Huion is a midrange graphics tablet and pen display manufacturer providing a competitive range of products aimed at enthusiasts and professional photographers and artists seeking the best drawing tablets. Huion is well-known for providing excellent value for money, and the Huion Kamvas Pro 24 (4K) follows this reputation by delivering a high-quality product at 1/3 of the cost of the Wacom Cintiq Pro 27.

The Huion Kamvas Pro 24 (4K) is the top-of-the-range pen display model offering a luxurious 23.8-inch 4K QLED screen with an advertised color gamut of 98% Adobe RGB 1998. At this size and with a 4K resolution, the Pro 24 looks more like a monitor than a pen display; the main giveaway that it’s not a monitor, at first glance, is that it sits at a slight angle on a desk using the integrated legs.

At this stage, you may be wondering why you might want or need such a large pen display, and this is a question I asked myself before I used the Pro 24. Having used multiple graphics tablets and smaller pen displays in the past, all of which I found to be excellent despite not necessarily being perfect, what could this much larger option provide – would it be too big to use comfortably?

It’s a large display and far too heavy to use on your lap. But after using it on a desk, I immediately understood that the high-resolution display combined with the large size of the display made working on my photos in Lightroom and Photoshop incredibly comfortable over long periods, especially compared to using a mouse. Plus, the large size drastically increased precision when working with masks and localized image adjustments, so its benefits quickly became apparent.

Huion Kamvas Pro 24: Specifications

Huion Kamvas Pro 24: Price & Availability

The Huion Kamvas Pro 24 (4K) isn’t inexpensive in the grand scheme of things, but it still commands a price tag that some may find hard to swallow. But for the size, spec, and performance of the device, it’s an absolute bargain at $1199 / £999. Sure, a grand or thereabouts is a lot of money for something so specific. But in the world of high-quality pen displays, it’s an incredibly competitive price for enthusiasts and professionals alike.

Huion Kamvas Pro 24: Design & Handling

If your eyes are hungry for excellent image quality alongside build quality to match, the Pro 24 ticks these boxes and more. Build quality can’t be faulted and provides a device that’s better than you might expect for the price. The Pro 24 is home only to the 23.8-inch anti-glare etched glass screen that offers up to 220cd/d2 of brightness, a contrast ratio of 1200:1 with a color gamut of 98% Adobe 1998 displaying 1.07 billion colors. The screen response time is just 10ms, but this is fine for the intended use of the Pro 24.

There are no controls on the display, except for a power button, which certainly streamlines the appearance. The Pro 24 does, however, come with a Keydial Mini which is a small controller featuring 18 customizable buttons and a dial with a center button. Six of the buttons are labeled with arrows or dots, although it would be better if these were raised dots like braille so you could easily feel your way across the buttons. The advantage of the Keydial Mini is that it can be placed wherever is most comfortable, even at the edge of the display.

The Keydial Mini connects via USB-C or Bluetooth once charged. However, during testing, I was unable to connect the Keydial Mini to my laptop running Windows 11 via Bluetooth. I simply used it with a cabled connection because this was most likely an issue with the computer that I would have spent time resolving if I owned a Pro 24, but for the review, I wanted to spend my time using the display as much as possible.

With overall dimensions of 23.19 x 14.33 x 0.89 in / 589.2 x 364 x 22.7 mm and a hefty weight of 13.89lbs / 6.3kg, the Pro 24 commands a presence alongside requiring plenty of desk space. The integrated legs raise the rear of the display and put it at a comfortable working angle, but it would be much better if Huion included the optional Adjustable Stand ST100 that provides more working angles and could be used to hold the display upright when not in use to act as a second monitor. This stand is available in the US but not the UK, but at $49.99 it’s not too expensive and is a worthwhile consideration.

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On the rear/top of the device, you’ll find the power port for connecting the power adaptor, a USB-C port, a DisplayPort, and an HDMI port. While on the side there are two USB-A ports and a 3.5mm headphone jack, so plenty of connections overall. These are all recessed well behind the screen so even though you can see the cables, they never get in the way of the screen.

Huion Kamvas Pro 24: Performance

The Pro 24 is a pleasure to use, and the large wide gamut etched glass screen looks and feels great; the large screen undoubtedly provides greater precision and comfort compared to smaller pen displays. It can pick up smudges and fingerprints easily, so using the included palm rejection glove reduces smudging and friction between your hand and the screen. You don’t have to use the glove, but it does work well for its intended purpose.

The screen is large enough to be calibrated with a Datacolor Spyder X or similar for more accurate colors, or it can be left as it is while using your main monitor or laptop screen calibrated for color-critical work. Whatever you choose to do here, you can adjust brightness and contrast as well as change the color profile of the screen, although for most creatives Adobe RGB 1998 is the most appropriate profile to use and the one set by default. My personal preference was to keep my wide-gamut OLED laptop screen calibrated for color-critical work while adjusting the brightness and contrast of the Pro 24 to my liking.

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Out of the box, the screen does look a little lackluster with brightness and contrast set to 50%, so it’s worth adjusting these for a more vibrant, faithful, and reliable display. These controls alongside the color profile can be accessed by holding down the power button for three seconds. All other settings and controls are accessed through the driver software, where you can set the software profile, calibrate the pen, pen sensitivity, customize the Keydial Mini, and set the work area, etc.

The battery-free pen is comfortable to use, if a little bulky despite its lightweight, but Huion does sell alternative pens separately if you’d prefer something of a different size and weight. It comes with a handy stand that stores 10 spare pen nibs and a nib clip, which is great because it provides a convenient place to keep the pen and tips safe to reduce the risk of misplacing something – how often do you lose your regular pen?

Using the pen is intuitive for most people having grown up writing and drawing on paper, so using it feels completely natural and the pressure settings alongside the etched glass screen do indeed provide a paper-like feel. There are 8192 levels of pen sensitivity with tilt support up to +60 degrees, so the angle and pressure applied successfully change the way the pen inputs into drawing and photo editing software.

Overall, using the Pro 24 is a smooth and comfortable experience thanks to the large screen that increases the precision of what you’re doing. There’s no lag, jitter, or parallax between the pen and display so the input is reliable when drawing, although there is some lag when using sliders in Lightroom, for instance, while menus don’t suffer from this. Another slight anomaly is that on the Keydial Mini, in Lightroom, the dial works seamlessly for adjusting brush size, although in Photoshop this doesn’t work. Instead, for Photoshop, you have to assign two buttons to adjust the brush size.

Both of these minor issues don’t hugely impact negatively on workflow, although the dial issue in Photoshop is frustrating and requires a ‘waste’ of two Keydial Mini buttons. Both could and hopefully will, be ironed out with future firmware and/or driver updates. With these fixed, the Pro 24 would be an even more formidable pen display option.

One feature that’s missing and would be useful is touch operation. Sure, the pen is used most of the time and it works exceptionally well, but the ability to press a button or flick a switch for touch control would be useful for both digital artists and when working in office software and using the Pro 24 as a second monitor. It’s not a major flaw by any stretch, but it would be nice to have.

Huion Kamvas Pro 24: Verdict

The Huion Kamvas Pro 24 (4K) is aimed at professional digital artists, photographers, and designers, delivering excellent image quality with a wide color gamut on its 23.8-inch QLED screen that can be calibrated if you require greater color accuracy. It’s easy to set up and use, with the main challenge being desk space to accommodate the device.

Working with the Pro 24 is comfortable and precise, providing a more natural editing experience that takes digital photo editing even closer to the tactile darkroom experience where you’re working directly on the image. And it’s well worth also buying the Adjustable Stand ST100 for the flexibility of additional working angles if it’s available where you live.

If you would like a high-quality large pen display that doesn’t cost as much as a pro-spec camera, the Huion Kamvas Pro 24 (4K) is a hard option to beat. It’s certainly not perfect, although its slight Lightroom slider lag issue and the inability to use the Keydial Mini dial to change Brush size in Photoshop can, hopefully, be resolved in a future driver update. But if not, it’s still a great pen display for anyone who spends large amounts of time editing photos or drawing digitally as an enthusiast or professional.

Huion Kamvas Pro 24 Alternatives

The Kamvas Pro 24 is large and heavy making it unsuitable for lap use or travelling. So, if you’d like a smaller and lighter pen display that can be used anywhere, take a look at the Huion Kamvas 13. It’s much less expensive and provides a 1080p display with the same levels of pen sensitivity as the Pro 24.

If you’re on a tight budget but would still like a pen display, the XP-Pen Artist 10 Pen Display is a 10-inch option that comes at a competitive price. It has a smaller screen than the Huion Kamvas 13 but offers the same 1080p resolution, and provides the direct input required for a more tactile approach to photo editing.

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Resident Evil 6 didn't go over very well with players when it was released in 2012, but director Zach Cregger and production designer Tom Hammock apparently saw something in the game worth revisiting while creating the upcoming Resident Evil reboot film.

During a set visit attended by GamesRadar, Hammock noted that creatures from Resident Evil 6 will appear in the film. He also added that the team pulled some inspiration from Resident Evil 4 as well.

"You'll see a lot of Resident Evil 4, Resident Evil 6," said Hammock. "Zach and I went through and pulled specific creature elements that we like from the games, whether it's tentacles, the teeth integration, and then tried to take that language and move it over to these creatures."

Hammock noted he spent "a lot of time in medical research libraries" while working as a virologist, and that background apparently came in handy for the film.

"Just having access to medical libraries gave us a really grounded starting point for all the creatures," said Hammock. "And then you try to mix that with, you know, the insanity."

The first teaser trailer for the new Resident Evil movie dropped late last month, and it largely stayed away from the franchise's iconic characters or settings. In a subsequent interview, Cregger acknowledged that his decision to do so may not sit well with some Resident Evil fans.

"I think some of the fans are only going to be happy if I tell the story of the games," noted Cregger. "And I'm not doing that, because I feel like I wouldn't do it justice. I feel like the games do such a great job of telling that story."

Resident Evil will hit theaters on September 18.

Read the original article on GameSpot

Meta is under pressure to explain why it cancelled a major contract with a company it was using to train AI, shortly after some of its Kenya-based workers alleged they had to view graphic content captured by Meta smart glasses.

In February, workers at the company, Sama, told two Swedish newspapers they had witnessed glasses users going to the toilet, and having sex.

Less than two months later, Meta ended its contract with Sama, which Sama said would result in 1,108 workers being made redundant.

Meta says it's because Sama did not meet its standards, a criticism Sama rejects. A Kenyan workers' organisation alleges Meta's decision was caused by the staff speaking out.

Meta has not addressed that allegation but told BBC News in a statement it had "decided to end our work with Sama because they don't meet our standards".

Sama has defended its work.

"Sama has consistently met the operational, security and quality standards required across our client engagements, including with Meta," it said in a statement.

"At no point were we notified of any failure to meet those standards, and we stand firmly behind the quality and integrity of our work."

'Naked bodies'

In late February, Swedish newspapers Svenska Dagbladet (SvD) and Goteborgs-Posten (GP) published an investigation which included the accounts of unnamed workers who had been asked to review videos filmed by Meta's glasses.

"We see everything - from living rooms to naked bodies," one worker reportedly said.

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At the time of the publication, Meta admitted subcontracted workers might sometimes review content filmed on its smart glasses when people shared it with Meta AI.

It said this was for the purpose of improving the customer experience, and was a common practice among other companies.

However, the revelations have prompted regulators to act.

Shortly after the Swedish investigation, the UK data watchdog, the Information Commissioners Office (ICO) wrote to Meta about what it called a "concerning" report.

The Office of the Data Protection Commissioner in Kenya also announced it was commencing an investigation into privacy concerns raised by the glasses.

In a statement in response to news of the redundancies a Meta spokesperson told the BBC, "last month, we paused our work with Sama while we looked into these claims.

"We take them seriously. Photos and videos are private to users. Humans review AI content to improve product performance, for which we get clear user consent."

'Standards of secrecy'

In September Meta unveiled a range of AI-powered glasses in partnership with brands Ray-Ban and Oakley.

Features can include translating text, or responding to questions about what the user is looking at - particularly useful for those who are blind or partially sighted.

However, as the devices have grown in popularity, so too have concerns about their misuse.

The workers the Swedish newspapers spoke to were data annotators, teaching Meta's AI to interpret images by manually labelling content.

The workers said they also reviewed transcripts of interactions with the AI to check it had answered questions adequately.

In one instance, a worker told the newspapers, a man's glasses were left recording in a bedroom where they later filmed a woman, apparently the man's wife, undressing.

Meta's glasses have a light in the corner of the frames that is turned on when the built-in camera is recording.

But misuse of the glasses has also been linked to non-consensual recording of women in Kenya.

Sama, a US headquartered outsourcing business, which began as a non-profit organisation with the aim of increasing employment through the provision of tech jobs, is now an "ethical" B-corp.

But this is not the first time a contract with Meta has soured.

An earlier deal to moderate Facebook posts attracted criticism, alongside legal action by former employees - some of whom described being exposed to graphic, traumatising content.

Sama later said it regretted taking the work.

Naftali Wambalo of the Africa Tech Workers Movement, who is a petitioner in the continuing legal action around that case, told the BBC he had also spoken with workers involved in the smart glasses contract.

Wambalo believed the reason for Meta's ending the work was that it didn't want workers speaking out about human workers sometimes reviewing content captured by the smart glasses.

"What I think are the standards they are talking about here are standards of secrecy," he told BBC News.

The BBC has asked Meta to respond to this point.

The tech giant has previously said that users were made aware of the possibility of human review in the its terms of service.

Mercy Mutemi a lawyer representing the petitioners, who is also executive director of campaign group the Oversight Lab, said Meta's statement should be a warning to the Kenyan government.

"We've been told that this is our entry route into the AI ecosystem," she told the BBC. "This is a very flimsy foundation to build your entire industry on."

• Regulator contacts Meta over workers watching intimate AI glasses videos

• What is AI and how does it work?

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Elon Musk has spent the last couple of days in court, testifying in his ongoing lawsuit against Sam Altman and OpenAI over whether Altman and other executives on the company’s board defrauded or otherwise harmed Musk when they shifted the company’s structure from a non-profit to a for-profit corporation several years ago. (This is all pretty convoluted, but the quick and dirty version is that Musk gave Altman about $40 million to help OpenAI get off the ground as a “responsible AI” charity in the 2010s, then fell out with them as the two became business competitors in the field.) This has inevitably included a whole lot of one of the more amusing things that can happen in the modern world, i.e., Elon Musk being forced to talk to people who are not being paid to agree with him, and the results of the three-day testimony have included a few doozies on that score. That most especially includes the part where Judge Yvonne Gonzalez Rogers had to tell Musk to knock it off with all the Terminator talk, please.

See, part of Musk’s contention in the trial is that he gave OpenAI all that money—which helped keep the lights on back in the day, even if it’s an incredibly tiny fraction of the kind of investments the Microsoft-backed firm gets now—because he’s genuinely worried about the Rise Of The Machines. Pretty literally, in fact, in so far as Musk apparently kept bringing up the Terminator movies specifically, telling the trial’s jury that “We don’t want to have a Terminator outcome,” and then understating, when asked what he meant, that “In the movie it’s not a good situation.” Rogers, who’d already had to oversee three days of reported bickering between Musk and OpenAI’s lawyer, had to step in to remind him that the trial is not, in fact, about whether “robot armies” are coming to step on all our skulls, saying, “We’re not going to talk about extinction in this case. They got it, that’s enough.”

When Musk’s lawyer pushed back, saying it was a “real risk” that AI could kill everybody, hence his client’s totally altruistic desire to legally cripple his own xAI’s biggest competitor via this lawsuit, Rogers sounds like she got straight-up irritated at the ways this corporate fraud lawsuit keeps insisting on getting dumb: “It’s ironic your client, despite these risks, is creating a company that is in the exact space,” Rogers said. “There are some people who do not want to put the future of humanity in Mr. Musk’s hands … But we’re not going to get into that business.”

Elsewhere in the trial, Musk also attempted to employ what sounds like classic internet trolling techniques to get out of questions he didn’t want to answer, answering several questions from OpenAI’s lawyers by repeatedly stating, “You just can’t steal a charity.” Which, turns out, doesn’t work if you have a judge there to yell at you for doing it, as Rogers eventually told Musk to stop playing parrot and just answer the damn questions.

Musk’s time on the stand in the trial has now ended, although it’s still possible he could be called back for further, presumably just as cringe-y, testimony.

Blockstream CEO Adam Back positioned Bitcoin treasury companies as arbitrage plays between the current fiat financial system and a future where BTC dominates global economics.

His statement adds intellectual weight to Strategy's aggressive Bitcoin accumulation strategy and similar corporate initiatives gaining momentum.

Bitcoin Treasury as Arbitrage Play

Adam Back's framing is elegant.

He calls Bitcoin treasury companies an "arbitrage between the fiat present and the hyperbitcoinized future."

This means firms buying the cryptocurrency today at current prices benefit from two forces. First, BTC adoption accelerates. Second, fiat currencies depreciate through inflation or policy mistakes. The gap between these two outcomes creates substantial upside for early accumulators.

Back's thesis suggests that companies holding Bitcoin position themselves as asymmetric bets on systemic transition rather than conventional equity plays.

The Financial Path to Hyperbitcoinization

Back's argument rests on the currency eventually becoming the dominant global store of value. In this future, Bitcoin serves as the reserve asset backing international commerce and national treasuries.

Companies that accumulated BTC before this transition would benefit enormously. Their holdings would appreciate not just through price increases but also through the adoption of Bitcoin, which would increase its utility and acceptance.

This vision parallels Michael Saylor's endgame prediction that Bitcoin reaches $10 million per coin through digital credit flows and institutional adoption.

https://www.youtube.com/watch?v=55Q2-pwtfsQ&t=84s

Back's bullish narrative faces serious skepticism. Peter Schiff has called Strategy's Bitcoin strategy fundamentally flawed, arguing that rising dividend obligations will force liquidations before hyperbitcoinization arrives.

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Schiff warns that the cryptocurrency could decline sharply if macro conditions deteriorate, making current accumulation economically irrational.

However, Eric Trump recently predicted Bitcoin would reach $1 million, signaling the Trump family's confidence in its upside potential despite near-term volatility.

Bitcoin Treasury Companies Multiply

Back's framework helps explain why public companies are aggressively raising capital to acquire BTC. If the hyperbitcoinization thesis proves correct, early accumulators capture enormous value.

Strategy leads this trend with 815,061 Bitcoin holdings worth $63.46 billion. Other companies are considering similar strategies, creating competitive pressure to accumulate while BTC remains relatively undervalued.

The arbitrage thesis suggests that hesitation to accumulate BTC today could prove costly if hyperbitcoinization accelerates faster than currently modeled.

Adam Back's arbitrage framing provides intellectual scaffolding for BTC treasury strategies. Rather than viewing Bitcoin as speculative, Back positions it as a rational hedge against fiat system failure.

Whether this arbitrage thesis proves correct depends on adoption accelerating and fiat systems facing genuine stress. For now, companies betting on hyperbitcoinization are making convex bets with asymmetric upside and limited downside from current valuations.

Read the Original story Blockstream CEO Predicts Hyperbitcoinized Future for Bitcoin by Phil Haunhorst at beincrypto.com