AI Assistant Intellij

AI Assistant Intellij — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Instance-based learning

  In machine learning, instance-based learning (sometimes called memory-based learning) is a family of learning algorithms that, instead of performing explicit generalization, compare new problem instances with instances seen in training, which have been stored in memory. Because computation is postponed until a new instance is observed, these algorithms are sometimes referred to as "lazy." It is called instance-based because it constructs hypotheses directly from the training instances themselves. This means that the hypothesis complexity can grow with the data: in the worst case, a hypothesis is a list of n training items and the computational complexity of classifying a single new instance is O(n). One advantage that instance-based learning has over other methods of machine learning is its ability to adapt its model to previously unseen data. Instance-based learners may simply store a new instance or throw an old instance away. Examples of instance-based learning algorithms are the k-nearest neighbors algorithm, kernel machines and RBF networks. These store (a subset of) their training set; when predicting a value/class for a new instance, they compute distances or similarities between this instance and the training instances to make a decision. To battle the memory complexity of storing all training instances, as well as the risk of overfitting to noise in the training set, instance reduction algorithms have been proposed.

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  Office automation

  Office automation refers to the varied computer machinery and software used to digitally create, collect, store, manipulate, and relay office information needed for accomplishing basic tasks. Raw data storage, electronic transfer, and the management of electronic business information comprise the basic activities of an office automation system. Office automation helps in optimizing or automating existing office procedures. The backbone of office automation is a local area network, which allows users to transfer data, mail and voice across the network. All office functions, including dictation, typing, filing, copying, fax, telex, microfilm and records management, telephone and telephone switchboard operations, fall into this category. Office automation was a popular term in the 1970s and 1980s as the desktop computer exploded onto the scene. Advantages of office automation include that it can get many tasks accomplished faster, it eliminates the need for a large staff, less storage is required to store data, and multiple people can update data simultaneously in the event of changes in schedule. == Outline == Businesses can easily purchase and stock their wares with the aid of technology. Many of the manual tasks that used to be done by hand can now be done through hand held devices and UPC and SKU coding. In the retail setting, automation also increases choice. Customers can easily process their payments through automated credit card machines and no longer have to wait in line for an employee to process and manually type in the credit card numbers. Office payrolls have been automated, which means no one has to manually cut checks, and those checks that are cut can be printed through computer programs. Direct deposit can be automatically set up and this further reduces the manual process, and most employees who participate in direct deposit often find their paychecks come earlier than if they'd have to wait for their checks to be written and then cleared by the bank. Other ways automation has reduced employee manpower on tasks is automated voice direction. Through the use of prompts, automated phone menus and directed calls, the need for employees to be dedicated to answer the phones has been reduced, and in some cases, eliminated.

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  Scientific Working Group – Imaging Technology

  The Scientific Working Group on Imaging Technology was convened by the Federal Bureau of Investigation in 1997 to provide guidance to law enforcement agencies and others in the criminal justice system regarding the best practices for photography, videography, and video and image analysis. This group was terminated in 2015. == History == As technology has advanced through the years, law enforcement has needed to stay abreast of emerging technological advances and use these in the investigation of crime. A factor that is considered when new technology is used in these investigations is the determination of whether the use of that new technology will be admissible in court. The judicial system in the United States currently has two standards used in the determination of admissibility of testimony regarding scientific evidence; the Daubert Standard and the Frye Standard. These standards guide the courts in the admissibility of testimony derived from the use of new technologies and scientific techniques. The Federal Bureau of Investigation (FBI), seeking to address possible admissibility issues with such testimony, established Scientific Working Groups starting with the Scientific Working Group on DNA Analysis and Methods (SWGDAM) in 1988. The goal of these groups is to open lines of communication between law enforcement agencies and forensic laboratories around the world while providing guidance on the use of new and innovative technologies and techniques. This guidance can lead to admissibility of evidence and/or testimony, provided proper methods in the collection of evidence and its analysis are employed. In 2009, the National Academy of Sciences released a report entitled, "Strengthening Forensic Science in the United States: A Path Forward." This report addresses many topics including challenges and disparities facing the forensic science community, standardization, certification of practitioners and accreditation of their respective entities, problems related to the interpretation of forensic evidence, the need for research, and the admission of forensic science evidence in litigation. This report mentions the Scientific Working Groups and their role in forensic science. The history of imaging technology (photography) can be said to extend back to the times of Chinese philosopher Mo-Ti (470-390 B.C.) who described the principles behind the precursor to the camera obscura. Since that time, advances in imaging technology include the discovery of chemical photographic processes in the 19th century and the use of electronic imaging technology that includes analog video cameras and digital video and still cameras. By the mid 1990s, it was apparent that technologically advanced camera systems such as these were being adopted for use in the criminal justice system. This led the FBI to convene a meeting of individuals working in the field of forensic imaging from federal, state, local, and foreign law enforcement, and the U.S. military, during the summer of 1997. As a result of this meeting, the Technical Working Group on Imaging Technology was formed from a core group of the meeting’s participants. This group later became the Scientific Working Group on Imaging Technology (SWGIT). Prior to the inception of SWGIT, some law enforcement agencies began adopting digital imaging technology. Due to the lack of guidelines or standards, some of these agencies attempted to replace all their film cameras with substandard digital cameras, only to find that the equipment they had purchased was not capable of accomplishing the mission for which they were intended. At that time only low resolution digital cameras were deemed affordable by some law enforcement agencies. Some of these agencies were forced to rethink their photography procedures and reverted to the use of film cameras or replaced their low-resolution digital cameras with higher quality, more expensive equipment. Also lacking at this early stage was guidance on how to store and archive digital image files. When SWGIT was formed, it was tasked with providing guidance to law enforcement and others in the criminal justice system by releasing documents that describe the best practices and guidelines for the use of imaging technology, to include these concerns and many others. This group was terminated in 2015. == SWGIT Function == During its existence, SWGIT provided information on the appropriate use of various imaging technologies including both established and new. This was accomplished through the release of documents such as the SWGIT Best Practices documents. As changes in technology occurred, these documents were updated. Over the course of its existence, SWGIT collaborated with other Scientific Working Groups to address imaging concerns within their respective disciplines. SWGIT published over 20 documents that dealt specifically with imaging technology. SWGIT also co-published documents with the Scientific Working Group on Digital Evidence (SWGDE) that had a component or components dealing with imaging technology. SWGIT also provided imaging technology guidance and input for documents from the Scientific Working Group on Friction Ridge Analysis, Study and Technology (SWGFAST), the Scientific Working Group for Forensic Document Examination (SWGDOC), and the Scientific Working Group on Shoeprint and Tire Tread Evidence (SWGTREAD). SWGIT assisted the American Society of Crime Lab Directors/Laboratory Accreditation Board (ASCLD/LAB) in the writing of definitions and standards for the accreditation of Digital and Multimedia Evidence sections of crime laboratories. In addition to releasing documents, SWGIT members disseminated best practices for law enforcement professionals where imaging technology was concerned. This was carried out by attending and lecturing at meetings and conferences of various forensic organizations that included: The American Academy of Forensic Sciences (AAFS) The International Association for Identification (IAI) The Law Enforcement and Emergency Services Video Association (LEVA) The American Society of Crime Lab Directors (ASCLD) The SWGIT membership consisted of approximately fifty scientists, photographers, instructors, and managers from more than two dozen federal, state, and local law enforcement agencies, as well as from the academic and research communities. The membership elected its officers from within. SWGIT was composed of the Executive Committee, four standing subcommittees, and ad hoc subcommittees appointed on an as-needed basis. The standing subcommittees were: Image Analysis, Forensic Photography, Video, and Outreach. This group was terminated in 2015. == Legal Proceedings == The following court cases have conducted Daubert v. Merrell Dow Pharm., Inc., 509 U.S. 579 (1993) hearings in which SWGIT best practice documents have been cited as accepted protocol, methodology, and as generally accepted techniques in the forensic community: U. S. v. Rudy Frabizio, U.S. District Court, Boston, MA, 2008 (Image Authentication) U.S. v. Nobumochi Furukawa, U.S. District Court, Minnesota, 2007 (Video Authentication) U.S. v. John Stroman, U.S. District Court, South Carolina, 2007 (Facial Comparison Analysis) State of Texas v. Daniel Day, Tarrant County Texas, 2005 (Camera Identification to Images) U.S. v. Marc Watzman, U.S. District Court, Northern Illinois, 2004 (Video Authentication) U.S. v. McKreith, U.S. District Court, Fort Lauderdale, FL, 2002 (Photo comparison of shirt) == Termination == This group was unfunded by the FBI in 2015.

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  Final Cut Express

  Final Cut Express was a video editing software suite created by Apple Inc. It was the consumer version of Final Cut Pro and was designed for advanced editing of digital video as well as high-definition video, which was used by many amateur and professional videographers. Final Cut Express was considered a step above iMovie in terms of capabilities, but a step underneath Final Cut Pro and its suite of applications. As of June 21, 2011, Final Cut Express was discontinued in favor of Final Cut Pro X. == History == Final Cut Express 1.0, based on Final Cut Pro 3, was released at Macworld Conference and Expo in San Francisco in 2003. The second version, based on Final Cut Pro 4, was released at Macworld San Francisco in 2004. The third version, capable of editing high definition video, was also announced at Macworld San Francisco a year later, and was released as Final Cut Express HD in February 2005. It was based on Final Cut Pro HD (version 4.5) and included LiveType 1.2 and Soundtrack 1.2. Final Cut Express version 3.5 was released with little fanfare in May 2006 as a Universal Binary. In addition to improving real-time rendering with Dynamic RT, version 3.5 upgraded LiveType to version 2.0 and Soundtrack to version 1.5. In November 2007, Apple released Final Cut Express 4, which although it did not support real-time editing in the AVCHD format (it only allowed for transcoding AVCHD to Apple Intermediate Codec (AIC) provided that the camera was actually attached to the computer - it did not convert AVCHD files stored elsewhere and is currently for Intel processors only), imported iMovie '08 projects and included 50 new filters. It did not include Soundtrack 1.5, but it still included LiveType which enables users to create advanced text for the movies they created in Final Cut. The price was dropped from $299 for version 3.5 to $199 for version 4.0. In June 2011, Final Cut Express was officially discontinued, in favor of Final Cut Pro X. == Features == Final Cut Express' interface was identical to that of Final Cut Pro, but lacks some film-specific features, including Cinema Tools, multi-cam editing, batch capture, and a time code view. The program performed 32 undo operations, while Final Cut Pro did 99 [2]. Features the program did include were: The ability to keyframe filters Dynamic RT, which changes real-time settings on-the-fly Motion path keyframing Opacity keyframing Ripple, roll, slip, slide and blade edits Picture-in-picture and split-screen effects Up to 99 video tracks and 12 compositing modes Up to 99 audio tracks Motion project import Two-way color correction. Chroma key One feature of Final Cut Express that was not available in Final Cut Pro is the ability to import iMovie '08 projects (though transitions are not preserved). === RT Extreme === Inherited from Final Cut Pro, Final Cut Express features RT Extreme, which allows previews of some video filters and transitions without rendering. Audio that is not in the native AIFF file format needs rendering before it can be played back. RT Extreme has three modes: 'Safe', for seeing multiple video layers at a quality that more or less guarantees a smooth playback; 'Unlimited', which allows the maximum number of composited video layers to be viewed at the same time; and 'Dynamic', which alternates between these settings depending on how many simultaneous video tracks are present. Frame dropping may result from using 'Unlimited' on low-resource machines. === Boris Calligraphy === Like Final Cut Pro, Express also comes with Boris Calligraphy, a plugin for advanced titling and scrolling/crawling titles more sophisticated than the ones that can be created with the built-in title overlays. Calligraphy has a WYSIWYG interface and features wrapping, alignment, leading, kerning and tracking features, as well as allowing up to five custom outlines and five custom drop shadows to be defined for a selected portion of the title. == Soundtrack == Prior to version 4, Final Cut Express included Soundtrack 1.5, a music program similar to the consumer-level GarageBand, but designed for videographers who wish to add music to their films. Soundtrack comes with around 4,000 professionally recorded instrument loops and sound effects that can be arranged in multiple tracks beneath the video track. To use Soundtrack, users export their Final Cut Express sequence, or a marked portion thereof, as a reference file, which can include scoring markers defined in the timeline. This reference file can be imported as the video track in Soundtrack. Soundtrack is functionally and visually identical to Soundtrack Pro's multitrack editing mode, but includes fewer Logic plugins and lacks the highly regarded noise removal tool. Soundtrack was removed from Final Cut Express 4, which lowered its price and may have encouraged people to buy Logic Express.

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  Autognostics

  Autognostics is a new paradigm that describes the capacity for computer networks to be self-aware. It is considered one of the major components of Autonomic Networking. == Introduction == One of the most important characteristics of today's Internet that has contributed to its success is its basic design principle: a simple and transparent core with intelligence at the edges (the so-called "end-to-end principle"). Based on this principle, the network carries data without knowing the characteristics of that data (e.g., voice, video, etc.) - only the end-points have application-specific knowledge. If something goes wrong with the data, only the edge may be able to recognize that since it knows about the application and what the expected behavior is. The core has no information about what should happen with that data - it only forwards packets. Although an effective and beneficial attribute, this design principle has also led to many of today's problems, limitations, and frustrations. Currently, it is almost impossible for most end-users to know why certain network-based applications do not work well and what they need to do to make it better. Also, network operators who interact with the core in low-level terms such as router configuration have problems expressing their high-level goals into low-level actions. In high-level terms, this may be summarized as a weak coupling between the network and application layers of the overall system. As a consequence of the Internet end-to-end principle, the network performance experienced by a particular application is difficult to attribute based on the behavior of the individual elements. At any given moment, the measure of performance between any two points is typically unknown and applications must operate blindly. As a further consequence, changes to the configuration of given element, or changes in the end-to-end path, cannot easily be validated. Optimization and provisioning cannot then be automated except against only the simplest design specifications. There is an increasing interest in Autonomic Networking research, and a strong conviction that an evolution from the current networking status quo is necessary. Although to date there have not been any practical implementations demonstrating the benefits of an effective autonomic networking paradigm, there seems to be a consensus as to the characteristics which such implementations would need to demonstrate. These specifically include continuous monitoring, identifying, diagnosing and fixing problems based on high-level policies and objectives. Autognostics, as a major part of the autonomic networking concept, intends to bring networks to a new level of awareness and eliminate the lack of visibility which currently exists in today's networks. == Definition == Autognostics is a new paradigm that describes the capacity for computer networks to be self-aware, in part and as a whole, and dynamically adapt to the applications running on them by autonomously monitoring, identifying, diagnosing, resolving issues, subsequently verifying that any remediation was successful, and reporting the impact with respect to the application's use (i.e., providing visibility into the changes to networks and their effects). Although similar to the concept of network awareness, i.e., the capability of network devices and applications to be aware of network characteristics (see References section below), it is noteworthy that autognostics takes that concept one step further. The main difference is the auto part of autognostics, which entails that network devices are self-aware of network characteristics, and have the capability to adapt themselves as a result of continuous monitoring and diagnostics. == Path to autognostics == Autognostics, or in other words deep self-knowledge, can be best described as the ability of a network to know itself and the applications that run on it. This knowledge is used to autonomously adapt to dynamic network and application conditions such as utilization, capacity, quality of service/application/user experience, etc. In order to achieve autognosis, networks need a means to: Continuously monitor/test the network for application-specific performance Analyze the monitoring/test data to detect problems (e.g., performance degradation) Diagnose, identify and localize sources of degradation Automatically take actions to resolve problems via remediation/provisioning Verify the problems have been resolved (potentially rolling back changes if ineffective) Subsequently, continue to monitor/test for performance

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  Corel VideoStudio

  Corel VideoStudio (formerly Ulead VideoStudio) is a video editing software package for Microsoft Windows. == Features == === Basic editing === The software allows storyboard and timeline-oriented editing. Various formats are supported for source clips, and the resulting video can be exported to a video file. DVD and AVCHD DVD authoring capabilities are included, and Blu-ray authoring is available via a plug-in. VideoStudio supports direct DV and HDV capture and burning. === Overlay === Users can overlay videos, images, and text. Using the overlay track, up to 50 clips can be displayed simultaneously. It can handle videos in MOV and AVI formats, including alpha channel, and images in PSP, PSD, PNG, and GIF formats. Clips that do not contain an alpha channel can have specific colours removed from the overlay video so that the required background or image is displayed in the foreground. === Proxy video files === VideoStudio supports high-definition video. Proxy files are smaller versions of the video source that stand in for the full-resolution source during editing to improve performance. === Plug-ins/bundles === VideoStudio supports VFX-type plug-ins from providers, including NewBlue and proDAD. proDAD plug-ins Roto-Pen, Script, Vitascene, and Mercalli-Stabilizer are bundled with X4 and later Ultimate Editions. == Version history == Ulead VideoStudio 4 (1999) Ulead VideoStudio 5 (2001) Ulead VideoStudio 6 (2002) Ulead VideoStudio 7 (2003) Ulead VideoStudio 8 (2004) Ulead VideoStudio 9 (2005) Ulead VideoStudio 10 plus. (2006) Corel Ulead VideoStudio 11 plus. (2007) Corel VideoStudio Pro X2 (v12, 2008) Corel VideoStudio Pro X3 (v13, 2010) 2011: Corel VideoStudio Pro X4 (v14, 2011) Adds support for stop motion animation, time-lapse mode photography, 3D movies, and 2nd generation Intel Core. Corel VideoStudio Pro X5 (v15, March 9, 2012): Adds HTML5 export (Comparison of HTML5 and Flash). Corel VideoStudio Pro X6 (v16, April 25, 2013): Windows 8 compatible. Adds UHD 4K support. Corel VideoStudio Pro X7 (v17, March 5, 2014): Software becomes 64-bit. Corel VideoStudio Pro X8 (v18, May 8, 2015): Several improvements. Corel VideoStudio Pro X9 (v19, February 16, 2016): Windows 10 compatible. Adds H.265 support, Multi-Camera Editor, and Match moving. Corel VideoStudio Pro X10 (v20, February 15, 2017): Adds Mask Creator, Track Transparency, and 360-degree video support. Corel VideoStudio Pro 2018 (v21, February 13, 2018): Adds split screen Video, Lens Correction, and 3D Title Editor. Corel VideoStudio Pro 2019 (v22, February 12, 2019): Adds Color Grading, Morph Transitions, and MultiCam Capture Lite. Corel VideoStudio Pro 2020 (v23, February 25, 2020). Corel VideoStudio Pro 2021 (v24, March 26, 2021): Adds Instant Project Templates, AR Stickers, and performance improvements (particularly regarding hardware acceleration). Corel VideoStudio Pro 2022 (v25, March 6, 2022): Adds face effects, GIF Creator, transitions for Camera Movements, a speech to text converter, and ProRes Smart Proxy.

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  ACLU Mobile Justice

  ACLU Mobile Justice was a video live streaming application developed for smartphones by various state chapters of the American Civil Liberties Union. It was intended to allow instant, secure video recording and transmission of interactions with, and perceived abuses by, law enforcement officers. Since its release by the ACLU of California for California residents, other versions of the app have been released for 16 other states and the District of Columbia by their ACLU chapters. It was discontinued in February 2025.

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  Real-time transcription

  Real-time transcription is the general term for transcription by court reporters using real-time text technologies to deliver computer text screens within a few seconds of the words being spoken. Specialist software allows participants in court hearings or depositions to make notes in the text and highlight portions for future reference. Real-time transcription is also used in the broadcasting environment where it is more commonly termed "captioning." == Career opportunities == Real-time reporting is used in a variety of industries, including entertainment, television, the Internet, and law. Specific careers include the following: Judicial reporters use a stenotype to provide instant transcripts on computer screens as a trial or deposition occurs. Communication access real-time translation (CART) reporters assist the hearing-impaired by transcribing spoken words, giving them personal access to the communications they need day to day. Television broadcast captioners use real-time reporting technology to allow hard-of-hearing or deaf people to see what is being said on live television broadcasts such as news, emergency broadcasts, sporting events, awards shows, and other programs. Internet information (or Webcast) reporters provide real-time reporting of sales meetings, press conferences, and other events, while simultaneously transmitting the transcripts to computers worldwide. Other rapid data entry positions. == History == Before the advent of the stenotype machine, court reporters wrote official trial transcripts by hand using a shorthand system of stenoforms that could later be translated into readable English. It often took eight years of training to learn this manual form of writing at the necessary speed. Walter Heironimus was among the first stenographers to make use of the stenotype machine during his work in the U.S. District Court system in New Jersey in 1935. A "transcript crisis" arose during the later half of the twentieth century due to the increasing volume of lawsuits. There were not enough number of court reporters to match the increasing number of trials. Not only were court reporters unavailable to attend many court proceedings, court transcripts were constantly late and the qualities varied. Some believed it was due to the non-interchangeability between court reporters, and others believed it was simply due to a labor shortage. In the meantime, magnetic audiotape recording, or known as electronic recording (ER) began to threaten all reporters' job since it could record long-hour courtroom trials and replace a court reporter's position in the courtroom. As a result, machine translation (MT) intended to serve as a solution for preventing ER from potentially replacing reporters' jobs. However, MT relied heavily on human labors operating behind the system and many started to question if it should be the right way to end the "transcript crisis." Later in 1964, set up by CIA, the Automatic Language Processing Advisory Committee (ALPAC) was set to review whether MT was capable of solving this crisis. They concluded that MT had failed to do so. Then Patrick O'Neill, a skilled and experienced court reporter, stayed to work on the stenotype-translation project with CIA and developed the prototype CAT system. After adopting the CAT system in court-reporting community, CAT was brought into the television broadcasting system, aiming to provide captions for the deaf or hard-of-hearing communities. In 1983, Linda Miller developed a further use for the CAT system. She successfully translated a lecture live on the television screen and provided a transcript for students. This technique is known as Computer-Aided Real-time Translation, or CART. == Court reporter == It is the court reporter's job to note down the exact words spoken by every participants during a court or deposition proceeding. Then court reporters will provide verbatim transcripts. The reason to have an official court transcript is that the real-time transcriptions allows attorneys and judges to have immediate access to the transcript. It also helps when there's a need to look up for information from the proceeding. Additionally, the deaf and the hard-of-hearing communities can also participate in the judicial process with the help of real-time transcriptions provided by court reporters. === Education and training === The required degree level for a court reporter to have is an Associate's degree or postsecondary certificate. In order to become a court reporter, more than 150 reporter training programs are provided at proprietary schools, community colleges, and four-year universities. After graduation, court reporters can choose to further pursue certifications to achieve a higher level of expertise and increase their marketability during a job search. In most states, Certificates of Proficiency from the NCRA or from state agencies are now required certificates for court reporters to have in order to qualify for appointments. The NCRA aims to set the national standard for the certification of court reporters, and since 1937 it has offered its certification program which is now accepted by 22 states instead of state licenses. Court reporter training programs include but not limited to: Training in rapid writing skill, or shorthand, which will enable students to record, with accuracy, at least 225 words per minute Training in typing, which will enable students to type at least 60 words per minute A general training in English, which covers aspects of grammar, word formation, punctuation, spelling and capitalization Taking Law related courses in order to understand the overall principles of civil and criminal law, legal terminology and common Latin phrases, rules of evidence, court procedures, the duties of court reporters, the ethics of the profession Visits to actual trials Taking courses in elementary anatomy and physiology and medical word study including medical prefixes, roots and suffixes. Other than official court reporters, who are assigned to and work for a particular court, other types of court reporters include free-lance reporter, who either works for a court reporting firm or self-employed. They are different from official court reporters in that they have the chances to work on a wider range of assignments and work on basis of hourly wage. Hearing reporters work at governmental agency hearings. Legislative reporters work in law-making bodies. The demand for reporters is not limited in just the court settings. Reporters are also needed in conferences, meetings, conventions, investigations, and a variety of industries with needs for employers with real-time data entry skills. == Non-English transcription == Transcription services are universally necessary, so it is not limited to the English language. A stenographer's ability to transcribe languages beyond only English is especially valuable as society as a whole becomes increasingly multilingual. Education in non-English transcription demands a comprehensive understanding of the given language. Phonetic differences between English and other languages are a particular challenge in carrying English transcription skills over into other languages. Stenography represents various sounds of a language in a formal system of shorthand, so differences within the sets of sounds that emerge in other languages require an alternative system of shorthand transcription. For example, the presence of many diphthongs and triphthongs in Spanish requires certain sounds to be distinguished that would not be present in transcribing English into shorthand. == Controversies == The usage of transcription in the context of linguistic discussions has been controversial. Typically, two kinds of linguistic records are considered to be scientifically relevant. First, linguistic records of general acoustic features, and secondly, records that only focuses on the distinctive phonemes of a language. While transcriptions are not entirely illegitimate, transcriptions without enough detailed commentary regarding any linguistic features, or transcriptions of poor quality resources, has a great chance of the content being misinterpreted. Besides misinterpretation, transcribers could also bring in cultural biases and ignorance that reflect onto their transcription. These instances may cause a disruption of reliability in the final real-time transcription, which could influence how the written utterance is seen as an evidence for a court-case. === Quality issues === Problems in the final resulting transcription can be caused by either the quality of the transcriber or the original source that is being transcribed. Transcribers can come from different levels of skill and training background. This makes the final transcription prone to poor quality, or if the transcription is being done by multiple people, lack of consistency in the content. If the source of the transcription is a recording, the problem may root back to the quality of the re

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  Weight initialization

  In deep learning, weight initialization or parameter initialization describes the initial step in creating a neural network. A neural network contains trainable parameters that are modified during training: weight initialization is the pre-training step of assigning initial values to these parameters. The choice of weight initialization method affects the speed of convergence, the scale of neural activation within the network, the scale of gradient signals during backpropagation, and the quality of the final model. Proper initialization is necessary for avoiding issues such as vanishing and exploding gradients and activation function saturation. Note that even though this article is titled "weight initialization", both weights and biases are used in a neural network as trainable parameters, so this article describes how both of these are initialized. Similarly, trainable parameters in convolutional neural networks (CNNs) are called kernels and biases, and this article also describes these. == Constant initialization == We discuss the main methods of initialization in the context of a multilayer perceptron (MLP). Specific strategies for initializing other network architectures are discussed in later sections. For an MLP, there are only two kinds of trainable parameters, called weights and biases. Each layer l {\displaystyle l} contains a weight matrix W ( l ) ∈ R n l − 1 × n l {\displaystyle W^{(l)}\in \mathbb {R} ^{n_{l-1}\times n_{l}}} and a bias vector b ( l ) ∈ R n l {\displaystyle b^{(l)}\in \mathbb {R} ^{n_{l}}} , where n l {\displaystyle n_{l}} is the number of neurons in that layer. A weight initialization method is an algorithm for setting the initial values for W ( l ) , b ( l ) {\displaystyle W^{(l)},b^{(l)}} for each layer l {\displaystyle l} . The simplest form is zero initialization: W ( l ) = 0 , b ( l ) = 0 {\displaystyle W^{(l)}=0,b^{(l)}=0} Zero initialization is usually used for initializing biases, but it is not used for initializing weights, as it leads to symmetry in the network, causing all neurons to learn the same features. In this page, we assume b = 0 {\displaystyle b=0} unless otherwise stated. Recurrent neural networks typically use activation functions with bounded range, such as sigmoid and tanh, since unbounded activation may cause exploding values. (Le, Jaitly, Hinton, 2015) suggested initializing weights in the recurrent parts of the network to identity and zero bias, similar to the idea of residual connections and LSTM with no forget gate. In most cases, the biases are initialized to zero, though some situations can use a nonzero initialization. For example, in multiplicative units, such as the forget gate of LSTM, the bias can be initialized to 1 to allow good gradient signal through the gate. For neurons with ReLU activation, one can initialize the bias to a small positive value like 0.1, so that the gradient is likely nonzero at initialization, avoiding the dying ReLU problem. == Random initialization == Random initialization means sampling the weights from a normal distribution or a uniform distribution, usually independently. === LeCun initialization === LeCun initialization, popularized in (LeCun et al., 1998), is designed to preserve the variance of neural activations during the forward pass. It samples each entry in W ( l ) {\displaystyle W^{(l)}} independently from a distribution with mean 0 and variance 1 / n l − 1 {\displaystyle 1/n_{l-1}} . For example, if the distribution is a continuous uniform distribution, then the distribution is U ( ± 3 / n l − 1 ) {\displaystyle {\mathcal {U}}(\pm {\sqrt {3/n_{l-1}}})} . === Glorot initialization === Glorot initialization (or Xavier initialization) was proposed by Xavier Glorot and Yoshua Bengio. It was designed as a compromise between two goals: to preserve activation variance during the forward pass and to preserve gradient variance during the backward pass. For uniform initialization, it samples each entry in W ( l ) {\displaystyle W^{(l)}} independently and identically from U ( ± 6 / ( n l + 1 + n l − 1 ) ) {\displaystyle {\mathcal {U}}(\pm {\sqrt {6/(n_{l+1}+n_{l-1})}})} . In the context, n l − 1 {\displaystyle n_{l-1}} is also called the "fan-in", and n l + 1 {\displaystyle n_{l+1}} the "fan-out". When the fan-in and fan-out are equal, then Glorot initialization is the same as LeCun initialization. === He initialization === As Glorot initialization performs poorly for ReLU activation, He initialization (or Kaiming initialization) was proposed by Kaiming He et al. for networks with ReLU activation. It samples each entry in W ( l ) {\displaystyle W^{(l)}} from N ( 0 , 2 / n l − 1 ) {\displaystyle {\mathcal {N}}(0,2/n_{l-1})} . === Orthogonal initialization === (Saxe et al. 2013) proposed orthogonal initialization: initializing weight matrices as uniformly random (according to the Haar measure) semi-orthogonal matrices, multiplied by a factor that depends on the activation function of the layer. It was designed so that if one initializes a deep linear network this way, then its training time until convergence is independent of depth. Sampling a uniformly random semi-orthogonal matrix can be done by initializing X {\displaystyle X} by IID sampling its entries from a standard normal distribution, then calculate ( X X ⊤ ) − 1 / 2 X {\displaystyle \left(XX^{\top }\right)^{-1/2}X} or its transpose, depending on whether X {\displaystyle X} is tall or wide. For CNN kernels with odd widths and heights, orthogonal initialization is done this way: initialize the central point by a semi-orthogonal matrix, and fill the other entries with zero. As an illustration, a kernel K {\displaystyle K} of shape 3 × 3 × c × c ′ {\displaystyle 3\times 3\times c\times c'} is initialized by filling K [ 2 , 2 , : , : ] {\displaystyle K[2,2,:,:]} with the entries of a random semi-orthogonal matrix of shape c × c ′ {\displaystyle c\times c'} , and the other entries with zero. (Balduzzi et al., 2017) used it with stride 1 and zero-padding. This is sometimes called the Orthogonal Delta initialization. Related to this approach, unitary initialization proposes to parameterize the weight matrices to be unitary matrices, with the result that at initialization they are random unitary matrices (and throughout training, they remain unitary). This is found to improve long-sequence modelling in LSTM. Orthogonal initialization has been generalized to layer-sequential unit-variance (LSUV) initialization. It is a data-dependent initialization method, and can be used in convolutional neural networks. It first initializes weights of each convolution or fully connected layer with orthonormal matrices. Then, proceeding from the first to the last layer, it runs a forward pass on a random minibatch, and divides the layer's weights by the standard deviation of its output, so that its output has variance approximately 1. === Fixup initialization === In 2015, the introduction of residual connections allowed very deep neural networks to be trained, much deeper than the ~20 layers of the previous state of the art (such as the VGG-19). Residual connections gave rise to their own weight initialization problems and strategies. These are sometimes called "normalization-free" methods, since using residual connection could stabilize the training of a deep neural network so much that normalizations become unnecessary. Fixup initialization is designed specifically for networks with residual connections and without batch normalization, as follows: Initialize the classification layer and the last layer of each residual branch to 0. Initialize every other layer using a standard method (such as He initialization), and scale only the weight layers inside residual branches by L − 1 2 m − 2 {\displaystyle L^{-{\frac {1}{2m-2}}}} . Add a scalar multiplier (initialized at 1) in every branch and a scalar bias (initialized at 0) before each convolution, linear, and element-wise activation layer. Similarly, T-Fixup initialization is designed for Transformers without layer normalization. === Others === Instead of initializing all weights with random values on the order of O ( 1 / n ) {\displaystyle O(1/{\sqrt {n}})} , sparse initialization initialized only a small subset of the weights with larger random values, and the other weights zero, so that the total variance is still on the order of O ( 1 ) {\displaystyle O(1)} . Random walk initialization was designed for MLP so that during backpropagation, the L2 norm of gradient at each layer performs an unbiased random walk as one moves from the last layer to the first. Looks linear initialization was designed to allow the neural network to behave like a deep linear network at initialization, since W R e L U ( x ) − W R e L U ( − x ) = W x {\displaystyle W\;\mathrm {ReLU} (x)-W\;\mathrm {ReLU} (-x)=Wx} . It initializes a matrix W {\displaystyle W} of shape R n 2 × m {\displaystyle \mathbb {R} ^{{\frac {n}{2}}\times m}} by any method, such as orthogonal initialization, t

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  Harmony (software)

  Harmony is a Java-based software for creating high-definition music videos with 2D and 3D animations. The application was developed by Digital Chaotics, a company based in San Jose, California and established in 2010 by Ken and Leanna Scott. == History == During a March 1, 2011 interview published by The LIST magazine, Ken explained how he initially got into music and digital entertainment. According to Scott: “I came at it from both the art and the technology side. … I built one of the first digital audio synthesizers as an undergrad project back in 1979. It was a short jump from there to creating visuals with computers, too.” Taking inspiration from Fantasia – which Scott calls, “The greatest music video of all time” – he began writing software code for Harmony in late 2009, finishing the project in mid-2010. However, Scott has also said that the idea for Harmony began much earlier: I read a book in 1978 called Digital Harmony, by John H Whitney, Sr. (Interestingly, he was the father of the president of Digital Productions.) He said that there was a kind of visual art based on motion, and proposed theories about the underlying mathematical structure of visual harmony. So there's the book, combined with my desire to create art with computers-add a taste or two of things commonly used by college students during the 70's - and lots of Pink Floyd. Add it all up, and the seeds for Harmony were planted. My friends in school and at Floating Point Systems listened to me ranting about "making music videos with computers" incessantly. I'm sure it was both maddening and fascinating to see. == Features == Harmony runs on Windows 7 and Windows Vista. Currently, Digital Chaotics does not offer a macOS or Linux platform for the software. However, Harmony can be run on these platforms by running it on Windows in a virtual machine. == Harmony 2 == On November 1, 2011, Digital Chaotics released the 2.0 version of the Harmony software. Unlike the original version, the second release featured three product levels: Harmony 2 Express, Harmony 2 Pro, and Harmony 2 Extreme. The "Express" version was positioned as an entry-level, free release to allow users a chance to "test-drive" the software. The "Pro" version currently retails at $197, while the "Extreme" is priced at $397. These two versions, aimed more towards VJ and Fulldome theater usage, featured additional software capability and features such as higher resolution, more video formatting options, and more camera angles.

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  ActivTrak

  ActivTrak is an American company that produces workforce analytics and productivity software. The company was founded in 2009 by Birch Grove Software and is headquartered in Austin, Texas. The company has raised US$77.5 million in funding and is backed by Sapphire Ventures and Elsewhere Partners. == History == ActivTrak was founded in 2009 by Herb Axilrod and Anton Seidler in Dallas, Texas. ActivTrak's first on-demand software product launched in 2012, and the workforce analytics platform launched in 2015. It uses data sourced from more than 9,500 customers and 900,000 users. In 2019, ActivTrak raised $20 million in a Series A round of funding with Elsewhere Partners, a growth-stage venture capital firm that principally invests in B2B startups. Rita Selvaggi assumed the role of CEO. In 2020, ActivTrak raised $50M in a Series B round of funding with Sapphire Ventures and Elsewhere Partners. The company also introduced the ActivTrak Productivity Lab, an online resource about workforce productivity research, industry benchmark data, and best practices. == Product == ActivTrak is a workforce analytics and productivity platform that uses reports, dashboards, and data analysis. The platform uses machine learning (AI) to collect and analyze user activity data and produce reports about workforce productivity. The software runs on Microsoft Windows, Mac, Chrome, Terminal Services, and VDI. It includes the ActivTrak Agent, which runs in the background and collects data. It responds to user activity, sensing mouse and keyboard movement in the active window(s) of the user's device. This data is collected and stored in a database that aggregates the data based on the user's request. ActivTrak does not utilize keystroke logging, content scraping, camera access, video recording or mobile device monitoring. The database leverages data analytics to generate account and team benchmarks, and identify productivity patterns and outliers. == Awards == Built In, 100 Best Midsize Places to Work in Austin, 2025 G2, Winter: Best Estimated ROI, High Performer, Best Relationship, Best Support, Users Most Likely to Recommend, Easiest Setup, Easiest Admin, Best Meets Requirements, Users Love Us, 2025 TrustRadius, Buyer’s Choice, 2025 Deloitte Technology Fast 500, No. 468 Fastest-Growing Company, 2024 Product Marketing Alliance, AI Marketing Innovation, 2024 Fortune Best Workplaces in Technology™, 2024 Inc. 5000, No. 2335 of America’s Fastest-Growing Private Companies, 2024 Fortune Best Workplaces in Texas™, 2024 Reworked IMPACT Gold Award: Most Innovative Workplace Productivity Solution, 2024 TrustRadius, Most Loved, 2024 Great Place To Work-Certified™, 2024 Inc. 5000 Regionals: Southwest, 2024 Brandon Hall Group, Best Advance in HR Predictive Analytics Technology, 2024

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  Deluxe Paint

  Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai

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  Pixel-art scaling algorithms

  Pixel art scaling algorithms are graphical filters that attempt to enhance the appearance of hand-drawn 2D pixel art graphics. These algorithms are a form of automatic image enhancement. Pixel art scaling algorithms employ methods significantly different than the common methods of image rescaling, which have the goal of preserving the appearance of images. As pixel art graphics are commonly used at very low resolutions, they employ careful coloring of individual pixels. This results in graphics that rely on a high amount of stylized visual cues to define complex shapes. Several specialized algorithms have been developed to handle re-scaling of such graphics. These specialized algorithms can improve the appearance of pixel-art graphics, but in doing so they introduce changes. Such changes may be undesirable, especially if the goal is to faithfully reproduce the original appearance. Since a typical application of this technology is improving the appearance of fourth-generation and earlier video games on arcade and console emulators, many pixel art scaling algorithms are designed to run in real-time for sufficiently small input images at 60-frames per second. This places constraints on the type of programming techniques that can be used for this sort of real-time processing. Many work only on specific scale factors. 2× is the most common scale factor, while 3×, 4×, 5×, and 6× exist but are less used. == Algorithms == === SAA5050 'Diagonal Smoothing' === The Mullard SAA5050 Teletext character generator chip (1980) used a primitive pixel scaling algorithm to generate higher-resolution characters on the screen from a lower-resolution representation from its internal ROM. Internally, each character shape was defined on a 5 × 9 pixel grid, which was then interpolated by smoothing diagonals to give a 10 × 18 pixel character, with a characteristically angular shape, surrounded to the top and the left by two pixels of blank space. The algorithm only works on monochrome source data, and assumes the source pixels will be logically true or false depending on whether they are 'on' or 'off'. Pixels 'outside the grid pattern' are assumed to be off. The algorithm works as follows: A B C --\ 1 2 D E F --/ 3 4 1 = B | (A & E & !B & !D) 2 = B | (C & E & !B & !F) 3 = E | (!A & !E & B & D) 4 = E | (!C & !E & B & F) Note that this algorithm, like the Eagle algorithm below, has a flaw: If a pattern of 4 pixels in a hollow diamond shape appears, the hollow will be obliterated by the expansion. The SAA5050's internal character ROM carefully avoids ever using this pattern. The degenerate case: becomes: === EPX/Scale2×/AdvMAME2× === Eric's Pixel Expansion (EPX) is an algorithm developed by Eric Johnston at LucasArts around 1992, when porting the SCUMM engine games from the IBM PC (which ran at 320 × 200 × 256 colors) to the early color Macintosh computers, which ran at more or less double that resolution. The algorithm works as follows, expanding P into 4 new pixels based on P's surroundings: 1=P; 2=P; 3=P; 4=P; IF C==A => 1=A IF A==B => 2=B IF D==C => 3=C IF B==D => 4=D IF of A, B, C, D, three or more are identical: 1=2=3=4=P Later implementations of this same algorithm (as AdvMAME2× and Scale2×, developed around 2001) are slightly more efficient but functionally identical: 1=P; 2=P; 3=P; 4=P; IF C==A AND C!=D AND A!=B => 1=A IF A==B AND A!=C AND B!=D => 2=B IF D==C AND D!=B AND C!=A => 3=C IF B==D AND B!=A AND D!=C => 4=D AdvMAME2× is available in DOSBox via the scaler=advmame2x dosbox.conf option. The AdvMAME4×/Scale4× algorithm is just EPX applied twice to get 4× resolution. ==== Scale3×/AdvMAME3× and ScaleFX ==== The AdvMAME3×/Scale3× algorithm (available in DOSBox via the scaler=advmame3x dosbox.conf option) can be thought of as a generalization of EPX to the 3× case. The corner pixels are calculated identically to EPX. 1=E; 2=E; 3=E; 4=E; 5=E; 6=E; 7=E; 8=E; 9=E; IF D==B AND D!=H AND B!=F => 1=D IF (D==B AND D!=H AND B!=F AND E!=C) OR (B==F AND B!=D AND F!=H AND E!=A) => 2=B IF B==F AND B!=D AND F!=H => 3=F IF (H==D AND H!=F AND D!=B AND E!=A) OR (D==B AND D!=H AND B!=F AND E!=G) => 4=D 5=E IF (B==F AND B!=D AND F!=H AND E!=I) OR (F==H AND F!=B AND H!=D AND E!=C) => 6=F IF H==D AND H!=F AND D!=B => 7=D IF (F==H AND F!=B AND H!=D AND E!=G) OR (H==D AND H!=F AND D!=B AND E!=I) => 8=H IF F==H AND F!=B AND H!=D => 9=F There is also a variant improved over Scale3× called ScaleFX, developed by Sp00kyFox, and a version combined with Reverse-AA called ScaleFX-Hybrid. === Eagle === Eagle works as follows: for every in pixel, we will generate 4 out pixels. First, set all 4 to the color of the pixel we are currently scaling (as nearest-neighbor). Next look at the three pixels above, to the left, and diagonally above left: if all three are the same color as each other, set the top left pixel of our output square to that color in preference to the nearest-neighbor color. Work similarly for all four pixels, and then move to the next one. Assume an input matrix of 3 × 3 pixels where the centermost pixel is the pixel to be scaled, and an output matrix of 2 × 2 pixels (i.e., the scaled pixel) first: |Then . . . --\ CC |S T U --\ 1 2 . C . --/ CC |V C W --/ 3 4 . . . |X Y Z | IF V==S==T => 1=S | IF T==U==W => 2=U | IF V==X==Y => 3=X | IF W==Z==Y => 4=Z Thus if we have a single black pixel on a white background it will vanish. This is a bug in the Eagle algorithm but is solved by other algorithms such as EPX, 2xSaI, and HQ2x. === 2×SaI === 2×SaI, short for 2× Scale and Interpolation engine, was inspired by Eagle. It was designed by Derek Liauw Kie Fa, also known as Kreed, primarily for use in console and computer emulators, and it has remained fairly popular in this niche. Many of the most popular emulators, including ZSNES and VisualBoyAdvance, offer this scaling algorithm as a feature. Several slightly different versions of the scaling algorithm are available, and these are often referred to as Super 2×SaI and Super Eagle. The 2xSaI family works on a 4 × 4 matrix of pixels where the pixel marked A below is scaled: I E F J G A B K --\ W X H C D L --/ Y Z M N O P For 16-bit pixels, they use pixel masks which change based on whether the 16-bit pixel format is 565 or 555. The constants colorMask, lowPixelMask, qColorMask, qLowPixelMask, redBlueMask, and greenMask are 16-bit masks. The lower 8 bits are identical in either pixel format. Two interpolation functions are described: INTERPOLATE(uint32 A, UINT32 B). -- linear midpoint of A and B if (A == B) return A; return ( ((A & colorMask) >> 1) + ((B & colorMask) >> 1) + (A & B & lowPixelMask) ); Q_INTERPOLATE(uint32 A, uint32 B, uint32 C, uint32 D) -- bilinear interpolation; A, B, C, and D's average x = ((A & qColorMask) >> 2) + ((B & qColorMask) >> 2) + ((C & qColorMask) >> 2) + ((D & qColorMask) >> 2); y = (A & qLowPixelMask) + (B & qLowPixelMask) + (C & qLowPixelMask) + (D & qLowPixelMask); y = (y >> 2) & qLowPixelMask; return x + y; The algorithm checks A, B, C, and D for a diagonal match such that A==D and B!=C, or the other way around, or if they are both diagonals or if there is no diagonal match. Within these, it checks for three or four identical pixels. Based on these conditions, the algorithm decides whether to use one of A, B, C, or D, or an interpolation among only these four, for each output pixel. The 2xSaI arbitrary scaler can enlarge any image to any resolution and uses bilinear filtering to interpolate pixels. Since Kreed released the source code under the GNU General Public License, it is freely available to anyone wishing to utilize it in a project released under that license. Developers wishing to use it in a non-GPL project would be required to rewrite the algorithm without using any of Kreed's existing code. It is available in DOSBox via scaler=2xsai option. === hqnx family === Maxim Stepin's hq2x, hq3x, and hq4x are for scale factors of 2:1, 3:1, and 4:1 respectively. Each work by comparing the color value of each pixel to those of its eight immediate neighbors, marking the neighbors as close or distant, and using a pre-generated lookup table to find the proper proportion of input pixels' values for each of the 4, 9 or 16 corresponding output pixels. The hq3x family will perfectly smooth any diagonal line whose slope is ±0.5, ±1, or ±2 and which is not anti-aliased in the input; one with any other slope will alternate between two slopes in the output. It will also smooth very tight curves. Unlike 2xSaI, it anti-aliases the output. hqnx was initially created for the Super NES emulator ZSNES. The author of bsnes has released a space-efficient implementation of hq2x to the public domain. A port to shaders, which has comparable quality to the early versions of xBR, is available. Before the port, a shader called "scalehq" has often been confused for hqx. === xBR family === There are 6 filters in this family: xBR , xBRZ, xBR-Hybrid, Super xBR, xBR+3D and Super xBR+3D. xBR ("scale by rules"), cre

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  YrWall

  YrWall is a Digital Graffiti Wall developed by event company Luma, where designs are created on a large wall using a modified spray paint can. The can contains no paint, instead it has an IR light which is tracked by a computer vision system and the image immediately back-projected onto the wall. The inbuilt YrWall software has much of the functionality of a typical computer paint program, with a pop-out interface which enables users to change colour, spray width, opacity, work with stencils and use animated items such as swirls, stars, drips and splats. Recent additions to YrWall include options to email a JPEG of the completed design and create personalised stickers and T-shirts. == Dragons' Den == The inventor of YrWall, Tom Hogan, and his business partner, Tim Williams, appeared on Episode 4 of Series 8 of the BBC show Dragons' Den. Seeking investment in YrWall, the entrepreneurs were successful in gaining £50,000 for 40% of the YrWall parent company Lumacoustics from Dragons Deborah Meaden and Peter Jones. == World's Largest Interactive Graffiti Wall == In September 2009 YrWall was used to create the 'World's Largest Interactive Graffiti Wall' at the Bristol Festival, UK. Artists used the standard 3.5 m2 YrWall to produce artwork which was in turn projected live onto a 26m x 10m space on the side of the iconic Lloyds amphitheatre building.

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  Automated parking system

  An automated (car) parking system (APS) is a mechanical system designed to minimize the area and/or volume required for parking cars. Like a multi-story parking garage, an APS provides parking for cars on multiple levels stacked vertically to maximize the number of parking spaces while minimizing land usage. The APS, however, utilizes a mechanical system to transport cars to and from parking spaces (rather than the driver) in order to eliminate much of the space wasted in a multi-story parking garage. While a multi-story parking garage is similar to multiple parking lots stacked vertically, an APS is more similar to an automated storage and retrieval system for cars. Parking systems are generally powered by electric motors or hydraulic pumps that move vehicles into a storage position.The paternoster (shown animated at the right) is an example of one of the earliest and most common types of APS. APS are also generically known by a variety of other names, including:automated parking facility (APF), automated vehicle storage and retrieval system (AVSRS), car parking system, mechanical parking, and robotic parking garage. == History == The concept for the automated parking system was and is driven by two factors: a need for parking spaces and a scarcity of available land. The earliest use of an APS was in Paris, France in 1905 at the Garage Rue de Ponthieu. The APS consisted of a groundbreaking multi-story concrete structure with an internal car elevator to transport cars to upper levels where attendants parked the cars. In the 1920s, a Ferris wheel-like APS (for cars rather than people) called a paternoster system became popular as it could park eight cars in the ground space normally used for parking two cars. Mechanically simple with a small footprint, the paternoster was easy to use in many places, including inside buildings. At the same time, Kent Automatic Garages was installing APS with capacities exceeding 1,000 cars. The “ferris-wheel,” or paternoster system — was created by the Westinghouse Corporation in 1923 and subsequently built in 1932 on Chicago's Monroe Street. The Nash Motor Company created the first glass-enclosed version of this system for the Chicago Century of Progress Exhibition in 1933 The first driverless parking garage opened in 1951 in Washington, D.C., but was replaced with office space due to increasing land values. APS saw a spurt of interest in the U.S. in the late 1940s and 1950s with the Bowser, Pigeon Hole and Roto Park systems. In 1957, 74 Bowser, Pigeon Hole systems were installed, and some of these systems remain in operation. However, interest in APS in the U.S. waned due to frequent mechanical problems and long waiting times for patrons to retrieve their cars. In the United Kingdom, the Auto Stacker opened in 1961 in Woolwich, south east London, but proved equally difficult to operate. Interest in APS in the U.S. was renewed in the 1990s, and there were 25 major current and planned APS projects (representing nearly 6,000 parking spaces) in 2012. The first American robotic parking garage opened in 2002 in Hoboken, New Jersey. While interest in the APS in the U.S. languished until the 1990s, Europe, Asia and Central America had been installing more technically advanced APS since the 1970s. In the early 1990s, nearly 40,000 parking spaces were being built annually using the paternoster APS in Japan. In 2012, there are an estimated 1.6 million APS parking spaces in Japan. The ever-increasing scarcity of available urban land (urbanization) and increase of the number of cars in use (motorization) have combined with sustainability and other quality-of-life issues to renew interest in APS as alternatives to multi-storey car parks, on-street parking, and parking lots. == Largest systems == The largest Automated Parking Facility in the world is in Al Jahra, Kuwait, and provides 2,314 parking spaces. The world's fastest Automated Parking System is in Wolfsburg, Germany, with a retrieval time of 1 minute and 44 seconds. The largest APS in Europe is at Dokk1 in Aarhus, Denmark, and provides 1,000 parking spaces via 20 car lifts. == Space saving == All APS take advantage of a common concept to decrease the area of parking spaces - removing the driver and passengers from the car before it is parked. With either fully automated or semi-automated APS, the car is driven up to an entry point to the APS and the driver and passengers exit the car. The car is then moved automatically or semi-automatically (with some attendant action required) to its parking space. The space-saving provided by the APS, compared to the multi-story parking garage, is derived primarily from a significant reduction in space not directly related to the parking of the car: Parking space width and depth (and distances between parking spaces) are dramatically reduced since no allowance need be made for driving the car into the parking space or for the opening of car doors (for drivers and passengers) No driving lanes or ramps are needed to drive the car to/from the entrance/exit to a parking space Ceiling height is minimized since there is no pedestrian traffic (drivers and passengers) in the parking area, and No walkways, stairways or elevators are needed to accommodate pedestrians in the parking area. With the elimination of ramps, driving lanes, pedestrians and the reduction in ceiling heights, the APS requires substantially less structural material than the multi-story parking garage. Many APS utilize a steel framework (some use thin concrete slabs) rather than the monolithic concrete design of the multi-story parking garage. These factors contribute to an overall volume reduction and further space savings for the APS. == Other considerations == In addition to the space saving, many APS designs provide a number of secondary benefits: The parked cars and their contents are more secure since there is no public access to parked cars Minor parking lot damage such as scrapes and dents are eliminated Drivers and passengers are safer not having to walk through parking lots or garages Driving around in search of a parking space is eliminated, thereby reducing engine emissions and wasted time Only minimal ventilation and lighting systems are needed Handicap access is improved The volume and visual impact of the parking structure is minimized Shorter construction time === Problems === There have been a number of problems with robotic parking systems, particularly in the United States. The systems work well in balanced throughput situations like shopping malls and train stations, but they are unsuited to high peak volume applications like rush hour usage or stadiums and they suffer from technical problems. Further, parkers not familiar with the system may cause problems, for example by failing to push the button to alert a fully automated system to the presence of a car to be parked. In London around 40 vehicles were trapped for two years in CBRE's system. == Fully automated vs semi-automated == Fully automated parking systems operate much like robotic valet parking. The driver drives the car into an APS entry (transfer) area. The driver and all passengers exit the car. The driver uses an automated terminal nearby for payment and receipt of a ticket. When driver and passengers have left the entry area, the mechanical system lifts the car and transports it to a pre-determined parking space in the system. More sophisticated fully automated APS will obtain the dimensions of cars on entry in order to place them in the smallest available parking space. The driver retrieves a car by inserting a ticket or code into an automated terminal. The APS lifts the car from its parking space and delivers it to an exit area. Most often, the retrieved car has been oriented to eliminate the need for the driver to back out. Fully automated APS theoretically eliminate the need for parking attendants. Semi-automated APS also use a mechanical system of some type to move a car to its parking space, however putting the car into and/or the operation of the system requires some action by an attendant or the driver. The choice between fully and semi-automated APS is often a matter of space and cost, however large capacity (> 100 cars) tend to be fully automated. == Applications == By virtue of their relatively smaller volume and mechanized parking systems, APS are often used in locations where a multi-story parking garage would be too large, too costly or impractical. Examples of such applications include, under or inside existing or new structures, between existing structures and in irregularly shaped areas. APS can also be applied in situations similar to multi-storey parking garages such as freestanding above ground, under buildings above grade and under buildings below grade. == Costs == The direct comparison of costs between an APS and a multi-story parking garage can be complicated by many variables such as capacity, land costs, area shape, number and location of entranc

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