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Trebel (music app)

Trebel is an on-demand music download and discovery platform developed by M&M Media Inc. The company's business model aims to combat digital music piracy by giving users access to on-demand music at no cost while delivering fair compensation to artists and music rights holders. Trebel has a patent that allows it to market itself as the only international music service in which users can legally download music and listen to it offline for free. As of March 2023, Trebel has a catalog of 75 million songs from record labels such as Universal Music Group, Sony Music Entertainment, Warner Music Group and hundreds of independent labels. Trebel is based in Stamford, Connecticut. with additional locations in Mexico City, Jakarta, Bogota, Los Angeles and Miami. The app is available in the Apple App Store, Google Play Store, and Huawei AppGallery. == History == Trebel was founded in 2014 by Gary Mekikian, who was previously the co-founder of answerFriend, Inc., which commercialized web based question-answering technologies and merged with Electric Knowledge, forming InQuira. This company was eventually acquired by Oracle Corporation in 2011. His co-founders at Trebel include Stanford classmates Corey Jones and Luis Soto Durazo, as well as his daughters Grace and Juliette. Mekikian envisioned Trebel as an alternative to music piracy after a high school classmate of his daughters was targeted by cyberattackers while illegally downloading music online. Trebel was initially released in 2015 under the name Project Carmen to students at Ohio State, Santa Monica College, Cal State Fullerton, UCLA and Long Beach State. In its original incarnation, the service planned to target students at 3,000 universities and 30,000 high schools in the United States. A beta version of the app was introduced in 2016 with content from Universal Music Group and Warner Music Group. Trebel launched commercially in the United States and Mexico in 2018. In 2018, Mexican mass-media corporation Televisa also became a minority investor in Trebel. In May 2020, during the early months of the COVID-19 pandemic, Trebel was a digital broadcast partner for Se Agradece, a concert produced in Mexico by Televisa to honor frontline COVID workers that featured artists such as Rosalia, J Balvin, Maluma and Ricky Martin. In June 2021, Trebel reached 3 million monthly active users. In October 2021, Trebel signed a music licensing agreement with Merlin Network, the licensing agency for the independent music sector that controls an estimated 12% of the global digital recorded music market. In January 2022, Trebel announced a strategic alliance with MNC Corporation, an Indonesian media conglomerate, which also became a minority backer of the company. In March 2022, Trebel reported 5.2 million monthly active users as a result of growth in Latin America. In the same month,, Latin music star Maluma became a backer of Trebel and an advisor to Gary Mekikian, helping expand the service throughout Latin America. On April 18, 2022, Trebel launched in Indonesia during the finale of the music competition show X Factor Indonesia. Trebel also signed a deal that month with Soccer Media Solutions, a sports and entertainment marketing agency in Mexico, to sell Trebel’s premium advertising inventory through Soccer Media. In May 2022, Guillermo Ochoa, goalkeeper for the Mexican national soccer team, invested in Trebel and became an ambassador for the company. On October 2, 2022, Trebel collaborated with Musica Studios, one of the largest music companies in Indonesia, on the production of a music festival in Jakarta titled Trebel Music Fest. The event featured performances by top Indonesian music artists such as Noah, Nidji, and d'Masiv. In October 2022, Trebel launched in Colombia. The service reached 1.2 million monthly active users in Colombia six months after launching. In December 2022, Trebel collaborated with KFC in Indonesia on the release of a KFC digital music program using a product called Trebel Max. As part of the program, KFC customers who bought the Crazy Superstar Combo package at KFC received a subscription to Trebel Max for 30 days. Trebel announced the launch of Trebel AI in May 2023. Trebel AI uses ChatGPT-powered technology to generate playlists based on natural language queries from users. In Indonesia, the Trebel AI feature was announced during a broadcast of the show Indonesian Idol XII that took place on May 8, 2023. In July 2023, Trebel reached more than 13 million monthly active users. In November 2023, Trebel became a featured app on the Discord app directory. Discord users that add the Trebel bot to their servers have access to Trebel's on-demand music library and have the exclusive privilege of being DJ's during server sessions with up to 150 concurrent listeners. == Platform == === Features === Trebel has a patent that allows it to market itself as the only international music service in which users can legally download music and listen to it offline for free. As of March 2023, Trebel has a catalog of 75 million songs from record labels such as Universal Music Group, Sony Music Entertainment, Warner Music Group and hundreds of independent labels. Trebel offers unlimited music downloads that are playable in the app by registered users only. Offline listening is free to all users and not blocked by a paywall. Users can search for music based on song, artist, album, browsing friends' recent activity, and through other users' playlists. The app also offers free cloud storage for downloaded songs. Trebel also contains a feature called SongID, which identifies music being played nearby using a short sample, then offers it for download on the service. Podcasts are available for free listening on the service as well. === Business model === Trebel uses a business model that generates revenue from the sale of digital advertising as well as user interactions with branded experiences, and consumption of virtual goods within the app (akin to mobile games). The app also features a brand takeover feature called Trebel Max, which offers unlimited access in exchange for users engaging with experiences offered by specific brands. Trebel’s brand partners include Uber, KFC, Walmart, Coca-Cola, Amazon and P&G. === Content === In September 2022, Trebel secured an exclusive release of the song “Suara Hatiku” by Indonesian actress Amanda Monopo. As of March 2023, Trebel offers 75 million songs through licensing agreements with Universal Music Group, Sony Music Entertainment, Warner Music Group and global indie rights agency Merlin. == Awards == In 2023, Trebel won three Google Play awards including "Best App of 2023", "Best Everyday Essentials" and "Users' Choice".
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Scientific Working Group – Imaging Technology

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

Candid was a mobile app for anonymous discussions. It used machine learning to create personalized newsfeeds of opinions and real conversations, and also for moderation and filtering. Users posted under pseudonyms such as "HyperMantis", "SincereGiraffe", "GroundedTurtle" and "ExuberantRaptor", that are unique for each thread. Founder and CEO Bindu Reddy said that she needed "a place to express myself and engage in discussions where ideas can be debated on their own merits instead of being used to attack me as a person", which Candid tried to solve by redirecting off-topic comments to their appropriate groups, removing spam and flagging negative posts. They used natural language processing to identify hate speech, slander and threats, and removed them accordingly with human intervention. Candid software analyzed topics and tried to flag rumors and lies as such. Users could flag problematic posts and a team of ten contractors would review them individually. With time the system analyzed a user's interactions and give them labels, such as socializer, explorer, positive, influencer, hater, gossip, etc. In June 2017, Candid announced that it would be shut down because its parent company, Post Intelligence, was being acquired. The app was forecast to close on June 23, 2017, but didn't actually close until June 25, 2017.
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LCD crosstalk

LCD crosstalk is a visual defect in an LCD screen which occurs because of interference between adjacent pixels. Owing to the way rows and columns in the display are addressed, and charge is pushed around, the data on one part of the display has the potential to influence what is displayed elsewhere. This is generally known as crosstalk, and in matrix displays typically occurs in the horizontal and vertical directions. Crosstalk used to be a serious problem in the old passive-matrix (STN) displays, but is rarely discernable in modern active-matrix (TFT) displays. A fortunate side effect of inversion (see above) is that, for most display material, what little crosstalk there is largely cancelled out. For most practical purposes, the level of crosstalk in modern LCDs is negligible. Certain patterns, particularly those involving fine dots, can interact with the inversion and reveal visible crosstalk. If you try moving a small Window in front of the inversion pattern (above) which makes your screen flicker the most, you may well see crosstalk in the surrounding pattern. Different patterns are required to reveal crosstalk on different displays (depending on their inversion scheme).
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Deblurring

Deblurring is the process of removing blurring artifacts from images. Deblurring recovers a sharp image S from a blurred image B, where S is convolved with K (the blur kernel) to generate B. Mathematically, this can be represented as B = S ∗ K {\displaystyle B=SK} (where represents convolution). While this process is sometimes known as unblurring, deblurring is the correct technical word. The blur K is typically modeled as point spread function and is convolved with a hypothetical sharp image S to get B, where both the S (which is to be recovered) and the point spread function K are unknown. This is an example of an inverse problem. In almost all cases, there is insufficient information in the blurred image to uniquely determine a plausible original image, making it an ill-posed problem. In addition the blurred image contains additional noise which complicates the task of determining the original image. This is generally solved by the use of a regularization term to attempt to eliminate implausible solutions. This problem is analogous to echo removal in the signal processing domain. Nevertheless, when coherent beam is used for imaging, the point spread function can be modeled mathematically. By proper deconvolution of the point spread function K and the blurred image B, the blurred image B can be deblurred (unblur) and the sharp image S can be recovered.
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Boris FX

Boris FX is a visual effects, video editing, photography, and audio software plug-in developer based in Miami, Florida, USA. The developer is known for its flagship products, Continuum (formerly Boris Continuum Complete/BCC), Sapphire, Mocha, and Silhouette. Boris FX creates plug-in tools for feature film, broadcast television, and multimedia post-production workflows. The plug-ins are compatible with various NLEs, including Adobe After Effects and Premiere Pro, Avid Media Composer, Apple Final Cut Pro, and OFX hosts such as Autodesk Flame, Foundry Nuke, Blackmagic Design DaVinci Resolve and Fusion, and VEGAS Pro. Boris FX has incorporated artificial intelligence into its software, introducing features for noise reduction, rotoscoping, upscaling, and masking. The company has acquired technologies via mergers and acquisitions from Imagineer Systems, GenArts, Silhouette FX, Digital Film Tools, CrumplePop and Andersson Technologies to expand its visual effects, editing, photography, and audio tools. == History == Boris FX was founded in 1995 by Boris Yamnitsky. The former Media 100 engineer (a member of the original Media 100 launch team in 1993) released “Boris FX,” the first plug-in-based digital video effects (DVE) for Adobe Premiere and Media 100, in 1995. The plug-in won Best of Show at Apple Macworld in Boston, MA that same year. The Boris FX Suite includes a range of visual effects and post-production tools, such as Sapphire, Continuum, Mocha Pro, Silhouette, SynthEyes, CrumplePop, Optics, and Particle Illusion. == Media 100 == In October 2005, Yamnitsky acquired Media 100 the company that launched his plug-in career. Boris FX had a long relationship with Media 100 which bundled Boris RED software as its main titling and compositing solution. Media 100's video editing software is available as freeware for macOS. == Continuum == Continuum is a visual effect and compositing plugin suite that includes a library of over 300 effects and more than 40 transitions, including tools for image restoration, compositing, titling, particle generation, and stylized effects, along with features such as lens flares, lighting effects, and cinematic color grading presets. A key component of Continuum is its integration with the Mocha planar tracking and masking system, enabling advanced tracking and rotoscoping within the effects. The suite also includes Particle Illusion, a real-time particle generator used for creating visual effects such as explosions, smoke, and abstract motion graphics, as well as Primatte Studio, a chroma keying and compositing toolset for green screen and blue screen workflows. Continuum supports GPU acceleration and offers compatibility with HDR and 360/VR content. Regular updates introduce new effects, presets, and performance enhancements to expand its capabilities. In October 2018, Continuum relaunched Particle Illusion, a Mocha Essentials workflow with magnetic edge-snapping, and updates to Title Studio. In October 2019, Continuum introduced Corner Pin Studio with built-in Mocha tracking for quick screen replacement and inserts, 6 stylized transitions, and 4 creative effects. In October 2020, Continuum released an update that included over 80 GPU-accelerated effects such as film stocks, color grades, optical filter simulations, and a digital gobo library. The update also introduced a custom FX Editor interface, real-time particles, and more than 1,000 drag-and-drop presets. In November 2021, it added multi-frame rendering for After Effects, native Apple M1 support, fluid dynamics in Particle Illusion, and 60 color-grade presets. In October 2022, the software introduced 10 additional transitions, a revised Particle Illusion workflow, an atmospheric glow effect, and more than 250 curated presets. Continuum plugins have been used in television, streaming, and film projects, including A Black Lady Sketch Show (HBO/HBO Max), Star Trek: Discovery (CBS), Andor (Disney+), The Curse of Oak Island (History Channel), Keeping up with the Kardashians (E!), This Old House (PBS), Ms. Marvel (Disney+), MasterChef (Fox), WipeOut (TBS), The Boys (Prime Video), and The Today Show (NBC). == Mocha Pro == In December 2014, Boris FX merged with Imagineer Systems, the UK-based developer of the Academy Award-winning planar motion tracking software, Mocha Pro. Mocha Pro's features include planar tracking (motion tracking), rotoscoping, image stabilization, 3D camera tracking, and object removal. In June 2016, Mocha released (v5) which introduced Mocha Pro's tools as plug-ins for Adobe After Effects and Premiere Pro, Avid Media Composer, and OFX hosts Foundry's NUKE, Blackmagic Design Fusion, VEGAS Pro, and HitFilm. A simplified version, Mocha AE, is included with Adobe After Effects Creative Cloud and has been bundled with the software since CS4. A similar version is also available with HitFilm Pro from FXhome and VEGAS Pro. Mocha's tracking SDK is integrated into other visual effects tools, including SAM Quantel Pablo Rio, Silhouette FX, CoreMelt, and Motion VFX. Mocha Pro has been used in various film and television productions, including Birdman, Black Swan, the Harry Potter series, The Hobbit, Star Wars, The Mandalorian, Star Trek: Discovery, and The Umbrella Academy. It has also been employed in projects such as Gone Girl, The Hunger Games: Mockingjay – Part 1, Game of Thrones, and House of Cards. == Sapphire == GenArts, founded by Karl Sims in 1996, developed visual effects plug-ins that were used by studios and post-production facilities. In September 2016, Boris FX merged with former competitor, GenArts, Inc., developer of Sapphire high-end visual effects plug-ins, to expand its suite of motion graphics and VFX tools. The merger brought Sapphire alongside Boris Continuum Complete (BCC) and Mocha Pro, integrating these tools for film and television post-production. The Sapphire suite includes a library of over 270 effects and transitions, organized into categories such as lighting, stylization, distortions, textures, and transitions. Commonly used effects include glows, lens flares, film looks, and blurs. The plug-ins are designed to be GPU-accelerated, allowing for improved rendering performance and real-time previews in supported host applications. A central feature of Sapphire is the Builder tool, a node-based workspace that allows users to create custom effects and transitions by combining multiple Sapphire plug-ins. This enables a high level of creative flexibility and reusability, making it a popular tool for both editors and VFX artists. Sapphire also integrates with Mocha, Boris FX's planar tracking and masking system, allowing for advanced control of visual elements within an effect. In October 2017, Boris FX released its first new version of Sapphire since the GenArts acquisition. Sapphire (v11) now includes integrated Mocha tracking and masking tools. Sapphire is available for Adobe, Avid, the Autodesk Flame family, and OFX hosts including Blackmagic DaVinci Resolve and Fusion, and Foundry's NUKE. As part of the merger, Boris FX acquired the rights to Particle Illusion. In 2018, Boris FX reintroduced the product to the larger NLE/Compositing market. Sapphire's plug-ins transitioned from C to C++ to improve performance and support higher-resolution visual effects. This update enhanced floating-point calculations, compatibility with film editing APIs, and integration with NVIDIA's CUDA for faster rendering. The plug-ins have been used in various films, including Avatar, the Harry Potter and the Prisoner of Azkaban, Iron Man, The Lord of the Rings, The Matrix trilogy, Titanic, and X-Men. == Particle Illusion == As part of the merger with GenArts in 2016, Boris FX acquired the rights to the Particle Illusion (formerly particleIllusion) product, a storied particle system from the original developer Alan Lorence, the founder of Wondertouch. In 2018, Boris FX released a redesigned version of the product to a larger NLE/compositing market as part of Continuum (2019). The new Particle Illusion plug-in supports Adobe, Avid, and many OFX hosts. == Silhouette == In September 2019, Boris FX merged with SilhouetteFX, Academy Award-winning developer of Silhouette, a high-end digital paint, advanced rotoscoping, motion tracking, and node-based compositing application for visual effects in film post-production. The acquisition integrated Silhouette's advanced rotoscoping and paint technology, recognized by the Academy of Motion Pictures, into Boris FX's suite of products, alongside Sapphire, Continuum, and Mocha Pro. In May 2021, Boris FX released Silhouette 2021, the first version of Silhouette released by Boris FX to function both as a standalone application and as a plug-in for Adobe, Autodesk, Nuke, and other OFX hosts. Silhouette has been used in the visual effects of films such as Avatar, Avengers: Infinity War, Blade Runner 2049, Ex Machina, and Interstellar. == Optics == In June 2020, Boris FX launched Optics, its first plugin deve
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Clef (app)

Clef was a San Francisco-based technology company, known for developing a mobile app that created a two-factor authentication for websites. It allowed users to access sites with a single login password management service which stores encrypted passwords in private accounts. It had a standard verification method that requires access to data on the mobile phone to confirm the user's identity. The application required a Wi-Fi or mobile network, and the user could log in by scanning the computer screen with their phone. == History == Clef was founded in 2013 by Mark Hudnall, B. Byrne and Jesse Pollak. It raised $1.6 million in seed funding in November 2014. Clef integrated with many websites and applications, including WordPress. On March 17, 2017, Clef announced they would no longer support the plugin after June 6, 2017; Clef was acquired by Authy, another 2FA service, which later got acquired by Twilio.
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Network Abstraction Layer

The Network Abstraction Layer (NAL) is a part of the H.264/AVC and HEVC video coding standards. The main goal of the NAL is the provision of a "network-friendly" video representation addressing "conversational" (video telephony) and "non conversational" (storage, broadcast, or streaming) applications. NAL has achieved a significant improvement in application flexibility relative to prior video coding standards. == Introduction == An increasing number of services and growing popularity of high definition TV are creating greater needs for higher coding efficiency. Moreover, other transmission media such as cable modem, xDSL, or UMTS offer much lower data rates than broadcast channels, and enhanced coding efficiency can enable the transmission of more video channels or higher quality video representations within existing digital transmission capacities. Video coding for telecommunication applications has diversified from ISDN and T1/E1 service to embrace PSTN, mobile wireless networks, and LAN/Internet network delivery. Throughout this evolution, continued efforts have been made to maximize coding efficiency while dealing with the diversification of network types and their characteristic formatting and loss/error robustness requirements. The H.264/AVC and HEVC standards are designed for technical solutions including areas like broadcasting (over cable, satellite, cable modem, DSL, terrestrial, etc.) interactive or serial storage on optical and magnetic devices, conversational services, video-on-demand or multimedia streaming, multimedia messaging services, etc. Moreover, new applications may be deployed over existing and future networks. This raises the question about how to handle this variety of applications and networks. To address this need for flexibility and customizability, the design covers a NAL that formats the Video Coding Layer (VCL) representation of the video and provides header information in a manner appropriate for conveyance by a variety of transport layers or storage media. The NAL is designed in order to provide "network friendliness" to enable simple and effective customization of the use of VCL for a broad variety of systems. The NAL facilitates the ability to map VCL data to transport layers such as: RTP/IP for any kind of real-time wire-line and wireless Internet services. File formats, e.g., ISO MP4 for storage and MMS. H.32X for wireline and wireless conversational services. MPEG-2 systems for broadcasting services, etc. The full degree of customization of the video content to fit the needs of each particular application is outside the scope of the video coding standardization effort, but the design of the NAL anticipates a variety of such mappings. Some key concepts of the NAL are NAL units, byte stream, and packet formats uses of NAL units, parameter sets, and access units. A short description of these concepts is given below. == NAL units == The coded video data is organized into NAL units, each of which is effectively a packet that contains an integer number of bytes. The first byte of each H.264/AVC NAL unit is a header byte that contains an indication of the type of data in the NAL unit. For HEVC the header was extended to two bytes. All the remaining bytes contain payload data of the type indicated by the header. The NAL unit structure definition specifies a generic format for use in both packet-oriented and bitstream-oriented transport systems, and a series of NAL units generated by an encoder is referred to as a NAL unit stream. == NAL Units in Byte-Stream Format Use == Some systems require delivery of the entire or partial NAL unit stream as an ordered stream of bytes or bits within which the locations of NAL unit boundaries need to be identifiable from patterns within the coded data itself. For use in such systems, the H.264/AVC and HEVC specifications define a byte stream format. In the byte stream format, each NAL unit is prefixed by a specific pattern of three bytes called a start code prefix. The boundaries of the NAL unit can then be identified by searching the coded data for the unique start code prefix pattern. The use of emulation prevention bytes guarantees that start code prefixes are unique identifiers of the start of a new NAL unit. A small amount of additional data (one byte per video picture) is also added to allow decoders that operate in systems that provide streams of bits without alignment to byte boundaries to recover the necessary alignment from the data in the stream. Additional data can also be inserted in the byte stream format that allows expansion of the amount of data to be sent and can aid in achieving more rapid byte alignment recovery, if desired. == NAL Units in Packet-Transport System Use == In other systems (e.g., IP/RTP systems), the coded data is carried in packets that are framed by the system transport protocol, and identification of the boundaries of NAL units within the packets can be established without use of start code prefix patterns. In such systems, the inclusion of start code prefixes in the data would be a waste of data carrying capacity, so instead the NAL units can be carried in data packets without start code prefixes. == VCL and Non-VCL NAL Units == NAL units are classified into VCL and non-VCL NAL units. VCL NAL units contain the data that represents the values of the samples in the video pictures. Non-VCL NAL units contain any associated additional information such as parameter sets (important header data that can apply to a large number of VCL NAL units) and supplemental enhancement information (timing information and other supplemental data that may enhance usability of the decoded video signal but are not necessary for decoding the values of the samples in the video pictures). == Parameter Sets == A parameter set contains shared configuration data that is carried in non-VCL NAL units. Parameter sets are typically reused when decoding many coded pictures within a video sequence. Each VCL NAL unit references a picture parameter set (PPS), which in turn references a sequence parameter set (SPS). There are two types of parameter sets: Sequence parameter set (SPS), which specifies mostly constant configuration such as resolution, bit depth, or chroma format. (For a concrete implementation, see FFmpeg's SPS struct.) Picture parameter set (PPS), which applies on top of an SPS, and specifies configuration such as QP offsets. (For a concrete implementation, see FFmpeg's PPS struct.) The sequence and picture parameter-set mechanism decouples the transmission of infrequently changing information from the transmission of coded representations of the values of the samples in the video pictures. Each VCL NAL unit contains an identifier that refers to the content of the relevant picture parameter set and each picture parameter set contains an identifier that refers to the content of the relevant sequence parameter set. In this manner, a small amount of data (the identifier) can be used to refer to a larger amount of information (the parameter set) without repeating that information within each VCL NAL unit. Sequence and picture parameter sets can be sent well ahead of the VCL NAL units that they apply to, and can be repeated to provide robustness against data loss. In some applications, parameter sets may be sent within the channel that carries the VCL NAL units (termed "in-band" transmission). In other applications, it can be advantageous to convey the parameter sets "out-of-band" using a more reliable transport mechanism than the video channel itself. == Access Units == A set of NAL units in a specified form is referred to as an access unit. The decoding of each access unit results in one decoded picture. Each access unit contains a set of VCL NAL units that together compose a primary coded picture. It may also be prefixed with an access unit delimiter to aid in locating the start of the access unit. Some supplemental enhancement information containing data such as picture timing information may also precede the primary coded picture. The primary coded picture consists of a set of VCL NAL units consisting of slices or slice data partitions that represent the samples of the video picture. Following the primary coded picture may be some additional VCL NAL units that contain redundant representations of areas of the same video picture. These are referred to as redundant coded pictures, and are available for use by a decoder in recovering from loss or corruption of the data in the primary coded pictures. Decoders are not required to decode redundant coded pictures if they are present. Finally, if the coded picture is the last picture of a coded video sequence (a sequence of pictures that is independently decodable and uses only one sequence parameter set), an end of sequence NAL unit may be present to indicate the end of the sequence; and if the coded picture is the last coded picture in the entire NAL unit stream, an end of stream NAL unit may be present to
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Virtual intelligence

Virtual intelligence (VI) is the term given to artificial intelligence that exists within a virtual world. Many virtual worlds have options for persistent avatars that provide information, training, role-playing, and social interactions. The immersion in virtual worlds provides a platform for VI beyond the traditional paradigm of past user interfaces (UIs). What Alan Turing established as a benchmark for telling the difference between human and computerized intelligence was devoid of visual influences. With today's VI bots, virtual intelligence has evolved past the constraints of past testing into a new level of the machine's ability to demonstrate intelligence. The immersive features of these environments provide nonverbal elements that affect the realism provided by virtually intelligent agents. Virtual intelligence is the intersection of these two technologies: Virtual environments: Immersive 3D spaces provide for collaboration, simulations, and role-playing interactions for training. Many of these virtual environments are currently being used for government and academic projects, including Second Life, VastPark, Olive, OpenSim, Outerra, Oracle's Open Wonderland, Duke University's Open Cobalt, and many others. Some of the commercial virtual worlds are also taking this technology into new directions, including the high-definition virtual world Blue Mars. Artificial intelligence (AI): AI is a branch of computer science that aims to create intelligent machines capable of performing tasks that typically require human intelligence. VI is a type of AI that operates within virtual environments to simulate human-like interactions and responses. == Applications == Cutlass Bomb Disposal Robot: Northrop Grumman developed a virtual training opportunity because of the prohibitive real-world cost and dangers associated with bomb disposal. By replicating a complicated system without having to learn advanced code, the virtual robot has no risk of damage, trainee safety hazards, or accessibility constraints. MyCyberTwin: NASA is among the companies that have used the MyCyberTwin AI technologies. They used it for the Phoenix rover in the virtual world Second Life. Their MyCyberTwin used a programmed profile to relay information about what the Phoenix rover was doing and its purpose. Second China: The University of Florida developed the "Second China" project as an immersive training experience for learning how to interact with the culture and language in a foreign country. Students are immersed in an environment that provides role-playing challenges coupled with language and cultural sensitivities magnified during country-level diplomatic missions or during times of potential conflict or regional destabilization. The virtual training provides participants with opportunities to access information, take part in guided learning scenarios, communicate, collaborate, and role-play. While China was the country for the prototype, this model can be modified for use with any culture to help better understand social and cultural interactions and see how other people think and what their actions imply. Duke School of Nursing Training Simulation: Extreme Reality developed virtual training to test critical thinking with a nurse performing trained procedures to identify critical data to make decisions and performing the correct steps for intervention. Bots are programmed to respond to the nurse's actions as the patient with their conditions improving if the nurse performs the correct actions.
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Continuum robot

A continuum robot is a type of robot that is characterised by infinite degrees of freedom and number of joints. These characteristics allow continuum manipulators to adjust and modify their shape at any point along their length, granting them the possibility to work in confined spaces and complex environments where standard rigid-link robots cannot operate. In particular, we can define a continuum robot as an actuatable structure whose constitutive material forms curves with continuous tangent vectors. This is a fundamental definition that allows to distinguish between continuum robots and snake-arm robots or hyper-redundant manipulators: the presence of rigid links and joints allows them to only approximately perform curves with continuous tangent vectors. The design of continuum robots is bioinspired, as the intent is to resemble biological trunks, snakes and tentacles. Several concepts of continuum robots have been commercialised and can be found in many different domains of application, ranging from the medical field to undersea exploration. == Classification == Continuum robots can be categorised according to two main criteria: structure and actuation. === Structure === The main characteristic of the design of continuum robots is the presence of a continuously curving core structure, named backbone, whose shape can be actuated. The backbone must also be compliant, meaning that the backbone yields smoothly to external loads. According to the design principles chosen for the continuum manipulator, we can distinguish between: single-backbone: these continuum manipulators have one central elastic backbone through which actuation/transmission elements can run. multi-backbone: the structure of these continuum robots has two or more elastic elements (either rods or tubes) parallel to each other and constrained with one another in some way. concentric-tube: the backbone is made of concentric tubes that are free to rotate and translate between each other, depending on the actuation happening at the base of the robot. === Actuation === The actuation strategy of continuum manipulators can be distinguished between extrinsic or intrinsic actuation, depending on where the actuation happens: extrinsic actuation: the actuation happens outside the main structure of the robot and the forces are transmitted via mechanical transmission; among these techniques, there are cable/tendon driven actuators and multi-backbone strategies. intrinsic actuation: the actuation mechanism operates within the structure of the robot; these strategies include pneumatic or hydraulic chambers and the shape memory effect. The Actuated Flexible Manifold (AFM), introduced by Medina, Shapiro, and Shvalb (2016), models flexible grid-based robots that approximate smooth manifolds using discrete segments, each contributing one degree of freedom. Their work provides forward and inverse kinematics for planar and spatial configurations, bridging hyper-redundant and continuum robotics. == Advantages == The particular design of continuum robots offers several advantages with respect to rigid-link robots. First of all, as already said, continuum robots can more easily operate in environments that require a high level of dexterity, adaptability and flexibility. Moreover, the simplicity of their structure makes continuum robots more prone to miniaturisation. The rise of continuum robots has also paved the way for the development of soft continuum manipulators. These continuum manipulators are made of highly compliant materials that are flexible and can adapt and deform according to the surrounding environment. The "softness" of their material grants higher safety in human-robot interactions. == Disadvantages == The particular design of continuum robots also introduces many challenges. To properly and safely use continuum robots, it is crucial to have an accurate force and shape sensing system. Traditionally, this is done using cameras that are not suitable for some of the applications of continuum robots (e.g. minimally invasive surgery), or using electromagnetic sensors that are however disturbed by the presence of magnetic objects in the environment. To solve this issue, in the last years fiber-Bragg-grating sensors have been proposed as a possible alternative and have shown promising results. It is also necessary to notice that while the mechanical properties of rigid-link robots are fully understood, the comprehension of the behaviour and properties of continuum robots is still subject of study and debate. This poses new challenges in developing accurate models and control algorithms for this kind of robots. == Modelling == Creating an accurate model that can predict the shape of a continuum robot allows to properly control the robot's shape. There are three main approaches to model continuum robots: Cosserat rod theory: this approach is an exact solution to the static of a continuum robot, as it is not subject to any assumption. It solves a set of equilibrium equations between position, orientation, internal force and torque of the robot. This method requires to be solved numerically and it is therefore computationally expensive, due to its high complexity. Constant curvature: this technique assumes the backbone to be made of a series of mutually tangent sections that can be approximated as arcs with constant curvature. This approach is also known as piecewise constant-curvature. This assumption can be applied to the entire segment of the backbone or to its subsegments. This model has shown promising results, however it must be taken into account that the segment/subsegments of the backbone may not comply to the constant curvature assumption and therefore the model's behaviour may not entirely reflect the behaviour of the robot. Rigid-link model: this approach is based on the assumption that the continuum robot can be divided in small segments with rigid links. This is a strong assumption, since if the number of segments is too low, the model hardly behaves like the continuum robot, while increasing the number of segments means increasing the number of variables, and thus complexity. Despite this limitation, rigid-link modelling allows the use of the standard control techniques that are well known for rigid-link robots. It has been proven that this model can be coupled with shape and force sensing to mitigate its inaccuracy and can lead to promising results. == Sensing == To develop accurate control algorithms, it is necessary to complement the presented modelling techniques with real time shape sensing. The following options are currently available: Electromagnetic (EM) sensing: shape is reconstructed thanks to the mutual induction between a magnetic field generator and a magnetic field sensor. The most common external EM tracking system is the commercially available NDI Aurora: small sensors can be placed on the robot and their position is tracked in an external generated magnetic field. The validity of this method has been extensively assessed, however its performance is hindered by the limited workspace, whose dimension depends on the magnetic field. Another alternative is to embed the sensors internally in the continuum robot, combining magnetic sensors with Hall effect sensors: the magnetic field is measured at the level of the Hall effect sensors in order to estimate the deflection of the robot. However, it has been noticed that the higher the bending of the manipulator, the higher is the estimation error, due to crosstalk between sensors and magnets. Optical sensing: fiber Bragg grating sensors incorporated in an optical fiber can be embedded into the backbone of the continuum robot to estimate its shape; these sensors can only reflect a small range of the input light spectrum depending on their strain; therefore, by measuring the strain on each sensor it is possible to obtain the shape of the robot. This type of sensor is however expensive and is more prone to breaking in case of excessive strain, and this can happen in robots that can perform high deflections. == Control strategies == The control strategies can be distinguished in static and dynamic; the first one is based on the steady-state assumption, while the latter also considers the dynamic behaviour of the continuum robot. We can also differentiate between model-based controllers, that depend on a model of the robot, and model-free, that learn the robot's behaviour from data. Model-based static controllers: they rely on one of the modelling approaches presented above; once the model is defined, the kinematics must be inverted to obtain the desired actuator or configuration space variables. There are several ways to do this, like differential inverse kinematics, direct inversion or optimization. Model-free static controllers: these approaches learn directly, via machine learning techniques (e.g. regression methods and neural networks), the inverse kinematic or the direct kinematic representation of the con
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YrWall

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

FuseBase (previously Nimbus Note and Nimbus Platform) is a B2B SaaS platform. It is among the first to support the Model Context Protocol (MCP), an open standard enabling seamless integration of AI agents with external tools, systems, and data sources. == History == The platform was founded in 2014 as Nimbus Note, the platform started as a cross-platform note-taking and information management tool. As it evolved into Nimbus Platform, it added project management and client portal capabilities. In 2023, the company rebranded as FuseBase, pivoting to connect and automate both internal and external collaboration through AI Agents and cutting-edge protocol adoption like MCP. At the same time, FuseBase was named Product of the Year on Product Hunt. == Technical overview == The platform integrates the Model Context Protocol (MCP), an open-source framework created by Anthropic. MCP allows AI models to securely access and interact with external data, tools, and systems. This enables FuseBase AI Agents to gather relevant context, perform actions, and provide more advanced automation.
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Per-pixel lighting

In computer graphics, per-pixel lighting refers to any technique for lighting an image or scene that calculates illumination for each pixel on a rendered image. This is in contrast to other popular methods of lighting such as vertex lighting, which calculates illumination at each vertex of a 3D model and then interpolates the resulting values over the model's faces to calculate the final per-pixel color values. Per-pixel lighting is commonly used with techniques, such as blending, alpha blending, alpha to coverage, anti-aliasing, texture filtering, clipping, hidden-surface determination, Z-buffering, stencil buffering, shading, mipmapping, normal mapping, bump mapping, displacement mapping, parallax mapping, shadow mapping, specular mapping, shadow volumes, high-dynamic-range rendering, ambient occlusion (screen space ambient occlusion, screen space directional occlusion, ray-traced ambient occlusion), ray tracing, global illumination, and tessellation. Each of these techniques provides some additional data about the surface being lit or the scene and light sources that contributes to the final look and feel of the surface. Most modern video game engines implement lighting using per-pixel techniques instead of vertex lighting to achieve increased detail and realism. The id Tech 4 engine, used to develop such games as Brink and Doom 3, was one of the first game engines to implement a completely per-pixel shading engine. All versions of the CryENGINE, Frostbite Engine, and Unreal Engine, among others, also implement per-pixel shading techniques. Deferred shading is a recent development in per-pixel lighting notable for its use in the Frostbite Engine and Battlefield 3. Deferred shading techniques are capable of rendering potentially large numbers of small lights inexpensively (other per-pixel lighting approaches require full-screen calculations for each light in a scene, regardless of size). == History == While only recently have personal computers and video hardware become powerful enough to perform full per-pixel shading in real-time applications such as games, many of the core concepts used in per-pixel lighting models have existed for decades. Frank Crow published a paper describing the theory of shadow volumes in 1977. This technique uses the stencil buffer to specify areas of the screen that correspond to surfaces that lie in a "shadow volume", or a shape representing a volume of space eclipsed from a light source by some object. These shadowed areas are typically shaded after the scene is rendered to buffers by storing shadowed areas with the stencil buffer. Jim Blinn first introduced the idea of normal mapping in a 1978 SIGGRAPH paper. Blinn pointed out that the earlier idea of unlit texture mapping proposed by Edwin Catmull was unrealistic for simulating rough surfaces. Instead of mapping a texture onto an object to simulate roughness, Blinn proposed a method of calculating the degree of lighting a point on a surface should receive based on an established "perturbation" of the normals across the surface. == Hardware rendering == Real-time applications, such as video games, usually implement per-pixel lighting through the use of pixel shaders, allowing the GPU hardware to process the effect. The scene to be rendered is first rasterized onto a number of buffers storing different types of data to be used in rendering the scene, such as depth, normal direction, and diffuse color. Then, the data is passed into a shader and used to compute the final appearance of the scene, pixel-by-pixel. Deferred shading is a per-pixel shading technique that has recently become feasible for games. With deferred shading, a "g-buffer" is used to store all terms needed to shade a final scene on the pixel level. The format of this data varies from application to application depending on the desired effect, and can include normal data, positional data, specular data, diffuse data, emissive maps and albedo, among others. Using multiple render targets, all of this data can be rendered to the g-buffer with a single pass, and a shader can calculate the final color of each pixel based on the data from the g-buffer in a final "deferred pass". Because deferred shading assumes only one visible fragment per pixel sample, transparent objects are generally handled in a separate forward pass. == Software rendering == Per-pixel lighting is also performed in software on many high-end commercial rendering applications which typically do not render at interactive framerates. This is called offline rendering or software rendering. NVidia's mental ray rendering software, which is integrated with such suites as Autodesk's Softimage is a well-known example.
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List of video editing software

The following is a list of video editing software. The criterion for inclusion in this list is the ability to perform non-linear video editing. Most modern transcoding software supports transcoding a portion of a video clip, which would count as cropping and trimming. However, items in this article have one of the following conditions: Can perform other non-linear video editing function such as montage or compositing Can do the trimming or cropping without transcoding == Free (libre) or open-source == The software listed in this section is either free software or open source, and may or may not be commercial. === Active and stable === === Inactive === == Proprietary (non-commercial) == The software listed in this section is proprietary, and freeware or freemium. === Active === === Discontinued === == Proprietary (commercial) == The software listed in this section is proprietary and commercial. === Active === === Discontinued ===
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Piranesi (software)

Piranesi is an interactive paint system that enables the user to create artistic images from 3D scenes created using conventional modeling applications. == Image format == Piranesi uses the proprietary EPix file format. For every pixel, additional information is stored, such as distance from the viewer and material settings. EPix files can be rendered from 3D scenes using a fixed viewpoint by Piranesi's companion software, Vedute.
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