AI Detector Generator

AI Detector Generator — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Enterprise cognitive system

    Enterprise cognitive system

    Enterprise cognitive systems (ECS) are part of a broader shift in computing, from a programmatic to a probabilistic approach, called cognitive computing. An Enterprise Cognitive System makes a new class of complex decision support problems computable, where the business context is ambiguous, multi-faceted, and fast-evolving, and what to do in such a situation is usually assessed today by the business user. An ECS is designed to synthesize a business context and link it to the desired outcome. It recommends evidence-based actions to help the end-user achieve the desired outcome. It does so by finding past situations similar to the current situation, and extracting the repeated actions that best influence the desired outcome. While general-purpose cognitive systems can be used for different outputs, prescriptive, suggestive, instructive, or simply entertaining, an enterprise cognitive system is focused on action, not insight, to help in assessing what to do in a complex situation. == Key characteristics == ECS have to be: Adaptive: They must learn as information changes, and as goals and requirements evolve. They must resolve ambiguity and tolerate unpredictability. They must be engineered to feed on dynamic data in real time, or near real time. In the Enterprise, near-real time learning from data requires an agile information federation approach to ingest incremental data updates as they occur, and an unsupervised learning approach to ensure that new best practice is leveraged across the organization in a timely manner. Interactive: They must interact easily with users so that those users can define their needs comfortably. They may also interact with other processors, devices, and Cloud services, as well as with people. In the Enterprise, interactions are controlled via existing workflows and UIs. Therefore, embedding best practices directly into these existing interfaces, in the context of a specific step, is critical to ensure maximum end-user adoption. Iterative and stateful: They must aid in defining a problem by asking questions or finding additional source input if a problem statement is ambiguous or incomplete. They must “remember” previous interactions in a process and return information that is suitable for the specific application at that point in time. In the Enterprise, business context is often structured by a business process, and therefore sufficiently data-rich to make relevant recommendations without significant iterations from the end-user. A stateful memory of overall interactions across communication channels is critical for understanding of context, as a static profile will not capture intent and outcome potential the way behavior does. Contextual: They must understand, identify, and extract contextual elements such as meaning, syntax, time, location, appropriate domain, regulations, user's profile, process, task and goal. They may draw on multiple sources of information, including both structured and unstructured digital information, as well as sensory inputs (visual, gestural, auditory, or sensor-provided). In the Enterprise, Context is fragmented and must be aggregated across data types, sources, and locations. In most business environments, such data is captured in existing enterprise information systems, and the effort is linked to quickly source and unify such information. It is rare to have to directly process sensor, audio or visual data in real-time as direct input into the enterprise cognitive system. Instead, these data types are captured by Enterprise Applications and pre-processed into a binary or text format prior to consumption by the System. == Business applications powered by an ECS == Bottlenose – trends and brands monitoring Cybereason – security threat monitoring Dataminr – social media monitoring

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  • Texture atlas

    Texture atlas

    In computer graphics, a texture atlas (also called a spritesheet or an image sprite in 2D game development) is an image containing multiple smaller images, usually packed together to reduce overall dimensions. An atlas can consist of uniformly-sized images or images of varying dimensions. A sub-image is drawn using custom texture coordinates to pick it out of the atlas. == Benefits == In an application where many small textures are used frequently, it is often more efficient to store the textures in a texture atlas which is treated as a single unit by the graphics hardware. This reduces both the disk I/O overhead and the overhead of a context switch by increasing memory locality. Careful alignment may be needed to avoid bleeding between sub textures when used with mipmapping and texture compression. In web development, images are packed into a sprite sheet to reduce the number of image resources that need to be fetched in order to display a page. == Gallery ==

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  • Secure state

    Secure state

    A secure state is an information systems security term to describe where entities in a computer system are divided into subjects and objects, and it can be formally proven that each state transition preserves security by moving from one secure state to another secure state. Thereby it can be inductively proven that the system is secure. As defined in the Bell–LaPadula model, the secure state is built on the concept of a state machine with a set of allowable states in a system. The transition from one state to another state is defined by transition functions. A system state is defined to be "secure" if the only permitted access modes of subjects to objects are in accordance with a security policy.

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  • Qapital

    Qapital

    Qapital is a personal finance mobile application (app) for the iOS and Android operating systems, developed by Qapital, LLC. The app is designed to motivate users to save money through a gamification of their spending behavior. It moves money from a user's checking account to a separate Qapital account, when certain rules are triggered. Its database is used by psychology professor Dan Ariely to study consumer behavior. Qapital was released in Sweden in 2013, then in the US in early 2015. The application was later withdrawn from the Swedish market in April 2015, in order to focus on the US market. == History == The idea for Qapital was conceived by ex-bankers in Sweden. The software was designed by twin brothers Daniel and Andreas Källbom of Studio Källbom and released in Sweden in December 2013. The original software was a personal finance dashboard, similar to Mint.com, to show its users how they spent their money. Qapital introduced the app into the US market with a different design in 2014 and started focusing exclusively on the US market. The app was re-designed to focus on building savings rather than managing personal finances. The Swedish version shut down in April 2015. The app was initially restricted to the iOS platform, but an Android version was released at the end of 2015. Shortly after its US launch, Qapital invited psychology professor Dan Ariely to join its team as its "chief behavioral economist". He uses the app's database to conduct research into behavioral economics and Qapital in turn uses Ariely's research in design and programming decisions. In 2017, Qapital added checking and debit card services to the app. == Concept and features == Qapital is a free personal finance app for iOS and Android devices, intended to encourage its users to save money. Qapital directs each of its users to set savings goals, then automatically transfers money from their checking account to an account for savings, when a rule established in the app is met. It uses the "if this then that" (IFTTT) rule-based web-service. For example, one rule could be that if a user purchases a cup of coffee, then the app will round up the charge to the nearest dollar and deposit the difference into savings. Users connect their bank accounts to Qapital, so it knows when purchases are made. When a rule is met, money for savings are transferred to a Qapital account operated in partnership with Lincoln Savings Bank. As of 2015, Qapital can connect to more than 180 other apps, such as Facebook, Twitter, Dropbox and Instagram. For example, connecting to Jawbone allows the user to set a rule that if they take a certain number of steps during the day, a set amount of money is transferred to savings. The app also allows users to monitor activity among their other financial accounts, such as deposits and withdrawals. == Reception == In an October 2015 review, PC Magazine gave Qapital four out of five marks and an editor rating of "excellent." The review praised the app for having a "lovely design" and criticized it for being a, "bit simplistic in some of its rules." Bankrate, in a May 2015 review, gave the app a score of 3/5 for "ease of use," 5/5 for "features," 4/5 for "effectiveness," 4/5 for "value," for a total score of 16/20. The reviewer criticized Qapital's savings account for providing a low-interest rate, but concluded that its numerous features make the app "intriguing" and "it would be difficult to find a standard bank app more fun to use than Qapital."

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  • Tertiary review

    Tertiary review

    In software engineering, a tertiary review is a systematic review of systematic reviews. It is also referred to as a tertiary study in the software engineering literature. However, Umbrella review is the term more commonly used in medicine. Kitchenham et al. suggest that methodologically there is no difference between a systematic review and a tertiary review. However, as the software engineering community has started performing tertiary reviews new concerns unique to tertiary reviews have surfaced. These include the challenge of quality assessment of systematic reviews, search validation and the additional risk of double counting. == Examples of Tertiary reviews in software engineering literature == Test quality Machine Learning Test-driven development

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  • Sports Card Investor

    Sports Card Investor

    Sports Card Investor is an American sports collectibles media platform and mobile application founded by Geoff Wilson. The platform provides market data, analysis, and editorial content focused on sports trading cards and related collectibles. It operates a website, mobile app, and digital media channels covering developments in the sports card industry. The company posted its first YouTube video in July 2019, shortly before a period of rapid growth in sports card collecting in the early 2020s, which was marked by increased trading volumes and mainstream media attention. == History == Sports Card Investor was founded by Geoff Wilson, an entrepreneur and collector who began publishing sports card–related content online before launching the platform's dedicated app and subscription tools. In February 2020, the company launched Market Movers, the first website and app to chart sports card prices and track card collections. The platform expanded its media presence through partnerships and distribution agreements. In 2023, Yahoo Sports announced a new collectibles coverage initiative that included additional content from Sports Card Investor. In February 2024, the Sports Card Investor studio relocated to CardsHQ in Atlanta, Georgia, and visitors to the facility can watch Sports Card Investor videos being filmed. == Platform and content == The Sports Card Investor app provides users with pricing data, portfolio-tracking tools, and market-trend analysis for trading cards. The company also produces video and editorial content discussing market developments, grading trends, and major card releases. Coverage in industry publications has referenced Sports Card Investor in discussions about shifts in sports card licensing rights and hobby market reactions. == Industry context == The growth of Sports Card Investor coincided with a broader resurgence in trading card markets, including record sales and expanded retail presence. Mainstream outlets have cited the company and its founder in reporting on collectibles investing trends, grading practices, and market volatility. The Sports Card Investor app has attracted over 37,000 reviews on the Apple App Store, reflecting its strong user engagement within the sports card community.

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  • Film-out

    Film-out

    Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu

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  • WomanStats Project

    WomanStats Project

    The WomanStats Project is a donor-funded research and database project housed at Brigham Young University that "seeks to collect detailed statistical data on the status of women around the world, and to connect that data with data on the security of states." The WomanStats Database aims to provide a comprehensive compilation of information on the status of women in the world. Coders comb the extant literature and conduct expert interviews to find qualitative and quantitative information on over 300 indicators of women's status in 174 countries with populations of at least 200,000. Access to the online database is free. == History and structure == WomanStats began as an outgrowth of a paper Dr. Valerie M. Hudson (of the Brigham Young University Political Science department) and one of her graduate students, Andrea den Boer, published in International Security on the association between national security and the abnormal sex ratio in Asia. After the success and influence of their first article, (later added as one of their top twenty national security articles of that journal of all time), Hudson and den Boer did further research on the connection between the status of women and national security, but found that there was no single database that covered the range of topics that they needed for their research. Consequently, they began compiling information on variables regarding the status of women around the world. The database was officially formed in 2001 and grew exponentially as it later added more variables. The Project went live on the Internet in July 2007. The principal investigators are: Valerie M. Hudson (International Relations), Bonnie Ballif-Spanvill (Psychology, emeritus), and Chad F. Emmett (Geography) all from Brigham Young University, Mary Caprioli from the University of Minnesota, Duluth (International Relations), Rose McDermott from Brown University (International Relations), Andrea Den Boer from the University of Kent at Canterbury in the United Kingdom (International Relations) and S. Matthew Stearmer from the Ohio State University (Sociology; doctoral student). Approximately a dozen undergraduate and graduate students at Brigham Young University and Texas A&M University work at any one time as coders for the project. The coders take the raw quantitative and qualitative data collected in government reports, news articles, research papers, etc. and sort the applicable information on women into categories. They may also implement scales developed by the principal investigators, or that they (the students) themselves have developed. == Database == As of February 2011, the database has 307 variables, covers 174 nations with populations over 200,000, uses 18,015 sources and contains over 111,000 individual data points. All data is referenced to original sources. Not every variable has information for each country; similarly, not all countries have information for each variable: overall, about 70% of country-variable combinations have information. These database coding gaps exist where information is not available or is incomplete, or variables are not collected and reported by governments or international organizations. At times, information from different sources may be contradictory, and the WomanStats Database records this discrepant information for triangulation purposes. == Users and role of the database == The database is meant to help fill a hole in the extant data on the situation of women around the world. WomanStats data and research has been vetted and/or used by the United Nations, the United States Department of Defense, the Central Intelligence Agency, and the World Bank. Their data and research were also used by the United States Senate Committee on Foreign Relations in crafting the International Violence Against Women’s Act. The Inter-Agency Network on Women and Gender Equality (IANWGE) of the United Nations has stated that the WomanStats project "filled a major gap in the availability of data on women" (2007). Victor Asal and Mitchell Brown, researchers not affiliated with WomanStats, stated in an article published in Politics and Policy that "one of the most significant challenges of cross-national empirical studies of the prevalence of interpersonal violence is the paucity of available data, particularly reliable data," and that "WomanStats has allowed for an important first glimpse at analyzing the factors related to interpersonal violence." They conclude by stating that "Our findings suggest that, in the same way that larger disciplinary resources have invested in interstate and intrastate war, disciplinary resources need to be expended in creating a data set exploring interpersonal violence. Until the rights and the lives of women and children are taken as seriously as the survival of states by more proactively collaborating on projects like WomanStats, we will continue to only have a small lens through which to understand problems like this." Princeton University professor Evan S. Liberman wrote, "Although data on political regimes and group conflict have been in far greater demand by political scientists than data on gender politics and policies, two gender-related databases provide...examples of innovative HIRDs. Both the Womanstats database project (Hudson et al. 2009) and the Research Network on Gender Politics and the State (RNGS) project (McBride et al. 2008) are well-integrated presentations of quantitative and qualitative data characterizing the quality of gender relations around the world and, in particular, analytic descriptions of the treatment of women."." == Research == The research component of WomanStats focuses on exploring the relationship between the situation of women and the behavior and security of states. Current research initiatives include: Exploring the relationship between violent instability and inequity and family law. Examining the effect of polygyny and marriage market dislocations on the rise of suicide terrorism. Documenting discrepancies between laws on the books and cultural practices on the ground concerning gender issues. Investigating how well the situation of women predicts the peacefulness of nations-states, compared to their variables such as democracy, wealth, and civilization. The Project has published articles in International Security, International Studies Quarterly, Peace and Conflict, Journal of Peace Research, Political Psychology, Cumberland Law Review, and World Political Review, and has a forthcoming book from Columbia University Press.

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  • RCUDA

    RCUDA

    rCUDA, which stands for Remote CUDA, is a type of middleware software framework for remote GPU virtualization. Fully compatible with the CUDA application programming interface (API), it allows the allocation of one or more CUDA-enabled GPUs to a single application. Each GPU can be part of a cluster or running inside of a virtual machine. The approach is aimed at improving performance in GPU clusters that are lacking full utilization. GPU virtualization reduces the number of GPUs needed in a cluster, and in turn, leads to a lower cost configuration – less energy, acquisition, and maintenance. The recommended distributed acceleration architecture is a high performance computing cluster with GPUs attached to only a few of the cluster nodes. When a node without a local GPU executes an application needing GPU resources, remote execution of the kernel is supported by data and code transfers between local system memory and remote GPU memory. rCUDA is designed to accommodate this client-server architecture. On one end, clients employ a library of wrappers to the high-level CUDA Runtime API, and on the other end, there is a network listening service that receives requests on a TCP port. Several nodes running different GPU-accelerated applications can concurrently make use of the whole set of accelerators installed in the cluster. The client forwards the request to one of the servers, which accesses the GPU installed in that computer and executes the request in it. Time-multiplexing the GPU, or in other words sharing it, is accomplished by spawning different server processes for each remote GPU execution request. == rCUDA v20.07 == The rCUDA middleware enables the concurrent usage of CUDA-compatible devices remotely. rCUDA employs either the InfiniBand network or the socket API for the communication between clients and servers. rCUDA can be useful in three different environments: Clusters. To reduce the number of GPUs installed in High Performance Clusters. This leads to energy savings, as well as other related savings like acquisition costs, maintenance, space, cooling, etc. Academia. In commodity networks, to offer access to a few high performance GPUs concurrently to many students. Virtual Machines. To enable the access to the CUDA facilities on the physical machine. The current version of rCUDA (v20.07) supports CUDA version 9.0, excluding graphics interoperability. rCUDA v20.07 targets the Linux OS (for 64-bit architectures) on both client and server sides. CUDA applications do not need any change in their source code in order to be executed with rCUDA.

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  • Comparison of color models in computer graphics

    Comparison of color models in computer graphics

    This article provides introductory information about the RGB, HSV, and HSL color models from a computer graphics (web pages, images) perspective. An introduction to colors is also provided to support the main discussion. == Basics of color == === Primary colors and hue === First, "color" refers to the human brain's subjective interpretation of combinations of a narrow band of wavelengths of light. For this reason, the definition of "color" is not based on a strict set of physical phenomena. Therefore, even basic concepts like "primary colors" are not clearly defined. For example, traditional "Painter's Colors" use red, blue, and yellow as the primary colors, "Printer's Colors" use cyan, yellow, and magenta, and "Light Colors" use red, green, and blue. "Light colors", more formally known as additive colors, are formed by combining red, green, and blue light. This article refers to additive colors and refers to red, green, and blue as the primary colors. Hue is a term describing a pure color, that is, a color not modified by tinting or shading (see below). In additive colors, hues are formed by combining two primary colors. When two primary colors are combined in equal intensities, the result is a "secondary color". === Color wheel === A color wheel is a tool that provides a visual representation of the relationships between all possible hues. The primary colors are arranged around a circle at equal (120 degree) intervals. (Warning: Color wheels frequently depict "Painter's Colors" primary colors, which leads to a different set of hues than additive colors.) The illustration shows a simple color wheel based on the additive colors. Note that the position (top, right) of the starting color, typically red, is arbitrary, as is the order of green and blue (clockwise, counter-clockwise). The illustration also shows the secondary colors, yellow, cyan, and magenta, located halfway between (60 degrees) the primary colors. == Complementary color == The complement of a hue is the hue that is opposite it (180 degrees) on the color wheel. Using additive colors, mixing a hue and its complement in equal amounts produces white. === Tints and shades === The following discussion uses an illustration involving three projectors pointing to the same spot on a screen. Each projector is capable of generating one hue. The "intensities" of each projector are "matched" and can be equally adjusted from zero to full. (Note: "Intensity" is used here in the same sense as the RGB color model. The subject of matching, or "gamma correction", is beyond the level of this article.) A shade is produced by "dimming" a maximum chroma color. Painters refer to this as "adding black". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Dimming" is accomplished by decreasing each projector's intensity setting to the same fraction of its start setting. In the shade example, with any fully shaded hue, that all three projectors are set to zero intensity, resulting in black. A tint is produced by "lightening" a maximum chroma color. Painters refer to this as "adding white". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Lightening" is accomplished by increasing each projector's intensity setting by the same fraction from its start setting to full. In the tinting example, note that the third projector is now contributing. When the hue is fully lightened, all three projectors are each at full intensity, and the result is white. Note an attribute of the total intensity in the additive model. If full intensity for one projector is 1, then a primary color has a combined intensity of 1. A secondary color has a total intensity of 2. White has a total intensity of 3. Tinting, or "adding white", increases the total intensity of the hue. While this is simply a fact, the HSL model will take this fact into account in its design. === Tones === Tone is a general term, typically used by painters, to refer to the effects of reducing the "colorfulness" of a maximum chroma color; painters refer to it as "adding gray". Note that gray is not a color or even a single concept but refers to all the range of values between black and white where all three primary colors are equally represented. The general term is provided as more specific terms have conflicting definitions in different color models. Thus, shading takes a hue toward black, tinting takes a hue towards white, and tones cover the range between. == Choosing a color model == No one color model is necessarily "better" than another. Typically, the choice of a color model is dictated by external factors, such as a graphics tool or the need to specify colors according to the CSS2 or CSS3 standard. The following discussion only describes how the models function, centered on the concepts of hue, shade, tint, and tone. === RGB === The RGB model's approach to colors is important because: It directly reflects the physical properties of "Truecolor" displays As of 2011, most graphic cards define pixel values in terms of the colors red, green, and blue. The typical range of intensity values for each color, 0–255, is based on taking a binary number with 32 bits and breaking it up into four bytes of 8 bits each. 8 bits can hold a value from 0 to 255. The fourth byte is used to specify the "alpha", or the opacity, of the color. Opacity comes into play when layers with different colors are stacked. If the color in the top layer is less than fully opaque (alpha < 255), the color from underlying layers "shows through". In the RGB model, hues are represented by specifying one color as full intensity (255), a second color with a variable intensity, and the third color with no intensity (0). The following provides some examples using red as the full-intensity and green as the partial-intensity colors; blue is always zero: Shades are created by multiplying the intensity of each primary color by 1 minus the shade factor, in the range 0 to 1. A shade factor of 0 does nothing to the hue, a shade factor of 1 produces black: new intensity = current intensity (1 – shade factor) The following provides examples using orange: Tints are created by modifying each primary color as follows: the intensity is increased so that the difference between the intensity and full intensity (255) is decreased by the tint factor, in the range 0 to 1. A tint factor of 0 does nothing, a tint factor of 1 produces white: new intensity = current intensity + (255 – current intensity) tint factor The following provides examples using orange: Tones are created by applying both a shade and a tint. The order in which the two operations are performed does not matter, with the following restriction: when a tint operation is performed on a shade, the intensity of the dominant color becomes the "full intensity"; that is, the intensity value of the dominant color must be used in place of 255. The following provides examples using orange: === HSV === The HSV, or HSB, model describes colors in terms of hue, saturation, and value (brightness). Note that the range of values for each attribute is arbitrarily defined by various tools or standards. Be sure to determine the value ranges before attempting to interpret a value. Hue corresponds directly to the concept of hue in the Color Basics section. The advantages of using hue are The angular relationship between tones around the color circle is easily identified Shades, tints, and tones can be generated easily without affecting the hue Saturation corresponds directly to the concept of tint in the Color Basics section, except that full saturation produces no tint, while zero saturation produces white, a shade of gray, or black. Value corresponds directly to the concept of intensity in the Color Basics section. Pure colors are produced by specifying a hue with full saturation and value Shades are produced by specifying a hue with full saturation and less than full value Tints are produced by specifying a hue with less than full saturation and full value Tones are produced by specifying a hue and both less than full saturation and value White is produced by specifying zero saturation and full value, regardless of hue Black is produced by specifying zero value, regardless of hue or saturation Shades of gray are produced by specifying zero saturation and between zero and full value The advantage of HSV is that each of its attributes corresponds directly to the basic color concepts, which makes it conceptually simple. The perceived disadvantage of HSV is that the saturation attribute corresponds to tinting, so desaturated colors have increasing total intensity. For this reason, the CSS3 standard plans to support RGB and HSL but not HSV. === HSL === The HSL model describes colors in terms of hue, saturation, and lightness (also called luminance). (Note: the definition of sa

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  • Index locking

    Index locking

    In databases an index is a data structure, part of the database, used by a database system to efficiently navigate access to user data. Index data are system data distinct from user data, and consist primarily of pointers. Changes in a database (by insert, delete, or modify operations), may require indexes to be updated to maintain accurate user data accesses. Index locking is a technique used to maintain index integrity. A portion of an index is locked during a database transaction when this portion is being accessed by the transaction as a result of attempt to access related user data. Additionally, special database system transactions (not user-invoked transactions) may be invoked to maintain and modify an index, as part of a system's self-maintenance activities. When a portion of an index is locked by a transaction, other transactions may be blocked from accessing this index portion (blocked from modifying, and even from reading it, depending on lock type and needed operation). Index Locking Protocol guarantees that phantom read phenomenon won't occur. Index locking protocol states: Every relation must have at least one index. A transaction can access tuples only after finding them through one or more indices on the relation A transaction Ti that performs a lookup must lock all the index leaf nodes that it accesses, in S-mode, even if the leaf node does not contain any tuple satisfying the index lookup (e.g. for a range query, no tuple in a leaf is in the range) A transaction Ti that inserts, updates or deletes a tuple ti in a relation r must update all indices to r and it must obtain exclusive locks on all index leaf nodes affected by the insert/update/delete The rules of the two-phase locking protocol must be observed. Specialized concurrency control techniques exist for accessing indexes. These techniques depend on the index type, and take advantage of its structure. They are typically much more effective than applying to indexes common concurrency control methods applied to user data. Notable and widely researched are specialized techniques for B-trees (B-Tree concurrency control) which are regularly used as database indexes. Index locks are used to coordinate threads accessing indexes concurrently, and typically shorter-lived than the common transaction locks on user data. In professional literature, they are often called latches.

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  • Cone tracing

    Cone tracing

    Cone tracing and beam tracing are a derivative of the ray tracing algorithm that replaces rays, which have no thickness, with thick rays. == Principles == In ray tracing, rays are often modeled as geometric ray with no thickness to perform efficient geometric queries such as a ray-triangle intersection. From a physics of light transport point of view, however, this is an inaccurate model provided the pixel on the sensor plane has non-zero area. In the simplified pinhole camera optics model, the energy reaching the pixel comes from the integral of radiance from the solid angle by which the sensor pixel sees the scene through the pinhole at the focal plane. This yields the key notion of pixel footprint on surfaces or in the texture space, which is the back projection of the pixel on to the scene. Note that this approach can also represent a lens-based camera and thus depth of field effects, using a cone whose cross-section decreases from the lens size to zero at the focal plane, and then increases. Real optical system do not focus on exact points because of diffraction and imperfections. This can be modeled with a point spread function (PSF) weighted within a solid angle larger than the pixel. From a signal processing point of view, ignoring the point spread function and approximating the integral of radiance with a single, central sample (through a ray with no thickness) can lead to strong aliasing because the "projected geometric signal" has very high frequencies exceeding the Nyquist-Shannon maximal frequency that can be represented using the uniform pixel sampling rate. The physically based image formation model can be approximated by the convolution with the point spread function assuming the function is shift-invariant and linear. In practice, techniques such as multisample anti-aliasing estimate this cone-based model by oversampling the signal and then performing a convolution (the reconstruction filter). The backprojected cone footprint onto the scene can also be used to directly pre-filter the geometry and textures of the scene. Note that contrary to intuition, the reconstruction filter should not be the pixel footprint (as the pinhole camera model would suggest), since a box filter has poor spectral properties. Conversely, the ideal sinc function is not practical, having infinite support with possibly negative values which often creates ringing artifacts due to the Gibbs phenomenon. A Gaussian or a Lanczos filter are considered good compromises. == Computer graphics models == Cone and Beam early papers rely on different simplifications: the first considers a circular section and treats the intersection with various possible shapes. The second treats an accurate pyramidal beam through the pixel and along a complex path, but it only works for polyhedrical shapes. Cone tracing solves certain problems related to sampling and aliasing, which can plague conventional ray tracing. However, cone tracing creates a host of problems of its own. For example, just intersecting a cone with scene geometry leads to an enormous variety of possible results. For this reason, cone tracing has remained mostly unpopular. In recent years, increases in computer speed have made Monte Carlo algorithms like distributed ray tracing - i.e. stochastic explicit integration of the pixel - much more used than cone tracing because the results are exact provided enough samples are used. But the convergence is so slow that even in the context of off-line rendering a huge amount of time can be required to avoid noise. Differential cone-tracing, considering a differential angular neighborhood around a ray, avoids the complexity of exact geometry intersection but requires a LOD representation of the geometry and appearance of the objects. MIPmapping is an approximation of it limited to the integration of the surface texture within a cone footprint. Differential ray-tracing extends it to textured surfaces viewed through complex paths of cones reflected or refracted by curved surfaces. Raymarching methods over signed distance fields (SDFs) naturally allow easy use of cone-like tracing, at zero additional cost to the tracing, and both speeds up tracing and improves quality. Voxel cone tracing is a real-time algorithm that uses a hierarchical voxel representation of scene geometry, such as a sparse voxel octree, to support fast cone tracing for indirect illumination. This approach allows for the approximation of effects like glossy reflections and ambient occlusion at interactive framerates without the need for precomputation.

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  • JasPer

    JasPer

    JasPer is a computer software project to create a reference implementation of the codec specified in the JPEG-2000 Part-1 standard (i.e. ISO/IEC 15444-1) - started in 1997 at Image Power Inc. and at the University of British Columbia. It consists of a C library and some sample applications useful for testing the codec. The copyright owner began licensing the code to the public under an MIT License-style license in 2004 in response to requests from the open-source community. As of 2011 JasPer operated as a component of many software projects, both free and proprietary, including (but not limited to) netpbm (as of release 10.12), ImageMagick and KDE (as of version 3.2). As of 22 June 2010 the GEGL graphics library supported JasPer in its latest Git versions. In a series of objective JPEG-2000-compression quality tests conducted in 2004, "JasPer was the best codec, closely followed by IrfanView and Kakadu". However, Jasper remains one of the slowest implementations of the JPEG-2000 codec, as it was designed for reference, not performance. == Etymology == The name "JasPer" has simultaneous connotations with Canada's Jasper National Park, with the semi-precious gemstone, jasper, and with "JP" as an abbreviation of the JPEG-2000 standard.

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  • Esdat

    Esdat

    ESdat is a data management, analysis and reporting software for environmental and groundwater data, developed by EarthScience Information Systems (EScIS). It is used to manage many types of environmental data including laboratory chemistry (analytical results, QA data, lab sample planning, and electronic Chain of Custody), field chemistry (water, gas, and soil), hydrogeological data (groundwater, borehole and well construction, lithological, geotechnical and stratigraphic, and LNAPL), meteorological data (rain, wind, and temperature), emission data (dust deposition, HiVol, air quality, and noise) and logger data. Data can be compared against environmental standards or site-specific trigger levels to generate exceedence tables, time series graphs, maps, statistics, and other outputs. ESdat integrates with Power BI and ArcGIS and data can also be exported in a range of other database formats, including USEPA Regions 2,4 & 5, and NYS DEC. ESdat is used by environmental consultants, government, mining and industry for validation, interrogation, and reporting of data derived from complex environmental programs, such as contaminated sites, groundwater investigations, and regulatory compliance for landfills or mining operations.

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  • Function representation

    Function representation

    Function Representation (FRep or F-Rep) is used in solid modeling, volume modeling and computer graphics. FRep was introduced in "Function representation in geometric modeling: concepts, implementation and applications" as a uniform representation of multidimensional geometric objects (shapes). An object as a point set in multidimensional space is defined by a single continuous real-valued function f ( X ) {\displaystyle f(X)} of point coordinates X [ x 1 , x 2 , . . . , x n ] {\displaystyle X[x_{1},x_{2},...,x_{n}]} which is evaluated at the given point by a procedure traversing a tree structure with primitives in the leaves and operations in the nodes of the tree. The points with f ( x 1 , x 2 , . . . , x n ) ≥ 0 {\displaystyle f(x_{1},x_{2},...,x_{n})\geq 0} belong to the object, and the points with f ( x 1 , x 2 , . . . , x n ) < 0 {\displaystyle f(x_{1},x_{2},...,x_{n})<0} are outside of the object. The point set with f ( x 1 , x 2 , . . . , x n ) = 0 {\displaystyle f(x_{1},x_{2},...,x_{n})=0} is called an isosurface. == Geometric domain == The geometric domain of FRep in 3D space includes solids with non-manifold models and lower-dimensional entities (surfaces, curves, points) defined by zero value of the function. A primitive can be defined by an equation or by a "black box" procedure converting point coordinates into the function value. Solids bounded by algebraic surfaces, skeleton-based implicit surfaces, and convolution surfaces, as well as procedural objects (such as solid noise), and voxel objects can be used as primitives (leaves of the construction tree). In the case of a voxel object (discrete field), it should be converted to a continuous real function, for example, by applying the trilinear or higher-order interpolation. Many operations such as set-theoretic, blending, offsetting, projection, non-linear deformations, metamorphosis, sweeping, hypertexturing, and others, have been formulated for this representation in such a manner that they yield continuous real-valued functions as output, thus guaranteeing the closure property of the representation. R-functions originally introduced in V.L. Rvachev's "On the analytical description of some geometric objects", provide C k {\displaystyle C^{k}} continuity for the functions exactly defining the set-theoretic operations (min/max functions are a particular case). Because of this property, the result of any supported operation can be treated as the input for a subsequent operation; thus very complex models can be created in this way from a single functional expression. FRep modeling is supported by the special-purpose language HyperFun. == Shape Models == FRep combines and generalizes different shape models like algebraic surfaces skeleton based "implicit" surfaces set-theoretic solids or CSG (Constructive Solid Geometry) sweeps volumetric objects parametric models procedural models A more general "constructive hypervolume" allows for modeling multidimensional point sets with attributes (volume models in 3D case). Point set geometry and attributes have independent representations but are treated uniformly. A point set in a geometric space of an arbitrary dimension is an FRep based geometric model of a real object. An attribute that is also represented by a real-valued function (not necessarily continuous) is a mathematical model of an object property of an arbitrary nature (material, photometric, physical, medicine, etc.). The concept of "implicit complex" proposed in "Cellular-functional modeling of heterogeneous objects" provides a framework for including geometric elements of different dimensionality by combining polygonal, parametric, and FRep components into a single cellular-functional model of a heterogeneous object.

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