AI Chat Character

AI Chat Character — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Normalization (image processing)

    Normalization (image processing)

    In image processing, normalization is a process that changes the range of pixel intensity values, a kind of intensity mapping. Applications include photographs with poor contrast due to glare, for example. A typical case is contrast stretching. In more general fields of data processing, such as digital signal processing, it is referred to as dynamic range expansion. The purpose of dynamic range expansion in the various applications is usually to bring the image, or other type of signal, into a range that is more familiar or normal to the senses, hence the term normalization. Often, the motivation is to achieve consistency in dynamic range for a set of data, signals, or images to avoid mental distraction or fatigue. For example, a newspaper will strive to make all of the images in an issue share a similar range of grayscale. Auto-normalization in image processing software typically normalizes to the full dynamic range of the number system specified in the image file format. == Definition == Normalization transforms an n-dimensional grayscale image I : { X ⊆ R n } → { Min , . . , Max } {\displaystyle I:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{Min}},..,{\text{Max}}\}} with intensity values in the range ( Min , Max ) {\displaystyle ({\text{Min}},{\text{Max}})} , into a new image I N : { X ⊆ R n } → { newMin , . . , newMax } {\displaystyle I_{N}:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{newMin}},..,{\text{newMax}}\}} with intensity values in the range ( newMin , newMax ) {\displaystyle ({\text{newMin}},{\text{newMax}})} . The linear normalization of a grayscale digital image is performed according to the formula I N = ( I − Min ) newMax − newMin Max − Min + newMin {\displaystyle I_{N}=(I-{\text{Min}}){\frac {{\text{newMax}}-{\text{newMin}}}{{\text{Max}}-{\text{Min}}}}+{\text{newMin}}} For example, if the intensity range of the image is 50 to 180 and the desired range is 0 to 255 the process entails subtracting 50 from each of pixel intensity, making the range 0 to 130. Then each pixel intensity is multiplied by 255/130, making the range 0 to 255. Normalization might also be non-linear, as the relationship between I {\displaystyle I} and I N {\displaystyle I_{N}} may not be linear. An example of non-linear normalization is when the normalization follows a sigmoid function, in which case the normalized image is computed according to the formula I N = ( newMax − newMin ) 1 1 + e − I − β α + newMin {\displaystyle I_{N}=({\text{newMax}}-{\text{newMin}}){\frac {1}{1+e^{-{\frac {I-\beta }{\alpha }}}}}+{\text{newMin}}} Where α {\displaystyle \alpha } defines the width of the input intensity range, and β {\displaystyle \beta } defines the intensity around which the range is centered. Gamma correction (log/inverse log) is also a common transformation function. === Colorspace === Intensity operations generally operate on a colorspace that maps to the human perception of lightness without intentionally changing the other properties. This can be done, for example, by operating on the L component of the CIELAB color space, or approximately by operating on the Y component of YCbCr. It is also possible to operate on each of the RGB color channels, though the result will not always make sense. == Contrast stretching == This is the most significant and essential technique of spatial-based image enhancement. The basic intent of this contrast enhancement technique is to adjust the local contrast in the image so as to bring out the clear regions or objects in the image. Low-contrast images often result from poor or non-uniform lighting conditions, a limited dynamic range of the imaging sensor, or improper settings of the lens aperture. This operation tries to change the intensity of the pixel in the image, particularly in the input image, to obtain an enhanced image. It is based on the number of techniques, namely local, global, dark and bright levels of contrast. The contrast enhancement is considered as the amount of color or gray differentiation that lies among the different features in an image. The contrast enhancement improves the quality of image by increasing the luminance difference between the foreground and background. A contrast stretching transformation can be achieved by: Stretching the dark range of input values into a wider range of output values: This involves increasing the brightness of the darker areas in the image to enhance details and improve visibility. Shifting the mid-range of input values: This involves adjusting the brightness levels of the mid-tones in the image to improve overall contrast and clarity. Compressing the bright range of input values: This process involves reducing the brightness of the brighter areas in the image to prevent overexposure resulting in a more balanced and visually appealing image. It can be described as the following piecewise funciton: I N = { s 1 r 1 I if I < r 1 s 2 − s 1 r 1 − r 2 ( I − r 1 ) if r 1 ≤ I ≤ r 2 1 − s 2 1 − r 2 ( I − r 2 ) if I > r 2 {\displaystyle I_{N}={\begin{cases}{\frac {s_{1}}{r_{1}}}I&{\text{if }}Ir_{2}\end{cases}}} Where: ( r 1 , s 1 ) {\displaystyle (r_{1},s_{1})} defines the transition point between the "dark" range to the "main" range. ( r 2 , s 2 ) {\displaystyle (r_{2},s_{2})} defines the transition point between the "main" range to the "bright" range. A typical linear stretch is obtained when ( r 1 , s 1 ) = ( r min , 0 ) {\displaystyle (r_{1},s_{1})=(r_{\text{min}},0)} and ( r 2 , s 2 ) = ( r max , 1 ) {\displaystyle (r_{2},s_{2})=(r_{\text{max}},1)} , where r min {\displaystyle r_{\text{min}}} and r max {\displaystyle r_{\text{max}}} denote the minimum and maximum levels in the source image. === Global contrast stretching === Global Contrast Stretching considers all color palate ranges at once to determine the maximum and minimum values for the entire RGB color image. This approach utilizes the combination of RGB colors to derive a single maximum and minimum value for contrast stretching across the entire image. === Local contrast stretching === Local contrast stretching (LCS) is an image enhancement method that focuses on locally adjusting each pixel's value to improve the visualization of structures within an image, particularly in both the darkest and lightest portions. It operates by utilizing sliding windows, known as kernels, which traverse the image. The central pixel within each kernel is adjusted using the following formula: I p ( x , y ) = 255 × [ I 0 ( x , y ) − m i n ] ( m a x − m i n ) {\displaystyle I_{p}(x,y)=255\times {\frac {[I_{0}(x,y)-min]}{(max-min)}}} Where: Ip(x,y) is the color level for the output pixel (x,y) after the contrast stretching process. I0(x,y) is the color level input for data pixel (x, y). max is the maximum value for color level in the input image within the selected kernel. min is the minimum value for color level in the input image within the selected kernel. A piecewise form (see above) may also be used. LCS can be applied to the three color channels of an image separately.

    Read more →
  • Pattern playback

    Pattern playback

    The pattern playback is an early talking device that was built by Dr. Franklin S. Cooper and his colleagues, including John M. Borst and Caryl Haskins, at Haskins Laboratories in the late 1940s and completed in 1950. There were several different versions of this hardware device. Only one currently survives. The machine converts pictures of the acoustic patterns of speech in the form of a spectrogram back into sound. Using this device, Alvin Liberman, Frank Cooper, and Pierre Delattre (later joined by Katherine Safford Harris, Leigh Lisker, and others) were able to discover acoustic cues for the perception of phonetic segments (consonants and vowels). This research was fundamental to the development of modern techniques of speech synthesis, reading machines for the blind, the study of speech perception and speech recognition, and the development of the motor theory of speech perception. To create sound, the pattern playback machine uses an arc light source which is directed against a rotating disk with 50 concentric tracks whose transparencies vary systematically in order to produce 50 harmonics of a fundamental frequency. The light is further projected against a spectrogram, whose reflectance corresponds to the sound pressure level of the partial of the signal, and is then directed towards a photovoltaic cell by which the light variation is converted into sound pressure variations. The pattern playback was last used in an experimental study by Robert Remez in 1976. The pattern playback now resides in the Museum at Haskins Laboratories in New Haven, Connecticut. The technique of pattern playback also now refers, more generally, to algorithms or techniques for converting spectrograms, cochleagrams, and correlograms from pictures back into sounds. A demonstration is in the TV show Adventure. Pioneering technology in psycholinguistics (CBS Television. 1953). == Digital pattern playback == In the 1970s, digital pattern playbacks began to supplant the earlier version. An early prototype was developed by Patrick Nye, Philip Rubin, and colleagues at Haskins Laboratories. It combined a "Ubiquitous Spectrum Analyzer"[1] for automatic spectral analysis, along with a VAX GT-40 display processor for graphic manipulation of the displayed spectrogram, a form of "synthesis by art", and subsequent re-synthesis using a 40 channel filter bank. This hybrid hardware/software digital pattern playback was eventually replaced at Haskins Laboratories by the HADES analysis and display system, designed by Philip Rubin, and implemented in Fortran on the VAX family of computers. A more modern version has been described by Arai and colleagues [2]. An on-line demonstration is available [3].

    Read more →
  • Luminance HDR

    Luminance HDR

    Luminance HDR, formerly Qtpfsgui, is graphics software used for the creation and manipulation of high-dynamic-range images. Released under the terms of the GPL, it is available for Linux, Microsoft Windows, and Mac OS X (Intel only). Luminance HDR supports several High Dynamic Range (HDR) as well as Low Dynamic Range (LDR) file formats. == Functionality == Prerequisite of HDR photography are several narrow-range digital images with different exposures. Luminance HDR combines these images and calculates a high-contrast image. In order to view this image on a regular computer monitor, Luminance HDR can convert it into a displayable LDR image format using a variety of methods, such as tone mapping. Currently fifteen different tone mapping operators (algorithms) are available, each one with its tunable parameters. Different image processing techniques can be applied to the generated HDR images, such as resizing, cropping, rotating and a number of projective transformations. The software also provides batch processing functionality for creating HDR images and for tone mapping them in a non-interactive way. A module for copying Exif data among sets of images is also provided. For users who prefers the command line, a non-GUI, non-graphical interface is also available on all supported platforms. A common problem with HDR photography is that images need to be aligned exactly. If the subject is static, this can be achieved using a tripod or a stable surface on which the camera is placed. In the case of image data that does not align exactly, an automatic alignment can be performed using a tool provided by the Hugin project. If this automation doesn't provide the desired result, the user may improve it manually. == Supported formats == HDR images are images with a high dynamic range and, using Luminance HDR, they can be created as well as edited. The following HDR graphic formats are supported: OpenEXR Radiance HDR Tag Image File Format (TIFF) Format: 16 Bit, 32 Bit (Float) and LogLuv Raw PFS native Luminance HDR can create an HDR image from several LDR images and tonemap an HDR into an LDR. The following LDR formats are supported: JPG PNG Portable Pixmap (PPM) Portable Bitmap (PBM) TIFF (8 Bit)

    Read more →
  • Flexidraw

    Flexidraw

    Flexidraw is a 1985 graphics computer program published by Inkwell Systems. == Gameplay == Flexidraw is a graphics program that allows users to produce drawings using a light pen and print them. == Reception == Roy Wagner reviewed the product for Computer Gaming World, and stated that "Of the many graphics programs available Flexidraw is certainly the best supported by it's [sic] parent company."

    Read more →
  • Floyd–Steinberg dithering

    Floyd–Steinberg dithering

    Floyd–Steinberg dithering is an image dithering algorithm first published in 1976 by Robert W. Floyd and Louis Steinberg. It is commonly used by image manipulation software, for example, when converting an image from a Truecolor 24-bit PNG format into a GIF format, which is restricted to a maximum of 256 colors. == Implementation == The algorithm achieves dithering using error diffusion, meaning it pushes (adds) the residual quantization error of a pixel onto its neighboring pixels, to be quantized after. It spreads the debt out according to the distribution (shown as a map of the neighboring pixels): [ ∗ 7 16 … … 3 16 5 16 1 16 … ] {\displaystyle {\begin{bmatrix}&&&{\frac {\displaystyle 7}{\displaystyle 16}}&\ldots \\\ldots &{\frac {\displaystyle 3}{\displaystyle 16}}&{\frac {\displaystyle 5}{\displaystyle 16}}&{\frac {\displaystyle 1}{\displaystyle 16}}&\ldots \\\end{bmatrix}}} The pixel indicated with a star () indicates the pixel currently being scanned, and the blank pixels are the previously scanned pixels. The specific values (7/16, 3/16, 5/16, 1/16) were originally found by trial-and-error, "guided by the desire to have a region of desired density 0.5 come out as a checkerboard pattern". The algorithm scans the image from left to right, top to bottom, quantizing pixel values one by one. Each time, the quantization error is transferred to the neighboring pixels, while not affecting the pixels that already have been quantized. Hence, if a number of pixels have been rounded downwards, it becomes more likely that the next pixel is rounded upwards, such that on average, the quantization error is close to zero. The diffusion coefficients have the property that if the original pixel values are exactly halfway in between the nearest available colors, the dithered result is a checkerboard pattern. For example, 50% grey data could be dithered as a black-and-white checkerboard pattern. For optimal dithering, the counting of quantization errors should be in sufficient accuracy to prevent rounding errors from affecting the result. For correct results, all values should be linearized first, rather than operating directly on sRGB values as is common for images stored on computers. In some implementations, the horizontal direction of scan alternates between lines; this is called "serpentine scanning" or boustrophedon transform dithering. The algorithm described above is in the following pseudocode. This works for any approximately linear encoding of pixel values, such as 8-bit integers, 16-bit integers or real numbers in the range [0, 1]. for each y from top to bottom do for each x from left to right do oldpixel := pixels[x][y] newpixel := find_closest_palette_color(oldpixel) pixels[x][y] := newpixel quant_error := oldpixel - newpixel pixels[x + 1][y ] := pixels[x + 1][y ] + quant_error × 7 / 16 pixels[x - 1][y + 1] := pixels[x - 1][y + 1] + quant_error × 3 / 16 pixels[x ][y + 1] := pixels[x ][y + 1] + quant_error × 5 / 16 pixels[x + 1][y + 1] := pixels[x + 1][y + 1] + quant_error × 1 / 16 When converting grayscale pixel values from a high to a low bit depth (e.g. 8-bit grayscale to 1-bit black-and-white), find_closest_palette_color() may perform just a simple rounding, for example: find_closest_palette_color(oldpixel) = round(oldpixel / 255) The pseudocode can result in pixel values exceeding the valid values (such as greater than 255 in 8-bit grayscale images). Such values should ideally be handled by the find_closest_palette_color() function, rather than clipping the intermediate values, since a subsequent error may bring the value back into range. However, if fixed-width integers are used, wrapping of intermediate values would cause inversion of black and white, and so should be avoided. The find_closest_palette_color() implementation is nontrivial for a palette that is not evenly distributed, however small inaccuracies in selecting the correct palette color have minimal visual impact due to error being propagated to future pixels. A nearest neighbor search in 3D is frequently used.

    Read more →
  • Frameserver

    Frameserver

    A frameserver is any program that acts as a media source in the process called frameserving, which transfers digital video data from one computer program to another without intermediate files. The program that receives the data – the frameclient – could be any type of video application. The process is controlled by the frameclient: the frameclient requests audio/video frames and the frameserver serves them. The client can request frames in any order, allowing it to pause or jump to an arbitrary frame, just as a media player does with a file on disk. The client is most commonly a media encoder, a non-linear editing system, or a media player. == Frameservers == AviSynth VirtualDub VapourSynth Debugmode FrameServer

    Read more →
  • Direct voice input

    Direct voice input

    Direct voice input (DVI), sometimes called voice input control (VIC), is a style of human–machine interaction "HMI" in which the user makes voice commands to issue instructions to the machine through speech recognition. In the field of military aviation, DVI has been introduced into the cockpits of several modern military aircraft, such as the Eurofighter Typhoon, the Lockheed Martin F-35 Lightning II, the Dassault Rafale, the KF-21 Boramae and the Saab JAS 39 Gripen. Such systems have also been used for various other purposes, including industry control systems and speech recognition assistance for impaired individuals. == Overview == DVI systems can be divided into two major categories of functionality: "user-dependent" or "user-independent". A user-dependent system requires that a personal voice template to be generated for a specific person; the template for this individual has to be loaded onto their assigned machine prior to use of the DVI system for it to function properly. In contrast, a user-independent system does not require any personal voice template, being intended to respond correctly to the voice of any user. They can also be categorised between "discrete recognition" and "continuous recognition". Users of a discrete recognition system must pause between each word so that the DVI system can identify the separations between each word, while a continuous speech recognition system is capable of understanding a normal rate of speech. During the mid-2000s, researchers at the National Aerospace Laboratory in the Netherlands examined the use of DVI in the "GRACE" simulator; a total of twelve pilots participated in the ensuing experiment. The tests performed reportedly revealed that, while the hardware itself functioned well, several improvements were desirable prior to real-world deployment on aircraft since DVI operations actually consumed more time in comparison to traditional existing methods. Recommendations for improvements included the adoption of simpler syntax, the achievement of a greater recognition rate, and a decrease in response times; all of the issues encountered were determined to be of a technological nature, and were deemed feasible to resolve. The researchers concluded that in cockpits, especially during emergencies where pilots have to operate entirely on their own, a DVI system could be highly relevant, but that it was not of crucial importance during most other conceivable scenarios. Around the same time, evaluations of DVI systems for civil aviation purposes were conducted within the framework of Project SafeSound, coordinated by the European Union. It involved the observation of pilot workloads in real-world cockpits and contrasting them against pilot activity in flight simulators using both conventional systems and DVI assistance. The project aimed to enhance aviation safety and to decrease the workload in both ground and flight operations via the application of enhanced audio functions. == Applications == === Aviation === Prior to its widespread deployment, a handful of conventional military aircraft were converted to trial DVI systems; examples include the Harrier AV-8B and F-16 VISTA. In another case, a General Dynamics F-16 Fighting Falcon simulator was modified with DVI for a voice control study that was undertaken by the Royal Netherlands Air Force. DVI trials have also been conducted on helicopters, including the Boeing AH-64 Apache, showing the potential to improve flight safety and mission effectiveness. Numerous modern fighter aircraft have been outfitted with DVI systems, often in combination with various other man-machine interface schemes, such as HOTAS-compliant controls and other advanced control technologies. The combination of Voice and HOTAS control schemes has sometimes been referred to as the "V-TAS" concept. A prominent fighter aircraft to be furnished with a V-TAS cockpit is the Eurofighter Typhoon. The Lockheed Martin F-35 Lightning II also features a DVI system, which was developed by Adacel. Other examples includes the Dassault Rafale and the Saab JAS 39 Gripen. Numerous aircraft have been planned to use DVI. At one stage, the United States Air Force had sought to integrate DVI upon the Lockheed Martin F-22 Raptor; however, the technology was eventually judged to pose too many technical risks at that point in time, and thus such efforts were abandoned. === Personal === By 1990, working prototypes of speech recognition systems were being demonstrated; these were being promoted for the purpose of providing an effective man-machine interface for individuals with impaired speech. Techniques employed included time-encoded digital speech and automatic token set selection. Investigations of these early DVI systems reportedly included the use of automatic diagnostic routines and limited-scale trials using volunteers. During the 2010s, various companies were offering voice recognition systems to the general public in the form of personal digital assistants. One example is the Google Voice service, which allows users to pose questions via a DVI package installed on either a personal computer, tablet, or mobile phone. Numerous digital assistants have been developed, such as Amazon Echo, Siri, and Cortana, that use DVI to interact with users. === Commercial === DVI technology has enabled automated telephone systems to be widely deployed. Many companies commonly use centralised phone systems that route callers to the correct department via such methods. Various car manufacturers have also furnished their road vehicles with DVI systems; these typically allow drivers to control infotainment systems and interact with mobile phones with more convenience than legacy methods. During the late 1980s, investigations into the use of DVI systems for controlling CNC machines and other manufacturing apparatus were underway. During the 2010s, such systems were being used for logistics and warehouse management purposes.

    Read more →
  • Sub-pixel resolution

    Sub-pixel resolution

    In digital image processing, sub-pixel resolution can be obtained in images constructed from sources with information exceeding the nominal pixel resolution of said images. == Example == For example, if the image of a ship of length 50 metres (160 ft), viewed side-on, is 500 pixels long, the nominal resolution (pixel size) on the side of the ship facing the camera is 0.1 metres (3.9 in). Now sub-pixel resolution of well resolved features can measure ship movements which are an order of magnitude (10×) smaller. Movement is specifically mentioned here because measuring absolute positions requires an accurate lens model and known reference points within the image to achieve sub-pixel position accuracy. Small movements can however be measured (down to 1 cm) with simple calibration procedures. Specific fit functions often suffer specific bias with respect to image pixel boundaries. Users should therefore take care to avoid these "pixel locking" (or "peak locking") effects. == Determining feasibility == Whether features in a digital image are sharp enough to achieve sub-pixel resolution can be quantified by measuring the point spread function (PSF) of an isolated point in the image. If the image does not contain isolated points, similar methods can be applied to edges in the image. It is also important when attempting sub-pixel resolution to keep image noise to a minimum. This, in the case of a stationary scene, can be measured from a time series of images. Appropriate pixel averaging, through both time (for stationary images) and space (for uniform regions of the image) is often used to prepare the image for sub-pixel resolution measurements.

    Read more →
  • Lose It!

    Lose It!

    Lose It! is an American health and wellness mobile app developed by FitNow, Inc. The app generates calorie budgets for users by tracking weight, exercise, food and calorie intake, and personal goals, primarily to assist them in achieving weight loss. == History == Lose It! was developed in Boston and debuted in 2008. The app and its associated company were founded by J.J. Allaire, Charles Teague and Paul Dicristina. Prior to founding Lose It!, Teague and Allaire had founded the online research tool Onfolio, which was acquired by Microsoft in 2006. The Lose It! app was originally released as an iOS app before being released as a website in 2010 and an Android app in 2011. In 2015, Lose It! announced plans to release the app internationally. Lose It! was also available as an app for Apple Watch at its launch in 2015. The app’s “Snap It” feature, which allows users to approximate calorie counts by taking pictures of their daily meals and snacks, was released in beta in 2016. Snap It was named an Innovation Awards Honoree at the 2017 Consumer Electronics Show in Las Vegas. In 2020, Patrick Wetherille, one of the company’s earliest employees, was appointed chief executive officer. == App == Lose It! is weight loss app. The app allows users to set goals such as increasing strength, overall health/maintenance, and weight loss. It provides users recommended calorie budgets based on data such as their current weight and their desired weight. Lose It! also tracks data such as exercise/activity level and food consumption and allows users to track calories consumed by scanning barcodes for food products then retrieving calorie information for products. The app can also estimate the amount of calories in a food products. Lose It! has integration features connecting it to other apps such as Fitbit and Runkeeper. It also has social features such as joining groups and sharing progress with friends. The Premium version of the app allows users to track foods according to specific diets like keto, heart healthy or Mediterranean.

    Read more →
  • Pixel shift

    Pixel shift

    Pixel shift is a method in digital cameras for producing a super-resolution image. The method works by taking several images, after each such capture moving ("shifting") the sensor to a new position. In digital colour cameras that employ pixel shift, this avoids a major limitation inherent in using Bayer pattern for obtaining colour, and instead produces an image with increased colour resolution and, assuming a static subject or additional computational steps, an image free of colour moiré. Taking this idea further, sub-pixel shifting may increase the resolution of the final image beyond that suggested by the specified resolution of the image sensor. Additionally, assuming that the various individual captures are taken at the same sensitivity, the final combined image will have less image noise than a single capture. This can be thought of as an averaging effect (for instance, in a pixel shift image composed of four individual frames with a classic Bayer pattern, every pixel in the final colour image is based on two measurements of the green channel). == List of cameras implementing pixel shift == All of the following cameras are fabricated with one imaging sensor, thus any kind of pixel shift requires a movement of the whole sensor. === Canon === Canon R5: Contains a 45 Mpixel sensor. The High-Resolution Mode shifts the sensor by one pixel to obtain a sequence of nine images that are merged into a 400 Mpixel image. === Fujifilm === Fujifilm GFX50S II: contains a 51 Mpixel sensor. The Pixel Shift Multi-Shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 16 images that are subsequently merged into a 200 Mpixel image. Fujifilm GFX100, Fujifilm GFX100 II: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image. Fujifilm GFX100S, Fujifilm GFX100S II: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image Fujifilm GFX100IR: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image Fujifilm X-H2: contains a 40 Mpixel sensor. A sequence of 20 shifted images are merged into a 160 Mpixel image. Fujifilm X-T5: contains a 40 Mpixel sensor. A sequence of 20 shifted images are merged into a 160 Mpixel image. === Nikon === Nikon Z8: contains a 47.5 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of up to 32 images that can be merged in Nikon's NX studio software. Nikon Zf: contains a 24 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of up to 32 images that can be merged in Nikon's NX studio software. === Olympus === Olympus OM-D E-M1 Mark II: contains a 20.4 Mpixel sensor. The High Res shot mode produces a 50 Mpixel image. Olympus OM-D E-M5 Mark II: contains a 16 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 8 images that are subsequently merged into a 40 Mpixel image. Olympus OM-D E-M5 Mark III: contains a 20.4 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 8 images that are subsequently merged into a 50 Mpixel image. Olympus OM-D E-M1X: contains a 20.4 Mpixel sensor. The camera sports two pixel shift mode: (a) the 80Mp Tripod mode produces an 80 Mpixel image, (b) the Handheld High Res shot mode produces a 50 Mpixel image. Olympus PEN-F: contains a 20.4 Mpixel sensor. The High Res Shot mode takes multiple images, continually shifting the position of the sensor in sub-pixel increments. Combining these images results in either a 50MP JPEG or an 80MP Raw file. ==== OM System ==== OM System OM-1: contains a 20MPix sensor. The High Res Shot mode takes multiple images, and it can be used handheld or on a tripod. Handheld it will internally produce 50 Mpix files and 80 Mpix when mounted on a tripod. OM System OM-5: contains a 20MPix sensor. The High Res Shot mode takes multiple images, and it can be used handheld or on a tripod. Handheld it will internally produce 50 Mpix files and 80 Mpix when mounted on a tripod. === Panasonic === Panasonic Lumix DC-G9: contains a 20.3 Mpixel sensor. The High Resolution Mode takes a sequence of 8 shots in quick succession between which the sensor is shifted by 0.5 pixel for each image. These are subsequently merged into an 80 Mpixel image. Panasonic Lumix DC-S1: contains a 24.2 Mpixel sensor. The High Resolution Mode takes a sequence of shots in quick succession between which the sensor is shifted by a small amount. These are subsequently merged into a 96 Mpixel image. Panasonic Lumix DC-S1R: contains a 47.3 Mpixel sensor. The High Resolution Mode shifts the imaging sensor by a small increments to obtain a sequence of 8 images that are subsequently merged into a 187 Mpixel image. Panasonic Lumix DC-S1H Panasonic Lumix DC-S5 === Pentax === Pentax K-70: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'all color data in each pixel to deliver super-high-resolution images'. Pentax KP: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'high-resolution images with more accurate colours and much finer details'. Pentax K-3 II: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'super-high-resolution images with far more truthful color reproduction and much finer details'. Pentax K-3 III: contains a 25.7 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'a cancelling out of the Bayer pattern and removal of the need for sharpness-sapping demosaicing'. Pentax K-1: contains a 36.4 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'improved detail and colour resolution'. Pentax K-1 II: contains a 36.4 Mpixel sensor. The camera sports two pixel shift mode: (a) a series of 4 tripod-stabilised images shifted by 1 pixel each are subsequently combined into a 47.3 Mpixel image, (b) a series of images taken in handheld mode are combined into a 47.3 Mpixel image that is, within limits, able to cope even with moving subjects. === Sony === Sony a6600: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'all color data in each pixel to deliver super-high-resolution images'. Sony α7R III: contains a 42.4 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 42.4 Mpixel image with improved tonal resolution. Sony α7R IV: contains a 61 Mpixel sensor. The camera has two pixel shift modes, (a) the first takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 61 Mpixel image with improved tonal resolution, (b) the other takes a sequence of 16 shots between which the sensor is shifted by 0.5 pixel. These are subsequently merged into a 240 Mpixel image with both enhanced detail and improved tonal resolution. Sony α1: contains a 50 Mpixel sensor. The camera has two pixel shift modes, (a) the first takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 50 Mpixel image with improved tonal resolution, (b) the other takes a sequence of 16 shots between which the sensor is shifted by 0.5 pixel. These are subsequently merged into a 200 Mpixel image with both enhanced detail and improved tonal resolution. === Hasselblad === Hasselblad H3DII: the model H3DII-39 sports a 39 Mpixel sensor, the model H3DII-50 a 50 Mpixel sensor. Both enable a pixel shift mode which takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a single image. Hasselblad H4D series: the model H4D-200MS contains a 50 Mpixel sensor. The sensor sports 3 different pixel shift modes which take (a) a sequence of 6 shots taken at slight offsets, (b) a sequence of 4 shots between which the sensor is shifted by 1 pixel, (c) a sequence of 4 shots between which the sensor is shifted by 0.5 pixels. Images obtained by all three modes are subsequently merged into 200 Mpixel images. Hasselblad H5D series: both models H5D-50c MS and H5D-200c MS contain a 50 Mpixel sensor. This sensor sports 2 different pixel shift modes which take (a) a sequence of 6 shots with full and half pixel moveme

    Read more →
  • PhotoWorks (ray tracing software)

    PhotoWorks (ray tracing software)

    PhotoWorks is a raytrace rendering program created by Dassault Systèmes SolidWorks Corporation, formerly supplied as a photorealistic rendering add-in for SolidWorks. The program is based on the Mental Ray rendering engine. It has a library of scenes and materials that can be used with user-created SolidWorks files to create still frame images within the SolidWorks GUI. Since the 2011 release of SolidWorks, PhotoWorks has been replaced by the PhotoView 360 rendering utility. A 2010 review comparing PhotoWorks with three other rendering programs for SolidWorks (including PhotoView 360) gave the program high marks for render speed and built-in materials, but low marks for realism and user interface. Appearance File Type: .p2m

    Read more →
  • Escapex

    Escapex

    Escapex, stylized as escapex, was a mobile app developer specializing in white-label fan engagement apps for celebrities. It was founded by Sephi Shapira in 2014 and has raised $18 million in funding. It allows celebrities to reach fans directly, as well as receiving revenue from fans through its freemium model. == Overview == Shapira is Israeli and previously founded Interchan and MassiveImpact. He graduated from Ben-Gurion University of the Negev. The company has raised $18 million in funding. Its 2018 revenue was $5.5 million. In 2016, the company had 57 employees split between Tel Aviv and New York City. The company's General Manager is Joe Cuello, formerly an executive at MTV, then Chief Creative Officer at TuneCore. Their director of social engagement is Rafe Lopresti-Oakes. A press release from the company described the service as having a "proprietary loyalty program" which allows "monetization of social engagement through e-commerce and in-app advertising". App launches typically offered a contest for one fan to meet the celebrity. The app also allows Escapex to collect and monetize user profiles for advertising. The New York Times described the concept of Escapex, musing, "If people love you, why not make money from them?". == Notable apps == The company has created over 350 applications, including: Enrique Iglesias, June 2016 or earlier Akon, June 2016 or earlier Ricky Martin, June 2016 or earlier Rohan Marley and the Bob Marley estate, February 2017 Marc Anthony, March 2017 Prince Royce, March 2017 Jeremy Renner, March 2017, making over $35,000 per month in April 2019 Galen Gering, June 2017 Yandel, June 2017 Greg Vaughan, June 2017 Jason Thompson, June 2017 Niecy Nash, September 2017 Tyler Posey, September 2017 Osric Chau, January 2018 Chris D'Elia Alessandra Ambrosio, making over $35,000 per month in April 2019 Abigail Ratchford, making over $35,000 per month in April 2019 Amber Rose, making over $35,000 per month in April 2019 Dita Von Teese Tommy Chong === Bollywood stars === Escapex has a large roster of Bollywood celebrities, including: Sunny Leone, December 2016 Remo D'Souza, January 2017 Amy Jackson, March 2017 Kajal Aggarwal, March 2017 Nargis Fakhri, April 2017 Disha Patani Sonam Kapoor Salman Khan == Jeremy Renner app == Renner released a mobile app called "Jeremy Renner" (Android) and "Jeremy Renner Official" (iOS) in March 2017. FastCompany wrote extensively about Renner's app in April 2019, calling it "a surprising new kind of social media". The Ringer's Kate Knibbs, explaining how self-referential the app is, summarized it stating "Jeremy Renner’s Jeremy Renner app is the Jeremy Renner of apps." The community developed to include memes, selfies, and a "Happy Rennsday" event on Wednesdays. As early as October 2017 there were claims of censorship, bullying, and "contest-rigging". In September 2019, comedian Stefan Heck wrote about discovering that any replies through the app would appear as if they were sent by Renner himself in push notifications. Heck wrote about notifications making it appear Renner was a big enthusiast of "porno"; other users made it appear Renner was a big fan of Casey Anthony. Renner had to ask Escapex to shut down the app the following day, stating "The app has jumped the shark. Literally." In September 2020, comedian/writer Caroline Goldfarb and actress Sarah Ramos launched The Renner Files podcast, a six-part series investigating the Jeremy Renner app.

    Read more →
  • STIT logic

    STIT logic

    STIT logic (from seeing to it that) is a family of modal and branching-time logics for reasoning about agency and choice. A typical STIT operator has the form [ i s t i t : φ ] {\displaystyle [i\ {\mathsf {stit}}:\varphi ]} , usually read as "agent i {\displaystyle i} sees to it that φ {\displaystyle \varphi } ", and is interpreted in models where agents choose between alternative possible futures. STIT logics are used in action theory, deontic logic, epistemic logic, and the theory of intelligent agents to formalise notions such as "could have done otherwise", responsibility, joint action, and strategic ability in an indeterministic world. == Etymology == The acronym STIT comes from the English phrase "seeing to it that", introduced in influential work by Nuel Belnap and Michael Perloff on the logical analysis of agentive expressions. In this tradition, "to see to it that φ {\displaystyle \varphi } " is treated as a primitive agency operator, rather than being reduced to ordinary modal necessity. == History == Modern STIT logic arose in the 1980s in the context of branching-time semantics and formal theories of agency. Belnap and Perloff's article "Seeing to it that: A canonical form for agentives" introduced the idea of treating expressions of the form "agent i sees to it that φ" as a primitive modal operator, and analysed such sentences using a branching tree of moments and histories. This approach was further developed in a series of papers on indeterminism and agency and provided the conceptual core for later STIT formalisms. In the 1990s the basic formal systems of STIT logic were worked out. Horty and Belnap's influential paper on the deliberative STIT operator distinguished between a "Chellas" STIT that merely records the result of an agent's present choice and a "deliberative" STIT that requires the agent's choice to make a difference, and connected STIT with issues of action, omission, ability and obligation. Around the same time, Ming Xu proved completeness and decidability results for basic STIT systems, including a single-agent logic with Kripke-style semantics and axiomatizations for multi-agent deliberative STIT, thereby establishing STIT as a well-behaved normal modal framework. This early work was systematised in Belnap, Perloff and Xu's monograph Facing the Future: Agents and Choices in Our Indeterminist World, which presents a general branching-time semantics for individual and group STIT operators, discusses independence-of-agents conditions and articulates the metaphysical picture of an indeterministic "tree" of moments. At roughly the same time, Horty's book Agency and Deontic Logic developed deontic STIT logics in which obligations are tied to agents' available choices rather than to static states of affairs, and used the resulting systems to analyse "ought implies can", contrary-to-duty obligations and deontic paradoxes. These works helped to position STIT at the intersection of action theory, temporal logic and deontic logic. From the late 1990s and 2000s onward, STIT logics were combined with epistemic, temporal and strategic modalities. Broersen introduced complete STIT logics for knowledge and action and deontic-epistemic STIT systems that distinguish different modes of mens rea, with applications to responsibility and the specification of multi-agent systems. Work on group and coalitional agency investigated axiomatisations and complexity results for group STIT logics, and related STIT-based analyses of agency to coalition logic and alternating-time temporal logic (ATL) by exhibiting formal embeddings between the frameworks. Explicit temporal operators were added to STIT in so-called temporal STIT logics. Lorini proposed a temporal STIT with "next" and "until" operators along histories and showed how it can be applied to normative reasoning about ongoing behaviour and commitments. Ciuni and Lorini compared different semantics for temporal STIT, clarifying the relationships between branching-time, game-based and epistemic approaches, while Boudou and Lorini gave a semantics for temporal STIT based on concurrent game structures, thus strengthening links with standard models of multi-agent interaction used for ATL and strategy logic. In parallel, complexity-theoretic work by Balbiani, Herzig and Troquard and by Schwarzentruber and co-authors investigated the satisfiability and model-checking problems for various STIT fragments, showing for instance that many expressive group STIT logics are undecidable or of high computational complexity. In the 2010s, STIT ideas were combined with justification logic, imagination operators and refined deontic notions. Justification STIT logics, developed by Olkhovikov and others, merge explicit justifications with STIT-style agency so that producing a proof can itself be treated as an action that brings about knowledge, and they come with completeness and decidability results. Olkhovikov and Wansing introduced STIT imagination logics, together with axiomatic systems and tableau calculi, to model acts of voluntary imagining and their role in doxastic control. Other authors have proposed STIT-based logics of responsibility, blameworthiness and intentionality for use in philosophical and AI settings. Xu's survey article "Combinations of STIT with Ought and Know" (2015) reviews many of these developments and emphasises the interplay between deontic and epistemic STIT logics. Current research on STIT focuses on proof theory, automated reasoning and richer expressive resources. Lyon and van Berkel, building on earlier work on labelled calculi for STIT, have developed cut-free sequent systems and proof-search algorithms that yield syntactic decision procedures for a range of deontic and non-deontic multi-agent STIT logics and support applications such as duty checking and compliance checking in autonomous systems. Sawasaki has proposed first-order cstit-based STIT logics that can distinguish de re and de dicto readings of agency statements and has proved strong completeness results for Hilbert systems over finite models, moving the STIT programme beyond the purely propositional level. Further work investigates interpreted-system and computationally grounded semantics for STIT and its extensions in order to model the behaviour of autonomous agents in multi-agent settings, and proposes STIT-based semantics for epistemic notions based on patterns of information disclosure in interactive systems. == Branching-time semantics == STIT logics are usually interpreted over branching-time models. A standard STIT frame consists of: a non-empty set of moments T {\displaystyle T} , partially ordered by < {\displaystyle <} so that ( T , < ) {\displaystyle (T,<)} forms a tree (every pair of moments with a common predecessor has a greatest lower bound); a set of histories, each history being a maximal linearly ordered subset of T {\displaystyle T} ; a non-empty set of agents A g {\displaystyle Ag} ; for each agent i ∈ A g {\displaystyle i\in Ag} and moment m {\displaystyle m} , a choice function c h o i c e i m {\displaystyle {\mathsf {choice}}_{i}^{m}} that partitions the set of histories passing through m {\displaystyle m} into choice cells. The idea is that a moment represents a time at which choices are made, and histories represent complete possible future courses of events. At each moment, each agent's choice corresponds to selecting one of the available cells of histories determined by their choice function. Formulas are evaluated at pairs ( m , h ) {\displaystyle (m,h)} of a moment and a history through that moment (sometimes written m / h {\displaystyle m/h} ). A valuation assigns truth-values to atomic propositions at such indices; Boolean connectives are interpreted pointwise as in Kripke-style modal logic. == Chellas and deliberative STIT operators == Several STIT operators have been distinguished in the literature. A common approach uses two closely related operators, often called Chellas STIT and deliberative STIT. Let H m {\displaystyle H_{m}} be the set of histories passing through a moment m {\displaystyle m} , and write H m {\displaystyle H_{m}} ⟦ φ ⟧ m = { h ∈ H m ∣ M , m / h ⊨ φ } {\displaystyle {\text{⟦}}\varphi {\text{⟧}}_{m}=\{h\in H_{m}\mid M,m/h\models \varphi \}} for the set of histories at m {\displaystyle m} where φ {\displaystyle \varphi } holds. The Chellas STIT operator, often written [ i c s t i t : φ ] {\displaystyle [i\ {\mathsf {cstit}}:\varphi ]} , is given by M , m / h ⊨ [ i c s t i t : φ ] iff c h o i c e i m ( h ) ⊆ ⟦ φ ⟧ m . {\displaystyle M,m/h\models [i\ {\mathsf {cstit}}:\varphi ]\quad {\text{iff}}\quad {\mathsf {choice}}_{i}^{m}(h)\subseteq {\text{⟦}}\varphi {\text{⟧}}_{m}.} Intuitively, agent i {\displaystyle i} sees to it that φ {\displaystyle \varphi } if φ {\displaystyle \varphi } holds at all histories compatible with their present choice. The deliberative STIT operator, [ i d s t i t : φ ] {\displaystyle [i\ {\mathsf {dstit}}:\varphi ]} , adds

    Read more →
  • Word error rate

    Word error rate

    Word error rate (WER) is a common metric of the performance of a speech recognition or machine translation system. The WER metric typically ranges from 0 to 1, where 0 indicates that the compared pieces of text are exactly identical, and 1 (or larger) indicates that they are completely different with no similarity. This way, a WER of 0.8 means that there is an 80% error rate for compared sentences. The general difficulty of measuring performance lies in the fact that the recognized word sequence can have a different length from the reference word sequence (supposedly the correct one). The WER is derived from the Levenshtein distance, working at the word level instead of the phoneme level. The WER is a valuable tool for comparing different systems as well as for evaluating improvements within one system. This kind of measurement, however, provides no details on the nature of translation errors and further work is therefore required to identify the main source(s) of error and to focus any research effort. This problem is solved by first aligning the recognized word sequence with the reference (spoken) word sequence using dynamic string alignment. Examination of this issue is seen through a theory called the power law that states the correlation between perplexity and word error rate. Word error rate can then be computed as: W E R = S + D + I N = S + D + I S + D + C {\displaystyle {\mathit {WER}}={\frac {S+D+I}{N}}={\frac {S+D+I}{S+D+C}}} where S is the number of substitutions, D is the number of deletions, I is the number of insertions, C is the number of correct words, N is the number of words in the reference (N=S+D+C) The intuition behind 'deletion' and 'insertion' is how to get from the reference to the hypothesis. So if we have the reference "This is wikipedia" and hypothesis "This _ wikipedia", we call it a deletion. Note that since N is the number of words in the reference, the word error rate can be larger than 1.0, namely if the number of insertions I is larger than the number of correct words C. When reporting the performance of a speech recognition system, sometimes word accuracy (WAcc) is used instead: W A c c = 1 − W E R = N − S − D − I N = C − I N {\displaystyle {\mathit {WAcc}}=1-{\mathit {WER}}={\frac {N-S-D-I}{N}}={\frac {C-I}{N}}} Since the WER can be larger than 1.0, the word accuracy can be smaller than 0.0. == Experiments == It is commonly believed that a lower word error rate shows superior accuracy in recognition of speech, compared with a higher word error rate. However, at least one study has shown that this may not be true. In a Microsoft Research experiment, it was shown that, if people were trained under "that matches the optimization objective for understanding", (Wang, Acero and Chelba, 2003) they would show a higher accuracy in understanding of language than other people who demonstrated a lower word error rate, showing that true understanding of spoken language relies on more than just high word recognition accuracy. == Other metrics == One problem with using a generic formula such as the one above, however, is that no account is taken of the effect that different types of error may have on the likelihood of successful outcome, e.g. some errors may be more disruptive than others and some may be corrected more easily than others. These factors are likely to be specific to the syntax being tested. A further problem is that, even with the best alignment, the formula cannot distinguish a substitution error from a combined deletion plus insertion error. Hunt (1990) has proposed the use of a weighted measure of performance accuracy where errors of substitution are weighted at unity but errors of deletion and insertion are both weighted only at 0.5, thus: W E R = S + 0.5 D + 0.5 I N {\displaystyle {\mathit {WER}}={\frac {S+0.5D+0.5I}{N}}} There is some debate, however, as to whether Hunt's formula may properly be used to assess the performance of a single system, as it was developed as a means of comparing more fairly competing candidate systems. A further complication is added by whether a given syntax allows for error correction and, if it does, how easy that process is for the user. There is thus some merit to the argument that performance metrics should be developed to suit the particular system being measured. Whichever metric is used, however, one major theoretical problem in assessing the performance of a system is deciding whether a word has been “mis-pronounced,” i.e. does the fault lie with the user or with the recogniser. This may be particularly relevant in a system which is designed to cope with non-native speakers of a given language or with strong regional accents. The pace at which words should be spoken during the measurement process is also a source of variability between subjects, as is the need for subjects to rest or take a breath. All such factors may need to be controlled in some way. For text dictation it is generally agreed that performance accuracy at a rate below 95% is not acceptable, but this again may be syntax and/or domain specific, e.g. whether there is time pressure on users to complete the task, whether there are alternative methods of completion, and so on. The term "Single Word Error Rate" is sometimes referred to as the percentage of incorrect recognitions for each different word in the system vocabulary. == Edit distance == The word error rate may also be referred to as the length normalized edit distance. The normalized edit distance between X and Y, d( X, Y ) is defined as the minimum of W( P ) / L ( P ), where P is an editing path between X and Y, W ( P ) is the sum of the weights of the elementary edit operations of P, and L(P) is the number of these operations (length of P).

    Read more →
  • Standard test image

    Standard test image

    A standard test image is a digital image file used across different institutions to test image processing and image compression algorithms. By using the same standard test images, different labs are able to compare results, both visually and quantitatively. The images are in many cases chosen to represent natural or typical images that a class of processing techniques would need to deal with. Other test images are chosen because they present a range of challenges to image reconstruction algorithms, such as the reproduction of fine detail and textures, sharp transitions and edges, and uniform regions. == Historical origins == Test images as transmission system calibration material probably date back to the original Paris to Lyon pantelegraph link. Analogue fax equipment (and photographic equipment for the printing trade) were the largest user groups of the standardized image for calibration technology until the coming of television and digital image transmission systems. == Common test image resolutions == The standard resolution of the images is usually 512×512 or 720×576. Most of these images are available as TIFF files from the University of Southern California's Signal and Image Processing Institute. Kodak has released 768×512 images, available as PNGs, that was originally on Photo CD with higher resolution, that are widely used for comparing image compression techniques.

    Read more →