AI Content To Human

AI Content To Human — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Teknomo–Fernandez algorithm

    Teknomo–Fernandez algorithm

    The Teknomo–Fernandez algorithm (TF algorithm), is an efficient algorithm for generating the background image of a given video sequence. By assuming that the background image is shown in the majority of the video, the algorithm is able to generate a good background image of a video in O ( R ) {\displaystyle O(R)} -time using only a small number of binary operations and Boolean bit operations, which require a small amount of memory and has built-in operators found in many programming languages such as C, C++, and Java. == History == People tracking from videos usually involves some form of background subtraction to segment foreground from background. Once foreground images are extracted, then desired algorithms (such as those for motion tracking, object tracking, and facial recognition) may be executed using these images. However, background subtraction requires that the background image is already available and unfortunately, this is not always the case. Traditionally, the background image is searched for manually or automatically from the video images when there are no objects. More recently, automatic background generation through object detection, medial filtering, medoid filtering, approximated median filtering, linear predictive filter, non-parametric model, Kalman filter, and adaptive smoothening have been suggested; however, most of these methods have high computational complexity and are resource-intensive. The Teknomo–Fernandez algorithm is also an automatic background generation algorithm. Its advantage, however, is its computational speed of only O ( R ) {\displaystyle O(R)} -time, depending on the resolution R {\displaystyle R} of an image and its accuracy gained within a manageable number of frames. Only at least three frames from a video is needed to produce the background image assuming that for every pixel position, the background occurs in the majority of the videos. Furthermore, it can be performed for both grayscale and colored videos. == Assumptions == The camera is stationary. The light of the environment changes only slowly relative to the motions of the people in the scene. The number of people does not occupy the scene for most of the time at the same place. Generally, however, the algorithm will certainly work whenever the following single important assumption holds: For each pixel position, the majority of the pixel values in the entire video contain the pixel value of the actual background image (at that position).As long as each part of the background is shown in the majority of the video, the entire background image needs not to appear in any of its frames. The algorithm is expected to work accurately. == Background image generation == === Equations === For three frames of image sequence x 1 {\displaystyle x_{1}} , x 2 {\displaystyle x_{2}} , and x 3 {\displaystyle x_{3}} , the background image B {\displaystyle B} is obtained using B = x 3 ( x 1 ⊕ x 2 ) + x 1 x 2 {\displaystyle B=x_{3}(x_{1}\oplus x_{2})+x_{1}x_{2}} where ⊕ {\displaystyle \oplus } denotes the exclusive disjunctive bit operator. The Boolean mode function S {\displaystyle S} of the table occurs when the number of 1 entries is larger than half of the number of images such that S = { 1 , if ∑ i = 1 n x i ≥ ⌈ n 2 + 1 ⌉ , and n ≥ 3 0 , otherwise {\displaystyle S={\begin{cases}1,&{\text{if }}\sum _{i=1}^{n}x_{i}\geq \left\lceil {\frac {n}{2}}+1\right\rceil ,{\text{ and }}n\geq 3\\0,&{\text{otherwise}}\end{cases}}} For three images, the background image B {\displaystyle B} can be taken as the value x ¯ 1 x 2 x 3 + x 1 x ¯ 2 x 3 + x 1 x 2 x ¯ 3 + x 1 x 2 x 3 {\displaystyle {\bar {x}}_{1}x_{2}x_{3}+x_{1}{\bar {x}}_{2}x_{3}+x_{1}x_{2}{\bar {x}}_{3}+x_{1}x_{2}x_{3}} === Background generation algorithm === At the first level, three frames are selected at random from the image sequence to produce a background image by combining them using the first equation. This yields a better background image at the second level. The procedure is repeated until desired level L {\displaystyle L} . == Theoretical accuracy == At level ℓ {\displaystyle \ell } , the probability p ℓ {\displaystyle p_{\ell }} that the modal bit predicted is the actual modal bit is represented by the equation p ℓ = ( p ℓ − 1 ) 3 + 3 ( p ℓ − 1 ) 2 ( 1 − p ℓ − 1 ) {\displaystyle p_{\ell }=(p_{\ell -1})^{3}+3(p_{\ell -1})^{2}(1-p_{\ell -1})} . The table below gives the computed probability values across several levels using some specific initial probabilities. It can be observed that even if the modal bit at the considered position is at a low 60% of the frames, the probability of accurate modal bit determination is already more than 99% at 6 levels. == Space complexity == The space requirement of the Teknomo–Fernandez algorithm is given by the function O ( R F + R 3 L ) {\displaystyle O(RF+R3^{L})} , depending on the resolution R {\displaystyle R} of the image, the number F {\displaystyle F} of frames in the video, and the desired number L {\displaystyle L} of levels. However, the fact that L {\displaystyle L} will probably not exceed 6 reduces the space complexity to O ( R F ) {\displaystyle O(RF)} . == Time complexity == The entire algorithm runs in O ( R ) {\displaystyle O(R)} -time, only depending on the resolution of the image. Computing the modal bit for each bit can be done in O ( 1 ) {\displaystyle O(1)} -time while the computation of the resulting image from the three given images can be done in O ( R ) {\displaystyle O(R)} -time. The number of the images to be processed in L {\displaystyle L} levels is O ( 3 L ) {\displaystyle O(3^{L})} . However, since L ≤ 6 {\displaystyle L\leq 6} , then this is actually O ( 1 ) {\displaystyle O(1)} , thus the algorithm runs in O ( R ) {\displaystyle O(R)} . == Variants == A variant of the Teknomo–Fernandez algorithm that incorporates the Monte-Carlo method named CRF has been developed. Two different configurations of CRF were implemented: CRF9,2 and CRF81,1. Experiments on some colored video sequences showed that the CRF configurations outperform the TF algorithm in terms of accuracy. However, the TF algorithm remains more efficient in terms of processing time. == Applications == Object detection Face detection Face recognition Pedestrian detection Video surveillance Motion capture Human-computer interaction Content-based video coding Traffic monitoring Real-time gesture recognition

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  • Digital cinematography

    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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  • Electronic kit

    Electronic kit

    An electronic kit is a package of electrical components used to build an electronic device. Generally, kits are composed of electronic components, a circuit diagram (schematic), assembly instructions, and often a printed circuit board (PCB) or another type of prototyping board. There are two types of kits. Some build a single device or system. Other types used for education demonstrate a range of circuits. These will include a solderless construction board of some type, such as: Components mounted in plastic blocks with side contacts, that are held together in a base, e.g. Denshi blocks Springs on a card board, the springs trap wire leads, or component leads, such as Philips EE electronic experiment kits. These are a cheap and flexible option Professional type prototyping boards, (breadboards) into which component leads are inserted, following documentation of the "kit". The first type of kit for constructing a single device normally uses a PCB on which components are soldered. They normally come with extended documentation describing which component goes where into the PCB. For advanced hobby projects, sometimes the kit may only consist of a printed circuit board and assembly instructions, and the purchaser may have to source all the parts independently; or, the vendor may provide hard-to-get or pre-programmed parts while expecting the purchaser to obtain the rest of the components. People primarily purchase electronic kits to have fun and learn how things work. They were once popular as a means to reduce the cost of buying goods, but there is usually no cost saving in buying a kit today. Some electronic kits were assembled to make complete complex devices such as color television sets, oscilloscopes, high-end audio amplifiers, amateur radio equipment, electric organs, and even computers such as the Heathkit H-8, and the LNW-80. Many of the early microprocessor computers were sold as either electronic kits or assembled and tested. Heathkit sold millions of electronic kits during its 45-year history. Home assembly of common consumer electronics items no longer provides a cost advantage over commercially manufactured and distributed devices. People still build kits for custom devices and special-purpose electronics for professional and educational use and as a hobby. Also emerging is a trend to simplify the complexity by providing preprogrammed or modular kits often provided by many suppliers online. The fun and thrill of making your own electronics have shifted, in many cases, from easy-to-comprehend applications and analog devices to more sophisticated digital devices. == Examples == The Altair 8800 (the first home computer) was also sold as a kit, as were the MK14, Sinclair ZX80, Sinclair ZX81 and Acorn Atom computers. Many S-100 bus system cards were sold only as kits. Building a Robot kit, most often with a micro controller inside, is now in fashion.

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  • Economía Feminista

    Economía Feminista

    Economía Feminista, in English: Feminist Economics, is an Argentine digital media, focused on disclosure and creation of economics information about the gender gap. The media is managed by Mercedes D`Alessandro, Magalí Brosio, Violeta Guitart and Agurtzane Urrutia. == Concept == Economía Femini(s)ta, is a portmanteau of feminista and minita. It attempts to end stereotypes about women. It was created in 2015 and its goal is to be a source of economic data to help to display economic differences by gender, especially in Argentina. == Awards == Economía Feminista was awarded the Lola Mora prize in 2016 for the best digital media by Dirección General de la Mujer, promoted by Buenos Aires city's Legislature.

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  • Spleak

    Spleak

    Spleak was an IM platform where users could publish and rate content. It existed in the form of six bots covering as many subject areas: CelebSpleak, SportSpleak, VoteSpleak, TVSpleak, GameSpleak, and StyleSpleak. == Overview == Users can add a "multi-Spleak" (which contains all of the different Spleak bots in one) or add the separate bots to their IM buddy lists on MSN and AIM. Users are also allowed access to Spleak online by using a CelebSpleak, SportSpleak, or VoteSpleak widget, or through the CelebSpleak and SportSpleak applications with Facebook. Spleak was an alternate reality game and is moving to its own company, Spleak Media Network. "Celebrate Spleak" was introduced throughout 2007, launched in 2008, and was forced to retire in 2009. == Key people == Spleak was co-founded by Morten Lund and Nicolaj Reffstrup. The company's chief executive officer is Morrie Eisenburg; Josh Scott is Vice President in Product and Tyler Wells is Vice President in Engineering.

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  • RadioVIS

    RadioVIS

    RadioVIS is a protocol for sideband signalling of images and text messages for a broadcast audio service to provide a richer visual experience. It is an application and sub-project of RadioDNS, which allows radio consumption devices to look up an IP-based service based on the parameters of the currently tuned broadcast station. In January 2015, the functionality of RadioVIS was integrated to Visual Slideshow (ETSI TS 101 499 v3.1.1). The original RVIS01 document is now deprecated. == Details == The protocol enables either Streaming Text Oriented Messaging Protocol (STOMP) or Comet to deliver text and image URLs to a client, with the images being acquired over a HTTP connection. The technology is currently implemented by a number of broadcasters across the world, including Global Radio, Bauer Radio in the UK, RTÉ in the Republic Of Ireland, Südwestrundfunk in Germany and a number of Australian media groups amongst others. A number of software clients exist to show the protocol, as well as hardware devices such as the Pure Sensia from Pure Digital, and the Colourstream from Roberts Radio.

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  • Locative media

    Locative media

    Locative media or location-based media (LBM) is a virtual medium of communication functionally bound to a location. The physical implementation of locative media, however, is not bound to the same location to which the content refers. Location-based media delivers multimedia and other content directly to the user of a mobile device dependent upon their location. Location information determined by means such as mobile phone tracking and other emerging real-time locating system technologies like Wi-Fi or RFID can be used to customize media content presented on the device. Locative media are digital media applied to real places and thus triggering real social interactions. While mobile technologies such as the Global Positioning System (GPS), laptop computers and mobile phones enable locative media, they are not the goal for the development of projects in this field. == Description == Media content is managed and organized externally of the device on a standard desktop, laptop, server, or cloud computing system. The device then downloads this formatted content with GPS or other RTLS coordinate-based triggers applied to each media sequence. As the location-aware device enters the selected area, centralized services trigger the assigned media, designed to be of optimal relevance to the user and their surroundings. Use of locative technologies "includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation." Location based media allows for the enhancement of any given environment offering explanation, analysis and detailed commentary on what the user is looking at through a combination of video, audio, images and text. The location-aware device can deliver interpretation of cities, parklands, heritage sites, sporting events or any other environment where location based media is required. The content production and pre-production are integral to the overall experience that is created and must have been performed with ultimate consideration of the location and the users position within that location. The media offers a depth to the environment beyond that which is immediately apparent, allowing revelations about background, history and current topical feeds. == Locative, ubiquitous and pervasive computing == The term 'locative media' was coined by Karlis Kalnins. Locative media is closely related to augmented reality (reality overlaid with virtual reality) and pervasive computing (computers everywhere, as in ubiquitous computing). Whereas augmented reality strives for technical solutions, and pervasive computing is interested in embedded computers, locative media concentrates on social interaction with a place and with technology. Many locative media projects have a social, critical or personal (memory) background. While strictly spoken, any kind of link to additional information set up in space (together with the information that a specific place supplies) would make up location-dependent media, the term locative media is strictly bound to technical projects. Locative media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in locative media the medium itself might not be location-oriented, whereas the content is location-oriented. Japanese mobile phone culture embraces location-dependent information and context-awareness. It is projected that in the near future locative media will develop to a significant factor in everyday life. == Enabling technologies == Locative media projects use technology such as Global Positioning System (GPS), laptop computers, the mobile phone, Geographic Information System (GIS), and web map services such as Mapbox, OpenStreetMap, and Google Maps among others. Whereas GPS allows for the accurate detection of a specific location, mobile computers allow interactive media to be linked to this place. The GIS supplies arbitrary information about the geological, strategic or economic situation of a location. Web maps like Google Maps give a visual representation of a specific place. Another important new technology that links digital data to a specific place is radio-frequency identification (RFID), a successor to barcodes like Semacode. Research that contributes to the field of locative media happens in fields such as pervasive computing, context awareness and mobile technology. The technological background of locative media is sometimes referred to as "location-aware computing". == Creative representation == Place is often seen as central to creativity; in fact, "for some—regional artists, citizen journalists and environmental organizations for example—a sense of place is a particularly important aspect of representation, and the starting point of conversations." Locative media can propel such conversations in its function as a "poetic form of data visualization," as its output often traces how people move in, and by proxy, make sense of, urban environments. Given the dynamism and hybridity of cities and the networks which comprise them, locative media extends the internet landscape to physical environments where people forge social relations and actions which can be "mobile, plural, differentiated, adventurous, innovative, but also estranged, alienated, impersonalized." Moreover, in using locative technologies, users can expand how they communicate and assert themselves in their environment and, in doing so, explore this continuum of urban interactions. Furthermore, users can assume a more active role in constructing the environments they are situated in accordingly. In turn, artists have been intrigued with locative media as a means of "user-led mapping, social networking and artistic interventions in which the fabric of the urban environment and the contours of the earth become a 'canvas.'" Such projects demystify how resident behaviors in a given city contribute to the culture and sense of personality that cities are often perceived to take on. Design scholars Anne Galloway and Matthew Ward state that "various online lists of pervasive computing and locative media projects draw out the breadth of current classification schema: everything from mobile games, place-based storytelling, spatial annotation and networked performances to device-specific applications." A prominent use of locative media is in locative art. A sub-category of interactive art or new media art, locative art explores the relationships between the real world and the virtual or between people, places or objects in the real world. == Examples == Notable locative media projects include Bio Mapping by Christian Nold in 2004, locative art projects such as the SpacePlace ZKM/ZKMax bluecasting and participatory urban media access in Munich in 2005 and Britglyph by Alfie Dennen in 2009, and location-based games such as AR Quake by the Wearable Computer Lab at the University of South Australia and Can You See Me Now? in 2001 by Blast Theory in collaboration with the Mixed Reality Lab at the University of Nottingham. In 2005, the Silicon Valley–based collaborators of C5 first exhibited the C5 Landscape Initiative, a suite of four GPS inspired projects that investigate perception of landscape in light of locative media. In William Gibson's 2007 novel Spook Country, locative art is one of the main themes and set pieces in the story. Narrative projects which engage with locative media are sometimes referred to as Location-Aware Fiction, as explored in "Data and Narrative: Location Aware Fiction" a 2003 essay by Kate Armstrong. This location-aware fiction is also known as locative literature, where locative stories and poems can be experienced via digital portals, apps, QR codes and e-books, as well as via analogue forms such as labelling tape, Scrabble tiles, fridge magnets or Post-It notes, and these are forms often used by the writer and artist Matt Blackwood. The Transborder Immigrant Tool by the Electronic Disturbance Theater is a locative media project aimed at providing life saving directions to water for people trying to cross the US / Mexico border. The project attracted global media attention in 2009 and 2010. Articles included a Los Angeles Times cover story focusing on Ricardo Dominguez and an AP story interviewing Micha Cárdenas and Brett Stalbaum. The articles focused on concerns over the legality of the project and the ensuing investigations of the group, which are still underway. The Transborder Immigrant Tool has recently been included in a number of major exhibitions including Here, Not There at the Museum of Contemporary Art San Diego and the 2010 California Biennial at the Orange County Museum of Art. Invisible Threads by Stephanie Rothenberg and Jeff Crouse is a locative media project aimed at creating embodied awareness of sweatshops and just-in-time production t

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  • Contact center telephony

    Contact center telephony

    In marketing, contact center telephony is the communication and collaboration system used by businesses to either manage high volumes of inbound queries or outbound telephone calls keeping their workforce or agents productive and in control to serve or acquire customers. This business communication system is an extension of computer telephony integration (CTI). == Overview == The interactions between callers and customer service representatives are supported by the collective system of computers, telephones and the Internet. The shift from CTI to contact center telephony is marked by the sheer change in the customer’s behavior when it comes to communication. Means customers are no longer confined only to voice-based communication i.e. phone to connect with their customer service departments. In addition, they are making use of email, SMS, chat, social media, and other virtual contact channels. This is also the reason for the shift in nomenclature from "call centers" to "contact centers", "contact" being a wider term than "call". Respecting the trend, contact center owners need to adopt unified communication or multi-channel approach to let customers get in touch with them via their preferred communication mediums, either voice or non-voice (data). Cloud-based phone system is a further advancement in the direction as it allows operators to access all the features and benefits of call center telephony over the Web against an affordable & flexible pay-as-you-go subscription model. Thus, in-house infrastructure deployment to manage public switched telephone networks, storage, communication applications, and collaboration servers is no more an obligation. Neither is the need to invest resources for their upgrade, repair, maintenance and security as cloud vendor would be responsible for the same. == India == India, a popular call center business process outsourcing destination, often uses a cloud-based phone system in order to cut operational expenses and downtime, and increase connectivity. == Promotion == Businesses can rely on contact center telephony services to respond to their customers’ queries over phone, email, chat, fax, etc. Integrating it with their customer relationship management tools, entire contact details of customers and their interaction sessions with different customer service representatives can be found at one place. The combination can manage not just sales and marketing but also deliver excellent post-sales customer service or technical support to allow customers derive the most from their products or services. Hence, it’s becoming instrumental in increasing customer satisfaction and loyalty and most of the call center services in India are taking refuge from it. The entire contact center telephony service can be availed by professionals over a browser. Hence, businesses can leverage the concept of BYOD (bring your own device) and mobility and serve their customers well using mobile applications. According to market analysts, BYOD increases satisfaction among workforce, and hence their individual and collective productivity as well. BYOD programme significantly reduces the TCO (total cost of ownership) as professionals prefer to work with their own devices rather than using company-provisioned devices. Next, they tend to be more caring towards such devices and can even shell out money to update and upgrade those when required. Integration of IM, along with audio and video conferencing services helps call center or contact center representatives to get real time assistance from their peers or seniors to resolve any complex issues. They can internally exchange information and knowledge articles as and when required. Real-time call monitoring/barging system can be used by quality assessment team to provide important guidelines to agents to maintain the standard of the service as per industry norms. Integrated recording feature is helpful for internal training and quality purposes to improve productivity and customer satisfaction in equal measures. It also helps in getting business insights and improving products or services to gain deeper penetration into the market.

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  • Frame grabber

    Frame grabber

    A frame grabber is an electronic device that captures (i.e., "grabs") individual, digital still frames from an analog video signal or a digital video stream. It is usually employed as a component of a computer vision system, in which video frames are captured in digital form and then displayed, stored, transmitted, analyzed, or combinations of these. Historically, frame grabber expansion cards were the predominant way to interface cameras to PCs. Other interface methods have emerged since then, with frame grabbers (and in some cases, cameras with built-in frame grabbers) connecting to computers via interfaces such as USB, Ethernet and IEEE 1394 ("FireWire"). Early frame grabbers typically had only enough memory to store a single digitized video frame, whereas many modern frame grabbers can store multiple frames. Modern frame grabbers often are able to perform functions beyond capturing a single video input. For example, some devices capture audio in addition to video, and some devices provide, and concurrently capture frames from multiple video inputs. Other operations may be performed as well, such as deinterlacing, text or graphics overlay, image transformations (e.g., resizing, rotation, mirroring), and conversion to JPEG or other compressed image formats. To satisfy the technological demands of applications such as radar acquisition, manufacturing and remote guidance, some frame grabbers can capture images at high frame rates, high resolutions, or both. == Circuitry == Analog frame grabbers, which accept and process analog video signals, include these circuits: Input signal conditioner that buffers the analog video input signal to protect downstream circuitry Video decoder that converts SD analog video (e.g., NTSC, SECAM, PAL) or HD analog video (e.g., AHD, HD-TVI, HD-CVI) to a digital format Digital frame grabbers, which accept and process digital video streams, include these circuits: Digital video decoder that interfaces to and converts a specific type of digital video source, such as Camera Link, CoaXPress, DVI, GigE Vision, LVDS, or SDI Circuitry common to both analog and digital frame grabbers: Memory for storing the acquired image (i.e., a frame buffer) A bus interface through which a processor can control the acquisition and access the data General purpose I/O for triggering image acquisition or controlling external equipment == Applications == === Healthcare === Frame grabbers are used in medicine for many applications, including telenursing and remote guidance. In situations where an expert at another location needs to be consulted, frame grabbers capture the image or video from the appropriate medical equipment, so it can be sent digitally to the distant expert. === Manufacturing === "Pick and place" machines are often used to mount electronic components on circuit boards during the circuit board assembly process. Such machines use one or more cameras to monitor the robotics that places the components. Each camera is paired with a frame grabber that digitizes the analog video, thus converting the video to a form that can be processed by the machine software. === Network security === Frame grabbers may be used in security applications. For example, when a potential breach of security is detected, a frame grabber captures an image or a sequence of images, and then the images are transmitted across a digital network where they are recorded and viewed by security personnel. === Personal use === In recent years with the rise of personal video recorders like camcorders, mobile phones, etc. video and photo applications have gained ascending prominence. Frame grabbing is becoming very popular on these devices. === Astronomy & astrophotography === Amateur astronomers and astrophotographers use frame grabbers when using analog "low light" cameras for live image display and internet video broadcasting of celestial objects. Frame grabbers are essential to connect the analog cameras used in this application to the computers that store or process the images.

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  • Haul video

    Haul video

    A haul video is a video recording posted to the Internet in which a person discusses items that they recently purchased, sometimes going into detail about their experiences during the purchase and the cost of the items they bought. The posting of haul videos (or hauls) was a growing trend between 2008 and 2016. Often the items bought are books, clothing, groceries, household goods, makeup, or jewellery. == Details == The posting of haul videos grew as a trend between 2008 and 2016. By late 2010, nearly a quarter of a million haul videos had been shared on the website YouTube alone. Certain videos have each received tens of millions of views. Many young adults (mostly women) have displayed their shopping hauls, while including their beauty and design commentary in the narration. The videos are often grouped by store name or by the type of product (cosmetics, accessories, shoes, postage stamps, etc.). Before haul videos became an online trend, millions of people spent time watching other people, in technical product videos unbox their latest new gadgets and technology. The trend of "unboxing videos" had emerged during 2006. Haul videos have led to celebrity status for some people. Other haul video bloggers have entered sponsorship deals and advertising programs from major brands. The videos are rarely negative about the products being reviewed. This aspect of the genre of haul videos makes sponsorship by brand advertisers particularly appealing. Brands including J.C. Penney contacted haulers as part of their marketing efforts for Back to School 2010. Haul videos also convinced three San Francisco Bay Area area natives to launch HaulBlog–a parody site that creates fake haul videos which poke fun at the phenomenon. The site is also home to the original monthly web series "The Haul Monitor" a humorous commentary show that features haul videos from around the community. == Fashion media == Sarah Sykes and John Zimmerman of Carnegie Mellon University, HCII and School of Design wrote an article "Making Sense of Haul Videos: Self-created Celebrities Fill a Fashion Media Gap". They discuss their analysis and research project examining what makes video bloggers so popular on YouTube, as well as how it affects fashion media through the production of haul videos. == Federal Trade Commission == The United States Federal Trade Commission recently enacted laws to regulate many types of online publishers and content creators. The posted information includes blogging and podcasting in text, images, audio, and video. While any publishers (including the haul-video creators) are allowed to accept free merchandise and advertising, the gifts or payments must be fully (and clearly) disclosed to reveal being paid by a brand name, as a sponsor, to review a product. The Canadian Radio-television and Telecommunications Commission is also closely monitoring such Internet activities.

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  • Telecommunications device for the deaf

    Telecommunications device for the deaf

    A telecommunications device for the deaf (TDD) is a teleprinter, an electronic device for text communication over a telephone line, that is designed for use by persons with hearing or speech difficulties. Other names for the device include teletypewriter (TTY), textphone (common in Europe), and minicom (United Kingdom). The typical TDD is a device about the size of a typewriter or laptop computer with a QWERTY keyboard and small screen that uses an LED, LCD, or VFD screen to display typed text electronically. In addition, TDDs commonly have a small spool of paper on which text is also printed – old versions of the device had only a printer and no screen. The text is transmitted live, via a telephone line, to a compatible device, i.e. one that uses a similar communication protocol. Special telephone services have been developed to carry the TDD functionality even further. In certain countries, there are systems in place so that a deaf person can communicate with a hearing person on an ordinary voice phone using a human relay operator. There are also "carry-over" services, enabling people who can hear but cannot speak ("hearing carry-over", a.k.a. "HCO"), or people who cannot hear but are able to speak ("voice carry-over", a.k.a. "VCO") to use the telephone. The term TDD is sometimes discouraged because people who are deaf are increasingly using mainstream devices and technologies to carry out most of their communication. The devices described here were developed for use on the partially-analog Public Switched Telephone Network (PSTN). They do not work well on the new internet protocol (IP) networks. Thus as society increasingly moves toward IP based telecommunication, the telecommunication devices used by people who are deaf will not be TDDs. In the US and Canada, the devices are referred to as TTYs. Teletype Corporation, of Skokie, Illinois, made page printers for text, notably for news wire services and telegrams, but these used standards different from those for deaf communication, and although in quite widespread use, were technically incompatible. Furthermore, these were sometimes referred to by the "TTY" initialism, short for "Teletype". When computers had keyboard input mechanisms and page printer output, before CRT terminals came into use, Teletypes were the most widely used devices. They were called "console typewriters". (Telex used similar equipment, but was a separate international communication network.) == History == === APCOM acoustic coupler or MODEM device === The TDD concept was developed by James C. Marsters (1924–2009), a dentist and private airplane pilot who became deaf as an infant because of scarlet fever, and Robert Weitbrecht, a deaf physicist. In 1964, Marsters, Weitbrecht and Andrew Saks, an electrical engineer and grandson of the founder of the Saks Fifth Avenue department store chain, founded APCOM (Applied Communications Corp.), located in the San Francisco Bay area, to develop the acoustic coupler, or modem; their first product was named the PhoneType. APCOM collected old teleprinter machines (TTYs) from the Department of Defense and junkyards. Acoustic couplers were cabled to TTYs enabling the AT&T standard Model 500 telephone to couple, or fit, into the rubber cups on the coupler, thus allowing the device to transmit and receive a unique sequence of tones generated by the different corresponding TTY keys. The entire configuration of teleprinter machine, acoustic coupler, and telephone set became known as the TTY. Weitbrecht invented the acoustic coupler modem in 1964. The actual mechanism for TTY communications was accomplished electro-mechanically through frequency-shift keying (FSK) allowing only half-duplex communication, where only one person at a time can transmit. === Paul Taylor TTY device === During the late 1960s, Paul Taylor combined Western Union Teletype machines with modems to create teletypewriters, known as TTYs. He distributed these early, non-portable devices to the homes of many in the deaf community in St. Louis, Missouri. He worked with others to establish a local telephone wake-up service. In the early 1970s, these small successes in St. Louis evolved into the nation's first local telephone relay system for the deaf. === Micon Industries MCM device === In 1973, the Manual Communications Module (MCM), which was the world's first electronic portable TTY allowing two-way telecommunications, premiered at the California Association of the Deaf convention in Sacramento, California. The battery-powered MCM was invented and designed by a deaf news anchor and interpreter, Kit Patrick Corson, in conjunction with Michael Cannon and physicist Art Ogawa. It was manufactured by Michael Cannon's company, Micon Industries, and initially marketed by Kit Corson's company, Silent Communications. In order to be compatible with the existing TTY network, the MCM was designed around the five-bit Baudot code established by the older TTY machines instead of the ASCII code used by computers. The MCM was an instant success with the deaf community despite the drawback of a $599 cost. Within six months there were more MCMs in use by the deaf and hard of hearing than TTY machines. After a year Micon took over the marketing of the MCM and subsequently concluded a deal with Pacific Bell (who coined the term "TDD") to purchase MCMs and rent them to deaf telephone subscribers for $30 per month. After Micon formed an alliance with APCOM, Michael Cannon (Micon), Paul Conover (Micon), and Andrea Saks (APCOM) successfully petitioned the California Public Utilities Commission (CPUC), resulting in a tariff that paid for TTY devices to be distributed free of cost to deaf persons. Micon produced over 1,000 MCMs per month, resulting in approximately 50,000 MCMs being disseminated into the deaf community. Before he left Micon in 1980, Michael Cannon developed several computer compatible variations of the MCM and a portable, battery operated printing TTY, but they were never as popular as the original MCM. Newer model TTYs could communicate with selectable codes that allow communications at a higher bit rate on those models similarly equipped. However, the lack of true computer interface functionality spelled the demise of the original TTY and its clones. During the mid-1970s, other so-called portable telephone devices were being cloned by other companies, and this was the time period when the term "TDD" began being used largely by those outside the deaf community. === Text messaging and the Def-Tone System (DTS) === This relay system became known commonly as the Def-Tone System (DTS) because the tones representing letters of the alphabet were eventually carried in tones outside the range of human hearing. Today, this is commonly called multi-tap because you press a number 1, 2 or 3 times to get a corresponding letter. In 1994 Joseph Alan Poirier, a college student-worker, recommended using the system to send texts to forklifts to improve delivery of parts to the assembly line at GM Powertrain in Toledo, Ohio, and sending a text to pagers. He recommended taking pagers to alphanumeric displays incorporating the same system in discussions with the pager supplier for Outback Steakhouse and having relays put in the forklifts to ping alert messages to the pagers used in that system. He called it text messaging, coining the phrase. It is theorized that when Toyota forklift was allegedly hired by GM for this work, one of the subcontractors, Kyocera, utilized the work for the Toyota forklift company to create text messaging for cell phones. === Marsters Award === In 2009, AT&T received the James C. Marsters Promotion Award from TDI (formerly Telecommunications for the Deaf, Inc.) for its efforts to increase accessibility to communication for people with disabilities. The award holds some irony; it was AT&T that, in the 1960s, resisted efforts to implement TTY technology, claiming it would damage its communication equipment. In 1968, the Federal Communications Commission struck down AT&T's policy and forced it to offer TTY access to its network. == Protocols == There are many different standards for TDDs and textphones. === Original 5-bit Baudot code === The original standard used by TTYs is a variant of the Baudot code. The maximum speed of this protocol is 10 characters per second. This is a half-duplex protocol, which means that only one person at a time may transmit characters. If both try to transmit at the same time, the characters will be garbled on the other end. This protocol is commonly used in the United States. This is a variant of the Baudot code, implemented as 5-bits per character transmitted asynchronously using frequency-shift key-modulation at either 45.5 or 50 baud, 1 start bit, 5 data bits, and 1.5 stop bits. Details of the protocol implementation are available in TIA-825-A and also in T-REC V.18 Annex A "5-bit operational mode". === Turbo Code === The UltraTec company implements another protocol known as Enh

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  • Blocking of Twitter in Nigeria

    Blocking of Twitter in Nigeria

    Twitter was blocked in Nigeria from 5 June 2021 to 13 January 2022. The government imposed a ban on the social network after it deleted tweets made by, and temporarily suspended, the Nigerian president Muhammadu Buhari, warning the southeastern people of Nigeria, predominantly Igbo people, of a potential repeat of the 1967 Nigerian Civil War due to the ongoing insurgency in Southeastern Nigeria. The Nigerian government claimed that the deletion of the president's tweets factored into their decision, but it was ultimately based on "a litany of problems with the social media platform in Nigeria, where misinformation and fake news spread through it have had real world violent consequences", citing the persistent use of the platform for activities that are capable of undermining Nigeria's corporate existence. In January 2022, Nigeria lifted its blocking of Twitter after the platform agreed to establish a legal entity within the country sometime in the first quarter of 2022. == Background == On 1 June 2021, Nigerian President Muhammadu Buhari posted a tweet threatening a crackdown on regional separatists "in the language they understand". The next day, Twitter deleted the tweet, claiming it was in violation of Twitter rules, but gave no further details. Nigeria's Information Minister Lai Mohammed said that Twitter's actions were part of an unfair double standard, as Twitter had not banned incitement tweets from other groups. During the Nigerian Civil War a majority of deaths resulted from the blockade of Biafra which caused the deaths of millions of civilians from starvation, a fact that was not alluded to in the tweet. The Nigerian government has long held concerns over the use of Twitter in the country. The ongoing local End SARS protest began on Twitter and got amplified in 2020 when it had 48 million tweets in ten days. Buhari's government floated the idea of social media regulation on different occasions prior to banning Twitter. Attempts to pass an anti-social media bill in the past have failed majorly due to massive outcry on Twitter. Days before the ban, the country's minister of information called Twitter's activities in Nigeria suspicious, citing its influence on the End SARS protests. == Aftermath == Three days after Twitter was suspended, it was reported that the move had cost the country over 6 billion naira and would also contribute to the worsening unemployment in the country. ExpressVPN reported an over 200 percent increase in web traffic and searches for VPN spiked across the country. In response, Nigeria's Minister of Justice and Attorney General of the Federation Abubakar Malami at first openly threatened to prosecute citizens who bypass the ban using a VPN but then denied saying so after a screenshot of a Twitter deactivation notification he shared on Facebook showed a VPN logo. Nigeria's cultural minister Lai Mohammed stated the ban would be lifted once Twitter submitted to locally licensing, registration and conditions. "It will be licensed by the broadcasting commission, and must agree not to allow its platform to be used by those who are promoting activities that are inimical to the corporate existence of Nigeria." In late June 2021, Twitter announced it would enter talks with the Nigerian government over the platform's suspension. The talks began in July 2021. On 15 September 2021, Mohammed said the Nigerian government will lift the ban on Twitter in a "few days." The Minister said Twitter gave a progress report of their talks with them, adding that it has been productive and quite respectful. On 1 October 2021, President Muhammadu Buhari in his Independence Day broadcast said Twitter must meet the Nigerian government's five conditions before the suspension of the social media platform will be lifted. The conditions are: Respect for national security and cohesion; registration, physical presence and representation in Nigeria; fair taxation; dispute resolution; local content. == Reactions == The ban was condemned by Amnesty International, the British, Canadian and Swedish diplomatic missions to Nigeria, as well as the United States and the European Union in a joint statement. Two domestic organizations, the Socio-Economic Rights and Accountability Project (SERAP) and the Nigerian Bar Association, indicated intent to challenge the ban in court. Twitter itself called the ban "deeply concerning". Former U.S. President Donald Trump, who was permanently suspended from Twitter following the United States Capitol attack in January, praised the ban, stating "Congratulations to the country of Nigeria, who just banned Twitter because they banned their President", and also called on other countries to ban Twitter and Facebook due to "not allowing free and open speech." == Lifting of the ban == On 12 January 2022, the Nigerian Government lifted the ban after Twitter agreed to pay an "applicable tax" and establish "a legal entity in Nigeria during the first quarter of 2022".

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  • My Drama

    My Drama

    My Drama (also may be stylised as MyDrama) is a global streaming service specializing in vertical video series for Duanju. It is owned by the company Holywater Tech. The platform focuses on short-form, emotional storytelling optimized for smartphone viewing, offering content in over 30 languages across 190 countries. == History == My Drama was launched in 2024 by Holywater Tech, founded by Ukrainian entrepreneur Bogdan Nesvit and Anatolii Kasianov. The service gained international traction as part of a growing market for short-form vertical storytelling, influenced by mobile-first entertainment trends. My Drama primarily streams serialized vertical dramas, which are short-form episodes around 1-2 minutes in length designed for mobile consumption. Many series are adaptations of successful stories originally published on Holywater Tech's book platform My Passion. The platform employs AI technology in areas such as content recommendation and story generation, and is one of several Holywater apps focused on interactive entertainment. In 2024, My Drama won a People's Voice award at the 28th Annual Webby Awards. In 2025, My Drama received a Gold Award at the MUSE Creative Awards in the Mobile App: Video Streaming Services category. In 2025, the company received strategic investment from Fox Entertainment, aimed at expanding content creation capabilities and producing over 200 vertical video series. As of 2025, My Drama has produced over 56 titles and reached more than 40 million lifetime users, according to media reports. In January 2026, Holywater Tech raised $22 million in funding to expand its microdrama business in the United States. The investment round was led by Horizon Capital, with participation from U.S.-based investors including Endeavor Catalyst and Wheelhouse. The funding is intended to support the development of Holywater Tech's mobile-first vertical video platform, My Drama, as well as the company's AI-driven content initiatives, such as AI-assisted comics and anime. In February 2026, Holywater bought Jeynix, a studio that uses AI for special effects. This deal helps the company make better-quality shows and translate them into different languages much faster. == Partnerships == In 2024, Holywater Tech entered a partnership with Latin American studio Elefantec Global to distribute vertical dramas in Spanish-language markets. In early 2026, Fox Entertainment entered into a partnership with content creator Dhar Mann to produce a slate of 40 original vertical microdrama series. Under the agreement, the series debut exclusively on the My Drama platform, while global distribution is managed by Fox Entertainment Global. == Reception == My Drama has been highlighted in discussions of the global rise of vertical short drama platforms and has been compared with similar apps such as ReelShort and DramaBox.

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  • Digital backlot

    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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  • Digital Cinema Initiatives

    Digital Cinema Initiatives

    Digital Cinema Initiatives, LLC (DCI) is a consortium of major motion picture studios, formed to establish specifications for a common systems architecture for digital cinema systems. The organization was formed in March 2002 by Metro-Goldwyn-Mayer, Paramount Pictures, Sony Pictures, 20th Century Studios, Universal Studios, Walt Disney Studios and Warner Bros. Entertainment The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures a uniform and high level of technical performance, reliability and quality. By establishing a common set of content requirements, distributors, studios, exhibitors, d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI to many of Hollywood's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting the digital cinema market. == Specification == On July 20, 2005, DCI released Version 1.0 of its "Digital Cinema System Specification", commonly referred to as the "DCI Specification". The document describes overall system requirements and specifications for digital cinema. Between March 28, 2006, and March 21, 2007, DCI issued 148 errata to Version 1.0. DCI released Version 1.1 of the DCI Specification on April 12, 2007, incorporating the previous 148 errata into the DCI Specification. On April 15, 2007, at the annual NAB Digital Cinema Summit, DCI announced the new version, as well as some future plans. They released the "Stereoscopic Digital Cinema Addendum" to begin to establish 3-D technical specifications in response to the popularity of 3-D stereoscopic films. It was also announced "which studios would take over the leadership roles in DCI after the current leadership term expires at the end of September." Subsequently, between August 27, 2007, and February 1, 2008, DCI issued 100 errata to Version 1.1. So, DCI released Version 1.2 of the DCI Specification on March 7, 2008, again incorporating the previous 100 errata into the specification document. An additional 96 errata were issued by August 30, 2012, so a revised Version 1.2 incorporating those additional errata was approved on October 10, 2012. DCI approved DCI Specification Version 1.3 on June 27, 2018, integrating the 45 errata issued to the previous version into a new document. On July 20, 2020, fifteen years to the day after Version 1.0, DCI issued a new DCI Specification Version 1.4 that assimilated 29 errata issued since Version 1.3. On October 13, 2021, DCI approved a new DCI Specification Version 1.4.1 that integrated the 23 errata that had been issued to DCI Specification Version 1.4. For the convenience of users, DCI also created an online HTML version of DCI Specification, Version 1.4.1. Due to the HTML conversion process, the footnotes in the DCSS now appear as endnotes. The PDF version contains pagination and page numbers whereas the HTML version does not. DCI Specification Version 1.4.2, dated June 15, 2022, includes revisions and refinements respecting Object-Based Audio Essence (OBAE), also known as Immersive Audio Bitstream (IAB). Version 1.4.2 also implements post-show log record collection utilizing SMPTE 430-17 SMS-OMB Communications Protocol Specification. Additionally, Version 1.4.2 incorporated two prior addenda: the Digital Cinema Object-Based Audio Addendum, dated October 1, 2018 and the Stereoscopic Digital Cinema Addendum, Version 1.0, dated July 11, 2007. Users using Version 1.4.2 no longer need to refer to the separate addenda. Previous DCSS versions are archived on the DCI web site. Based on many SMPTE and ISO standards, such as JPEG 2000-compressed image and "broadcast wave" PCM/WAV sound, the DCI Specification explains the route to create an entire Digital Cinema Package (DCP) from a raw collection of files known as the Digital Cinema Distribution Master (DCDM), as well as the specifics of its content protection, encryption, and forensic marking. The DCI Specification also establishes standards for the decoder requirements and the presentation environment itself, such as ambient light levels, pixel aspect and shape, image luminance, white point chromaticity, and those tolerances to be kept. Even though it specifies what kind of information is required, the DCI Specification does not include specific information about how data within a distribution package is to be formatted. Formatting of this information is defined by the Society of Motion Picture and Television Engineers (SMPTE) digital cinema standards and related documents. == Image and audio capability overview == === 2D image === 2048×1080 (2K) at 24 frame/s or 48 frame/s, or 4096×2160 (4K) at 24 frame/s In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used In 4K, for Scope (2.39:1) presentation 4096×1716 pixels of the imager is used In 4K, for Flat (1.85:1) presentation 3996×2160 pixels of the imager is used 12 bits per color component (36 bits per pixel) via dual HD-SDI (encrypted) 10 bits only permitted for 2K at 48 frame/s CIE XYZ color space, gamma-corrected TIFF 6.0 container format (one file per frame) JPEG 2000 compression From 0 to 5 or from 1 to 6 wavelet decomposition levels for 2K or 4K resolutions, respectively Compression rate of 4.71 bits/pixel (2K @ 24 frame/s), 2.35 bits/pixel (2K @ 48 frame/s), 1.17 bits/pixel (4K @ 24 frame/s) 250 Mbit/s maximum image bit rate === Stereoscopic 3D image === 2048×1080 (2K) at 48 frame/s - 24 frame/s per eye (4096×2160 4K not supported) In 2K, for Scope (2.39:1) presentation 2048×858 pixels of the imager is used In 2K, for Flat (1.85:1) presentation 1998×1080 pixels of the imager is used Optionally, in the HD-SDI link only: 12 bit color, YCxCz 4:2:2 (i.e. chroma subsampling in XYZ space), each eye in separate stream === Audio === 24 bits per sample, 48 kHz or 96 kHz Up to 16 channels WAV container, uncompressed PCM DCI has additionally published a document outlining recommended practice for High Frame Rate digital cinema. This document discloses the following proposed frame rates: 60, 96, and 120 frames per second for 2D at 2K resolution; 48 and 60 for stereoscopic 3D at 2K resolution; 48 and 60 for 2D at 4K resolution. The maximum compressed bit rate for support of all proposed frame rates should be 500 Mbit/s. == Related information == The idea for DCI was originally mooted in late 1999 by Tom McGrath, then COO of Paramount Pictures, who applied to the U.S. Department of Justice for anti-trust waivers to allow the joint cooperation of all seven major motion picture studios. Universal Pictures made one of the first feature-length DCPs created to DCI specifications, using their film Serenity. Although it was not distributed theatrically, it had one public screening on November 7, 2005, at the USC Entertainment Technology Center's Digital Cinema Laboratory in the Pacific Theatre, Hollywood. Inside Man (2006) was Universal's first DCP commercial release, and, in addition to 35mm film distribution, was delivered via hard drive to 20 theatres in the United States along with two trailers. The Academy Film Archive houses the Digital Cinema Initiatives, LLC Collection, which includes film and digital elements from DCI's Standard Evaluation Material (StEM), a 12-minute production shot on 35mm and 65mm film, created for vendors and standards organizations to test and evaluate image compression and digital projection technologies.

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