve’s color Correction section, where you can perform anything from basic alteration to more advanced options used by professionals (not surprising, since Resolve started out solely as a color grading tool), and finally, the ‘Fairlight’ Page is for working on the audio.
Whether you’re using Resolve or Resolve Studio, you have access to all the same Pages. The major difference is all the added tools Studio brings to the table.
You could very easily start your journey in Resolve, primarily focussing your efforts in the ‘Cut’ Page, and as you grow in confidence, start exploring the other sections, maybe even graduating to Resolve Studio in time – all without having to pay a penny – at first. If only I had such tools when I myself started out as a struggling editor.
It’s not that you couldn’t use photos in your video projects before, but now, they have their own dedicated Page, sitting between ‘Media’ and ‘Cut’. So what can you do with it? Pretty much everything you’d expect from a dedicated image organiser tool.
Resolve’s ‘Photo’ is compatible with common RAW formats from Canon, Sony and Nikon, as well as a host of others. Put it this way: I didn’t come across a format Resolve couldn’t handle. Working on an image is a fully non-destructive process: no matter what you do, the original file is never altered.
Any photo that’s added via the ‘Media’ Page will be found here, but you can also drag others straight onto the Page’s ‘Media Pool’ sidebar. To the right in an Inspector, where you’ll find a histogram, cropping tools, various color adjustments, even pitch and yaw sliders to rectify errors like fish-eye distortions for instance. You can also mark photos as ‘good’ (represented with a heart), or ‘reject’ (with an x). It’s all there, but it’s all pretty basic. Put it this way, Lightroom won’t be having sleepless nights over this inclusion.
But that’s only part of the story. In order to perform more advanced alterations, you need to add photos to an album (which is conveniently located where the timeline usually is). Once that’s done, you can venture to Resolve’s ‘Color’ Page, and have access to all the power and versatility (and complexity) that comes with that incredible color grading tool. Just like ‘Fusion’, ‘Color’ works with nodes.
You add them in sequence or parallel, reorder them, disconnect them, all of this will affect how each node affects your image, and once you go back to Photo, those alterations will be visible from there. This powerful versatility could be something Lightroom might have some concerns about, especially since this is but the first version of this few functionality.
A new Page is always a big thing to talk about when it comes to a new version of Resolve, but another new trend is the increasing addition of AI tools.
But there’s a caveat: they’re reserved for paying customers. In the free version, that menu’s either greyed out, or if you click on the ‘AI Clip Analysis’ icon, a popup window encourages you to pay the one-time fee to gain access to all the goodies in Resolve Studio.
And goodies there are, like IntelliSearch, which allows you to search for that specific element inside a clip, or the ability to transcribe what’s being said in a clip, detect faces, transform said faces, remove blemishes, remove motion blur, and so much more. Sadly, all these are out of bounds – they’ve got to entice you to upgrade somehow, right?
Try it if…
You’re looking for a powerful professional-grade video editor with an impressive amount of complex and versatile features, which now includes a dedicated section for cataloguing and grading your photos… all for free.
Don’t try it if…
You’re totally wedded to the likes of Apple or Adobe and have invested so much in those software ecosystems that you can’t be prised away from them, even at the prospect of a powerful and free video editing tool.
For more creative software, we’ve tested and reviewed the best video editing software for beginners and the best video editing apps for mobile devices.
Apple has spent the better part of a year trying to convince users that a smarter Siri is still on the way. Now, a new report suggests the company may be preparing expectations before the assistant finally arrives.
According to Bloomberg’s Mark Gurman, Apple is internally referring to the revamped Siri as a “beta” and “preview” product, signaling that the company may not present the software as a finished experience when it launches later this year. If that sounds familiar, it’s because Apple followed a similar playbook with the original Siri, which carried the beta label for roughly two years after its debut.
The decision would be a notable departure from Apple’s traditional approach to introducing major software features. The company is known for polished launches, but artificial intelligence has proven to be a different challenge altogether. Labeling the new Siri as a preview could give Apple more room to improve the assistant in public without promising perfection on day one. It would also help explain why the company has been unusually careful when discussing Siri’s next-generation capabilities after earlier delays pushed the project back.

The move reflects a broader reality facing the AI industry. Whether it’s chatbots generating inaccurate information or digital assistants misunderstanding context, even the biggest tech companies are still figuring out how to make AI reliable enough for everyday use.
Gurman’s report also points to another possibility: Apple could introduce a waitlist for users who want to try the upgraded Siri. That wouldn’t be unprecedented. Apple used a similar strategy when it rolled out Apple Intelligence in 2024, gradually expanding access rather than opening the floodgates immediately. A waitlist would allow the company to monitor performance, gather feedback, and manage demand while ironing out bugs behind the scenes.

For users, that means the arrival of Apple’s AI-powered assistant could look less like a traditional software release and more like an early-access program. That may disappoint those hoping for an instant upgrade, but it could ultimately be the safer path. After all, a smarter Siri that arrives slowly is probably better than one that arrives quickly and struggles to deliver on Apple’s biggest AI promises.
For years, smartphone makers have been locked in a race for brighter screens, thinner bezels, and sharper resolutions. Now, it looks like the next battleground could be refresh rates — and things are getting a little absurd.
A new leak suggests OnePlus is exploring a roadmap that could eventually bring 240Hz OLED displays to its flagship phones. That’s a number typically associated with competitive gaming monitors, not devices that spend most of their time scrolling through social media feeds and watching YouTube videos. According to tipster Digital Chat Station, OnePlus is considering a gradual jump through 165Hz and 185Hz panels before ultimately reaching 240Hz in future devices.
Most flagship smartphones today top out at 120Hz, which already feels incredibly smooth for everyday use. Animations are fluid, scrolling feels responsive, and games that support high frame rates look noticeably better. But OnePlus appears interested in pushing beyond what most users would consider necessary.

Recent rumors surrounding the upcoming OnePlus 16 have already hinted at a 165Hz-to-185Hz jump while retaining the company’s preferred 1.5K display resolution. That suggests OnePlus may be prioritizing speed over pixel count, at least for now. It’s not hard to see the appeal. Higher refresh rates can make supported games feel more responsive, especially in fast-paced shooters and racing titles. The challenge is that the benefits become increasingly difficult to notice as the numbers climb.
Getting to 240Hz is one thing; doing it without destroying battery life is another. That’s likely why OnePlus reportedly continues to favor 1.5K panels over sharper 2K displays. Combining ultra-high refresh rates with higher resolutions demands more power, more processing muscle, and more aggressive thermal management.

The company could revisit 2K screens in the future, but only if display technology improves enough to avoid major compromises. For now, the rumored OnePlus 16 is expected to arrive later this year with Qualcomm’s Snapdragon 8 Elite Gen 6 chip and a larger silicon-carbon battery, both of which could help support more demanding display hardware. Whether anyone truly needs a 240Hz smartphone screen is another question entirely. But if the leak is accurate, OnePlus seems determined to find out.
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