Nintendo Switch update brings video capture and more
The latest system update (4.0.0) for the Nintendo
Switch™ console is here, bringing with it the ability to record
30-second video clips and share your great gaming moments with friends.
To capture video in compatible games, hold down the capture button
during gameplay. This will create a video clip of the last 30 seconds.
You can then view the saved videos in your album, trim the beginning and
end of each clip, and post videos to your Facebook page and Twitter feed.
Currently you can use this feature in the following games:
The Legend of Zelda™: Breath of the Wild (version 1.3.0 and later)
Mario Kart™ 8 Deluxe (version 1.3.0 and later)
ARMS™ (version 3.1.0 and later)
Splatoon™ 2 (version 1.1.1 and later)
The system update also includes:
New profile icons featuring characters from the Super Mario Odyssey™
game and The Legend of Zelda: Breath of the Wild game (check out all
The ability to transfer user profiles and save data to another
Nintendo Switch system. You can find this feature in System Settings
–> Users –> Transfer Your User and Save Data.
A pre-purchase option is available for certain games on Nintendo eShop
for Nintendo Switch. This option also lets you pre-load the digital
version of a game to your device, so you can play right away when the
game is released. (The pre-downloaded game won’t be playable until its
Additional adjustments and features for a more pleasant user
If your Nintendo Switch is connected to the internet, it will download
the update automatically. You may also start the update from the System
Settings menu, if needed. For the full list of updates, please visit support.
It is safe to say, film lovers, that a significant section of the satisfaction derived from watching motion pictures will come from listening to them. As video clip games compete for focus and bucks in the all round leisure place, they’re accomplishing more to charm to the common cinematic knowledge, primarily when it will come to new music.
Thursday evening at the SIFF Movie Center in Seattle, new music composed for the “Halo Wars 2” video clip video game — from 343 Industries and Microsoft Studios — was showcased, along with the folks who produced it. The effort was aimed at attracting the focus of Recording Academy associates in the spot who may possibly assistance nominate the new music and people concerned for a Grammy.
Composers Gordy Haab, Brian Trifon and Brian Lee White of Ending Shift, and audio director Paul Lipson, VP of inventive companies at Formosa Group, produced the ‘Halo Wars 2’ new music with an 80-piece orchestra on the Fox scoring phase in Los Angeles and a 20-piece choir at Skywalker Sound.
Haab is already an award-profitable composer for film, television and video clip games. His perform for the Electronic Arts video game “Star Wars: Battlefront” won Tunes of the Yr, Very best Interactive Rating, and Very best Instrumental Rating at the 2016 GDC G.A.N.G. Awards, and was nominated for a BAFTA for Excellence in Audio Achievement.
Hardcore Gamer called that rating “the best new music John Williams by no means wrote” in a nod to the legendary film composer recognized for his new music for this kind of movies as “Star Wars,” “Jaws,” “Indiana Jones,” “E.T.” “Close Encounters of the 3rd Kind” and more.
The comparison is not dropped on Haab, 41, who grew up a substantial lover of the Star Wars franchise.
“John Williams in certain, of all the film composers that have impressed me, is likely the major,” Haab instructed GeekWire. “Star Wars was correct in my wheelhouse. It was one of the initial motion pictures I can bear in mind seeing. Prior to I understood anything at all about new music, the new music that was type of inspiring me and earning me want to turn out to be a musician and a composer was the new music of John Williams … Often I have to pinch myself to feel it’s all genuine — that I get to live in this universe that was the extremely universe that impressed me to do this in the initial place.”
If you can listen to Williams’ Star Wars new music playing in your head when looking at this, welcome to Haab’s world. In creating new new music for a franchise like “Battlefront,” he’s tasked with writing transitions out of Williams’ new music and into his individual and again. He explained it’s “kind of cool” to have to bridge people gaps between his individual perform and the stuff of legend.
When Williams does not produce for games, Haab is committed to the medium and the creative imagination getting fostered.
“Games have occur so much even in just my time of getting concerned, which has been about 10 years,” Haab explained. “I’ve seen them mature from simply just what we called them, which is a video game, to getting really like a entire cinematic knowledge that you get to be a section of. It really is the following generation of leisure and getting a section of that is really neat.”
For “Halo Wars 2,” Haab, Trifon and Lee White ended up making 150 minutes of new music, with 30 minutes of that getting cinematic lower scenes.
“The cinematics are rather attractive in this video game, I’ve obtained to say,” Haab explained. “It’s like watching a characteristic film on the highest of concentrations.”
Haab remembers the video clip video game he was playing when he initial discovered a musical rating getting utilized and heightening the knowledge. He formerly assumed new music in games served a one-dimensional function — more rapidly new music suggests hurry up, or that sort of outcome.
“I bear in mind playing this video game, ‘Indiana Jones and the Fate of Atlantis’ and the rating was a entire orchestral rating,” Haab explained. “It was the initial time I’d at any time heard that in a video clip video game and I was sort of blown away by it. That was the initial instant I understood, ‘Oh, wow, I like games, I produce cinematic scores and had no concept that the two could be mixed.’ So i began pursuing creating new music for video clip games at that stage and type of identified my way into the sector by that inspiration, really.”
Haab has recorded and conducted his new music with orchestras from close to the world, in accordance to his bio, like The London Symphony Orchestra, The San Francisco Symphony, The Nashville Symphony and the Hollywood Studio Orchestra.
He a short while ago composed the new music for Activision/AMC’s “The Going for walks Dead: Survival Instinct” video game, based mostly on the well-liked zombie-infested television sequence.
Haab explained each individual game has its established of issues, just like a film, and when he finds the same inspiration in creating for either medium — characters, story arc — the process for games and motion pictures is extremely distinctive.
“Composers are introduced on to a video clip video game much previously than they are to a film,” Haab explained. “Usually on a film it’s almost the final phase in the process in a lot of approaches. The composer is typically working in the final 6 weeks of manufacturing when the film is already edited, lower with each other, there’s a entire film you can look at and then you rating it.
“But with games you are creating new music almost at the same time the video game is getting designed, so I’m working with nevertheless illustrations or photos, prepared scripts that give me a feeling of what the story may possibly be, thought art, that sort of matter. Extremely not often am I even seeing video game perform. I’m creating new music to a thought, essentially.”
Lipson invested almost 5 years at Microsoft on the Central Media Crew and then as senior audio director at 343, the studio that makes “Halo.” He left for Formosa Group, one of the premier post-manufacturing groups in the world, and he’s invested a few years working on “Halo Wars 2.”
“When I was wanting to do the following ‘Halo’ rating — and I’ve carried out a bunch of them — Gordy promptly popped out,” Lipson explained. “His voice and what he does is so special.”
He explained it made feeling to pair Haab and “the two Brians” due to the fact “Halo” has a extended custom of getting a hybrid rating. It is not just an orchestral rating, or an electronic-based mostly rating.
“You essential masters of their area that could perform with each other to make a singularity,” Lipson explained. “You continue to be up at evening and you desire about your associates, and I assumed up the group and … luckily for us I was correct!”
Možnosti leteckej kinematografie sa opäť posunuli o úroveň vyššie, ak nie rovno o dve
Čínska spoločnosť s americkým marketingom, DJI, patrí medzi top výrobcov dronov, príslušenstva a samotných kamier pre drony, ktorá sa vo svojej oblasti neustále zdokonaľuje a výsledky je skutočne vidieť.
Prednedávnom bola predstavená nová kamera pre dron DJI INSPIRE 2, ktorá je zavesená na trojosom stabilizátore a je priamym nástupcom predchodcu – DJI Zenmuse X5S. Jej názov je DJI Zenmuse X7 a ponúka maximum funkcií a možností, ktoré si mohli profesionálni filmári doteraz iba priať.
Ako hovorí spoločnosť DJI, tieto možnosti tu boli aj pred predstavením Zenmuse X7, ale odlišnosť a jedinečnosť je v tom, že nová kamera aj s dronom vážia približne 4 kilogramy, pričom takto výkonné profi drony s osadenými kamerami vážia aj 40 kilogramov, takže si viete predstaviť, aká „jednoduchá“ s nimi musí byť manipulácia.
DJI Zenmuse X7 je stabilizovaná Super 35 kamera (digitálny filmový formát) s rozlíšením 24 Mpx, ktorá dokáže nahrávať 6K video vo formáte CinemaDNG s 30 snímkami za sekundu (fps). Okrem 6K videa dokáže nahrávať aj 5,2K video s 30 fps (Apple ProRes), 3,9K video s 59,94 fps (CinemaDNG) alebo 2,7K video s 59,94 fps (Apple ProRes). Samozrejmosťou je aj tvorba statických snímok v plnom 24 Mpx rozlíšení v RAW formáte.
Ak by ste mali pochybnosti o kvalitách tejto kamery, spomenieme aj dátový tok videa. V 6K (CinemaDNG) rozlíšení s 30 fps a plnom zábere objektívu je dátový tok neuveriteľných 4,44 Gbps.
Super 35 kamera má vlastný systém pripájania objektívov – DJI DL-Mount system. Tento systém uchytenia objektívov je kompaktný, pričom zachováva vynikajúcu kvalitu obrazu. To je dané tým, že vzdialenosť snímača od príruby je menšia ako 17 mm, presnejšie – 16,84 mm.
K dispozícii sú celkom 4 objektívy s rôznou ohniskovou vzdialenosťou – 16 mm, 24 mm, 35 mm a 50 mm. Všetky majú jednotnú clonu f/2,8 a vyrobené sú z uhlíkových vlákien. CMOS snímač (veľkosť 1 pixelu – 3,91 μm) má 14 stupňov dynamického rozsahu, vďaka čomu si poradí pri nakrúcaní bezchybných detailov aj v zhoršených svetelných podmienkach. Zmodernizovaný je aj systém spracovania obrazu, ktorý redukuje obrazové artefakty a šum.
Aby bol využitý plný potenciál Zenmuse X7, spoločnosť DJI inovovala aj systém spracovania obrazu, ktorý má teraz názov CineCore 2.1 a dokáže zaznamenávať vysokokvalitné zábery s rôznymi úrovňami citlivosti. Tento systém má aj nový farebný režim – Cinema Color System, ktorý poskytuje väčšiu flexibilitu v postprodukcii. Pozostáva z novej krivky D-Log a farebného priestoru D-Gamut RGB. D-Gamut RGB pokrýva celý farebný priestor DCI-P3, ktorý je bežne používaný pri tvorbe filmov.
Veľký snímač digitálneho filmového formátu – Super 35 v spojení s pomerne ľahkým a obratným dronom je presne to, čo filmári už dlho očakávali. Nespornou výhodou je možnosť výmeny objektívov, ktoré zvýšia úroveň kvality videí a fotografií. Letecká fotografia a kinematografia sa dostala na ďalšiu úroveň, ktorá ponúkne extra zážitok už pri samotnej práci s týmito zariadeniami. Vďaka možnostiam tejto kamery sa budú dať letecké zábery jednoducho integrovať do profesionálnych videí, ktoré sú nakrútené s najmodernejšími filmovými kamerami.
Dodajme, že Zenmuse X7 je kamera vyrobená pre dron DJI INSPIRE 2, na iný typ dronu zatiaľ nepasuje, čo sa však v blízkej budúcnosti môže zmeniť. Hovorí sa aj o tom, že by sa táto nadstavba mohla objaviť na zariadení DJI Osmo.
Cena kamery DJI Zenmuse X7 je 2699 USD (2280 eur), objektívy (16, 24 a 35 mm) sa budú predávať za 1299 USD (1098 eur) a 50 mm objektív má cenu 1199 USD (1013 eur). Ak by ste si zakúpili všetky objektívy súčasne, cena bude podstatne výhodnejšia 4299 USD (3633 eur). Samotný dron DJI INSPIRE 2 má cenu 2999 USD (2534 eur). Celková hodnota tohoto profi zariadenia je 7298 (6167 eur). Prvé kusy DJI Zenmuse X7 budú dostupné začiatkom novembra na eshope výrobcu.
Technológie, to je moje. Zaujíma ma úplne všetko, no najviac sa venujem smartfónom, internetu vecí, gadgetom, rôznemu príslušenstvu a inteligentným zariadeniam. Okrem zhotovovania recenzií a testov sa vo voľnom čase venujem servisu mobilných zariadení, a taktiež ma baví fotografovanie a svet automobilov.
It’s been a while now, but a few years back, the Moto X was my favorite line of smartphones. I loved the close-to-stock software, and having the ability to choose whatever colors and materials my phone was made of; it really gave off the feeling of a phone tailor-made for you, and only you.
After a two-year hiatus, Motorola is finally refreshing its enthusiast brand with the Moto X4, that ditches my beloved Moto Maker but brings a clean and familiar software experience and a much more modern design.
With the death of Moto Maker, you’re left with just two options when ordering the Moto X4: Super Black or Sterling Blue. My review unit came in the latter finish, but both choices feature a glass front and back with an aluminum frame, and a reflective glossy coating that, though easily smudged, is quite visually striking.
The back of the phone is curved just enough to make it comfortable to hold, though the absolutely massive and protruding camera dome is already getting in the way of my fingers. Still, the Moto X4 has a refreshingly clean design, and the build quality is outstanding. The Moto X4 is priced pretty reasonably at $400, but I could’ve easily mistaken it for a phone nearly twice as expensive, based on hardware alone.
Up front, the design is familiar, looking nearly identical to every Moto Z device launched since Lenovo acquired Motorola. There’s no fancy 2:1 display, but the bezels aren’t so big as to make the Moto X4 look dated — at least, as long as don’t hold it next to the LG V30, Galaxy Note 8, or Pixel 2 XL. Still, not everyone is sold on tall displays, so for those people this should feel like a perfect middle ground.
Inside, the Moto X4 is powered by a midrange Snapdragon 630 processor clocked at 2.2 GHz, with an Adreno 508 GPU. There’s 3 GB RAM onboard, and if the 32 GB of internal storage isn’t enough to get you by, it can be expanded by up to 2 TB with a microSD card. None of these specs are particularly high-end, but considering how well some of Motorola’s cheaper options perform, that might not matter as much as you’d think.
The Moto X4’s software is close to stock Android (with Nougat 7.1 in tow), but there are a few additional features, including Amazon’s Alexa voice assistant and Moto Experiences. The hardware has some nice features as well, including IP68 water resistance and a 3.5mm headphone jack (yes, it’s ridiculous that that’s considered a feature these days), but notably missing despite an all-glass build, is wireless charging.
The Moto X4 isn’t the flagship-tier device the Moto X used to be, but you wouldn’t know it by looking at the hardware, which far outclasses every other Moto X device we’ve seen. For those that aren’t happy with the upward trend of flagship pricing these days, the Moto X4 could be a great option. Stay tuned for our full review, coming soon!
Back in 2006, rumors were swirling about Apple’s new iPhone, but most of us were still carrying around clamshell phones or old-school BlackBerrys. A handful of kids had their hands on T-Mobile’s new Sidekick, which came with a hidden QWERTY keyboard to make texting faster but without a decent handheld device to actually support gameplay, video games were still reserved for console systems.
One company out of France focused entirely on mobile games, with a vision that U.S. gamers would quickly adopt the platform. Gameloft (now a subsidiary of Vivendi) first began in 2000 by Michel Guillemot, who is one of five brothers that founded videogame developer and publisher Ubisoft.
Gameloft hired me, and between 2006-2012, I wrote over 150 mobile video games for the publisher. Mobile gameplay was limited in those early days, but by 2008, the iPhone 3G became available and the App Store was born. Developers were scrambling to release titles for $5 a pop, and consumers gobbled them up, all to feed a growing addiction of gaming on the go.
The journey back
In the summer of 2006, I was living in Los Angeles but making plans to move back east. I was overeducated, with a Masters of Fine Arts from Columbia University in Screenwriting and over $175,000 of student loan debt. While my old college friends were becoming VPs, I was stuffing ASCAP paperwork into file cabinets at the now defunct Sony Connect, the online music store that was attempting to compete with a new Apple venture called iTunes.
A vice president in Sony’s marketing department recognized my creative skills and took me under his wing. I subsequently earned copywriting experience there and then built a small freelance business on the side. It felt like I discovered a gold mine. I was finally getting paid to write, and I had so many projects that I had to turn some clients away; this was a dream.
Based on my online portfolio, Gameloft hired me sight-unseen as a full-time copywriter. I moved back to New York City and began writing just about everything: advertorials, sales collateral, game titles, and game descriptions. One day, a French game designer in the office approached me in search of a native English-speaking writer to work on a new game set that was intended to be a cross between Big Brother and American Idol.
Here’s the thing: I was not a gamer. Sure, I was an ’80s kid so I had played Pac-Man, Space Invaders, Raiders of the Lost Ark, and Haunted House on my Atari 2600. I also had a brief stint in college when I became unhealthily addicted to Nanosaur on my mom’s iMac, but all of this was ages ago. I didn’t even own a console system. Half of me thought I had no business writing a game, but I understood storytelling, and I was a pop culture aficionado, so I happily obliged and said I would write the game during my downtime.
Adapting to a new format
Once I started writing, however, I quickly discovered a major roadblock. I had been trained to write in screenwriting format, and because every piece of text for the game would be sent to a programmer, I had to keep all text in an Excel spreadsheet. My brain was programmed to visualize scenes in a very particular format: scene heading, action, character name, parenthetical, and dialogue. Other than my narrative fiction projects, I had written in this same format since I was in high school.
Dialogue is centered on the page which allows me to hear its rhythm. I follow the cadence of story beats in scripts because of how the action is laid out on the page. But here I was, forced to write everything in boxy cells.
Cells were eventually broken out into different tabs by the programmer and before I knew it, my dialogue for single scenes was divided between several tabs. If I needed to make an edit, I’d have to play the half-done game to follow along and then find the appropriate cell somewhere in the spreadsheet. I also had to keep careful track of the character count in each cell to avoid making the player click a phone key to read the remainder of dialogue on a screen.
Everything became formulaic and for a moment, the creativity I once associated with screenwriting fell by the wayside. I plowed through and managed to finish writing the game which we called American Popstar. A top reporter at IGN gave it a glowing review and called out its “whip-smart writing.” The game went on to win several industry awards and soon after, Gameloft offered me a full-time position as the company’s first full-time game writer.
It took a move back from Los Angeles to New York City to finally get a job in screenwriting. The world works in mysterious ways.
Gameloft eventually grew its writing staff to a team of five. All of us had MFAs in screenwriting from either Columbia University or NYU. We understood narrative, could speak the same language, and finally had the chance to apply our expensive degrees to something of tangible value.
We built this city
A year later, the iPhone brought new types of gameplay possibilities and attracted millions of new players, many of whom had never played a video game before. With its mobile-only vision, Gameloft soared to the top and pushed hundreds of new games into development.
For the next five years, I had the opportunity to work on some amazing iPhone games for studios around the world, including Oregon Trail, Iron Man, CSI: NY, Castle of Magic, Cops, and 9mm – the latter of which included an obnoxious amount of cuss words and violence that I was secretly quite proud of penning. For Sherlock Holmes: The Official Movie Game, I listened to the movie in my headphones over and over again while I was writing the script so I could channel Robert Downey Jr.’s speech patterns. As the only woman on the team, I was also the go-to writer for games intended for girls. Yes, I wrote a Twilight-inspired video game called Vampire Romance and several romantic strategy games, including Date or Ditch, Paris Nights, and High School Hook Ups. Seducing love interests with sexual innuendos and escaping bullies became my M.O.
That is… until Zynga popped.
In 2009, Zynga’s Farmville became the most popular game on Facebook, a platform that was quickly overshadowing mobile. Players grew various crops and enlisted their Facebook friends to help improve and manage their farms. The game was very addictive and for publishers, social simulation and city building quickly became the new recipe for success.
By 2011, virtually every single game in development at Gameloft fell within the city building genre. The only aspect that changed between titles was the environment. Players could grow their own space colonies or transform tropical islands into bustling metropolises. Gameplay was repetitive but players didn’t seem to mind, and publishers took notice.
It was clear that the world of mobile gaming had changed, and there was literally no endgame in sight. My task of coming up with exciting narratives continued but with monotonous gameplay, I struggled to maintain my enthusiasm and eventually made the decision to return to marketing as my day job. The city building genre’s popularity in mobile eventually died down. Zynga had its ups and downs and in 2015, Gameloft shut down several of its development studios including the New York City one where I worked.
I have no regrets. The volume of game scripts that I drafted under strict deadlines truly exercised my writing muscles, and I’m a better writer now because of it. Divulging my past life as a mobile game writer is also an amazing conversation starter.
Tammy Blythe Goodman is a PR and marketing communications professional. Follow her on Twitter @gooblythe.
FOCUS H1 system uses NVIDIA Metropolis video analytics platform to identify vehicles and other objects in real time
HOUSTON — COBAN Technologies Inc., an industry leader in body-worn cameras and in-car video solutions for law enforcement, today announced that its FOCUS H1 police dash cams are using the NVIDIA Metropolis intelligent video analytics platform to identify vehicles and other objects in real time. Metropolis uses deep learning to transform how video is captured, inspected and analyzed to enhance public safety, traffic, city services and more.
An NVIDIA Jetson AI supercomputer on a module powers the police dash cam system for low-latency inferencing for law enforcement tasks. This includes finding vehicles for Be on the Lookouts (BOLOs) and Amber Alerts, automatically identifying vehicle makes and models, reading license plates and driver’s licenses for officers, and monitoring the health and safety of those taken into custody.
COBAN’s in-car video system will be supported by a variety of applications capable of vehicle and object identification, special monitoring and behavioral analysis. NVIDIA’s Metropolis Software Partner Program also offers a curated list of resources that makes it easy for third-party software developers to create new applications for Metropolis-based products like the FOCUS H1 to amplify officer awareness, increase public safety and more.
“By working with NVIDIA, COBAN is leveraging the most advanced computing platform for AI at the edge inside police cruisers,” said Brian Chang, founder of COBAN Technologies. “The FOCUS H1 provides intelligence to the mobile video capture platform, which translates into safer communities and enhanced law enforcement efficiencies. The combination of COBAN and NVIDIA technologies creates simplicity and agility through today’s latest deep learning, GPU computing and graphics technologies. Now police vehicles can perform targeted tasks without the need for mass data collection or a reliance on constrained mobile data networks.”
COBAN will unveil the new police dash cam system with NVIDIA Jetson during the 124th Annual International Association of Chiefs of Police (IACP) Conference and Exposition, October 22-24, at the Pennsylvania Convention Center in Philadelphia. The FOCUS H1 system will be showcased in IACP booth 2837 mounted inside an actual Los AngelesPolice Department cruiser.
About COBAN Technologies, Inc. COBAN Technologies, Inc. provides body-worn cameras and in-car video solutions for public safety across the country. COBAN delivers efficient, configurable, end-to-end scalable solutions that fulfill the video capture, transfer, storage and management needs of law enforcement agencies. Founded in 2002, COBAN is headquartered in Houston, TX, with satellite facilities located throughout the United States. For more information on COBAN Technologies, Inc. visit www.cobantech.com or call 1-866-812-6226.
Herb McComas, a patient at the Wexner Medical Center, plays a therapeutic video game using an Xbox Kinect, which tracks movement using a camera. McComas suffered a stroke last December and now uses the video game to improve the mobility in his right hand. Credit: Ris Twigg | Assistant Photo Editor
For gamers, video games are a form of entertainment, but for Lynne Gauthier and her team of Ohio State researchers, they are a way to help stroke and multiple sclerosis patients.
When a stroke occurs, it is common for survivors to have motor weakness on one side of their body. MS patients are affected by motor weakness, as well. Physical therapy is necessary for patients if this health effect occurs.
To make this physical therapy and exercise fun for stroke survivors and MS patients, Ohio State researchers developed the game Recovery Rapids. The video game is designed to mimic many of the movements that would be used during a typical treatment session, but in innovative ways, said Gauthier, director of the Neurorecovery and Brain Imaging Laboratory at Ohio State.
While searching for ways to reduce motor-training time and increase behavioral-training time for patients, Gauthier and her team found the Xbox Kinect, Gauthier said. She said using the gaming system takes away a lot of the motor training from the therapists.
“To use technology to better people’s lives, that is my mission,” she said.
Some of the tasks performed in the game include paddling a canoe down a river, fishing, collecting fruit, avoiding rocks in the rapids, catching parachutes containing supplies, and steering to capture treasure chests.
The best part is that the treatment would be cheaper and often more engaging, Gauthier said. Most patients want to continue training after their prescribed treatment and find it fun.
Herb McComas — who had a stroke last December — plays the game for about an hour each night.
“There is a lot of movement with the game. You are busy the whole time,” McComas said. “I kind of enjoy it because each time I do, I try to get competitive with my last score.”
McComas’ right arm is the weaker of the two, but his movement has been improving with treatment, he said.
Kristina Kelly, a physical therapist at the Wexner Medical Center, adjusts patient Herb McComas’ watch, which tracks how often he uses each hand. When McComas came into the Wexner on Oct. 17 for his usual appointment, he had 600 more movements in his left hand than his right. Credit: Ris Twigg | Assistant Photo Editor
“I can be sore throughout the shoulder and elbow and I usually play three or four times,” McComas said. “By the time I get through the first one, I am losing the pain in my elbow and it starts to loosen up and makes it feel better.”
Compared with traditional treatment, the game brings more activity to the patient during treatment, McComas said. “It keeps you very busy and keeps your mind off the pain and exercise.”
“You are busy paddling the canoe and catching things, it is a challenge and you have to keep with it,” he said. “You don’t have a break because once it starts it is always doing something.”
McComas said he was never one for video games, but he decided to buy an Xbox and Kinect for in-home use and continued treatment.
There is a lot to learn about recovery from this research, Gauthier said. Researchers are still unaware where improvement and recovery reach their maximum potential.
“With this gaming technology, because it is collecting movements, we can track their movements over time,” Gauthier said. “We can be more efficient with the rehab.”
The video game was designed based off the movement typically used in constraint-induced (CI) movement therapy, which is the gold standard for helping stroke survivors recover, Gauthier said. The team was looking for a new way to incorporate technology into this treatment.
CI therapy is an intensive movement program that attempts to improve quality of life and behavioral changes that help overcome mental neglect on the weaker side of the body post-stroke.
She said the patient receives 35 hours of training, 30 hours of motor training and five hours of behavioral training.
Patient Herb McComas (left) tells Kristina Kelly (right), a physical therapist at the Wexner Medical Center, about daily activities he struggles with. For McComas, buttoning his shirt is the most difficult. Part of Kelly’s job is to help McComas develop new behavioral strategies for improving his mobility. Credit: Ris Twigg | Assistant Photo Editor
“Because the therapists have a very limited amount of time, they have trouble fitting in the motor training and the behavioral piece,” Gauthier said. “When you take out the behavioral piece, the treatment outcomes are a lot worse.”
The behavioral changes help retain learned movements from motor therapy and use of the weaker arm in daily life, she said.
“We found that there was a very tight relationship between the amount they improved use of their weaker side and quality of life improvement,” Gauthier said. “We are seeing it across all different domains of quality of life. Not just in the motor function area, but also social roles and family participation.”
“The therapist is very skilled at the behavior change piece. That is where the therapist is really needed,” Gauthier said. “They are getting their training through the game and learning to apply that training to their lives in the time they work with the therapist.”
If you’re a Mac user who needs quick and fast access to a Windows installation, then in many cases it’s a good idea to go with a Virtual Machine. Parallels is one of the most popular virtualization options for Mac users wishing to run Windows, and the latest version, Parallels 13, makes it ridiculously easy to get up and running.
Via what essentially amounts to an unattended installation of Windows 10, Parallels 13 can have you up and running, from download to usage, in just a few minutes. Watch our brief video walkthrough for a demonstration.
The best wireless keyboard for the Mac?
When it comes to running Windows on the Mac, there are quite a few options to explore. You can now with a tried an true Windows Boot camp installation, a Windows To Go install, or one of the many virtualization options available.
There are free virtualization options available, but if you’re looking for sheer ease of use and dead-simple installation, Parallels 13 is hard to beat. You can go from not having Windows, to having a Windows 10 installation in just a few clicks. Best of all, the majority of the install process is completely unattended, so you can just set it and forget it.
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As you might expect from a major new release, Parallels 13 includes several new features that are enhancements over previous versions of the software. Most notably, it also officially supports macOS High Sierra.
One of my favorite new features is the new Picture-in-Picture mode, which allows you to keep a virtual instance on screen at all times. This is handy for being able to monitor one more more virtual machines simultaneously, while still working in macOS.
There is also extensive utilization of the MacBook Pro Touch Bar in Parallels 13. Although I no longer own a machine donning a Touch Bar, users can expect to be able to interface directly with Windows applications using the dynamic input method.
There are other new items in Parallels 13, including People Bar integration directly in the macOS Dock. This features allows users to have one-click access to frequently used contacts, and comes with more overall flexibility in the Parallels environment than it does on Windows itself.
But of all things included with this latest version of Parallels, I most appreciate the sheer ease-of-use provided by the software. Installing Windows, frankly, couldn’t be easier, and being able to run multiple virtualized software instances via Picture-in-Picture is a very nice feature to have.
Some may have rightly questioned my decision to upgrade my 5K iMac with 40 GB of RAM, but such a choice pays off when running more than one virtual machine. In that case, the more RAM the better, since you must individually assign each instance with resources from your overall system pool. It also means that the upcoming iMac Pro’s 8, 10, and 18-core processor options will be well-suited for virtualization. Just be sure to get as much RAM as you can, since it won’t be user-replaceable.
To be sure, Parallels 13 is an investment, especially when you consider that using Boot Camp, or software like Virtual Box is free. However, you’re paying for sheer convenience in the case of Parallels. There’s no need to restart your Mac into Windows, and installation is more or less effortless. Performance won’t be as good as running Windows directly, but virtualization has made significant strides over the past few years. For example, Parallels will even be able to take advantage of external GPU resources once Apple unlocks that ability in macOS High Sierra next spring. If you value convenience, then the $80 price of admission may be worth it to you.
We’re giving away two copies of Parallels 13 for free. Here’s how to win:
Leave a comment on our @9to5Mac Parallels 13 Instagram post telling us how you plan on using the virtualization software. The first two valid replies will receive a free activation code via Instagram DM, so make sure you follow us there.
Update: giveaway winners (@_dlmc88_ and @derexed) have been selected. Thank you to all who entered. Stay tuned for more giveaways.
Apple ushered in the third iOS 11.1 beta earlier today, and we’ve taken some time to discuss some of the new features and changes found in this latest developer beta release. Watch our video walkthrough for a brief look at a few of the noticeable differences between iOS 11.1 beta 2 and iOS 11.1 beta 3.
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Changes/features covered in this video
3D Touch quick action shortcuts frame rate (stutter) issues fixed
Access Notifications and Widgets via Reachability
Haptics return for incorrect passcodes
Unlike the previous beta, which included many new emoji characters and the triumphant return of the 3D Touch multitasking gesture, there aren’t a lot of headlining new user-facing features to be found. That said, there are likely quite a few behind the scenes refinements taking place. Once such refinement is one that users have been clamoring for for quite some time.
Arguably the biggest new feature found in iOS 11.1 beta 3 is a fix for frame rate/stutter issues with 3D Touch quick action shortcuts. On previous versions of iOS, invoking a quick action shortcut menu by using a 3D Touch gesture on a valid app icon resulted in a noticeable stutter that felt unrefined and jerky.
With iOS 11.1 beta 3, the quick action menu appears devoid of any frame rate issues. It’s not a huge change in the grand scheme of things, but the fix does present a much smoother experience when 3D Touching app icons on the Home screen.
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The ability to invoke your list of recent notifications with the assistance of Reachability has also made a return in iOS 11.1 beta 3. Users with Plus model iPhones will certainly appreciate the reappearance of this handy feature.
Have you identified any additional features of changes in iOS 11.1 beta 3? Sound off in the comments below with your findings. Be sure to check out our video for the previous beta, which featured new emojis, and the return of the 3D Touch multitasking gesture.
WPA2 – the encryption standard that secures all modern wifi networks – has been cracked. An attacker could now read all information passing over any wifi network secured by WPA2, which is most routers, both public and private.
Android and Linux are particularly vulnerable, being described as ‘trivial’ to attack, but all other platforms are vulnerable too, including iOS and macOS …
The flaw in WPA2 was discovered by Mathy Vanhoef, a postdoc security researcher in the computer science department of the Belgian university KU Leuven.
We discovered serious weaknesses in WPA2, a protocol that secures all modern protected Wi-Fi networks […] Attackers can use this novel attack technique to read information that was previously assumed to be safely encrypted. This can be abused to steal sensitive information such as credit card numbers, passwords, chat messages, emails, photos, and so on. The attack works against all modern protected Wi-Fi networks […]
The weaknesses are in the Wi-Fi standard itself, and not in individual products or implementations. Therefore, any correct implementation of WPA2 is likely affected […] If your device supports Wi-Fi, it is most likely affected. During our initial research, we discovered ourselves that Android, Linux, Apple, Windows, OpenBSD, MediaTek, Linksys, and others, are all affected by some variant of the attacks
A proof of concept shows an attack against an Android smartphone, as devices running Android 6.0 or higher are especially vulnerable. In addition to allowing data to be decrypted, they can also be easily fooled into resetting the encryption key to all zeroes.
However, Vanhoef emphasizes that all platforms are vulnerable, and that although attacking Macs proved a tougher challenge initially, he has since found a much easier way to do it.
We can take some comfort from the fact that the attack only decrypts data encrypted by the wifi connection itself. If you are accessing a secure website, that data will still be encrypted by the HTTPS protocol. However, there are separate attacks against HTTPS that could be employed.
The attack works by exploiting the comms that goes on when a device joins a wifi network. There is a 4-step process used to confirm first that the device is using the correct password for the wifi router, and then to agree an encryption key that will be used for all the data sent between them during the connection.
In a key reinstallation attack, the adversary tricks a victim into reinstalling an already-in-use key. This is achieved by manipulating and replaying cryptographic handshake messages. When the victim reinstalls the key, associated parameters such as the incremental transmit packet number (i.e. nonce) and receive packet number (i.e. replay counter) are reset to their initial value. Essentially, to guarantee security, a key should only be installed and used once. Unfortunately, we found this is not guaranteed by the WPA2 protocol. By manipulating cryptographic handshakes, we can abuse this weakness in practice.
The practical implication of this is, if you know any of the contents of the data that have been sent between the device and the router, you can use that known data to work out the encryption key. As Vanhoef points out, there is almost always going to be known data being passed at some point, so you have to assume that the encryption can always be cracked. Even if you don’t know any of the content, a sufficient volume of English text would be enough to break the encryption.
With Android and Linux, an attacker doesn’t even have to do that much work: the attacker can simply reset the encryption key.
The good news is that Vanhoef says that WPA2 can be patched to block the attack, and the patch will be backward compatible. Once a patch is available for your router, you should update the firmware without delay.
The Wi-Fi Alliance has issued a security advisory thanking Vanhoef for his work, stating that it is aware of the issue and that major platform providers have already started deploying patches. It says there is no evidence that the attack has been used in the wild, though the research paper notes that such attacks would be difficult to detect.