Google has reportedly begun to roll out a a new voice identification feature that unlocks Android smartphones with a spoken command rather than a PIN number.
Several smartphone owners told the website Android Police that they first spotted the “Trusted Voice” feature in the settings menu after they updated their phones to Android’s latest version. Switching it on enables the phone to detect the unique register of the owner’s voice. Saying, “OK Google,” automatically unlocks the phone. It also comes with a warning that the feature is currently “less secure” than a written password or PIN number, according to Android Police.
Google has yet to make a formal announcement on the updated feature, suggesting that the new technology may be subject to a quiet, gradual rollout.
Apple is planning a big redesign for the Music app on your iPhone and iPad.
The new version featured in a preview version of an upcoming update is based heavily on the current design of iTunes for the Mac, according to a hands-on preview by 9to5Mac. Like iTunes, the new Music app is putting a big emphasis on visuals, with album art taking up half the screen on the player user interface. A mini-player also sticks to the bottom of the UI throughout the app, meaning users can always easily pause a song currently playing.
The overhaul also brings other useful updates, such as the ability to add songs to a play queue and a robust search feature that can trawl a user’s library as well as iTunes Radio.
The new features may signal that Apple is indeed preparing to roll out a new on-demand streaming service under the iTunes brand, as has been rumored for several months. The service could be unveiled at Apple’s developers conference, which starts June 8.
YouTube user DetroitBERG has a video walkthrough of the new app:
Ever since Americans were introduced to Rosie, the beloved robot maid on The Jetsons, way back in the 1960s, robotic household help has been the ultimate in futuristic dream products.
A new product from Moley Robotics might bring that future one step closer, as the company unveiled a robot chef on Tuesday at Hannover Messe, a trade fair for industrial technology in Germany. Comprised of two robotic arms in a specially designed kitchen, which includes a stove top, utensils and a sink, the device is able to reproduce the movements of a human chef in order to create a meal from scratch. The robot learns the movements after they are performed by a human chef, captured on a 3D camera and uploaded into the computer.
A few weeks before the robot chef was unveiled, Moley invited TIME to check out the robot and test its fare. In less than half an hour, the robot made a crab bisque, based on the recipe and technique of Tim Anderson, winner of 2011’s season of MasterChef in the U.K., who is working with Moley to develop the kitchen. From selecting the right heat level on the stove-top to adding the pre-arranged ingredients at just the right moment to operating a small mixer, the robot arms made the soup from scratch. It even plated up the soup, including scraping the bottom of the ladle against the rim of the saucepan in order to prevent drips.
Why crab bisque? “Crab bisque is a challenging dish for a human chef to make, never mind a robot,” explains Anderson. “If it can make bisque, it can make a whole lot of other things.” When asked if he feels at threatened by seeing a machine expertly recreate one of his recipes, Anderson is somewhat surprisingly on the side of the technology. “Some people ask if this is going to put my out of a job. This has already given me a job.”
Comparing the robot to cookbooks and YouTube tutorials by professional chefs, Anderson says, “I think it’s going to help people build brands.” The aim is to have professional chefs record themselves cooking their own recipes so that the robot will be able to mimic the techniques and replicate the dish. Anderson envisions people learning how to make a variety of dishes by watching their robots in action. “It’s changed the way I think about cooking,” he says.
Moley, which was founded by computer scientist Mark Oleynik, has partnered with the London-based Shadow Robot Company, which developed the kitchen’s hands. Twenty motors, two dozen joints and 129 sensors are used in order to mimic the movements of human hands. The robotic arms and hands are capable of grasping utensils, pots, dishes and various bottles of ingredients. Olyenik says that the robot hands are also capable of powering through cooking tasks quickly, though they’ve been designed to move quite slowly, so as not to alarm anyone watching it work.
Sadly for vegetarians, like Shadow Robot’s managing director Rich Walker, crab bisque is the only dish the robot is currently able to make. However, the company plans to build a digital library of 2,000 recipes before the kitchen is available to the wider public. Moley ambitiously aims to scale the robot chef for mass production and begin selling them as early as 2017. The robotic chef, complete with a purpose-built kitchen, including an oven, hob, dishwasher and sink, will cost £10,000 (around $15,000). Yet that price point will depend on a relatively high demand for the kitchen and it’s still unclear how large the market is for such a product at the moment.
Dan Kara, a robotics analyst for U.S.-based ABI Research, a market intelligence company that specializes in emerging technology, tells TIME that the household robots that have found a market tend to be smaller devices that tackle tedious chores. “Successful products for the home that I’ve seen have been floor-cleaning [devices] — sweepers and vacuums — and pool cleaners and lawnmowers,” he says, noting that people tend to favor robots that tackle tasks they don’t want to do “because it’s boring or repetitive.” Another key factor of a product’s success is affordability. “Once [robots] get above a certain price, the number of people using them drops right off.”
A robotic chef, however, “just seems like a bridge too far at this time,” though Kara pointa out that he isn’t familiar with Moley’s kitchen or its specific technology.
Which isn’t to say that a robot chef wouldn’t have interested buyers. The robotics industry is growing and the Boston Consulting Group has estimated that spending on robots could “jump from just over $15 billion in 2010 to about $67 billion by 2025.”
But there is still work to be done on Moley’s kitchen before it would be an even remotely practical, albeit pricey, purchase. As the robot doesn’t have any way to see, it’s unable to locate an ingredient or utensil that might be moved or knocked out of place. It also can’t chop or prep food yet, so it must use prepared ingredients that are meticulously laid out. The company is working on improving the robot’s functions and expanding its capabilities, but as Oleynick admits, “it will have some limits because nothing can replace human touch.”
What’s the one thing missing from the Guitar Hero games, aside from their somehow magically transmogrifying you into a bona fide, string-sawing, fret-shredding, tremolo-slapping Rock God?
How about live stadium-sized audiences? Okay, so let’s assume there’s no way you’re luring thousands of people to watch you hammer tiny plastic buttons in tandem with onscreen cues while mugging for your webcam. But what if you could conjure an audience of real (as in not computer-rendered) concertgoers who looked and acted live instead?
This is Guitar Hero Live‘s big idea, and I’m not sure how it works, or even if it works. But the idea is definitely going to turn heads, if only because it seems so completely at odds with what you’d expect from this sort of experience in 2015.
FreeStyleGames demoed Guitar Hero Live for me last week in New York. Here’s what they’re saying about the game, due this fall for $99 with controller.
Guitar Hero Live marks Activision’s first mainline Guitar Hero since 2010’s Guitar Hero: Warriors of Rock, and it’s as clean a break as you’re liable to see in the category. For one, its existence depends counterintuitively on full motion video, weirdly shelving it alongside games like The Seventh Guest, Gabriel Knight: The Beast Within, Mad Dog McCree and Wing Commander III.
The timing of the game’s announcement couldn’t be weirder, either. Activision claims it had no idea category rival (and original Guitar Hero creator) Harmonix was going to announce a new Rock Band game last month. I guess enterprising minds think—and subconsciously schedule—alike.
In Guitar Hero, you tap buttons on a faux-guitar controller in step with onscreen cues that signify rhythmic divisions of the beat. Get a solid sequence going and the audience will cheer you on, or flub your part and they’ll break into choruses of boos.
But in Guitar Hero Live, instead of watching a camera pan around cartoonish avatars and concertgoers rocking out, the game sticks the camera on your shoulders, then shoves you onstage alongside filmed live action drummers, singers, bassists, keyboardists and the like, gazing out over a sea of expectant, all-too-easily disappointed fans. It’s first-person Guitar Hero, in other words, only without the option to move around on your own—a wise choice, since having to ambulate while interpolating rapid-fire rhythmic cues sounds nightmarish.
“You never see yourself in Guitar Hero Live, you never really hear yourself talk, because the whole idea is for you to imagine that you’re there,” says FreeStyleGames studio head Jamie Jackson. “It’s about getting you to believe that you’re on that stage, and to be completely swept along by the whole thing. That’s our vision for the game.”
The original Guitar Hero games had players tapping up to five uniquely colored buttons along the top of a faux-guitar fretboard. The more difficult the song, the more the fourth and fifth buttons were used. Guitar Hero Live increases the button total to six, but eschews primary colors for just two—black and white—then stacks them at the top of the guitar neck as two rows of three, giving one a unique crisscross texture to help you sense (without looking) which row each finger’s in.
“What we’re trying to tell you, in design language, is ‘Do you hit the top row, or the bottom row?'” says Jackson.
The idea’s that casual players who maybe want to jam with at lower difficulty levels can do so by fingering just one row of buttons (three) at a time, whereas more sophisticated tappers will have to access both rows of three simultaneously. In practice, it’s a hair more like playing chords on a real guitar, your hands challenged to operate in two dimensions (simultaneously horizontal and vertical) instead of one.
It sounds drab, and at first it does look bland, but FreeStyleGames says the decision to strip out the series’ trademark orange, blue, yellow, red and green buttons for black and white ones came about because it realized, belatedly, that those colors were throwing up informational roadblocks.
“In early development, we actually had the buttons using the original Guitar Hero colors,” says Jackson. But then one of the studio’s user interface designers came up with the idea to reduce the button colors from five to two, one for each button row. Jackson thought it was a terrible idea at first, but after giving the idea a try, he found he was able to play even more accurately.
“What we realized when we broke it down was, by having these as colors and trying to tell you whether to hit top row or bottom row, your brain was having to read color first, then top row or bottom row,” explains Jackson. “But it didn’t need to actually read color, because your fingers never actually move out of position. You always know which is left or right or the middle, that was a given piece of information. We just didn’t realize we knew that. So by taking out that process of your brain having to read the colors, everyone’s reactions got quicker. And that’s why we took the colors away.”
That’s the promise, anyway, and it hinges, bizarrely, on fully filmed play-spaces.
So how did the studio keep the filmed reactions from looking artificial and the seams sufficiently seamless, since you can veer on or off course at any point in the midst of a song? The studio isn’t saying yet (expect more coming out of E3 in June), but claims their technology allows for the sort of reactive dynamism you’d expect from any of its prior titles.
“Your experience can change at any point,” explains Jackson. “There are no gates where the crowd’s reaction switches. You might get a song wrong in one place, one time, but the audience will have a totally different reaction if you get it wrong in a different place the next time. It’s entirely down to your performance.”
When I asked if this involved shooting epic volumes of video, the studio, which isn’t yet offering precise figures, was nonetheless emphatic that it involved “a lot.”
A little, anyway. FreeStyleGames says part of its design discovery process involved identifying the psychological rituals band members often go through before heading onstage. Imagine the sort of stage fright you might be grappling with, however accomplished or seasoned you are, if you’re playing a festival in front of a hundred thousand people. To that end, Guitar Hero Live supports multiple venue types, from intimate hundred-person clubs to sprawling stadiums.
Imagine how expensive that might have been. But no, while FreeStyleGames says it’s using the original masters for the game’s hit lists, all the bands you’ll play in were created ad hoc.
Call it “Cover Band Hero,” then.
Make no mistake: the musicians you’ll jam alongside in each song are playing the song you’re hearing, nor are they merely actors faking instrumentally out of sync performances. FreeStyleGames says that all of the musical performances line up visually with the master track, and even the audiences have been tailored to match the style of music you’re playing.
“Each song has been crafted to fit with a certain audience, and that audience will look like it’s there to experience that genre of music,” explains Jackson.
The new Rock Band game, whatever else it turns out to be, supports most of the old Rock Band songs. For better or worse, Guitar Hero Live, because of the nature of its shift to handcrafted filmic experiences per song, supports none.
Activision says it’s positioning Guitar Hero Live as tantamount to playing a “modern music festival, with rock, folk, EDM, hip-hop, country and pop acts sharing the same stage.” The initial lineup (which Activision says amounts to “hundreds of playable tunes”) includes: The Black Keys, Fall Out Boy, My Chemical Romance, Gary Clark, Jr., Green Day, Ed Sheeran, The War on Drugs, The Killers, Skrillex, The Rolling Stones, The Lumineers, Pierce the Veil and Blitz Kids.
Guitar Hero TV, or GHTV, is Activision’s shot at a self-hosted, 24-hour music video channel. At this point there’s still a lot we don’t know about it (save that it doesn’t involve Twitch), but the idea is to let players play along with official music videos, or compete with friends, whether local or online.
Paralleling the Skylanders franchise’s recent leap to mobile device, Activision says Guitar Hero Live will be playable on tablets and smartphones—all you need is the guitar controller—as well as PlayStations 3 or 4, Xbox 360 or One, and Nintendo’s Wii U.
The number of cyberattacks against large companies rose by 40% last year, according to a new report, which finds hackers have honed spear-phishing and fraudulent email campaigns to focus attacks on larger targets with more precision.
Five out of six companies employing more than 2,500 people were targets of cyber attacks last year, according to Symantec’s annual Internet Security Threat Report. Even as the number of attacks surged, analysts found that the hackers were waging more efficient campaigns, deploying 14% less email to infiltrate an organization’s network.
The authors estimate that in addition to targeted attacks, non-targeted malware continues to proliferate online at a rate of 1 million new threats a day.
Sometimes, it feels like our phones buzz with notifications from our favorite news apps at the most inconvenient moments — it’s hard to open a notification about Iranian nuclear developments when we’re headed into a meeting or chasing down the bus.
Luckily, there are a few great apps that will help you save important stories for reading later in the day when you’ve got some downtime, even if you don’t have a data signal (say, on the subway).
One of the most well-known of these story-saving apps is the easy-to-use Instapaper. After creating an account and downloading the mobile app (iPhone and iPad here, Android here) and optional browser extensions, you can save stories to your Instapaper queue from your desktop browser or mobile device. Later, you can recall those saved stories in Instapaper’s app for easy reading. Some websites and apps also offer a button that lets you instantly save stories to Instapaper directly.
Another popular option is Pocket, which works mostly the same way as Instapaper — people tend to prefer whichever app they were introduced to first. However, Pocket gives you some different options for saving stories, like the ability to add articles to your queue by emailing them to a designated Pocket address. Like Instapaper, you can also save from a number of third party apps through the share function. Get the iPhone version here, Android here.
Way back when the world was flat, the Red Sox were lovable losers, and you didn’t have to walk very far to find a post office mailbox, it used to be that when a lightbulb burned out, you’d grab another one that fit and plugged it in. These incandescent bulbs were disposable, and they cost pennies on the dollar compared to the much longer-lasting LED bulbs of today.
Now, as consumers increasingly turn to these energy-efficient bulbs, lighting companies are trying to lock shoppers into their ecosystem by putting out smart, smartphone-controlled bulbs. These Wi-Fi connected LEDs can be programmed to turn on and off at the tap of a touchscreen (or scheduled either through the companies’ own backend services or third-party solutions like IFTTT).
But all these bulbs are not created equally, and neither are their supporting hardware or software. Here’s how they measured up in the real-world testing of my well-lit home.
The least expensive LED light of the bunch at $14.97 per bulb, Cree’s Wi-Fi enabled, soft white 60 watt-replacements cast a good glow over my kitchen table. In fact, when I installed the new web-connected Edison bulbs, they replaced older (by a year), non-Wi-Fi-enabled, 60 watt Cree LED bulbs — and these newer bulbs seemed even brighter, though they boasted the same 815 lumens.
Luckily, I could dial back the Cree’s brightness through the Philips Hue app I used to control them, which is another feature worth mentioning. The Connected Cree bulbs are marketed as being Wink App compatible, which means they require a Wink Hub (a small piece of hardware that starts at $49 and works as a go-between from the bulbs to your Internet router). But that specific piece of hardware isn’t the only bridge that will do the trick, and since I don’t have a Wink Hub, I was able to connect the Cree bulbs to my Philips Hue hardware using these instructions. (Full disclosure: Only two of the three Connected Cree bulbs I tested could be detected by my Philips Hue bridge, but I feel that’s what I get for not going with the recommended Wink hardware.)
Otherwise, the Connected Cree LEDs work great. They are responsive to the inputs I make in the Philips Hue app and never miss a beat on my very regimented IFTTT triggers. I imagine they would only work better with a Wink Hub, so if you’re starting your smart home lighting efforts from scrap, be sure to pick one up.
Setting up Osram’s Lightify connected lighting system was the easiest of the bunch. After downloading the app, you simply use your smartphone’s camera to scan a QR code on the backside of the hub (or “gateway” as Osram calls it), plug it in, and through some sort of smartphone app magic, the device detects and connects to your Wi-Fi network on its own. Next up comes installing the bulbs so the hub and app can detect them — and viola, you’ve got connected lights. If that wasn’t easy enough, the app’s user interface is clean and easy to use, an advantage over the competition, especially Philips.
Ease of install aside, Osram’s Lightify A60 tunable white bulb is also a great little piece of hardware, not only kicking out 810 lumens, but also letting you change the warmth of the light emitted. I prefer a soft white light in my office, where I installed the system, but cooling the temperature to a bluer hue could help me battle the lack of sunlight in winter months. The only downside to the bulb is its “mushroom” form factor, which can limit the light emitted and make shadows under certain circumstances. The Cree bulb doesn’t have this — it illuminates all the way to the base — but all the other bulbs in this roundup do. (Philips Hue bulbs are the biggest offender of this design flaw.)
At between $30 and $35 apiece for the Lightify’s gateway and tunable bulbs, it’s a sound investment for a smaller space. The company also puts out colored bulbs and LED light strips, great for installing under cabinets. But replacing all the bulbs in your house with Lightify gear could break the bank, quick. Though, in terms of performance, you’d have no regrets.
Installed over my kitchen sink and in a living room lamp, these are the bulbs I have the most experience with. Full disclosure: my review is of the Hue colored lightbulbs, but that’s only because I’ve been using these bulbs for years, long before Philips’ $19 white, Hue Lux bulbs were released. I imagine the white bulbs work the same or similarly, since I don’t typically play around with the colors on my bulbs anyhow.
To begin with Hue, you have to connect the Hue bridge to your Wi-Fi router via ethernet, a design decision that giveth and taketh away from this product’s stability. On the one hand, because it’s physically connected to your router, your entire Hue system is unlikely to go down. On the other hand, individual bulbs may have difficulty connecting to the bridge, depending on where they are and where your home’s Internet connection is set up. I will say that it’s been years since I had problems connecting to my Hue bridge, but I also don’t let my bulbs roam too far from the base. (Worth noting: I cannot seem to find a Philips Hue bridge for sale without lightbulbs as a part of the package, so expect to pay at least $79 in the beginning to get into this technology.)
And now that I’ve figured that out, the Philips Hue bulbs perform well, turning on and off according to my IFTTT schedules with a success rate that’s north of 98%. I feel like my bulbs aren’t particularly bright (they’re just 600 lumens), though at 750 lumens, the white Lux bulbs are just slightly dimmer than the competition. One cause of this might be the bulb’s high collar, a feature that hides a heat sink on all the LED bulbs, save for the Crees, as mentioned above.
But the dimmer light is hardly problematic compared to Philips Hue app in general. Unintuitive and in a sore need of a complete overhaul, the app will not let you delete bulbs from your house, which is problematic when bulbs become unresponsive (a plague that’s happened to many users, including myself). Your only option is to rename the bulbs (I put a “dead” suffix on them), so when you reinstall them, you can use the old name again. On the plus side, Philips has encouraged independent developers to make apps for its bulbs, and many of those programs are better than Philips’ default software.
I’d love nothing more to tell you that Belkin’s WeMo Smart Bulbs worked fantastically — because the company puts out a lot of great products — but my experience setting up these bulbs perfectly mimicked the problems I had setting up their other smart products. This leads me to believe that there’s either a problem with their product or with me (and I fully admit it could be the latter).
Truth be told, it took me around 3 hours and four different tries to set up the WeMo Link and the two connected bulbs that make up the product’s $99 starter kit (individual bulbs cost $29 after that). The Link, which is WeMo’s bridge/gateway, had a particularly difficult time connecting to my Wi-Fi, just like the WeMo Switch and WeMo Insight Plug did previously. I tried so many different things to get it to work, but ultimately what did the trick was deleting the WeMo app, restarting my phone, reinstalling the app, and performing a factory reset on the Link. (I also had to reset both bulbs, an endeavor that involved me turning on/off the lights in a timed pattern that took three tries to get right.)
Now that they’re finally working correctly, I’m loathe to update the app or the hardware’s firmware, a request that has gone out every so often with my Switch and Insight. This is a bad habit to get into, as these firmware updates send out security patches, which are key for keeping your smart home secure. But that’s my hangup, as is, possibly, my lack of patience with WeMo’s inability to find my Wi-Fi networks when I’m setting up the system. I think I’ve isolated my install problems to the simple fact that it seems to take Belkin’s smart home products a good three minutes to fully boot, initially. Every time I install one of their products, I feel like it’s not working, and maybe I unplug it or reset it. And I’m not alone in this — when I search Twitter and the web for similar complaints, there’s a chorus of cranks wishing WeMo worked better than it does.
Averaging more than an update per month, Apple’s iOS 8 is getting to be nearly as annoying as Adobe Flash when it comes to keeping software up-to-date. But at least users are getting something for their power-cycling and downtime. In fact, the newest iOS 8.3 update is loaded with some rather delightful goodies for iPhone and iPad users who keep their systems up to speed.
Here are five reasons why you should update your Apple iPhone or iPad’s operating system right now:
1. CarPlay Gets Unplugged
After updating their handsets, Apple users with newer-model cars (or whom have installed cutting edge, aftermarket car stereos) will get a pleasant surprise when they turn their key: CarPlay no longer requires that iPhones be plugged into a USB port to control your car radio.
Working like AirPlay does with Apple TV and wireless speakers, the CarPlay in-car user interface is now beamed directly from the phone to the car’s head unit, untethering phones and making this feature much more convenient. Now, if only Apple could do something about the price of CarPlay-compatible systems…
2. Siri Takes A Better Tone
If you’ve noticed that Siri seems to have relaxed recently, it’s not you, it’s her. iOS 8.3 made some tweaks to the way Siri speaks, giving her a much more conversational tone, even if her words are the same. It’s a nice, subtle touch that you may not notice unless someone pointed it out to you. And it makes her corny jokes sound almost funny, too. (I said almost.)
But Siri’s isn’t the only voice to get some elocution lessons. The Maps app’s turn-by-turn navigation has improved its street name pronunciation as well.
3. Wi-Fi Gets Some Wins
Whenever there’s a big software update, it seems like there are always some users who get left out in the cold with strange, unexplainable bugs. With iOS 8, many users experienced intermittent Internet connectivity issues, including signal degradation and repeated requests for passwords. One tech-savvy user got so frustrated looking into the glitches that he outlined the problems online, coining the term WiFried.
Apple heard these complaints and, with this update, (hopefully) addressed an issue where devices intermittently disconnect from Wi-Fi networks, as well as nipped the continuous login issue. Speaking from personal experience, the password problem can be crazy-making, as you wonder if you’re always getting your Wi-Fi password wrong.
But the Wi-Fi update is not only about patches and band-aids. It also brings Wi-Fi Calling to Sprint customers, letting them join T-Mobile subscribers (and EE users in the U.K.), as the few who can talk on the phone without eating up their plan’s minutes. Hopefully other carriers will allow this feature in future updates.
4. Family-friendly Fixes
Family Sharing is a feature that was released with iOS 8, and 8.3 helps to iron out some of its bumps. For instance, the update fixed a snafu where some apps wouldn’t launch on certain family members’ devices, but it would launch on others. Likewise, it also patched an issue that blocked some family iOS devices from downloading free apps already downloaded on another family-owned Apple gadget.
But in particular, parents will be happy to hear that the update made “Ask to Buy” notifications more reliable, letting account holders grant permission on App Store and iTunes purchases. iOS 8.3 also now lets parents set their kids’ phones to filter out iMessages from people who aren’t in their Contacts app — a great security feature to make sure strangers aren’t chatting with their kids.
5. Emojis Aplenty
And a big thumbs up to Apple for adding more than 300 new emojis to its iOS keyboard. The emoticons that have everyone all a-smiley-face in particular are the ethnically diverse icons that allowing people the world over to express themselves in ways that match how they look. And Apple’s designers didn’t stop with Earthlings — they even slipped in a secret Vulcan salute emoji. So, live long and prosper, iOS 8.3. At least until next month.
GoPro’s community of thrill seekers might have been upstaged permanently by a NASA astronaut who captured stunning footage of a spacewalk using a high definition camera for the very first time.
NASA astronaut Terry Virts strapped on the point-of-view camera last February before venturing out of the International Space Station (ISS) to do some exterior housekeeping on the berthing docks. He and astronaut Barry Wilmore were reconfiguring the ports for the upcoming arrival of commercial crews.
Along the way, they captured two stunning videos, one showing the ISS’ incomparable views of earth and the other floating beneath the station’s underbelly, bristling with panels, cables and dishes.
“This was the first time an astronaut captured HD video of a spacewalk while outside,” NASA public affairs officer Dan Huot told TIME. The GoPro helmet camera used features much higher resolution than the astronauts’ current helmet-cams. “They are small, simple and have great quality,” he said.
The camera used during the space-walk works much like the kind of GoPro you can buy here on Earth, only with a one-touch power up and record function. “This makes it much easier to execute while wearing large gloves,” Huot added.
The footage is quieter and slower than the typical GoPro images of say, roof jumpers or a great white shark lunging toward the camera. But then it’s hard to top the hypnotic movement of a camera in zero gravity, where even a belt buckle, floating into the frame, can be fascinating to watch.
“Video like this is the whole reason we built the camera,” Rick Loughery, a spokesperson for GoPro, said. “To be able to share that perspective with the world.”
Read next: A Year in Space