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Google released Gemini’s Deep Research feature in March, a few months after unveiling the tool, giving you the capability to ask the AI chatbot to create comprehensive reports on complex topics. Deep Research uses sources from the web to write reports for you, but now a new update also allows it to pull information from your Gmail, Docs, Drive and Chat. Google says it’s one of the tool’s most requested features, and you’ll be able to take advantage of it in Gemini, even if you’re not paying for a subscription.

With Google’s latest update, Deep Research is now able to use your emails, all the Slides, Docs, Sheets and PDFs in your Drive, as well your chat history as references. That translates to a more personalized report, since Gemini wouldn’t just be using sources from the web. If you ask it to write a marketing analysis for you, for instance, it will take into account your notes, any document your team has written or any back-and-forth between you and your colleagues on email. It can cross-reference information from your account with public data to make, say, comparison spreadsheets for competitor analysis.

Take note that you will be able to control which Google service to link to, if you’re uneasy about giving Gemini access to all your information. When you click on the Deep Research tool in Gemini, you’ll see a drop-down menu where you can tick on Search, Gmail, Drive and Chat individually. At the moment, the feature is only available on desktop, but it will make its way to mobile devices “in the coming days.”

This article originally appeared on Engadget at https://www.engadget.com/google-gemini-can-now-do-deep-research-on-your-gmail-and-drive-data-143000300.html?src=rss 

This story about Paul McCartney begins with one of his old bandmates. “I’m not really Beatle George,” the ever-philosophical George Harrison once said. “For me, Beatle George was a suit or a shirt that I once wore. And the only problem is, for the rest of my life, people are going to look at that shirt and mistake it for me.”

On one hand, that’s, well, George being George. But his quote does speak to our need to mythologize the Beatles. It’s hard not to! The music is so exquisite, influential and timeless that we look for grand stories to tell about it. We want a stronger connection to it, so we pore over biographies, interviews and documentaries. We seek meaning and purpose in their story.

Still, it must be surreal to be one of the four protagonists of that story. At some point, the narrative takes on a life of its own that may not reflect your experience. McCartney alluded to that in the 2013 song “Early Days.” “Now everybody seems to have their own opinion on who did this and who did that,” he sang. “But as for me, I don’t see how they can remember when they weren’t where it was at.”

So, I’ll try not to mythologize the Beatles too much as I describe my experience photographing Sir Paul McCartney last month. I will, of course, fail spectacularly at that mission.

The crowd ranged from seniors to teens in Sgt. Pepper costumes.

Months before I watched him play for nearly three hours in front of 15,000 fans (at age 83!) at Albuquerque’s Isleta Amphitheater, I sent a press request to his team. A few days before the concert, I learned that my photography pass had been approved. Once it sank in, I screamed and giggled, not unlike the teenagers in Ed Sullivan’s audience. (Don’t judge those gals until you’ve been near a Beatle!)

But there wasn’t much time to soak up the excitement. Without any real cameras on hand — my iPhone 17 Pro certainly wasn’t going to cut it — and only a few days to prepare, some quick decisions were in order. After enough internal debate to make my head spin off its axis, I settled on an oddball combination. For the body, I went with the Canon EOS R50, an ultra-compact mirrorless with a 24-megapixel APS-C sensor.

Was it the best one available? Not at all. But instead of renting a $3,000 camera, I decided to buy something in my budget that I’ll enjoy using for years. I’d already eyed it after handling a display model and reading Steve Dent’s review. Plus, it created a fun challenge: How can a sub-$800 consumer-facing camera stand up to the unique demands of concert photography?

The lens, on the other hand, is no place to mess around. So I rented the Canon EF 70-200mm f/2.8 L IS USM, a gargantuan, professional-grade telephoto one. (It’s the precursor to this $2,399 one.) This choice was simple: It was by far the most concert-appropriate lens available to rent. It maintains sharpness and contrast across its long zoom range, its autofocus is fast and its f/2.8 aperture is crucial for the unique demands of stage lighting.

Put the tiny camera and ginormous lens together (with this $38 adapter), and you get the odd couple you see below. To say this sucker was front-weighted would be an understatement.

“She’s so heavy…”

Camera in hand (and Beatles hoodie equipped), I took my position in the tight press pen. The photography area was about 150 yards from the stage and didn’t allow for lateral movement, so ideas for creative compositions were set aside. My only option was to push that glass out to 200mm (or close to it) and fire away. Save those composition ideas for when it’s time to crop.

When photographing someone like Sir Paul, you ideally want an image that captures not only the man and the musician, but also that larger-than-life myth. It should be something grand that you’d want to hang on your wall. No pressure!

Sir Paul’s first number was the John Lennon-penned classic “Help!” Until this year’s leg of the Got Back tour, McCartney hadn’t played the song in full since 1990. We can only speculate about his reasons for pulling it out of his bag now. But I feel like the song’s desperate pleas gain new poignancy in 2025. I can’t count the times I’ve wanted to cry out to someone — anyone! — to “Please, please help me” after reading the news.

We were huddled close enough together that I was glad I wore these $16 kneepads under my jeans. When the crowd in front of us settled down a bit, I kneeled to give my photographer cohorts more elbow room. My right knee bounced pleasantly onto the cozy leg pillow.

With one song already down, the R50’s burst mode was getting a workout. The stock Canon battery was still going strong, but I had these two third-party spares stashed in this camera bag to swap out if necessary. (I didn’t end up needing them, despite snapping over 600 photos.)

McCartney transitioned into his second number, “Coming Up,” the first track from 1980’s McCartney II. That LP was ahead of its time, embracing synths, drum machines and other studio tricks before they became commonplace. Contemporary critics didn’t care much for it, but it later became a cult classic. That combination illustrates something about his solo career: always experimenting, sometimes misunderstood, but ultimately vindicated.

Two songs were over in a flash. Macca addressed the crowd, and picture time was over. Off to leave my camera with security, and claim the faraway lawn seat I bought long before I knew I’d have press access.

The rest of McCartney’s set included a perfect balance of Beatles, Wings and solo numbers. (There was even an old Quarrymen song, “In Spite of All the Danger.”) As you can see in the photos, he started on his trademark Höfner bass. But he moved on to piano, acoustic and electric guitars and ukulele. The latter was for his beautiful rendition of Harrison’s “Something.”

That number wasn’t the only point that moved me. The most notable was where he teamed with Lennon on “I’ve Got a Feeling.” Present-day McCartney singing with 1969 Lennon, who appeared on the giant screen above (via the restored rooftop concert footage in Get Back), was profound. “I love that one because I get to sing with John again,” he said.

Sir Paul strikes me as someone who’s always looking forward. But the Got Back tour is a chance to look back. It lets us, the romanticizing fans, join him on the long and winding road from the Quarrymen to today. The entire production made me feel like a passenger on his journey.

I could go on. But you don’t need me to elevate Paul McCartney’s musical legacy any more than you need me to explain Michael Jordan’s basketball skills or Meryl Streep’s acting chops. Listen to the music — and catch his tour if you can — and you’ll feel it.

As for the photos, my favorite is the one at the top of this article. (I also included a color version in the gallery below.) It’s the only one that (to me) captures the man, musician and myth as he plays his Höfner bass. Out of more than 600 rapidly-fired photos, one that feels just right is good enough for me.

But even if they all sucked, who cares! Decades from now, I’ll tell everyone at the old folks’ home that, when I was young (and my heart was an open book), I snapped some pictures of Sir Paul McCartney. The story may grow more inflated by then, and maybe I’ll invent new details. But perhaps I can be forgiven for a bit of mythologizing.

This article originally appeared on Engadget at https://www.engadget.com/cameras/the-gear-i-used-to-photograph-paul-mccartney-133033591.html?src=rss 

The last time I used a set of Noble Audio earbuds, the company managed to pack five drivers into the tiny housings. Now it’s back with a new model, the FoKus Prestige Encore, and despite only having four drivers this time, the company still took plenty of cues from its line of pro-grade in-ear monitors (IEMs). The biggest downside is that this new set is still plenty pricey, hitting your wallet for $699.

Inside, the FoKus Prestige Encore has one 8mm dynamic driver, two balanced armature drivers and one 6mm planar magnetic driver. According to Noble, each of these components have different duties. The dynamic drivers handle bass while the midrange goes to the Knowles balanced armature drivers. Lastly, the planar magnetic driver is tasked with the treble to “reveal microdetail.” The company says it also designed new “triple-vented” nozzles to make airflow efficient and the seal consistent.

Noble Audio FoKus Prestige Encore

Rather than using plastic or some other affordable material, Noble opted for solid wood for both the earbud housings and the charging case. Since this is the real thing and not a printed plate, each set of the FoKus Prestige Encore will have its own unique grain pattern — no two sets will look the same. What’s more, Noble reduced the overall size of the buds, which it says offers “a secure, fatigue-free fit.”

The FoKus Prestige Encore is equipped with hybrid active noice cancellation (ANC) and a transparency mode. The earbuds also support aptX Lossless, aptX Adaptive and LDAC for higher quality listening. For calls, dual noise suppression mics won’t overly process your voice for the sake of reducing background distractions, which Noble says will keep you sounding clear and natural in all settings.

Noble promises up to seven hours of use on a charge with ANC enabled or up to 10 hours with noise canceling turned off. When you factor in the case, you’re looking at up to 35 hours of total listening time. A quick-charge features will give you up to two hours of playback. The FoKus Prestige Encore also supports Audiodo for personalized calibration for each user’s hearing, and those profiles are stored on the earbuds for use on any device.

The Fokus Prestige Encore is available starting today for $699 (£649/€799).

This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/noble-audios-latest-earbuds-have-a-four-driver-setup-and-a-solid-wood-design-090000651.html?src=rss 

Canon just barged into the mid-range full-frame hybrid camera arena with a new entry. The 32.5MP EOS R6 III is a dramatic improvement over the EOS R6 II thanks to the higher resolution, faster shooting speeds and better video specs. However, it comes at a relatively high price and lacks a stacked or partially stacked sensor, unlike other cameras in this category. 

The new 32.5MP sensor provides a big boost in resolution compared to the R6 II’s 24MP chip. At the same time, the R6 III offers higher shooting speeds of 40 fps in burst mode with the electronic shutter, or 12 fps with the mechanical or first-curtain shutter. It also supports 20 frames (a half second) of pre-shooting so you won’t miss key moments for wildlife or sports shooting. 

The R6 III uses Canon’s fast and dependable Dual Pixel AF system and comes with the company’s latest AI tracking algorithms. It can operate in fairly dim conditions down to -6 EV and should be more responsive with Canon’s latest Digic X processor, pending our review. It offers subject tracking for people, animals and vehicles, along with an Auto mode that will pick one of those automatically. It also borrowed the “Register People Priority” feature from the R5 II, which lets you keep focus locked on specific subjects that you’ve previously memorized. 

The biggest update for the R6 III, though, is with video. Thanks to the higher resolution sensor, it can now capture up to 7K 60 fps RAW light video, 7K 30 fps “open gate” video and 4K at up to 120 fps, all with Canon’s C-Log2 and C-Log3 on tap. There’s a dizzying array of other video formats available (12 pages worth in the specs), with HEVC S, AVC-S, RAW, RAW Light and others, at resolutions up to 7K. All the AF subject detection features are available (vehicles, animals and people), and Canon is typically among the best for video AF in terms of speed and accuracy. 

Nobody expects any radical design changes in a Canon camera (the company tried that with the EOS R and it really didn’t work), so the R6 III kept the last model’s tried and true form factor. That includes two adjustment dials on the top and one on the rear, along with a joystick, photo/video selector, mode dial and a good assortment of programmable buttons. 

The rear display flips out as you’d expect for vlogging, but it doesn’t tilt like Panasonic’s S1 II — so it may obstruct the mic or headphone jacks, and isn’t as useful for low-angle photo shooting. The viewfinder has 3.69 million dots of resolution as before, the same as Sony’s A7 IV but less than Panasonic’s slightly more expensive Lumix S1 II. One big change is the addition of a CFexpress card slot that allows RAW video capture and faster burst speeds, along with an SD UHS II slot. The battery is the same as the one for EOS R5 II and allows up to 390 shots (CIPA rating) with the viewfinder enabled. 

Other features include waveform monitoring that will be much appreciated by pros, plus new focus speed algorithms borrowed from Canon’s cinema cameras that offer “natural, professional” behavior, the company wrote. Inputs include 3.5mm mic and headphone jacks, along with high-speed USB-C and a full-sized HDMI port. In-body stabilization has been boosted slight from 8 to 8.5 stops, matching the latest Panasonic models. 

Along with the EOS R6 III, Canon introduced some interesting new glass. The RF45mm F1.2 STM lens brings very high speeds and shallow depth of field to a much smaller and lighter .76 pound (346 gram) form factor — less than half the weight of Canon’s RF 50mm f/1.2L USM lens. It’s also shockingly cheap for an f/1.2 lens at $470. 

The Canon EOS R6 III arrives later this month for $2,799 (body only) or $4,049 with the RF24-105 F4 L IS USM lens. That’s a bit more than the Nikon’s $2,500 Z6 III, which has a partially stacked but lower-resolution 24MP sensor. Panasonic’s S1 II also has a partially stacked 24MP but can shoot at up to 70 fps and costs $3,200. Finally, Sony’s A7 IV has a similar 33MP sensor but lacks the RAW video features of the R6 III. 

This article originally appeared on Engadget at https://www.engadget.com/cameras/canons-eos-r6-iii-arrives-with-7k-raw-video-and-40-fps-burst-speeds-060035923.html?src=rss 

Hilarious co-op video game Overcooked is making the move to the real world. A24 has acquired the rights to the popular indie hit and Deadline reports that the company is working with Netflix to develop the concept into an unscripted competition reality TV series. I adore this idea, and with the right people behind it, I think it could be a masterwork of reality TV. According to the reports, this is the first time independent film and TV studio A24 will make a reality show, but Netflix has already had some success with food and cooking programs, such as with the absolute gem that is Nailed It! 

The often ridiculous antics of Overcooked are a wonderful match for that type of lighthearted competition show. In the game, one to four players work together to cook customers’ food orders as quickly as possible while the environment creates silly, unexpected obstacles. Unfortunately, there’s no way the Netflix legal team will green light challenges where contestants might fall into actual lava, and recreating the space travel levels would probably blow the budget. But I can see all sorts of Overcooked-style mayhem from sliding on icy floors or suddenly moving countertops. I’m also imagining a lot of dashing between inconveniently placed kitchen appliances and occasionally plunging the contestants into total darkness. There’s no timeline given in Deadline’s report, but I cannot wait for this to exist.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/co-op-game-overcooked-may-become-a-competition-reality-tv-show-on-netflix-222406920.html?src=rss