The standardised physical appearance of new devices showcased at the IFA expo in Berlin this week belies the innovation lurking ‘under the hood’, writes ARTHUR GOLDSTUCK
The annual IFA expo in Berlin, drawing to a close this week, has always been Europe’s poor relation to the Consumer Electronics Show (CES) in Las Vegas. Where CES kicks off the year by playing host to the biggest array of product announcements at any technology event in the world, IFA tends to wrap up the year by bringing many of those same products to market.
The result is that many observers tend to yawn about the seen-it-all-before sense they get from IFA. However, there is a vast difference between what is seen and what is experienced. Many of the products on display may look like variations on what has gone before, but their capability or functionality has advanced dramatically.
In other cases, new technology is not of the dazzling, stand-out variety, but seamlessly and surreptitiously integrated with existing technology.
The best example is the smartphone, which offers little room for superficial innovation. The last big shift in format came 18 months ago, when Samsung introduced the curved screen to its Edge devices.
This year LG launched a “modular” phone with a slide-out bottom to allow the battery to be replaced by the likes of camera and sound modules. Lenovo followed up with a razor-thin Motorola Moto Z handset that allows sound, battery and projector “Mods” to be clamped to the rear.
However, the emphasis on the physical shape of the devices – and the recent absence of format innovation from a market leader like Apple – has meant that the innovation happening under the hood has largely gone unnoticed.
The best case in point from IFA 2016 was the new flagship smartphone from Sony, the Xperia XZ with 5.2” screen. Along with Huawei and Alcatel, Sony was one of the few manufacturers to use IFA for the launch of a major new smartphone.
Predictably, casual visitors to the Sony stand primarily saw a more sleek design and little else. Those who picked it up and played with it may well have got a sense of the fast and dazzling clarity provided by the phone’s camera. This is made possible by a 23MP rear camera and a dedicated shutter release button, which means going “from standby to capture in 0.6 seconds”, as Sony put it.
The electronics giant rightly claims that its new new models, including a 4.6” trimmed down version of the flagship called the Xperia X Compact, feature “one of the most advanced cameras in a smartphone”. Along with an already powerful image sensor, it includes two additional assisting sensors that add up to what Sony labels “triple image sensing technology”.
“This allows you to capture beautiful images in motion with true to life colours in virtually any conditions,” according to the company’s announcement of the new phone. “The technology is comprised of Sony’s original Exmor RS for mobile image sensor, which provides a powerful blend of high quality image and autofocus (AF) speed, combined with Predictive Hybrid AF to intelligently predict and track subjects in motion for blur-free results.
“Added to this is the Laser AF sensor with distance sensing technology, which captures beautiful blur-free photos in challenging low light conditions. And … true to life colours thanks to the RGBC-IR sensor with colour sensing technology which accurately adjusts the white balance based on the light source in the environment.”
That combination of technical and marketing speak does add up to one truth: this is probably the most complex camera system yet built into a smartphone. Manual settings for shutter speed and focus control add to the sense of this being a photographer’s phone.
But an even more remarkable innovation is built into the handset. Drawing on a legacy of image stabilisation developed for Sony’s Handycam camcorders under the SteadyShot brand, the technology has been enhanced on the XZ with “five-axis stabilisation”. This means it compensates for movement in any direction, allowing for smoother videos when filming while walking. Video can also be shot in 4K – currently the highest resolution that can be displayed on any but the most advanced displays in the world.
The front camera is also one of the best in the smartphone market, with a 13MP and 22mm wide angle lens. High light-sensitivity up to ISO 6400 allows for exceptional low-light performance.
For Sony – and many other smartphone manufacturers – the real problem with such innovation in the mechanics of a device is that it has to be experienced to be believed. The device has to prove itself in the field rather than in the showcase.
When word of mouth eventually kicks in and the world wakes up to inner beauty, such invisible innovation will come into its own.
Eugene Kaspersky posts from 2050
In his imagined blog entry from the year 2050, the Kaspersky Lab founder imagines an era of digital immunity
In recent years, digital systems have moved up to a whole new level. No longer assistants making life easier for us mere mortals, they’ve become the basis of civilisation — the very framework keeping the world functioning properly in 2050.
This quantum leap forward has generated new requirements for the reliability and stability of artificial intelligence. Although some cyberthreats still haven’t become extinct since the romantic era around the turn of the century, they’re now dangerous only to outliers who for some reason reject modern standards of digital immunity.
The situation in many ways resembles the fight against human diseases. Thanks to the success of vaccines, the terrible epidemics that once devastated entire cities in the twentieth century are a thing of the past.
However, that’s where the resemblance ends. For humans, diseases like the plague or smallpox have been replaced by new, highly resistant “post-vaccination” diseases; but for the machines, things have turned out much better. This is largely because the initial designers of digital immunity made all the right preparations for it in advance. In doing so, what helped them in particular was borrowing the systemic approaches of living systems and humans.
One of the pillars of cyber-immunity today is digital intuition, the ability of AI systems to make the right decisions in conditions where the source data are clearly insufficient to make a rational choice.
But there’s no mysticism here: Digital intuition is merely the logical continuation of the idea of machine learning. When the number and complexity of related self-learning systems exceeds a certain threshold, the quality of decision-making rises to a whole new level — a level that’s completely elusive to rational understanding. An “intuitive solution” results fromthe superimposition of the experience of a huge number of machine-learning models, much like the result of the calculations of a quantum computer.
So, as you can see, it has been digital intuition, with its ability to instantly, correctly respond to unknown challenges that has helped build the digital security standards of this new era.
M-Net to film Deon Meyer novel
A television adaptation of Deon Meyer’s crime novel Trackers is to be co-produced by M-Net, Germany’s public broadcaster ZDF, and HBO subsidiary Cinemax, which will also distribute the drama series worldwide.
“Trackers is an unprecedented scripted television venture and MultiChoice and M-Net are proud to chart out new territory … allowing local and international talent to combine their world-class story-telling and production skills,” says MultiChoice CEO of General Entertainment, Yolisa Phahle.
HBO, Cinemax, and M-Net also launched a Producers Apprenticeship programme last year when the Cinemax series Warrior, coming to M-Net in July, was filmed in South Africa. Some other Cinemax originals screened on M-Net include Banshee, The Knick and Strike Back.
“Cinemax is delighted to partner with M-Net and ZDF in bringing Deon Meyer’s unforgettable characters and storytelling—all so richly rooted in the people and spectacular geography of South Africa—to screens around the world,” says Len Amato, President, HBO Films, Miniseries, and Cinemax.
Filming for Trackers has already started in locations across South Africa and the co-production partners have been working together on all aspects of production
Deon Meyer, whose award-winning crime novels have been translated into more than 20 languages, with millions of copies sold worldwide, serves as a supervising screenwriter and co-producer; British writer Robert Thorogood (Death in Paradise) is the showrunner. The team of South African writers on the project includes the Mitchell’s Plain playwright, screenwriter and director Amy Jephta (Die Ellen Pakkies Story) and local writer/directors Kelsey Egen and Jozua Malherbe.
The cast for the six-part miniseries includes Ed Stoppard, Rolanda Marais, James Alexander and Thapelo Mokoena.
Trackers will make its debut on M-Net 101 in October 2019 and will also be available on MultiChoice’s on-demand service, Showmax. The six-part drama series is produced by UK production company Three River Studios as well as South Africa’s Scene 23.