Category: Technology

,Among them, is a new tool called Concert Kit that could help bands and artists fight back against ticket scalping bots. 

The new feature relies on the revamped World ID, the orb-based verification system that scans users eyeballs and faces to create a “proof of human” signature that lives on users’ mobile devices. “It’s basically like a little human passport for the internet that lets you prove on apps and websites that you are a real and unique human without revealing anything about yourself,” Tools for Humanity Chief Product Officer Tiago Sada tells Engadget. 

Now, as more apps and services are starting to support World ID, that “human passport” can unlock some new abilities. Coupled with Concert Kit, it allows artists to designate a specific pool of tickets for “verified” humans only. The concept is a bit like how pre-sales currently work, with artists (or their teams) setting aside a specific number of tickets for people who have set up a World ID. Those folks can then use their World ID to get ticket codes for Ticketmaster, Eventbrite, AXS or other major ticketing platforms. 

Because World ID is limited to actual, “verified,” humans the system won’t be susceptible to the same tactics that have enabled bots to ruin the ticket-buying process for so many, Tools for Humanity says. Artists are also in control of what level of verification they want to require from their fans. (The new World ID app will also allow people to set up an account with a selfie check if they don’t have ready access to an orb.) 

Just how much of a dent Concert Kit will be able to make in the massive scalping bot problem that plagues the concert industry is less clear. So far, Bruno Mars is slated to use the solution on his upcoming world tour — no word on just how many of his tickets will be reserved for World ID-verified humans, though — and Concert Kit is available to other artists starting today.

Concert Kit is one of several new integrations and updates to World ID that Tools for Humanity announced at an event in San Francisco Friday. Tinder, which earlier this year started testing World ID as an age verification solution in Japan, will be rolling out support worldwide. In the US, Tinder’s integration won’t be for age verification, though. Instead, it will indicate whether there is an actual “verified” human behind a given profile.

Tinder profiles that verify with World ID will get a badge as an extra signal of authenticity.

On the enterprise side, Zoom and DocuSign are also adding support for World ID to help businesses verify that there is an actual person (and not a deepfake or bot) joining their video calls or signing important documents. Tools for Humanity is also introducing a standalone app for World ID that separates its identity verification tools from its existing crypto wallet app.

The updates are Tools for Humanity’s latest attempt to make their orb-based verification system, which has been widely mocked, more mainstream and perhaps a little less dystopian. (Elsewhere, orbs have begun appearing in some new places like a San Francisco Gap.) 

On their part, Tools for Humanity seems aware that a lot of people aren’t ready to scan their faces at a bunch of orbs controlled by Altman just to “prove” they are humans. I asked Sada, Tools for Humanity’s Chief Product Officer, what he would say to people who think that the company is solving for the wrong problem: that really it should be up to ticketing platforms and dating apps and other services to strengthen their security and bot-fighting tools, rather than rely on their users to “prove” their humanness. 

He said it was a “completely understandable question” and compared it to some people’s initial discomfort with things like Apple’s TouchID or FaceID. “Not everyone has to do it upfront, and that’s important,” he said. “It’s optional. If you want to have a World ID, you get access to that enhanced experience.”

This article originally appeared on Engadget at https://www.engadget.com/ai/sam-altmans-human-verification-company-thinks-its-eye-scanning-orbs-could-solve-ticket-scalping-171500555.html?src=rss 

Panic, the company behind the tiny and excellent Playdate console, is taking a stand on generative AI. The company has published an AI disclosure that says as of this month, the Playdate Catalog “will no longer accept titles that use ‘Generative AI’ for art, audio, music, text, or dialog.” Panic does allow for developers to use AI assistance for coding, but also says that “we will flag any title as such and specify the extent that it was used (for example, “Lua debugging”) so the customer can decide whether to support it or not.”

This comes a day after Panic announced that Playdate season three was happening and would arrive later this year. For those who don’t recall, the Playdate includes a “season” worth of games when you buy it, 24 titles in total with two revealed every week. Season two came out last year with 12 games — but, as Game Developer notes, one of those games used generative AI for writing and coding. On Bluesky, someone asked Panic if it would disclose what games in season three used AI, and the company confirmed that it was a requirement for season three that developers not use AI for art, music, writing or coding.

Specifically, Panic says you can’t use large language models like ChatGPT or Google Gemini, AI image generators like Stable Diffusion or audio generators like MuseNet and Suno. Previously-approved games with generative AI will be allowed to stay on the catalog with a disclosure that indicates what exactly AI was used for. The company says these guidelines are “under constant discussion and is subject to change at any time.”

I recall seeing AI disclosures on games in the Playdate Catalog in the past, but it makes sense to be up-front and clear on exactly what Panic allows and what it will reject. That said, it’s fairly easy to sideload games onto a Playdate, so anyone who wants to use generative AI to make a game isn’t entirely out of luck — though distribution and discovery for Playdate owners will obviously be harder.

This article originally appeared on Engadget at https://www.engadget.com/gaming/panic-says-the-playdate-catalog-wont-accept-games-made-with-generative-ai-160615022.html?src=rss 

The rules of Exit 8, both the cult indie game and the recent film adaptation, are simple: You’re stuck in a subway station that loops around endlessly. If you notice any anomalies on your current loop, you turn around. If everything is the same, you keep going forward. Each successful guess takes you to a new entrance where the loop recurs, until you reach the end of the labyrinth, Exit 8 itself. 

It’s a setup that perfectly suits a first-person video game, where you can fully control where your character looks and moves. And it’s also something director Genki Kawamura deftly replicates in the film through long tracking shots and sweeping camera movements. Even without a controller, or a keyboard and mouse, the viewer remains immersed, looking and listening for any minor changes. Within just a few minutes, the film makes it clear it’s not just another thoughtless video game adaptation like The Mario Galaxy Movie — it’s an attempt to translate the experience of the game to an entirely new medium.

That’s a daunting challenge for most artists, but Kawamura is no stranger to jumping between formats. He’s known for producing popular anime films from the likes of Makoto Shinkai and Mamoru Hosoda, including Your Name and Belle. He’s also made a name for himself as a best-selling author, with books including the novelization of Exit 8.

Kawamura’s perspective for the film came from a conversation with Nintendo’s legendary game designer Shigeru Miyamoto, who had mentioned that the greatest games are both fun for the players and people watching them. “So what I tried to do in the film is to really place the audience in the shoes of the player in certain shots… almost like they were watching a live stream of a video game in other scenes,” he said in an interview with Engadget (via a translator). “That’s kind of structurally the through-line of the film.”

The Exit 8 adaptation balances that sense of immersion with a more traditional narrative structure, something the game lacked entirely. As the film begins, we’re introduced to a young man standing in a crowded train. A drunken businessman shouts at a mother to quiet crying baby down. Instead of telling the belligerent salaryman to fuck off, the young man plugs in his earbuds and tries to ignore the situation, just like everyone else. He eventually steps off, while the tearful mother suffers through the verbal assault.

It’s a scene that anyone who’s lived in a crowded city can relate to — the moments where you know you should try to help a stranger, but fear, cowardice or embarrassment hold you back. 

Exit 8

Shortly after receiving a call from his ex-girlfriend, who reveals that she’s pregnant, the young man stumbles into the Exit 8 loop. At first, it’s just a normal subway station, with large poster ads, a photo booth and random maintenance doors. But he quickly notices that the room repeats itself. Thanks to a helpful set of instructions on the wall, he learns that his only way out is to start tracking anomalies, like slight changes in text, or the way a robotic businessman walks past him. And yes, things get freaky quickly. 

Kawamura points to his experience working in animation as a major influence for Exit 8. In particular, the works of Satoshi Kon and Katsuhiro Otomo influenced how he externalized what characters were thinking and feeling, as well as how he depicted the interaction of dream and real worlds. 

“ When we were filming, I told my DP [director of photography] that the main character of this film is the corridor,” he said. “And all of our human characters, they have no names, so therefore they’re NPCs in this corridor, which is the main character. So I wanted the corridor to almost evoke this feeling in the audience that it has a will of its own. And this yellow Exit 8 sign is almost like this divine God-like being.”

Kawamura says he personally views it as the corridor challenging humans who have a guilty conscience, but you can easily read in other meanings. More importantly, Exit 8 isn’t merely a faithful recreation of the source material — it adds enough to make a case for existing a separate medium, a challenge many video game adaptations fumble.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/exit-8-is-cinema-for-the-livestreaming-era-151112907.html?src=rss 

In hindsight, I suppose it was only a matter of time after Anthropic made Claude capable of generating charts and diagrams that the company would then begin offering a more robust image editor. Now, a little more than a month after that release, Anthropic has announced Claude Design, a new research preview that allows subscribers to use Claude to generate designs, prototypes, slides and more.  

“Claude Design gives designers room to explore widely and everyone else a way to produce visual work,” Anthropic says of its newest product. As with its previous forays into image generation, the company isn’t calling this, well, an image generator. Instead, Anthropic describes Opus 4.7, the system powering the app, as its most capable vision model to date. In other words, you won’t be using Claude Design to whip up a picture of a cat in space eating a lasagna.  

As you might expect, every project in Claude Design starts with a prompt. From there, Anthropic notes users can refine Claude’s outputs through conversation, inline comments and direct edits. Like Adobe’s recently announced AI assistant, Claude will also generate custom sliders that correspond to specific elements in a design, which the user can push and pull to modify those elements. For instance, in the screenshot below, you can see how Claude has tweaked the interface to allow the user to adjust the glow and density of arcs it used to illustrate a connected network.

Claude Design will generate custom sliders you can use to adjust specific visual elements.

Anthropic has also built an onboarding process that allows Claude to build an internal visual language after reading your organization’s codebase and existing design documents. “Every project after that uses your colors, typography, and comments automatically,” according to the company. Outside of text prompts, there’s also support for image and document uploads, and Anthropic has even included a web capture tool so enterprise customers can snapshot elements from their company’s website. There’s also built-in sharing, and you can export a design directly to Claude Code. In the coming weeks, Anthropic has promised to make it easier to build integrations with its new app. 

Claude Design arrives in the same week that both Adobe and Canva released their own visual AI assistants. If Anthropic is preparing to eat Canva’s lunch, it’s doing so in a strange way given that you can export your Claude Design projects to Canva. If you want to try the new app for yourself, it’s available as part of Anthropic’s Pro, Max, Team and Enterprise subscriptions, with usage running up against your usage limits.

This article originally appeared on Engadget at https://www.engadget.com/ai/anthropic-now-has-a-design-assistant-too-150000903.html?src=rss 

TCL introduced its new flagship X11L SQD-Mini LED TV at CES 2026, and now a few months later, the company is ready to expand its lineup with more SQD-Mini LED models and its first RGB-Mini LED TV. All sizes of the TCL QM8L SQD-Mini LED TV are available now. Meanwhile, both the TCL QM7L SQD-Mini LED TVs and the RM9L RGB-Mini LED TVs are available to pre-order.

SQD-Mini LED panels are TCL’s latest iteration of its Mini LED display technology, where “SQD” stands for “Super Quantum Dot,” a layer of tiny crystal dots that help filter the light from the LEDs in the company’s panels. TCL claims its SQD-Mini LED screens are more color accurate than its previous models without losing out on HDR contrast. The TCL QM8L has an anti-reflective SQD-Mini LED panel, up to 4,000 discrete dimming zones, up to 6,000 nits of peak brightness and support for Dolby Vision 2 Max after a software update. The TCL QM7L also has an anti-reflective SQD-Mini LED panel, up to 2,100 discrete dimming zones, up to 3,000 nights of peak brightness and support for Dolby Vision IQ. Both TVs feature Audio by Bang & Olufsen and run the latest version of Google TV with support for Gemini.

Like other TV makers at CES 2026, TCL also capitalized on the growing trend of Micro RGB or RGB Mini LED panels. Rather than use a layer of white or blue LEDs that are transformed with quantum dots and color filters, TCL’s RGB-Mini LED starts with discrete red, green and blue LEDs to produce richer color. The TCL RM9L features the company’s new RGB-Mini LED display with an anti-reflective layer, over 3,800 discrete local dimming zones, up to 6,000 nits of peak brightness and support for Dolby Vision 2 after a software update. The TV also features Bang & Olufsen audio and Google TV with Gemini support.

TCL says the QM8L is available to order now starting at $2,500 for the 65-inch model, $3,000 for the 75-inch model, $4,000 for the 85-inch model and $6,000 for the 98-inch model. The TCL QM7L, meanwhile, is available to pre-order starting at $1,200 for the 55-inch model and goes as high as $4,000 for the 98-inch model. If you’re curious about TCL’s new RGB-Mini LED displays, the TCL RM9L is available to pre-order starting at $8,000 for the 85-inch model and up to an eye-popping $30,000 for a 115-inch model.

This article originally appeared on Engadget at https://www.engadget.com/home/home-theater/tcls-rgb-mini-led-tvs-will-start-at-8000-130000543.html?src=rss 

So a shoe company turned into an AI company…. That’s it, that’s the joke. In this episode, Devindra chats with Engadget’s Daniel Cooper about Allbirds’ sudden transformation and what it says about the AI economy. Also, they chat about the Artemis II moon mission, Meta being warned about the dangers of facial recognition (again) and how teens think social media is really shaping them.

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Topic

Near-dead shoe company Allbirds is doing AI now – 1:47

Artemis II safely returns to Earth, did you know they had DSLRs and iPhones up there? – 15:57

Meta warned by dozens of civil rights organizations that facial recognition in its smart glasses will enable predators – 28:41

Social media isn’t bad for teens, say teens – 36:00

NAACP sues xAI over data center pollution – 44:30

Around Engadget –  50:28

Credits

Hosts : Devindra Hardawar and Daniel Cooper
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/ai/engadget-podcast-allbirds-goes-from-shoes-to-ai-115922991.html?src=rss 

You’ve probably seen DJI’s stick vlogging cameras everywhere. At trade shows and tech events I’ve attended, it’s often the de facto video camera used by reporters and influencers alike. The Osmo Pocket 3 was easy to use, had sharp focus, potent image stabilization and handled vertical and horizontal video recording with minimal compromises.

That was two years ago, so naturally it’s time for an update. According to our review by James Trew, the Osmo Pocket 4 is the one to beat. It’s still incredibly easy to record with, whether you’re doing talk-to-camera vlogs or ambitious, more cinematic-quality videos. With a new 1-inch sensor, improved framerate capture and an extended battery, it’s better than its predecessor in every way. (Except the $605 price.)

There’s a new dedicated zoom button, and you can assign up to three controls to this button through single, double and triple clicks. There’s also 107GB of internal storage, so you don’t need to add storage — that’s plenty to get started with.

There are some things on our wishlist: we’d love some optical zoom, and the lack of dust- and water-protection might give you pause before more ambitious video shoots.

— Mat Smith

The other big stories this morning

Not just Street Fighter: Call of Duty movie arrives on June 2028

Recteq X-Fire Pro 825 review: A smart grill that pulls double duty

Reed Hastings is leaving Netflix after 29 years

You can now hide Shorts on YouTube

Rejoice.

You can ditch the barrage of short-form videos from your YouTube feed if you don’t want to see them. YouTube has rolled out the capability to set your Shorts feed limit to zero minutes. The video-sharing platform originally launched a Shorts feed limit back in October last year, but the lowest option you could choose was 15 minutes. The priority placement of shorts I didn’t want to watch has rankled me for a while — this could be the solution.

Continue reading.

The first full trailer for the new Street Fighter movie is here

Yes, Ken beats up a car.

After a short teaser dropped last year, we’ve finally got a full trailer for the newest attempt to bring Street Fighter to cinemas. The good news, to me, is that it’s going to be silly, fun and high camp. Ken and Ryu are squabbling, and M. Bison is still, bafflingly, a head of an international crime org. And Chun-Li plans to take him down. Jason Momoa is playing Blanka and Curtis ‘50 Cent’ Jackson is portraying Balrog, while mask-toting Orville Peck will don another mask as Vega.

Continue reading.

Allbirds pivots to AI

Never a good sign.

It’s like walking on a Claude.

Continue reading.

This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-engadget-newsletter-111515383.html?src=rss