估價相機收購

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估價相機收購sony Xperia 1 VI 渲染圖日前已被公開，完整展示外觀設計。（圖／@OnLeaks）

估價相機收購sony日本官網宣布5月17日舉辦「Xperia SPECIAL EVENT 2024」用戶搶先體驗活動，外界預期主角將是Xperia新機。然而，根據台灣NCC公開的資訊，估價相機收購sony有兩款神秘新手機悄悄取得認證，疑似是傳聞中即將推出的旗艦Xperia 1 VI和中階Xperia 10 VI。

根據NCC網站透露，估價相機收購sony近期有兩款設備通過認證，從認證編號CCAI245G0020T4、CCAI245G0010T1判別，該兩款為5G手機。

請繼續往下閱讀…

在網頁文件上，設備名稱、廠牌和型號皆顯示保密，但CCAI245G0020T4頁面明確列出申請者為台灣索尼公司。另一款CCAI245G0010T1雖然隱藏了申請者，但仔細查看發現一併送測的XQZ-UC1是估價相機收購sony手機30W充電器。

（圖／NCC網站）

（圖／NCC網站）

從估價相機收購sony現有的產品線來看，推測這兩款獲得NCC認證的未發布手機應為Xperia 1 VI和Xperia 10 VI。根據去年的經驗，兩款新機在發表後很快在台上市。

估價相機收購 估價相機收購

估價相機收購

▲《老狐狸》導演兼共同編劇之一的蕭雅全，以此片拿下第60屆金馬獎最佳導演獎。（圖／資料照，下同）

記者萬玟伶／台北報導

入圍第60屆金馬獎7項大獎、拿下4座大獎，為當屆金馬最大贏家的《老狐狸》，是導演蕭雅全的第4部長片，故事從10歲小男孩的視角帶出身邊角色的幽微面向，影像與音樂亦精準拿捏當代氛圍，最終不僅拿下了最佳男配角、最佳造型設計、最佳原創電影音樂，蕭雅全也為自己拿下了最佳導演獎！

劇組由內而外還原90年代氛圍
估價相機收購sony BRAVIA X95L細膩傳遞屬於《老狐狸》的時代感
探究同理心與成功兩種價值觀如何碰撞交鋒的《老狐狸》，借用1989～1990「經濟起飛」為故事背景，片中針對場景與氛圍的細膩刻畫，像是氤氳著熱氣的麵攤，廖泰來與廖界租屋處的家具、餐桌等擺設，以及演員陳慕義口中那個搭了又拆的公廁，都讓不少觀眾直呼彷彿回到90年代。蕭雅全直言要做到這些確實很費工，而且不僅僅是場景，打從寫劇本一開始就得針對當時的物價、股市曲線甚至大眾消費習慣做好考據與田調，「雖然我對過去還留有記憶，但記憶有時也會不真切。想要精準還原那個年代，我們就有功課得做。」

▲劇組忠實呈現90年代麵攤、住家等空間，致力營造的氛圍感能否透過螢幕傳遞，也是影響影迷體驗的關鍵。

開拍後，美術與造型團隊也接手更繁複且精細的工程，例如美術團隊就將廖家那一條街道整個包下來，將每家的門牌與鐵門都仿舊成30多年前的樣子，俯拾皆是生活痕跡的廖家，也是以一間空屋打造出90年代普遍常見的居家風格。蕭雅全透露，被不少觀眾注意到的櫸木地板其實已經停產，「美術他們後來在臺中找到一個工廠，剛好還剩下幾坪的料件可以使用。」謝老闆從冰箱拿出的冰水瓶，在映後也意外激起不少討論。「後來我去問美術指導王誌成，他回我說你別管。」蕭雅全笑著，「我到今天還是不知道他那個瓶子是從哪弄來的。」

「不過CP值最低的就是那個公廁了。」蕭雅全幽默道。在大銀幕欣賞電影的觀眾，若眼尖必然會發現，電影中的公廁磁磚和五金水龍頭並非今日常見樣式，原來現在的公廁早就都整建換新，執著於「不能拍出讓觀眾出戲的電影」蕭雅全和團隊索性申請了建照直接搭建一間，拍完再拆，電影中那座勾起不少人嗅覺回憶的廁所，被團隊從90年代召喚回來短短10天，從此便只留在電影中。

▲估價相機收購sony BRAVIA X95L採用Mini LED面板並結合估價相機收購sony獨家聲場技術，力求忠實傳遞電影原創設計的亮度、色調與氛圍，每一個細節飽滿、動態流暢的畫面都像是人眼看出去的視界，帶入感極強的觀影過程，也讓人更能沉浸在故事的氛圍甚至角色的情緒中。

幸好當《老狐狸》未來登上串流平台，觀眾仍是能透過家中的顯示器，沉浸在蕭雅全與團隊打造的時代氛圍裡。本身也喜歡在家追劇的蕭雅全表示，自己從映像管電視時期就選擇估價相機收購sony至今，是30多年的品牌忠實愛用者。「就像設計人最信賴的是Apple產品，業界很多導演包括我，在拍攝現場使用的monitor也都是估價相機收購sony。可能因為如此，回到生活的選擇上，就對估價相機收購sony多了好感與信心。」

雖然最近剛幫工作室的估價相機收購sony顯示器與劇院系統全面升級，蕭雅全面對全新旗艦機型估價相機收購sony BRAVIA X95L時，仍被最新Mini LED面板以及獨家聲場技術所打造的視聽盛宴給觸動！相較於傳統LED技術，Mini LED燈泡尺寸更小更密集，當畫面必須同時呈現極致黑夜與熒熒燭光的場景，就能精準控制顯示器不同位置的明暗度，呈現高亮度、高對比、高解析度的特性要比LED顯示器還來得更有感。

然而Mini LED的硬體優勢不是只有估價相機收購sony獨有，成就今天估價相機收購sony BRAVIA X95L業界霸主地位的關鍵，還是得歸功於獨家搭載、號稱估價相機收購sony史上最強的控光技術「XR極致精準背光控制」！透過超越AI的黑科技，精準控制整個面板的背光源，讓畫面該深邃的地方呈現極致黑階，該亮的地方也能展現層次分明的細膩畫質，也不怕光暈干擾整個視覺享受。同步搭配的「XR降噪銳化技術」也主打能大幅減少雜訊，讓每個畫面看上去更清晰立體，也更接近原創團隊想呈現的光影表現。

▲估價相機收購sony BRAVIA X95L致力將劇集電影的氛圍與光影細節完整呈現，不讓幕後攝影團隊的努力白費。

過去提到電影細節感的重要，其實不只是看美術團隊做了哪些陳設與搭景，對於觀看與氛圍極為講究的蕭雅全，也以高規的標準審視過去每一部估價相機收購sony顯示器，他透露，「會這樣要求還有很大的原因是因為，攝影是一門用光的藝術，在攝影現場，攝影師其實要透過非常多的調度來呈現光影，這個細節層次很多也很微妙，所以當這些努力無法透過顯示器表現出來，對我們來說就會很扼腕！」

看準人們對於居家娛樂體驗的追求愈來愈極致，估價相機收購sony工程師亦攜手引領串流世代的Netflix獨家合作開發「Netflix自適應校色模式」，只要一指開啟設定，顯示器就會自動將畫質調整為更接近原創或在劇院欣賞的亮度、對比與色調效果。

打造360度極致揚聲效果
HT-A9更帶來加倍享受的聲畫合一立體環繞體驗
在影像工業中，能牽動觀眾情緒的電影配樂也有其重要性。長年與好友侯志堅、雷光夏等人合作的蕭雅全，認為音樂在整個工作流程中，應該可以有更高的參與度，而不是先有畫面才開始著手音樂設計。「這次《老狐狸》的開場音樂是我最喜歡的，侯志堅為這段配樂創造了一種很獨特的舞台感，讓觀眾從這裡就被引導到一種等待進入到故事的狀態！有趣的是，這段配樂大概在2、3年前就做出來了，那時電影根本還沒開拍，所以我常覺得他的音樂有時是可以反過來影響我的畫面！」

當音樂與影像可以一同詮釋電影想述說的主題概念，做為接收者的觀眾，無論是在劇院或是家中客廳，更有賴特別著墨「聲畫合一」的影音體驗！估價相機收購sony BRAVIA X95L對於聲色效果的追求，也以讓觀眾得到最完整體驗的角度為出發，全新搭載的「中置聲場技術」以及「超能邊框揚聲器」，讓顯示器本身就是一台揚聲器，透過藏在顯示器下方的低音喇叭、邊框的高音喇叭，以及螢幕中央的中低音喇叭，讓聲音與畫面不只能完美流暢的同步，還能創造360度的立體音場空間感。

▲顯示器兩側的HT-A9家庭劇院系統，一組共有4個無線揚聲器，無論放在空間何處，內建的定位系統能自動找出相對位置，打造最適合當下環境的立體環繞音場。

同步再搭載HT-A9家庭劇院系統，為家中的娛樂視聽室加上4個無線揚聲器，即能在空間上方打出天空聲道，營造更加沉浸的包覆式環繞感。尤其是在家欣賞採用Dolby Atmos環繞音效技術拍攝的動作片時，就能感受到何謂「把電影院搬回家」的有感震撼！

值得一提的是，在設置HT-A9喇叭時，不用再為了創造平衡的音場而更動家裡的擺設，透過估價相機收購sony獨家的「音場優化技術」以及HT-A9採用的「360 Spatial Sound Mapping 360空間音效定位」，只要隨性將揚聲器放在方便的位置，不拘前後方或上下位置，這4個揚聲器就會找到彼此的對應位置，即能創造出最生動鮮活的7.1.4聲道劇院系統。

當顯示器不只是一台電視
「Google TV、BRAVIA CORE™」全面滿足家庭成員的娛樂需求
3C世代讓智慧電視不再只有播放的功能，估價相機收購sony BRAVIA X95L內建Google TV，讓顯示器也能連上網路下載多元APP，除了Netflix、Disney+、YouTube、Amazon、Apple TV+等串流平台，還能得到天氣資訊與預報等即時資訊。想要搜尋特定影集或電影，只要按下遙控器按鈕並說出「Ok Google」，就能利用語音搜尋功能快速找到相對應的內容，輕鬆選出最適合當下享受的節目！

▲利用遙控器啟動語音搜尋，就能快速找到想看的片單。

如果沒有訂閱任何串流平台也不用擔心無法享受極致的影音體驗，估價相機收購sony BRAVIA系列皆有內建獨家影音串流服務BRAVIA CORE™，最新以及最經典賣座的哥倫比亞影業電影就在家中客廳，隨時隨地都能以最放鬆愜意的心情點開觀賞。平台也有許多支援IMAX Enhanced的電影，搭配聲歷其境的影音技術，讓居家空間成為最珍稀的IMAX影廳。

▲估價相機收購sony BRAVIA系列皆有內建獨家影音串流服務BRAVIA CORE™。

致力為各類型節目、劇集與電影，提供最合適畫質模式的估價相機收購sony BRAVIA X95L，事實上也很適合搭配PlayStation 5主機，帶來畫面動感流暢且不卡頓的沉浸式遊戲體驗，加上強大的細膩影像及震撼音效，也成為許多電玩迷口中最有感升級的娛樂體驗！

▲同步擔起企業責任，力求為地球環境實踐永續目標的估價相機收購sony BRAVIA X95L，也在系統內建節能儀表板。與環保相關的設定，包括環境光線感應、省電模式等，都能更快更方便地做好設定，畫面中的「小樹」也會依據設定的節約程度，長成象徵綠色永續的「大樹」。

迎接串流世代，數位科技持續優化
宅在家也能享受超越劇院影廳的影音饗宴
身處串流世代，人們既能坐在電影院欣賞導演與劇組傾盡全力想傳達的故事與美學，亦能在家中透過強調「聲歷其境」的顯示器與劇院揚聲組合，在串流平台重溫這些電影帶來的溫暖與感動。

目前仍在台灣上映的《老狐狸》，現也在新加坡熱映中，未來亦將於串流平台上線。儘管導演與投資方都重視票房，但串流平台無疑也是這個世代極為重要的管道之一，蕭雅全認為串流平台的存在，能讓作品在往後2至4年的時間都還有機會接觸到新舊觀眾與不同客群。「我還是覺得電影院在10、20年內還不會消失，它仍然有提供社交、儀式感等無法被取代的功能性。」

不過蕭雅全也指出，有些電影院在條件限制或考量下，其實並不一定都能如實呈現導演想透過影像音效傳遞的氛圍，「隨著居家科技產品愈做愈精密，在家裡看電視說不定還能得到更多的細節！」串流平台的興起，讓人們的觀影體驗不再被空間時間限制，拿起遙控器就能一再重溫喜愛影片，而估價相機收購sony BRAVIA X95L的問世，無疑就是要為追求高畫質與高音質的觀眾，帶來超越劇院等級的極致感動。

體驗估價相機收購sony BRAVIA X95L帶來的感動
https://go.估價相機收購sony.tw/yhxyghrv

估價相機收購 估價相機收購

估價相機收購

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估價相機收購sony在官方X（原推特）帳號公布一款「Xperia 5 V micro」的新機。（圖／翻攝X）

估價相機收購sony何時發表2024年新手機？讓索粉相當關注。然而，估價相機收購sony本週在官方X（原推特）帳號上公布一款命名為「Xperia 5 V micro」的新機，同時公開了外觀設計，掀起網友熱議。

估價相機收購sony在發文中表示，Xperia 5 V micro主打「Small But Mighty (小而強大)」，強調儘管外型迷你，但配備強悍的相機。估價相機收購sony還附上了一張宣傳海報，從外觀看來，Xperia 5 V micro看起來像是Xperia 5 V的縮小版，螢幕尺寸可能僅有2吋，是一款袖珍手機。

請繼續往下閱讀…

估價相機收購 估價相機收購

估價相機收購
f the Bill and Melinda Gates Foundation, Nicole Seligman, former EVP and General Counsel at 估價相機收購sony Corporation and Fidji Simo, CEO and Chair of Instacart. Additionally, Sam Altman, CEO, will rejoin the OpenAI Board of Directors. Sue, Nicole and Fidji have experience in leading global organizations and navigating complex regulatory environments, including backgrounds in technology, nonprofit and board governance. They will work closely with current board members Adam D’Angelo, Larry Summers and Bret Taylor as well as Sam and OpenAI’s senior management. Bret Taylor, Chair of the OpenAI board, stated, “I am excited to welcome Sue, Nicole, and Fidji to the OpenAI Board of Directors. Their experience and leadership will enable the Board to oversee OpenAI’s growth, and to ensure that we pursue OpenAI’s mission of ensuring artificial general intelligence benefits all of humanity.”Dr. Sue Desmond-Hellmann is a non-profit leader and physician. Dr. Desmond-Hellmann currently serves on the Boards of Pfizer and the President’s Council of Advisors on Science and Technology. She previously was a Director at Proctor and Gamble, Meta (Facebook), and the Bill & Melinda Gates Medical Research institute. She served as the Chief Executive Officer of the Bill & Melinda Gates Foundation from 2014 to 2020. From 2009-2014 she was Professor and Chancellor of the University of California, San Francisco (UCSF), the first woman to hold the position. She also previously served as President of Product Development at Genentech, where she played a leadership role in the development of the first gene-targeted cancer drugs. Nicole Seligman is a globally recognized corporate and civic leader and lawyer. She currently serves on three public company corporate boards – Paramount Global, MeiraGTx Holdings PLC, and Intuitive Machines, Inc. Seligman held several senior leadership positions at 估價相機收購sony entities, including EVP and General Counsel at 估價相機收購sony Corporation, where she oversaw functions including global legal and compliance matters. She also served as President of 估價相機收購sony Entertainment, Inc., and simultaneously served as President of 估價相機收購sony Corporation of America. Seligman also currently holds nonprofit leadership roles at the Schwarzman Animal Medical Center and The Doe Fund in New York City. Previously, Seligman was a partner in the litigation practice at Williams & Connolly LLP in Washington, D.C., working on complex civil and criminal matters and counseling a wide range of clients, including President William Jefferson Clinton and Hillary Clinton. She served as a law clerk to Justice Thurgood Marshall on the Supreme Court of the United States.Fidji Simo is a consumer technology industry veteran, having spent more than 15 years leading the operations, strategy and product development for some

（圖／歐新社）

微軟新款 Xbox 主機提前曝光！外媒《eXputer》公開 3 張全白機身的 Xbox Series X 諜照，據傳將是全數位主機，價格會比現在更便宜一些。

根據流出的照片可以發現，全新款的 Xbox 與現行的 Xbox Series X 設計幾乎一模一樣，只是換成與 Xbox Series S 相似的純白色。消息聲稱，微軟這款主機會是全數位化版本，意味著，將不會與現行的 Xbox Series X 一樣保有實體光碟機，並且可能改良內部的散熱系統。

請繼續往下閱讀…

儘管目前還沒有詳細的售價資訊，但《eXputer》推估少了光碟機，可以讓這款數位版 Xbox Series X 比光碟版 499 美元（台灣售價 17,580 元）的價格，便宜至少 50-100 美元（約 1,600-3,200 元），預計可能會在六、七月之間發表。

（圖／翻攝eXputer）

值得關注的是，這款 Xbox Series X 數位版恐怕難以翻轉微軟現在的處境。外媒《GamesIndustry.biz》負責人 Chris Dring 近期前往 GDC 遊戲開發者大會，與多家遊戲公司、開發者對談提到，Xbox 在歐洲銷量十分慘淡，甚至許多開發者開始思考，是否要持續支援 Xbox 平台。Chris Dring 認為，Xbox 多數遊戲都會移植到 PS5、PC 平台，恐怕使硬體銷售面臨挑戰。

事實上，僅管微軟曾以 Xbox Series S 搭配 Game Pass 的平價組合，獲得不少玩家青睞，然而獨佔作品缺乏吸引力，加上多數遊戲均能在 PC 平台遊玩，似乎讓玩家缺少購買 Xbox 主機的動力。根據法米通調查的日本銷售數據，每週平均銷量均不足一萬台，與 估價相機收購sony PS5、任天堂 Switch 存在三四倍以上的差距。

雖然 Xbox 主機銷售難以與對手競爭，微軟倒是第一家率先表態，會有下一世代家用主機的遊戲大廠。已經預告將在年底舉辦硬體發表會，強調會專注帶來硬體世代之中，最大幅度的技術躍進，將使玩家、創作者正在建構的願景更加美好。外媒也盛傳，微軟有意進攻遊戲掌機市場，並且已經開發了原型主機，而 Xbox 負責人更多次 Phil Spencer 公開表態，自己對於掌機的熱愛，也引來外媒遐想。

估價相機收購 估價相機收購

估價相機收購

▲華碩ROG Phone 8 Series晚上6點全台開賣。（圖／華碩提供）

記者蕭文康／台北報導

電競手機品牌華碩ROG Phone今表示，ROG Phone 8 Series今晚6點全台開賣，包括ROG Phone 8、ROG Phone 8 Pro與ROG Phone 8 Pro Edition，提供遊戲巔峰效能外，更以專業三鏡頭帶來大師級拍攝體驗，並配備眾多AI功能，凌駕旗艦手機。

ROG Phone指出，2月15日前全通路早鳥登錄送「ROG精選配件組；其中ROG Phone 8/8 Pro華碩訂閱制同步上線，最低每月只要NT$1,949。2月1日三大電信開賣，ROG Phone 8搭配指定資費0元起。

其中ROG Phone Pro Edition優先開放老用戶於專賣店預購網站下訂，限定登錄送「ROG漂浮麻將」；ROG Phone 8 Pro(16GB/512GB)則於各大電商獨家上架；ASUS手機專賣店亦祭出獨家活動，ROG Phone 8/8 Pro Edition舊換新，加碼再折NT$2,000，ROG Phone 8校園專案95折(優惠價NT$34,191)。

邁入第三代設計語彙的ROG Phone 8 Series，外觀質感大升級，玩家可藉由關閉或開啟燈效自由選擇低調或華麗，ROG Phone 8 Pro/8 Pro Edition搭載AniMe Vision 8-bit LED顯示器，採用超過300顆LED，自訂動畫或顯示天氣、電量等功能，盡顯潮酷風格。ROG Phone 8 Series搭載高通®Snapdragon® 8 Gen 3旗艦處理器，CPU與GPU效能分別提升30%、25%。旗艦級三鏡頭—5,000萬像素估價相機收購sony® IMX890主鏡頭支援六軸防手震Hybrid雲台3.0，3倍長焦鏡頭則內建OIS防手震，嶄新拍攝體驗滿足攝影愛好者所需。

ROG Phone 8 Series以獨創六層散熱設計為基礎，採用創新第2代360°全方位散熱技術，速冷導熱棒提升22%散熱效率；全新「空氣動力風扇X」強大升級，散熱效率大增33%，最多使手機背面溫度降低36°C；5500mAh大電量加持，支援65瓦快充及無線充電。確保長時間遊玩重載遊戲低溫舒適，不降效能，續航力稱霸市場。

165Hz/1ms AMOLED螢幕，比前代邊框更窄、螢幕佔比更高，手機卻更輕薄！支援 LTPO與光線追蹤技術，720Hz觸控採樣率，峰值亮度提高至2,500尼特，呈獻清晰流暢的視覺饗宴。更是全球首款IP68等級防水防塵電競手機，安心應對日常意外時刻。

ROG Phone 8 Series當然少不了專為玩家設計的貼心功能。招牌AirTrigger提供按壓觸控鍵、體感方向鍵、風扇專用鍵三種感應模式，支援超過20種手勢，創造專屬遊戲神操作；全新AI遊戲功能與遊戲精靈，包括遊戲智慧提示2.0、精華智慧錄影、隱形掛機模式、AI辨識快搜、虛擬按鍵震動等，提供無人能及的頂級遊戲體驗。

ROG Phone 8 Pro Edition 24GB/1TB 幻影黑(彩盒內含空氣動力風扇X)，建議售價：NT$45,990。
 

台灣前10大手機品牌，竄出POCO新黑馬。（圖／POCO）

台灣手機市場在2024年2月共售出40.3萬台，相較1月的45萬台銷量減少了許多，然而，前10大手機品牌竄出新黑馬，把HTC徹底擠出榜外。

就銷量市佔而言，台灣前5大手機品牌基本上都是維持蘋果、三星、OPPP、vivo和紅米，不會有太大的變動。其中蘋果雖然仍穩居第一的位置，但市佔率從去年10月創下高峰開始，逐月呈現下滑的情形，2月更跌破了4成，主要原因是iPhone 15系列的銷售高峰已過。

請繼續往下閱讀…

另外，前5大中，其他4家的市佔率都略微上升，依序為三星(26.9%)、OPPO(11.8%)、vivo(6.8%)、紅米(5.7％)。三星受惠於S24系列熱銷，1和2月都取得了不錯的市佔成績。

因應ROG Phone 8系列推出，華碩旗下ROG在2月成為台灣前10大手機品牌。（圖／華碩）

第6至10名方面，儘管每個品牌的市佔率都在2%以下，但每月競爭激烈。從1月開始，POCO開始崛起，將HTC擠出榜外，以0.7%市佔率位居第10名，2月更增至0.9%，名次再上升到第9名。

除此之外，值得注意的還有，華碩也跌出榜外，但由於1月推出了ROG Phone 8系列，旗下ROG獲得0.9%市佔率成為全台前10大手機品牌。可惜的是，HTC在2月仍無緣重回榜單。

1：蘋果：39.8%

2：三星：26.9%

3：OPPO：11.8%

4：vivo ：6.8%

5：紅米：5.7%

6：realme：1.6%

7：Google：1.6%

8：估價相機收購sony：1.1%

9：POCO：0.9%

估價相機收購 估價相機收購

估價相機收購

▲外媒推薦其他款機型CP值也很高，不一定要買iPhone 15系列。（示意圖／美聯社）

圖文／CTWANT

2023年9月剛上市的iPhone 15系列相當受歡迎，但仍有些人卻因為價錢止步。就有外媒報導，若是對iPhone 15系列下不了手，另外還有其他9款高CP值的手機可以選擇，其中像是三星（Samsung）的Galaxy的S23系列就非常推薦。

根據「Android authority」報導，若是對最新款iPhone 15系列買不下手，可以選擇同品牌的iPhone 14系列，價格同時也相對便宜，即使已經上市一年多，但是與15系列或是安卓（Android）旗艦機比起來也都非常出色。

除了iPhone外，Google的Pixel 8也值得關注，雖然規格並沒有明顯優勢，但相機表現卻媲美iPhone 15系列，而且價格幾乎只需要iPhone 15的一半就可以放心入手，是個不錯的選擇，也值得消費者在換機時列入考慮。

還有三星Galaxy S23系列更是個好選擇，若要換Android系列的民眾不妨可以試試看，因為「Android authority」就指出，不管是硬體規格、螢幕、無線充電、相機還是防水功能都表現得非常亮眼，更重要的是價錢部分比起iPhone來得更加能被大眾接受。

報導指出，除了三星及Google系列外，還有另外6款機行可以列入考慮，包括iPhone SE 2022、估價相機收購sony Xperia 1V、估價相機收購sony Xperia 5V、Samsung Galaxy Z Flip 5、Samsung Galaxy Z Fold 5以及Google Pixel 7a都是值得參考的選項。

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▲《老狐狸》導演兼共同編劇之一的蕭雅全，以此片拿下第60屆金馬獎最佳導演獎。（圖／資料照，下同）

記者萬玟伶／台北報導

入圍第60屆金馬獎7項大獎、拿下4座大獎，為當屆金馬最大贏家的《老狐狸》，是導演蕭雅全的第4部長片，故事從10歲小男孩的視角帶出身邊角色的幽微面向，影像與音樂亦精準拿捏當代氛圍，最終不僅拿下了最佳男配角、最佳造型設計、最佳原創電影音樂，蕭雅全也為自己拿下了最佳導演獎！

劇組由內而外還原90年代氛圍
估價相機收購sony BRAVIA X95L細膩傳遞屬於《老狐狸》的時代感
探究同理心與成功兩種價值觀如何碰撞交鋒的《老狐狸》，借用1989～1990「經濟起飛」為故事背景，片中針對場景與氛圍的細膩刻畫，像是氤氳著熱氣的麵攤，廖泰來與廖界租屋處的家具、餐桌等擺設，以及演員陳慕義口中那個搭了又拆的公廁，都讓不少觀眾直呼彷彿回到90年代。蕭雅全直言要做到這些確實很費工，而且不僅僅是場景，打從寫劇本一開始就得針對當時的物價、股市曲線甚至大眾消費習慣做好考據與田調，「雖然我對過去還留有記憶，但記憶有時也會不真切。想要精準還原那個年代，我們就有功課得做。」

▲劇組忠實呈現90年代麵攤、住家等空間，致力營造的氛圍感能否透過螢幕傳遞，也是影響影迷體驗的關鍵。

開拍後，美術與造型團隊也接手更繁複且精細的工程，例如美術團隊就將廖家那一條街道整個包下來，將每家的門牌與鐵門都仿舊成30多年前的樣子，俯拾皆是生活痕跡的廖家，也是以一間空屋打造出90年代普遍常見的居家風格。蕭雅全透露，被不少觀眾注意到的櫸木地板其實已經停產，「美術他們後來在臺中找到一個工廠，剛好還剩下幾坪的料件可以使用。」謝老闆從冰箱拿出的冰水瓶，在映後也意外激起不少討論。「後來我去問美術指導王誌成，他回我說你別管。」蕭雅全笑著，「我到今天還是不知道他那個瓶子是從哪弄來的。」

「不過CP值最低的就是那個公廁了。」蕭雅全幽默道。在大銀幕欣賞電影的觀眾，若眼尖必然會發現，電影中的公廁磁磚和五金水龍頭並非今日常見樣式，原來現在的公廁早就都整建換新，執著於「不能拍出讓觀眾出戲的電影」蕭雅全和團隊索性申請了建照直接搭建一間，拍完再拆，電影中那座勾起不少人嗅覺回憶的廁所，被團隊從90年代召喚回來短短10天，從此便只留在電影中。

▲估價相機收購sony BRAVIA X95L採用Mini LED面板並結合估價相機收購sony獨家聲場技術，力求忠實傳遞電影原創設計的亮度、色調與氛圍，每一個細節飽滿、動態流暢的畫面都像是人眼看出去的視界，帶入感極強的觀影過程，也讓人更能沉浸在故事的氛圍甚至角色的情緒中。

幸好當《老狐狸》未來登上串流平台，觀眾仍是能透過家中的顯示器，沉浸在蕭雅全與團隊打造的時代氛圍裡。本身也喜歡在家追劇的蕭雅全表示，自己從映像管電視時期就選擇估價相機收購sony至今，是30多年的品牌忠實愛用者。「就像設計人最信賴的是Apple產品，業界很多導演包括我，在拍攝現場使用的monitor也都是估價相機收購sony。可能因為如此，回到生活的選擇上，就對估價相機收購sony多了好感與信心。」

雖然最近剛幫工作室的估價相機收購sony顯示器與劇院系統全面升級，蕭雅全面對全新旗艦機型估價相機收購sony BRAVIA X95L時，仍被最新Mini LED面板以及獨家聲場技術所打造的視聽盛宴給觸動！相較於傳統LED技術，Mini LED燈泡尺寸更小更密集，當畫面必須同時呈現極致黑夜與熒熒燭光的場景，就能精準控制顯示器不同位置的明暗度，呈現高亮度、高對比、高解析度的特性要比LED顯示器還來得更有感。

然而Mini LED的硬體優勢不是只有估價相機收購sony獨有，成就今天估價相機收購sony BRAVIA X95L業界霸主地位的關鍵，還是得歸功於獨家搭載、號稱估價相機收購sony史上最強的控光技術「XR極致精準背光控制」！透過超越AI的黑科技，精準控制整個面板的背光源，讓畫面該深邃的地方呈現極致黑階，該亮的地方也能展現層次分明的細膩畫質，也不怕光暈干擾整個視覺享受。同步搭配的「XR降噪銳化技術」也主打能大幅減少雜訊，讓每個畫面看上去更清晰立體，也更接近原創團隊想呈現的光影表現。

▲估價相機收購sony BRAVIA X95L致力將劇集電影的氛圍與光影細節完整呈現，不讓幕後攝影團隊的努力白費。

過去提到電影細節感的重要，其實不只是看美術團隊做了哪些陳設與搭景，對於觀看與氛圍極為講究的蕭雅全，也以高規的標準審視過去每一部估價相機收購sony顯示器，他透露，「會這樣要求還有很大的原因是因為，攝影是一門用光的藝術，在攝影現場，攝影師其實要透過非常多的調度來呈現光影，這個細節層次很多也很微妙，所以當這些努力無法透過顯示器表現出來，對我們來說就會很扼腕！」

看準人們對於居家娛樂體驗的追求愈來愈極致，估價相機收購sony工程師亦攜手引領串流世代的Netflix獨家合作開發「Netflix自適應校色模式」，只要一指開啟設定，顯示器就會自動將畫質調整為更接近原創或在劇院欣賞的亮度、對比與色調效果。

打造360度極致揚聲效果
HT-A9更帶來加倍享受的聲畫合一立體環繞體驗
在影像工業中，能牽動觀眾情緒的電影配樂也有其重要性。長年與好友侯志堅、雷光夏等人合作的蕭雅全，認為音樂在整個工作流程中，應該可以有更高的參與度，而不是先有畫面才開始著手音樂設計。「這次《老狐狸》的開場音樂是我最喜歡的，侯志堅為這段配樂創造了一種很獨特的舞台感，讓觀眾從這裡就被引導到一種等待進入到故事的狀態！有趣的是，這段配樂大概在2、3年前就做出來了，那時電影根本還沒開拍，所以我常覺得他的音樂有時是可以反過來影響我的畫面！」

當音樂與影像可以一同詮釋電影想述說的主題概念，做為接收者的觀眾，無論是在劇院或是家中客廳，更有賴特別著墨「聲畫合一」的影音體驗！估價相機收購sony BRAVIA X95L對於聲色效果的追求，也以讓觀眾得到最完整體驗的角度為出發，全新搭載的「中置聲場技術」以及「超能邊框揚聲器」，讓顯示器本身就是一台揚聲器，透過藏在顯示器下方的低音喇叭、邊框的高音喇叭，以及螢幕中央的中低音喇叭，讓聲音與畫面不只能完美流暢的同步，還能創造360度的立體音場空間感。

▲顯示器兩側的HT-A9家庭劇院系統，一組共有4個無線揚聲器，無論放在空間何處，內建的定位系統能自動找出相對位置，打造最適合當下環境的立體環繞音場。

同步再搭載HT-A9家庭劇院系統，為家中的娛樂視聽室加上4個無線揚聲器，即能在空間上方打出天空聲道，營造更加沉浸的包覆式環繞感。尤其是在家欣賞採用Dolby Atmos環繞音效技術拍攝的動作片時，就能感受到何謂「把電影院搬回家」的有感震撼！

值得一提的是，在設置HT-A9喇叭時，不用再為了創造平衡的音場而更動家裡的擺設，透過估價相機收購sony獨家的「音場優化技術」以及HT-A9採用的「360 Spatial Sound Mapping 360空間音效定位」，只要隨性將揚聲器放在方便的位置，不拘前後方或上下位置，這4個揚聲器就會找到彼此的對應位置，即能創造出最生動鮮活的7.1.4聲道劇院系統。

當顯示器不只是一台電視
「Google TV、BRAVIA CORE™」全面滿足家庭成員的娛樂需求
3C世代讓智慧電視不再只有播放的功能，估價相機收購sony BRAVIA X95L內建Google TV，讓顯示器也能連上網路下載多元APP，除了Netflix、Disney+、YouTube、Amazon、Apple TV+等串流平台，還能得到天氣資訊與預報等即時資訊。想要搜尋特定影集或電影，只要按下遙控器按鈕並說出「Ok Google」，就能利用語音搜尋功能快速找到相對應的內容，輕鬆選出最適合當下享受的節目！

▲利用遙控器啟動語音搜尋，就能快速找到想看的片單。

如果沒有訂閱任何串流平台也不用擔心無法享受極致的影音體驗，估價相機收購sony BRAVIA系列皆有內建獨家影音串流服務BRAVIA CORE™，最新以及最經典賣座的哥倫比亞影業電影就在家中客廳，隨時隨地都能以最放鬆愜意的心情點開觀賞。平台也有許多支援IMAX Enhanced的電影，搭配聲歷其境的影音技術，讓居家空間成為最珍稀的IMAX影廳。

▲估價相機收購sony BRAVIA系列皆有內建獨家影音串流服務BRAVIA CORE™。

致力為各類型節目、劇集與電影，提供最合適畫質模式的估價相機收購sony BRAVIA X95L，事實上也很適合搭配PlayStation 5主機，帶來畫面動感流暢且不卡頓的沉浸式遊戲體驗，加上強大的細膩影像及震撼音效，也成為許多電玩迷口中最有感升級的娛樂體驗！

▲同步擔起企業責任，力求為地球環境實踐永續目標的估價相機收購sony BRAVIA X95L，也在系統內建節能儀表板。與環保相關的設定，包括環境光線感應、省電模式等，都能更快更方便地做好設定，畫面中的「小樹」也會依據設定的節約程度，長成象徵綠色永續的「大樹」。

迎接串流世代，數位科技持續優化
宅在家也能享受超越劇院影廳的影音饗宴
身處串流世代，人們既能坐在電影院欣賞導演與劇組傾盡全力想傳達的故事與美學，亦能在家中透過強調「聲歷其境」的顯示器與劇院揚聲組合，在串流平台重溫這些電影帶來的溫暖與感動。

目前仍在台灣上映的《老狐狸》，現也在新加坡熱映中，未來亦將於串流平台上線。儘管導演與投資方都重視票房，但串流平台無疑也是這個世代極為重要的管道之一，蕭雅全認為串流平台的存在，能讓作品在往後2至4年的時間都還有機會接觸到新舊觀眾與不同客群。「我還是覺得電影院在10、20年內還不會消失，它仍然有提供社交、儀式感等無法被取代的功能性。」

不過蕭雅全也指出，有些電影院在條件限制或考量下，其實並不一定都能如實呈現導演想透過影像音效傳遞的氛圍，「隨著居家科技產品愈做愈精密，在家裡看電視說不定還能得到更多的細節！」串流平台的興起，讓人們的觀影體驗不再被空間時間限制，拿起遙控器就能一再重溫喜愛影片，而估價相機收購sony BRAVIA X95L的問世，無疑就是要為追求高畫質與高音質的觀眾，帶來超越劇院等級的極致感動。

體驗估價相機收購sony BRAVIA X95L帶來的感動
https://go.估價相機收購sony.tw/yhxyghrv

估價相機收購 估價相機收購

估價相機收購
r not. We have to find a way to streamline that. If there were a system where you could have “used” digital games, where I have an .exe of a game and I want to sell it on because I’m done playing it–in the current world of things I can’t sell my digital library. You can’t sell your iTunes library. But if there were a system where, if I were to sell you a digital copy of a game, and through that transaction the original creator could get X percent every time the game is resold, publishers and developers would have a different view toward the used market. “Please resell my game!”
GamesBeat: They get their cut.
Layden: Every time it gets resold. If you can make that real for a publisher, it takes the edge off. We can live with that. In a world where, if I can buy your bronze armor for a certain amount of money and the game developer gets a percentage because it works in their game, we’re creating a second economy. It creates ancillary revenue streams for the original developers and publishers. I don’t know how that’s a bad thing.
GamesBeat: You might also find a way to escape the platforms. They’re also saying, “Oh, you want to take your game, put up a website, and sell extra stuff there? Where’s our cut?”
Layden: In the initial instance, the transaction will have to occur within the platform architecture. The in-store game on the platform. You go in there, load up your helmet, I buy that. It sits on the platform. So yes, you don’t get 100 cents on the dollar. You get whatever it is, 80% or 90%. A slice goes to the wallet enabler. A slice has to go to the platform that hosts the transaction. It’s the number of mouths you have at the trough.
Over time maybe that shifts the burden, where the platform is not as important. The whole idea of platforms is going to change now. The platforms, aside from the Nintendo world, which we all accept is its own kind of subset living independently–with the two big AMD-based platforms, let’s say, the technology is becoming virtually indistinguishable. You could say the difference between what’s in an Xbox and what’s in a PlayStation, pretty much only dogs can hear it. In time the idea of battling platforms becomes an anachronism, I think.
GamesBeat: With blockchain games, it seems like there’s a bit of a tradeoff now. If you want to get the advantages of blockchain for your game, that may mean you can’t be on Apple or Android. That might breach their rules, doing a Web3 game on those platforms. That could be the world we’re going to have. In some ways it does bypass those platforms. But we could also have a world where they allow blockchain in some form on iOS or Android. Some of that is being tested this year. Do you think either of those possibilities makes sense, or might be more likely?
Layden: Everything changes. There was a time when, to go transcontinental, you had to talk to the Union Pacific Railroad. You had to take their rails. The railroads had a monopoly on going east to west. And then they didn’t. Then there were cars and planes. Gatekeepers at stage one is a known. That’s always happened, in so many different areas. But the will to make changes, to create a new avenue, to establish new marketplaces–the big players will never do it, because it’s always against their interests. That’s why we love startups. That’s why we love small, innovative tech companies who can solve that problem differently. In time they’ll get traction. There was a time when we thought we’d all be on AOL for the rest of our lives. That didn’t happen either.
GamesBeat: If the market stalls, maybe the likes of iOS and Android could look at this and see a way to keep the market going. Welcoming these new technologies to their platform, learning to live with them, maybe their market won’t slow down. That might be attractive.
Shawn Layden had to decide on greenlighting titles like God of War.
Layden: You have to decide, at what point do you murder your darlings? At what point does having this chokehold on everything that comes across your platform–it’s been a lucrative marketplace for you, but consumer minds are changing. Consumers aren’t buying a new mobile phone every nine months or whatever it used to be. They’re settling in. We’re having difficulty making these quantum leaps in cell phone capabilities. They’re plateauing. My thing with mobile phones, I wish they’d go back to concentrating on telephony. My call reception still sucks. But it has a better camera!
They won’t be able, I think, to continue to have that stranglehold. They’ll have to accept a future where people build things on their own, or they’re coming from other places. Android allowed sideloading. iOS kind of does, maybe in Europe, but it’s going to have to be more accepting. It’s the nature of the beast. You can’t keep a stranglehold on the marketplace forever.
GamesBeat: You hear similar things coming from the console guys. Phil Spencer talked about the decisions they’ve made to take some games to 估價相機收購sony’s platform, to other platforms. One thing he said was that what everyone needs is for the market to grow. When the market’s not growing, it explains a lot of the suffering going on, and the need to rethink.
Layden: Absolutely. When your costs for a game exceed $200 million, exclusivity is your Achilles’ heel. It reduces your addressable market. Particularly when you’re in the world of live service gaming or free-to-play. Another platform is just another way of opening the funnel, getting more people in. In a free-to-play world, as we know, 95% percent of those people will never spend a nickel. The business is all about conversion. You have to improve your odds by cracking the funnel open. Helldivers 2 has shown that for PlayStation, coming out on PC at the same time. Again, you get that funnel wider. You get more people in.
For single-player games it’s not the same exigency. But if you’re spending $250 million, you want to be able to sell it to as many people as possible, even if it’s just 10% more. The global installed base for consoles–if you go back to the PS1 and everything else stacked up there, wherever in time you look at it, the cumulative consoles out there never gets over 250 million. It just doesn’t. The dollars have gone up over time. But I look at that and see that we’re just taking more money from the same people. That happened during the pandemic, which made a lot of companies overinvest. Look at our numbers going up! We have to chase that rocket!
We’re not doing enough to get heretofore non-console people into console gaming. We’re not going to attract them by doing more of the shit we’re doing now. If 95% of the world doesn’t want to play Call of Duty, Fortnite, and Grand Theft Auto, is the industry just going to make more Call of Duty, Fortnite and Grand Theft Auto? That’s not going to get you anybody else.
GamesBeat: There was an interesting parallel in free-to-play games. As you say, 95% of people didn’t buy anything, but about 5% did, and then you had a smaller percentage of whales that bought everything. They were the people that made the whole thing profitable. They made up for the fact that most of the other folks weren’t paying. They liked that those other people were there, so they had lots of other people to play with.
With blockchain games, what I was thinking at first–there weren’t that many players at the beginning, but the crypto folks who came in were crypto rich. They were willing to spend, and they did. Some of these early games were making money and doing fine off of 50,000 or 100,000 users. I wondered if this was the thing that would carry them long enough to eventually find a way to reach a mass audience. But it seems like the road has been longer for the blockchain games to find that audience. That’s given me pause about the strategy of counting on the whales to get you there.
Layden: Yeah, that’s a bad strategy. That’s like saying you’re going to go fishing and you’re counting on a hurricane to throw a bunch of fish your way. It could happen, but it’s not a good plan. Anyone who comes into the gaming world saying that they’re going to exploit blockchain to make their game more something, they’re coming at it the wrong way. You can’t build a game based on–the core meaning of your game can’t be leveraging a new monetization technology. From a gamer’s perspective, why should I play that game? How is it fun? If it’s not fun I don’t care.
What I like are people who make games, who are thinking, “How does smart contract technology, a unified ledger, the transparency of a transaction augment my game, make my game broader or bigger or more participatory for the players?” In the beginning is the game. If the game’s no good, I don’t care what NFT thing you’re running against it, what kind of crypto applications you have, whether it sits on the blockchain or the block lattice or whatever you call it. If the game’s not compelling, then I don’t care.
I like what the READYgg guys are doing, because they’re talking not about how to forcefeed a new mechanism into the gaming world, but how a game can come to these abilities we set forward – the ability to see, the ability to trace, the ability to verify – and augment the game experience? Let’s have that conversation.
The gold is on the PlayStation 4.
GamesBeat: There was another argument that timing matters. Three years ago all these blockchain games got started. They got a lot of funding two years ago. That was maybe a bad time to say, “I believe in blockchain.” But three to five years in maybe it makes more sense. Now a lot of the chaff has blown away. The folks who are still there, still making good stuff, are getting closer to ship. Maybe now it’s worth believing.
Layden: Three to five years ago, when this conversation was kicking around, it was too wrapped up in the crypto conversation. It was too dependent on the NFT exploitation. Crypto, NFT, that’s more visible to the user. Here’s a Bored Ape. Here’s my ethereum wallet. The blockchain is the enabling structure, which people didn’t really understand. It’s there because it enables the crypto thing. That’s how it works.
That’s all blown through, I think. A lot of the NFT craze is gone now. Crypto is where it is. But we’re looking at the enabling technology. There were the get rich quick schemes three to five years ago. But do these underlying technologies have a greater purpose? Are they solving problems? I look at READYgg and say, “Can you solve the problem of used digital games? Can we create a marketplace where everyone who added to the value of that game, largely the developer and publisher, can reap rewards through the reselling of that IP?” If so, we have a more vibrant buy-in. It’s like residuals. Every time it happens you get a cut.
GamesBeat: Do we want to solve some of that accounting nightmare by saying, at some point, let’s cut this off? When you’re getting 1/1000th of a game’s proceeds, is that taking it too far?
Layden: You can make floors and ceilings against that. Doing a transaction for 25 cents that only occurs once every six weeks, you cannot get too bunched up about that. We can find ways to create parameters around these transactions. Spotify does essentially the same thing. Maybe it’s not a lot, but you’d rather have it than not.
GamesBeat: Do you think there are more good games that logically should arrive? This week the mobile version of Gods Unchained debuted in early access after four years of development. Monopoly Go, the big hit of last year, took six years to make. Wildcard Alliance is many years in the making. Space Nation Online is getting toward six years. These blockchain games are a long time in the making now. Maybe those are the ones that will convince people that this is a real thing.
Layden: Maybe. Again, it’s simple. Do you have a game that’s compelling, that people want to play, regardless of what the mechanic is or what the story is? Is there a way that I can participate in furthering my relationship with that? Back in the days of LittleBigPlanet, people were making stuff all the time for that. If there were a marketplace where I could sell levels that I made and other people could play them, and I get 90 cents on the dollar while the platform and the publisher each get five cents, that would be a vibrant cottage industry.
GamesBeat: It could still be going like Second Life is today.
Philip Rosedale is a senior adviser to Linden Lab, maker of Second Life.
Layden: The problem with Second Life is there’s no game there. It’s just a society.
GamesBeat: But the creators are still there and still actively making money.
Layden: Right. It’s its own niche. But I think greater games are out there that could benefit. If you can get that, if you can get the community to build the add-ons – a modding community, but in a way that the modders can take some reward from their labor – for the publisher you kinda lean back and say, “Hey, you guys keep my IP alive. Keep adding to it and building it out. That’s fine.” The publisher gets tribute every time a transaction occurs, so they’re good. If they’ve run out of stories to tell in this world, but the gamers are building their own, that’s a good place to be.
GamesBeat: It also may convince developers–hey, let the fans take this over and you can go make the game you want to do next.
Layden: You do the next one, and over here there’s basically a sandbox. “I love these characters, I love this world, but I wish we could play hide and seek in this world. I’ll build a mod that lets us do that.” Why not? Knock yourself out.
GamesBeat: Do you see developers coming around, or do you think they’re still also thinking that the only place for them is platforms that don’t have blockchain?
Layden: The big developers aren’t going to change their trajectory any time soon. That’s just the nature of the beast. That’s why innovation comes from the fast movers. It comes from the little companies that have nothing to lose. They’ll try something new and different, and others will align with that, see their own opportunity within that, and become part of the journey. You just try to see if you can get to critical mass.
I think it’s there. We all would like to be part of these worlds that we play in. We play in all these different worlds, and sometimes you just think, “Wow, I have this great idea for something that would work in that. I have some skills. I could build this thing.” If there were a world where all my buddies would give me five bucks to go play my level, I’d feel great. It incentivizes me to do more of that. If the platform says, “Yeah, knock yourself out, because I get X percent every time you sell your thing,” it’s hard for me to find a downside to that kind of equilibrium.
GamesBeat: When we get to the subject of why we’re having such a tough time in games, there are things that go way beyond blockchain. I felt like last year, all the layoffs–they were bigger than normal, but it just meant it was a bad year. The layoffs that are continuing this year make me think this is an unusual catastrophe. What’s going wrong here? Why are we in such a funk?
GDC survey results show 35% of devs were affected by layoffs.
Layden: We’ve been around this tree for a very long time. There are some dynamics that we haven’t seen before. It’s the biggest thing in the world. It’s a $240 billion industry. It employs more people now than it ever did before. During the pandemic, particularly here in Silicon Valley, we saw the Googles, the Amazons, the Facebooks, the Apples just sucking up engineering resources left and right. They were in lockdown, but they were hiring. Nothing fuels this industry like FOMO. If you look around and see that all your competitors are hiring engineering talent, you want to make sure you get some too before it all evaporates.
There was a huge hiring spree, and because of the pandemic, it’s not like you needed to find them a desk or an office or a chair or anything. You just hired them and they sat at home and wrote code or made marketing plans. That exploded. There was the metaverse thing going on. Chief metaverse officer was a job for a hot minute. Money was essentially free. All this money sloshed into the system. All the excitement about what we could do. At the same time, revenues increased across the interactive space because we had a captured audience. They couldn’t leave the living room. They spent more time online. They spent more money in the stores. All indicators, the numbers go up.
Then it was over. Or we called a timeout on the pandemic, anyway. People went back into the world. Consumption dipped to normal levels. It’s dropped, but it’s not lower than 2018. It’s normalized. The big companies laid off tens of thousands of people, whether Amazon or Netflix or whatever.
GamesBeat: It seems like at least those big guys are in a boat where they have to hire them all back, because AI is creating another boom again.
Layden: It’s crazy how you can lay off 900 people and have 300 open recs on your website. There’s a mismatch between what companies think they need and what they actually have. What did they say, 12,000 or 13,000 last year and we’re already up to 7,000 just in February of this year?
GamesBeat: I think it was 10,500 by one set of numbers and then 8,000 already this year.
Layden: Does it stop tomorrow? No. I think we’ll see more. Today was EA, right? Yesterday was 估價相機收購sony. It’s going to continue to occur. What’s remarkable, when you look at the bottom line of these companies, some of them are hitting record revenues, record profitability, and laying off 8% of their workforce. Other than a mad chase for profitability, I don’t understand it.
GamesBeat: It’s maybe made people more suspicious about AI. Is AI causing this? It doesn’t seem like it’s ready yet, though.
Credit: VentureBeat made with OpenAI DALL-E 3 via ChatGPT Plus
Layden: AI is a convenient throwaway line. I think it has nothing to do with what’s happening at all. Maybe around the margins, around places where private equity is getting skittish and VC doesn’t want to go because they don’t know about the AI component. But deep down in the companies that have been building stuff for decades, that are experiencing layoffs, it’s not an AI thing. It’s just, “We took on a lot of capacity because we thought we were going to build all these things for a population that was stuck in their living rooms.” Then that growth curve dropped when the world came back.
Look at live service gaming. I can’t imagine a game industry where you have 20 live service games, all of them incredibly successful. There’s just not enough energy around that. Remember back in the day when we played Ultima? Then Everquest came, and everyone left Ultima to play Everquest. Then everyone left Everquest for World of Warcraft. It’s difficult for multiple titles in a service or a persistent world category to be successful.
GamesBeat: I don’t know whether I’ve become overly optimistic, but I feel the need to remind people that it’s not going to be a complete disaster. Things are going to get better after we hit bottom. For a lot of people, they seem to think this is bottomless, that it will go on forever. But every week I write about companies raising money. Amir Satvat is one of the people who’s been monitoring jobs. He’s tracking 2,000 companies now, and they do have job openings. I think he thinks that hiring is going to exceed layoffs by September. At some point in the pipeline it will make sense to have an improvement in the overall situation. Do you think people have been overly pessimistic? At some point do we have a recovery?
Layden: Layoffs are always a lagging indicator. Layoffs occur trying to solve a problem that happened a year ago. You had this plan and it didn’t work out. You feel you have people now who aren’t in line with the new course correction. Layoffs don’t address today’s problem. They address decisions made in the past that may not have been the right decision. Let’s understand it’s not taking the temperature of today.
I agree with Amir’s point. We talked about this earlier. All these thousands of layoffs over here, all these open recs over there across the industry. It’s a mismatch of talent to requirements. That will level out over time. The demise of the industry has been predicted so many times in the last 20 years that it’s almost a joke. We’re fine. I don’t want to sound like a broken record, because I’ve been saying this for five years, but it’s the rising cost of development. That’s the existential threat. It’s not “live service gaming is tricky” or anything else. When we’re in the $250-300 million to make a game world…
I’m giving a talk about this tomorrow at Stanford. Gaming is reaching its cathedral moment. There was a world hundreds of years ago where they built cathedrals, massive edifices to God, throughout Europe and around the world. Eventually, indentured labor only takes you so far. Then it stopped. It became prohibitively time-consuming and expensive. They were wonderful and beautiful. You can look at any of them across Europe and think, “That’s a marvel.” But we don’t make them anymore. We don’t make them because the math doesn’t work. If you have four walls and a roof, you can call it a church, and God will come visit. You don’t need the cathedral anymore.
I’m afraid that we’ve bought into the triple-A, 80 hours of gameplay, 50 gigabytes of game, and if we can’t reach that then we can’t do anything. I’m hoping for a return of double-A gaming. I’m a

PlayStation Vita於2011年底上市。（圖翻攝索尼互動娛樂官網）

日本索尼互動娛樂於官網發佈公告，宣布旗下於2011年推出的掌上型遊戲主機「PS Vita」、以及2018年上市的復刻迷你版主機「PlayStation Classic」，上述兩款機型由官方提供的售後維修服務，將於今年4月25日正式終止。

距維修服務終止期限已進入倒數不到一個月的時間，官方表示，使用 PS Vita 與PlayStation Classic的玩家，若有維修需求，可於4月25日前，透過線上維修服務或「PlayStation客戶支援」提交送修申請，並且需在5月7日前把產品寄送至維修站，逾期不再受理。

請繼續往下閱讀…

PlayStation Classic復刻迷你遊戲主機（型號SCPH-1000RJ）於2018年推出，內建20款 90 年代膾炙人口的經典遊戲大作，包括：《Final Fantasy VII》、《鐵拳3》、《Wild Arms》、《Jumping Flash！》與《R4 RIDGE RACER TYPE》等。（圖翻攝索尼互動娛樂官網）

2011年底推出的 PS Vita 掌上型遊戲主機，問世至今已有近13年，官方提供維修的型號包括有PS Vita PCH-1000、PCH-1100與PCH-2000系列機型。

另一款復刻迷你版主機 PlayStation Classic 提供維修型號則為SCPH-1000RJ，在2018年底採限量上市，從主機、按鈕配置、手把控制器到外盒包裝，全都保留 1994 年第一代 PlayStation 主機的經典外型，體積則比原版主機縮小了 80％，讓玩家們一手可輕鬆掌握，隨機並搭載 20款 PlayStation 經典遊戲大作。

上述這項維修公告是估價相機收購sony向日本地區境內發佈，台灣地區是否會跟進，尚有待後續消息發佈。

估價相機收購 估價相機收購

估價相機收購

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惠而浦家電2024新品登台，多元化滿足不同家庭需求。(圖／惠而浦)

以「大容量、耐用」深受青睞的美式家電品牌惠而浦，已在台成立50週年，今(26日)公開2024年新品陣容，包括17公斤窄身直立變頻洗衣機、Intelli Sense一級變頻雙門冰箱、一級能效極薄二合一清淨除濕機等，也同步展出惠而浦第六感智能嵌入式廚房家電，滿足台灣消費者的多元需求。

台灣惠而浦總經理穆倫表示，惠而浦洗衣機、上下門冰箱銷售年成長率，相較市場皆有雙位數百分比成長；滾筒洗衣機、洗脫烘衣機全台市佔第三、對開冰箱市佔全台第二。惠而浦2024年將更專注推出更多靈活空間運用的產品，以因應台灣的市場變化。

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惠而浦家電強調窄身設計，靈活運用居家空間。(圖／惠而浦)

由於台灣現今以小家庭當道，居住坪數也偏向「小宅」，更強調節省空間，惠而浦今年新品中最受關注的是極窄化洗衣機，包含SaniPro及SonicClean二大系列DD直驅變頻直立式洗衣機，提供鈦空灰、星光銀二款色系選擇，涵蓋12至20.5公斤容量帶及10款機型，全面對應不同家庭。

舉例來說，兩大直立洗衣機系列的17公斤機型，擁有大容量，僅60.1公分寬的機身設計，符合現今房市陽台空間精緻化的建造趨勢，同時搭載了6th Sense 第六感智能科技，可省水智慧洗衣。

此外，惠而浦除濕機在台銷售成績也頗佳，今年針對多款進行升級，強調外型更美型、除濕力更強，清淨型機種的空氣淨化功能也更加專業化，主打多道過濾系統。

惠而浦廚電強調導入第六感智能技術。(圖／惠而浦)

歡慶惠而浦在台50週年，活動期間4月1日～6月30日，購買洗乾衣機、對開冰箱及蒸烤爐等指定機型，最高可享4,000元電子商品券回饋。

估價相機收購 估價相機收購

估價相機收購

（圖／彭博社）

近期外界盛傳，微軟有意打造 Xbox 遊戲掌機，要與 Switch、Steam Deck 以及 ROG Ally 等產品競爭。Xbox 負責人 Phil Spencer 近期就分享理想掌機的幾大要點，並表明現在機型有一項缺點，讓他十分崩潰。

Phil Spencer 在上週遊戲開發者大會（GDC）期間接受《Polygon》採訪，分享自己隨身攜帶的遊戲掌機為聯想 Legion Go，在飛行的旅途中，不斷審視這款掌機不像 Xbox 風格的地方。例如，Phil Spencer 會想要遊戲全都集中同一區域、並且保存先前的進度，還吐槽《異塵餘生76》沒有跨平台存檔，這讓他十分崩潰。

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他還提到，希望 Xbox 的應用程式能以「全螢幕」開啟，且必須有符合掌機螢幕的縮小介面，要帶來與家用主機搭配電視一致的社交體驗，並且最好是能以搖桿操作。Phil Spencer 認為，硬體、軟體兩方面的創新都很重要，會是遊戲產業真正的轉折點，就像任天堂 Wii 一樣。

日前 Xbox 負責人 Phil Spencer 曾透露，Xbox 團隊正在建構不同種類的硬體產品，表示看到了許多新的機會，一旦準備好上市了，被許多外媒認為，所指地正是遊戲掌機。此外，微軟預計於年底舉辦硬體發表會，或為 Xbox 掌機登場的絕佳舞台。

新爆料指出，估價相機收購sony Xperia 1 VI的相機硬體升級很小，主要靠軟體來提升拍照效能。（圖／資料照）

最近關於估價相機收購sony下代旗艦Xperia 1 VI的消息持續洩露，包括螢幕降為2K+解析度，比例也改成19.5：9，然而，索粉關注的相機規格現在也有新爆料出現了。

根據日媒Sumahodigest報導，Esato論壇上的知名爆料者Spektykles表示，估價相機收購sony新代Xperia的相機將專注微距和人像拍攝，硬體的升級幅度很小，相機的性能將靠AI人工智慧提升。

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這也就意味，新一代Xperia 1 VI的相機升級，主要是依賴軟體來達成，而非繼續疊高硬體規格。先前曾傳聞，Xperia 1 VI的後三鏡頭都將升級4,800萬畫素的消息可能落空。

實際上，這也是目前手機市場的趨勢，例如三星今年新上市的S24系列，相機硬體的升級也有限，主打導入AI來增進拍照表現。

估價相機收購 估價相機收購

估價相機收購
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（圖／記者黃肇祥攝）

儘管昔日曾是一方霸主，日本大廠　估價相機收購sony 近年在智慧手機市場卻走得十分艱辛，市佔率始終未有起色，即便是在日本主場也是被 Google Pixel 超前，後續該如何扭轉局勢？近期就有一連串消息指出，估價相機收購sony 今年度的　Xperia 手機陣容恐有大幅度改變，不只是多項特色規格被移除，就連 Xperia 5 系列都可能成為絕響。

知名爆料客 Zackbucks 近期頻繁爆料指出，估價相機收購sony 會在手機外型上走回「大眾風格」，傳言將捨棄 Xperia 1 系列長期主打的 4K 解析度，改為 2K+ 畫質，原先主打是電影「黃金比例」的 21:9 螢幕，也將改為較常見的 19.5:9，會變得更寬矮。

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日媒《sumahodigest》消息解釋，此舉可能是成本考量，因為只有 估價相機收購sony 手機會使用 4K、21:9 的螢幕面板，必須向供應鏈額外訂製才能獲得，改為通用的面板規格，將能壓低成本，儘管解析度下滑，但螢幕的其餘規格仍有可能會有所進步。

Zackbucks 也聲稱，估價相機收購sony 往年都往於下半年發表的合手 6.1 吋旗艦 Xperia 5 系列，可能會在今年畫下句點，認為 Xperia 5 VI 將無緣登場。

事實上，小尺寸旗艦長年處於較好不叫賣的局面，不只是 Xperia 5 系列，從蘋果 iPhone 13 mini、華碩 Zenfone 10，都陸續捨棄小尺寸，改為更符合現代主流的大螢幕。實際觀察 Xperia 5 系列的發展，也可以發現最近兩代產品確實在成本上面臨考驗，價格逐年走高，連原先與 Xperia 1 系列同步的相機規格也逐漸落後，先是在 Xperia 5 IV 縮減了望遠鏡頭的焦段，最新一代 Xperia 5 V 則是直接從三鏡頭縮水為雙鏡頭。

目前 估價相機收購sony 均尚未對謠言做出回應，不過從一些認證網站的資料來看，已經正在準備發表新一代 Xperia 手機，按照慣例，有機會在 4-5 月之間正式亮相。是否會如上述傳聞一樣，就只能等待官方來正式揭曉了。

估價相機收購 估價相機收購