AI Face Combiner

AI Face Combiner — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Enonic XP

  Enonic XP is a free and open-source content platform. Developed by the Norwegian software company Enonic, the platform can be used to build websites, progressive web applications, or web-based APIs. Enonic XP uses an application framework for coding server logic with JavaScript, and has no need for SQL as it ships with an integrated content repository. The CMS is fully decoupled, meaning developers can create traditional websites and landing pages, or use XP in headless mode, that is without the presentation layer, for loading editorial content onto any device or client. Enonic is used by major organizations in Norway, including the national postal service Norway Post, the insurance company Gjensidige, the Norwegian Labour and Welfare Administration, and all the top football clubs in the national football league for men, Eliteserien. == Overview == Enonic XP ships with the content management system (CMS) Content Studio. This includes a visual drag and drop editor, a landing page editor, support for multi-site and multi-language, media and structured content, advanced image editing, responsive user interface, permissions and roles management, revision and version control, and bulk publishing. Integrations and applications can be directly installed via the "Applications" section in XP, where the platform finds apps approved in the official Enonic Market. There are no third-party databases in Enonic XP. Instead, the developers have built a distributed storage repository, avoiding the need to index content. The system brings together capabilities from Filesystem, NoSQL, document stores, and search in the storage technology, which automatically indexes everything put into the storage. Enonic XP supports deployment of server side JavaScript. The open-source framework runs on top of a JVM (Java virtual machine), and allows developers to run the same code in the browser and on the server, thus enabling them to employ JavaScript. While running on the Java virtual machine, Enonic XP can be deployed on most infrastructures. The dependency on a third-party application server to deploy code has been removed, as the platform is an application server by default. A developer can for instance insert his own modules and code straight into the system while it is running. JavaScript unifies all the technical elements, and Enonic XP features a MVC framework where everything on the back-end can be coded with server-side JavaScript. The Enonic platform can use any template engine. === Progressive web apps === Another feature of Enonic XP is the possibility for developers to create progressive web apps (PWA). A PWA is a web application that is a regular web page or website, but can appear to the user like a mobile application. === Headless CMS and integrations === Enonic XP is headless, which means it separates content and presentation. The platform supports GraphQL, provides several default APIs, and allows for building custom APIs through the Guillotine starter kit. Consequently, Enonic supports modern front-end frameworks, and offers integrations with e.g. Next.js and React. == History == Enonic AS was founded in 2000 by Morten Øien Eriksen and Thomas Sigdestad. The software company specialized in building services and solutions, including a content management system known as "Vertical Site", then "Enonic CMS". Being aware that they had application, database, and website teams working on separate silos toward the same goal, Enonic sought to combine the different elements into a single software. The resulting application platform Enonic XP, first released in 2015, includes a CMS as an optional surface layer. In March 2020, Enonic XP was ranked by SoftwareReviews, a division of Info-Tech Research Group, a Canadian IT research and analyst firm, as the "Leader" in Web Experience Management. The ranking is based on user reviews, and is featured in SoftwareReviews‘ Digital Experience Data Quadrant Report, a comprehensive evaluation and ranking of leading Web Experience Management vendors. Enonic was also ranked first in 2021 and 2022. === Release history === Enonic XP assumed the mantle from the previous content management system Enonic CMS, and thus began with "version 5.0.0." The following list only contains major releases. == Development and support == Enonic offers a user and developer community consisting of a forum, support system with tickets, documentation, codex, learning and training center with certifications, and various community groups. Writing about the support system, Mike Johnston of CMS Critic notes that "enterprise customers obviously get access to a higher level of personalized support, where the Enonic support team can respond as fast as two hours." The support system is divided in three levels: silver, gold and platinum—from next day business support to 24/7 support. As Enonic XP is open-source, known vulnerabilities, bugs and issues are listed on GitHub.

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  Asymmetric follow

  An asymmetric follow social network is one which allows many people to follow an individual or account without having to follow them back. It is also known as asynchronous follow or sometimes asymmetric friendship. Asymmetric follow is a common pattern on Twitter, where someone may have thousands of followers, but themselves follow few (or no) accounts. In September 2010 Facebook started experimenting with a similar feature, which Facebook calls "Subscribe To."

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  FreePBX Distro

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

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  Creator economy

  The creator economy, also known as influencer economy, is a platform-driven economy in which creators produce content, products, or services and distribute them directly to their audience through social media platforms and emerging technologies. This economic model is based on the ability of creators to build and maintain communities of users, monetizing their creative activity through multiple channels including advertising, sponsorships, product sales, crowdfunding, and subscription-based services. Creators include various professional categories such as social media influencers, YouTubers, bloggers, artists, online educators, podcasters, and independent professionals, who use platforms as infrastructure to reach their audience without necessarily relying on traditional intermediaries in the cultural and media industry. According to Goldman Sachs Research, the ongoing growth of the creator economy will likely benefit companies that possess a combination of factors, including a large global user base, access to substantial capital, robust AI-powered recommendation engines, versatile monetization tools, comprehensive data analytics, and integrated e-commerce options. Examples of creator economy software platforms include YouTube, TikTok, Instagram, Facebook, Twitch, Spotify, Substack, OnlyFans and Patreon. == History == The term "creator" was coined by YouTube in 2011 to be used instead of "YouTube star", an expression that at the time could only apply to famous individuals on the platform. The term has since become omnipresent and is used to describe anyone creating any form of online content. A number of platforms such as TikTok, Snapchat, YouTube, and Facebook have set up funds with which to pay creators. == Criticism == The large majority of content creators derive no monetary gain for their creations, with most of the benefits accruing to the platforms who can make significant revenues from their uploads. As few as 0.1% of creators are able to earn a living through their channels.

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  Human–robot collaboration

  Human-Robot Collaboration is the study of collaborative processes in human and robot agents work together to achieve shared goals. Many new applications for robots require them to work alongside people as capable members of human-robot teams. These include robots for homes, hospitals, and offices, space exploration and manufacturing. Human-Robot Collaboration (HRC) is an interdisciplinary research area comprising classical robotics, human-computer interaction, artificial intelligence, process design, layout planning, ergonomics, cognitive sciences, and psychology. Industrial applications of human-robot collaboration involve Collaborative Robots, or cobots, that physically interact with humans in a shared workspace to complete tasks such as collaborative manipulation or object handovers. == Collaborative Activity == Collaboration is defined as a special type of coordinated activity, one in which two or more agents work jointly with each other, together performing a task or carrying out the activities needed to satisfy a shared goal. The process typically involves shared plans, shared norms and mutually beneficial interactions. Although collaboration and cooperation are often used interchangeably, collaboration differs from cooperation as it involves a shared goal and joint action where the success of both parties depend on each other. For effective human-robot collaboration, it is imperative that the robot is capable of understanding and interpreting several communication mechanisms similar to the mechanisms involved in human-human interaction. The robot must also communicate its own set of intents and goals to establish and maintain a set of shared beliefs and to coordinate its actions to execute the shared plan. In addition, all team members demonstrate commitment to doing their own part, to the others doing theirs, and to the success of the overall task. == Theories Informing Human-Robot Collaboration == Human-human collaborative activities are studied in depth in order to identify the characteristics that enable humans to successfully work together. These activity models usually aim to understand how people work together in teams, how they form intentions and achieve a joint goal. Theories on collaboration inform human-robot collaboration research to develop efficient and fluent collaborative agents. === Belief Desire Intention Model === The belief-desire-intention (BDI) model is a model of human practical reasoning that was originally developed by Michael Bratman. The approach is used in intelligent agents research to describe and model intelligent agents. The BDI model is characterized by the implementation of an agent's beliefs (the knowledge of the world, state of the world), desires (the objective to accomplish, desired end state) and intentions (the course of actions currently under execution to achieve the desire of the agent) in order to deliberate their decision-making processes. BDI agents are able to deliberate about plans, select plans and execute plans. === Shared Cooperative Activity === Shared Cooperative Activity defines certain prerequisites for an activity to be considered shared and cooperative: mutual responsiveness, commitment to the joint activity and commitment to mutual support. An example case to illustrate these concepts would be a collaborative activity where agents are moving a table out the door, mutual responsiveness ensures that movements of the agents are synchronized; a commitment to the joint activity reassures each team member that the other will not at some point drop his side; and a commitment to mutual support deals with possible breakdowns due to one team member's inability to perform part of the plan. === Joint Intention Theory === Joint Intention Theory proposes that for joint action to emerge, team members must communicate to maintain a set of shared beliefs and to coordinate their actions towards the shared plan. In collaborative work, agents should be able to count on the commitment of other members, therefore each agent should inform the others when they reach the conclusion that a goal is achievable, impossible, or irrelevant. == Approaches to Human-Robot Collaboration == The approaches to human-robot collaboration include human emulation (HE) and human complementary (HC) approaches. Although these approaches have differences, there are research efforts to develop a unified approach stemming from potential convergences such as Collaborative Control. === Human Emulation === The human emulation approach aims to enable computers to act like humans or have human-like abilities in order to collaborate with humans. It focuses on developing formal models of human-human collaboration and applying these models to human-computer collaboration. In this approach, humans are viewed as rational agents who form and execute plans for achieving their goals and infer other people's plans. Agents are required to infer the goals and plans of other agents, and collaborative behavior consists of helping other agents to achieve their goals. === Human Complementary === The human complementary approach seeks to improve human-computer interaction by making the computer a more intelligent partner that complements and collaborates with humans. The premise is that the computer and humans have fundamentally asymmetric abilities. Therefore, researchers invent interaction paradigms that divide responsibility between human users and computer systems by assigning distinct roles that exploit the strengths and overcome the weaknesses of both partners. == Key Aspects == Specialization of Roles: Based on the level of autonomy and intervention, there are several human-robot relationships including master-slave, supervisor–subordinate, partner–partner, teacher–learner and fully autonomous robot. In addition to these roles, homotopy (a weighting function that allows a continuous change between leader and follower behaviors) was introduced as a flexible role distribution. Establishing shared goal(s): Through direct discussion about goals or inference from statements and actions, agents must determine the shared goals they are trying to achieve. Allocation of Responsibility and Coordination: Agents must decide how to achieve their goals, determine what actions will be done by each agent, and how to coordinate the actions of individual agents and integrate their results. Shared context: Agents must be able to track progress toward their goals. They must keep track of what has been achieved and what remains to be done. They must evaluate the effects of actions and determine whether an acceptable solution has been achieved. Communication: Any collaboration requires communication to define goals, negotiate over how to proceed and who will do what, and evaluate progress and results. Adaptation and learning: Collaboration over time require partners to adapt themselves to each other and learn from one's partner both directly or indirectly. Time and space: The time-space taxonomy divides human-robot interaction into four categories based on whether the humans and robots are using computing systems at the same time (synchronous) or different times (asynchronous) and while in the same place (collocated) or in different places (non-collocated). Ergonomics: Human factors and ergonomics are one of the key aspects for a sustainable human-robot collaboration. The robot control system can use biomechanical models and sensors to optimize various ergonomic metrics, such as muscle fatigue.

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  Battleboarding

  Battleboarding, also known as versus debating and "who would win" debating, is an activity that involves discussing and debating around hypothetical fights between individuals; most popularly, fictional characters. These debates are often held in forums, blogs, sites and wikis, known as versus sites or battle boards. Netizens who engage in battleboarding online are often called "battleboarders". The earliest iterations of battleboarding first appeared in various online boards and forums, though its origins can be traced back to magazines, television shows, and comic book letter columns. Eventually, the online activity grew, becoming one of the most popular internet activities today, and spawning many online communities dedicated solely for battleboarding. It soon evolved into its own subculture, and even went on to inspire other media. == History == === Origins === Before the advent of the internet, articles about hypothetical fights were published in magazines. These articles range from topics like sports, comics and anime, such as Black Belt Magazine issue May 1997 which discussed about a hypothetical match between Muhammad Ali and Bruce Lee, and Wizard Magazine #133 which discussed about various hypothetical fights between American comic characters against Japanese anime characters. During that time, many comic book publishers also conceptualized and published "versus" storylines like Batman Versus Predator and Justice League/Avengers. Many films also capitalized on the concept of characters from different franchises fighting each other, such as Frankenstein Meets the Wolf Man (1934), King Kong vs. Godzilla (1962), Freddy vs Jason (2003), and Alien vs. Predator (2004). Another inspiration behind battleboarding were television shows and documentaries whose premise involved hypothetical fights concerning a variety of subjects like zoology, paleontology, and military history. These include shows such as Animal Face-Off (which pitted animals against each other), Deadliest Warrior (which pitted historical warriors, oftentimes from different time periods, against each other), and Jurassic Fight Club (which was about analyzing cases where different types of dinosaurs fought one another). Death Battle, a web series about pitting characters against each other that began in 2010, is a similar show that soon inspired many battleboarding communities and fandoms. Death Battle, as with many other battleboarding series and websites before it, utilised "calcs", which are mathematical equations that try to calculate how strong a character or weapon is. Other popular web series about the subject include Super Power Beat Down and Grudge Match. === Forums and sites === Many internet forums about movies, comics, anime, and video games often held discussions about hypothetical fights between characters from these media. These discussions would be the first iteration of online battleboarding. A notable early battleboarding website was stardestroyer.net (founded 1998), created by Michael Wong. The website focuses in large part on match-ups between the Star Wars and Star Trek franchises, and also includes a forum covering this as well as other more general battleboarding topics, usually related to science fiction and space opera. In addition to the forums, several webpages written by the administrators and contributors were embedded on the site. These attempted to mathematically quantify the capabilities of Star Wars technology and prove their superiority to their Star Trek equivalents, such as Wong's "Star Wars vs Star Trek: Technology Overview" and Brian Young's "Turbolaser Commentaries." stardestroyer.net had a notable impact on early battleboarding culture and also influenced official products. Curtis Saxton, author of several officially-licensed Star Wars technical reference books, thanked Wong, Young, and several other stardestroyer.net contributors by name in the acknowledgements section of Star Wars: Attack of the Clones Incredible Cross-Sections (2002), referring to them as "prominent among the hundreds of people contributing to constructive debates about Star Wars technicalities over the years, resulting in the consensus of conceptual and physical foundations applied in these pages." Saxton's books in the Incredible Cross-Sections series contain specific numbers about the capabilities of Star Wars ships original to these publications and not used in any other official sources. In an interview conducted by TheForce.Net, Saxton claimed to have been offered the job of writing reference books by a DK employee familiar with his "Star Wars Technical Commentaries" webpage (1995–2001), where Saxton attempted to calculate the firepower, speed, and durability of Star Wars spaceships using his background as an astrophysics student. One of the oldest and longest-running battleboarding forum is Comic Vine's "battle forum", whose first post was in 2007. Comic Vine also has one of the largest impacts on battleboarding, creating many common rules and terminologies such as "bloodlusted", "morals are off", "speed equalized", and many others. Another long-running battle forum is a subreddit called r/whowouldwin, where redditors can post and debate fights about real or fictional individuals. Verdicts of these match-ups are often chosen by using evidences of a character's power, weakness, or feat, such as movie clips, comic book panel scans, and excerpts from related literature; all of which are posted and categorized in a separate subreddit called r/respectthreads. Other influential battle forums include Fanverse, where users can post their own calcs about a character's power level. The popularity of battle forums inspired the creation of websites dedicated only for battleboarding. These include The Outskirts Battle Dome, a website that popularized the use of "power levels" in battleboarding; the aforementioned stardestroyer.net; and Space Battles, a website whose forums and threads are filled with posts about hypothetical fights between characters as well as other related topics. Another influential battleboarding site is the now defunct Fact Pile, and its sister site, FactPileTopia. Fact Pile is one of the first battleboarding site that actually listed down and documented winners of their match-ups. The site closed down in 2016 along with its forum, wikia, and YouTube channel. Besides these, blogs about battleboarding were also created, such as dreager1.com. === Wikis === Nowadays, the most popular battleboarding communities can be seen in Fandom, with two of the oldest and most popular being Deadliest Fiction and VS Battles Wiki. Deadliest Fiction is a Deadliest Warrior-inspired fanon created in July 2010 by a group of historians, academics, and pop culture enthusiasts. Being one of the most influential and accurate battleboarding sites around, Deadliest Fiction allows users to create hypothetical match-ups in the form of blogs, where other users can vote and debate around who will win in the comment section. Once a verdict is reached, the site allows the user to create a simulated fanfiction of how the fight would happen. The same year in October, a similar battleboarding site named VS Battles Wiki was created. In the VS Battles Wiki, users can create profiles and power levels of characters, post match-ups in its threads and forums, and list down the winners and losers of these threads in said character profiles. The wiki is considered the most active wiki battleboarding site today, with over 1 million visitors per month. However, throughout the years, the VS Battles Wiki has had its share of controversies, such as alleged inaccuracies in its profiles. There have also been websites and fanfiction wikis inspired by the battleboarding internet show Death Battle. These include the long-running G1 Death Battle Fan Blog, r/deathbattlematchups, and the popular Death Battle Fanon Wiki and DBX Fanon Wiki. Death Battle also released its own dice and card game, complete with rules and effects taken from battleboarding. == Subculture == In its rise in popularity, battleboarding has given birth to a unique online subculture with its own rules, activities, and terminologies. Several of these influences have become present in other online communities and popular media. Some of the common slang and terminologies used in battleboarding subculture includes: Battle Field Removal: Often abbreviated to "BFR", this is a rule that a fight can end if one character is taken out of a battlefield. This rule is used for characters who have the powers to teleport or transport enemies without actually killing them. Battle Royale: A term originating from Comic Vine in which multiple characters are pitted against each other. The name is probably derived from the film Battle Royale or the video game genre of the same name. Bloodlusted: A hypothetical situation wherein the characters are pitted against each other while in a furious, berserker-like state. Calc: These are calculations battl

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  Vue.js

  Vue.js (commonly referred to as Vue; pronounced "view") is an open-source model–view–viewmodel front end JavaScript framework for building user interfaces and single-page applications. It was created by Evan You and is maintained by him and the rest of the active core team members. == Overview == Vue.js features an incrementally adaptable architecture that focuses on declarative rendering and component composition. The core library is focused on the view layer only. Advanced features required for complex applications such as routing, state management and build tooling are offered via officially maintained supporting libraries and packages. Vue.js allows for extending HTML with HTML attributes called directives. The directives offer functionality to HTML applications, and come as either built-in or user defined directives. == History == Vue was created by Evan You after working for Google using AngularJS in several projects. He later summed up his thought process: "I figured, what if I could just extract the part that I really liked about Angular and build something really lightweight." The first source code commit to the project was dated July 2013, at which time it was originally named "Seed". Vue was first publicly announced the following February, in 2014. Version names are often derived from manga and anime series, with the first letters arranged in alphabetical order. === Versions === When a new major is released i.e. v3.y.z, the last minor i.e. 2.x.y will become a LTS release for 18 months (bug fixes and security patches) and for the following 18 months will be in maintenance mode (security patches only). Vue 3 was officially released in September 2020. According to the State of Vue.js Report 2025, 96% of surveyed developers reported having used Vue 3.x. However, 35% also indicated that they used Vue 2.7.x in the past year, reflecting continued reliance on Vue 2 despite its end of support. The report also noted that more than a quarter of respondents encountered challenges when migrating from Vue 2 to Vue 3. === State management evolution === 2015 - Vuex introduced as official state management solution 2021 - Pinia development begins as Vuex 5 experiment 2022 - Pinia becomes officially recommended for new projects 2023 - Vue team announces Vuex maintenance mode transition According to the State of Vue.js Report 2025, the Vue's core team recommendation is reflected in developer adoption–over 80% of surveyed developers reported using Pinia while Vuex still had 38.4% usage, indicating ongoing reliance on the older library. == Features == === Components === Vue components extend basic HTML elements to encapsulate reusable code. At a high level, components are custom elements to which the Vue's compiler attaches behavior. In Vue, a component is essentially a Vue instance with pre-defined options. The code snippet below contains an example of a Vue component. The component presents a button and prints the number of times the button is clicked: === Templates === Vue uses an HTML-based template syntax that allows binding the rendered DOM to the underlying Vue instance's data. All Vue templates are valid HTML that can be parsed by specification-compliant browsers and HTML parsers. Vue compiles the templates into virtual DOM render functions. A virtual Document Object Model (or "DOM") allows Vue to render components in its memory before updating the browser. Combined with the reactivity system, Vue can calculate the minimal number of components to re-render and apply the minimal amount of DOM manipulations when the app state changes. Vue users can use template syntax or choose to directly write render functions using hyperscript either through function calls or JSX. Render functions allow applications to be built from software components. === Reactivity === Vue features a reactivity system that uses plain JavaScript objects and optimized re-rendering. Each component keeps track of its reactive dependencies during its render, so the system knows precisely when to re-render, and which components to re-render. === Transitions === Vue provides a variety of ways to apply transition effects when items are inserted, updated, or removed from the DOM. This includes tools to: Automatically apply classes for CSS transitions and animations Integrate third-party CSS animation libraries, such as Animate.css Use JavaScript to directly manipulate the DOM during transition hooks Integrate third-party JavaScript animation libraries, such as Velocity.js When an element wrapped in a transition component is inserted or removed, this is what happens: Vue will automatically sniff whether the target element has CSS transitions or animations applied. If it does, CSS transition classes will be added/removed at appropriate timings. If the transition component provided JavaScript hooks, these hooks will be called at appropriate timings. If no CSS transitions/animations are detected and no JavaScript hooks are provided, the DOM operations for insertion and/or removal will be executed immediately on next frame. === Routing === A traditional disadvantage of single-page applications (SPAs) is the inability to share links to the exact "sub" page within a specific web page. Because SPAs serve their users only one URL-based response from the server (it typically serves index.html or index.vue), bookmarking certain screens or sharing links to specific sections is normally difficult if not impossible. To solve this problem, many client-side routers delimit their dynamic URLs with a "hashbang" (#!), e.g. page.com/#!/. However, with HTML5 most modern browsers support routing without hashbangs. Vue provides an interface to change what is displayed on the page based on the current URL path – regardless of how it was changed (whether by emailed link, refresh, or in-page links). Additionally, using a front-end router allows for the intentional transition of the browser path when certain browser events (i.e. clicks) occur on buttons or links. Vue itself doesn't come with front-end hashed routing. But the open-source "vue-router" package provides an API to update the application's URL, supports the back button (navigating history), and email password resets or email verification links with authentication URL parameters. It supports mapping nested routes to nested components and offers fine-grained transition control. With Vue, developers are already composing applications with small building blocks building larger components. With vue-router added to the mix, components must merely be mapped to the routes they belong to, and parent/root routes must indicate where children should render. The code above: Sets a front-end route at websitename.com/user/. Which will render in the User component defined in (const User...) Allows the User component to pass in the particular id of the user which was typed into the URL using the $route object's params key: $route.params.id. This template (varying by the params passed into the router) will be rendered into inside the DOM's div#app. The finally generated HTML for someone typing in: websitename.com/user/1 will be: == Ecosystem == The core library comes with tools and libraries both developed by the core team and contributors. === Official tooling === Devtools – Browser devtools extension for debugging Vue.js applications Vite – Standard Tooling for rapid Vue.js development Vue Loader – a webpack loader that allows the writing of Vue components in a format called Single-File Components (SFCs) Vue.js Plugins Collection - Collection of almost 100 plugins and ecosystem libraries across various categories. === Official libraries === Vue Router – The official router, suitable for building SPAs Pinia – The official state management solution === Video courses === Vue School – Expert-led courses on Vue.js and its ecosystem. === State management libraries === Pinia – Official state management solution with modular architecture Vuex – Legacy state management library, now in maintenance mode VueUse – Collection of 200+ composition utilities including state management helpers === Community & Core Teams Resources === The State of Vue.js Report - A comprehensive publication about Vue.js created since 2017 by Monterail, Vue & Nuxt Official Partner. Each edition includes unique data from developer survey, key ecosystem trends and case studies. The latest 5th edition released in March 2025 was co-created with Evan You and Vue&Nuxt Core Teams. Although the Vue.js Ecosystem is generally very well-developed, developers point to some ecosystem gaps as one of the most important thing missing (as of March 2025 Developer Survey in the State of Vue.js Report 2025). 22% of respondents mentioned the lack of robust, official component libraries like MUI or Radix, and the need for better testing utilities. There was also demand for more modular, enterprise-ready solutions for dashboards, e-commerce, and animation libraries similar to Fr

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  Creative work

  A creative work is a manifestation of creative effort in the world through a creative process involving one or more individuals. The term includes fine artwork (sculpture, paintings, drawing, sketching, performance art), dance, writing (literature), filmmaking, and musical composition. The term is frequently used in the context of copyright. It is an important concept in both philosophy and law. Creative works require a creative mindset and are not typically rendered in an arbitrary fashion, although works may demonstrate (i.e., have in common) a degree of arbitrariness, such that it is improbable that two people would independently create the same work. At its base, creative work involves two main steps – having an idea, and then turning that idea into a substantive form or process. Typically, the creative process results in work that has some aesthetic value, identified as a creative expression. Naturally, this expression generally invokes external stimuli (e.g., influences and experiences) which a person draws on because they view the source as creative or inspirational; the degree to which this is reflected may be used in determinations of the derivativeness of the created work. Alternatively, the creator may draw on imagination, and their references may be clouded even to them, for the nature of imagination is as yet not fully understood philosophically, and the level of necessary self-examination of an artist's internal processing is a challenge for even those most self-aware of their minds and mental processes. == Legal definition == === United Kingdom === For the purpose of section 221(2)(c) of the Income Tax (Trading and Other Income) Act 2005, the expression "creative works" means: (a) literary, dramatic, musical or artistic works, or (b) designs,created by the taxpayer personally or, if the qualifying trade, profession or vocation is carried on in partnership, by one or more of the partners personally.

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  Tabletopia

  Tabletopia is an online portal for users to play and create virtual tabletop games. The platform is developed by Tabletopia Inc and initially was released as a web browser based service after a successful crowdfunding campaign in August 2015. In December 2016 Tabletopia was released on Steam, and later in 2018 became available in AppStore and Google Play. == Gameplay == Tabletopia is a sandbox system for running any game. That means no AI or rules enforcement. Participating players will have to know how to play the game. Nevertheless, the platform has some automated actions available, like card-shuffling and dealing, dice-rolling, magnetic placement of components in special zones, hand management, and some others. Tabletopia also features ready game setups for various player numbers to facilitate gameplay. It also has customisable camera controls which let players save camera positions and switch between them using hot keys. People can use the Game Designer mode to design and create their own board games using the component library. They can then monetise the games with a 70/30 split to the game designer. == Development == Tabletopia was created in early 2014, by Tim Bokarev and his partners Artem Zinoviev and Dmitry Sergeev. These co-founders already had experience in the video and board games industry. Their other projects include Promo Interactive, an internet advertising agency, Playtox, a mobile MMORPG, Igrology, a game studio, and Tesera.ru, the main Russian-speaking board gaming portal. By Spring 2014, Artem, Dmitry and Tim created Tabletopia Inc. USA and started development. Tabletopia is a multinational crew that includes professionals from USA, Ukraine, Australia, Ireland, and Germany. The Kickstarter campaign in August 2015 earned $133,721 by 2,545 backers. Tabletopia received Green Light on Steam in September 2015 and was released on Steam in March 2016. The platform remained in Early Access until December 2016, when it was officially released on Steam and on the web. In February 2018 it was released as a stand-alone app for iOS tablets, and in September 2018 for Android tablets.

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  Communications system

  A communications system is a collection of individual telecommunications networks systems, relay stations, tributary stations, and terminal equipment usually capable of interconnection and interoperation to form an integrated whole. Communication systems allow the transfer of information from one place to another or from one device to another through a specified channel or medium. The components of a communications system serve a common purpose, are technically compatible, use common procedures, respond to controls, and operate in union. In the structure of a communication system, the transmitter first converts the data received from the source into a light signal and transmits it through the medium to the destination of the receiver. The receiver connected at the receiving end converts it to digital data, maintaining certain protocols e.g. FTP, ISP assigned protocols etc. Telecommunications is a method of communication (e.g., for sports broadcasting, mass media, journalism, etc.). Communication is the act of conveying intended meanings from one entity or group to another through the use of mutually understood signs and semiotic rules. == Types == === By media === An optical communication system is any form of communications system that uses light as the transmission medium. Equipment consists of a transmitter, which encodes a message into an optical signal, a communication channel, which carries the signal to its destination, and a receiver, which reproduces the message from the received optical signal. Fiber-optic communication systems transmit information from one place to another by sending light through an optical fiber. The light forms a carrier signal that is modulated to carry information. A radio communication system is composed of several communications subsystems that give exterior communications capabilities. A radio communication system comprises a transmitting conductor in which electrical oscillations or currents are produced and which is arranged to cause such currents or oscillations to be propagated through the free space medium from one point to another remote therefrom and a receiving conductor at such distant point adapted to be excited by the oscillations or currents propagated from the transmitter. Power-line communication systems operate by impressing a modulated carrier signal on power wires. Different types of power-line communications use different frequency bands, depending on the signal transmission characteristics of the power wiring used. Since the power wiring system was originally intended for transmission of AC power, the power wire circuits have only a limited ability to carry higher frequencies. The propagation problem is a limiting factor for each type of power line communications. === By technology === A duplex communication system is a system composed of two connected parties or devices which can communicate with one another in both directions. The term duplex is used when describing communication between two parties or devices. Duplex systems are employed in nearly all communications networks, either to allow for a communication "two-way street" between two connected parties or to provide a "reverse path" for the monitoring and remote adjustment of equipment in the field. An antenna is basically a small length of a conductor that is used to radiate or receive electromagnetic waves. It acts as a conversion device. At the transmitting end it converts high frequency current into electromagnetic waves. At the receiving end it transforms electromagnetic waves into electrical signals that is fed into the input of the receiver. several types of antenna are used in communication. Examples of communications subsystems include the Defense Communications System (DCS). === Examples: by technology === Telephone Mobile phone Tablet computer Television Telegraph Edison Telegraph TV cable Computer === By application area === The term transmission system is used in the telecommunications industry to emphasize the intermediate media, protocols, and equipment in the circuit, rather than particular end-user applications. A tactical communications system is a communications system that (a) is used within, or in direct support of tactical forces (b) is designed to meet the requirements of changing tactical situations and varying environmental conditions, (c) provides securable communications, such as voice, data, and video, among mobile users to facilitate command and control within, and in support of, tactical forces, and (d) usually requires extremely short installation times, usually on the order of hours, in order to meet the requirements of frequent relocation. An Emergency communication system is any system (typically computer based) that is organized for the primary purpose of supporting the two way communication of emergency messages between both individuals and groups of individuals. These systems are commonly designed to integrate the cross-communication of messages between are variety of communication technologies. An Automatic call distributor (ACD) is a communication system that automatically queues, assigns and connects callers to handlers. This is used often in customer service (such as for product or service complaints), ordering by telephone (such as in a ticket office), or coordination services (such as in air traffic control). A Voice Communication Control System (VCCS) is essentially an ACD with characteristics that make it more adapted to use in critical situations (no waiting for dial tone, or lengthy recorded announcements, radio and telephone lines equally easily connected to, individual lines immediately accessible etc..) == Key components == =

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  The Morning After (web series)

  The Morning After is a Hulu original web series that premiered on January 17, 2011, and ended April 24, 2014. It was produced by Hulu and Jace Hall's HDFilms, streaming Monday through Friday. The show originally featured Brian Kimmet and Ginger Gonzaga as hosts. Later shows used a rotation of hosts including Alison Haislip, Dave Holmes, Damien Fahey, Bradley Hasemeyer, Haley Mancini, Paul Nyhart, and Rachel Perry. The series advertises itself as "a smart, daily shot of pop culture to help Hulu users stay up to date" and typically highlights notable moments from television shows and current news in an entertaining fashion. In keeping with its focus on pop culture, The Morning After will sometimes stream an episode featuring past pop culture titled "From the Archives," such as its April Fools' Day episode. == History == While not the first original series to appear exclusively on Hulu, The Morning After is the company's first self-branded production. It was preceded by If I Can Dream, a reality series co-produced with 19 Entertainment and created by Simon Fuller. Hulu originated the idea in house, based on user feedback and observations from discussion boards hosted by the website. The concept was modeled after The Big Show with Olbermann and Patrick. The company sought out a production partner and ultimately chose Jace Hall and his team at HDFilms to executive produce. Initial stream of the series was held on January 17, 2011, and featured coverage of Piers Morgan, the Golden Globes, and The Bachelor. Senior VP of Content and Distribution Andy Forssell made the announcement for the show the same day. The show aired its last episode April 24, 2014. == Format == A typical episode usually begins with a cold open shared by the varying hosts listing the highlights to be covered. The topics focus on TV and Pop Culture Highlights from the previous night, with the intention of helping Hulu users digest hours of content in a matter of moments. The show has the hosts trade humorous remarks regarding the news and each other, taking turns reviewing the night's TV and injecting their own personality. The Morning After was named as an honoree by the Webbys on April 10, 2012, in the variety section of its online video category.

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  ProjectExplorer

  ProjectExplorer is a documentary short film series. The films, directed and produced by ProjectExplorer's Founder, Jenny M Buccos, focus on histories and cultures of foreign places and people using interviews with subject experts, artists, and public figures including Archbishop Desmond Tutu, Dr. John Kani, Greg Marinovich, and Sipho “Hotstix” Mabuse. Produced for a child and young adult audience, segments in each series depict everyday life and the challenges and concerns of those living in the locations and regions featured. Each film is 2–4 minutes in length, with each series containing approximately 40 films. The ProjectExplorer series is distributed internationally without charge via the web by ProjectExplorer, LTD. an American not-for-profit organization. Three series have been produced and distributed. In fall 2009, ProjectExplorer's third series, Jordan, received a GOLD level Parents' Choice Award for excellence in web programming. == Film series == === Shakespeare's England (2006) === The first series was filmed in London, Stratford-upon-Avon, and New York City. The series includes more than 30 film segments. United Kingdom locations and individuals include: The London Eye The Tower of London The Whitechapel Bell Foundry, which demonstrates the process of making a bell Simon Hughes, Member of Parliament and President of the Liberal Democrats The Old Vic The Royal Shakespeare Company The National Archives (UK) Segments filmed in New York City include: Michael Cumpsty discusses and performs monologues from Hamlet (while starring in the Classic Stage Company production) Michael Stuhlbarg discusses and performs a monologue from Macbeth === South Africa (2007) === Filmed in Johannesburg, Cape Town, and KwaZulu Natal, the series contains over 40 film segments including: Ntate Thabong Phosa, a lesiba player from Lesotho. Due to the rarity of lesiba players globally, this is one of the only publicly available examples of the lesiba played on film. A Robben Island piece, filmed at the cell in which Nelson Mandela was held for 18 of his 27-year imprisonment. JSE Securities Exchange with Leigh Roberts, correspondent for CNBC Africa. A 3-part series on HIV/AIDS with amfAR Director of Research, Dr. Rowena Johnson. Dr. Johnson discusses high cost of anti-retroviral drugs and testing in South Africa. The June 16, 1976 Soweto Uprising, with archival film footage and photography from SABC and The Sowetan newspaper. Prominent South Africans featured in the series: Dr. John Kani, Chairperson of the Apartheid Museum and TONY Award Winning Actor Musician Sipho “Hotstix” Mabuse Former U.N. Ambassador Dave A. Steward, Executive Director of the FW de Klerk Foundation Director and producer, Duma Ndlovu Malcolm Purkey, Artistic Director of the Market Theatre === South Africa, Part II (2008) === Filmed in Johannesburg, Cape Town, and New York City, the series contains over 10 film segments. Prominent South Africans featured in the series: Archbishop Desmond Tutu, Nobel Peace Prize laureate Photojournalist Greg Marinovich, Pulitzer Prize winner and co-author of The Bang-Bang Club Vusi Mahlasela, musician Author, Max du Preez === Jordan (2008) === Filmed in Amman, Petra, Umm Qais, Jerash, Madaba, Bethany, the Dead Sea, and New York City, the series contains more than 45 film segments. Jordan series segments include: A tour of the throne room of King Abdullah II, at Raghadan Palace Sharing mansaf with a Bedouin family in the Wadi Rum desert The UNRWA Jabal Hussein refugee camp The Siq, Treasury, and Monastery at Petra The ruins of Gadara at Umm Qais Jerash, the capital and largest city of Jordan's Jerash Governorate Madaba, home of the Madaba Map and the mosaic capital of Jordan The archaeological site at Bethany Traditional clothing from Salt and Ma'an The reintroduction into the wild of the endangered Arabian Oryx The Desert Castles The science of the Dead Sea Her Royal Highness Princess Basma bint Ali and her Royal Botanic Garden

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  Piranesi (software)

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

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  Cringe culture

  Cringe culture () is an Internet phenomenon and neologism characterized by the mockery and ridicule of content, behaviors, or expressions deemed embarrassing or awkward. The term cringe evolved semantically from describing personal secondhand embarrassment to becoming a dismissive label applied to various forms of online expression and fan behavior. The phenomenon emerged in the early 2000s as a response to awkward online content but gradually transformed into a cultural force that impacted fan communities, creative expression, and social media behavior. Cringe culture gained particular prominence through online platforms like Reddit and 4chan, and has been observed to cause the decline of various fandoms when they become labeled as cringe. Cringe culture has extended beyond Internet communities into academic and professional settings. Educators have noticed increased self-consciousness among students about displaying effort in their work (known as tryharding). By the early 2020s, a cultural pushback against cringe culture began to emerge, with public figures and celebrities advocating for authentic self-expression and rejecting the fear of being perceived as "trying too hard". == Origin == The term cringe underwent semantic change from its original usage describing an involuntary physical response, then to embarrassment. The term gained popularity in online forums during the early 2000s, when public self-humiliation online was a relatively novel phenomenon. Early cringe culture drew much of its content from YouTube. According to Kaitlyn Tiffany of The Atlantic, the majority of cringe stemmed from people who did not seem to understand that anyone in the world could see their videos. The phenomenon initially focused on empathy and secondhand embarrassment, with viewers relating to the awkward situations they witnessed. Popular early examples of cringe include the 2002 viral video Star Wars Kid and "My Video for Briona for Our 7 Month", in which a man winks, licks his lips, and makes romantic declarations to his partner. Early cringe culture encompassed multiple styles, including self-deprecating, playful, and hostile forms. On /b/ (4chan's "random" board), early cringe discussions targeted groups like Tumblr users, social justice warriors, fangirls, and furries, while also being used to describe "normies" who lacked sufficient knowledge of Internet culture to understand its ironic humor. In July 2012, Reddit user Michael Dombkowski took over the dormant r/cringe subreddit after watching a KENS5 segment about teen werewolves. Dombkowski created RSS feeds to alert him whenever someone mentioned cringe anywhere on Reddit, then encouraged users to visit his subreddit. The subreddit collected 10,000 monthly pageviews in its first month, which grew to 941,000 by September 2012 and 5 million the following month. According to The Daily Dot, Dombkowski had intended the subreddit to elicit empathy from viewers rather than to mock its subjects. On November 9, 2012, Dombkowski banned all images from r/cringe and created r/cringepics as a spinoff subreddit for image-based content. The community initially opposed this decision, as users worried that it would fragment the community. In a few months, r/cringepics overtook r/cringe in traffic and subscribers. By 2014, the combined subreddits amassed over 500,000 subscribers and more than 30 million monthly pageviews. In a March 2013 company AMA ("Ask Me Anything"), Reddit's general manager Erik Martin stated that he hates "r/cringepics and anything cringe related and the whole idea." == Impact == Cringe culture has impacted various fandoms. Screen Rant dubbed the phenomenon in which a fandom abruptly dissipates when suddenly deemed cringe (due to the actions of individuals within the fandom or the fandom being re-evaluated as a whole) as the "My Hero Academia Effect". My Hero Academia initially enjoyed popularity in 2020 during the COVID-19 pandemic, but the resurfacing of embarrassing TikTok videos of convention-goers in 2020 caused the My Hero Academia fandom to be deemed cringy, and thus was abandoned by many anime fans. Similarly, the fandom of the Homestuck webcomic, which ran from 2009 to 2016, faced scrutiny when cosplayers filled bathtubs with Sharpies to achieve gray skin coloring (emulating the design of the Homestuck characters), which led to property damage at hotels and convention bans. Many fans subsequently abandoned the fandom, and as a result, according to Screen Rant, the Homestuck fandom was almost non-existent by 2024. It is worth noting that as of September 27, 2025 animation studio SpindleHorse, also responsible for the popular animated show Hazbin Hotel (another common recipient of Cringe Culture discussion) has released a Homestuck animated pilot episode on YouTube. Other fandoms that were deemed cringy include the Stranger Things and Hazbin Hotel fandoms. Isobel Heal of Varsity described being "far too insecure as a teen to even consider listening to songs inspired by My Little Pony or Five Nights at Freddy's regardless of how catchy they were," but found that attending a Living Tombstone concert allowed her to overcome these inhibitions. She wrote that everyone in the crowd was "completely unafraid to engage in the silliness of the entire night," which allowed her to "let my guard down and enjoy the evening without fear of feeling 'cringe.'" Heal described her experience of singing along to tracks like "Discord", a My Little Pony–themed song, provided what she described as healing "the wounds of the younger me" and represented a form of reclaiming interests that had been suppressed due to social pressure and bullying. == Reactions == New York University professor Ocean Vuong observed that students increasingly hesitate to reveal effort behind their creative work. Vuong stated that students often say "I want to be a good writer, but it's a bit cringe" and perform cynicism because it can be misread as intelligence. In May 2022, Taylor Swift addressed cringe culture in her commencement speech at New York University: she advised graduates to "learn to live alongside cringe" and that "cringe is unavoidable over a lifetime." Other celebrities have made public speeches fighting against the perceived notion that "tryharding" is cringe. In his 31st Screen Actors Guild Awards acceptance speech, Timothée Chalamet emphasized his pursuit of greatness and the effort he invested in his roles, which diverged from typical humble acceptance speeches. In her 67th Annual Grammy Awards acceptance speech, rapper Doechii also stressed her dedication and hard work. According to The Daily Dot, X users called Chalamet and Doechii's speeches "refreshing" and decried those who embrace cringe culture as "miserable losers". In 2023, Critical Role dungeon master Matthew Mercer spoke against cringe culture at New York Comic Con: "We live in an odd time of 'cringe culture' where anything that's honest can be called cringe. And I don't agree with that." Mercer argued that much of what is dismissed as cringe consists of "people being their authentic self." In October 2025, actress and singer Ariana Grande discussed her experience with cringe culture in an interview on the podcast Shut Up Evan. She described the phenomenon as "unfair", stating that people should be allowed to express passion and happiness without judgement. She further explained that in the wake of her leading role in the 2024 film Wicked there were those who perceived the behavior of her and costar Cynthia Erivo during the film's press tour as "inauthentic" and therefore cringe. == Analysis == In 2021, Steven Dashiell wrote in the journal Studies in Popular Culture that cringe culture functions as a mechanism for social boundaries within the My Little Pony: Friendship Is Magic fandom, and that cringe culture operates not only between different communities but also within fandoms themselves. In his analysis, Dashiell examined a Reddit thread where a brony (an adult fan of My Little Pony: Friendship Is Magic) expressed embarrassment about other bronies. The thread received over 400 comments in which participants engaged in what Dashiell termed other-izing: distancing themselves from behaviors they deemed cringeworthy. Rather than defending the criticized bronies, commenters consistently used the term cringe to describe their reactions to certain fan behaviors while distinguishing themselves from the so-called "deviant brony" to normalize their own participation in the fandom. A February 2024 Hinge report revealed that more than half of Generation Z worries about cringe while dating and are 50 percent more likely than millennials to delay responding to avoid seeming overeager.

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  Digital Cinema Package

  A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following element: The hash value is the Base64 encoding of the SHA-1 checksum. It can be calculated with the command: openssl sha1 -binary "FILE_NAME" | openssl base64 === Volume index file === A single DCP may be stored in more than one medium (e.g., multiple hard disks). The XML file VOLINDEX is used to identify the volume order in the series. == 3D DCP == The DCP format is also used to store stereoscopic (3D) contents for 3D films. In this case, 48 frames exist for every second – 24 frames for the left eye, 24 frames for the right. Depending on the projection system used, the left eye and right eye pictures are either shown alternately (double or triple flash systems) at 48 fps or, on 4k systems, both left and right eye pictures are shown simultaneously, one above the other, at 24 fps. In triple flash systems, active shutter glasses are required whereas optical filtering such as circular polarisation is used in conjunction with passive glasses on polarized systems. Since the maximum bit rate is always 250 Mbit/s, this results in a net 125 Mbit/s for single frame, but the visual quality decrease is generally unnoticeable. == D-Box == D-Box codes for motion controlled seating (labelled as "Motion Data" in the DCP specification), if present, are stored as a monoaural WAV file on Sound Track channel 13. Motion Data tracks are unencrypted and not watermarked. == Creation == Most film producers and distributors rely on digital cinema encoding facilities to produce and quality control check a digital cinema package before release. Facilities follow strict guidelines set out in the DCI recommendations to ensure compatibility with all digital cinema equipment. For bigger studio release films, the facility will usually create a Digital Cinema Distribution Master (DCDM). A DCDM is the post-production step prior to a DCP. The frames are in XYZ TIFF format and both sound and picture are not yet wrapped into MXF files. A DCP can be encoded directly from a DCDM. A DCDM is useful for archiving purposes and also facilities can share them for international re-versioning purposes. They can easily be turned into alternative version DCPs for foreign territories. For smaller release films, the facility will usually skip the creation of a DCDM and instead encode directly from the Digital Source Master (DSM) the original film supplied to the encoding facility. A DSM can be supplied in a multitude of formats and color spaces. For this reason, the encoding facility needs to have extensive knowledge in color space handling including, on occasion, the use of 3D LUTs to carefully match the look of the finished DCP to a celluloid film print. This can be a highly involved process in which the DCP and the film print are "butterflied" (shown side by side) in a highly calibrated cinema. Less demanding DCPs are encoded from tape formats such as HDCAM SR. Quality control checks are always performed in calibrated cinemas and carefully checked for errors. QC checks are often attended by colorists, directors, sound mixers and other personnel to check for correct picture and sound reproduction in the finished DCP. == Accessibility == === Hearing impaired audio === A Hearing Impaired (HI) audio track is designed for people who are hearing-impaired to better hear dialog. Moviegoers can wear headphones which play this audio track synchronized with the film. Hearing Impaired audio is stored in the DCP on Sound Track channel 7. === Audio description === Audio description is narration for people who are blind or visually impaired. Audio description is stored in the DCP as "Visually Impaired-Native" (VI-N) audio on Sound Track channel 8. === Sign Language Video === A Sign Language Video track can be included in a DCP to allow for display of sign la

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