• Skip to main content
  • Skip to footer

Digi Skills Agency

  • Digital Skills Training
    • Digital Life Skills
    • Digital Employability Skills
    • Digital Work Skills
  • Digital Support Services
    • Digital Badges
    • E-Learning
    • Digitise Your Content
    • Inhouse & Fully Mobile Training Unit
    • Bespoke Training Development & Delivery
    • Guest Speakers & Career Advice
  • About
    • About Us
    • Work With Us
    • Testimonials
  • Blog
  • Contact
You are here: Home / Archives for Latest Industry News

Latest Industry News

Ford’s Self-Driving Car to arrive in 2021

August 27, 2016 by Julie McGrath

Ford has said it will mass-produce a fully autonomous self-driving car without a steering wheel by 2021.

The bold ambition was outlined by the Ford’s 27th president, Mark Fields, at an event in Palo Alto, California.

Ford said it would double its investment in its research centre in the city, as well as making sizable investments in technology companies in the autonomy industry.

The firm said the car would be in use by customers by 2021.

It said this was most likely as part of an Uber-like ride-sharing service – but one that doesn’t require a human driver.

“As you can imagine, the experience inside a vehicle where you don’t have to take control changes everything,” said Mr Fields, in an interview with the BBC.

“Whether you want to do work, whether you want entertainment… those are the types of things we are thinking about as we design the experience for this type of autonomous vehicle.”

The announcement, described as “transformational” by Mr Fields, signalled an era when Ford sees itself, particularly in cities, as a company that provides an ad-hoc service rather than focusing solely on selling the cars to the general public.

“There will be a growing per cent of the industry that will be fully autonomous vehicles,” Mr Fields said.

“Our goal is not only to be an auto company, but an auto and mobility company.”

 

 Level up

In recent years Ford has described itself as a technology company rather than simply a car maker, and on Tuesday it genuinely started to sound like one.

In partnership with Chinese firm Baidu, Ford has made a joint investment of $150m (£115m) in Velodyne – a company that works on light detection and ranging (LiDAR) technology. LiDAR is the system used for accurately detecting objects around the car.

Ford was also part of an investment round that raised $6.6m for Civil Maps – a digital mapping company – as well as money put towards neuroscience research.

Tellingly, there was no mention of Google or Apple in Ford’s announcement – a suggestion it has opted to compete against the Silicon Valley giants rather than try and work with them as some had originally anticipated.

But Google still leads the way in self-driving technology – its cars have been out on public roads clocking up miles for several years now. It too is developing a car without a steering wheel – but regulations so far prevent that car from venturing beyond private land.

Like Google, Ford said it would be focusing on “Level 4” autonomy in reference to the standards put in place by the US-based Society of Automotive Engineers (SAE).

The levels represent the sophistication of self-driving technology. At Level four – “high automation” – the car is able to operate, unmonitored, in a particular use case. For Ford, the use case would be a city area. Level 5 would mean full autonomy in any driving condition.

The company said it was not interested in offering Level two or three driving. Level two means some level of automation that requires the driver to monitor the car at all times.

 

 

Isolated Tesla

Tesla’s Autopilot, which changes lanes and monitors traffic flow, is officially Level two – although critics say human nature means drivers are instinctively treating Autopilot as if it were in fact Level three automation. Level three is when constant monitoring is not required, but drivers should be ready to take control in emergencies. Tesla’s technology is under investigation by US road safety regulators after it was blamed for causing the death of a driver earlier this year.

Tesla chief executive Elon Musk defended the roll-out of Autopilot in a recent blog post:

“When used correctly, it is already significantly safer than a person driving by themselves and it would therefore be morally reprehensible to delay release simply for fear of bad press or some mercantile calculation of legal liability,” he wrote.

At its announcement, Ford chief technical officer Raj Nair said the company wasn’t satisfied that drivers could safely take control from a level two or three vehicle at a moment’s notice.

“We don’t yet know how to manage hand over back to the driver and have him engage and have him situationally aware, and be able to do that in a safe aware manner,” he said.

This approach chimes with the views of Google which in the past has expressed concern about the safety implications of semi-autonomous driving. It leaves Tesla, with Autopliot, isolated among auto makers.

“Tesla is unique in that it’s allowing its users to be beta testers,” said Wayne Cunningham, managing editor of motoring news website Road Show.

“No other company thinks that way.”

On Ford’s 2021 pledge, Mr Cunningham told the BBC it was a feasible goal but one that was intentionally narrow.

“It’s not as an aggressive step as it sounds,” he said.

“This is really a car designed for very specific urban environments. It’s a car that’s going to take people at 20-30 mph through city centres.”

 

– Dave Lee

Filed Under: Latest Industry News Tagged With: auto, automation, automobile, car, development, driving, ford, pilot, self, technology

Can Google’s new Video Chat App compete with the Giants?

August 26, 2016 by Julie McGrath

Google has launched its video chatting app, called Duo.

It represents Google’s response to other popular video calling options, including Apple’s FaceTime, Microsoft’s Skype and Facebook’s Messenger.

It’s not that different from the other video chatting services, except that it gives users a glimpse at who’s making the call, helping people decide whether to answer or not.

The company says it’s calling the feature, “knock, knock”.

The new app, originally announced in May, is being released as a free service for phones running on Google’s Android operating system as well as Apple’s iPhones.

Calls are encrypted and the video resolution changes depending on the speed of your connection.

Like FaceTime on iOS, Duo only requires a person’s phone number to connect.

Many other services require both people to have account logins to use the video calling options.

Google’s been offering video calling through Hangouts since 2013, but the company’s now tailoring that service for business meetings and it won’t plug into the new video chat service.

Duo is being billed as a simpler, more reliable way to see friends and family as you talk to them.

The app is rolling out around the world over the next few days.

It’s the first of two new mobile apps that Google has planned for the next few months.

The US Company is also preparing to unveil a new messaging app called Allo featuring a robotic assistant that will suggest automated responses to texts.

That includes commenting on pictures sent by friends, thanks to its use of image recognition algorithms.

Google announced a conversation-based tool – Google Assistant – to control smartphones, smartwatches and other devices earlier this year.

It can be used to find information, play media and carry out tasks via a chat between the user and the software.

The firm also announced a voice-activated device with a built-in speaker called Google Home to deliver the tech to living rooms.

– BBC News

Filed Under: Latest Industry News Tagged With: Android, app, Apple, Duo, Facetime, google, ios, launch, smartphone, video

Olympics 2016: How the iconic Rio branding was created

August 22, 2016 by Julie McGrath

The 2016 Olympics have now drawn to a close and many overjoyed Olympians have returned home with their golden medals. But what processes took place behind the scenes to create the iconic Rio 2016 branding?

The Olympics is a place where dreams come true — including for designers, who create everything from the logos to the tickets, the mascots to medals for every Games.

To finish all of the Olympics collateral in time, the Olympic design committee outsources the different jobs to various local firms. These projects can overlap across mediums, leaving two firms to indirectly throw in together on a project. Case in point: the Rio 2016 logo was made by Brazil’s Tátil Design de Ideias (Behance profile) , while the Olympic font — and yes, there is an exclusive Olympic font — was constructed by Dalton Maag, a British typeface firm that has a satellite office in Brazil. The process offers a unique case study on collaboration, one where two firms from different cultures must work off each other to produce final products that will surely be seen by hundreds of millions of people.

I. The Logo

When Tátil Design creative director Frederico Gelli discovered that there were 138 other agencies competing to win the bid to design the 2016 Olympic logo, the first idea that came to mind was to simply give up. “I thought it would be impossible,” he says. The Olympic committee required a nearly-completed logo to submit, tough to do without even a single round of client feedback.

But he decided to give it a try anyways. Over the next two months, everyone at his agency was encouraged to chime in with with their thoughts and ideas, and the final result was actually chosen as the 2016 Olympics logo. “The logo was not designed for designers, but for everybody in the world,” says Gelli. “It represents Brazil’s energy and how we receive people.”

Gelli says the hardest part of the entire process was keeping their winning idea under wraps during the four months between when it was chosen and when the Olympic design committee made the official announcement. Only 10 members of Gelli’s firm knew, so he and his nine colleagues created a fake project that they were all supposedly working on. Secrecy was at such a premium that they cordoned off a space in the studio that was only accessible via a fingerprint entry scan lock.

Now that word is out, Gelli can be much more open with the details behind the project. Below he walks us through his company’s process.

The Inspiration

“I had the idea of the 3D logo when I was swimming at Ipanema Beach,” says Gelli “I was under the water, and when I came up, I saw Dois Irmãos (Two Brothers Hill, above). And I said, we are in the middle of sculpture city, we need to make a harmonizing logo. All of the curves of the logo shapes come from the mountains in Rio de Janeiro — not only the main one Sugarloaf Mountain, but all of the the mountains.”

On the Infiniti Design

“This is an archetype. You can find this symbol in caves a million years ago and in children’s schools today. This make the logo so strong because it has a good meaning in all the cultures — with union and force. People see a lot of different meanings in it that we didn’t intentionally put there. The mayor of Rio said he could see Rio in it,” Gelli says with a laugh, “What?”

rio-article-1

On the Importance of Using 3D Modeling in the Process

Although Tátil had a 3D concept from its earliest sketches, the logo was born as a graphic representation since this would be its main application. Once the team got to the logo’s final shape, however, Tátil jumped back into 3D modeling to see what the logo would look like in 3D form and discover new possible applications for the form. “We wanted people to be able to see the 3D essence in the 2D version,” explains Gelli.

logo1

The Rio 2016 Olympics logo and the Rio 2016 Paralympics logo, which were both created by Tátil Design.

On the Color Pattern

“We have a very colorful city and culture. The colors are connected with our nature. Green is connected to our nearby forest, Tijuca Forest, one of the biggest in the world. Blue represents our ocean that inspires us. And the yellow/orange comes from our warm temperature.”

The Biggest Challenge

With the logo solidified, the next step was to design a limited logotype character set. The entire typeface would be fleshed out by another firm, so Tátil had to focus on an elegant but visually compatible accompanying “Rio 2016.”

“In the beginning we had a strong logo symbol, so we decided to make the logotype really clean without personality to create a stage for the symbol,” says Gelli. “The logo was the protagonist and the type set it up to be the star. But the feedback from the Olympic design committee was for our logotype to have the same DNA as the logo. So we hired an expert typographer to join our team and we drew 150 different logotypes on paper to see if we could find one that had the same DNA of the symbol — the curves, the nature, the drawing of the logotypes — before we chose the current one.”

II. The Font

Roughly 18 months after the Rio 2016 logo was developed by Tátil Design, Dalton Maag got the prompt to design the full font. Dalton Maag’s meeting was held with James Bond-esque secrecy. The company’s creative director Fabio Haag thought he was going to talk about a corporate design project, only to be told at the table that this project was actually for the upcoming Olympics.

“Our prompt was that the font had to be an exact replica of the letters in the logo,” says Maag, who knew it would be a challenge due to its reverse creative process. “Usually you make the font and then do the logo,” he notes. Dalton Maag had 3 letters — R-I-O — and 4 figures — 2-0-1-6 — to use as a roadmap. Here is how Haag and his six-person team built the rest of the 2016 alphabet and special characters — nearly 500 in all.

font

An early version of the letter “n,” shown on the left, mimics the curves of a wave.

The Challenge

“The difference between a logotype and a font is that, in a logotype, the letter combination is set, but in a font, every letter needs to work nicely next to any other and match,” says Haag.“In the logotype, some characters are very fluid, like the ‘R’ and the ‘2’, but the ‘1’ is very straight and the ‘o’ is on a steep angle. Finding a balance that would work as an harmonious system was our biggest challenge.”

How Dalton Maag Began

“You could say, we already have the letters ‘R,’ ‘i,’ and ‘o’ and we want to make letters that look like them, so we could just expand on them. But the tricky thing is that we can’t use the same letters because they might not connect, or have the same weight and proportions, as with the rest of the letters in the alphabet. So we started using different words — ‘passion’ and ‘transformation’ — that had multiple ligatures to see how one letter could connect and match with another.”

“Choosing the right words was key to the success of the concept,” continues Haag. “Here you have ‘passion,’ and below it you can see a lot of similarities in “Rio 2016.” We then came up with 23 different font concepts and started comparing them to one another using “passion.” Then, on the 24th concept, the hero concept, we used the word ‘transformation,’ [Transformação] because it is a triple ligature of ‘s,’ ‘f’ and ‘o,’ which plays off the ‘1’ and ‘6’ of the Rio 2016.”

fonts1

Fonts being compared to one another using the words “transformation” (Transformação) and “passion” (Paixao).

Troubleshooting

“Another big challenge was to refine how the letters connect, like if there was one unit difference, it was not good enough. I would make really big letters on large prints, then change the connection between letters, and then go back to the computer and make the change on the smaller font. In order for a font to look like it was hand-written and spontaneous, we created a lot of alternative characters. There are two versions of ‘b,’ ‘d,’ ‘p,’ and ‘g’ and the version that is used is based on what letters precede and follow it, so the connections look natural.”

The Importance of Sketching

“In order to figure out how the font should look, it was important to understand how it was written. We realized that replicating the logo is not about writing a certain thing with a pen, but about brushstrokes and large movements with speed. For example, the ‘n’ is like a wave. Anywhere on a classic script font you would have a trace, like a stem, and then you would go back and make a join — there is no subtleties, no small curves. Everything is big and large. Going through the paper exercise was very important to see how the original logo was written and to find out the rationale behind it, to see how it resulted in those letters.

rio1

The thickness and curvatures of different letters being revised and rethought in order to connect with every other letter in the alphabet.

rio6

The letters and numbers that compose the 2016 Olympics font.

III. The Takeaway

“On this project we were extra careful to be super right, because it will be seen by billions of people. But we didn’t treat the project any differently than others were work on. I thought we would nail the concept much quicker, because we knew the design and just needed to expand on it. We didn’t realize we would have to create 23 different versions to get there. The font is property of the client, as it is a key asset of their identity, so it cannot be licensed. That said, we quoted this as if it were any other project for a private company and got paid properly.”

 

– Matt McCue, 99u

We here at Graffiti Recruitment would like to take this as an opportunity to congratulate team GB in their outstanding accomplishment in the 2016 Olympics. You have done yourselves and the nation proud!

Filed Under: Latest Industry News Tagged With: 2016, 3d, concept, design, games, logo, olympics, Paralympic, rio

Robot Wars: Modern IT meets Legacy!

August 22, 2016 by Julie McGrath

Modern IT meets Machine! Robot Wars’ Team Storm is applying the principles of DevOps, IoT and real-time data analytics in advancing the design of its machine, while setting out to inspire a new generation to get into robotics

Using modern technologies and practices to breathe new life into legacy hardware systems is a scenario most enterprise IT departments will have found themselves in at one time or another.

Ex-Robot Wars competitors Team Storm faced a similar situation in January 2016, when the producers of the popular BBC2 show asked if they would like to appear in the new series with their 16-year-old, fan-favourite robot, Storm2.

And not just to perform a victory lap or two of the Robot Wars arena for old times’ sake, but to compete against the creations of a new generation of enthusiasts and competitors.

“It was an incredible ride for us [first time around], in that we went from never having appeared on TV to winning the World Championships in nine months,” says Ed Hoppitt, who – with Tim and Meral Bence – makes up Team Storm.

“When they asked us back, we were quite relaxed about it because winning the World Championship is the biggest thing you can win and we were pretty sure we weren’t going to do it again. So we got involved with the intention of getting something else out of it.”

By that he means the opportunity to push the limits of what Storm2 could do with technologies that were not around when the robot made its debut on the show back in the early 2000s.

“When you look at Storm2 compared with the other machines, it doesn’t look old, but it is a very different to the robot that fought in series seven of the show,” he says.

“I think a lot of people expected us to turn up with something that looks like it was dragged out of a garage, but we’ve spent a lot of time and money redoing the bits that needed to be done.”

 

Bigger and better

Despite advances in engine design, battery capacity and armor strength in the decade or so Robot Wars has been off-air, returning to the show with a new machine was not an option for Team Storm.

“When we built Storm2, it was almost an order of magnitude more powerful than most robots it was competing against, and we said if we can’t make that same jump again, we’re don’t want to build another robot for the sake of it or something that isn’t innovative,” Hoppitt says.

“For us it is about taking the original design as far as we can, and we are pretty much there. The way it is constructed is probably not strong enough for what we are going to see in the next series of Robot Wars.”

 

Don’t give up the day job

When he is not tinkering with robots, Hoppitt works for virtualisation software provider VMware, where he heads the organisation’s Europe, Middle East and Africa-focused cloud native applications and DevOps team. The company also sponsors Team Storm.

So for Hoppitt and the rest of the team, using software to manage and solve hardware problems is not exactly a foreign concept, and is an approach they have followed since the beginning with Storm2.

“Most teams that build robots are engineers, so there is a really obvious set of transferrable skills there, whereas we designed the robot using concepts people use to design software. We started out by breaking down what would be required for us to win,” he says.

As it turns out, the “winning requirements” for Team Storm are similar to those most IT managers look for when procuring kit, in that it needs to be reliable and easy to maintain.

Both concepts have influenced the design of Storm2 throughout its life, along with the feedback the team has received over the years by participating in off-screen robotics competitions.

This has allowed Hoppitt and his team to take a DevOps and agile-like approach to improving the robot’s design, which has made its return to theRobot Wars arena after such a long time away a far less daunting prospect.

“The thing about agile technology and DevOps is you’re essentially always working with a prototype, and you are always in the middle of that cycle of innovation and looking for things you can learn from,” says Hoppitt.

The UK has the benefit of a large and vibrant live events scene where competitive robot fights are concerned, he adds, which has provided the team with ample opportunities to hone Storm2’s design.

“You go to an event, you learn about what your robot can and cannot do, you adapt the design, go to another event and the cycle of innovation starts again,” he says.

“I could take the robot to 10 events a year in the UK, whereas in America they have one event every 12 months. So, in the UK, we get to go through that cycle of innovation much faster.”

 

The Agile Advantage

Hoppitt’s experience in the project management side of DevOps has also come to the fore in all this, as the team have found themselves having to outsource parts of the design process.

“I have a day job that doesn’t involve building robots, so we have had to outsource or get people involved with the building and machining side of things, and then you end up in a situation where you have to manage multiple teams and find a way to do that effectively,” he says.

To help with this process, the team uses project management software Trello, which allows them to organise tasks, track the progress of the third parties dealing with them and see how all this contributes to the design and build of the finished product.

“The core of our DNA with all this is to approach the situation like an IT organisation would, while keeping in mind that we actually want to build a reliable service,” he says.

“If your robot breaks down, it doesn’t matter how fabulous the weapon on top of it is because you’ve already lost. Similarly, if it takes a lot of damage in one fight and it is too difficult to maintain and fix before the next one, you have lost.”

Tactical Telemetry

A lot of the changes Team Storm made to their machine in preparation for its big return to the small screen were internal, including the introduction of telemetry sensors that track the engine temperature, voltage, current and the revolutions per minute of its wheels.

This information is fed-back in real time to the driver, and displayed on a panel built into Storm2’s handheld controls. This allows the team to tweak their strategy depending on how the machine is holding up during the course of a three-minute fight.

“The motor is designed to run at 24 volts and the overall robot runs at 42 volts. So, if we’re halfway through a fight and we’re not delivering enough damage, we can judge how hot the motor is and make a call on whether or not we should give it the full 42 volts,” he says.

Despite the apparent tactical advantage having access to this telemetry data gives the team, some members of the robotics community have been a little skeptical about its usefulness, Hoppitt says.

“Lots of people in the community have talked about getting this data back from the robot as being a gimmick, but it has saved us hundreds or thousands of pounds because we’re not blowing up motors all the time,” he said.

“We’re looking at taking it next level by interfacing the telemetry system to Liota [VMware’s internet of things gateway], so we can capture all of the data in the cloud and make it available to work on from anywhere, because we all live in different locations.”

Spoiler alert

The collection of telemetry data and the ability to interpret it in real-time is often cited by Formula One teams as critical to success on the track.

In the case of Team Storm, Hoppitt says it is hard to say if it had a huge bearing on their success this time around.

“There are a couple of fights where we adapted what we were doing because of the data we were getting,” he says.

“There was one fight where we knew one of the motors had taken damage because it was reading significantly hotter than the other one, when they should both be around the same temperature.

“But, in hindsight, it is difficult to say whether or not those changes would have been decisive moments in determining whether or not we would be successful.”

As anyone who watched the 14 August 2016 show can confirm, Team Storm made it to the final 10, only to miss out on a place in the grand final.

“We ended up a heat finalist, which, for a robot that was conceived in 1999 and went up against one that was built today, is not a bad result at all.”

Inspiring the next

As previously stated, Team Storm had other reasons for wanting to take part in the show this time around, aside from just wanting to win.

A big source of motivation for the group was getting the chance to inspire a new batch of hobbyists to have a bash at building a machine of their own, just like they were during the show’s original run.

At the time, Hoppitt was studying for a degree in computer science and business at Royal Holloway when he and a pal decided – after watching series after series of the show – to build a robot called Storm.

“It was built like you would build a robot if you were a child. We wanted it do everything. It had to be four-wheel drive, it had to lift things, it had to run both ways and carry things. And it did all those things really badly. It was rubbish at everything,” recalls Hoppitt.

“That is the reason why the only robot you see on TV is Storm2, but we learnt a lot from the mistakes we made from building the first one.”

Increasing diversity

Fellow robotics enthusiast Will Thomas credits the show with not only inspiring him to start building machines of his own, but also for spurring him on to pursue a career in design technology.

Thomas won the Sunday 31 July 2016 episode of the show with his robot, Shockwave, after impressing producers with an early concept for the machine. In total, the robot took 12 hours to design using CAD software, and five weeks to build once his team found out they had secured a spot on the show.

“When the original series was in its prime, I was 10 and captivated by it. In the evenings and at weekends, I’d be in my room hacking remote control cars apart, trying to build my own robot,” he said.

“After a couple of years of nagging my dad, we started building robots for the small, featherweight class and getting quite competitive, before moving up to the heavyweight class about eight years ago.

“Since then we’ve built a few of our own machines including Shockwave, and we’re getting reasonably good at it now,” he adds.

After having his interest in robots piqued at an early age, Thomas has gone on to complete a degree and masters in robotics, and is now in the throes of training to become a design technology teacher.

“It was the show that kick-started my interest, and with any luck we can do the same for a new generation, but the thing that would be really nice would be to get more female teams involved,” he says.

It is worth mentioning that both Team Storm and Team Shock have female members, while a recent episode of the show saw a nine-year-old girl called April compete with her robot, Glitterbomb.

Making people aware of that and dispelling the perception from outsiders that robotics is “only for boys” is something Thomas is keen to do, on the back of his involvement with the show and the wider live events circuit.

“My fiancée has been dragged into it by me, but she has her own heavyweight robot that we might look to enter Robot Wars next time around and highlight the fact it really is not a boys’ club,” he says.

“If you look behind it all, there are an awful lot of girls involved with making it possible and in the audience there are girls who loved the show first time around and have had to drag their other halves along.”

The Social Aspect

Both teams are also using social media to interact with fans of the show as part of their quests to inspire others to get involved, with Thomas remarking that many of the questions he gets online are from people asking how to qualify.

“It ranges from people who are five years old to people at university and older. If there is another series, there would be a huge number of applicants for it, because so many people seem to want to have a go,” he says.

“We were inundated with messages asking how we did it and congratulating us on our win, and it’s a really great way to get in touch with the people. I think the social media aspect is what could end up making the show even bigger than it was last time.”

– Caroline Donnelly

 

Are you interested in finding your dream career within the IT Industry? If the answer is yes, make sure you check out our latest job opportunities by clicking here!

Filed Under: Latest Industry News Tagged With: Analytics, Cloud, data, DevOps, gear, IoT, IT, Machines, Modern, robot, technology, Wars

HTC to launch its own Virtual Reality app store

August 21, 2016 by Julie McGrath

HTC is launching Viveport, an alternative to the Steam catalog of Vive virtual reality experiences, worldwide this autumn.

Viveport was announced earlier this year, and it launched in China — where Steam is a much less established platform — in the spring. Now, a global developer beta will launch soon, followed by a full rollout. Developers can register today on the Vive site.

The store is supposed to be a more general-interest alternative than the more gaming-focused Steam, and it will be available across multiple platforms: desktop; a mobile app; and an in-VR catalog connected to Vive Home, a virtual environment created by HTC. “We believe virtual reality is going to change the world,” says HTC Vive senior vice president Rikard Stelber, and Viveport is supposed to make it easier to find certain categories of VR that have broad appeal, like educational experiences, shopping, and creative tools.

Steam already offers a large non-gaming catalog. Besides general-purpose desktop software and traditional films, it offers a diverse range of VR titles, like the Tilt Brush painting program and an Apollo 11 educational experience. At the same time, the platform is overwhelmingly associated with games, and with thousands of VR and non-VR titles, it’s increasingly crowded. “We’re recommending developers to publish on all platforms,” says Stelber, including Steam. “We don’t necessarily want to compete with it, we basically want to add additional categories.” Viveport will offer a new, dedicated space to showcase VR experiences.

It’s less clear why consumers would go to Viveport instead of the extremely popular Steam, which they’ll already have to launch to use the Vive. HTC said in January that Viveport was “more of an option for people who can’t use Steam,” although Stelber says it’s since seen a lot of interest that justifies a larger release. The best argument for Viveport may be that Steam is confusingly overstuffed with products and features already, and a dedicated VR store would make the Vive easier to navigate — which, for a powerful but often difficult platform, is a good thing.

– Adi Robertson

Filed Under: Latest Industry News Tagged With: development, film, games, gaming, htc, platform, reality, steam, technology, virtual, viveport, VR

Wireless Speaker that’s as loud as a rock concert

August 20, 2016 by Julie McGrath

The Wireless Speaker may look like a hair dryer or even an alien egg, but the Phantom is actually a loudspeaker.

French manufacturer Devialet claims it is “the best wireless speaker in the world,” capable of a level of performance normally found in high-end equipment that costs as much as a luxury car.

That’s not to say the Phantom comes cheap: the top of the range Gold version sells for $2,990, although music lovers can opt for the entry level White ($1,990) or mid-range Silver ($2,390) models.

The big difference between them is power: the Gold maxes out at 4,500 watts and an astonishing 108 decibels, the equivalent of a live rock performance. Owners of the cheaper models have to settle for 99 and 105 decibels respectively.

Does it have to be that loud? Maybe not, but Devialet is trying to make some noise to draw attention to its Analog Digital Hybrid (ADH) technology, which the company also includes in its $30,000 amplifiers.

Traditionally, sound systems rely on either digital or analog amplifiers. The former provide muscle, the latter subtlety. Hybrids, which combine both, have been around for a long time but Devialet says its products are unique and provide far superior sound quality because the amplifiers operate in parallel rather than in succession.

“This has been a dream for engineers for 40 years, and we were the first ones to do it,” says co-founder Quentin Sanié. “You need to fix 1,000 problems, and you need 1,000 nights to do it,” he adds. “When I heard it for the first time I cried, it was very emotional.”

‘The next Dolby’

Sanié founded Devialet with engineer Pierre-Emmanuel Calmel and designer Emmanuel Nardin in 2007.

The company’s first commercial product was a $14,000 amplifier launched in 2010. The goal was to gain recognition, rather than generate a lot of sales.

The Phantom followed in 2015. It took three years to develop and contains technology protected by 88 patents. It’s shaped like a sphere because, “acoustics engineering dictates that’s actually the best shape for a loudspeaker,” says Sanié.

Devialet operates out of a building designed by Gustave Eiffel in central Paris, with a team of about 40 engineers. All products are made in France, its second biggest market after the United States. The United Kingdom is No.3.

Its ultimate goal is “to be the next Dolby,” and to get its technology into other products such as TVs and cars.

“About 3 billion amplified products are sold every year, but only 100 million are audio products: we want to expand beyond this tiny portion of the global audio market,” says Sanié.

Unlike Dolby, Devialet will continue to make consumer products: “We want to keep doing that, because there’s nothing more exciting for engineers than to make new inventions.”

– Jacopo Prisco

Filed Under: Latest Industry News Tagged With: devialet, dolby, gear, high, loud, loudspeaker, phanton, speaker, technology, volume, wireless

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 15
  • Page 16
  • Page 17
  • Page 18
  • Page 19
  • Interim pages omitted …
  • Page 32
  • Go to Next Page »

Footer

What we do

We provide the digital skills and confidence you need for life, employability and work.

Subscribe to our newsletter

    Services

    • Digital Skills Training
    • Digital Life Skills
    • Digital Employability Skills
    • Digital Work Skills
    • Digital Support Services
    • Digital Badges
    • e-Learning
    • Digitise Your Content
    • Inhouse & Fully Mobile Training Unit
    • Bespoke Training Development & Delivery
    • Guest Speakers & Career Advice

    Explore

    • Home
    • Work With Us
    • About Us
    • Testimonials
    • Blog
    • Privacy Policy
    • Contact Us

    Connect

    hello@digiskills.agency
    0330 223 6994

    © 2025 Digi Skills Agency Ltd. All rights reserved. Sitemap

    Website Design by Yellow Marshmallow.