Category: Technology

In February, Sigma announced the Sigma BF. It’s a full-frame, interchangeable lens camera with just a shutter release, a dial and three buttons. That minimalism speaks to me, and I felt the BF was potentially transformative. Photography is one of my favorite hobbies, and I’ve always felt modern cameras are too complicated. When I received a unit of the Sigma BF to test, I wanted to love it. Unfortunately, it might be too simple.

It all starts with the design. The Sigma BF is one of the industry’s few unibody cameras. It’s carved from a single slab of aluminum, a process Sigma says takes seven hours to complete. The result is a camera unlike any I’ve used before, with build quality that surpasses either of my current Fujifilm models, the X-E3 and X-S20. Now, I know what you’re thinking: The BF looks like an ergonomic nightmare. Surprisingly, it’s not too bad, thanks to the inclusion of two beveled edges where your hands meet the bottom of the camera body.

Still, it’s missing a few features that would have made it more comfortable to use, likely due to the limitations of its unibody design. For one, a proper grip would have been nice, especially when you’re using a heavy 50mm lens like the one Sigma sent me for testing. The BF is also missing a hot shoe mount, so third-party thumb grips are off the table. Most annoying of all, it only has a single strap eyelet, so if you don’t want to use a neck strap, you’ll need one that attaches to the camera’s tripod mount. I don’t own one of those, so I had to carry around the $2,000 BF in my hand the entire time I was using it. You can imagine how that felt.

The BF offers a very different shooting experience from your typical digital camera. As I mentioned, it has only a shutter release, a single dial and three buttons (one for powering the camera on and off, one for reviewing your photos and footage and one for accessing the overflow menu). There’s also a touchscreen, but you wouldn’t know it at first, because other than when selecting a focus point and toggling some options, you won’t be using it much while shooting.

The BF’s one dial is the primary way to interact with the camera. To adjust your exposure, you first press left or right on the dial to cycle to a specific setting, and then spin it to tweak the levels as desired. A second smaller screen above the dial allows you to adjust those parameters without interacting with the main display.

Alternatively, you can press down on the center of the dial to open the BF’s “dual layer” menu system. As the name suggests, Sigma has organized most of what you might need across two levels of menus. For example, say you want to switch the camera from matrix to spot metering. That involves pressing down on the dial, scrolling over to one of the exposure settings, tapping the center of the dial again, and then using your thumb to press the touchscreen and enable spot metering. Accessing most of the settings you’ll need won’t be as tedious, but this worst case scenario demonstrates where the experience of shooting with the Sigma BF falls short.

The BF isn’t great for capturing fleeting moments. In ditching most of the physical controls modern cameras are known for, the Sigma BF makes it difficult to change multiple settings simultaneously. I was most annoyed by the BF whenever I wanted to shoot a fast-moving scene.

On one of my photo walks with the Sigma BF, I saw a father riding a bike with his son in the seat behind him. With my X-E3 or nearly any other camera, capturing that moment would have been simple. I could have changed the drive mode, focus system and shutter speed independently of one another. On the BF, I had to adjust each setting consecutively. By the time I was done, the father and son were long gone.

Some of the BF’s shortcomings could be addressed if Sigma at least allowed you to edit the quick settings screen to show fewer options. I don’t need easy access to change things like the aspect ratio, for example. In 2025, every new camera ships with an overly bloated menu system, and in that regard the Sigma BF is a breath of fresh air. However, allowing the user to make their own tweaks would have made for a much better experience.

And that’s the thing: With the BF, Sigma breaks camera interface conventions that are conventions for good reason. Let me give you one of the more frustrating examples: The camera inexplicably doesn’t offer an easy way to measure the exposure of a scene. There was no meter to indicate whether I was about to under- or overexpose a shot, and I couldn’t add one to the main screen.

The only way I could see a histogram, my preferred method for nailing exposure, was to access the second layer of the interface from one of the capture settings. This is an especially confounding decision because you can half press the shutter to make quick exposure compensation adjustments with the control dial, but as soon as you do, the BF jumps out of whatever menu you were looking at. If digging through menus isn’t your thing, there are two live view overlays you can enable to see if you’ve clipped your shadows or highlights. The first is your usual zebra pattern. The second, which Sigma calls False Color, turns most of the screen grayscale and uses warning colors. Neither felt as precise as a proper exposure meter or histogram.

On paper, the BF is a decent camera for video, with support for 6K recording, HEVC encoding and L-Log. Unfortunately, the BF’s minimalism is a weakness here too. To start, framing a shot is a challenge since the camera has a fixed screen. Getting usable footage is also tricky. The BF doesn’t offer in-body image stabilization, and while there are a few L-mount lenses with built-in stabilization, most wouldn’t be practical to use with the BF due to their size and weight.

If you’ve gotten this far, you’re probably wondering if I have something positive to say about the BF. Well, the best thing about the camera is that it takes genuinely great photos, which is what makes all its shortcomings all the more frustrating. The 24-megapixel, backside illuminated sensor and Sigma’s lenses capture and render detail beautifully without being clinical. The BF also has great subject detection autofocus that makes shooting portraits of people and pets easy.

The Sigma BF has some interesting ideas about what a camera can look like in 2025, but those ideas are often marred by poor execution. As a first stab at a minimalist camera, the BF has enough going for it, and with refinement, I could see future versions evolving into something special. For example, I’d love to see Sigma find a way to include a flip-out screen in the BF’s unibody frame. Until then, $2,000 is a lot to ask for a camera that could be so much more.

This article originally appeared on Engadget at https://www.engadget.com/cameras/sigma-bf-hands-on-minimal-to-a-fault-144024445.html?src=rss 

Acer is announcing a boatload of PCs and gadgets for Computex 2025. But among the sea of new tablets, monitors, productivity machines and more is the Predator Triton 14 AI, which just became my most anticipated laptop of the year.

The Predator Triton 14 AI tops out with an RTX 5070 GPU, but that’s understandable given its compact size (3.5 pounds and 0.68 inches thick). Aside from that limitation, this thing has practically everything I look for in a premium notebook. It sports a slick design, a bunch of fancy features and a gorgeous display — all in a surprisingly portable chassis. In some ways, calling it a gaming laptop is kind of a disservice, because it’s clear Acer designed this thing to do a whole lot more.

For performance, the Predator Triton 14 AI features up to an Intel Core Ultra 9 288V chip, 32GB of RAM and 2TB of SSD storage. Acer then turned things up a notch by equipping it with its latest sixth-gen AeroBlade fans (which are made of metal instead of plastic) and a vapor chamber. But the potential cherry on top is that Acer says the Triton is the world’s first laptop to use graphene thermal interface materials. The company claims this increases thermal capacity by as much as 14.5 percent over more traditional pastes.

Meanwhile, the Triton 14 AI also comes with a 2,880 x 1,800 OLED display with a 120Hz refresh rate and Calman Verified certification. So not only is it accurate, it also has a wide gamut that covers 100 percent of the DCI-P3 color spectrum. And unlike a lot of rival gaming machines, the Predator’s display is touch-enabled. For content creators, the laptop comes with a new haptic touchpad covered by Gorilla Glass with native stylus support (and the pen comes included). This means artists can use the track area as a mini Wacom pad (with 4,096 levels of pressure sensitivity) while traveling.

Honestly, the closer you look, the more impressive this laptop gets, because it feels like Acer paid attention to every little detail. Thanks to some help from AI, the Triton’s 1080p IR webcam offers human presence detection, which allows it to automatically lock itself when you walk away or dim the display when you’re looking elsewhere to prevent Peeping Toms from spying on your work. Acer even coated both the screen and the laptop’s deck with an anti-fingerprint finish to prevent it from looking greasy.

Despite its slim dimensions, the Triton also has great connectivity. There’s support for Wi-Fi 7 along with two USB-C ports (one of which is Thunderbolt 4), two Type-A jacks, 3.5mm audio, a microSD card reader and a full-size HDMI 2.1 connector. And because it’s a gaming laptop, it naturally comes with per-key RGB lighting.

Unfortunately, Acer has yet to release official US pricing for the Predator Triton 14 AI, which is almost certainly due to the ever-shifting tariff situation. But if European info is anything to go by, this thing won’t be cheap with a listed starting price of 2,999 euros. That’s steep, but it makes sense given the laptop’s impressive specs.

On the bright side, if you like the Predator Triton 14 AI, Acer is also making a more affordable sibling in the Predator Helios Neo 14 AI. It features the same display, a similar Intel Core Ultra 9 285H chip and up to an RTX 5070, but with a different (and less elegant) chassis, Wi-Fi 6E and older fifth-gen AeroBlade fans. Like the Triton, there isn’t official pricing for this one yet either, but with it starting at 1,699 euros overseas, it doesn’t present nearly as big of a hit on your wallet.

The biggest change for the Helios Neo 14 AI compared to the Predator Triton 14 AI aside from price is that it has a bulkier chassis with a large thermal shelf in back. 

Besides gaming, the Triton 14 AI looks like it could be a great video editing station, featuring enough performance to blast through practically everything else you can throw at it. I’m going to be eagerly awaiting its release (along with the Helios Neo) sometime later this summer.

This article originally appeared on Engadget at https://www.engadget.com/computing/laptops/the-acer-predator-triton-14-ai-is-now-my-most-anticipated-gaming-laptop-of-the-year-130007910.html?src=rss 

Acer is updating its lineup of Swift Edge, Go and X laptops at Computex with the latest Intel chips, and in of one of these Copilot+ PCs, a unique matte display treatment developed by Corning, the glass manufacturer behind the Gorilla Glass covering millions of smartphones.

The beneficiary of that new display is the Swift Edge 14 AI. The laptop’s display has an anti-glare Gorilla Matte Pro finish that’s the first of its kind on a laptop, and is supposed to “reduce screen reflection by 95 percent” compared to alternative anti-glare glass. Acer introduced the original Swift Edge 14 AI alongside the parade of Copilot+ PCs that accompanied Microsoft‘s big push into AI last year. The new Swift Edge 14 AI benefits from those same AI features like Recall or Click to Do thanks to its updated internals. You can spec the Swift Edge 14 AI with up to an Intel Core Ultra 9 processor with Intel Arc graphics, up to 32GB LPDDR5X RAM and up to 1TB of storage. All of this components are packed into a white and relatively light (2.18 lbs) magnesium-aluminum alloy body, with a 14-inch OLED screen and a “soft-touch” stain-resistant keyboard.

For the new Swift Go 14 AI and Swift Go 16 AI, Acer lets you build the laptop with up to an Intel Core Ultra 7, up to 32 GBLPDDR5X RAM and up to 2TB of storage. On the Swift Go 14 AI you can opt for a 16:10, 1,920 x 1,200 resolution OLED and a similarly laid out 2,048 x 1,280 resolution OLED on the Swift Go 16 AI. Neither laptop is as sleek as the Swift Edge 14 AI — in terms of appearance, the Swift Go laptops seem like the kind you’d be assigned for work. Case in point, both Go models have 1080p, Windows Hello-compatible webcams and touchpads with built-in video conferencing controls.

Acer is also updating its Swift X laptops, the company’s go-to option if you’re looking for more graphical oomph. Both the Swift X 14 AI and the plain Swift X 14 include a NVIDIA GeForce RTX 5070 laptop GPU, which should power you through all sort of video editing and 3D rendering tasks. You can pair the GPU with up to an AMD Ryzen AI 9 on the Swift X 14 AI or up to an Intel Core Ultra 9 on on the Swift X 14. Both laptops can include up to 32GB of LPDDR5X RAM and up to 2TB of storage. This year’s Swift laptops also feature a 14.5-inch 3K OLED displays and larger haptic touchpads that support tilt-enabled styluses for drawing and photo retouching.

Likely due to the unpredictable nature of global trade, none of Acer’s new Swift laptops have finalized pricing or availability in the US, though we can share the info Acer has for Europe. The Swift Edge 14 AI is expected to be available in June for €1,599, the Swift Go 14 AI a little bit later in July for €1,199 and the Swift Go 16 AI in August for €1,299.

The story is the same for Acer’s Swift X laptops. Both the Swift X 14 AI and Swift X 14 will be available in July for €1,799.

This article originally appeared on Engadget at https://www.engadget.com/computing/laptops/acers-new-swift-edge-14-ai-laptop-packs-in-a-matte-display-and-ai-features-130010112.html?src=rss 

For Paul and Chris Weirtz, Murderbot — the upcoming TV adaptation of Martha Wells’ sci-fi novella All Systems Red — was an experiment: Can you have a hero who tries to do nothing?

The 10-episode sci-fi series, which debuts May 16 on Apple TV+, follows an anxious security robot (Alexander Skarsgård) assigned to protect a survey group on a planetary mission. As the mission progresses and deadly surprises emerge, Murderbot grapples with concealing its capacity for free will — an ability enabled when it hacked its governor module — and its insecurities around humans, all while navigating existential questions about its purpose in the universe. Above all, though, Murderbot wishes it could spend its days simply viewing the 7,532 hours of video content it secretly squirreled away in its system for entertainment — a true media junkie, like most of the show’s viewers.

Bringing All Systems Red to TV took years, delayed by the COVID-19 pandemic and the Writers Guild of America strike in 2023. But with support from Apple TV+’s head of worldwide video Jamie Erlicht, a fan of Wells’ work, Paul and Chris chipped away at the show’s scripts, sending every version to Wells for feedback. (Wells, as a consulting producer, ultimately weighed in on other aspects of the project, including design and casting.)

The series stays faithful to All Systems Red — the first of several books and short stories comprising The Murderbot Diaries — in most of the ways that count. The plot largely follows that of the novella, but also makes substantial additions. Members of the PresAux survey group which Murderbot protects, including Dr. Mensah (Noma Dumezweni), Gurathin (David Dastmalchian), Pin-lee (Sabrina Wu), Ratthi (Akshay Khanna), Arada (Tattiawna Jones) and Bharadwaj (Tamara Pdoemski), now have more nuance and deeper backstories. 

The Preservation Alliance, an independent group of planets which the PresAux survey group hails from, is now eccentric, even downright bohemian. During Murderbot’s season premiere, PresAux holds hands in a meditative circle, eyes closed, deliberating over whether to rent the refurbished Murderbot for their mission. Soon after landing on the planet, they dance in the desert, their bodies heaving, arms waving to the music’s beat — little touches inspired by aspects of Chris’s two decades of experience with Burning Man. (Several members of the mission also find themselves navigating the particular dramas of polyamory.)

“We also wanted a sense of these people being out of their element and out of their social setting,” Chris told Engadget. “They’re in the corporation rim, which is a really brutal, extractive capitalist world, but these people are egalitarians from outside of that system. They are [seen as] freaks not just to Murderbot, but to the corporation flunkies who are upselling them.”

While Murderbot’s favorite TV series, The Rise & Fall of Sanctuary Moon, is referenced in Wells’ novel, in Murderbot, the futuristic soap opera is its own fleshed out universe – a bonafide show-within-a-show. Intended as a parody of classic sci-fi, most obviously the original Star Trek series, Sanctuary Moon’s scenes are rife with heavily saturated sets and gaudy costumes. John Cho, as the captain of a starship, falls madly in love with a navigation systems robot (DeWanda Wise); Jack McBrayer portrays a navigation officer out of his depth. Their performances are comically over-the-top, but that’s the point.

“I have a theory that people think of good acting as being very restrained, and that is the case often, but my theory is that humans are emoting maniacs all the time. They’re hamming it up in front of the mirror, in their bathroom,” Paul said. “There was something great about being able to enter a David Lynch-like telenovela world and do the sci-fi version of those things.”

Casting the droll but irreverent character of Murderbot took time. Part-human, it experiences a full range of emotions but struggles with deep-seated social anxiety, and detests showing its face to humans — which may help explain why the character has become popular with members of the neurodivergent community. Skarsgård, whose diverse acting resume includes a Viking prince in The Northman, a ruthless tech CEO in Succession, the titular character in The Legend of Tarzan and a physically abusive husband on Big Little Lies, had traits and experiences Paul and Chris felt were essential for effectively playing the show’s central character.

As one might expect for a security robot, Paul Weisz noted Skarsgård is “physically imposing.” “You get the sense maybe he could kill somebody,” said Paul. But much like the titular character Paul felt this sometimes terrifying exterior belied something much more nuanced. “Alexander also has a really quirky sense of humor. His mind is very different from his body. He’s really unique.”

Bringing in Cho and McBrayer for their roles in the Sanctuary Moon scenes wasn’t nearly as intensive a search; Cho and the Weitz brothers had worked on several projects together over the years.

“It’s like a Faustian bargain when you work with us once, that we’re probably going to get your home cellphone,” Paul mused. “Jack McBrayer is best friends with Alexander, so that was the route to [him]. In terms of John, we worked with him first on American Pie, and I think we’ve done 12 things in different ways with him over the years. So it’s a little like The Godfather where it’s like, someday, I’m going to ask you for a favor.”

Filmed in Ontario, production started in 2024, lasting six months. Shooting the show’s planetary scenes meant scouring for locations like mining quarries, slag heaps and abandoned factories. Interior shots for scenes at Port Freecommerce, a vast star base, in the season premiere were filmed on soundstages in Toronto.

All along, Paul and Chris set out to present a far-flung universe seen less often on screen in recent years. Shirking the dark, grim aesthetic heavily favored in many more recent sci-fi TV and film projects, they worked with production designer Sue Chan to create a universe dominated by bright lighting, white and gray sets, light-colored fabrics and colorful patterns.

“We drew on the wellspring of science fiction we read when we were kids and on science fiction paperback covers of the 1980s, which always seemed to have such great concept design and a bright, interesting world in which to lose yourself,” Paul recalled. “Specifically, it seemed like since this was a world that was dominated by corporations, there’d be a lot of logos everywhere. There’d be a cheapness to a lot of what was manufactured. Also, if you look around, there are a lot of things that seem to have been extruded by giant 3-D printers. Even the food is extruded by 3-D printers.”

Designing Murderbot’s armor was a collaborative process with the costume department, led by costume designer Carrie Grace and specialty costume designer Laura Jean Shannon. To start, they looked at helmets from virtually every well-known robot depicted in military and sci-fi movies from the last 50 years. Initial designs resembled Star Wars stormtroopers, but Skarsgård “really pushed” for the robot’s look to be “something unique,” according to Paul. Drawing inspiration from The Little Rascals’ Petey, who had a large black circle around one of his eyes, the team built a large, distinctive black eye piece into Murderbot’s helmet visor.

Murderbot spends much of its time clad in armor, but it also has downtime when the armor comes off, revealing an impossibly smooth humanoid form resembling Mattel’s Ken dolls. To achieve that look, Skarsgård regularly waxed his entire body during filming.

“Alexander actually volunteered to have his body waxed, because he thought it was what would be best for the character,” Chris recalled. “I remember discussing it with him, and I said, ‘Listen, man, I don’t know if people are even going to notice, but it might make just a tiny bit of difference in terms of the believability of the character.’”

“[Alexander’s] like, ‘Yeah, I should wax myself,’” Chris continued. “Then for the next five, six months, he had to do that every week until he realized eventually that his next role was to play a hairy biker [in the romance drama Pillion].”

In Murderbot, Paul and Chris saw more than a quirky sci-fi novella — they saw a deeply human story wrapped in armor and deadpan humor. Their TV adaptation doesn’t just bring Wells’ world to screen with panache, it leans into the quiet radicalism of a character who resists heroism, craves isolation and struggles to navigate the messiness of human connection.

That emotional core — unexpected, thoughtful, and entirely sincere — is what makes Murderbot more than just another sci-fi romp. It’s a mirror for our most vulnerable selves, disguised as a robot who’d really rather be watching TV.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/how-murderbots-chris-and-paul-weitz-adapted-all-systems-red-for-tv-130034113.html?src=rss