Category: 4. Technology

Common UI, Apps & Services; Device Connectivity will be provided to Home appliances through One UI platform.

Select Samsung appliances will receive up to 7 years of software updates in September, including 2024-launched models.

 

Samsung Electronics Co., Ltd. has announced the expansion of its proprietary One UI platform to its home appliance lineup, delivering a unified and intuitive software experience across compatible smartphones, TVs and now smart appliances. As a part of this initiative, some smart appliances will receive software updates for up to 7 years after launching[1], starting from 2024-launched home appliances being updated in September[2].

 

“By bringing One UI to smart appliances, we are transforming the way people interact with technology in their homes,” said Jeong Seung Moon, EVP and Head of the R&D Team of the Digital Appliances (DA) Business at Samsung Electronics. “This consistency ensures that the experience feels natural and familiar across all our devices.”

 

 

A Unified Software Experience Across Connected Samsung Products

 

With One UI, Samsung is unifying the user experience for the product categories of mobile devices, TVs and home appliances through the application of consistent design elements and functionality. This includes Apps & Services like Bixby[3], Gallery, and Samsung TV Plus[4], which are being made available across various types of screens to enable seamless device interaction and media consumption.

 

Device Connectivity is also enhanced through SmartThings[5], integrating the home’s devices into a unified ecosystem with easy access to helpful services like Family Care, Pet Care and Home Care[6]. When it comes to Common UI, users will get the benefit of familiar interfaces like Now Brief[7], which delivers personalised and relevant information at a glance. Now Brief offers family members a curated selection of useful content, including daily weather updates, family schedules, tailored recipes, and home insights such as how much time is left on the washing machine.

 

 

Up to 7-Year Software Support for Select Smart Appliances

 

Wi-Fi-enabled Samsung home appliances will be eligible for software updates for up to seven years after launching, starting from models launched in 2024[8]. This supports Samsung’s commitment to provide good value by enhancing functionality and prolonging security updates throughout the product lifecycle.

 

From September 2025, eligible 2024 launched models[9] will receive various software updates that bring enhancements in usability, intelligence and security:

 

• Upgraded Security: Knox Matrix[10], Samsung’s security solution extending protection across compatible devices based on private block chain technology, will be extended to compatible Wi-Fi[11] enabled refrigerators, washers and dryers, and air conditioners[12]. These products will be protected through Knox Trust Chain[13], which allows connected appliances to monitor each other’s security status. Screen-equipped models like the Bespoke AI Family Hub™ + French Door Refrigerator, AI Home Side By Side Refrigerator with a 9-inch AI Home screen and Bespoke AI Heat Pump Combo with a 7-inch AI Home screen will also receive updates like encrypted Credential Sync and Passkey support. These screen appliances will also be updated with the Knox Security dashboard provided on 2025 models, which allow users to easily monitor the security status of connected appliances in real time.

 

• Smarter Features: Select Family Hub™ appliances and refrigerators with 9-inch AI Home screens will benefit from the upgraded AI Vision Inside applied to 2025 products, which now supports the recognition of frequently used packaged foods in addition to a larger number of fresh foods[14]. Bixby[15] is also upgraded to support Voice ID, allowing it to recognise user voices and provide personalised experiences on shared devices. Users can also enable Bixby quickly and intuitively by simply double tapping on the screen.

 

• Refined Interface: A refreshed One UI design — first seen on 2025 appliances — will come to 2024 models like refrigerators, washers, and ranges, offering intuitive navigation and region-specific settings.

 

 

By expanding One UI across product lines, Samsung is realising its vision of a cohesive, intelligent and secure home — where users enjoy familiar interfaces, personalised services and consistent control regardless of screen or device.

 

For more information on Samsung’s latest AI-powered home appliances and SmartThings innovations, please visit www.samsung.com/au

 

[1] Software updates are provided for up to 7 years from each appliance project’s initial launch, regardless of the local launch date.

[2] One UI 7.0 software will roll out from September. Software updates are provided to appliances excluding cases where hardware limitations, such as memory or chip performance, may restrict the updates.

[3] Bixby is Samsung’s brand of Internet of Things (IoT) voice assistant. Its service availability may vary depending on the country, language and dialect. Bixby updates include Voice ID and double tap initiation, available on 2024 Family Hub and AI Home refrigerators and washing machines.

[4] Coming to Australia via 2024 Family Hub and AI Home refrigerators and washing machines in September 2025.

. Ad-supported streaming service with content subject to change without notice. Internet connection and Samsung account required.

[5] Requires Samsung Account, internet connection and SmartThings enabled devices. Please visit www.samsung.com/au/apps/smartthings/ for a list of current compatible devices.

[6] To utilise Family Care, Pet Care and Home Care, appliance must support Wi-Fi and connect to SmartThings to activate service. The availability of each care service may vary by country.

[7] Now Brief will be available on home appliances from 2026. Now Brief feature requires a Samsung Account login. Service availability may vary by country, language, device model or apps. Some features may require a network connection.

[8] Products include SRF9400BFH, SRF9800BFH, SRFX9400BG, SRL4200S, SRL4200B, SRL4600BD, SRL4600SD, SRL4600S, SRL4600B, and WD18DB8995BZ.

[9] Products include SRF9400BFH, SRF9800BFH, SRFX9400BG, SRL4200S, SRL4200B, SRL4600BD, SRL4600SD, SRL4600S, SRL4600B, and WD18DB8995BZ.

[10] Knox Matrix is applied to all global regions uniformly, with the exception of China.

[11] May vary by model

[12] Product availability varies by country.

[13] Trust Chain enables connected devices to monitor each other for security threats. In case of an attack, it isolates compromised devices to safeguard the rest of the ecosystem, reconnecting them once the issue is resolved. Learn more here: https://news.samsung.com/au/the-knox-journals-the-passwordless-future-of-security

[14]AI Vision Inside in Australia can recognise 33 food items like fresh fruits and vegetables. This expands to 37 food items in other global regions If the food is not recognisable, it may be listed as an unknown item. AI Vision Inside cannot identify or list any food items in the fridge door bins or freezer. It recognises food items based on deep learning models, which may be updated periodically to improve accuracy. AI Vision Inside also recognises packaged food items that have been saved by the user, and up to 50 items can be saved with designated names. Packaged items are limited to those that keep a certain packaged form.

[15] Bixby is Samsung’s brand of Internet of Things (IoT) voice assistant. Bixby service availability may vary depending on the country. Bixby only recognises certain accents and dialects of English (India), English (UK), English (US), French (France), German (Germany), Italian (Italy), Korean (South Korea), Mandarin Chinese (China), Portuguese (Brazil), Spanish (Spain) and Spanish (Latin America).

Integration will advance Samsung’s AI-powered functionality to help users discover information, connect with content and get more from their screens

 

Samsung Electronics Co., Ltd. today announced a new integration of Microsoft Copilot with its 2025 lineup of compatible TVs and Smart Monitors,[1] building on Samsung’s commitment to offering even more personalised and intelligent features on screen with Samsung Vision AI.

 

With Copilot built into the display, users can access Microsoft’s powerful AI companion through a simple voice command or click of the remote, making it easier to search, learn and engage with content directly from their screens.

 

“Through our open AI partnerships, Samsung is setting a new standard for AI-powered screens,” said Kevin Lee, Executive Vice President of the Customer Experience Team at the Visual Display (VD) Business of Samsung Electronics. “Copilot makes it fun and easy to quickly get what you need through tailored experiences, whether you’re learning something new, enjoying entertainment, tackling everyday tasks or more.”

 

 

A More Connected AI Experience

Copilot’s integration expands on a richer, more contextual smart display experience. The integration also enables Copilot’s conversational AI in Samsung Daily+, Samsung’s lifestyle hub that offers services across entertainment, wellness, food and more.

 

Copilot can be accessed through the Samsung Tizen OS home and Samsung Daily+, enabling conversational AI support for a range of scenarios[2]. Through natural voice interaction, Copilot offers personalised recommendations, relevant information and interactive learning experiences. Whether viewers are curious about something they’re watching or looking to explore a topic further, Copilot can respond instantly— all from the largest screen in the user’s home.

 

“Copilot on Samsung TVs is designed to feel like an AI companion in your living room,” said David Washington, Partner General Manager, Microsoft AI. “Together with Samsung’s leadership in display technology, we’re bringing people a shared experience that helps them discover something to watch, ask questions, make plans, or simply enjoy a moment together, all on the biggest screen in their home.”

 

As global leader in the TV market for 19 consecutive years[3], Samsung is in a unique position to create the most intuitive and supportive AI companion for the home.

 

To learn more, visit www.samsung.com/au

 

 

[1] Copilot is currently available in Australia on 2025 Smart Monitors M9. M8 and M7 models. Copilot will be available on 2025 TV models including, Micro RGB, Neo QLED, OLED, The Frame Pro, and The Frame in Q4 2025. Availability will expand to additional regions and models over time and may vary by market.

[2] In Australia, Copilot can currently be accessed through the Samsung Tizen OS home and Samsung Daily+ on 2025 Smart Monitor M9, M8 and M7 models. Select Samsung 2025 Smart TV owners will follow the same route in Q4 2025 when Copilot expands to the following TVs: Micro RGB, Neo QLED, OLED, The Frame Pro, and The Frame. Availability will expand to additional regions and models over time and may vary by market.

[3]  Source – Omdia, Feb 2025. Based on overall TV market share by manufacturer on an annual unit & revenue basis.

The table before me was awash with colour: a shattered sea of pink, yellow, green, and black formed from large chunks and smaller fragments of plaster that had been painstakingly pieced back together to create a coherent whole. Two thousand years ago, these still-vibrant remains would have formed part of a fresco adorning one of the walls of a high-status building in Roman Southwark, clearly signalling the wealth and taste of its owner to anyone who ventured inside. They also represent just a portion of a major archaeological discovery that was unveiled earlier this year: one of the largest assemblages of painted wall plaster that has ever been found from Roman London.

This colourful collection, comprising thousands of individual fragments, was discovered during excavations by MOLA (Museum of London Archaeology) on the site of The Liberty, near London Bridge in Southwark. Between 2021 and 2024, these investigations (undertaken on behalf of Landsec, Transport for London, and Southwark Council ahead of the creation of a new cultural quarter) uncovered illuminating insights into the lives and livelihoods of people who lived south of the Thames during the Roman period, including elaborate mosaics and a grand mausoleum that formed part of a large later cemetery (see CA 386 and 402).

Located across the river from the bustle of Londinium, this was a wealthy suburb whose residents built opulent houses along the waterfront. Excavations in the 1980s and in 2005 had already revealed the remains of some of these structures, including the northern part of a large building complex that was interpreted as a possible mansio (a residence for important travellers on official business) or a particularly luxurious private dwelling. It was constructed early in Roman London’s history, before AD 120, and although its owners had evidently lavished money on its design, commissioning mosaic floors and elaborately painted walls, MOLA’s more recent work on the site has revealed that the building was relatively short-lived. It was demolished sometime before AD 200, during which time the crumbled remains of its fine frescos were consigned to a large pit, where they would remain until their rediscovery almost 2,000 years later.

Colourful clues

Over 120 boxes of plaster fragments – enough to cover an estimated 20 internal walls – were recovered from the site, and the challenge of piecing them back together has been taken up by Han Li, MOLA’s Senior Building Material Specialist. Drawing on parallels from across Europe and insights from other experts – including colleagues at the MOLA finds team, his predecessor Dr Ian Betts, and other scholars including those at the British School at Rome – for months Han has been painstakingly matching edges, images, and even common patterns of dirt or residue on some of the pieces’ surfaces in order to reconstruct long-vanished decorative schemes and tease out what they can tell us about the tastes and cultural connections of some of Roman London’s wealthier inhabitants.

It was Han who was my guide as I gazed at the colourful fragments that had been carefully arranged on a table at MOLA’s headquarters in Hackney. Reconstructing a single, brightly painted wall, they formed a fairly typical design known from sites across the Roman Empire, with repeating panels in a block colour set above a dado painted to look like expensive imported stone. There would have also been a decorative frieze along the top, Han added, but these rarely survive well enough to be reconstructed – as this section of the plasterwork falls from the greatest height when its underlying wall is demolished, it tends to shatter into very tiny pieces, while lower elements generally form larger chunks that are more easily interpreted and reunited.

In this example, the wall had been painted a bright sunflower yellow – a shade that is not in itself unusual in Roman frescos, Han said, though it does not appear to have been a common choice for the main repeating panels. Red seems to have been the more popular colour, though examples of yellow panels are known from other sites including Fishbourne Palace in West Sussex, Silver Street in Lincoln, and Xanten in Germany – and, Han added, there may be others boxed up in archives that are still waiting to be reconstructed. Like those at Xanten, the Southwark structure’s panels were divided with black intervals edged in green and, by closely examining areas where the pigment has flaked away, we can tell that the whole wall was initially painted yellow before the bands were added, rather than setting these out first and then trying to ‘colour inside the lines’.

The black intervals themselves offered even more intricate details, providing the background for delicate images of fruit, flowers, and foliage; lyres; and white birds with long necks and red beaks, possibly some kind of wader, crane, or stork. Many of these had been found in multiple fragments, which Han had carefully fitted back together, and another recurring motif showed a tall candelabrum growing variously out of a slender stem or a bushy vertical spray of leaves and flowers. Thought to have originated in Pompeii, candelabrum imagery was evidently a popular theme as it is found in localised styles across the Roman Empire including at Xanten and Cologne in Germany, Lyon in France, and sites in Britain including Boxmoor in Hertfordshire and Leicester – demonstrating how far artistic ideas and interior design fashions can spread.

Artful designs

To modern eyes, these decorative schemes might appear rather ‘busy’, even gaudy – but to the people who commissioned them they would have represented the epitome of taste and style, and a highly visible statement of their status within Roman society. Some of the individual pigments would have also been chosen to impress; contemporary visitors would not have missed the use of Egyptian blue, a vivid synthetic shade that was much more costly than natural earth colours. Perhaps because of this expense it had been used only sparingly on the frescos that Han showed me (picking out details of the lyres and candelabra, as well as a face with a wig, probably representing a theatrical mask, from another wall) but its presence, however small, would have surely been a source of great pride.

There were also more budget-friendly methods at work; beneath the yellow panel, the same wall’s dado had been skilfully painted to look like speckled pink marble, fooling the eye into imagining exotic (and expensive) stone veneers. On an adjacent table, a group of fragments painted in the same way but using a slightly different shade of pink suggested that at least one other room had been decorated in a similar way, while a third set spoke of something rather more high-end. These last fragments were painted with a darker pigment imitating red Egyptian porphyry, a highly prized crystal-flecked volcanic stone. Adding to this prestigious picture, Han noted, the white speckles of this ‘stone’ had been hand-painted and carefully splashed (in contrast to those of the pink marbles which appear to have been achieved more casually). Still more pieces came from a pale band with hand-painted veins, representing giallo antico, a kind of yellow marble from North Africa.

While these schemes may not have all been in place at the same time, the building’s interiors had clearly been designed to impress. Perhaps there was an element of ‘keeping up with the Joneses’ at work, as Roman Southwark seems to have boasted a number of elegantly appointed residences. One of the most impressive examples was excavated by MOLA (then MoLAS) at Winchester Palace, a short distance from The Liberty, in 1983-1990. There, beneath the 12th-century bishop’s residence that gives the site its name, archaeologists found part of a high-status Roman building – and within one of its rooms was a large section of painted plaster that had peeled away from its wall and collapsed face-down onto the floor (CA 124). Two superimposed skins of plaster had survived intact; the earlier of the pair, dating to the mid-2nd century, was the most ornate, combining architectural imagery depicting a colonnaded building, sweeping swathes of garlands, and the figure of a cupid. These Classical details led some to suggest that a Mediterranean artist had been brought in to execute the work – certainly, it appears that no expense had been spared, as the fresco also featured expensive materials like imported red cinnabar and gold leaf. Then, probably in the 3rd century, the entire scene had been plastered over and repainted with a much plainer geometric design.

These changes echo evidence from The Liberty’s building, which was in use for around a century, and would have seen numerous reworkings and redecorations over this period – the plasterwork that we see today would not have been the work of one artist, or even one team, but of successive groups of artisans serving the changing tastes and budgets of different inhabitants. While examining the fragments of imitation stone and a white wall with vivid red and black bands and lines, Han highlighted examples where the surface had been pecked, creating keying to support a new layer of plaster that could be painted afresh. In other cases, successive layers were still in place, speaking of repeated replasterings, and, as at Winchester Palace, some of these later surfaces carried much plainer decorative schemes. This might reflect a room switching function from a public space to something more utilitarian, Han said, perhaps changing from client-facing to a storeroom. There is also a wider pattern of Roman frescos becoming simpler and less well-executed over time, he added; possibly because of a wider economic decline that placed fancy frescos beyond the reach of many (and, with no work on offer, the best artists may not have been motivated to train successors, essentially de-skilling the next generation), or perhaps representing a shift in fashion towards a more minimalist approach.

Secrets from the City

Elaborately decorated dwellings were not limited to the south side of the river, however; significant discoveries have also been made within the walls of Londinium itself. Over the last 40 years, successive excavations along Fenchurch Street (by MOLA’s forerunner, the Department of Urban Archaeology; Wessex Archaeology; and Pre-Construct Archaeology) have revealed quantities of painted plaster, including floral and foliage motifs, from numerous houses. Another major collection of plaster fragments was recovered by the DUA at 25-51 St Mary Axe in 1989-1990; like those from The Liberty, these had been dumped en masse, and their decorations speak of extensive areas of imitation marble (as well as hints of yellow panels).

Elsewhere in the City, at 21 Lime Street, MOLA excavated the remains of a wealthy residence which had once stood close to London’s first forum (and was demolished when this public facility was expanded in the 2nd century). A collapsed wall preserved a large section of fresco measuring 2.5m by 1.5m (8.2ft by 4.9ft), revealing that one of its rooms had been painted with red panels interspersed with narrow green bands, as well as wider vertical stripes of black that were decorated with vines, theatrical masks, candelabra, deer, and parakeets (CA 320). This was not the first such find in the area; back in 2007, another MOLA dig at 8-13 Lime Street had uncovered another house with a collapsed plastered wall, this time boasting a yellow dado, red panels, and a green border that included images of flowers, birds, bunches of grapes, and candelabra (CA 226).

Timber and clay were the main building materials of early Roman London; their relatively humble nature holds the key to the survival of so many early frescos.

This list is not exhaustive, but the examples given above testify to the popularity of frescos within Roman London, as well as of certain ‘stock’ motifs, with foliage, birds, masks, and candelabra appearing at multiple locations. In his report on the St Mary Axe finds, published in the Transactions of the London & Middlesex Archaeological Society (volume 70, 2019), Ian M Betts wonders whether there might have been a school of specialist wall painters operating in London, in the same way that (based on stylistic comparisons) it is speculated that schools of mosaicists were working in different parts of Britain. We cannot know for sure, but the common design elements seen in different frescos of this period do at least offer illuminating insights into fashions of the time.

Another key characteristic shared by the houses mentioned above is that, despite the evident wealth of their inhabitants, their walls were constructed not from stone but from timber and clay. These were the main building materials of early Roman London, and their relatively humble nature holds the key to the survival of so many early frescos, Han said. Clay walls, sundried bricks, and wattle and daub held little reuse value, meaning that when buildings were demolished their materials were not robbed out and recycled elsewhere. For the same reason, plaster finds from stone buildings are much scarcer, and our understanding of how high-status buildings from the later Roman period – when London had many more masonry structures – were decorated is rather patchier.

Encountering the artists

As well as showcasing the skills of the artists who painted them, the fragmentary frescos from The Liberty also offer interesting insights into how such surfaces were created. Han showed me the outline of a flower that was never coloured in but was later painted over in white – perhaps it had been deemed surplus to requirements, or had been quickly sketched to instruct an apprentice tasked with creating more of the same – which reveals how such images were drawn using a compass. Just as illuminating, however, are hints of the process going wrong. Frescos are created by applying paint when the plaster is still wet, and the artists would have worked from the top down to prevent leaks from spoiling already completed sections. On one of the fragments of imitation stone, Han pointed out flecks of red that had spattered onto an area of black, suggesting somewhat rushed work. Perhaps the artist had been racing to finish the work because the plaster was drying too quickly – certainly, there are spots where the bonding had failed and the colour had flaked away, indicating that the surface had not been wet enough when the pigment was added. Elsewhere, a scar left by the clumsy movement of a trowel hints at someone else working with more haste than care – humanising details that bring the anonymous artisans back into focus.

One of the artists had not intended to remain nameless, however. On one of the fragments, Han has identified part of a tabula ansata, an image of a decorative tablet which was used to sign artworks in the Roman world. Tantalisingly, the word ‘FECIT’ (‘made this’) has survived, but the name of the individual in question has broken away and has not yet been found. The crucial piece may yet emerge from the plaster still undergoing examination, but while its current absence is disappointing, the survival of the corresponding verb is more important, Han said. If it had been the other way around, with the name present and ‘FECIT’ lost, we would not know for certain that it represented one of the artists rather than captioning one of the images or representing another individual in some way. The text of the signature is skilfully executed (‘The “T” of “FECIT” goes from thin to thick, it is really beautiful penmanship,’ Han commented), and as the edges of the lettering have not flaked, it was very likely added while the plaster was still soft.

Elsewhere, similarly skilled writing is represented by a near-complete Greek alphabet, which was discovered across two pieces that have now been placed back together. It is the first example of its kind known from Roman Britain, though parallels are known from Italy (at Rome, Ostia, Pompeii, and Herculaneum), where they are thought to have served as some kind of tally or reference. The Southwark example does not look like casual writing practice either, Han commented – the letters are too well-executed (and too small to be a useful teaching aid) – rather, they suggest that someone in Southwark was able to use the Greek alphabet 2,000 years ago. Unlike the text of the tabula ansata, however, these letters had been scratched into the plaster when it was already dry – this was graffiti, not an integral part of the design. Nor was it the only example of a more casual addition to the plasterwork; another large fragment bears a drawing of a weeping woman with a distinctive hairstyle that was fashionable during the Flavian period (AD 69-96).

Analysis of the fragments is still ongoing, and the Southwark frescos may yet have many more secrets to reveal. The full results of this work will be published in due course, and the plaster pieces themselves will be preserved for future study, and the possibility of future display.

All images: © MOLA (Museum of London Archaeology)

The CEO behind Cursor said the AI coding tool spread from YC startups to tech giants thanks to just two things.

Michael Truell, the 25-year-old CEO and cofounder of the startup behind Cursor, said at a Y Combinator event in June that the company’s growth didn’t come from splashy marketing. After an initial push on social media, the founders went monk mode, shutting out distractions to focus on product improvements. Then they let satisfied users carry the rest.

“We kind of lived like monks in 2023 and just focused on the product,” Truell said in a fireside chat published Wednesday on Y Combinator’s YouTube channel. “And it really just spread from word of mouth.”

The team occasionally debated whether Cursor was good enough and whether it was time to pour energy into growth engineering, Truell said, adding that they even ran short sprints on those efforts.

But the results were negligible compared to the impact they got from simply improving the product, he added.

In the very early stages of launching Cursor in 2023, the team tried to “evangelize” the AI tool on social networks, which helped them build an early user waitlist, Truell said.

“That was helpful getting us kick-started,” he said. “But then after that, we kind of stepped away from that.”

Cursor’s parent company, Anysphere, raised $900 million at a $9.9 billion valuation, the company said in June. The company lists Stripe, Instacart, and Shopify as customers.

Business Insider reported in the same month that Amazon was in talks with Cursor to adopt the AI coding tool internally.

Amazon CEO Andy Jassy said in the May earnings call that Cursor, an AWS cloud customer, was a key driver behind the “explosion of coding agents.”

Big Tech leaders have also been using Cursor to vibe-code. Google CEO Sundar Pichai said in June that he has been casually building a custom webpage with the AI coding tool.

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Truell and Cursor did not respond to a request for comment from Business Insider.

Marketing for AI startups

Not every AI startup thinks marketing is redundant. Some are leaning hard into it.

Viral AI “cheating” startup Cluely is betting on influencers to drive growth.

Cluely needs to be “the biggest thing” on Instagram and TikTok, CEO and cofounder Chungin “Roy” Lee said on a podcast in June. “Every single big company is known by regular people,” he added.

Lee previously told BI that his main goal for Cluely is to reach 1 billion views across all platforms.

Other startups are chasing what’s being called AEO, or answer engine optimization — the next generation of SEO as chatbots increasingly replace search engines.

Business Insider reported in May that dozens of AEO startups and tools have launched in recent months, all promising to help online businesses get surfaced when AI models answer user questions.

“There must have been 30 AEO product launches in the last few months, all trying to do what SEO did 20 years ago,” said David Slater, a chief marketing officer who’s worked at Mozilla, Salesforce, and other tech companies. “It’s absolutely going to be a hot space.”

Google seems to have taken a leaf out of Apple’s book with the new Pixel devices: appeal to the masses, make things as simple as possible and don’t mess with a winning formula.

After last year’s redesign of the Pixel phone, no one was expecting another significant design update. This year, it seems, was all about making the devices more accessible to the wider population. Pixel is stepping out of the tech shadows, ready to win over the average phone buyer.

One area where it is not following Apple? Integrating AI into its systems. While Apple has adopted a more cautious approach, Google has leapt in with both feet.

Gemini, its AI model, has replaced Google Assistant as the voice interface on its devices. There are AI-powered suggestions through the new Magic Cue feature that bring information to you rather than making you search it out. And the camera app now has a dose of AI too, with a Pro Res Zoom that goes up to 100x and fills in the gaps with AI.

This creates two photos – the original shot you have captured with digital zoom, and the AI version, with its smoother lines and sharper focus. It doesn’t do well zooming in on people, which is probably a good thing.

[ Google Veo 3 review: Video creation steps up an AI notchOpens in new window ]

That is alongside the previous features: Add me, to get yourself into the shot by combining two images; unblur, to clean up photos; and best take, which combines similar shots to get the best photo.

It has sparked an interesting debate on what constitutes a photograph. Is it still a photograph if AI is used to create some elements? What about filters and minor edits after the fact? Are we killing our creativity altogether by using AI to make up for our – and our equipment’s – shortfalls?

The good news is that the Pixel 10 Pro XL is a decent phone even without the AI features. You can delete the Pro Res Zoom model, ignore the new Camera Coach and never use the Magic Editor that will remove distractions from your shots.

Google’s latest device comes with a 6.8-inch display, which gives plenty of room to line up your shots. Aside from the high-quality video camera, it is, as you would expect from a Pixel, no slouch on the still-image front.

The camera on the back is a triple set-up with a 50MP wide lens, 48MP ultra-wide that also has a macro focus function, and a 48MP telephoto lens that magnifies up to 5x. With the usual photo modes – portrait, night sight and so on – it is almost impossible to take a bad photo. Believe me, I tried.

[ Microsoft Surface Laptop 13-inch review: AI-optimised laptop makes some sacrificesOpens in new window ]

On the off-chance that your skills are badly lacking, you can go back to that previously mentioned coach. The Camera Coach is a step-by-step walk-through for those who need a bit of help with their photography skills.

Point your camera at what you want to shoot, press the Camera Coach icon in the top right corner of the screen, and Google’s AI will scan the scene to see what is in frame. Then it will throw up some suggestions – a shot of a child playing might generate suggestions for perfect portraits or a close-up of colourful toys. You select the shot you want to capture and it walks you through the process step by step.

A lot of it is elementary stuff, but given the number of Instagram accounts pushing phone photography lessons that seem to make it into my feed these days, Google is planting fertile ground here.

The Pixel 10 Pro XL is a powerhouse. It has Google’s Tensor G5 processor built in, comes with 16GB of RAM and starts at 256GB of storage, up to 1TB. It has the temperature sensor – still not for body temperature though – which comes in handy very occasionally, but is something you can live without.

And while it is not cheap – from €1,119 for the base model – it comes with seven years of software and security updates. Treat it right and you will get your money’s worth. Google is counting on you being in it for the long haul.

The Pixel 10 series isn’t targeting last year’s buyers, or even the year before. There are few differences between this year’s Pixel and last year’s, hardware wise.

There is of course the addition of PixelSnap, the new series of magnetic chargers and other accessories that iPhone users will find familiar. But people are looking for more from their phones these days than some shiny accessories, and that includes longer support.

Good

Google has taken last year’s design and refined it a little. There was no need for a major redesign just yet; we would settle for new colours. Well, new colours and some decent hardware, which the company has managed to provide.

AI has been woven well into the operating system, and many features can be disabled if you aren’t keen on them.

Battery life is also good, with the XL’s battery easily lasting the day and then some with regular use.

Bad

If you don’t like AI, you will be turning off a lot of features. The phone is still a solid one underneath though.

Pro Res Zoom can be difficult to master at the strongest magnification, even with image stabilising active. Use it sparingly.

Everything else

Lots of AI. AI everywhere. It has the Pixel Studio app preinstalled too, which allows you to create your own images via a text prompt – within reason though, Google’s policies prevent certain types of photos from being created, such as realistic images of children or violent content.

Verdict

AI is here to stay (for now, at least) and the Pixel 10 Pro XL is firmly on board. Would you expect anything less from Google?

TOKYO – Nikon Corporation (Nikon) is pleased to announce the release of a new silver version of the full-frame/FX-format Nikon Z f mirrorless camera.

The Z f is a mirrorless camera that combines a heritage design inspired by an iconic Nikon film camera with the superior performance of a full-frame camera. Since its launch, the Z f has been extremely popular, and Nikon has received many requests for a silver version of the camera. We are very pleased to release this new silver version in response to those requests. Three new colors have been added to the Premium Exterior color options, in which users can choose to customize the color of their Z f body*. What’s more, the Z f will support a new Film Grain feature that adds grain to photos and videos, further expanding creative possibilities. This, along with the rich imaging expression of the full-frame, will support Z f users in creating their unique and original works.

Nikon will continue to pursue new dimensions in optical performance while meeting users’ needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

• * The three new Premium Exteriors are also available for the original Z f black version.

Primary features

1. A new silver color with the appearance of chrome plating

Designed to look like the chrome plating on film-era cameras such as the Nikon F, the texture of the silver finish is similar to that of metal, for an authentic feel suited to a full-frame heritage model. Three new color options have been added to Premium Exteriors: Cognac Brown with an embossed texture, Teal Blue, and Mauve Pink, which are subdued yet elegant tones that complement the silver body. This provides more options for customizing the exterior of the camera than ever before. The sophisticated design will inspire users every time they use the camera.

2. A Film Grain feature for film-like expression

A future firmware update* will provide a new Film Grain feature that adds grain to photos and videos. Users will be able to achieve more creative imaging expression in accordance with the scene and their intent by adjusting grain size (3 options) and strength (6 options). By combining this feature with Imaging Recipes, downloadable imaging presets created by Nikon and creators, and Picture Controls, users will be able to enjoy film-like expression tailored to their personal style.

• * Scheduled for release within 2025.

• * Final look may differ from this image as the firmware is still under development.

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• Operators across Europe, Asia, North America, and Latin America have deployed RDK as their open-source software platform of choice
• RDK community expands to more than 700 CPE manufacturers, SoC vendors, software developers, system integrators, and service providers
• RDK7 launched to ease third party integration and increase efficiency for video service providers

PHILADELPHIA, Sept. 4, 2025 /PRNewswire/ — Ahead of IBC2025 and the 2025 RDK Global Summit, RDK Management (RDK) announced that RDK open-source software, used to power customer-premises equipment (CPE) from broadband and video service providers, has been shipped on more than 200 million devices globally to date.

RDK open-source software standardizes many of the core functions used in broadband and video devices. By standardizing these core functions, service providers can develop and deploy a consistent set of applications and services across geographies, hardware, SoC suppliers, and video and broadband access networks (GPON, DOCSIS, DSL, and fixed wireless). RDK enables service providers to manage their devices; control their own UI/UX and app experiences; and harmonize device telemetry and analytics to improve the customer experience and business results. 

“Crossing more than 200 million shipped devices clearly demonstrates that RDK is the open-source platform of choice for many leading broadband and video service providers globally,” said Jason Briggs, President and General Manager of RDK. “Beyond RDK’s scale, we continue to roll-out new advancements, such as RDK7, to simplify software integrations and increase efficiency for service providers and their partners. Our community of more than 700 CPE manufacturers, SoC vendors, software developers, system integrators, and service providers continues to be our source of strength and continuous innovation.”

There are now more than 700 technology companies within the RDK community that span leading silicon companies, CE manufacturers, software developers, system integrators, and service providers. Service providers with publicly announced RDK deployments include: Atlantic Broadband, BCN, Claro, Comcast, Charter, Cox, Deutsche Telekom, Fetch, Foxtel, J:COM, KabelPlus, Liberty Global, Mediacom, Megacable, Multichoice, Melita, NOS, Nuuday, Orange, Rogers, SFR (part of Altice Europe), Shaw, Sky, Stofa, Telcom Argentina, Toya, Vectra, Vidéotron, Vodafone, VOO, VTR, WOW, Xumo, Ziggo, and others. 

RDK Technology   

For entertainment, RDK Management recently introduced RDK7 — the next evolution of open-source software for video and streaming devices — designed to help operators launch new services faster and extend the life of their devices. Its modular architecture streamlines essential functions like audio/video playback, conditional access, DRM, networking, captions, emergency alerts, voice control, telemetry, and more across a wide range of hardware. By separating hardware, middleware, and app layers, RDK7 allows teams to work in parallel, accelerating time-to-market for services from streaming video to gaming. A redesigned hardware porting kit makes it simpler to bring RDK to chipsets or devices, while the modular approach speeds up fixes and feature rollouts. By combining enhanced performance with a layered development approach, RDK7 aims to reduce integration costs, extend hardware lifecycles and maximize long-term value.

For connectivity, RDK-B standardizes core enabling functions including device management, telemetry, Wi-Fi services, Ethernet access, IPv6 transitioning, and more, which work across all major network access technologies including DOCSIS, GPON, DSL, and Fixed Wireless Access (FWA). By packaging and open sourcing these in a single standard software stack, service providers can develop, deploy, and manage a consistent set of broadband services across silicon and device manufacturers for use across their networks and geographic footprints.  

RDK is available at no cost to companies who want to access code, collaborate, develop, and submit contributions back to the RDK community. For organizations that want to engage further, RDK offers a tiered membership program that provides enhanced collaboration, strategic engagement, training, and technical support. Additional information about RDK is available at www.rdkcentral.com.   

About RDK Management
RDK Management is an open-source consortium that manages RDK for the global community. RDK is an open-source software platform that standardizes core functions used in broadband, video, and IoT devices. RDK enables service providers to control their device diagnostics data, business models, and apps to improve the customer experience and drive business results. The RDK community is comprised of more than 700 companies including CPE manufacturers, SoC vendors, software developers, system integrators, and service providers. For more information on the tools, training, and events provided by RDK Management, please visit: www.rdkcentral.com.   

SOURCE RDK Management, LLC

• United Rugby Championship (URC), Cricket Australia (CA), and WPALive.TV by Foresense, the exclusive broadcast distributor for The World Pool Association (WPA), tap Eluvio for next-gen OTT video distribution for over 500 live events, deep archive AI, and direct-to-fan monetization
• Eluvio Content Fabric and Application Suite providing transformational D2C streaming, live broadcast feed distribution, monetization, and dynamic video AI to be showcased at IBC2025 in Hall 8, stand MS5 and the IBC Future Tech Zone in Hall 14

BERKELEY, Calif., Sept. 4, 2025 /PRNewswire/ — In advance of IBC2025, Eluvio today announced that leading sports organizations, including United Rugby Championship (URC), Cricket Australia (CA), and WPALive.TV by Foresense, the exclusive broadcast distributor for the World Pool Association (WPA), have selected the Eluvio Content Fabric and Application Suite to power their next-gen video distribution in D2C OTT streaming, deep archive AI, and direct-to-fan monetization for fans across the globe.

D2C Streaming with Direct-to-Fan Monetization
Collectively, Eluvio will power over 500 new OTT live D2C streaming events with advanced features on browsers, mobile devices and connected TVs; monetization to fans globally with built-in subscription, per match, and ad supported sales; and dynamic, seamless broadcast rights enforcement. Streaming is provided at full source resolution, including HD and 4K, with dynamic automatic adaptation to the user’s available bandwidth with low latency HLS/DASH delivery, unlimited multi-view, and “zero-copy” live-to-VoD and DVR playback– all powered by Eluvio’s groundbreaking Content Fabric. In addition, Eluvio Content Analytics provides complete source-to-viewer audience, QoS, and sales analytics.

Live Broadcast Feed Distribution
The same live match source feeds are recorded and distributed (sub-second) as transport streams with SRT/RTP output to broadcast affiliates (secure, multi-path, and fully-reliable) using the Fabric’s new live broadcast streaming (ST 2110/2022). Outputs are available on-demand, with no cloud roundtrips or egress.

AI Archive Exploitation
Collectively, Eluvio will ingest, host, and process over 20,000 hours of archived video content with multi-modal AI tagging and indexing, search, and dynamic highlights generation, making the content streamable, downloadable and monetizable with no egress or re-transcoding.

End-to-End Security
For each of these experiences, Eluvio provides end-to-end content security and anti-piracy protection including strong encryption, DRM, forensic watermarking, and dynamic authorization per-offering including geo blocking and rights control. All features are built in allowing for a hyper-efficient, tamper-proof distribution and on-screen authenticity proofs for the viewer.

“We are deeply honored that these amazing organizations have each chosen us,” said Michelle Munson, CEO and co-founder of Eluvio. “On the top line, the Content Fabric helps to maximize monetization through expanded global distribution, content sales, and AI personalization. And, on the bottom line, it breaks down the cost and efficiency boundaries that have held back video over IP for many years.”

The United Rugby Championship is a global club rugby league where 16 teams from five powerhouse nations– Ireland, South Africa, Wales, Italy and Scotland–compete across two hemispheres for the coveted championship. URC TV (https://urc.tv) is their new streaming platform for fans, launching for the 2025/26 season, powered by Eluvio. Last year, Eluvio was selected by URC’s partner, European Professional Club Rugby (EPCR), to power EPCR TV (https://epcrugby.tv), a next-gen streaming subscription service for live and archival viewing. Together URC and EPCR will stream over 280 live games in over 90 countries on the Content Fabric this season with desktop, mobile and TV properties; automatic, zero-copy recording for live broadcast transmission and archiving; season pass and match sales; and broadcast rights enforcement.

“URC is dedicated to bringing our passionate rugby fans around the globe the best possible viewing experience and easy access to our matches in territories where broadcast offerings are not available,” said Adam Redmond, Head of Broadcast & Communications at United Rugby Championship. “We are thrilled to be partnering with Eluvio to bring the most advanced streaming capabilities with a highly cost efficient delivery model. Eluvio has a proven track record with our partners EPCR TV and we believe URC TV will allow us to both serve and extend our fan base worldwide.”

Cricket Australia (CA) is the governing body for professional men’s and women’s cricket and amateur cricket in Australia, and has a deep archive of over 15,000 hours of matches. Cricket Australia successfully piloted Eluvio’s Fabric for archive and live-game streaming with inline AI, match-tagging, and AI-driven highlights and has selected Eluvio to deliver a next-generation platform that will combine these features for Cricket fans worldwide. Eluvio’s Video Intelligence Editor (EVIE) provides a single pane of glass for self-service, and AI exploitation of the archive and live matches. It includes automatic additions of AI and play-by-play tags to the game content with frame accuracy, an inline tag editor, clipping, and multi-modal search of all content. The novel AI pipeline generates personalized highlight reels for streaming, download, and publishing on digital properties with zero copying, re-transcoding, or additional distribution.

“Cricket fans are some of the most passionate fans in the sporting universe. They have high expectations – and it’s our duty to deliver on those expectations,” said Dan Allan, Senior Content Manager – Broadcast at Cricket Australia. “We are excited to be working with Eluvio to leverage their cutting-edge video and AI stack and maximise the value of our deep archive and live matches. More broadly, the Eluvio Content Fabric offers up some unique opportunities – and we feel like we are just scratching the surface of what’s possible.”

WPALive.TV (WPALive) by Foresense is the exclusive licensee for digital streaming of the World Pool Association, the international governing body for pool (pocket billiards), dedicated to promoting and regulating the sport of pool worldwide. Eluvio was selected to power the new WPALiveTV (https://wpalive.tv), a 24/7 digital broadcast and streaming platform designed to elevate pool to new heights of visibility and engagement including live matches, replays, interviews, and more. WPALiveTV is streaming over 250 live matches in 10+ global tournaments on the Eluvio platform including locations throughout Southeast Asia, Eastern Africa, and Europe, using free and paid models. Eluvio’s self-serve CMS Creator Studio is integral to manage content publication, front-end customization and all match/media metadata and multiview at this scale.

“Building on the Eluvio Content Fabric has enabled us to launch this new truly global streaming platform for the millions of fans of professional pool,” said Glenn Weiland, CEO Foresense Technologies. “Their decentralized and highly-efficient global protocol and dedicated 24×7 customer service, in combination with our digital broadcast team, has allowed us to deliver high-quality, low latency viewing experiences from far reaching corners of the globe–from Mauritius to Malaysia–while adapting fast to varied production environments, audience groups, and match types.”

Key Features

The Eluvio Content Fabric and Application Suite provides transformational advantages for content distribution and monetization including speed; hyper-efficiency with 10x savings over CDN/media clouds; security; content provenance and verification; and AI native personalization—all based on innovation rather than brute force. With Eluvio, distribution is achieved with no file copies, no egress, and infinite re-monetization options for premium video and media.

Eluvio provides the core Content Fabric with global streaming and static distribution APIs and a full app stack on top for delivering OTT experiences and live broadcast streaming with ease. Key features include:

• Low latency D2C streaming and global live feed distribution (MPEG-TS/SRT out) B2B with no additional redistribution/egress, fully-multipath and sub-second latency, SRT/RTP/UDP/SMPTE 2110/2022/JXS;
• No code, configurable OTT sites and APIs for use across browsers, mobile, and connected TVs;
• Built-in subscription, transaction, ad-supported and rewards/loyalty based monetization provides slick and scalable purchasing and entitlement APIs;
• Self-verifying content (C2PA) with on-screen content authenticity verification;
• End-to-end analytics for audience, QoS, and media sales; and
• Inline AI stack with benefits including automatic generation of highlights during and post-match (also zero-copy); multi-modal semantic and textual search/clipping of key moments in live matches, discovery/monetization of the VOD library; dynamic compositions comprised of live, VOD and hybrid content; and new micro-transaction offerings to embed in social and fan engagement upsells.

Eluvio Showcased at IBC2025

Eluvio has opened registration for one-on-one meetings, demonstrations, and presentations at IBC on September 12-15 at https://wallet.contentfabric.io/ibc.

At IBC2025, Eluvio will demo the entire Bangkok release and Application Suite at its main stand in Hall 8, stand MS5. CEO Michelle Munson will deliver keynote demonstrations on Friday, September 12 at 2:00 p.m. and Saturday September 13 at 1:00 p.m., and the team will offer live demos/meetings continuously at the Eluvio Stand. Eluvio will also be showcased in the IBC Future Tech Zone in Hall 14, 14.A78, and Munson will deliver an additional keynote demonstration from 12:30–1:00 p.m. on Sunday, September 14 on the Future Tech Stage at the AI and Innovation Main Stage in Hall 14. 

About Eluvio
Eluvio (https://eluv.io) is solving the generational problems of video over the Internet with its Content Fabric Protocol, a next-generation content distribution and storage protocol transforming the distribution and monetization of premium video and digital media–in contrast to legacy cloud workflows and CDNs. Recognized as NAB Streaming Product of the Year in 2024 and 2025, Eluvio customers are innovative sports and entertainment brands such as Amazon Studios/MGM, Cricket Australia, European Professional Club Rugby, Red Bull, SONY, Telstra Broadcast Services, UEFA, United Rugby Championship, Warner Bros., WPALiveTV, WWE, and others. Eluvio is led by Michelle Munson and Serban Simu, founders and inventors of Aspera. Based in Berkeley, California with a worldwide team of 40 engineers, scientists and commercial leaders, Eluvio has won the Seicon Grand prize, and the prestigious Engineering Excellence Award by the Hollywood Professional Association and holds 15 issued US patents. On X: @EluvioInc; On LinkedIn: Eluvio https://www.linkedin.com/company/eluv-io/.     

SOURCE Eluvio

Ahead the Lexus LFA accelerates. Hard. Full beans in second gear. The V10 rips through the rev range, god know what Lexus did to the exhaust to ensure it made a noise like this, but it shrieks. It’s so piercing, so pure and clean that it barely seems mechanical. It’s as if a banshee has been harnessed inside each of those tailpipes. Apt, seeing as together they make a ghoulish face.

It’s a force of nature, and that’s what separates it from the Porsche Carrera GT. That’s a force of mechanics. I open the throttle to give chase and behind me a fabulously complex series of events take place. I hear the suck of air as the throttle bodies open, the fast chain rattle from the valvetrain, the piston thrash and overlaying all that, an implacably hard, raw exhaust note. Everything that moves back there creates an individual signature and in the cabin I feel connected to everything.

These two cars aren’t dominated by their engines. But they are defined by them. A V10 is a weird engine for a road car. Surely you’d have a V12 for its majesty or the more obvious charms of a V8? The V10 is a more singular choice because you arrive at it out of logic and reasoning, rather than passion. You arrive at it from motorsport.

Photography: Mark Riccioni

What was Lexus thinking? The LFA was directly influenced by Toyota’s F1 project, perhaps the most expensive, least successful foray into F1 there’s ever been. The LFA’s V10 was a joint project between Lexus and Yamaha, borne out of the top brass attending an F1 race in 2001 and being entranced by the wailing engines. Besides, they couldn’t get the peak revs they wanted out of a V8, nor the fast response from a V12. So a V10 it had to be. They created something deeply special, a 4.8-litre narrow angle V10 the size of a V8 and the weight of a V6, and only ever put it in this car. That’s right, its forged titanium conrods, solid titanium valves and ability to rev from idle to the red line in 0.6secs were never seen anywhere else. It might be one of the most romantic engineering decisions ever made.

Porsche’s V10 reasoning was more pragmatic. Back in the early 1990s Hans Mezger had developed a 3.5-litre V10 for the Footwork F1 team. However, too large and heavy, it wasn’t very good and midway through the 1991 season, the team stopped using it. But the thinking behind it re-emerged a few years later when Porsche needed an engine for its 1998 LMP2000 project. Redesigned as a 5.5 litre without pneumatic valve springs, it showed enormous promise. But never raced. Rumour suggests VW Group chairman Ferdinand Piëch pulled it to avoid competition with Audi’s Le Mans effort, others say the budget was funnelled to the crucial Porsche Cayenne SUV.

And so, after a considerable amount of reworking which saw the capacity climb to 5.7 litres, it found its way into a road car. Where it was connected to a manual box. And the rest is history. And on some very special days, if you’re very lucky and the stars align, history comes to life. LFA and Carrera GT together. They’re not rivals, weren’t even contemporaries, seeing as the Porsche arrived in 2003, the Lexus six years later. But as well as engines, they have the same mentality. Let’s call it obsession with perfection.

Parked up in a layby next to the River Danube in southern Germany, the Lexus could have been launched today, so modern does it look. A casual onlooker might assume it’s a grand tourer, but you and I know better. We see the air intakes aft of the cabin, know that’s because Lexus relocated the radiators to the back, along with the gearbox, to create a 48:52 weight distribution. The more you look at it, the more exotic it becomes.

So too the Carrera GT, although you have to open the engine bay to really get a sense of it. The V10 sits within a mighty carbon fibre subframe, with inboard pushrod suspension mounted on the outer flanks. Ahead, the cockpit is simple, unadorned, dominated by the stratified ash and birch gearknob – a nod to the balsa lever in the Porsche 917. It’s a stripped road racer with fixed back seats, rev counter front and centre, borrowed parts and little concession to luxury. Bandwidth? Not in its vocabulary. Alongside perhaps the Ferrari F50, one of the most single minded road cars there’s been.

Open the LFA’s door and you’re greeted by sumptuous cream leather. The LFA is from the era when everything had a button or a switch. Or a mouse. These were a hateful means of navigating a screen back in the day, but seem charmingly retro nowadays. Again you look closer and pick up the bespokery in here – the super slender column stalks, the beautifully positioned dial adjusters for the modes and gearchange speeds, the compact hollow carbon steering wheel and those seats… they may look more like dental chairs, but with their plinth controls and cosseting support why did Lexus not use them elsewhere?

I bet a pile of money was lost on every single one of the 500 built. They were £345,000 each when they went on sale after a 10 year development cycle. Yes, really. Part of what makes the LFA so special is that it was forced through by the will of one man against his board of directors. Akio Toyoda wasn’t the boss back in 2000, he just knew a cool project when he saw it. The lengths and learnings the LFA team had to go through to create the car under his guidance were incredible – Toyota didn’t like the carbon work from suppliers so, having never done it before, set up a department to do all the carbon work, including the tub. That’s unheard of in a huge corporation.

The first prototype was built in 2003. In 2007 Lexus took it to the Nürburgring 24 Hours as part of its development process. Toyoda himself was one of the drivers, but racing under a pseudonym so the board of directors wouldn’t know. It’s the ultimate ‘it’ll be ready when it’s ready’ car, the team given all the time, money and resources necessary to create something unique.

There is, appropriately, nothing else like it. In a way I’m amazed, because it’s an idea worth copying. Lavish a car with so much finesse and care you create a masterpiece. The Carrera GT is single minded, the LFA has almost complete duality. It is viceless, good natured, light, calm and accurate. The only allowance you have to make is the six speed single clutch transmission – despite 0.2secs shift times, it’s a head nodder. Otherwise, you can slip silkenly about, the ultimate daily if you were so inclined.

And then, in a blink, it flips. The V10 is responsible for that – just let the revs climb beyond 3,000-odd. There’s not that much torque, so the noise gets going before the car itself, but everything knits together by 4,500rpm, with half the rev range still to indulge. It’s the responses that dazzle – not just to the throttle, but the steering, brakes, suspension. There’s no slack in anything, just this wonderful clarity of matched responses across every component. Steering feel is the weak point (it’s electrically assisted, not hydraulic), but because you get feedback from everywhere else, confidence arrives pretty much immediately.

27 minutes 30 seconds

The roads round here twist tightly through gorges and up hillsides and the LFA gets busy dismantling them. It does so with astonishing precision. It’s not a car that attacks the road, grabs hold of it and tears at it. It’s all about flow and balance. Even powering out of hairpins it would rather drive cleanly out than indulge in lurid skids. I adore it because you can feel every bit of effort and energy that was poured into its creation. You look around the cabin and you can sense the decisions made, you drive it and silently thank the engineers for persevering with it, because they have created a marvel.

But if you want to feel wrapped up in a driving experience, belittled and intimidated by it at times, enraptured and taken to new heights at others, you need a Carrera GT. It’s a challenge this car. It has a savage reputation, but the new tyres have helped tame it (Porsche redeveloped modern Michelin Cup2s for the GT last year) and the most awkward thing about it is getting it moving. Don’t touch the throttle. Just come up slowly, gingerly on the clutch and let the anti stall get it rolling. It’s not infallible, but it’s better than a bootful of revs and trying to slip a clutch that has the operating range of a light switch.

Once moving it’s sublime. Just don’t try to boss it around. That’s when it’ll bite. Just drive it in the knowledge that you’re simply not a good enough driver to extract the max from it. And even if you were, it’s a learning process. Particularly the gearshift.

I haven’t driven anything as absorbing since the GMA T.50. The Porsche is stripped of the Lexus’ protective layer of civility. No sensation is denied you. The platform is super stiff, feedback is constant, you feel the rose jointed suspension working at each separate corner. At low speed it hobbles and bobbles, but soon harmonises with the surface and starts delivering thrills in a way almost nothing else matches. Yeah, T.50 and F50, those are the only things I can think of that match or better it.

The Lexus is the greater achievement, the Porsche is the more exotic driving experience, but no V10 has bettered these two

Like the Lexus, the V10 has almost zero flywheel effect – great for response, tricky when it comes to blipping downshifts. The V10 is wild, constantly busy, packs an enormous punch, torquier than the Lexus in a body 100kg lighter, even tiring to be around. You automatically treat it with trepidation and respect because it makes you want to be better at driving, at changing gear, at living up to its exacting standards.

Challenge it and it will bite – 2003-vintage traction control wasn’t fast to react, and didn’t do much even then. Better live to fight another day than go for a slightly higher corner entry speed or another inch of throttle on the way out. But as with all the greats there’s so much to discover besides speed. This is what so many modern supercars miss. They provide power and the electronics to tame it. Extremely clever, but often unsatisfying because it removes responsibility from the driver. The Carrera GT is fascinating at all speeds, in any gear, at all times, on any road, in all conditions. Driving it made me tingle. I think about it now and the hairs on my neck rise, a shiver runs down my spine.

If I had to pick one, I’d take the Carrera GT – the Lexus is the greater achievement, the Porsche is the more exotic driving experience, but no V10 has bettered these two. We doubt one ever will. But equally no V10 has ever had a better home than in the frame of an LFA or Carrera GT. They are cars informed by motorsport, and sent down their chosen road car paths with clarity of mind and purpose. What transcendental cars they are. I doubt we’ll ever see their like again.

Lexus LFA

Price new (2009): £345,000
Price now: £780,000
Engine: 4,805cc V10, 552bhp @ 8,700rpm, 354Ib ft @ 6,800rpm
Transmission: 6spd automated manual, RWD
Performance: 0-62mph in 3.7secs, 202mph
Weight: 1,480kg

Porsche Carrera GT

Price new (2005): £321,093
Price now: £1.5m
Engine: 5,733cc V10, 604bhp @ 8,000rpm, 435Ib ft @ 5,700rpm
Transmission: 6spd manual, AWD
Performance: 0-62mph in 3.7secs, 206mph
Weight: 1,380kg