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Scenery generator

A scenery generator (or terrain generator) is a software used to create landscape images, 3D models, and animations. These programs often use procedural generation to generate the landscapes, or sometimes created and rendered by a 3D artist. These programs are often used in video games or movies. Basic elements of landscapes created by scenery generators include terrain, water, foliage, and clouds. The process for basic random generation uses a diamond square algorithm. == Common features == Most scenery generators can create basic heightmaps to simulate the variation of elevation in basic terrain. Common techniques include Simplex noise, fractals, or the diamond-square algorithm, which can generate 2-dimensional heightmaps. A version of scenery generator can be very simplistic. Using a diamond-square algorithm with some extra steps involving fractals, an algorithm for random generation of terrain can be made with only 120 lines of code. The program in example takes a grid and then divides the grid repeatedly. Each smaller grid is then split into squares and diamonds and the algorithm then makes the randomized terrain for each square and diamond. Most programs for creating landscapes also allow for adjustment and editing of the landscape. For example, World Creator allows for terrain sculpting, which uses a similar brush system as Photoshop, and allows for additional terrain enhancement with its procedural techniques such as erosion, sediments, and more. Other tools in the World Creator program include terrain stamping, which allows you to import elevation maps and use them as a base. The programs tend to also allow for additional placement of rocks, trees, etc. These can be done procedurally or by hand depending on the program. Typically the models used for the placement objects are the same as to lessen the amount of work that would be done if the user was to create a multitude of different trees. The terrain generated the computer does a generation of multifractals then integrates them until finally rendering them onto the screen. These techniques are typically done “on-the-fly” which typically for a 128 × 128 resolution terrain would mean 1.5 seconds on a CPU from the early 1990s. == Applications == Scenery generators are commonly used in movies, animations, 3D rendering, and video games. For example, Industrial Light & Magic used E-on Vue to create the fictional environments for Pirates of the Caribbean: Dead Man's Chest. In such live-action cases, a 3D model of the generated environment is rendered and blended with live-action footage. Scenery generated by the software may also be used to create completely computer-generated scenes. In the case of animated movies such as Kung Fu Panda, the raw generation is assisted by hand-painting to accentuate subtle details. Environmental elements not commonly associated with landscapes, such as ocean waves, have also been handled by the software. Scenery generation is used in most 3D based video-games. These typically use either custom or purchased engines that contain their own scenery generators. For some games they tend to use a procedurally generated terrain. These typically use a form of height mapping and use of Perlin noise. This will create a grid that with one point in a 2D coordinate will create the same heightmap as it is pseudorandom, meaning it will result in the same output with the same input. This can then easily be translated into the product 3D image. These can then be changed from the editor tools in most engines if the terrain will be custom built. With recent developments neural networks can be built to create or texture the terrain based on previously suggested artwork or heightmap data. These would be generated using algorithms that have been able to identify images and similarities between them. With the info the machine can take other heightmaps and render a very similar looking image to the style image. This can be used to create similar images in example a Studio Ghibli or Van Gogh art-style. == Software == Most game engines, whether custom or proprietary, will have terrain generation built in. Some terrain generator programs include, Terragen, which can create terrain, water, atmosphere and lighting; L3DT, which provides similar functions to Terragen, and has a 2048 × 2048 resolution limit; and World Creator, which can create terrain, and is fully GPU powered. === List of 3D terrain generation software ===
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Line splice

In electrical engineering and telecommunications, a line splice is a joint directly connecting lengths of electrical cables (electrical splice) or optical fibers (optical splice). The splices are often protected by sleeves. == Splicing of copper wires == The splicing of copper wires happens in the following steps: The cores are laid one above the other at the junction. The core insulation is removed. The wires are wrapped two to three times around each other (twisting). The bare veins on a length of about 3 cm "strangle" or "twist". In some cases, the strangulation is soldered. To isolate the splice, an insulating sleeve made of paper or plastic is pushed over it. The splicing of copper wires is mainly used on paper insulated wires. LSA techniques (LSA: soldering, screwing and stripping free) are used to connect copper wires, making the copper wires faster and easier to connect. LSA techniques include: Wire connection sleeves (AVH = Adernverbindungshülsen) and other crimp connectors. The two wires to be connected are inserted into the AVH without being stripped, which is then compressed with special pliers. The about 2 cm long AVH consist of contact, pressure and insulation. For wire connection strips (AVL = Adernverbindungsleisten) several pairs of wires (10 = AVL10 or 20 = AVL20) are inserted, the strip is then closed with a lid and pressed together with a hydraulic press, which ensures the connection. == Splicing of glass fibers == Fiber-optic cables are spliced using a special arc-splicer, with installation cables connected at their ends to respective "pigtails" - short individual fibers with fiber-optic connectors at one end. The splicer precisely adjusts the light-guiding cores of the two ends of the glass fibers to be spliced. The adjustment is done fully automatically in modern devices, whereas in older models this is carried out manually by means of micrometer screws and microscope. An experienced splicer can precisely position the fiber ends within a few seconds. Subsequently, the fibers are fused together (welded) with an electric arc. Since no additional material is added, such as gas welding or soldering, this is called a "fusion splice". Depending on the quality of the splicing process, attenuation values at the splice points are achieved by 0.3 dB, with good splices also below 0.02 dB. For newer generation devices, alignment is done automatically by motors. Here one differentiates core and jacket centering. At core centering (usually single-mode fibers), the fiber cores are aligned. A possible core offset with respect to the jacket is corrected. In the jacket centering (usually in multimode fibers), the fibers are adjusted to each other by means of electronic image processing in front of the splice. When working with good equipment, the damping value is according to experience at max. 0.1 dB. Measurements are made by means of special measuring devices including optical time-domain reflectometry (OTDR). A good splice should have an attenuation of less than 0.3 dB over the entire distance. Finished fiber optic splices are housed in splice boxes. One differentiates: Fusion splice Adhesive splicing Crimp splice or NENP (no-epoxy no-polish), mechanical splice
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FreePBX Distro

The FreePBX Distro was a freeware unified communications software system that consisted of FreePBX, a graphical user interface (GUI) for configuring, controlling and managing Asterisk PBX software. The FreePBX Distro included packages that offer VoIP, PBX, Fax, IVR, voice-mail and email functions. The FreePBX Distro Linux distribution was based on CentOS, which maintains binary compatibility with Red Hat Enterprise Linux. FreePBX has contributed to the popularity of Asterisk. As a result of CentOS Linux being discontinued and the last version of CentOS 7 going out of support on June 30, 2024, FreePBX 17 has moved over to and is supported on Debian Linux. FreePBX will no longer be providing a pre-configured FreePBX Distro, but will provide a script to install FreePBX on a fresh install of Debian Linux. In-place migration will not be possible, but will be possible by restoring a backup on the new version from the previous version. As FreePBX 16 will be supported until the release of FreePBX 18, FreePBX on this distribution will still work and be supported, however, there will be no further support for the underlying operating system. == Installation == The Official FreePBX Distro is installed from a ISO image available by web download, that includes the system CentOS, Asterisk, FreePBX GUI and assorted dependencies. This can then either be burned to DVD or written to a USB stick for installation == Support for telephony hardware == The FreePBX Distro has built-in support for cards from multiple vendors, including Digium, OpenVox, Alto, Rhino Equipment, Xorcom and Sangoma. The FreePBX Distro supports a large number of phone models via open-source modules. Supported VoIP phone manufacturers include Algo, AND, AudioCodes, Cisco, Cyberdata, Digium, Grandstream, Mitel/Aastra, Nortel/Avaya, Panasonic, Polycom, Sangoma, Snom, Xorcom and Yealink. == Development == FreePBX made its debut in 2004 as the AMP project (Asterisk Management Portal). The FreePBX Distro was released in 2011 as an turnkey solution for building a PBX using Asterisk, CentOS and FreePBX. FreePBX has over 1 million active production PBXs and over 20,000 new systems added each month. The core telephony engine is Asterisk, as configured by the Open Source FreePBX GUI. The last stable release is FreePBX Distro Stable SNG7-PBX16-64bit-2302-1 based on these main components: FreePBX 16 CentOS 7.8 Asterisk 16, 18, 19 (20 supported by upgrade once installed)
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Over-the-top media services in India

As per Govt of India, there are currently about 57 providers of over-the-top media services (OTT) in India, which distribute streaming media or video on demand over the Internet. == History and growth == The first dependent Indian OTT platform was BIGFlix, launched by Reliance Entertainment in 2008. In 2010 Digivive launched India's first OTT mobile app called nexGTv, which provides access to both live TV and on–demand content. nexGTV was the first app to live–stream Indian Premier League matches on smart phones and did so during 2013 and 2014. The livestream of the IPL since 2015, when rights were won, played an important role in the growth of another OTT platform, Hotstar (now JioHotstar) in India. OTT Platforms gained significant momentum in India when both DittoTV (Zee) and Sony Liv were launched in the Indian market around 2013. Following the initial push of Regional OTT platforms like Aha, Hoichoi, Sun NXT, Planet Marathi, Chaupal & MX Player. The Indian OTT industry saw rapid transformation with the entry of global OTT companies such as Netflix and Amazon Prime Video into the Indian market in 2016. Replacement of this competition with global enterprises caused local rivals to innovate in both region and hyper-regional content. === Hotstar === Hotstar (now JioHotstar) is the most subscribed–to OTT platform in India, owned by JioStar as of February 2025, with around 500 million active users and over 650 million downloads. According to Hotstar's India Watch Report 2018, 96% of watch time on Hotstar comes from videos longer than 20 minutes, while one–third of Hotstar subscribers watch television shows. In 2019, Hotstar began investing ₹120 crore in generating original content such as "Hotstar Specials." 80% of the viewership on Hotstar comes from drama, movies and sports programs. Hotstar has the exclusive streaming rights of IPL in India. === Netflix === American streaming service Netflix entered India in January 2016. In April 2017, it was registered as a limited liability partnership (LLP) and started commissioning content. It earned a net profit of ₹2020,000 (₹2.02 million) for fiscal year 2017. In fiscal year 2018, Netflix earned revenues of ₹580 million. According to Morgan Stanley Research, Netflix had the highest average watch time of more than 120 minutes but viewer counts of around 20 million in July 2018. As of 2018, Netflix has six million subscribers, of which 5–6% are paid members. India was not affected by Netflix's July 2018 increase in subscription rates for the US and Latin America. Netflix has stated its intent to invest ₹600 crore in the production of Indian original programming. In late 2018, Netflix bought 150,000 square feet (14,000 m2) of office space in Bandra–Kurla Complex (BKC) in Mumbai as their head office. As of December 2018, Netflix has more than 40 employees in India. === Other OTT providers === Sun NXT is an Indian video on demand service run by Sun TV Network. It was launched in June 2017, streaming in the Tamil language and six other languages. The platform has more than 4,000 Tamil movies and 200 Tamil shows, as well as regional movies and shows. Sun NXT also streams a large library of its own Sun TV shows and movies. Amazon Prime Video was launched in 2016. The platform has 2,300 titles available including 2,000 movies and about 400 shows. It has announced that it will invest ₹20 billion in creating original content in India. Besides English, Prime Video is available in six Indian languages as of December 2018. Amazon India launched Amazon Prime Music in February 2018. Eros Now, an OTT platform launched by Eros International, has the most content among the OTT providers in India, including over 12,000 films, 100,000 music tracks and albums, and 100 TV shows. Eros Now was named the Best OTT Platform of the Year 2019 at the British Asian Media Awards. It has 211.5 million registered users and 36.2 million paying subscribers as of September 2020. In February 2020, Aha OTT platform was launched, broadcasting exclusively Telugu content. In 2021, Planet Marathi became the first OTT platform dedicated to Marathi content in India, including web-series, films, music, theater, fiction and non-fiction reality shows. It is available for both Android and iOS mobile devices along with Android TV and Amazon Fire TV devices. Bollywood actress Madhuri Dixit helped launch the platform. With rising interest for Korean dramas, Rakuten Viki saw its biggest jump of web traffic from India in 2020 due to the COVID-19 lockdown, which led to ad localization on the platform. The OTT market in fiscal year 2020 was estimated to be worth $1.7 billion. === SonyLIV and ZEE5 === In December 2021, Sony and Zee announced their merger, and announced plans to merge their OTT platforms. The merger was called off. === OTT services launched as Amazon Prime video channels === The list is by alphabetical order, not by rank or popularity. == Content regulation == Due to the absence of any rules and regulation regarding OTT content, many OTT providers were accused of showing nudity, vulgarity and obscenity and hurting Hindu religious sentiments in their shows. Series which were the focus of controversy include Four More Shots Please!, Tandav, Paatal Lok, Sacred Games, Mirzapur Lust stories franchise, Rana Naidu. Thank You for Coming, and Annapoorani (2023). According to media reports, between 2018 and 2024, some OTT platforms emerged which started showing porn in the form of web series. Both the Supreme Court and Delhi High Court say that OTT regulation is necessary. === OTT regulation === On 25 Feb 2021, Indian govt introduced self-regulation rules for OTT platforms to stop obscene content and abusive language. On 19 March 2023, I&B minister Anurag Thakur said that self regulation does not mean that OTT should show obscenity and nudity. On 15 April 2023, I&B Secretary Apurva Chandra has said because of the government's soft-touch regulations on OTT industry have led to the creation of content that is undesirable and vulgar. On 26 April 2023, MIB India said that if nudity and obscenity is seen on any OTT platform, strict action will be taken against it. On 16 May 2023, Don't show obscene content, parliamentary panel told to Netflix and Amazon Prime Video. On 20 June 2023, the government told Netflix, Disney+ Hotstar and all other streaming services that their content should be independently reviewed for obscenity and violence before being shown online. On 27 June 2023, DPCGC took punitive action against Ullu for streaming obscene content and asked them to remove all their explicit shows or remove all adult scenes within 15 days. On 18 July 2023, Anarug Thakur said in a meeting with all OTT stakeholders that demeaning Indian culture will not be tolerated. OTT can't show vulgarity and nudity in the garb of 'creative expression'.The cited sources do not mention vulgarity - they say this was about demeaning Indian culture/society. On 22 August 2023, Indian government assured that it will bring rules and regulation to regulate vulgar and obscene content on social media and OTT platforms. On 10 November 2023, MIB India introduces the 'Broadcasting Service Regulation Bill', which included Programme code with Content Evaluation Committee(CEC) for every OTT platforms. Currently public consultation is ongoing till 15 January 2024. The draft bill mandates that all OTT streaming platforms can only broadcast those web series or content, which will be duly certified by Content Evaluation Committee(CEC). On 14 March 2024, the Ministry of Information and Broadcasting banned over 18 OTT apps from Google play store and suspended all of their 57 social media accounts, as well as closed nineteen streaming websites. The banned platforms were MoodX, Prime Play, Hunters, Besharams, Rabbit movies, Voovi, Fugi, Mojflix, Chikooflix, Nuefliks, Xtramood, NeonX VIP, X Prime, Tri Flicks, Uncut Adda, Dreams Films, Hot Shots VIP, and Yessma. On 25 July 2025, the Ministry of Information and Broadcasting banned from 25 OTT apps from Google play store and suspended all of their 40 social media accounts, as well as 26 closed streaming websites. The banned platforms were include ALTT, Ullu, Big Shots App, Desiflix, Boomex, NeonX VIP, Navarasa Lite, Gulab App, Kangan App, Bull App, ShowHit, Jalva App, Wow Entertainment, Look Entertainment, Hitprime, Fugi, Feneo, ShowX, Sol Talkies, Adda TV, HotX VIP, Hulchul App, MoodX, Triflicks, and Mojflix. On 24 February 2026, the Ministry of Information and Broadcasting banned from 5 OTT apps from Google play store and suspended all of their 5 social media accounts, as well as 5 closed streaming websites. The banned platforms were include Feel App, Digi Movieplex, Jugnu App, MoodX VIP, and Koyal Playpro. === Legal action === Currently OTT is regulated under the IT Rules 2021, which clearly stated that 'No content that is prohibited by law at the time being force can be Publishing or transmitted'. MIB has continuously taking action
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Companion robot

A companion robot is a robot created to create real or apparent companionship for human beings. Target markets for companion robots include the elderly and single children. Companions robots are expected to communicate with non-experts in a natural and intuitive way. They offer a variety of functions, such as monitoring the home remotely, communicating with people, or waking people up in the morning. Their aim is to perform a wide array of tasks including educational functions, home security, diary duties, entertainment and message delivery services, etc. The idea of companionship with robots has already existed on science fictions of 1970s, like R2-D2. Starting from the late 20th century, companion robots became a reality, mostly as robotic pets. Besides entertainment purposes, interactive robots were also introduced as a personal service robot for elderly care around 2000. == Characteristics == Companion robots try to interact with users. They gather information about users based on their interactions and yield feedback. This procedure varies slightly based on their specific roles. For example, social-companion robots make simple conversations, while pet-companion robots mimic being real pets. == Types == Companion robots can perform a variety of tasks and they are produced in a specialized manner according to their purpose or target audience in order to increase convenience and end user satisfaction. === Social companion robots === Social companion robots are designed to provide companionship and be a solution for unwanted solitude. They often mimic adult human, child or pet behaviours appealing to the user base. Robots which are specifically devised for simple conversations, conveying emotions and respond to user feelings fall under this category. === Assistive companion robots === Assistive companion robots are aimed at people who require constant care because of age, disability or rehabilitation purposes. Such robots can help disadvantaged users with their daily tasks, act as reminders (e.g., for regular medication) and facilitate mobility in everyday actions. Assistive companion robots reduce the intensity of labour that should be performed by caretakers, nurses and legal guardians. === Educational companion robots === Educational companion robots perform tutorship for students, regardless of their ages, and can teach desired subjects with activities tailored for the user such as interactive assignments and games. Rather than replacing teachers and instructors, educational companion robots are aides to them. === Therapeutic companion robots === Designed for individuals coping with stress (PTSD in severe cases), anxiety and loneliness; therapeutic companion robots support users' emotional and mental wellbeing. Such robots can be utilized in hospitals and care facilities as well as dwellings where the distressed user may need the most help. Therapeutic companion robots bear a vast resemblance to assistive companion robots to the extent of being a branch of them; the nuance between these two types of companion robots is that the former is for long-term/lifetime usage while the latter is mostly for the duration of the therapy received by the user. === Pet companion robots === Pet companion robots are for individuals who seek an alternative to live pets as live animals demand a considerable amount of care and may not be eligible for people with allergies. These robots aim to be perfect imitations of a pet while diminishing the chore aspect of having one. === Entertainment companion robots === Entertainment companion robots are designed solely for entertainment and can provide numerous ways of entertainment, ranging from dancing to playing games with the user. People who would appreciate an individual to have fun with are the main audience of such products. === Personal assistant robots === Personal assistant robots help people with daily tasks, management, scheduling, reminding etc. Their area of activity can be offices as well as homes and public spaces. === Sex robots === Sex robots are anthropomorphic robotic sex dolls that have human-like movement or behavior, and some degree of artificial intelligence. As of 2026, although elaborately instrumented sex dolls have been created by a number of inventors, no fully animated sex robots yet exist. Simple devices have been created which can speak, make facial expressions, or respond to touch. There is controversy as to whether developing them would be morally justifiable. In 2015, robot ethicist Kathleen Richardson called for a ban on the creation of anthropomorphic sex robots with concerns about normalizing relationships with machines and reinforcing female dehumanization. Questions about their ethics, effects, and possible legal regulations have been discussed since then. == Examples == There are several companion robot prototypes, and these include Paro, CompanionAble, and EmotiRob, among others. === Paro === Paro is a pet-type robot system developed by Japan's National Institute of Advanced Industrial Science and Technology (AIST). The robot, which looked like a small harp seal, was designed as a therapeutic tool for use in hospitals and nursing homes. The robot is programmed to cry for attention and respond to its name. Experiments showed that Paro facilitated elderly residents to communicate with each other, which led to psychological improvements. === CompanionAble === This robot is classified as an FP 7 EU project. It is built to "cooperate with Ambient Assistive Living environment". The autonomous device, which is also built to support the elderly, helps its owner interact with smart home environment as well as caregivers. The robot functions as a mobile friend, by which natural interaction is possible via speech and the touchscreen to detect and track people at home. === EmotiRob === EmotiRob is developed in a robotics project which is the continuity of the MAPH (Active Media For the Handicap) project in emotion synthesis. The aim of the project was to maintain emotional interaction with children. EmotiRob designed in a way that a child can hold it in a his/her arms and with which he/she could interact by talking to it, and then the robot would express itself through body postures or facial expressions. It has cognitive capabilities, which are further extended so that the robot can have a natural linguistic interaction with its owner through the DRAGON speech-recognition software developed by a company called NUANCE. Such interaction is expected to facilitate a child's cognitive development and develop new learning patterns. === LOVOT === Lovot is a Japanese company robot whose only purpose is "to make you happy". It features over 50 sensors that mimic the behavior of a human baby or small pet, a 360° camera with a microphone, the ability to distinguish humans from objects, neoteny eyes, and an internal warmth of 30° celsius. An interactive Lovot Café was opened in Japan October 3, 2020. === NICOBO === Nicobo was developed by Panasonic and was influenced by the loneliness of lockdowns created as a measure of the COVID-19 pandemic. It was designed to appear vulnerable, which creates empathy in its owners. Nicobo's name derives from the Japanese word for "smile". It wags its tail, engages in baby talk, and stays as a housemate. === Hyodol === Hyodol is an advanced care robot designed to support the elderly by reminding them to take their medications and monitoring their movements to keep their guardians informed. Additionally, this innovative robot can detect and respond to the emotional states of its elderly users, adding a layer of personalized care. Hyodol is designed with the appearance and speech style of a 7-year-old Korean grandchild, featuring a soft fabric exterior and user interaction methods such as striking the head or patting the back. It is equipped with various sensors and wireless communication technologies to collect and process data, supporting mobile apps and PC web monitoring systems for remote monitoring from anywhere. In South Korea, approximately 10,000 Hyodol robots are deployed to the homes of elderly individuals living alone, providing essential support and companionship. Local governments, including provincial and county offices, have embraced Hyodol as a solution to address social challenges stemming from the country's rapidly aging society.Furthermore, the robot is widely utilized in the treatment of dementia patients at a university hospital in Gangwon province. Hyodol was honored with the Mobile World Congress (MWC) Global Mobile Awards (GLOMO) in the "Best Mobile Innovation for Connected Health and Wellbeing" category on February 29, 2024. === Moxie === Moxie was a companion robot for autistic children developed by a company called Embodied. Although it had limited motion, it presented itself as a lifelike avatar. It was designed to help the children learn emotional cognition, using remotely hosted large language models to direct its respons
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False answer supervision

False answer supervision (FAS) refers to VoIP fraud where the billed duration for the caller is more than the duration of the actual connection duration. The FAS is usually performed by VoIP wholesalers in their softswitches for randomly selected calls. Adding a small amount of extra billed seconds for many calls results in significant revenue for the VoIP wholesaler. == Implementation of FAS == The FAS fraud can be implemented in a softswitch in many different ways. These include: False billing of party A without calling a party B. Usually a fake ringback tone, loopback audio or voicemail message is played Start of billing before actual answer of party B Extra billing after disconnection of party B == Detection of FAS == The FAS can be detected and blocked in a softswitch. Common methods are: Manual verification of call detail records: listening to voice recordings Identification of FAS types and using algorithms to automatically detect the FAS RTP audio signal processing: detection of voice RTP audio signal processing: detection of silence RTP audio signal processing: detection of ringback tone
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Digital cinematography

Digital cinematography is the process of capturing (recording) a motion picture using digital image sensors rather than through film stock. As digital technology has improved in recent years, this practice has become dominant. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, as well as new vendors like Red, Blackmagic, Silicon Imaging, Vision Research and companies which have traditionally focused on consumer and broadcast video equipment, like Sony, GoPro, and Panasonic. As of 2023, professional 4K digital cameras were approximately equal to 35mm film in their resolution and dynamic range capacity. Some filmmakers still prefer to use film picture formats to achieve the desired results. == History == The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors. The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor (CMOS sensor), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987). Rainbow (1996) was the world's first film to utilize extensive digital post production techniques. Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to a 35mm negative via an electron beam recorder for theatrical release. The first digitally videoed and post produced feature was Windhorse, shot in Tibet and Nepal in 1996 on the Sony DVW-700WS Digital Betacam and the prosumer Sony DCR-VX1000. The offline editing (Avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998. In 1997, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction in the market. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace. In May 2000, Vidocq, which was directed by Pitof, began principal photography shot entirely using a Sony HDW-F900 camera, with the video being released in September the next year. According to the Guinness World Records, Vidocq is the first full length feature filmed in digital high resolution. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video, partially developed by George Lucas using a Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids. A lesser-known movie, Russian Ark (2002), was also shot with the same camera and was the first tapeless digital movie, recorded on HDD instead of tape. In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography. The highest-grossing movie in the history of cinema, Avatar (2009), not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection. Major movies shot on digital video overtook those shot on film in 2013. Since 2016 over 90% of major films were shot on digital video. As of 2017, 92% of films are shot on digital. Only 24 major films released in 2018 were shot on 35mm. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Today, cameras from companies like Sony, Panasonic, JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony, Vision Research, Arri, Blackmagic Design, Panavision, Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited needs of broadcast television. == Technology == Digital cinematography captures motion pictures digitally in a process analogous to digital photography. While there is a clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs. === Recording === ==== Cameras ==== Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera, Red One, Arri D-20, D-21 and Alexa, Panavision Genesis, Silicon Imaging SI-2K, Thomson Viper, Vision Research Phantom, IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent micro-budget filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. Flagship smartphones like the Apple iPhone have been used to shoot movies like Unsane (shot on the iPhone 7 Plus) and Tangerine (shot on three iPhone 5S phones) and in January 2018, Unsane's director and Oscar winner Steven Soderbergh expressed an interest in filming other productions solely with iPhones going forward. ==== Sensors ==== Digital cinematography cameras capture digital images using image sensors, either charge-coupled device (CCD) sensors or CMOS active-pixel sensors, usually in one of two arrangements. Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Codecs Professional raw video recording codecs include Blackmagic Raw, Red Raw, Arri Raw and Canon Raw. ==== Video formats ==== Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in "nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly 1024 n {\displaystyle 1024n} pixels. Here the "K" has a customary meaning corresponding to the binary prefix "kibi" (ki). For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to the "nK" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 182
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Event cinema

Event cinema sometimes called alternative content cinema or livecasts refers to the use of movie theaters to display a varied range of live and recorded entertainment excluding traditional films, such as sport, opera, musicals, ballet, music, one-off TV specials, current affairs, comedy and religious services. == History and development == Event Cinema was set up at the start of the century with rock concerts by Bon Jovi (2001), David Bowie (2003), and Robbie Williams (2005) bringing non-film audiences into cinemas that had newly installed digital equipment. The Metropolitan Opera in New York through their partnership with Fathom Events is acknowledged as the trailblazer in this area, aggressively seeking out new markets and setting high standards for live broadcasts via satellite. Emulated by other opera houses worldwide such as the Royal Opera House following a close second, Glyndebourne, La Scala and the Sydney Opera House the genre of opera within the 'Event Cinema' industry has been a huge success, and has brought new, younger audiences into cash-strapped opera houses depended on state funding and wealthy benefactors for the first time - an unforeseen and happy consequence of digitisation. Ballet and theater have also been very successful, as have rock concerts, both live and recorded. The UK's National Theatre has been a huge success here with their season of live broadcasts under the banner 'NT Live', featuring big name casts such as Helen Mirren, whose recent turn as Queen Elizabeth II in The Audience was a sell out everywhere. (This was in partnership with another West End theatre and the NT are keen to help other theatres maximise their potential through live broadcasts). The Globe and the Royal Shakespeare Company are also producing work for live broadcast and recorded exhibition. As digitisation of cinemas matures, the Event Cinema industry is growing. The strongest territory is the US, followed by the UK and mainland European territories. Latin America is also a very strong market. Recent additions include Pompeii Live, a unique exhibition by the UK's British Museum, featuring celebrities and curators taking the audience on a live tour around the recreated set of Pompeii within the museum itself, and they are also exploring the schools market for the first time, following the live broadcast on June 18 with a daytime broadcast aimed at UK schools for the first time. If successful this will no doubt prove a model for future museums to emulate. An added incentive for exhibitors is the ability to show alternative content, i.e. alternative to mainstream, studio-driven content, such as live special events, sports, pre-show advertising and other digital or video content. In industry terms this has become known as 'Alternative Content', but has recently become known more widely as 'Event Cinema'. === Expanding markets === Some low-budget films that would normally not have a theatrical release because of distribution costs might be shown in smaller engagements than the typical large release studio pictures. The cost of duplicating a digital "print" is very low, so adding more theaters to a release has a small additional cost to the distributor. Movies that start with a small release could scale to a much larger release quickly if they were sufficiently successful, opening up the possibility that smaller movies could achieve box office success previously out of their reach. ==== Technical specifications ==== Event Cinema is also finding a market in 3rd world countries in which the higher costs and quality of DCI equipment are not yet affordable, as crucially there are no DCI specifications for Alternative Content as there is in mainstream [studio] content. This has led to an explosion in the variety of content on offer, but a lack of standardisation has led to questionable quality at times. As the industry matures, this lack of regulation is expected to change and there are moves afoot to introduce codes of practice and technical specifications. Recorded content complements mainstream studio content by maximising the 'downtime' that plagues the cinema industry, where screens worldwide spend a large proportion of their time in darkness and cinemas empty. Some cinema chains have targeted pensioners in particular, offering free tea and coffee for afternoon matinees of recorded opera, for example. Digital Cinema Packages (DCPs) have been useful to cinemas not yet equipped with satellite broadcasting capability and has enabled exhibitors to build their Event Cinema audience, which is not generally the 18-24 demographic that multiplexes are targeting. ==== New Audiences ==== Event Cinema has seen a return of an older, affluent audience, previously turned off by the multiplex experience, and cinemas are starting to capitalise on this by offering waiter-serviced, high class finger food and alcoholic beverages, complete with bars and restaurants, a world away from the traditional popcorn/soft drink model; art house cinemas are increasingly marketing themselves as 'destination' venues for an evening's entertainment, somewhere to spend an entire evening, rather than just a couple of hours. As exhibition admissions have plateau'd in recent years due to the explosion in VOD, tablet and mobile content technology, this new revenue stream has been a surprise and welcome addition to the cinema industry, though the US studios have been cautious in embracing the change as yet. The thrill of Live broadcasts means they are generally regarded as more popular than recorded events, but there are exceptions; artists with a loyal cult or teenage following tend to do particularly well in this area, as concert films featuring artists such as the Grateful Dead, Pearl Jam, JLS, Led Zeppelin and the Rolling Stones have shown. ==== The Future ==== As more and more distributors are emerging, offering an increasingly broad range of content to cinemas worldwide, the landscape itself is shifting: screen advertising companies, technical providers, and exhibitors themselves are reinventing themselves as Alternative Content or Event Cinema distributors, and the industry is witnessing a re-evaluation of business models and practices worldwide. Predictions are that this industry could be work in excess of US$1bn by 2015. An illustration of the growth of this industry is the news the establishment of a European trade association promoting the industry to the general public and supporting those involved in it and the Event Cinema Association.
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Corona-Warn-App

Corona-Warn-App was the official and open-source COVID-19 contact tracing app used for digital contact tracing in Germany made by SAP and Deutsche Telekom subsidiary T-Systems. It had been downloaded 22.8 million times as of 19 November 2020 and 26.2 million times as of 18 March 2021. The app has been promoted by billboard and broadcast advertisements, e.g. in cooperation with the German Football Association (DFB) and other prominent companies. The German government has announced that the app would no longer exchange tracing information as of April 30, 2023 & would enter hibernation as of June 1, 2023. == Effectiveness == Experts believe that time saved by using the app can be critical for improving the effectiveness contact tracing efforts. Some virologists say when at least 60% of people in Germany use it, it would be very effective. == Functioning == The app works with the Exposure Notification Framework (what is implemented in Google Play Services for Android and in iOS) by using Bluetooth to exchange codes with app users that are within 1.5 meters of each other for a period of at least 10 minutes. Anyone who tests positive for COVID-19 can share this information voluntarily with the app. Other app users are then notified about when, how long and at what distance they had contact with the infected person within a 14-day period. Testing is available for persons on a voluntary basis. === Server architecture === Based on the Client–server model five servers are operated within the app backend: the Corona-Warn-App server. It stores the authorized keys of infected users, referred to as diagnosis keys, from the past 14 days in its database. Stored diagnosis keys are grouped into regularly updated blocks which are transmitted to the Content Delivery Network. This interface supplies the keys for the app clients to download and locally compute a potential exposure risk. the Verification server. It is responsible for documenting the approval of the user to share their positive test result with the app and also to verify the test result. the Portal Server. It generates a so-called teleTAN token if the user did not give their consent to share their test result with the app at first but then changed their mind or if the local public health authority or test laboratory is not connected to the app system yet. the Test Result Server. It saves the test results provided by the local public health authorities or test laboratories for further use within the backend. the Federation Gateway Server. It connects to the national Corona-Warn-App servers of participating EU countries to enable transnational key exchange. By the distribution of the data on different servers the decoupling of the data becomes possible and results in an obstructed tracing of the app users. ==== Report of a positive COVID-19 test ==== The app provides a function to warn other app users by uploading their positive test result on a voluntarily and anonymous basis to the Corona-Warn-App server. In case the local public health authority or test laboratory is already connected to the app system, the user receives a QR-Code when the swab specimen is taken that can be scanned in the app. After scanning the QR-Code und the user getting authorized by the Verification server, the app receives an individual Registration token which gets stored locally and with which the status and the result of the test can be checked manually as well as automatically. If the local public health authority or test laboratory is not connected to the app system yet and the user wants to share their positive test result with other app users, it is required to request a teleTAN token by calling the verification hotline of the app. In both cases, the user can upload their diagnosis keys of the last 14 days to the Corona-Warn-App server in case their consent to share the information is given. The Corona-Warn-App server then verifies the uploaded keys by asking the Verification server if the keys are valid and if they are, the Corona-Warn-App server stores them in its database. == Privacy == The use of the app is voluntary. The app implements decentralized data storage to ensure data privacy. Employers can require that Corona-Warn be installed on company phones, but can not compel its use on private phones. == Funding == The open source app, which costs €20 million to develop is intended to supplement human contact tracing efforts, which Germany put in place during the early stages of the COVID-19 pandemic in Germany. In August 2022, a spokesperson for the German ministry of health announced that the total costs including all additional developments are now estimated to be closer to €150m. == Interoperability == At its start the app only worked in Germany, and Jens Spahn, than Federal Minister of Health (CDU), has said the development of a Europe-wide system is a future goal. With the update published on 19 October 2020 the app supports key-exchanges with the EU Interoperability Gateway and is therefore able to communicate with contact tracing apps from Ireland and Italy. Austria, Belgium, Czech Republic, Croatia, Cyprus, Denmark, Finland, Ireland, Italy, Latvia, Malta, Netherlands, Norway, Poland, Slovenia, Spain and Switzerland had joined the gateway as well and are also able to exchange keys with Corona-Warn-App. The app can be downloaded in many App stores outside of Germany. However, as of August 2021, the app is still unavailable for those of notable national German minorities like Turks, Russians or Ukrainians, who use App stores of their home countries. == Software variants == An unofficial Corona-Warn-App has been released on F-Droid, making the app available without proprietary components on Android phones. == Literature == Thomas Köllmann: Die Corona-Warn-App – Schnittstelle zwischen Datenschutz- und Arbeitsrecht. In: Neue Zeitschrift für Arbeitsrecht. Nr. 13, 10. Juli 2020, S. 831–836.
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Errored second

In telecommunications and data communication systems, an errored second is an interval of a second during which any error whatsoever has occurred, regardless of whether that error was a single bit error or a complete loss of communication for that entire second. The type of error is not important for the purpose of counting errored seconds. In communication systems with very low uncorrected bit error rates, such as modern fiber-optic transmission systems, or systems with higher low-level error rates that are corrected using large amounts of forward error correction, errored seconds are often a better measure of the effective user-visible error rate than the raw bit error rate. For many modern packet-switched communication systems, even a single uncorrected bit error is enough to cause the loss of a data packet by causing its CRC check to fail; whether that packet loss was caused by a single bit error or a hundred-bit-long error burst is irrelevant. For systems using large amounts of forward error correction, the reverse applies; a single low-level bit error will almost never occur, since any small errors will almost always be corrected, but any error sufficiently large to cause the forward error correction to fail will almost always result in a large burst error. More specialist and precise definitions of errored seconds exist in standards such as the T1 and DS1 transport systems.
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Hardware compatibility list

A hardware compatibility list (HCL) is a list of computer hardware (typically including many types of peripheral devices) that is compatible with a particular operating system or device management software. The list contains both whole computer systems and specific hardware elements including motherboards, sound cards, and video cards. In today's world, there is a vast amount of computer hardware in circulation, and many operating systems too. A hardware compatibility list is a database of hardware models and their compatibility with a certain operating system. HCLs can be centrally controlled (one person or team keeps the list of hardware maintained) or user-driven (users submit reviews on hardware they have used). There are many HCLs. Usually, each operating system will have an official HCL on its website.
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Digital backlot

A digital backlot or virtual backlot is a motion-picture set that is neither a genuine location nor a constructed studio; the shooting takes place entirely on a stage with a blank background (often a greenscreen) that will later on project an artificial environment put in during post-production. Digital backlots are mainly used for genres such as science fiction, where building a real set would be too expensive or outright impossible. == Notable films == Among the first films to introduce the technique was Mini Moni the Movie by Shinji Higuchi in 2002, predated by Rest In Peace by Stolpskott Film (2000). Others include: === Released === Rest in Peace (Sweden, 2000) – Shot entirely with green-screen. Some sections fully CGI. Casshern (Japan, 2004) – Shot on celluloid. A few practical set pieces used. Able Edwards (United States, 2004) – Shot digitally on Canon XL1 cameras. Immortal (France, 2004) – Shot on celluloid. Also showed CGI characters interacting with live actors. Sky Captain and the World of Tomorrow (United States, 2004) – Shot digitally on Sony CineAlta cameras. Sin City (United States, 2005) – Shot digitally on CineAlta cameras. Three practical sets used. MirrorMask (United States/United Kingdom, 2005) – Shot on celluloid. 80% of film uses digital backlot. Some practical set pieces used. The Cabinet of Dr. Caligari (United States, 2005) – Shot digitally. 300 (United States, 2007) – Shot on celluloid. Two practical sets used. Speed Racer (United States, 2008) – Directed by the Wachowskis. Three practical sets used. The Spirit (United States, 2008) – Director Frank Miller shot the film with the same techniques he and Robert Rodriguez used on Sin City. Avatar (United States, 2009) – Directed by James Cameron. Two practical sets used. Goemon (Japan, 2009) – The second film from Casshern helmer Kazuaki Kiriya. Alice in Wonderland (United States, 2010) – Directed by Tim Burton. Practical sets used. Sin City: A Dame to Kill For (United States 2014) – Co-directed by Robert Rodriguez and Frank Miller. Sequel to Sin City. === Upcoming === Tribes of October
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Prosthesis

In medicine, a prosthesis (pl.: prostheses; from Ancient Greek: πρόσθεσις, romanized: prósthesis, lit. 'addition, application, attachment'), or a prosthetic implant, is an artificial device that replaces a missing body part, which may be lost through physical trauma, disease, or a condition present at birth (congenital disorder). Prostheses may restore the normal functions of the missing body part, or may perform a cosmetic function. A person who has undergone an amputation is sometimes referred to as an amputee, Rehabilitation for someone with an amputation is primarily coordinated by a physiatrist as part of an inter-disciplinary team consisting of physiatrists, prosthetists, nurses, physical therapists, and occupational therapists. Prostheses can be created by hand or with computer-aided design (CAD), a software interface that helps creators design and analyze the creation with computer-generated 2-D and 3-D graphics as well as analysis and optimization tools. == Types == A person's prosthetic device should be designed and assembled to meet their individual appearance and functional needs. Depending on personal circumstances, co-morbidities, budget or health insurance coverage, and access to medical care, decisions may need to balance aesthetics and function. In addition, for some individuals, a myoelectric device, a body-powered device, or an activity-specific device may be appropriate options. The person's future goals and vocational aspirations and potential capabilities may help them choose between one or more devices. Craniofacial prostheses include intra-oral and extra-oral prostheses. Extra-oral prostheses are further divided into hemifacial, auricular (ear), nasal, orbital and ocular. Intra-oral prostheses include dental prostheses, such as dentures, obturators, and dental implants. Prostheses of the neck include larynx substitutes, trachea and upper esophageal replacements, Some prostheses of the torso include breast prostheses which may be either single or bilateral, full breast devices or nipple prostheses. Penile prostheses are used to treat erectile dysfunction, perform phalloplasty procedures in men, and to build a new penis in female-to-male gender reassignment surgeries. === Limb prostheses === Limb prostheses include both upper- and lower-extremity prostheses. Upper-extremity prostheses are used at varying levels of amputation: forequarter, shoulder disarticulation, transhumeral prosthesis, elbow disarticulation, transradial prosthesis, wrist disarticulation, full hand, partial hand, finger, partial finger. A transradial prosthesis is an artificial limb that replaces an arm missing below the elbow. Upper limb prostheses can be categorized in three main categories: Passive devices, Body Powered devices, and Externally Powered (myoelectric) devices. Passive devices can either be passive hands, mainly used for cosmetic purposes, or passive tools, mainly used for specific activities (e.g. leisure or vocational). An extensive overview and classification of passive devices can be found in a literature review by Maat et.al. A passive device can be static, meaning the device has no movable parts, or it can be adjustable, meaning its configuration can be adjusted (e.g. adjustable hand opening). Despite the absence of active grasping, passive devices are very useful in bimanual tasks that require fixation or support of an object, or for gesticulation in social interaction. According to scientific data a third of the upper limb amputees worldwide use a passive prosthetic hand. Body Powered or cable-operated limbs work by attaching a harness and cable around the opposite shoulder of the damaged arm. A recent body-powered approach has explored the utilization of the user's breathing to power and control the prosthetic hand to help eliminate actuation cable and harness. The third category of available prosthetic devices comprises myoelectric arms. This particular class of devices distinguishes itself from the previous ones due to the inclusion of a battery system. This battery serves the dual purpose of providing energy for both actuation and sensing components. While actuation predominantly relies on motor or pneumatic systems, a variety of solutions have been explored for capturing muscle activity, including techniques such as Electromyography, Sonomyography, Myokinetic, and others. These methods function by detecting the minute electrical currents generated by contracted muscles during upper arm movement, typically employing electrodes or other suitable tools. Subsequently, these acquired signals are converted into gripping patterns or postures that the artificial hand will then execute. In the prosthetics industry, a trans-radial prosthetic arm is often referred to as a "BE" or below elbow prosthesis. Lower-extremity prostheses provide replacements at varying levels of amputation. These include hip disarticulation, transfemoral prosthesis, knee disarticulation, transtibial prosthesis, Syme's amputation, foot, partial foot, and toe. The two main subcategories of lower extremity prosthetic devices are trans-tibial (any amputation transecting the tibia bone or a congenital anomaly resulting in a tibial deficiency) and trans-femoral (any amputation transecting the femur bone or a congenital anomaly resulting in a femoral deficiency). A transfemoral prosthesis is an artificial limb that replaces a leg missing above the knee. Transfemoral amputees can have a very difficult time regaining normal movement. In general, a transfemoral amputee must use approximately 80% more energy to walk than a person with two whole legs. This is due to the complexities in movement associated with the knee. In newer and more improved designs, hydraulics, carbon fiber, mechanical linkages, motors, computer microprocessors, and innovative combinations of these technologies are employed to give more control to the user. In the prosthetics industry, a trans-femoral prosthetic leg is often referred to as an "AK" or above the knee prosthesis. A transtibial prosthesis is an artificial limb that replaces a leg missing below the knee. A transtibial amputee is usually able to regain normal movement more readily than someone with a transfemoral amputation, due in large part to retaining the knee, which allows for easier movement. Lower extremity prosthetics describe artificially replaced limbs located at the hip level or lower. In the prosthetics industry, a transtibial prosthetic leg is often referred to as a "BK" or below the knee prosthesis. Prostheses are manufactured and fit by clinical prosthetists. Prosthetists are healthcare professionals responsible for making, fitting, and adjusting prostheses and for lower limb prostheses will assess both gait and prosthetic alignment. Once a prosthesis has been fit and adjusted by a prosthetist, a rehabilitation physiotherapist (called physical therapist in America) will help teach a new prosthetic user to walk with a leg prosthesis. To do so, the physical therapist may provide verbal instructions and may also help guide the person using touch or tactile cues. This may be done in a clinic or home. There is some research suggesting that such training in the home may be more successful if the treatment includes the use of a treadmill. Using a treadmill, along with the physical therapy treatment, helps the person to experience many of the challenges of walking with a prosthesis. In the United Kingdom, 75% of lower limb amputations are performed due to inadequate circulation (dysvascularity). This condition is often associated with many other medical conditions (co-morbidities) including diabetes and heart disease that may make it a challenge to recover and use a prosthetic limb to regain mobility and independence. For people who have inadequate circulation and have lost a lower limb, there is insufficient evidence due to a lack of research, to inform them regarding their choice of prosthetic rehabilitation approaches. Lower extremity prostheses are often categorized by the level of amputation or after the name of a surgeon: Transfemoral (Above-knee) Transtibial (Below-knee) Ankle disarticulation (more commonly known as Syme's amputation) Knee disarticulation (also see knee replacement) Hip disarticulation, (also see hip replacement) Hemi-pelvictomy Partial foot amputations (Pirogoff, Talo-Navicular and Calcaneo-cuboid (Chopart), Tarso-metatarsal (Lisfranc), Trans-metatarsal, Metatarsal-phalangeal, Ray amputations, toe amputations). Van Nes rotationplasty ==== Prosthetic raw materials ==== Prosthetic are made lightweight for better convenience for the amputee. Some of these materials include: Plastics: Polyethylene Polypropylene Acrylics Polyurethane Wood (early prosthetics) Rubber (early prosthetics) Lightweight metals: Aluminum Composites: Carbon fiber reinforced polymers Wheeled prostheses have also been used extensively in the rehabilitation of injured domestic animals, including dogs, cats, pigs, rabbits, and
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Electronic submission

Electronic submission refers to the submission of a document by electronic means: that is, via e-mail or a web form on the Internet, or on an electronic medium such as a compact disc, a hard disk or a USB flash drive. Traditionally, the term "manuscript" referred to anything that was explicitly "written by hand". However, in popular usage and especially in the context of computers and the internet, the term "manuscript" may even refer to documents (text or otherwise) typed out or prepared on typewriters and computers and can be extended to digital photographs and videos, and online surveys too. In other words, any manuscript prepared and submitted online can be considered to be an electronic submission. == History and early usage == There is no concrete data indicating when and by whom were electronic submissions used for the first time. However, research based universities in several countries have been encouraging the collection of course assignments and projects in the form of electronic submissions for almost a decade now. Several governments and organizations are also switching to electronic submissions for the collection of research papers, grant applications and government application forms. == Types of electronic submissions == Since modern computers can store and process information and data in virtually any format and with the Internet allowing easy transfer of this data, the number of scenarios in which submissions can be collected electronically has increased exponentially in the last few years. Some of these scenarios are described below. In most of these scenarios, submissions were collected on hard paper until the Information Technology revolution occurred. === Academic Submissions === Teachers, professors and teaching assistants often collect course assignments and projects electronically. Electronic submissions are usually collected using a web-based system which more often than not also helps in the management of submissions collected and stored on it. (Explained By Henny L, University of Lethbridge, AB, Canada) === Research Papers === In call-for-paper or academic conferences, prospective presenters are usually asked to submit a short abstract or a full paper on their presentation or research work electronically, which is reviewed before being accepted for the conference. === Proposals for Grants === Several grant-giving organizations like the NSA, W3C, NIA, NIH etc. require grant seekers to submit a proposal which if accepted result in the desired grants. A majority of these proposals are now submitted electronically on systems that also help in the managing and tracking the proposals submitted. === Articles for Publication === Magazines, newspapers and other publishing houses have begun accepting electronic submissions for articles from various sources - both internal (by journalists and writers hired by them) as well as external (by users and popular readers). The submitted articles are stored on a server hosted by the publication house or by a third-party Archived 2019-10-13 at the Wayback Machine vendor and are usually evaluated before being given a green signal. === Contests and Competition Entries === Almost every kind of contest or competition requires participants to submit an entry in a format described by the organizers of the contest. If the contest is an Internet-based one, then the entries or nominations for the contest are collected electronically using e-mail or other electronic means depending on feasibility and the choice of the organizers. === Government Applications === The governments of several countries are turning to electronic submission of applications and forms for various government procedures. Electronic submissions allow easier management of the applications and forms submitted. === Legal documents === Many legal documents may be submitted to the courts electronically. In England and Wales, the Civil Procedure Rules include a suitable "document exchange" as an acceptable "method of service". Case law in employment law cases has established that where a claim is submitted electronically, a prudent legal adviser should "check that it has been received and there must be systems in place for doing that". === Resumés and CVs === It has become commonplace for job-seekers to submit soft copies (electronic versions) of their resumés and CVs to recruiting agencies and online job portals. This is usually done over the Internet using e-mail or a pre-hosted web-based system. == Submission management systems == The art and science of collecting and managing electronic submissions is called Submission Management. Certain software vendors have begun developing submission management systems to assist in the collection, tracking and management of complex submission processes realized electronically. Most of these systems are web based and accessible from any device with a browser and an Internet connection. However, a majority of these systems are application specific and cannot be applied to all submission management scenarios. == Resistance to electronic submissions == Despite the easier management and tracking of electronic submissions compared to their paper-based counterparts, widespread adoption and use of electronic submissions and systems for managing them has been hampered by several facts, which include but are not limited to: Inconvenience while drawing figures, diagrams and equations on a computer Resistance to change and adoption of new technologies Lack of or limited access to the Internet.
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Web3D

Web3D, also called 3D Web, is a group of technologies to display and navigate websites using 3D computer graphics. These technologies enable applications such as online games, virtual reality experiences, interactive product demonstrations, and 3D data visualization directly within web browsers. The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. Modern Web3D is primarily powered by WebGL, a JavaScript API that enables hardware-accelerated 3D graphics rendering in web browsers without requiring plug-ins. == Pre-WebGL era == The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. In October 1995, at Internet World, Template Graphics Software demonstrated a 3D/VRML plug-in for the beta release of Netscape 2.0 by Netscape Communications. The Web3D Consortium was formed to further the collective development of the format. VRML and its successor, X3D, have been accepted as international standards by the International Organization for Standardization and the International Electrotechnical Commission. The main drawback of the technology was the requirement to use third-party browser plug-ins to perform 3D rendering, which slowed the adoption of the standard. Between 2000 and 2010, one of these plug-ins, Adobe Flash Player, was widely installed on desktop computers and was used to display interactive web pages and online games and to play video and audio content. Several Flash-based frameworks appeared that used software rendering and ActionScript 3 to perform 3D computations such as transformations, lighting, and texturing. Most notable among them were Papervision3D and Away3D. Eventually, Adobe developed Stage3D, an API for rendering interactive 3D graphics with GPU-acceleration for its Flash player and AIR products, which was adopted by software vendors. In 2009, an open-source 3D web technology called O3D was introduced by Google. It also required a browser plug-in, but contrary to Flash/Stage3D, was based on JavaScript API. O3D was geared not only for games but also for advertisements, 3D model viewers, product demos, simulations, engineering applications, control and monitoring systems. == WebGL and glTF == WebGL (short for "Web Graphics Library") evolved out of the Canvas 3D experiments started by Vladimir Vukićević at Mozilla Foundation. Vukićević first demonstrated a Canvas 3D prototype in 2006. By the end of 2007, both Mozilla and Opera had made their own separate implementations. In early 2009, the nonprofit technology consortium Khronos Group started the WebGL Working Group, with initial participation from Apple, Google, Mozilla, Opera, and others. Version 1.0 of the WebGL specification was released in March 2011. Major advantages of the new technology include conformity with web standards and near-native 3D performance without the use of any browser plug-ins. Since WebGL is based on OpenGL ES, it works on mobile devices without any additional abstraction layers. For other platforms, WebGL implementations leverage ANGLE to translate OpenGL ES calls to DirectX, OpenGL, or Vulkan API calls. Among notable WebGL frameworks are A-Frame, which uses HTML-based markup for building virtual reality experiences; PlayCanvas, an open-source engine alongside a proprietary cloud-hosted creation platform for building browser games; Three.js, an MIT-licensed framework used to create demoscene from the early 2000s; Unity, which obtained a WebGL back-end in version 5; and Verge3D, which integrates with Blender, 3ds Max, and Maya to create 3D web content. With the rapid adoption of WebGL, a new problem arose—the lack of a 3D file format optimized for the Web. This issue was addressed by glTF, a format that was conceived in 2012 by members of the COLLADA working group. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On 19 October 2015, the glTF 1.0 specification was released. Version 2.0 glTF uses a physically based rendering material model, proposed by Fraunhofer. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance, such as replacing top-level glTF object properties with arrays for faster index-based access. == Future == "WebGPU" is the working name for a potential web standard and JavaScript API for accelerated graphics and computing, aiming to provide "modern 3D graphics and computation capabilities". It is developed by the W3C "GPU for the Web" Community Group, with engineers from Apple, Mozilla, Microsoft, and Google, among others. WebGPU will not be based on any existing 3D API and will use Rust-like syntax for shaders.
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