Boing Boing has an awesome post pointing to Coppakids, a blog that contains kids' explanations on why they should be allowed to register after a COPPA age check has stopped them.

I've seen a bunch of similar messages, as sent by players as their parents, demanding their banned accounts are restored. The writing style of kids pretending to be their parents is very recognizable. A sure sign is when the writer tries to establish his/her authority in a manner that'd never be used by an adult. One very memorable email that got immediately flagged as being from the player himself started with, guess what, "I am the father of my son." I don't have the text at hand, but the rest was as believable as the start. :)

I've been meaning to write about the 5D mark II (which I've had for about 1.5 months now) for a while but given the amount of information in the web already, it's seemed somewhat pointless. However I have to rant a bit now, given the video mode on the camera was detected to have yet another fault. It drops frames, resulting in jerky movement.

Here's how the video mode in 5DmII works: the camera is in full auto mode while shooting video. The user can compensate the exposure to under- or overexpose, but you can't change the frame exposure time, aperture or sensitivity. (You can sort of work around this by fiddling the exposure compensation and pointing the camera here and there + locking exposure, but that workaround is not a real solution.) For some reason, the camera seems to sometimes make rational choices on the exposure, and sometimes prefer to use extremely high sensitivities even in bright light, resulting in noise.

Now, I noticed the video from the camera occasionally jerks a bit, but assumed it was my computer occasionally dropping frames due to the fact the 1080P footage from the camera is extremely CPU intensive to decompress. Turns out this is not a playback problem, but a fault in the camera. What's happening is, whenever you're recording video, if the camera changes the aperture, it skips 2-3 frames, and replaces those skipped frames in video stream with copies of the last frame recorded.

Reproducing this is very simple. If you have a variable aperture zoom lens, just change zoom in and out during capture of a moving subject, and check the footage frame by frame. For constant aperture lenses, find a spot that has dark and brightly lit spots that are bright enough that the camera has to change aperture when shooting (hint, point the camera out the window, then back in), record a clip while alternating pointing the camera to these spots, and check the footage. You can see the aperture being used during the video capture by depressing the shutter button halfway down. On my footage, I'm consistently getting four duplicated frames in a row when the aperture changes, making these clips useless.

The workaround is to always remember to lock the exposure with the * button prior to starting to record video.

With this issue in mind, I have a couple questions in mind. What's the point of having the camera work in forced full auto mode by default, if that mode produces jerky video footage? Why on earth can't I select the aperture manually, especially if the manual selection would prevent this from happening? Can a camera even be marketed to record video, if the camera regularly drops frames?

The most infuriating part about this that Canon still uses an old world communication policy, whereby they effectively don't talk to their customers. The web is chock full of angry commentary about all the issues and lack of features on the video capture, and there's no word whatsoever from Canon on whether anything related to the video will actually be changed.

Until this issue is fixed and the manual controls on the video are released as a software upgrade to the camera, I have to recommend anyone considering to use the camera to record video forgets about it. Sad, really.

I blogged about why I didn't subscribe to WAR a couple days ago. Now that the latest subscription numbers are out, as reported by Scott, I figured I had to do a small continuation piece.

Now, when people find something new, the excitement curve goes something like this:



where we have the Honeymoon, Negotiation and Adjustment phases as defined in the theory for culture shock. How long these phases take for people online depends on the service and their level of experience that type of services, but the phasing is pretty much the same.

How is this applicable to WAR? Well, when launching a new service that depends on subscriptions, you want the user to enter his credit card number during the initial excitement phase and hope the user doesn't cancel during the hangover before the commitment picks up again. What you really, really, should not do is what GOA seemed to with WAR in Europe:



Obviously I can't prove anything, but I think this is the single biggest reason the subs crashed in Europe. Simple operational mistake - the players couldn't enter their credit card number when activating the license. Which is very sad since the game is was fun.

Apple just shipped their new iLife package last week, which came with a new shiny upgrade to iPhoto, their photo management application. I haven't used the app for a long time, but it now has something no other photo management application does - face recognition. I've played around with it for a couple hours and while the feature is very cool, it's glaringly obvious this is their first iteration at the feature.

Good stuff first: Flagging people in photos is faster with the feature in place. Even the current iteration is useful, and fun. Adding metadata to my shots was never this enjoyable.

The the bad stuff: The interfaces to teach the classifier are slow to use and sorely lack features.

• Faces preprocesses the images to find people in your library, but with no progress indicator telling how long it'll continue the processing. And it takes a long time to do it. Classifying people while Faces is working processed crashes iPhoto. And if you add a face manually to a shot before iPhoto has automatically processed the shot, it destroys the manual classification.
• If a face is pretty small or very large, iPhoto just doesn't find it. I suspect this is done to speed up the detection, but is annoying, and I can't configure the tolerance. There's no button anywhere that says, "Really, there are faces in here, search for them goddammit!"
• I can ask for a list of photos iPhoto thinks has someone I've taught it, but in this mode I can only confirm if that one person is/isn't the person iPhoto thinks it is and not tell the app who is really in the photo.
• There is no view for seeing all faces that haven't yet been classified, you have to browse the whole library and search for photos that might contain people you haven't taught the app before.
• When telling iPhoto who is in a photo, you're forced to use the keyboard, even if there's only a couple people configured in the whole system.
• When you start typing for a name and get a list of name suggestions based on people you've taught, you can't use the keyboard to choose from the list, you have to click the suggestion with the mouse, which again slows down the interfaces considerably.
• The user interface that shows people who've been classified seems to have been designed for users who only teach the app maybe five people or so. Listed people can't be grouped, and they're forcefully alphabetically ordered.
• For whatever reason, Apple seems to have ignored using other metadata to help the Faces classifier. For example, in a burst of ten shots one second apart from each other, of the same people in the same location over the burst, Faces seems to ignore the fact that I've already taught it the people in the previous shots. Combining the time series data of the shots to the face recognition should help, but it doesn't appear to be there.
• Last up, for some reason Faces has trouble recognizing me. I dunno if it's the eyeglasses, but I've gone through sets of shots of myself which are essentially the same, and teaching the app with five shots that are essentially identical doesn't seem to make it understand I'm the guy in the sixth shot, that's also essentially the same shot.