A new bill introduced by Sen. Peter Welch (D-Vt) aims to make it easier for human creators to find out if their work was used without permission to train artificial intelligence. NBC News reports: The Transparency and Responsibility for Artificial Intelligence Networks (TRAIN) Act would enable copyright holders to subpoena training records of generative AI models, if the holder can declare a "good faith belief" that their work was used to train the model. The developers would only need to reveal the training material that is "sufficient to identify with certainty" whether the copyright holder's works were used. Failing to comply would create a legal assumption -- until proven otherwise -- that the AI developer did indeed use the copyrighted work. [...]

In a news release, Welch said the TRAIN Act has been endorsed by several organizations -- including the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), the American Federation of Musicians, and the Recording Academy -- as well as major music labels -- including Universal Music Group, Warner Music Group and Sony Music Group.

An anonymous reader quotes a report from Ars Technica: The Supreme Court signaled it may take up a case that could determine whether Internet service providers must terminate users who are accused of copyright infringement. In an order (PDF) issued today, the court invited the Department of Justice's solicitor general to file a brief "expressing the views of the United States."

In Sony Music Entertainment v. Cox Communications, the major record labels argue that cable provider Cox should be held liable for failing to terminate users who were repeatedly flagged for infringement based on their IP addresses being connected to torrent downloads. There was a mixed ruling at the US Court of Appeals for the 4th Circuit as the appeals court affirmed a jury's finding that Cox was guilty of willful contributory infringement but reversed a verdict on vicarious infringement "because Cox did not profit from its subscribers' acts of infringement." That ruling vacated a $1 billion damages award and ordered a new damages trial. Cox and Sony are both seeking a Supreme Court review. Cox wants to overturn the finding of willful contributory infringement, while Sony wants to reinstate the $1 billion verdict.

The Supreme Court asking for US input on Sony v. Cox could be a precursor to the high court taking up the case. For example, the court last year asked the solicitor general to weigh in on Texas and Florida laws that restricted how social media companies can moderate their platforms. The court subsequently took up the case and vacated lower-court rulings, making it clear that content moderation is protected by the First Amendment.

Sony is developing a new portable gaming device capable of playing PlayStation 5 games, Bloomberg News reported Monday. The project follows the 2023 release of PlayStation Portal, a streaming-only handheld, and aims to compete with Nintendo's dominant Switch console and potential Microsoft offerings in the portable gaming space.

An anonymous reader shares a report: People are using Spotify playlist and podcast descriptions to distribute spam, malware, pirated software and cheat codes for video games. Cybersecurity researcher Karol Paciorek posted an example of this: A Spotify playlist titled "*Sony Vegas Pro*13 C-r-a-c-k Free Download 2024 m-y-s-o-f-t-w-a-r-e-f-r-e-e.com" acts as a free advertisement for piracy website m-y-s-o-f-t-w-a-r-e-f-r-e-e[dot]com, which hosts malicious software.

"Cybercriminals exploit Spotify for #malware distribution," Paciorek posted on X. "Why? Spotify has a strong reputation and its pages are easily indexed by search engines, making it an effective platform to promote malicious links."

"The playlist title in question has been removed," a spokesperson for Spotify told 404 Media in a statement. "Spotify's Platform Rules prohibit posting, sharing, or providing instructions on implementing malware or related malicious practices that seek to harm or gain unauthorized access to computers, networks, systems, or other technologies."

Sony has announced the a1 II flagship mirrorless camera, retaining its predecessor's 50.1-megapixel stacked sensor while adding AI capabilities and improved stabilization. The camera features a new dedicated AI processor, enhancing autofocus performance with claimed improvements of 50% for bird eye detection and 30% for both animal and human subjects.

Its in-body stabilization system now offers 8.5 stops of correction. The a1 II maintains the original's 30 frames-per-second shooting speed and 759-point autofocus system. New features include pre-capture shooting with a one-second buffer and a multi-angle LCD screen borrowed from the a9 III. Connectivity upgrades include a 2.5Gbps Ethernet port, while dual card slots support both CFexpress Type A and UHS-II SD cards. The Sony a1 II will be available mid-December for $6,499.

Sony is bringing cloud streaming to the PlayStation Portal. "When it first launched, the device was only able to stream games from your PS5 over Wi-Fi," notes The Verge's Jay Peters. "But as part of a new system update that's rolling out starting later today, you'll be able to stream select PS5 games from the PlayStation Plus Game Catalog to your PlayStation Portal." From the report: Sony is launching the feature in beta, and you'll need to be a PlayStation Plus Premium subscriber to take advantage of it. Sony says that to stream at 720p, you'll need a minimum 7 Mbps connection, while 1080p quality will require a minimum 13 Mbps connection. Some PlayStation Plus features won't be available to start with cloud streaming to the PlayStation Portal, including Game Trials, party voice chat, game invites for select games, 3D audio, and "in-game commerce." And you won't be able to stream any PS4 games or PS3 games. Child accounts also won't be able to use cloud streaming on the Portal.

Sony faces mounting challenges after a year marked by major setbacks in its gaming and film divisions. The company's $200-400 million gaming project "Concord" sold only 25,000 copies before being discontinued, while PlayStation 5 sales targets were cut from 25 million to 21 million units.

Sony Pictures struggled with underperforming Spider-Man spin-offs and high-profile departures, including CEO Tony Vinciquerra. Over 1,200 employees were laid off across divisions, and profits fell 39% to $124 million in the latest quarter. Sony's stock dropped 5% over the past year while broader markets rose nearly 40%.

An anonymous reader quotes a report from Data Center Dynamics: The Japanese government is planning to invest approximately $65 billion to support the country's semiconductor and AI industries. The initiative, which will run until the end of the decade, is expected to generate ~$104 billion in public and private investment during the period. According to a report from Reuters, this new round of funding will specifically target state-backed chip foundry Rapidus and other AI chip suppliers.

Rapidus was founded in November 2022 when the Japanese government and eight Japanese technology and automotive firms, including SoftBank, Sony, and NTT, invested more than $500 million to launch the business. Speaking at a news conference this week, Japanese Prime Minister Shigeru Ishiba did not provide any information about how the venture would be financed but said the government would not issue deficit-covering bonds. Japan's government also said it won't raise taxes to finance the $65 billion plan.

Scalpers attempting to profit from Sony's new PlayStation 5 Pro are struggling to sell units above retail price, as widespread availability dampens resale prospects. The $699 console, launched this week with enhanced graphics capabilities, remains in stock at major retailers across the United States and Europe. eBay listings show PS5 Pro units selling below the manufacturer's suggested retail price, with some auctions starting at $640.

While isolated listings reach $2,300, most hover near retail value. UK scalpers face similar challenges, offering units at or below the $900 retail price. Even in Sony's home market of Japan, where availability is tighter, resellers on Mercari barely break even after platform fees and shipping costs. The situation marks a sharp contrast to the original PS5's 2020 launch, when widespread shortages led to significant markups. Only the console's external disc drive, priced at $79.99, commands premiums up to $130 on secondary markets.

From an opinion piece on GamesIndustry.biz about the recently launched PS5 Pro that went on sale this week: What I'd argue is actually more interesting about PS5 Pro in a wider perspective isn't what Sony has done to the chips in the system -- it's what they've chosen not to include, and what it tells us about the decision-making process that's likely occurring for the company's future hardware. PS5 Pro doesn't have a disc drive. Anyone who wants to play disc-based games on the system will need to buy one of the add-on drives Sony started selling when the PS5 Slim model was released, adding further to the cost of the already very expensive device.

To add insult to injury, Sony doesn't seem to have made any effort whatsoever to ensure that those drives are actually well-stocked for the launch of the Pro. I can only speak directly to the situation in Japan, where they've been out of stock at most major retailers for months and even second-hand units are being sold at three to four times SRP by scalpers. But asking around suggests that the situation isn't much better in other regions. That's a very rough welcome to PS5 Pro ownership for anyone upgrading who has a collection of games on disc.

It's possible, of course, that Sony excluded the drive simply because its cost would push the Pro's price tag even higher. However, the incongruity of Sony's "Pro" console lacking the basic ability to play the games Sony sells at retailers all around the world is striking, and it's difficult to see the decision to accept that incongruity -- and the inconvenience it would inevitably cause for customers -- as anything other than strategic.

Digital sales make up a bigger and bigger portion of the industry's revenues every year, but physical game sales are still a very big deal -- and physical games are products that fall outside the control of publishers and platform holders in a way that they have found increasingly irritating in recent years. People who buy physical games can sell them second-hand or lend them to their friends, retailers with physical games in stock can discount them or include them in bundles as they see fit.

This week's Ubuntu Summit 2024 was attended by Lproven (Slashdot reader #6,030). He's also a FOSS correspondent for the Register, where he's filed this report: One of the first full-length sessions was presented by David Morin, executive director of the Academy Software Foundation, introducing his organization in a talk about Open Source Software for Motion Pictures. Morin linked to the Visual Effects Society's VFX/Animation Studio Workstation Linux Report, highlighting the market share pie-chart, showing Rocky Linux 9 with at some 58 percent and the RHELatives in general at 90 percent of the market. Ubuntu 22 and 24 — the report's nomenclature, not this vulture's — got just 10.5 percent. We certainly didn't expect to see that at an Ubuntu event, with the latest two versions of Rocky Linux taking 80 percent of the studio workstation market...

What also struck us over the next three quarters of an hour is that Linux and open source in general seem to be huge components of the movie special effects industry — to an extent that we had not previously realized.
There's a "sizzle reel" showing examples of how major motion pictures used OpenColorIO, an open-source production tool for syncing color representations originally developed by Sony Pictures Imageworks. That tool is hosted by a collaboration between the Linux Foundation with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (the "Academy" of the Academy Awards). The collaboration — which goes by the name of the Academy Software Foundation — hosts 14 different projects The ASWF hasn't been around all that long — it was only founded in 2018. Despite the impact of the COVID pandemic, by 2022 it had achieved enough to fill a 45-page history called Open Source in Entertainment [PDF]. Morin told the crowd that it runs events, provides project marketing and infrastructure, as well as funding, training and education, and legal assistance. It tries to facilitate industry standards and does open source evangelism in the industry. An impressive list of members — with 17 Premier companies, 16 General ones, and another half a dozen Associate members — shows where some of the money comes from. It's a big list of big names. [Adobe, AMD, AWS, Autodesk...]
The presentation started with OpenVBD, a C++ library developed and donated by Dreamworks for working with three-dimensional voxel-based shapes. (In 2020 they created this sizzle reel, but this year they've unveiled a theme song.) Also featured was OpenEXR, originally developed at Industrial Light and Magic and sourced in 1999. (The article calls it "a specification and reference implementation of the EXR file format — a losslessly compressed image storage format for moving images at the highest possible dynamic range.")

"For an organization that is not one of the better-known ones in the FOSS space, we came away with the impression that the ASWF is busy," the article concludes. (Besides running Open Source Days and ASWF Dev Days, it also hosts several working groups like the Language Interop Project works on Rust bindings and the Continuous Integration Working Group on CI tools, There's generally very little of the old razzle-dazzle in the Linux world, but with the demise of SGI as the primary maker of graphics workstations — its brand now absorbed by Hewlett Packard Enterprise — the visual effects industry moved to Linux and it's doing amazing things with it. And Kubernetes wasn't even mentioned once.

Growing numbers of veteran video game developers are leaving large studios to work on smaller projects, citing bureaucratic burnout and creative constraints at major publishers. Nate Purkeypile, former lead artist on Bethesda's "Starfield," quit in 2021 after facing up to 20 meetings weekly coordinating with a 400-person team across four offices. He has since released "The Axis Unseen," a horror game he developed solo.

The trend, reported by Bloomberg, coincides with ballooning development costs in the industry. Sony's "Uncharted 2" cost $20 million in 2009, while 2020's "The Last of Us: Part 2" exceeded $200 million. "Small studios are not burdened by stockholder expectations," Renee Gittins, International Game Developers Association board chair, told the publication. They're "more nimble, [and] able to take greater risks." Recent indie successes like "Balatro" and "Animal Well," created by solo developers, have also demonstrated the commercial viability of smaller productions.

An anonymous reader writes: Firewalk Studios, whom Sony Interactive Entertainment bought from Probably Monsters, has been shut down after disastrous Concord game launch. Kotaku adds: The team was responsible for Concord, the company's sci-fi hero shooter that bombed so badly it was taken offline just weeks after its launch earlier this year. The news comes less than two years after the PlayStation 5 maker first acquired Firewalk Studios as part of its ambitious plans for live service gaming.

Firewalk Studios was formed in 2018 as a few ex-Bungie developers working on a new multiplayer shooter under the umbrella of the gaming studio startup Probably Monsters, formed by ex-Bungie CEO Harold Ryan. Concord was in development for years and picked up by Sony early on as a promising prospect for its portfolio of planned live service games.

More than 10,500 artists and creators -- including ABBA's Bjorn Ulvaeus, actress Julianne Moore, actors Kevin Bacon and F. Murray Abraham, as well as former Saturday Night Live star Kate McKinnon, author James Patterson and Radiohead's Thom Yorke -- signed a statement condemning AI companies' unauthorized use of creative works for training their models. The initiative, led by former AI executive Ed Newton-Rex, demands an end to unlicensed training data collection amid mounting legal challenges against tech firms. "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted," reads the statement.

The protest comes as major artists and publishers battle AI developers in court. Authors John Grisham and George R.R. Martin are suing OpenAI, while record labels Universal, Sony and Warner have filed lawsuits against AI music creators Suno and Udio. The signatories reject proposed "opt-out" schemes for content scraping, calling instead for explicit creator consent.

"A technology pioneered by Benjamin Franklin is being revived to build more efficient electric motors," reports the Wall Street Journal, "an effort in its nascent stage that has the potential to be massive." A handful of scientists and engineers — armed with materials and techniques unimaginable in the 1700s — are creating modern versions of Franklin's "electrostatic motor," that are on the cusp of commercialization... Franklin's "electrostatic motor" uses alternating positive and negative charges — the same kind that make your socks stick together after they come out of the dryer — to spin an axle, and doesn't rely on a flow of current like conventional electric motors. Every few years, an eager Ph.D. student or engineer rediscovers this historical curiosity. But other than applications in tiny pumps and actuators etched on microchips, where this technology has been in use for decades, their work hasn't made it out of the lab.

Electrostatic motors have several potentially huge advantages over regular motors. They are up to 80% more efficient than conventional motors after all the dependencies of regular electric motors are added in. They could also allow new kinds of control and precision in robots, where they could function more like our muscles. And they don't use rare-earth elements because they don't have permanent magnets, and require as little as 5% as much copper as a conventional motor. Both materials have become increasingly scarce and expensive over the past decade, and supply chains for them are dominated by China.
"It's reminiscent of the early 1990s, when Sony began to produce and sell the first rechargeable lithium-ion batteries, a breakthrough that's now ubiquitous..." according to the article. "These motors could lead to more efficient air-conditioning systems, factories, logistics hubs and data centers, and — since they can double as generators — better ways of generating renewable energy. They might even show up in tiny surveillance drones."

And the article points out that C-Motive Technologies, a 16-person startup in Wisconsin, is already "reaching out to companies, hoping to get their motors out into the real world." ("So far, FedEx and Rockwell Automation, the century-old supplier of automation to factories, are among those testing their motors.") C-Motive's founders discovered that a number of technologies had matured enough that, when combined, could yield electrostatic motors competitive with conventional ones. These enabling technologies include super fast-switching power electronics — like those in modern electric vehicles — that can toggle elements of the motor between states of positive and negative charge very quickly... Dogged exploration of combinations of various readily available industrial organic fluids led to a proprietary mix that can both multiply the strength of the electric field and insulate the motor's spinning parts from each other — all without adding too much friction — says C-Motive Chief Executive Matt Maroon.

Casio has opened preorders for Moflin, a cuddly robotic pet that "looks like a cross between a hamster and Star Trek's Tribbles," reports The Verge. The robot is priced at around $400 and is expected to ship on November 7th. From the report: Unlike Sony's robot dog Aibo that can follow you around, Moflin is designed to be held and cuddled, and over time, Casio says it will learn who you are and attempt to develop a simulated bond expressed through unique sounds and movements. Originally developed through a collaboration with a Japanese startup called Vanguard Industries, Moflin is now being manufactured and distributed by Casio. It can be preordered for [around $398 USD] and is expected to be available starting on November 7th. Casio is also offering an optional subscription service called Club Moflin for [about $44 USD] per year, which gets you a discount on repairs, cleanings, and even a complete fur replacement. Accidents happen.

Casio's Moflin isn't designed to be a play toy like Sony's Aibo. It's intended to be more of a comforting companion and potentially a tool to help improve your mental wellness, similar to Qoobo, the headless robotic cat. While being held, Moflin's limited head and body movements are supposed to make it feel like the furry robot is attempting to snuggle with you, and as with many devices debuting this year, there are some AI-powered features, too. Moflin is supposed to learn to recognize the person who interacts with it the most through their voice and the way they handle the bot, and it will respond with unique sounds and movements only expressed to that person to simulate a close bond.

The robot is also designed to develop its own simulated feelings and personality, which can change over time. With regular interactions, it will become happy, secure, and calm. If it's ignored, it can become stressed, anxious, and sad. But given the robot's limited emotive capabilities, it doesn't make sad sounds, or display an anxious wiggle, demonstrating those feelings. Its emotional state can only be determined through an app, making it feel almost like a very expensive Tamagotchi, minus any digital rewards for being a diligent caregiver. The app can also be used to turn down the volume of the sounds the robot makes.

Boston-based engineer and photographer Wenting Zhang built his own full-frame camera and open-sourced the project on GitLab for anyone else to build upon. The camera, named Sitina S1, features a 10MP CCD sensor, custom electronics, and a 3D-printed body. Digital Photography Review reports: Zhang says he started the project in 2017, and it's not finished yet. "Engineers are usually bad at estimating how long things will take. I am probably particularly bad at that. I expected this project to be challenging, so it would take a bit longer, like probably one year. Turned out my estimation was off," he says. He makes clear to point out that this is a hobby project, purely for fun, and that his camera isn't going to achieve the level of image quality found in commercially available products from established companies. Despite that, his project provides a fascinating look into what's involved in building a camera from the ground up.

Although CMOS has become the dominant sensor technology in consumer cameras, owing to factors like speed, lower power consumption and cost, Zhang's camera is built around a 10MP Kodak KAI-11000CM CCD sensor with a global electronic shutter, which he selected for a rather pragmatic reason: it was easy to source. "Most manufacturers (like Sony) aren't going to just sell a sensor to a random hobbyist, so I have to buy whatever is available on eBay. This 10MP CCD turned out to be available," he explains. The choice of sensor has a useful benefit. As he explains in one of his videos, designing and building a mechanical shutter is complicated and beyond his area of expertise, so his DIY design is based on using an electronic shutter. For similar reasons, he chose to use an LCD screen as a viewfinder rather than a prism-based optical design, resulting in a mirrorless camera.

Zhang wanted his design to be compatible with existing lenses. His mirrorless design, with a short flange distance, provided a great deal of flexibility to adapt different lenses to the camera, and he's currently using E-mount with active electrical contacts. And that's just the start. Zhang also needed to integrate a CCD signal processor with an ADC (analog to digital converter), a CPU, battery, an LCD screen and buttons. He also designed and built his own circuit board with a power-only USB port, flash sync terminal, power button and SD card slot, and create the software and user interface to tie it all together. Finally, everything fits inside a 3D-printed enclosure that, to my eye, looks rather attractive.

An anonymous reader quotes a report from TechCrunch: Raspberry Pi, the company that sells tiny, cheap, single-board computers, is releasing an add-on that is going to open up several use cases -- and yes, because it's 2024, there's an AI angle. Called the Raspberry Pi AI Camera, this image sensor comes with on-board AI processing and is going to cost $70. In more technical terms, the AI Camera is based on a Sony image sensor (the IMX500) paired with a RP2040, Raspberry Pi's own microcontroller chip with on-chip SRAM. Like the rest of the line-up, the RP2040 follows Raspberry Pi's overall philosophy -- it is inexpensive yet efficient. In other words, AI startups aren't going to replace their Nvidia GPUs with RP2040 chips for inference. But when you pair it with an image sensor, you get an extension module that can capture images and process those images through common neural network models. As an added benefit, on-board processing on the camera module means that the host Raspberry Pi isn't affected by visual data processing. The Raspberry Pi remains free to perform other operations -- you don't need to add a separate accelerator. The new module is compatible with all Raspberry Pi computers.

This isn't Raspberry Pi's first camera module. The company still sells the Raspberry Pi Camera Module 3, a simple 12-megapixel image sensor from Sony (IMX708) mounted on a small add-on board that you can pair with a Raspberry Pi with a ribbon cable. As Raspberry Pi promises to keep production running for many years, the Camera Module 3 will remain available for around $25. The AI Camera is the same size as the Camera Module 3 (25mm x 24mm) but slightly thicker due to the structure of the optical sensor. It comes pre-loaded with the MobileNet-SSD model, an object detection model that can run in realtime.

Amazon is joining the Motion Picture Association as its seventh member, alongside Paramount Pictures, Sony Pictures, Universal Studios, The Walt Disney Studios, Warner Bros. Discovery and Netflix. Engadget reports: Amazon was already involved with the MPA, having worked with its Alliance for Creativity and Entertainment, an anti-piracy coalition, as a governing board member since 2017. MGM (which Amazon bought in 2022) was previously an MPA member from 1928 until 2005. Amazon's involvement with the MPA speaks to the foothold that the company has in entertainment. The fact that Amazon and Netflix are both members also highlights the major influence of streaming over the industry at large. "The MPA is the global voice for a growing and evolving industry, and welcoming Prime Video & Amazon MGM Studios to our ranks will broaden our collective policymaking and content protection efforts on behalf of our most innovative and creative companies," Charles Rivkin, MPA chairman and CEO, said in a statement. "MPA studios fuel local economies, drive job creation, enrich cultures and bolster communities everywhere they work. With Prime Video & Amazon MGM Studios among our roster of extraordinary members, the MPA will have an even larger voice for the world's greatest storytellers."

Joe_Dragon shares a report: Four more large Internet service providers told the US Supreme Court this week that ISPs shouldn't be forced to aggressively police copyright infringement on broadband networks. While the ISPs worry about financial liability from lawsuits filed by major record labels and other copyright holders, they also argue that mass terminations of Internet users accused of piracy "would harm innocent people by depriving households, schools, hospitals, and businesses of Internet access."

The legal question presented by the case "is exceptionally important to the future of the Internet," they wrote in a brief filed with the Supreme Court on Monday. The amici curiae brief was filed by Altice USA (operator of the Optimum brand), Frontier Communications, Lumen (aka CenturyLink), and Verizon. The brief supports cable firm Cox Communications' attempt to overturn its loss in a copyright infringement lawsuit brought by Sony. Cox petitioned the Supreme Court to take up the case last month.

Sony and other music copyright holders sued Cox in 2018, claiming it didn't adequately fight piracy on its network and failed to terminate repeat infringers. A US District Court jury in the Eastern District of Virginia ruled in December 2019 that Cox must pay $1 billion in damages to the major record labels. Cox won a partial victory when the US Court of Appeals for the 4th Circuit vacated the $1 billion verdict, finding that Cox wasn't guilty of vicarious infringement because it did not profit directly from infringement committed by users of its cable broadband network. But the appeals court affirmed the jury's finding of willful contributory infringement and ordered a new damages trial.