Showing posts with label Right. Show all posts
Showing posts with label Right. Show all posts

Friday, August 9, 2013

Gadgetwise: Getting the Right Light in a Photo

The eye can see a much greater range of light and dark than a camera can, which is why windows look like glowing boxes in daylight photos taken indoors.

That is where H.D.R. (High Dynamic Range) photography comes in. It takes a series of overexposed, underexposed and properly exposed photos and then mashes the best parts together to cover a full range of light. It makes images that are much closer to what the eye actually sees.

But there have been barriers to using H.D.R. The primary issue is that moving subjects change position from shot to shot in the series and appear blurry in the final images. That limits H.D.R.’s use to still-life photography conducted under careful conditions with a steady tripod.

But a new H.D.R. software program from Unified Color, called HDR Expose 3, does two things well that other H.D.R. programs generally don’t (especially the H.D.R. software built into cameras). One is to line up pictures from slightly different angles, which eliminates the need for a tripod. If you’re taking hand-held H.D.R. photos, though, be sure your shutter is set to a fast speed, burst mode and auto bracketing — and you’ll still have to be as steady as possible.

The other thing that it does is make moving objects, like people walking through the frame, solid instead of a blur. In the software, you pick the frame in which you like the positioning of the people (or kites, clouds, animals — whatever is moving) and the program compares that frame with others. It eliminates the elements that are in different positions from the frame you picked when it mashes them together.

H.D.R. has been criticized for the otherworldly look it can impart. Expose 3 settings allow it to be much more subtle and natural, though it also has a “grunge” setting that delivers striking effects.

There is a little bit of a learning curve to the product, which is available either as a stand-alone program or as a plug-in that works in other programs like Adobe’s Photoshop. The video tutorials on the Unified Color Web site are a big help, especially because the software isn’t foolproof — you need to learn a few manual fixes.

The stand-alone version of HDR Expose 3 is $120, or you can buy a $90 version called 32 Float V3, which adds Expose 3’s features to Photoshop. ROY FURCHGOTT

Monday, June 24, 2013

Op-Ed Contributor: How the U.S. Got Broadband Right

Such criticisms are misplaced. If he is confirmed, Mr. Wheeler will have the good fortune to be arriving at the F.C.C. at a time when the United States has gained a global leadership position in the marketplace for broadband.

More than 80 percent of American households live in areas that offer access to broadband networks capable of delivering data with speeds in excess of 100 megabits per second. Almost everyone in the country has several competitive choices for high-speed broadband service (with wireline, satellite and wireless options). Verizon offers 14.7 million consumers, in parts of 12 states and the District of Columbia, speeds up to 300 megabits per second via our FiOS network, which is poised to provide even greater speeds in the future. Companies like AT&T, Comcast and Time Warner Cable are also investing in their infrastructure.

Fifty-six percent of American adults have smartphones that give them access to mobile broadband data and video. Our country is the center of a booming mobile ecosystem in which new devices and applications are being used to do everything from personal health monitoring and e-commerce to tracking deliveries and saving energy.

Contrast this with the European Union, where innovation and investment in advanced networks have stagnated under an onerous regulatory regime that limits investment and innovation, and where today only about 2 percent of households have access to broadband networks with 100-megabit-plus speeds. “Once, Europe led the world in wireless communication: now we have fallen behind,” Neelie Kroes, the European Union official responsible for broadband policy, said in a speech in January. “Europe needs to regain that lead.”

The United States built its lead because companies invested nearly $1.2 trillion, over 17 years, to deploy next-generation broadband networks. These investments, which began with the passage of the Telecommunications Act of 1996, were neither accidental nor inevitable; they were a result of deliberate policy decisions by Congress and by Democratic and Republican administrations alike to protect consumers while encouraging companies to invest in nascent technologies that are now flourishing.

President Bill Clinton’s administration decided not to impose, on the Internet and wireless technologies, century-old regulations designed for copper networks. Michael K. Powell, the F.C.C. chairman during President George W. Bush’s first term, presided over the decision to exempt new fiber-optic networks from the old regime of price controls and rate-of-return regulation. The fast deployment of 4G LTE mobile broadband networks across the country might not have happened had Julius Genachowski, the most recent F.C.C. chairman, imposed a heavy-handed regulatory approach toward the technology.

Regulatory restraint has resulted in a robust broadband market, but today some self-styled policy advocates insist that America’s broadband marketplace is badly broken and that the only solution is to revert to Depression-era regulations, like government rate setting and price controls or rules dictating what types of competitive offerings broadband providers can offer consumers. These ideas, however, are part of the rigid bureaucratic approach that European regulators like Ms. Kroes have correctly identified as stifling.

Since 1996, as America encouraged the growth of its broadband industry, European regulators have adopted policies that generally limited network infrastructure deployment to a single facility in a given country or region. Other companies were allowed to “resell” broadband services to consumers, but only if they used the same infrastructure. This “retail” competition resulted in prices that may have covered the costs of operations but left little capital or other incentive for companies to invest in improving these networks. In other words, a decade ago the European broadband market may have looked healthy from the standpoint of consumer pricing, but after 10 years of underinvestment, European households (only half of which have access to networks capable of speeds of even 30 megabits) have far fewer broadband options and innovations than their American counterparts.

Regulatory prudence is the only way to keep up the momentum in broadband innovation. We are just beginning to see the potential of innovative cloud-based services, smartphones and tablets to transform education and job training. A recent study found that cloud computing could save enough energy to power Los Angeles for a year, the equivalent of 23 billion kilowatt-hours of electricity. The broadband ecosystem is more than service providers and carriers. Our regulatory system needs to protect consumers while allowing market participants — developers of mobile applications and operating systems, handset manufacturers or operators of mobile virtual networks — to innovate.

There is no telling what will come out of this next wave of change. For its potential to be fully realized, however, it will be critically important for the industry to work with regulators — led, we hope, by Mr. Wheeler — to continue the bipartisan policies that have made our fast-changing industry a global leader.

Sunday, June 23, 2013

Op-Ed Contributor: How the U.S. Got Broadband Right

Such criticisms are misplaced. If he is confirmed, Mr. Wheeler will have the good fortune to be arriving at the F.C.C. at a time when the United States has gained a global leadership position in the marketplace for broadband.

More than 80 percent of American households live in areas that offer access to broadband networks capable of delivering data with speeds in excess of 100 megabits per second. Almost everyone in the country has several competitive choices for high-speed broadband service (with wireline, satellite and wireless options). Verizon offers 14.7 million consumers, in parts of 12 states and the District of Columbia, speeds up to 300 megabits per second via our FiOS network, which is poised to provide even greater speeds in the future. Companies like AT&T, Comcast and Time Warner Cable are also investing in their infrastructure.

Fifty-six percent of American adults have smartphones that give them access to mobile broadband data and video. Our country is the center of a booming mobile ecosystem in which new devices and applications are being used to do everything from personal health monitoring and e-commerce to tracking deliveries and saving energy.

Contrast this with the European Union, where innovation and investment in advanced networks have stagnated under an onerous regulatory regime that limits investment and innovation, and where today only about 2 percent of households have access to broadband networks with 100-megabit-plus speeds. “Once, Europe led the world in wireless communication: now we have fallen behind,” Neelie Kroes, the European Union official responsible for broadband policy, said in a speech in January. “Europe needs to regain that lead.”

The United States built its lead because companies invested nearly $1.2 trillion, over 17 years, to deploy next-generation broadband networks. These investments, which began with the passage of the Telecommunications Act of 1996, were neither accidental nor inevitable; they were a result of deliberate policy decisions by Congress and by Democratic and Republican administrations alike to protect consumers while encouraging companies to invest in nascent technologies that are now flourishing.

President Bill Clinton’s administration decided not to impose, on the Internet and wireless technologies, century-old regulations designed for copper networks. Michael K. Powell, the F.C.C. chairman during President George W. Bush’s first term, presided over the decision to exempt new fiber-optic networks from the old regime of price controls and rate-of-return regulation. The fast deployment of 4G LTE mobile broadband networks across the country might not have happened had Julius Genachowski, the most recent F.C.C. chairman, imposed a heavy-handed regulatory approach toward the technology.

Regulatory restraint has resulted in a robust broadband market, but today some self-styled policy advocates insist that America’s broadband marketplace is badly broken and that the only solution is to revert to Depression-era regulations, like government rate setting and price controls or rules dictating what types of competitive offerings broadband providers can offer consumers. These ideas, however, are part of the rigid bureaucratic approach that European regulators like Ms. Kroes have correctly identified as stifling.

Since 1996, as America encouraged the growth of its broadband industry, European regulators have adopted policies that generally limited network infrastructure deployment to a single facility in a given country or region. Other companies were allowed to “resell” broadband services to consumers, but only if they used the same infrastructure. This “retail” competition resulted in prices that may have covered the costs of operations but left little capital or other incentive for companies to invest in improving these networks. In other words, a decade ago the European broadband market may have looked healthy from the standpoint of consumer pricing, but after 10 years of underinvestment, European households (only half of which have access to networks capable of speeds of even 30 megabits) have far fewer broadband options and innovations than their American counterparts.

Regulatory prudence is the only way to keep up the momentum in broadband innovation. We are just beginning to see the potential of innovative cloud-based services, smartphones and tablets to transform education and job training. A recent study found that cloud computing could save enough energy to power Los Angeles for a year, the equivalent of 23 billion kilowatt-hours of electricity. The broadband ecosystem is more than service providers and carriers. Our regulatory system needs to protect consumers while allowing market participants — developers of mobile applications and operating systems, handset manufacturers or operators of mobile virtual networks — to innovate.

There is no telling what will come out of this next wave of change. For its potential to be fully realized, however, it will be critically important for the industry to work with regulators — led, we hope, by Mr. Wheeler — to continue the bipartisan policies that have made our fast-changing industry a global leader.

Monday, April 29, 2013

Walking Dead: Carl, Andrea, The Governor - Who's Right?

Warning: Spoilers for "Welcome to the Tombs" follow...

The Walking Dead Season 3 finale has left many fans wondering why the creators made the 'who lives, and who dies' decisions that they did for the Season 3 finale, and how those choices will play into the upcoming Season 4. We've already published an interview with creator Robert Kirkman speaking about the finale and teasing 'radical changes' in Season 4.

We had the chance to speak with producer Gale Anne Hurd recently to talk about how they decide who lives and who dies on the series, if they felt the need to "explain" or justify Andrea in her final moments, why they stayed in the prison rather than move to Woodbury, and the zombies coming out full force in Season 4.

IGN TV: So the big topic of conversation following the finale was the choice to keep the Governor alive and kill Andrea. Can you talk about how those decisions were made? Did the fan response play into it at all? There was some criticism of her character.

Gale Anne Hurd: To be honest, if you pay attention, everyone’s gonna have a favorite and a least favorite. People are always gonna want villains to be killed, heroes to live. Personally, I’m a huge fan of Andrea’s from the comic book. I’m a huge Laurie Holden fan, so I’m partial to her. But at the same time, the decisions that are made on the show are really based on how -- death is never just a response to criticism or “Oh, we want to do something shocking.” That’s never the case. It really is based on how a death will affect the future storytelling. In other words, when Lori died, we got to see how that affected Rick and Carl. Their responses have really fueled the season. And with the death of Andrea, seeing Michonne for the first time show her true emotion and to see that her character has come full circle -- that was her family, and she has to say goodbye to her family, but I think we’re going to see how her death affects not only Michonne, but everyone in the prison community. I think also, what it helped do was inspire Rick to welcome in the Woodbury survivors.

IGN: Because he felt like that would have been something she would have wanted?

Hurd: Exactly.

IGN: Alternatively, keeping the Governor alive, was that about the strength of the performance? Or is it that he provides a strong counter to Rick and what he brings out in him as a character?

Hurd: The Walking Dead will never do what’s expected of us. You always expect that the big bad will be killed in the finale. It’s really unlikely we’re going to do that. I think that there’s more to be done with not only the character, but with the conflict that we get to see, the difference in leadership between the Governor and Rick.

IGN: It sort of illuminates where somebody could go in that kind of a world.

Hurd: Exactly.

IGN: in those final moments with Andrea, did it feel like in the writing of it, that the desire was to redeem the character, have her explain where she was coming from with Milton?

Hurd: I think part of the what the show is, is that it’s a character-driven show. It’s a show in which there are often monologues, whether it’s the Morgan scene with Rick in 12, some of the scenes going back to the second season between Daryl and Carol talking about Cherokee Rose -- you know, people do open up, and they talk about their journey. They talk about what’s affected them. So I don’t think that is in any way different from what we’ve seen on the show before. Truly, if you know you’re dying and that there’s no way out, no hope, I think that traditionally people do get off their chest what’s concerned them and how they’d like to be remembered.

IGN: In that moment, it did seem like maybe there was hope. It felt like maybe she could have gotten out of it and killed him in time.

Hurd: Yeah, but she knew that at some point he was no longer going to be sentient. Either he died and the period of time that it takes to come back as walker varies from a few minutes to even more than a day -- so she had no idea how long that process was going to take.

Continue for more on the Governor, if Carl was right and what's to come on The Walking Dead...

Thursday, March 7, 2013

F.C.C. Urges a Right to Unlock Cellphones

For consumers, being able to take their iPhone or any other type of handset with them when they switch carriers could make it easier to take advantage of lower rates once an initial contract is fulfilled. That might mean more price competition and more choices for cellphone customers.

The administration and the F.C.C., under Julius Genachowski, announced that they will urge Congress to overturn a ruling last year by the Copyright Office of the Library of Congress that made it illegal for consumers to unlock their cellphones, opening the software that restricts most phones from working on another carrier’s network.

Most consumers probably are not even aware that there is a process that would allow them to keep their current phone when they switch from one national carrier to another — but only after they have satisfied their initial service contract. The freedom to keep a phone regardless of the carrier has become a popular cause in technology circles, and an online petition to the White House gained more than 100,000 signatures in a month, prompting a response.

“If you have paid for a mobile device, and aren’t bound by a service agreement or other obligation, you should be able to use it on another network,” R. David Edelman, a senior White House adviser for Internet, innovation and policy, wrote in a blog post on the White House Web site.

“It’s common sense,” he said, and it raises concerns about consumer choice, competition and innovation.

Without a change, the potential consequences for unauthorized unlocking, under the Digital Millennium Copyright Act, are stiff: a $500,000 fine and five years in prison.

Wireless phone companies say they do not understand what the fuss is about. The big carriers each have policies that allow for phone unlocking on request once a user has fulfilled the initial contract terms. And, the carriers say, there are plenty of places to buy an unlocked phone to be used on a pay-as-you-go basis.

“We’ll unlock your device if you’ve fulfilled the terms of your service agreement,” AT&T, one of the largest wireless carriers, said in a statement Monday. “And, if you bring an unlocked device that will work on our network, we’ll sell you a SIM card and service.”

The key, therefore, is whether a cellphone designed to operate on one company’s network will operate on another company’s system. Unlike in Europe, cellphone systems in the United States do not all operate using the same technology, meaning a phone from one carrier might not easily transfer to another.

Michael Altschul, a senior vice president of CTIA — The Wireless Association, a trade group representing cellphone companies, said the national wireless carriers only insist on a phone remaining locked for the duration of the service contract so they can recover some of the cost of their subsidy that reduces the purchase price of the phone. Consumers have long been able to buy phones that already are unlocked, but that usually requires paying full price, which is often several times the subsidized price at which carriers offer phones along with a two-year contract.

For example, an unlocked iPhone 5 can be bought from the Apple store for $649; the same phone bought from AT&T costs $199 if the buyer accepts a two-year contract for wireless service.

The ban on unlocking a cellphone became an issue with the passage in 1998 of the copyright act, which among other provisions makes it illegal to circumvent digital protection technology. Unlocking a phone requires altering the software that restricts use of the phone to a certain carrier’s network, and runs afoul of the act.

But until recently, the copyright office had granted an exemption for mobile phones, subject to review every few years. Last year, however, the copyright office did not renew the exemption, prompting protests from the tech community.

The Library of Congress issued a statement Monday saying it agreed with the Obama administration that the issue of whether consumers should be able to unlock their phones “has implications for telecommunications policy” and that it should be reviewed by Congress and the administration.

Because the Library of Congress, and therefore the copyright office, are part of the legislative branch, the White House cannot simply overturn the current ruling. But both the White House and the F.C.C. urged Congress to take up the issue.

This article has been revised to reflect the following correction:

Correction: March 6, 2013

An article on Tuesday about efforts to allow consumers to unlock their cellphones, and thus be able to take the phones with them when they change carriers, misstated the year the Digital Millennium Copyright Act was passed. It was 1998, not 1988.

Saturday, December 15, 2012

State of the Art: Google Maps App for iPhone Goes in the Right Direction - Review

As everybody knows by now, Apple got lost along the way. It was like a 22-car pileup. Timothy Cook, Apple’s chief executive, made a quick turn, publicly apologizing, firing the executive responsible and vowing to fix Maps. For a company that prides itself on flawless execution, it was quite a detour.

Rumors swirled that Google would create an iPhone app of its own, one that would use its seven-year-old, far more polished database of the world.

That was true. Today, Google Maps for the iPhone has arrived. It’s free, fast and fantastic.

Now, there are two parts to a great maps app. There’s the app itself — how it looks, how it works, what the features are. In this regard, few people complain about Apple’s Maps app; it’s beautiful, and its navigation mode for drivers is clear, uncluttered and distraction-free.

But then there’s the hard part: the underlying data. Apple and Google have each constructed staggeringly complex databases of the world and its roads.

The recipe for both companies includes map data from TomTom, satellite photography from a different source, real-time traffic data from others, restaurant and store listings from still more sources, and so on. In the end, Apple says that it incorporated data from at least 24 different sources.

Those sources always include errors, if only because the world constantly changes. Worse, those sources sometimes disagree with one another. It takes years to fix the problems and mesh these data sources together.

So the first great thing about Google’s new Maps is the underlying data. Hundreds of Google employees have spent years hand-editing the maps, fixing the thousands of errors that people report every day. (In the new app, you report a mistake just by shaking the phone.) And since 2006, Google’s Street View vehicles have trawled 3,000 cities, photographing and confirming the cartographical accuracy of five million miles of roads.

You can sense the new app’s polish and intelligence the minute you enter your first address; it’s infinitely more understanding. When I type “200 W 79, NYC,” Google Maps drops a pin right where it belongs: on the Upper West Side of Manhattan.

Apple’s Maps app, on the other hand, acts positively drunk. It asks me to clarify: “Did you mean 200 Durham Road, Madison, CT? Or 200 Madison Road, Durham, CT?”

Um, what?

And then there’s the navigation. Lots of iPhone owners report that they’ve had no problem with Apple’s driving instructions, and that’s great. But I’ve been idiotically misdirected a few times — and the trouble is, you never know in advance. You wind up with a deep mistrust of the app that’s hard to shake. Google’s directions weren’t great in the app’s early days either, and they’re still not always perfect. But after years of polishing and corrections, they’re right a lot more often.

The must-have features are all here: spoken driving directions, color-coded real-time traffic conditions, vector-based maps (smooth at any size). But the new app also offers some incredibly powerful, useful features that Apple’s app lacks.

Street View, of course, lets you see a photograph of a place, and even “walk” down the street in any direction. Great for checking out a neighborhood before you go, scoping out the parking situation or playing “you are there” when you read a news article.

Along with driving directions, Google Maps gives equal emphasis to walking directions and public transportation options.

This feature is brilliantly done. Google Maps displays a clean, step-by-step timeline of your entire public transportation adventure. If you ask for a route from Westport, Conn., to the Empire State Building, the timeline says: “4:27 pm, Board New Haven train toward Grand Central Terminal.” Then it shows you the names of the actual train stops you’ll pass. Then, “5:47 pm, Grand Central. Get off and walk 2 min.” Then, “5:57 pm, 33rd St: Board the #6 Lexington Avenue Local towards Brooklyn Bridge.” And so on.

Even if public transportation were all it did, Google Maps would be one of the best apps ever. (Apple kicks you over to other companies’ apps for this information.)

This article has been revised to reflect the following correction:

Correction: December 14, 2012

The State of the Art column on Thursday, about a new Google Maps application for the iPhone, misstated the type and, because of an editing error, the number of businesses for which interior views are available. It is 100,000, not 100, and the number includes many kinds of businesses, not just restaurants.

Friday, November 23, 2012

Gadgetwise Blog: Choosing the Right Headphones

Headphones are the least expensive and most effective way to improve your sound system. They take room acoustics out of the equation, give you perfect stereo separation, and need not be expensive to be good. (They can be expensive, though; some headphones cost thousands.)

The best values in headphones I’ve tested this year hit a sweet spot at around $100. And you can get quite a lot for that price.

First, there are several varieties of headphones. There are earbuds, which hang in the ears but don’t plug the ear canals; in-ear headphones, which fit snugly in the ear canals and block outside sound; on-ear headphones, which sit on your ears but do not create a seal; and over-ear headphones, which encompass the ear and seal out environmental sound. Some over-ear headsets also have sound-canceling technology, to further isolate the listener from outside sound.

The RHA MA450i earphones. The RHA MA450i earphones.

Earbuds do not offer very good sound quality, and over-ear sound-canceling headphones are pricey. There is also a misconception about sound-canceling sets; they reduce only the droning sound of jet engines and wind rush, not the noisy seatmates chatting on a phone.

If you want to shut down extraneous noise, the best way to do it inexpensively is with an in-ear headset. Most have flexible rubber or foam tips that seal out sound. Of those I’ve tried recently, the RHA MA450i, at $50, is the value winner. The sound was detailed and easy to listen to without fatigue, making the MA450i suitable for subway commuting or a cross-country flight. As a plus, it is iPhone friendly and has a microphone and control buttons built into the cable.

The best value in headphones I’ve heard this year — maybe ever — came from the Grado SR 80i, which provides detailed and balanced sound at a bargain basement $100. These headphones fit over the ear but have an open-air design, meaning they will not seal out environmental sound; they act more like an on-ear headset. That also means that if you crank them up, you may overshare your tunes with neighbors.

V-Moda allows people to add designs and text to their Custom Crossfade LP headphones. <br />“/> V-Moda allows people to add designs and text to their Custom Crossfade LP headphones. <BR><P>As good as the Grados sound, the utilitarian look isn’t very stylish. If you want looks, the V-Moda Crossfade LP Custom lets you pick colors and metal finishes, and even add your own graphics. The $200 set has a very striking, exaggerated sound, with a lot of bass. I know some classic rock fans who are enamored of them.</P><P>If you are a freak for hip-hop or pumped-up bass, one choice is the Studio headphone from Beats by Dr. Dre. While far too bass-heavy for my tastes, you cannot overlook their popularity. But that popularity will cost you $300.</P>
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Sunday, October 28, 2012

Gucci Mane Strikes Down God’s Son: “Nas’ F*cked Up Right Now” [Video]

Atlanta rapper Gucci Mane is no longer keeping his disses local, now taking a public jab at New York rap veteran Nas and his publicized financial woes.

Speaking to rapper Rocko, who acknowledged Nas' Life is Good selling without ample promotion, Gucci took a jab at the rap vet's financial security.

"Does Nas make a 150 blood money per week off a mixtape," Gucci asked in a video. "Yeah, blood money. Nas' f*cked up right now. Yeah. Me and you got [whips], I just bought me [something]. Don’t you have a drop top? … You got the white one, I’m getting the black one? Nas got one? [laughs]" (Hood Affairs TV)

Thursday, October 4, 2012

Malaysian Court Says Publishing a Newspaper Is a Right

A Malaysian court ruled on Monday that the government should not have rejected an application for a print publishing license by Malaysiakini, a popular independent news Web site, said Shanmuga Kanesalingam, a lawyer who represented Malaysiakini. Under Malaysian law, a newspaper must obtain a permit from the government before it can publish.

Free-speech advocates hailed the decision as a victory.

“Recognition that the right to publish a newspaper is a fundamental right is very, very significant,” Mr. Shanmuga said. “It’s the first time we’ve had this said by a judge.”

Masjaliza Hamzah, executive officer of the Center for Independent Journalism in Kuala Lumpur, described the decision as “a very progressive judgment for freedom of expression, for freedom of the press in Malaysia.”

“It’s very significant,” she said, because few new permits for print newspapers have been granted in recent years.

“The permits that have been given out are mostly for small-scale publications, but not for the kind of publication that could garner a national audience, which Malaysiakini could,” Ms. Masjaliza said.

The government has not yet decided whether to appeal the decision, said Noor Hisham bin Ismail, a senior federal counsel involved in the case. It has a month to file.

Although the Internet has remained relatively free in Malaysia, most large newspapers are either owned by the government or linked to it.

Mr. Shanmuga said the court had ruled that the home minister, who grants publishing permits, must reconsider Malaysiakini’s application in accordance with the law.

He said the ruling would make it more difficult for the government to refuse an application for a printing license, because it requires officials to show that the proposed publication would be a threat to public order or to national security, or would be immoral.

Premesh Chandran, co-founder and chief executive of Malaysiakini, said he hoped the company’s application for a license would now be approved, although he expected the government to appeal.

He said Malaysiakini, which attracts about 400,000 online readers a day and has sections in English, Malay, Chinese and Tamil, wanted to publish an English-language newspaper to reach the many Malaysians who still receive the news through print.

Ms. Masjaliza, from the Center for Independent Journalism, said it was difficult to predict whether the ruling would lead to a rush of applications for printing licenses, because printing a newspaper still requires a large amount of capital.

But many Malaysians, particularly those in rural areas, still rely on print, she said, and a new newspaper could challenge the dominance of the government-linked media in those areas.

“If a newspaper launched that is targeted toward the Malay hinterland,” she said, “it would have a huge impact in terms of the kind of information people get, which has more diversity of opinions, which has more space being given to multiple political actors and political parties.”

Amendments made this year to the Printing Presses and Publications Act allow a company whose application for a publishing license has been rejected to appeal to the courts for the decision to be reviewed. Previously, Ms. Masjaliza said, these companies had no legal recourse.

Publications are also no longer required to renew their licenses annually, but media freedom advocates argue that the government should go further and remove the requirement for publishing permits.

Monday, October 1, 2012

Gadgetwise Blog: Q&A: Asking Siri — the Right Way

I just upgraded to iOS 6 on my iPad and am trying to get used to using the Siri assistant. Is there a correct way to ask for stuff?

Siri, Apple’s virtual assistant program, which first appeared on the iPhone 4s last year, works with a number of apps on the iPad. The programs that can be commanded by Siri include the Maps app, the Safari Web browser, the Notes program and the Messages service. As you may have seen from television commercials, you can ask Siri about things like sports scores and weather.

Apple has a Frequently Asked Questions page with more information about working with Siri so you can get the most out of the program. As you use Siri, you need to supply certain bits of information to make things more efficient later on. For example, the first time you tell Siri to start a FaceTime video call with your brother, the program will ask you to identify your brother and his FaceTime contact information.

But you can look within Siri for answers as well. The next time you hold down the iPad’s Home button to summon the assistant, tap the small “i” in the box above the microphone icon. Siri pops up a list of the functions it can perform, as well as examples of how to ask for things.

Saturday, September 15, 2012

Dredd: How to Do a Reboot Right

With Sylvester Stallone's laughable take on the 2000 AD lawman still fresh in the memory, Karl Urban's Dredd strode purposefully into UK cinemas last week – and wouldn't you know it, he punted Stallone's Judge helmet-first into oblivion. Could Dredd be the form guide that shows how you really pull off a reboot? Let's break it down, step by step.



Step 1: Let Someone Else Do It Wrong First


The mistake several studios seem to make is in rebooting a film or property that was fine just the way it was – you're onto a hiding from nothing trying to recapture the magic of a Spider-Man or a Total Recall. (Batman and Bond are the exceptions, of course: some movie franchises HAVE to keep going). Sylvester Stallone's drokking awful Judge Dredd movie took everything about the 2000 AD character that was great and ignored it; in other words, it was the perfect example of what not to do when it came to giving Dredd another run around Mega-City One. If Stallone had never squared up against Armand "LAWWWW!" Assante back in 1995, we wouldn't realise how great the 2012 Dredd movie is in comparison.


A reboot should be your chance to put right what once went wrong, not just another excuse to milk a popular franchise. Most studios will ignore this point in favour of cashing in on brand recognition – that's the cheap and nasty way to make a reboot. If you're serious about wanting to make a proper fist of it, read on...


Step 2: Listen To The Criticism


This shouldn't need to be said, really. If you've followed Step 1 and are rebooting something in desperate need of a new paint job, then you're going to want to make sure you figure out what was wrong the first time around so you don't make the same mistakes. For example, in Danny Cannon's Judge Dredd movie, Stallone was accompanied throughout by 'comic relief' Rob Schneider – a man so unfunny his profession has to be listed in 'sarcastic quote marks' at all times. 17 years later, and you can count the number of jokes in Karl Urban's Dredd on one hand. You live, you learn.


Similarly, Stallone's Dredd spent more than half the movie with his helmet off – sacrilege for fans who'd grown up with the character since 1977. Fast-forward to today's Dredd, and all you can see under that helmet is Karl Urban's chin – which manages to out-act Stallone all by itself. This time around, the filmmakers knew how to treat the material because they'd listened to the criticism of the first movie and started their version off on the right foot. You've got no excuse for not listening to disgruntled fans in today's online world – Lord knows they have enough channels through which to vent their frustration.



Step 3: Hire The Right People


The temptation when putting a reboot together is to hire the biggest names possible – A-listers who can sell a film with their face on the poster alone. This is an old way of thinking. We live in an age where even films starring multiple Oscar winners are going straight to DVD: a name alone is not enough any more. This doesn't mean you should cast small, it means you should cast smart: tailor an actor to the character instead of the other way around.


Part of the reason Karl Urban got the role of Dredd was because he understood the necessities of the character (the helmet MUST stay on); part of the reason Alex Garland wrote the script was because he's been a fan of the comics since he was a boy. These are people who care if the source material is mishandled – no one here is taking the money because they want their names and faces plastered on the sides of buses. Trust in talent and, hopefully, you'll be rewarded with a movie that sells itself. And hey, interesting actors are usually much cheaper than popular ones. Speaking of the budget...



Step 4: Scale Down The Ambition


The temptation when rebooting a movie is to flex your muscles – to go bigger, brassier and bolder than what's gone before. However, throwing money at your movie is not always the right way to do that. Danny Cannon's Judge Dredd had a budget of $70 million (pretty pricey in '95) and saw Stallone flying through CG cityscapes on his bike, dodging exploding buildings and fighting giant, animatronic robots. All of that for a 15% rotten rating on Rotten Tomatoes. Fancy special effects and pyrotechnics count for nought when your entire movie is a punchline.


17 years of inflation later, and Pete Travis' Dredd has the comparatively paltry budget of $45 million (reminder: Jack And Jill had a budget of $79 million). With a stripped-down plot, a small cast and a single location, Dredd has a narrower focus and is all the better for it. Without the distraction of hover-cars and constant green-screenery and megastar egos, the movie is free to deliver on its promise: showing Dredd to be a lean, mean, justice-dishing machine. Ambition is all well and good, but that's what sequels are for...



Step 5: Always Leave Them Wanting More


If you've committed to a reboot, chances are you're not going to sniff at the idea of a swift follow-up: no movie these days is given the green light without multiple-picture deals being secured and three-film character arcs sketched out in advance after all. Sequels are a necessary evil but they have their place: if you're smart, your reboot will nail the essentials first (character, tone) then tease a bigger world still to come in movies two and three.


With singular vision throughout, Dredd never feels like he's angling for a three-picture deal. When viewed from the foot of Peach Trees tower, he certainly looks like the finished article come the closing credits, but there's still so much potential in his universe as yet unexplored – so much crime being committed, so many perps going un-judged. Mega-City One is a huge, sprawling metropolis of nasties and freaks – the perfect place, in other words, to host a sequel. Just remember, you have to earn it first – and audiences hate being left hanging.


Monday, August 6, 2012

Political Memo: Political Pollsters Struggle to Get the Right Cell Number

So it sounds odd that some pollsters have decided to hang up on more voters.

Yet that is one way survey researchers have adapted to the communications revolution that has upended old methods of measuring which political party is ahead. In the polarized battle between President Obama and Mitt Romney, arcane shifts in polling techniques can have important consequences for the results — and public perceptions of the contest.

Bill McInturff, a Republican pollster, and Peter Hart, his Democratic counterpart, who conduct the NBC News/Wall Street Journal poll, proved the point in their latest poll, conducted July 18-22, when they increased the proportion of respondents who rely exclusively on cellphones to 30 percent from 25 percent. To home in on them, the pollsters ended calls answered on cellphones if the respondents said they also had land lines.

Their findings affirmed arguments that “cell only” Americans have significantly different, and more Democratic, political views than those with land lines. Over all, the poll showed Mr. Obama leading Mr. Romney by 49 percent to 43 percent — providing a confidence-boosting talking point for Democrats and provoking sharp criticism from Republicans.

Scott Rasmussen, who owns an independent polling firm, approaches the “cell only” problem differently, as he must by law. His Rasmussen Reports conducts surveys through automated dialing, which under Federal Communications Commission rules is permitted for land lines but not cellphones.

So in Mr. Rasmussen’s polls, online interviews account for 15 percent to 20 percent of each survey, which he figures helps him reach the same kinds of voters, especially younger ones, in the “cell only” category. The result he reported the morning of July 25, a few hours after the NBC News/Wall Street Journal poll was released, was strikingly different: Mr. Romney had 47 percent, and Mr. Obama 44 percent.

“Nobody has the answers,” Mr. Rasmussen said of different approaches to the issue. “We’re all experimenting with the same thing. How do you reach people in a way they communicate?”

Political pollsters have long struggled to keep pace with changes in how Americans communicate with one another — or don’t. One of their central challenges is the decline in “response rates” among voters.

Another is ensuring that their means of reaching people produce accurate reflections of voter sentiment. The rapid rise of cellphones as the sole means of telephone communication for many Americans — now about one-third of the population, government researchers say — has produced a distinct subgroup within the electorate.

That group is not only younger but also “attitudinally different from other people” of all ages, said Mark S. Mellman, a pollster for Democratic candidates. Among their characteristics: they are disproportionally urban, African-American, on either the high or low end of the economic ladder — and Democratic.

“It used to be if you got the number of young people right, you got the poll right,” Mr. Mellman said. “That’s no longer true.”

But accounting for those “cell only” voters is not so easy. Regulations limit how pollsters can dial cellphone numbers, making those calls roughly twice as expensive as land line calls — a cost some pollsters and their customers are not willing to bear.

Moreover, there is no consensus on the right method for handling such polling. The ABC News/Washington Post polls, like the NBC News/Wall Street Journal poll, terminate calls if cellphone respondents say they also have land lines.

The New York Times/CBS News Poll, like the Gallup Organization and Pew Research Center, does not. Instead, Times/CBS pollsters complete interviews with all willing cellphone respondents and “weight” the views of those without land lines to make them reflect one-third of the survey’s results.

Others remain skeptical that one-third is even the right target for “cell only” voters.

Thursday, July 26, 2012

Gadgetwise Blog: Q&A: Staking the Right Spot on Facebook

What’s the difference between a Facebook “Group” and a “Page?”

Facebook has some fairly strong distinctions between these two types of non-individual accounts that it offers on the site. In general, Groups are geared more for small clubs or people who just want to have a semi-private space on Facebook, while Pages are supposed to be the legitimate place to get more information about a company, celebrity or product.

A Group page can be created by anybody as a private place for members of the group to post comments and have discussions on a topic, or topics, of interest. To join a group page, another member of the group must add the new user. Group pages can be open or “closed,” which means the posts are not visible to non-members of the group.

“Pages,” on the other hand, are designed more for corporations, businesses and organizations to have an official presence on Facebook. A representative from the company or institution needs to create the Page and maintain it, and the posts, apps and other content on the page are pretty much open to the public.

11 Retro Remakes We Need Right Now

Last week's release of Tony Hawk's Pro Skater HD got us thinking: there are scores of classic titles from every era of gaming that would benefit just as much from the HD remake treatment. We rounded up editors from all over IGN to get their picks for what should be next up to get a modern facelift, along with what they could look like on store shelves.

What would your pick be? Sound off in the comments below!

San Andreas hit the pinnacle of what made a Grand Theft Auto game fun and crazy. The final game in the GTA III trilogy featured a greater variety of transportation vehicles (planes and jetpacks ruled!), interesting gameplay features like exercising and the ability to gain weight, customizable cars, and a story that didn’t take itself too seriously but still managed to hit home by the end. OK, maybe in a remake they could axe the exercising stuff, but I digress… A high-definition facelift would really highlight the huge, gorgeous locales represented in the game. It wouldn’t be unreasonable to push the game for as high as $30 if the HD Remake Fairy ever makes this happen.

Stephanie Lee -- Associate Editor, IGN Game Help

The NES classic Castlevania II is beloved by some and tolerated by others, but its infamously bad English localization made it bewildering to anyone who wanted to beat the game without the help of Nintendo Power or a friend on the playground. In an era where sequels deviated heavily from the formulas of the originals, Castlevania II intrigued gamers by combining the series’ classic gameplay with a heavy emphasis on RPG elements, from equipment to leveling, that were previously foreign to the fledgling franchise.

In reality, Simon’s Quest is the precursor to the most famous Castlevania of them all – Symphony of the Night – but it doesn’t get the love it so rightfully deserves because of the few things it does wrong. A remake could finally do the game justice and catapult it back near the top of the best Belmont games – where it belongs. A strong translation, a sharpening of the gameplay and perhaps some other new bells and whistles can make Simon Belmont’s quest to revive Dracula only to kill him again a solid 21st century affair still firmly rooted in the old-school.

Colin Moriarty -- Editor, IGN PlayStation

Rare is a dead shell of their former selves. The most recent release from the company that brought us games like Banjo-Kazooie, Donkey Kong Country, and Viva Pinata was Kinect Sports: Season Two in 2011—a game that, in my opinion was a waste of their talents.

Seeing they’ve already released Perfect Dark, Banjo-Kazooie and Banjo-Tooie in HD I would love to see them develop a version of their fighting classic Killer Instinct for Xbox Live. The game best known for an epic announcer who can shout “Ultra Combo!” and “Combo Breaker!” like no other would fit in perfectly in this revived era of fighting games. Evo only gets bigger every year, and an Arcade port of KI with a few tweaks (like online play) would hold up pretty well today.

Destin Legarie -- Editor, IGN Games

Before GoldenEye, Perfect Dark, and Banjo-Kazooie, there was Blast Corps – and I’ve been looking for a game like it ever since I reviewed it back in 1997. Rare’s second N64 game after Killer Instinct Gold, Blast Corps still stands strong as one of the most unique and intense experiences on the system. Players man the controls of eight different destruction vehicles to clear the path of an out-of-control nuclear missile carrier. It’s a simple premise, but it translates into complete mayhem; frantic switching between vehicles, giant explosions, and really, really sweaty hands. The visuals may be muddy by today’s standards and the controls are definitely unforgiving, but they don’t detract much from the excellent gameplay, smart puzzle design, quirky soundtrack, and punishingly hard, but ultimately rewarding difficulty level.

Blast Corps never enjoyed the same success as Rare’s other efforts in the N64 era (it didn’t even break a million units, despite the lack of new N64 releases back in those days). It’s time to bring it back. With upgraded visuals and Trials-style competitive leaderboards, Blast Corps could become more than just a cult hit for old-school Nintendoheads. “Time to get moving!”

Peer Schneider -- Senior Vice President and Publisher, IGN

Even a decade ago, on-rails shooters were viewed as passé, but such was the esteem felt for the Panzer Dragoon series of the Sega Saturn’s dragon-borne shooters (and one RPG) that, in 2002, an Xbox update was welcomed with enthusiasm. Despite the limitations of the genre, developer Smilebit squeezed in a 360-degree combat arc, plenty of strategic options, a likeable storyline, and even limited exploratory elements via split-rails. But it was the visuals that gob-wowed gamers at the time – the sense of an extraordinary place inhabited by gorgeous creatures. Ten years on, despite the seemingly ho-hum textures and the muddy backgrounds of that long-gone era, you can still feel a sense of grandeur, an adventure that’s begging to be retold with appropriate visual vim. Ultimately, Panzer Dragoon Orta is a head-swiveling thrill-ride, a place to gaze upon beauty and gasp as worlds of color whoosh by. It deserves to be made anew.

Colin Campbell -- Features Editor, IGN

Konami hasn’t done much with the Suikoden series since its Nintendo DS spinoff – and it’s a damn shame. This is one of the best, most underappreciated JRPG franchises ever, and an HD remake of the best of the bunch, Suikoden II, could help change that. Sharpening up the awesome (but now grainy) 2D sprites from the PSOne version would bring this fantastic, deep world and its characters to life. While we’re at it, let’s add VO to those thousands of lines of dialogue. Throw this on Vita, PSN, and/or XBLA for $20 and you’ve got 80 hours of great, gorgeous role-playing.

Mitch Dyer -- Associate Editor, IGN Xbox

The gaming masses have hungered for a Final Fantasy VII remake for... seven years, actually – ever since the "technical demo for PS3" debuted at Sony's E3 press conference in 2005. As one of the most popular entries in the world’s most popular role-playing series, Final Fantasy VII deserves an HD treatment. The actual play has help up immensely well, so all we need is an up-to-date graphical package. In fact, expect a full feature on how we would remake Final Fantasy VII coming soon. Yes, we really want a remake, too.

Ryan Clements -- Content Manager, IGN

Initially written off as a medieval fantasy clone of Doom piggybacking on the runaway success of id Software’s groundbreaking first-person shooter, 1994’s Heretic instead turned out to be a brilliant game in its own right. It was the first game to license the Doom engine and was the title that put veteran developer Raven Software (Hexen, Jedi Knight II, Wolverine, Soldier of Fortune, Quake 4, and many more before doing multiplayer and DLC work on the Call of Duty series) on the map. Fantastic level design, multiplayer that featured clever power-ups (like the Morph Ovum that turned deathmatch rivals into chickens with 1 hit point), and brilliant weapons (such as the rocket launcher-esque Phoenix Rod that would burn enemies alive, be they human or chicken) made Heretic memorable. And it’s never appeared on any platform since. It’s time to rectify that.

Ryan McCaffrey -- Executive Editor, IGN Xbox

If there's any popular game from the Playstation One era that needs to be remade, it's Vagrant Story. Fans have been clamoring for a return to this beloved JRPG for years, and now would be as good a time as any for Square Enix to give them what they want. After all, a remake would also introduce a new generation of players to this PSX classic – players who have either never heard of Vagrant Story or been scared away by its outdated graphics and sound. A boost in the visuals and audio, as well as a few small tweaks to the gameplay to bring it up-to-date could do wonders for this already highly-acclaimed title, and could even bring in a new fanbase. The RPG world awaits, Square Enix…

Meghan Sullivan -- Database Editor, IGN

Young air pirates, aerial ship-to-ship combat, dungeon crawling, powerful gigas to summon, and sweet moon crystals to discover… Skies of Arcadia, with its combination of Jules Verne-esque sensibilities and charming cast and story, was unlike almost everything else on Sega’s ill-fated Dreamcast.

Many games have cribbed from this formula since its initial release almost 12 years ago (most notably Rogue Galaxy), but none have captured the spirit of Vyse and Aika’s quest to stymy the Valuan Empire’s bid to destroy the world. Sega ported Skies of Arcadia to both PlayStation 2 and GameCube, but it’s never seen the light of day in HD (the closest it came was the inclusion of Vyse and Aika in Valkyria Chronicles).

Given the dearth of JRPGs on the current-gen HD consoles – especially on Xbox 360 – a high-def remake of Skies of Arcadia is a no-brainer given its established fanbase and overall appeal.

Casey Lynch -- Editor-in-Chief, IGN Games

Amy Henning is one of the best writers in the industry. Most recently known for her work on the Uncharted series, Henning formerly worked on a few titles about Vampires and Vengeance known as the Legacy of Kain series. The story tells a tale about both Raziel and Kain over a total of five games, any of which are strong enough to stand on their own if remade in HD.

I came into the series with The Legacy of Kain: Soul Reaver, a 3D platformer featuring the introduction of Raziel and the setup for the interwoven journey both he and Kain will go on over the rest of the series. The final chapter to the story is one of the biggest surprises and, in my opinion, one of the greatest revelations I’ve ever experienced in any form of media. The fact that this hasn’t been remade in HD is a shame, as it only limits others from that same moment of realization and surprise I was able to enjoy.

Destin Legarie -- Editor, IGN Games