• Monday, Oct. 26, 2020
Zellan, Howard to depart Cooke Optics; Pugh named CEO, van Oostrum non-executive chairman
Les Zellan

Cooke Optics chairman Les Zellan will be stepping down from the company, and its CEO, Robert Howard, will be retiring, both moves effective on October 31, 2020.  Tim Pugh will take over as CEO, while Kees van Oostrum, currently a Cooke Optics board member, becomes non-executive chairman.

Cooke, which is among the oldest lens brands to have continuously served the motion picture industry since the 1890s, was neglected in the latter part of the 20th century as part of Taylor-Hobson in Leicester until Zellan, then Cooke’s North American distributor, took it over in 1998. The following year, a new 20,000 sq. ft. facility was built in Leicester incorporating state-of-the-art machinery that would work alongside traditional 100-year-old equipment to resuscitate the Cooke brand that began with the novel Cooke S4 prime lens design.

Howard joined Cooke in 2008. Under Zellan and Howard’s stewardship, Cooke was brought back to a position of technical leadership and industry recognition. The flagship Cooke S4 prime lenses, launched in 1998, won a Cinec Award that same year while the mechanical designers and optical designer of the S4 lenses earned a Technical Academy Award® in 1999. The company has added a further nine new lens ranges during the past 20 years--all featuring the distinctive Cooke Look®--as well as pioneering the /i Technology metadata open standard that has been adopted by over 40 leading industry manufacturers including Sony, RED and Panavision.

Cooke Optics Limited earned an Academy Award® of Merit--an Oscar® statuette--in 2013 in recognition of [Cooke Optics’] “continuing innovation in the design, development and manufacture of advanced camera lenses that have helped define the look of motion pictures over the last century.”

“It has been my honor to lead Cooke from relative obscurity back to its rightful place in the industry,” said Zellan. “They say ‘it takes a village,’ and I would like to thank our dedicated staff and countless industry friends and colleagues around the world who have helped to shape Cooke’s product line, giving cinematographers and directors the choices that help them tell their stories in the best possible way.”

“Both Les and Robert have achieved what some would consider miraculous during their 20 years with Cooke,” said Pugh, the incoming CEO. “They are highly respected throughout the industry and will be a tough act to follow. Cooke has an unrivalled reputation for excellence and for responding to the needs of its customers. Kees and I are excited to take the reins of this beloved company as we move into the next stage of Cooke’s evolution with the on-going support of Caledonia Private Capital.”

Pugh has a background in leadership roles across premium manufacturing and distribution businesses, providing technical products to specialist markets via strong international partner networks. Most recently he was CEO of James Briggs Ltd, a leading manufacturer of technical products for industrial and automotive markets, where he grew the business substantially through a focus on long-term customer relationships, market-leading quality and manufacturing excellence.

And van Oostrum is an award-winning cinematographer with a diverse body of work in film and television. He served as president of the American Society of Cinematographers (ASC) from 2016-2020 during which time the organisation broadened its activities significantly in education and international collaboration.

  • Thursday, Oct. 22, 2020
Simian launches Version 5 to advance media sharing and collaboration
A look at Simian's Trim Feature, part of its Reel Creator, which allows users to just snip segments of videos or spots without having to re-edit them.

Simian, the video sharing and collaboration service used by advertisers, agencies, media companies, production houses, post studios and music providers, has unveiled Simian 5.

This new version of Simian’s software service features over 100 updates and new features designed to help users work faster and more efficiently. 

Simian 5 includes major upgrades to its core tools that users rely on when building showreels to win new assignments and when sharing work with clients and other team members for review, comment and approval. The Simian 5 user interface has been given a fresh new look as well, and features customizable themes, night mode and global notifications.

Of particular importance are the changes made to Simian’s Projects tool, where clients are able to upload versions of spots or videos for review and approval. “Overall, the workflow in Projects has been enhanced, with lots of small updates that add up to more than the sum of their parts,” said Simian COO and co-founder Brian Atton.

The process of collaborating with clients has been simplified, with expanded review and approval functions and file status updates. Files can be easily merged or locked, and moving them between Projects and the Media Library has been streamlined.

Project’s annotation tools have been enhanced, and Simian has introduced Time-Ranged commenting for more precise feedback. In addition, files can now be watermarked with custom graphics, allowing users to protect their content and brand them with their logo at the same time.

Simian has also created a new “Client Upload” feature for Projects that allows users to send out secure links permitting outside sources--everyone from clients to freelancers to additional team members--to upload to a Projects folder, quickly and easily via a browser interface. Changes have been made to its video player, too: a new feature called Aspect Ratio Mask that allows uses to quick and easily view their videos in a variety of screen formats, including vertical. And users can now switch back and forth between time code or frame counts to mark their progress.

Reel Creator upgrades
For sales reps, company owners, EPs and managing directors--basically anyone interested in making sure their company wins more jobs--the updates to Simian 5’s Reel Library and Reel Creator are valuable. For example, in the Reel Library, where users’ sent showreels are stored, a number of improvements have been implemented to help them sharpen their ability to get the right work in front of prospects as quickly as possible.

“We’ve heard from people that instead of just looking at a list of sent reels, it would be useful to know what’s actually on those reels, so they can be quickly updated and resent,” said Kellie Atton, Simian’s head of sales.

“We’ve expanded on this capability, so a user can quickly browse the contents of multiple reels simultaneously, she added. “Showreels often have similar titles and similar contents, so being able to compare them before loading into the Reel Creator is a huge time saver. We actually took this a step further, so reps can identify the reel they want and easily resend or grab a short link right from the Reel Library itself. When you get asked to send a revised or new showreel asap, this is exactly what you need.”

Also, an incredibly handy new tool called the Trim Feature has been added to the Reel Creator that allows users to just show selected segments or portions of a video or spot with no editing required.

Another upgrade was added to the Simian Dashboard that alerts users to their Most Active Reels, so they’ll know which sent reels have been getting the most activity. There’s also a new map that shows geographically where the reel activity is taking place, which lets a user know when a showreel may have been forwarded.

A year in development
Simian 5 has been in the works for just over a year, according to Jay Brooks, Simian’s chief technology officer. “We initially were aiming for a minor refresh that was going to launch early this year but as 2020 began to shape up the way it has--with so many things derailed due to the pandemic--we took the opportunity for a much deeper dive and went for something that was truly epic.”

With Simian 5 aloft, the company is moving forward on an updated version of its popular Simian Project mobile app for iOS, which lets users manage their projects via their mobile device. 

  • Tuesday, Oct. 20, 2020
Intel to sell NAND business to SKorean rival for $9 billion
An employee leaves an office of SK Hynix Inc. in Seongnam, South Korea, Tuesday, Oct. 20, 2020. Intel has agreed to a $9 billion deal to sell most of its memory business to South Korea's SK Hynix as it moves toward more diverse technologies while shedding a major Chinese factory at a time of deepening trade friction between Washington and Beijing. (AP Photo/Ahn Young-joon)
SEOUL, South Korea (AP) -- 

Intel has agreed to a $9 billion deal to sell most of its memory business to South Korea's SK Hynix as it moves toward more diverse technologies while shedding a major Chinese factory at a time of deepening trade friction between Washington and Beijing. 

Intel said it will keep its "Optane" business of more advanced memory products, which analysts say are mostly produced in the United States.

According to the plan confirmed by the companies on Tuesday, SK Hynix will acquire Intel's NAND memory chip and storage business, including a related manufacturing site in the northeastern Chinese city of Dalian. SK Hynix said the companies expect to get required governmental approvals for the deal by late 2021.

The transaction, if completed, could reportedly make SK Hynix the world's second-largest provider of NAND flash memory chips behind Samsung Electronics, another South Korean chip giant. 

Demand for flash memory has strengthened in recent months due to buying of personal computers and servers as the coronavirus pandemic forces millions to work from home. 

Intel said it plans to invest proceeds from the transaction into advancing long-growth priorities, including technologies related to artificial intelligence and fifth-generation wireless networks.

"This transaction will allow us to further prioritize our investments in differentiated technology where we can play a bigger role in the success of our customers and deliver attractive returns to our stockholders," Bob Swan, Intel's CEO, said in a statement.

  • Thursday, Oct. 15, 2020
Sony Imaging Products & Solutions acquires Nevion

Sony Imaging Products & Solutions Inc. is acquiring Nevion AS, a provider of virtualized media production solutions, providing end-to-end IP and cloud-based production solutions for broadcasting and other applications. Sony, which has been a minority shareholder in Nevion since July 2019, is purchasing the remaining shares in the company, and making it a subsidiary. 

In recent years, there’s been an increasing demand in broadcasting and other areas for remote production solutions and remote integration, as they allow resources such as equipment, facilities and even staff to be shared across locations in real-time, resulting in greater efficiency and effectiveness. COVID-19 has accelerated this trend, and the need of combining on-premise facility and cloud processing, enabling remote work and resource sharing, has become the basis of business continuity planning for the broadcast and production community. Since June 2019, Sony has had a strategic partnership with Nevion, collaborating to address those markets. This investment will enable Sony to build a much closer relationship with Nevion and lead to the delivery of more integrated solutions.

  • Thursday, Oct. 15, 2020
"I Know This Much is True" limited series from HBO "Cookes" up a period look
A scene from "I Know This Much is True" (photo by Atsushi Nishijima/courtesy of HBO)

Set from 1913 to the early 1990s, HBO’s six-episode limited series I Know This Much is True required director Derek Cianfrance and cinematographer Jody Lee Lipes to make a choice: What would the show look like? They agreed that a cohesive, period look for the project would be the way to go as opposed to a contemporary feel--and decided that the marriage of Cooke Optics S4/i T2 prime lenses and Kodak Vision3 500T 5219 35mm film would be an ideal combination.

Mark Ruffalo, whose work on the show won him the Primetime Emmy® for Outstanding Lead Actor in a Limited Series or Movie, plays the roles of twins: middle-aged Dominick Birdsey who recounts his troubled relationship with Thomas, his paranoid schizophrenic twin brother.

“Deciding on a period look led us to 2-perf film framed for a 2:1 aspect ratio, using a small piece of the negative to give us film texture with present grain,” said Lipes. “I purposely underexposed the 1.7 million feet of film to accentuate the grain and muddiness.” That just happens to be the perfect environment for Kodak’s 5219, as it delivers high image-quality in low-light scenes, with higher signal-to-noise ratios. Teamed with the Cooke S4/i primes and Kodak 5219 were a number of ARRI Arricam LT cameras, optimized for smaller, lightweight usage in handheld mode. The kit was rented from ARRI Rental.

“The Cooke S4/i lenses give me the perfect place to land,” explained Lipes. “They don’t draw attention to themselves. They’re not distractingly soft and not super sharp, but add so much aesthetic into the filmmaking technique. I didn’t need, or want to use a lens series that added an unrealistic quality to the images – and with Derek having used the S4/i lenses in the past, he knew exactly what we would get.  Having a director already know that is a really big plus.”

Using four full sets of Cooke S4/i prime lenses (each set consisting of 15 primes: 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 25mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm, 150mm, and 180mm) is not what one would typically expect to be used on a limited series, but circumstances warranted it. “We started with two full sets of the Cooke S4/i prime lenses and four Arricam LT bodies--two 2-perf and two 3-perf (for some visual effects work)--that were all lost in a fire. It was a $4 million loss, on camera equipment alone” said Lipes. “ARRI Rental was great; we got everything replaced and we were back up and running. The transition from the first two sets of Cooke S4/i prime lenses to the second set was totally seamless. They matched perfectly.”

While zoom lenses played an important role, Lipes’ prime lenses of choice were the Cooke S4/i 35mm, 40mm and 50mm on the wider side, with the 65mm, 75mm, 100mm and 135mm lenses for long shots.

  • Tuesday, Oct. 13, 2020
RED's KOMODO 6K camera system enters the market
IRVINE, Calif. -- 

RED DIGITAL CINEMA®’s new KOMODO™ 6K camera system is now available to order. The KOMODO 6K comes to market after extensive engineering to incorporate production-tested innovations, including a breakthrough global shutter sensor (27.03mm x 14.26mm) that maintains RED’s standard of image quality and dynamic range. The camera is packaged in a small 4-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs). Joining RED’s product lineup in its own category, KOMODO includes features designed for professional filmmakers and content creators who want high-end visuals in an easy-to-use, compact, and versatile camera.

Jarred Land, president of RED Digital Cinema, said, “This tiny chameleon of a camera packs in amazing resolution, dynamic range and image quality with a global shutter that has allowed filmmakers to capture footage in ways never thought possible.”

KOMODO captures 6K at 40 fps, 6K WS at 50 fps, and 4K at 60 fps. Highlights of the camera include an RF mount for users to leverage adaptors for EF, PL and other lens systems, including anamorphic lenses, for maximum creative flexibility; a phase-detect based autofocus control on the integrated, color LED touchscreen display that simplifies monitoring and menu navigation; and new streamlined REDCODE® RAW settings (HQ, MQ, and LQ compression options) enhancing the user experience for various shooting needs. Additional features include compatibility with CFAST 2.0 recording media, 4K SDI output, built-in wireless capabilities, and connectivity via the all new RED Control app, which is available now for iOS devices and coming soon on Android.

KOMODO comes to market after extensive testing by many leading creatives, among them, renowned filmmaker Michael Bay, avid storyteller and artist Jason Momoa, and Emmy®-nominated cinematographer Erik Messerschmidt, ASC.

“The sensor is beautiful,” said Bay. “I always wanted something this small, this sophisticated in terms of a high-quality image. It’s very lightweight; very handheld.”

Messerschmidt noted, “There is no other camera on the market with a global shutter that is this size and this versatile. And yet there are no quality compromises.”

Momoa put the KOMODO camera to the test in the frozen tundra of New Jersey while shooting footage for Harley-Davidson. On the size and quality of the camera, he remarked, “It’s like cinema in the palm of your hands.”

Additionally, a dedicated community of partners worked with RED to bring KOMODO and KOMODO accessories to market, including Angelbird, CoreSWX, Fool Control, Gates Housing, KipperTie, SmallHD, and Wooden Camera. Adobe, DaVinci Resolve, Final Cut, Assimilate, Autodesk, Avid, and Colorfront all offer postproduction support for KOMODO via RED’s latest SDK.

Priced at $5,995, the KOMODO is ideal for a wide range of filming situations. Studio productions can use KOMODO as a B, C, or D camera. Its small size also makes it a natural fit for gimbals, drones, cranes, remote heads, and more. For content creators at all levels, KOMODO’s user-friendly system combined with RED’s unrelenting commitment to image quality provides the ability to ramp up production value, or easily venture into the RED ecosystem for the first time.

The KOMODO 6K includes:

  • KOMODO 6K camera brain
  • AC power adaptor 45W
  • 1x RF to EF mechanical lens adapter
  • Mini world travel adaptor kit

RED is also launching two pre-bundled pack options:

  • KOMODO Starter Pack ($7,200) This pre-bundled setup is for content creators and run and gun operators. Including KOMODO 6K with the Wing Grip and RF to EF adapter with ND filter. Also included is media and media reader, as well as a PTap-to-power cable and timecode cable.
  • KOMODO Production Pack ($8,200) This includes everything from the Starter Pack plus additional production-level accessories including the Expander Module and Outrigger Handle.

Several accessories are also available from RED to customize the KOMODO, including the Outrigger Handle, an Expander Module, a Wing Grip, Link Adaptor, RED® CFast 2.0 Card Reader, and RED® PRO CFast 512GB.

  • Thursday, Oct. 8, 2020
Engineering Emmy Recipients Include 4 Companies For Addressing Issues Related To COVID-19
Kirsten Vangsness will return to host the Engineering Emmy Awards for the fifth straight year.

The Television Academy has announced the recipients of the 72nd Engineering Emmy® Awards honoring an individual, company or organization for developments in broadcast technology. Kirsten Vangsness, who most recently starred on the critically acclaimed CBS drama Criminal Minds, returns to host the awards for the fifth consecutive year. For the first time, the ceremony will stream live on Emmys.com on Thursday, Oct. 29, at 5 p.m. PDT.

Engineering Emmys are presented to an individual, company or organization for developments in engineering that are either so extensive an improvement on existing methods or so innovative in nature that they materially affect the production, recording, transmission or reception of television. This year the Academy is recognizing nine companies and five individuals with the prestigious award.

As the television industry has struggled to meet the challenges of a global pandemic, the Academy’s Engineering Emmy Awards Committee has selected four companies for recognition in addressing issues related to COVID-19. These organizations have developed and deployed engineering technology that has allowed remote production to continue during this unconventional year.

Recipients of this recognition are:

Evercast is a real-time collaboration platform that combines video conferencing, HD livestreaming and full-spectrum audio in a single web-based platform. Requiring no file sharing and no specialized hardware, Evercast allows users to securely stream any creative workflow (live cameras on set, Avid, Premiere, Maya, Pro Tools, etc.) to anyone, no matter where they are located. With ultra-low latency and uncompromising quality, Evercast offers a digital experience that mirrors the ease and productivity of a team sitting shoulder to shoulder.

HP Inc.
Advancing the art of television during the global pandemic with access to high-performance computing from anywhere, ZCentral Remote Boost continues to accelerate remote creative processes for production teams around the world. Z by HP technology is powering remote work for editors, artists and other creative professionals with the capabilities required for collaboration, creativity and production. ZCentral Remote Boost provides users access to high-performance computing for a range of applications and use cases including VFX, simulation and 3D, providing flexibility for end users to create on almost any end-point device remotely. 
ClearView Flex enables a user-friendly, real-time remote collaboration capability that creatives can initiate and manage for a wide range of uses in preproduction, production, VFX and postproduction. Of special value to those working from home, it can be deployed on any network and viewed with reliably consistent user success in a rock-solid, studio-approved secure ecosystem on the most popular consumer devices including AppleTV, iPads/iPhones, Android tablets/phones and Mac/PC.

Teradici has specialized in providing remote access to workstations for over 15 years and has been widely recognized for delivering an uncompromising user experience for graphics-intensive workloads. Teradici Cloud Access Software enables artists and producers to work from home or anywhere they need to be by establishing a secure remote access connection to Windows or Linux desktops hosted in the studio, a private data center or a public cloud. Users can access their remote workstations through the Teradici PCoIP protocol from a wide choice of client devices and can use their display, keyboard, mouse and peripherals like Wacom devices as if they were on a local machine, with the resolution and color fidelity they need to maintain the highest-quality standards.

Another magnificent seven
Seven additional Engineering Emmy awards were given to the following recipients for exceptional engineering developments:

Apple Inc.
Introduced in 2007, Apple ProRes has become a ubiquitous video codec in the film and television industry. It offers excellent preservation of source video quality and, thanks to innovative algorithm design, fast encoding and ultra-fast decoding. These two properties—combined with Apple’s industry licensing and certification support—make ProRes among the most widely used codecs for end-to-end content-creation workflows: from high-quality acquisition to high-performance editing, color correction, broadcast ingest and playout, and FX creation to master content distribution and archiving.

CODEX RAW Workflow provides the fastest high-speed data-migration process for RAW camera content available on the market. It provides a completely proven and deployed end-to-end secure-transport workflow from production to post, while reducing storage costs and saving time with high-density encoding.

Dan Dugan for Gain Sharing Automatic Microphone Mixing
Gain sharing is a unique audio process that helps an audio mixer mix multiple live talkers with ease. There are no upcuts, no missed words and no fluctuations of background noise. The technology allows mixers to easily manage multiple live mics without constantly riding individual input faders—ideal for unscripted events such as talk shows, game shows, news and sports panels, town hall meetings, and debates. Gain sharing automates the robotic part of mixing multiple live talkers, recognizing who’s talking and crossfading them faster than a human can react.

Epic Games
Unreal Engine is one of the most advanced real-time 3D engines that features photorealistic rendering, dynamic effects and multi-user capabilities. Broadcasters choose Unreal Engine to deliver cutting-edge content, virtual sets and AR-enriched programming with much higher fidelity than traditional broadcast graphics engines. Unreal Engine frees creativity and eliminates the overlapping hurdles of time, budget and bandwidth, giving television professionals the flexibility and efficiency to integrate high-end graphics, VFX, motion capture and CG animation into their visual storytelling.

RE:Vision Effects
RE:Vision Effects introduced the industry to optical flow-based postproduction video tools via the products Twixtor®, ReelSmart Motion Blur®, RE:Flex® and others. In addition, RE:Vision Effects supplies these technologies as plug-ins to a wide range of host applications and interfaces that are already familiar to the user.

Sound Radix
Sound Radix Auto-Align Post makes phase/time corrections of a moving multi-microphone recording. By dynamically correcting delay and phase between the boom and lavalier microphones as they move around the set, this tool automates what was previously a labor-intensive task for sound editors across the industry.

Bill Spitzak, Jonathan Egstad, Peter Crossley and Jerry Huxtable for Nuke®
Nuke® is an award-winning node-based compositing toolkit. A one-stop for VFX houses globally, Nuke’s toolset has been used on a wide range of television, feature films, video on demand and commercials to solve complex visualization challenges and turn incredible ideas into reality. Nuke’s flexible, efficient and feature-packed toolset delivers film-grade results fast to compositors, lighters and animators who require a robust, production-proven toolset for compositing, VFX editorial and review.

The 72nd Engineering Emmy Awards are overseen by chair John Leverence and committee members Wendy Aylsworth, Stuart Bass, Bob Bronow, Jeff Calderon, Tony Carey, Jim DeFilippis, Greg Gewickey, Frank Morrone, Jeffrey Riedmiller, Leon Silverman, Derek Spears, David Stump, Craig Weiss and Barry Zegel.

  • Thursday, Oct. 8, 2020
IBM to spin off $19B business to focus on cloud computing
In this March 18, 2019, file photo, the logo for IBM appears above a trading post on the floor of the New York Stock Exchange. IBM says it is breaking off a $19 billion chunk of its business to focus on cloud computing. The 109-year-old tech company said Thursday, Oct. 8, 2020, it is spinning off its managed infrastructure services unit into a new public company, temporarily named NewCo. (AP Photo/Richard Drew, File)

IBM says it is breaking off a $19 billion chunk of its business to focus on cloud computing.

The 109-year-old tech company said Thursday it is spinning off its managed infrastructure services unit into a new public company, temporarily named NewCo. The separation is expected to take effect by late 2021.

IBM CEO Arvind Krishna said the split will help IBM focus on its cloud platform and artificial intelligence, while the newly formed company will provide services to manage the infrastructure of businesses and other organizations. 

IBM's annual revenue was $77.1 billion last year. Krishna said in April at his first quarterly earnings call as CEO that the company will continue to eliminate software and services that don't align with IBM's top two focus areas for growth: cloud computing and artificial intelligence.

Once a household name for its personal computers, IBM shed its PC business in 2005 and has since become focused on supplying software services to big businesses, governments and other organizations. It has worked to strengthen its cloud computing business but has struggled to compete with top cloud rivals Amazon, Microsoft and Google.


  • Wednesday, Oct. 7, 2020
Google, Oracle meet in copyright clash at Supreme Court
In this Oct. 5, 2020, photo the Supreme Court in Washington. Tech giants Google and Oracle are clashing at the Supreme Court in a copyright dispute worth billions and important to the future of software development. (AP Photo/J. Scott Applewhite)

Tech giants Google and Oracle are clashing at the Supreme Court in a copyright dispute that's worth billions and important to the future of software development.

The case before the justices Wednesday has to do with Google's creation of the Android operating system now used on the vast majority of smartphones worldwide. Google says that to create Android, which was released in 2007, it wrote millions of lines of new computer code. But it also used 11,330 lines of code and an organization that's part of Oracle's Java platform. 

Google has defended its actions, saying what it did is long-settled, common practice in the industry, a practice that has been good for technical progress. But Oracle says Google "committed an egregious act of plagiarism" and sued, seeking more than $8 billion.

The case has been going on for a decade. Google won the first round when a trial court rejected Oracle's copyright claim, but that ruling was overturned on appeal. A jury then sided with Google, calling its copying "fair use," but an appeals court disagreed.

Because of the death of Justice Ruth Bader Ginsburg, only eight justices are hearing the case, and they're doing so by phone because of the coronavirus pandemic. The questions for the court are whether the 1976 Copyright Act protects what Google copied, and, even if it does, whether what Google did is still permitted. 

Oracle, for its part, says the case is simple. 

"This case is about theft," Oracle's chief Washington lobbyist, Ken Glueck, said in a telephone interview ahead of argument. He compared what Google did to plagiarizing from someone else's speech. When you plagiarize one line from a speech, he said: "That's a plagiarized speech. Nobody says, 'Oh, well, it was just one line.'"

But Google's Kent Walker, the company's chief legal officer, said in an interview that Google wrote "every line of code we possibly could ourselves."

"No one's ever claimed copyright over software interfaces, but that's what Oracle is claiming now," Walker said.

Microsoft, IBM and major internet and tech industry lobbying groups have weighed in — in favor of Google.

The Trump administration, the Motion Picture Association and the Recording Industry Association of America are among those supporting Oracle.

The case is Google LLC v. Oracle America Inc., 18-956.

  • Monday, Oct. 5, 2020
Nvidia says it will build UK's most powerful supercomputer
In this Tuesday, May 30, 2017 file photo, Nvidia CEO Jensen Huang delivers a speech about AI and gaming during the Computex Taipei exhibition at the world trade center in Taipei, Taiwan. Graphics chip maker Nvidia said Monday, Oct. 5, 2020 it plans to build Britain's fastest supercomputer that healthcare researchers can use to work on medical problems including COVID-19. Santa Clara, California-based Nvidia said it will spend 40 million pounds ($52 million) on the supercomputer, dubbed Cambridge-1, which will consist of 80 Nvidia systems and is expected to be online by the end of the year. (AP Photo/Chiang Ying-ying, File)

Graphics chip maker Nvidia said Monday it plans to build Britain's fastest supercomputer that healthcare researchers can use to work on medical problems including COVID-19.

Nvidia, based in Santa Clara, California, said it will spend 40 million pounds ($52 million) on the supercomputer, dubbed Cambridge-1, which will consist of 80 Nvidia systems and is expected to be online by the end of the year.

Nvidia CEO Jensen Huang said Cambridge-1 will be available to healthcare researchers using artificial intelligence to working on urgent medical challenges. 

"Tackling the world's most pressing challenges in healthcare requires massively powerful computing resources to harness the capabilities of AI," Huang said. 

Cambridge-1 would be ranked the world's 29th most powerful supercomputer and the most powerful in the U.K., the company said.

Pharmaceutical companies GlaxoSmithKline and AstraZeneca are among the groups that have already signed up to use the supercomputer. 

The announcement comes after the company said last month  it agreed to buy U.K.-based chip designer Arm Holdings for up to $40 billion, and would set up an artificial intelligence research center in Cambridge, England, where Arm is headquartered. 

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