AI Face Live

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

  • Structural risk minimization

    Structural risk minimization

    Structural risk minimization (SRM) is an inductive principle of use in machine learning. Commonly in machine learning, a generalized model must be selected from a finite data set, with the consequent problem of overfitting – the model becoming too strongly tailored to the particularities of the training set and generalizing poorly to new data. The SRM principle addresses this problem by balancing the model's complexity against its success at fitting the training data. This principle was first set out in a 1974 book by Vladimir Vapnik and Alexey Chervonenkis and uses the VC dimension. In practical terms, Structural Risk Minimization is implemented by minimizing E t r a i n + β H ( W ) {\displaystyle E_{train}+\beta H(W)} , where E t r a i n {\displaystyle E_{train}} is the train error, the function H ( W ) {\displaystyle H(W)} is called a regularization function, and β {\displaystyle \beta } is a constant. H ( W ) {\displaystyle H(W)} is chosen such that it takes large values on parameters W {\displaystyle W} that belong to high-capacity subsets of the parameter space. Minimizing H ( W ) {\displaystyle H(W)} in effect limits the capacity of the accessible subsets of the parameter space, thereby controlling the trade-off between minimizing the training error and minimizing the expected gap between the training error and test error. The SRM problem can be formulated in terms of data. Given n data points consisting of data x and labels y, the objective J ( θ ) {\displaystyle J(\theta )} is often expressed in the following manner: J ( θ ) = 1 2 n ∑ i = 1 n ( h θ ( x i ) − y i ) 2 + λ 2 ∑ j = 1 d θ j 2 {\displaystyle J(\theta )={\frac {1}{2n}}\sum _{i=1}^{n}(h_{\theta }(x^{i})-y^{i})^{2}+{\frac {\lambda }{2}}\sum _{j=1}^{d}\theta _{j}^{2}} The first term is the mean squared error (MSE) term between the value of the learned model, h θ {\displaystyle h_{\theta }} , and the given labels y {\displaystyle y} . This term is the training error, E t r a i n {\displaystyle E_{train}} , that was discussed earlier. The second term, places a prior over the weights, to favor sparsity and penalize larger weights. The trade-off coefficient, λ {\displaystyle \lambda } , is a hyperparameter that places more or less importance on the regularization term. Larger λ {\displaystyle \lambda } encourages sparser weights at the expense of a more optimal MSE, and smaller λ {\displaystyle \lambda } relaxes regularization allowing the model to fit to data. Note that as λ → ∞ {\displaystyle \lambda \to \infty } the weights become zero, and as λ → 0 {\displaystyle \lambda \to 0} , the model typically suffers from overfitting.

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  • Vigloo

    Vigloo

    Vigloo (Korean: 비글루) is a South Korean microdrama, also known as short-form drama, series streaming platform owned by SpoonLabs, with headquarters in Seoul. It provides content produced in South Korea, Japan, and the United States. Vigloo produced the first AI-created short-form drama in South Korea. == History == Vigloo launched in July 2024. After receiving an equity investment of $86 million (₩120 billion) by South Korean video game company Krafton in September 2024, Vigloo expanded to the U.S. In January 2025, Vigloo unveiled its first in-house produced drama, Xs Who Want to Kill: Adultery Investigation Unit. Vigloo had been testing the use of AI in post-production and visual effects, and in October 2025 released two original dramas produced entirely with AI. It adapted its live action Japanese short-form drama Boyfriend Search Project – Kissing 5 Men into the first short-form animation series made with AI technology in South Korea. Of the top free entertainment iOS apps in South Korea, Vigloo ranks Number 3 as of January 2026. == Service == === Content === Vigloo offers both original and licensed content. It partnered with Passionflix to repackage the latter's original series The Secret Life of Amy Bensen into 35 vertical "bite-sized episodes". The most popular genre is romance, such as romantasy. === Business Model === Vigloo is available around the world, providing subtitles in nine languages, including Korean, English, and Japanese. Fifty percent of Vigloo's revenue comes from the U.S. Vigloo operates on a freemium model, where viewers can try several episodes and then can choose to continue by subscription or in-app purchases. As of September 2025, 70% of Vigloo viewers were over 35 years old. === Microdramas === Emerging during the early COVID period in China, microdramas have grown into a 7-billion-dollar market with dozens of dedicated platforms now operating. Although the format first expanded across Asia, short-form scripted content optimized for mobile viewing is increasingly being produced and watched in markets worldwide. == Series == A Vampire in the Alpha's Den Fight for Love Matrimoney Signed, Sealed, Deceived by My Billionaire Mailboy Spring Break Bucket List Stake to the Heart

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  • Molecular graphics

    Molecular graphics

    Molecular graphics is the discipline and philosophy of studying molecules and their properties through graphical representation. IUPAC limits the definition to representations on a "graphical display device". Ever since Dalton's atoms and Kekulé's benzene, there has been a rich history of hand-drawn atoms and molecules, and these representations have had an important influence on modern molecular graphics. Colour molecular graphics are often used on chemistry journal covers artistically. == History == Prior to the use of computer graphics in representing molecular structure, Robert Corey and Linus Pauling developed a system for representing atoms or groups of atoms from hard wood on a scale of 1 inch = 1 angstrom connected by a clamping device to maintain the molecular configuration. These early models also established the CPK coloring scheme that is still used today to differentiate the different types of atoms in molecular models (e.g. carbon = black, oxygen = red, nitrogen = blue, etc). This early model was improved upon in 1966 by W.L. Koltun and are now known as Corey-Pauling-Koltun (CPK) models. The earliest efforts to produce models of molecular structure was done by Project MAC using wire-frame models displayed on a cathode ray tube in the mid 1960s. In 1965, Carroll Johnson distributed the Oak Ridge thermal ellipsoid plot (ORTEP) that visualized molecules as a ball-and-stick model with lines representing the bonds between atoms and ellipsoids to represent the probability of thermal motion. Thermal ellipsoid plots quickly became the de facto standard used in the display of X-ray crystallography data, and are still in wide use today. The first practical use of molecular graphics was a simple display of the protein myoglobin using a wireframe representation in 1966 by Cyrus Levinthal and Robert Langridge working at Project MAC. Among the milestones in high-performance molecular graphics was the work of Nelson Max in "realistic" rendering of macromolecules using reflecting spheres. Initially much of the technology concentrated on high-performance 3D graphics. During the 1970s, methods for displaying 3D graphics using cathode ray tubes were developed using continuous tone computer graphics in combination with electro-optic shutter viewing devices. The first devices used an active shutter 3D system, generating different perspective views for the left and right channel to provide the illusion of three-dimensional viewing. Stereoscopic viewing glasses were designed using lead lanthanum zirconate titanate (PLZT) ceramics as electronically controlled shutter elements. Active 3D glasses require batteries and work in concert with the display to actively change the presentation by the lenses to the wearer's eyes. Many modern 3D glasses use a passive, polarized 3D system that enables the wearer to visualize 3D effects based on their own perception. Passive 3D glasses are more common today since they are less expensive. The requirements of macromolecular crystallography also drove molecular graphics because the traditional techniques of physical model-building could not scale. The first two protein structures solved by molecular graphics without the aid of the Richards' Box were built with Stan Swanson's program FIT on the Vector General graphics display in the laboratory of Edgar Meyer at Texas A&M University: First Marge Legg in Al Cotton's lab at A&M solved a second, higher-resolution structure of staph. nuclease (1975) and then Jim Hogle solved the structure of monoclinic lysozyme in 1976. A full year passed before other graphics systems were used to replace the Richards' Box for modelling into density in 3-D. Alwyn Jones' FRODO program (and later "O") were developed to overlay the molecular electron density determined from X-ray crystallography and the hypothetical molecular structure. === Timeline === == Types == === Ball-and-stick models === In the ball-and-stick model, atoms are drawn as small sphered connected by rods representing the chemical bonds between them. === Space-filling models === In the space-filling model, atoms are drawn as solid spheres to suggest the space they occupy, in proportion to their van der Waals radii. Atoms that share a bond overlap with each other. === Surfaces === In some models, the surface of the molecule is approximated and shaded to represent a physical property of the molecule, such as electronic charge density. === Ribbon diagrams === Ribbon diagrams are schematic representations of protein structure and are one of the most common methods of protein depiction used today. The ribbon shows the overall path and organization of the protein backbone in 3D, and serves as a visual framework on which to hang details of the full atomic structure, such as the balls for the oxygen atoms bound to the active site of myoglobin in the adjacent image. Ribbon diagrams are generated by interpolating a smooth curve through the polypeptide backbone. α-helices are shown as coiled ribbons or thick tubes, β-strands as arrows, and non-repetitive coils or loops as lines or thin tubes. The direction of the polypeptide chain is shown locally by the arrows, and may be indicated overall by a colour ramp along the length of the ribbon.

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  • Blanking (video)

    Blanking (video)

    In analog video, blanking occurs between horizontal lines and between frames. In raster scan equipment, an image is built up by scanning an electron beam from left to right across a screen to produce a visible trace of one scan line, reducing the brightness of the beam to zero (horizontal blanking), moving it back as fast as possible to the left of the screen at a slightly lower position (the next scan line), restoring the brightness, and continuing until all the lines have been displayed and the beam is at the bottom right of the screen. Its intensity is then reduced to zero again (vertical blanking), and it is rapidly moved to the top left to start again, creating the next frame. In television, in particular, the vertical blanking interval is long to accommodate the slow equipment available at the time the standard was set. Fast modern electronics allows digital information to be encoded into the signal during the vertical blanking interval; it is not displayed on screen as the beam is blanked, but can be processed by appropriate circuitry.

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  • Standard test image

    Standard test image

    A standard test image is a digital image file used across different institutions to test image processing and image compression algorithms. By using the same standard test images, different labs are able to compare results, both visually and quantitatively. The images are in many cases chosen to represent natural or typical images that a class of processing techniques would need to deal with. Other test images are chosen because they present a range of challenges to image reconstruction algorithms, such as the reproduction of fine detail and textures, sharp transitions and edges, and uniform regions. == Historical origins == Test images as transmission system calibration material probably date back to the original Paris to Lyon pantelegraph link. Analogue fax equipment (and photographic equipment for the printing trade) were the largest user groups of the standardized image for calibration technology until the coming of television and digital image transmission systems. == Common test image resolutions == The standard resolution of the images is usually 512×512 or 720×576. Most of these images are available as TIFF files from the University of Southern California's Signal and Image Processing Institute. Kodak has released 768×512 images, available as PNGs, that was originally on Photo CD with higher resolution, that are widely used for comparing image compression techniques.

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  • Dark mode

    Dark mode

    A dark mode, dark theme, night mode, or light-on-dark color scheme is a color scheme that uses light-colored text, icons, and graphical user interface elements on a dark background. It is often discussed in terms of computer user interface design and web design. Many modern websites and operating systems offer the user an optional light-on-dark display mode. Some users find dark mode displays more visually appealing, and claim that it can reduce eye strain. Displaying white at full brightness uses roughly six times as much power as pure black on a 2016 Google Pixel, which has an OLED display. However, conventional LED displays may not benefit from reduced power consumption; but if a LED display has the partial dimming features, it still benefits from reduced power consumption. Most modern operating systems support an optional light-on-dark color scheme. == History == Microsoft introduced the high contrast themes in Windows 95. Later, Microsoft introduced a dark theme in the Anniversary Update of Windows 10 in 2016. In 2018, Apple followed in macOS Mojave. In September 2019, iOS 13 and Android 10 both introduced dark modes. Some operating systems provide tools to change the dark mode state automatically at sundown or sunrise. A "prefers-color-scheme" option was created for front-end web developers in 2019, being a CSS property that signals a user's choice for their system to use a light or dark color theme. Firefox and Chromium have optional dark theme for all internal screens. It is also possible for third-party developers to implement their own dark themes. There are also a variety of browser add-ons that can re-theme web sites with dark color schemes, also aligning with system theme. Wikipedia's mobile and desktop versions received a dark mode option in 2024. == Implementation == There is a prefers-color-scheme media query in CSS, to detect if the user has requested light or dark color scheme and serve the requested color scheme. It can be indicated from the user's operating system preference or a user agent. CSS example: JavaScript example: == Energy usage == Light on dark color schemes require less energy to display on OLED displays. This positively impacts battery life and reduces energy consumption. While an OLED will consume around 40% of the power of an LCD displaying an image that is primarily black, it can use more than three times as much power to display an image with a white background, such as a document or web site. This can lead to reduced battery life and higher energy usage unless a light-on-dark color scheme is used. The long-term reduced power usage may also prolong battery life or the useful life of the display and battery. The energy savings that can be achieved using a light-on-dark color scheme are because of how OLED screens work: in an OLED screen, each subpixel generates its own light and it only consumes power when generating light. This is in contrast to how an LCD works: in an LCD, subpixels either block or allow light from an always-on (lit) LED backlight to pass through. "AMOLED Black" color schemes (that use pure black instead of dark gray) do not necessarily save more energy than other light-on-dark color schemes that use dark gray instead of black, as the power consumption on an AMOLED screen decreases proportionately to the average brightness of the displayed pixels. Although it is true that AMOLED black does save more energy than dark gray, the additional energy savings are often negligible; AMOLED black will only give an additional energy saving of less than 1%, for instance, over the dark gray that's used in the dark theme for Google's official Android apps. In November 2018, Google confirmed that dark mode on Android saved battery life. == Web issues == Some argue that a color scheme with light text on a dark background is easier to read on the screen, because the lower overall brightness causes less eyestrain, while others argue to the contrary. Some pages on the web are designed for white backgrounds; Image assets (GIF, PNG, SVG, WOFF, etc) can be used improperly causing visual artifacts if dark mode is forced (instead of designed for) with a plugin like Dark Reader.

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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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  • Triller (app)

    Triller (app)

    Triller is an American video-sharing social networking service that was first released for iOS and Android in 2015. The service allowed users to create and share short-form videos, including videos set to, or automatically synchronized to, music using artificial intelligence technology. It initially operated as a video editing app before adding social networking features. Triller gained prominence in 2020 as a competitor to the similar Chinese-owned app TikTok, mainly in the United States and India (after the service was banned in the latter country). The app's success would allow its parent company to expand into sports broadcasting and promotion; including the distribution of pay-per-view boxing events under the Triller Fight Club banner (such as Mike Tyson vs. Roy Jones Jr. and Jake Paul vs. Ben Askren) that incorporated live music performances and appearances by various celebrities and entertainment personalities. == History == === Launch and early years === Triller was launched in 2015 by co-founders David Leiberman and Sammy Rubin. The app was originally positioned as a video editor, using artificial intelligence to automatically edit distinct clips into music videos. They later launched Triller Famous, a page within the app that featured curated selections of user videos. In 2016, the app was purchased by Carnegie Technologies and converted into a social networking service by allowing users to follow each other and share their videos publicly. In 2019, Ryan Kavanaugh's Proxima Media made a majority investment. It is headquartered in Los Angeles, California, and is currently led by CEO Mahi de Silva. === Media exposure and controversies === On June 29, 2020, Government of India banned TikTok, among other apps stating that they were "prejudicial to [the] sovereignty and integrity" of India. Triller, which had planned to enter into the Indian market by the end of 2020, saw a spike from less than 1 million users to over 30 million users in the country overnight. In July 2020, Triller sued ByteDance, the Chinese parent company of TikTok, for infringing patents relating to video editing. In response, TikTok and ByteDance filed a lawsuit against Triller, alleging the litigation initiated by Triller has "cast a cloud" over TikTok's reputation and business dealings. That Summer, U.S. president Donald Trump signed an executive order which threatened to ban TikTok from operating within the United States, citing threats to national security, unless it was sold by ByteDance. The Trump administration stated that TikTok had until November 12, 2020, to assure the administration that the app did not pose any national security threats to the U.S. Following this order and news of possible purchases of TikTok's American operations by companies such as Oracle, Triller jumped from number 198 to number one in the App Store in the U.S., while TikTok dropped down to number three. The discussions surrounding TikTok's potential ban in the United States caused popular TikTok stars, including Charli D’Amelio and her family, to join Triller. Trump joined Triller himself and posted his first video on August 15, 2020. The video received over a million views within hours. On August 12, 2020, Triller partnered with B2B music company 7digital, which will provide Triller with access to its catalogue of 80 million tracks and automatically report usage data to Sony Music, Warner Music Group, Universal Music Group and Merlin Network. The number of Triller's app installations came under scrutiny when third-party analytics firm Apptopia estimated only 52 million lifetime installations of the app by August 2020, while Triller claimed 250 million. Triller threatened to sue Apptopia for publishing the report. By October 2020, Triller claimed to serve 100 million active monthly users, but this number was quickly disputed by six former employees interviewed by Business Insider. Within a few weeks of Triller's claim, employees shared screenshots of the company's internal analytics that showed less than 2.5 million active monthly users. On October 2, 2020, Triller signed licensing deals with the rights societies PRS for Music, GEMA, STIM and IMRO, and the publishers Concord, Downtown and Peermusic. On February 5, 2021, Universal Music Group (UMG) pulled its library from Triller, citing unpaid music royalties. They alleged that Triller "shamefully withheld payments owed to our artists" and refused to negotiate future music licensing. Triller responded with the assertion that "relevant artists" were already partnered with Triller, so a deal with UMG was unnecessary. The two companies reached an expanded licensing agreement in May 2021. On March 24, 2021, Triller signed a licensing agreement with the National Music Publishers' Association. == Features == The Triller app allows users to create music videos, skits, and lip-sync videos containing background music. The app's spotlight feature is its special auto-editing tool, which uses artificial intelligence to automatically stitch separate video clips together without the user having to do it themselves. The separate video clips are created to the same background music, but users are able to shoot multiple takes with different filters or edits each time. Once the auto-editing tool stitches the individual clips together, users can rearrange and replace clips as desired. Users can also customize videos by applying filters and text. When creating a video, users can choose to make a "music video" or a "social video". A "music video" allows users to add music and trim the audio to personal preference. Unlike the music video option, a "social video" does not require the user to add music in the background. The app's auto-editing tool is only used when making music videos, as it uses the background track to help arrange and synchronize the clips. Users can also link their accounts with Apple Music or Spotify to integrate their playlists. Incomplete videos that are yet to be shared appear in a user's "Projects" folder. Once finalized, a video can be shared with other users of the app or through social media platforms such as Facebook, Instagram, Twitter (X), WhatsApp, and YouTube. Any video on Triller can also be downloaded or shared through links, text messages, or direct messaging to other users within the app. The app is divided into three video feeds, consisting of videos from creators that the user follows, the "Social" feed (which showcases trending videos and those by verified users), and the "Music" feed (which exclusively features music videos). Triller accounts can be made either public or private. When the account is public, any user can view the videos on that account. When the account is private, only approved users can view the videos on that account. Users with private accounts can change the privacy settings of individual videos on their accounts from private to public, making the selected videos viewable to anyone on the app. In accordance with online child privacy laws in the United States, children under the age of 13 must receive parental consent in order to create an account on Triller. == User characteristics and behavior == In August 2020, Triller reported that it had been downloaded over 250 million times worldwide with average rating of 4.00. Mobile analytics firm Apptopia disputed the numbers and claimed they were inflated, suggesting that the app had only been downloaded 52 million times since it first launched in 2015. Apptopia pulled the report after Triller threatened to sue the company. The app has been downloaded 23.8 million times in the U.S., with users spending an average of more than 20 minutes per day. A large number of downloads come from India, where TikTok has been banned, as well as from various European and African countries. In October 2020, Triller CEO Mike Lu stated that the app has 100 million monthly active users (MAU). In February 2021, Billboard reported that Triller had "reported higher numbers of monthly active users to the public than it reports to [music] rights holders." CEO Lu argued that "there is no legal definition" of monthly and daily active users, and that "if someone is trying to compare TikTok's MAU/DAU to ours—which means they are saying we have the same definition of MAU/DAU—there is an inherent misunderstanding about Triller's business and business model. It’s like trying to compare a fish and a bicycle." In a public statement, Lu denied that the company had inflated its user metrics. Triller has attracted celebrity users like Chance the Rapper, King Von, LIl Tecca, Lil Mosey, Justin Bieber, Marshmello, The Weeknd, Alicia Keys, Cardi B, Eminem, Post Malone and Kevin Hart. The app is also used by TikTok stars such as Charli D’Amelio, Josh Richards, Noah Beck, Griffin Johnson, and Dixie D’Amelio. Triller has offered large sums of money, company equity, and advisory roles to encourage prominent TikTok users to move to Triller, such as The Sway Boys. Sway House member J

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  • Artificial intelligence in spirituality

    Artificial intelligence in spirituality

    Some users of artificial intelligence (AI) technologies, especially chatbots, may develop beliefs that AI has or can attain supernatural or spiritual powers. AI models such as ChatGPT are turned to for fortune telling, mysticism and remote viewing. Recent and sudden advances in large language models have led to folk myths about their origin or capabilities, as well as their deification or worship by some users. Tucker Carlson has made similar claims, including directly to Sam Altman. Pope Leo XIV advised priests against using LLM models when it came to the creation of sermons.

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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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  • Online service provider

    Online service provider

    An online service provider (OSP) can, for example, be an Internet service provider, an email provider, a news provider (press), an entertainment provider (music, movies), a search engine, an e-commerce site, an online banking site, a health site, an official government site, social media, a wiki, or a Usenet newsgroup. In its original more limited definition, it referred only to a commercial computer communication service in which paid members could dial via a computer modem the service's private computer network and access various services and information resources such as bulletin board systems, downloadable files and programs, news articles, chat rooms, and electronic mail services. The term "online service" was also used in references to these dial-up services. The traditional dial-up online service differed from the modern Internet service provider in that they provided a large degree of content that was only accessible by those who subscribed to the online service, while ISP mostly serves to provide access to the Internet and generally provides little if any exclusive content of its own. In the U.S., the Online Copyright Infringement Liability Limitation Act (OCILLA) portion of the U.S. Digital Millennium Copyright Act has expanded the legal definition of online service in two different ways for different portions of the law. It states in section 512(k)(1): (A) As used in subsection (a), the term "service provider" means an entity offering the transmission, routing, or providing of connections for digital online communications, between or among points specified by a user, of material of the user's choosing, without modification to the content of the material as sent or received. (B) As used in this section, other than subsection (a), the term "service provider" means a provider of online services or network access, or the operator of facilities therefore, and includes an entity described in subparagraph (A). These broad definitions make it possible for numerous web businesses to benefit from the OCILLA. == History == The first commercial online services went live in 1969. CompuServe (owned in the 1980s and 1990s by H&R Block) and The Source (for a time owned by The Reader's Digest) are considered the first major online services created to serve the market of personal computer users. Utilizing text-based interfaces and menus, these services allowed anyone with a modem and communications software to use email, chat, news, financial and stock information, bulletin boards, special interest groups (SIGs), forums and general information. Subscribers could exchange email only with other subscribers of the same service. (For a time a service called DASnet carried mail among several online services, and CompuServe, MCI Mail, and other services experimented with X.400 protocols to exchange email until the Internet rendered these outmoded.) Other text-based online services followed such as Delphi, GEnie and MCI Mail. The 1980s also saw the rise of independent Computer Bulletin Boards, or BBSes. (Online services are not BBSes. An online service may contain an electronic bulletin board, but the term "BBS" is reserved for independent dialup, microcomputer-based services that are usually single-user systems.) The commercial services used pre-existing packet-switched (X.25) data communications networks, or the services' own networks (as with CompuServe). In either case, users dialed into local access points and were connected to remote computer centers where information and services were located. As with telephone service, subscribers paid by the minute, with separate day-time and evening/weekend rates. As the use of computers that supported color and graphics, such the Atari 8-bit computers, Commodore 64, TI-99/4A, Apple II, and early IBM PC compatibles, increased, online services gradually developed framed or partially graphical information displays. Early services such as CompuServe added increasingly sophisticated graphics-based front end software to present their information, though they continued to offer text-based access for those who needed or preferred it. In 1985 Viewtron, which began as a Videotex service requiring a dedicated terminal, introduced software allowing home computer owners access. Beginning in the mid-1980s graphics based online services such as PlayNET, Prodigy, and Quantum Link (aka Q-Link) were developed. Quantum Link, which was based on Commodore-only Playnet software, later developed AppleLink Personal Edition, PC-Link (based on Tandy's DeskMate), and Promenade (for IBM), all of which (including Q-Link) were later combined as America Online. These online services presaged the web browser that would change global online life 10 years later. Before Quantum Link, Apple computer had developed its own service, called AppleLink, which was mostly a support network targeted at Apple dealers and developers. Later, Apple offered the short-lived eWorld, targeted at Mac consumers and based on the Mac version of the America Online software. Beginning in 1992, the Internet, which had previously been limited to government, academic, and corporate research settings, was opened to commercial entities. The first online service to offer Internet access was DELPHI, which had developed TCP/IP access much earlier, in connection with an environmental group that rated Internet access. The explosion of popularity of the World Wide Web in 1994 accelerated the development of the Internet as an information and communication resource for consumers and businesses. The sudden availability of low- to no-cost email and appearance of free independent web sites broke the business model that had supported the rise of the early online service industry. CompuServe, BIX, AOL, DELPHI, and Prodigy gradually added access to Internet e-mail, Usenet newsgroups, ftp, and to web sites. At the same time, they moved from usage-based billing to monthly subscriptions. Similarly, companies that paid to have AOL host their information or early online stores began to develop their own web sites, putting further stress on the economics of the online industry. Only the largest services like AOL (which later acquired CompuServe, just as CompuServe acquired The Source) were able to make the transition to the Internet-centric world. A new class of online service provider arose to provide access to the Internet, the internet service provider or ISP. Internet-only service providers like UUNET, The Pipeline, Panix, Netcom, the World, EarthLink, and MindSpring provided no content of their own, concentrating their efforts on making it easy for nontechnical users to install the various software required to "get online" before consumer operating systems came internet-enabled out of the box. In contrast to the online services' multitiered per-minute or per-hour rates, many ISPs offered flat-fee, unlimited access plans. Independent companies sprang up to offer access and packages to compete with the big networks (eg, the-wire.com, 1994 in Toronto and bway.net 1995 in New York). These providers first offered access through telephone and modem, just as did the early online services providers. By the early 2000s, these independent ISPs had largely been supplanted by high speed and broadband access through cable and phone companies, as well as wireless access. The importance of the online services industry was vital in "paving the road" for the information superhighway. When Mosaic and Netscape were released in 1994, they had a ready audience of more than 10 million people who were able to download their first web browser through an online service. Though ISPs quickly began offering software packages with setup to their customers, this brief period gave many users their first online experience. Two online services in particular, Prodigy and AOL, are often confused with the Internet, or the origins of the Internet. Prodigy's Chief Technical Officer said in 1999: "Eleven years ago, the Internet was just an intangible dream that Prodigy brought to life. Now it is a force to be reckoned with." Despite that statement, neither service provided the back bone for the Internet, nor did either start the Internet. == Online service interfaces == The first online service used a simple text-based interface in which content was largely text only and users made choices via a command prompt. This allowed just about any computer with a modem and terminal communications program the ability to access these text-based online services. CompuServe would later offer, with the advent of the Apple Macintosh and Microsoft Windows-based PCs, a GUI interface program for their service. This provided a very rudimentary GUI interface. CompuServe continued to offer text-only access for those needing it. Online services like Prodigy and AOL developed their online service around a GUI and thus unlike CompuServe's early GUI-based software, these online services provided a more robust GUI interface. Early GUI-base

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  • PeduliLindungi

    PeduliLindungi

    SatuSehat (Indonesian for "one health"), formerly PeduliLindungi (roughly "care to protect"), is a national integrated health data exchange platform, jointly developed by the Indonesian Ministry of Communication and Information Technology (Kemenkominfo), in partnership with Committee for COVID-19 Response and National Economic Recovery (KPCPEN), Ministry of Health (Kemenkes), Ministry of State-Owned Enterprises (KemenBUMN), and Telkom Indonesia. The SatuSehat platform aims to facilitate data accessibility and service efficiency for health providers and the government, and assist the public as a tool to access their own electronic medical record data. This app was the official COVID-19 contact tracing app used for digital contact tracing in Indonesia, and originally known as TraceTogether but later changed because Singapore had its app using the same name. == Implementation == On 23 August 2021, Coordinating Minister for Maritime and Investments Affairs, Luhut Binsar Panjaitan, encouraged the government to make this app a mandatory requirement before using public transportations, such as train, bus, ferry, and plane. Furthermore, citizen must have installed the app before entering shopping malls, factories, and sport venues. Every person who have received at least a dose of vaccine will receive a vaccine card and vaccination certificate which can be downloaded from the app. In December 2022, with the revocation of PPKM (Community Activities Restrictions Enforcement) starting from 1 January 2023, Ministry of Health issued a statement that the usage of the app is not a governmental mandatory requirement as it used to be. === Transition into a citizen health app === On 7 September 2022, it was announced that the app would be modified to become a citizen health app, capitalising on the reach of the app and the existing work done around the app. On 28 February 2023, the authorities announced that the app was rebranded to SATUSEHAT Mobile (lit. 'OneHealth Mobile'), with existing users needing to update the PeduliLindungi app and re-synchronise their COVID-19 related health information. The re-branded app would eventually be an all-in-one health service and records retrieval app for Indonesians. == Controversy == It was reported that the app requires continuous access to the phone's files, media, and GPS, which quickly drains the battery. Allowing location access only during use or denying it altogether will render the app unusable. This stands in stark contrast to COVID-19 apps used in other countries that only utilize Bluetooth and do not require any additional permissions. In September 2021, stored personal data of at least 1.3 million Indonesian residents were leaked online, including the vaccine certificate of President Joko Widodo. The data leak was also reported on eHAC (electronic Health Alert Card), a mandatory app used for air passengers.

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  • Template matching

    Template matching

    Template matching is a technique in digital image processing for finding small parts of an image which match a template image. It can be used for quality control in manufacturing, navigation of mobile robots, or edge detection in images. The main challenges in a template matching task are detection of occlusion, when a sought-after object is partly hidden in an image; detection of non-rigid transformations, when an object is distorted or imaged from different angles; sensitivity to illumination and background changes; background clutter; and scale changes. == Feature-based approach == The feature-based approach to template matching relies on the extraction of image features, such as shapes, textures, and colors, that match the target image or frame. This approach is usually achieved using neural networks and deep-learning classifiers such as VGG, AlexNet, and ResNet.Convolutional neural networks (CNNs), which many modern classifiers are based on, process an image by passing it through different hidden layers, producing a vector at each layer with classification information about the image. These vectors are extracted from the network and used as the features of the image. Feature extraction using deep neural networks, like CNNs, has proven extremely effective has become the standard in state-of-the-art template matching algorithms. This feature-based approach is often more robust than the template-based approach described below. As such, it has become the state-of-the-art method for template matching, as it can match templates with non-rigid and out-of-plane transformations, as well as high background clutter and illumination changes. == Template-based approach == For templates without strong features, or for when the bulk of a template image constitutes the matching image as a whole, a template-based approach may be effective. Since template-based matching may require sampling of a large number of data points, it is often desirable to reduce the number of sampling points by reducing the resolution of search and template images by the same factor before performing the operation on the resultant downsized images. This pre-processing method creates a multi-scale, or pyramid, representation of images, providing a reduced search window of data points within a search image so that the template does not have to be compared with every viable data point. Pyramid representations are a method of dimensionality reduction, a common aim of machine learning on data sets that suffer the curse of dimensionality. == Common challenges == In instances where the template may not provide a direct match, it may be useful to implement eigenspaces to create templates that detail the matching object under a number of different conditions, such as varying perspectives, illuminations, color contrasts, or object poses. For example, if an algorithm is looking for a face, its template eigenspaces may consist of images (i.e., templates) of faces in different positions to the camera, in different lighting conditions, or with different expressions (i.e., poses). It is also possible for a matching image to be obscured or occluded by an object. In these cases, it is unreasonable to provide a multitude of templates to cover each possible occlusion. For example, the search object may be a playing card, and in some of the search images, the card is obscured by the fingers of someone holding the card, or by another card on top of it, or by some other object in front of the camera. In cases where the object is malleable or poseable, motion becomes an additional problem, and problems involving both motion and occlusion become ambiguous. In these cases, one possible solution is to divide the template image into multiple sub-images and perform matching on each subdivision. == Deformable templates in computational anatomy == Template matching is a central tool in computational anatomy (CA). In this field, a deformable template model is used to model the space of human anatomies and their orbits under the group of diffeomorphisms, functions which smoothly deform an object. Template matching arises as an approach to finding the unknown diffeomorphism that acts on a template image to match the target image. Template matching algorithms in CA have come to be called large deformation diffeomorphic metric mappings (LDDMMs). Currently, there are LDDMM template matching algorithms for matching anatomical landmark points, curves, surfaces, volumes. == Template-based matching explained using cross correlation or sum of absolute differences == A basic method of template matching sometimes called "Linear Spatial Filtering" uses an image patch (i.e., the "template image" or "filter mask") tailored to a specific feature of search images to detect. This technique can be easily performed on grey images or edge images, where the additional variable of color is either not present or not relevant. Cross correlation techniques compare the similarities of the search and template images. Their outputs should be highest at places where the image structure matches the template structure, i.e., where large search image values get multiplied by large template image values. This method is normally implemented by first picking out a part of a search image to use as a template. Let S ( x , y ) {\displaystyle S(x,y)} represent the value of a search image pixel, where ( x , y ) {\displaystyle (x,y)} represents the coordinates of the pixel in the search image. For simplicity, assume pixel values are scalar, as in a greyscale image. Similarly, let T ( x t , y t ) {\textstyle T(x_{t},y_{t})} represent the value of a template pixel, where ( x t , y t ) {\textstyle (x_{t},y_{t})} represents the coordinates of the pixel in the template image. To apply the filter, simply move the center (or origin) of the template image over each point in the search image and calculate the sum of products, similar to a dot product, between the pixel values in the search and template images over the whole area spanned by the template. More formally, if ( 0 , 0 ) {\displaystyle (0,0)} is the center (or origin) of the template image, then the cross correlation T ⋆ S {\displaystyle T\star S} at each point ( x , y ) {\displaystyle (x,y)} in the search image can be computed as: ( T ⋆ S ) ( x , y ) = ∑ ( x t , y t ) ∈ T T ( x t , y t ) ⋅ S ( x t + x , y t + y ) {\displaystyle (T\star S)(x,y)=\sum _{(x_{t},y_{t})\in T}T(x_{t},y_{t})\cdot S(x_{t}+x,y_{t}+y)} For convenience, T {\displaystyle T} denotes both the pixel values of the template image as well as its domain, the bounds of the template. Note that all possible positions of the template with respect to the search image are considered. Since cross correlation values are greatest when the values of the search and template pixels align, the best matching position ( x m , y m ) {\displaystyle (x_{m},y_{m})} corresponds to the maximum value of T ⋆ S {\displaystyle T\star S} over S {\displaystyle S} . Another way to handle translation problems on images using template matching is to compare the intensities of the pixels, using the sum of absolute differences (SAD) measure. To formulate this, let I S ( x s , y s ) {\displaystyle I_{S}(x_{s},y_{s})} and I T ( x t , y t ) {\displaystyle I_{T}(x_{t},y_{t})} denote the light intensity of pixels in the search and template images with coordinates ( x s , y s ) {\displaystyle (x_{s},y_{s})} and ( x t , y t ) {\displaystyle (x_{t},y_{t})} , respectively. Then by moving the center (or origin) of the template to a point ( x , y ) {\displaystyle (x,y)} in the search image, as before, the sum of absolute differences between the template and search pixel intensities at that point is: S A D ( x , y ) = ∑ ( x t , y t ) ∈ T | I T ( x t , y t ) − I S ( x t + x , y t + y ) | {\displaystyle SAD(x,y)=\sum _{(x_{t},y_{t})\in T}\left\vert I_{T}(x_{t},y_{t})-I_{S}(x_{t}+x,y_{t}+y)\right\vert } With this measure, the lowest SAD gives the best position for the template, rather than the greatest as with cross correlation. SAD tends to be relatively simple to implement and understand, but it also tends to be relatively slow to execute. A simple C++ implementation of SAD template matching is given below. == Implementation == In this simple implementation, it is assumed that the above described method is applied on grey images: This is why Grey is used as pixel intensity. The final position in this implementation gives the top left location for where the template image best matches the search image. One way to perform template matching on color images is to decompose the pixels into their color components and measure the quality of match between the color template and search image using the sum of the SAD computed for each color separately. == Speeding up the process == In the past, this type of spatial filtering was normally only used in dedicated hardware solutions because of the computational complexity of the operation, however we can lessen this complexity b

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  • Render layers

    Render layers

    When creating computer-generated imagery, final scenes appearing in movies and television productions are usually produced by rendering more than one "layer" or "pass," which are multiple images designed to be put together through digital compositing to form a completed frame. Rendering in passes is based on a traditions in motion control photography which predate CGI. As an example, for a visual effects shot, a camera could be programmed to move past a physical model of a spaceship in one pass to film the fully lit beauty pass of the ship, and then to repeat exactly the same camera move passing the ship again to photograph additional elements such as the illuminated windows in the ship or its thrusters. Once all of the passes were filmed, they could then be optically printed together to form a completed shot. The terms render layers and render passes are sometimes used interchangeably. However, rendering in layers refers specifically to separating different objects into separate images, such as a layer each for foreground characters, sets, distant landscape, and sky. On the other hand, rendering in passes refers to separating out different aspects of the scene, such as shadows, highlights, or reflections, into separate images.

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  • Snap (computer graphics)

    Snap (computer graphics)

    In computer graphics, snapping allows an object to be easily positioned in alignment with grid lines, guide lines or another object, by causing it to automatically jump to an exact position when the user drags it to the proximity of the desired location. Some CAD software provides a "Snap" pull-down menu with diverse options as preferences for the practice of the operation. In Windows, with the "snap windows" option enabled, snapping a window against the top (or side) edge of the screen causes it to change into full screen (or half-screen for multitasking). Software snapping is analogous to hardware detents which serve to indicate discrete values or steps of an input device.

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