AI For Business Rules

AI For Business Rules — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Cleverbot

Cleverbot is a chatterbot web application. It was created by British AI scientist Rollo Carpenter and launched in October 2008. It was preceded by Jabberwacky, a chatbot project that began in 1988 and went online in 1997. In its first decade, Cleverbot held several thousand conversations with Carpenter and his associates. Since launching on the web, the number of conversations held has exceeded 150 million. Besides the web application, Cleverbot is also available as an iOS, Android, and Windows Phone app. == Operation == Cleverbot's responses are not pre-programmed because it learns from human input: Humans type into the box below the Cleverbot logo and the system finds all keywords or an exact phrase matching the input. After searching through its saved conversations, it responds to the input by finding how a human responded to that input when it was asked, in part or in full, by Cleverbot. Cleverbot participated in a formal Turing test at the 2011 Techniche festival at the Indian Institute of Technology Guwahati on 3 September 2011. Out of the 1334 votes cast, Cleverbot was judged to be 59.3% human, compared to the rating of 63.3% human achieved by human participants. A score of 50.05% or higher is often considered to be a passing grade. The software running for the event had to handle just 1 or 2 simultaneous requests, whereas online Cleverbot is usually talking to around 10,000 to 50,000 people at once. == Developments == Cleverbot is constantly growing in data size at the rate of 4 to 7 million interactions per day. Updates to the software have been mostly behind the scenes. In 2014, Cleverbot was upgraded to use GPU serving techniques. Unlike Eliza, the program does not respond in a fixed way, instead choosing its responses heuristically using fuzzy logic, the whole of the conversation being compared to the millions that have taken place before. Cleverbot now uses over 279 million interactions, about 3-4% of the data it has already accumulated. The developers of Cleverbot are attempting to build a new version using machine learning techniques. An app that uses the Cleverscript engine to play a game of 20 Questions has been launched under the name Clevernator. Unlike other such games, the player asks the questions and it is the role of the AI to understand, and answer factually. An app that allows owners to create and talk to their own small Cleverbot-like AI has been launched, called Cleverme! for Apple products. == In popular culture == Cleverbot received media attention after being featured in the popular 2010 creepypasta ARG web serial Ben Drowned by Alexander D. Hall. In early 2017, a Twitch stream of two Google Home devices modified to talk to each other using Cleverbot garnered over 700,000 visitors and over 30,000 peak concurrent viewers.
Read more →
3D-Coat

3DCoat is a commercial digital sculpting program from Pilgway designed to create free-form organic and hard surfaced 3D models, with tools which enable users to sculpt, add polygonal topology (automatically or manually), create UV maps (automatically or manually), texture the resulting models with natural painting tools, and render static images or animated "turntable" movies. The program can also be used to modify imported 3D models from a number of commercial 3D software products by means of plugins called Applinks. Imported models can be converted into voxel objects for further refinement and for adding high resolution detail, complete UV unwrapping and mapping, as well as adding PBR textures for displacement, bump maps, specular and diffuse color maps. A live connection to a chosen external 3D application can be established through the Applink pipeline, allowing for the transfer of model and texture information. 3DCoat specializes in voxel sculpting and polygonal sculpting using dynamic patch tessellation technology and polygonal sculpting tools. It includes "auto-retopology", a proprietary skinning algorithm which generates a polygonal mesh skin over any voxel sculpture, composed primarily of quadrangles.
Read more →
Afghan Girls Robotics Team

The Afghan Girls Robotics Team, also known as the Afghan Dreamers, is an all-girl robotics team from Herat, Afghanistan, founded through the Digital Citizen Fund (DCF) in 2017 by Roya Mahboob and Alireza Mehraban. It is made up of girls between ages 12 and 18 and their mentors. Several members of the team were relocated to Qatar and Mexico by humanitarian and tech entrepreneur Sarah Porter following the fall of Kabul in August 2021. A documentary film featuring members of the team, titled Afghan Dreamers, was released by MTV Documentary Films in 2023. == Origins == The Afghan Girls Robotics Team was co-founded in 2017 by Roya Mahboob, who is their coach, mentor and sponsor, and founder of the Digital Citizen Fund (DCF), which is the parent organization for the team. Dean Kamen was planning a 2017 competition in the United States and had recruited Mahboob to form a team from Afghanistan. Out of 150 girls, 12 were selected for the first team. Before parts were sent by Kamen, they trained in the basement of the home of Mahboob's parents, with scrap metal and without safety equipment under the guidance of their coach, Mahboob's brother Alireza Mehraban, who is also a co-founder of the team. == 2017 and 2018 == In 2017, six members of the Afghan Girls Robotics Team traveled to the United States to participate in the international FIRST Global Challenge robotics competition. Their visas were rejected twice after they made two journeys from Herat to Kabul through Taliban-controlled areas, before officials in the United States government intervened to allow them to enter the United States. Customs officials also detained their robotics kits, which left them two weeks to construct their robot, unlike some teams that had more time. They were awarded a Silver medal for Courageous Achievement. One week after they returned home from the competition, the father of team captain Fatemah Qaderyan, Mohammad Asif Qaderyan, was killed in a suicide bombing. After their United States visas expired, the team participated in competitions in Estonia and Istanbul. Three of the 12 members participated in the 2017 Entrepreneurial Challenge at the Robotex festival in Estonia, and won the competition for their solar-powered robot designed to assist farmers. In 2018, the team trained in Canada, continued to travel in the United States for months and participate in competitions. == 2019 == The Afghan Girls Robotics team had aspirations to develop a science and technology school for girls in Afghanistan. Roya Mahboob interfaced with the School of Engineering and Applied Sciences (SEAS), the School of Architecture, and the Whitney and Betty MacMillan Center for International and Area Studies Yale University to design the infrastructure for what they named The Dreamer Institute. == 2020 == In March 2020, the governor of Herat at the time, in response to the COVID-19 pandemic in Afghanistan and a scarcity of ventilators, sought help with the design of low-cost ventilators, and the Afghan Girls Robotics Team was one of six teams contacted by the government. Using a design from Massachusetts Institute of Technology and with guidance from MIT engineers and Douglas Chin, a surgeon in California, the team developed a prototype with Toyota Corolla parts and a chain drive from a Honda motorcycle. UNICEF also supported the team with the acquisition of necessary parts during the three months they spent building the prototype that was completed in July 2020. Their design costs around $500 compared to $50,000 for a ventilator. In December 2020, Minister of Industry and Commerce Nizar Ahmad Ghoryani donated funding and obtained land for a factory to produce the ventilators. Under the direction of their mentor Roya Mahboob, the Afghan Dreamers also designed a UVC Robot for sanitization, and a Spray Robot for disinfection, both of which were approved by the Ministry of Health for production. == 2021 == In early August 2021, Somaya Faruqi, former captain of the team, was quoted by Public Radio International about the future of Afghanistan, stating, "We don’t support any group over another but for us what’s important is that we be able to continue our work. Women in Afghanistan have made a lot of progress over the past two decades and this progress must be respected." On August 17, 2021, the Afghan Girls Robotics Team and their coaches were reported to be attempting to evacuate, but unable to obtain a flight out of Afghanistan, and a lawyer appealed to Canada for assistance regarding the evacuation of the team members. As of August 19, 2021, nine members of the team and their coaches had evacuated to Qatar. The founder of the team, Roya Mahboob, and DCF board member, Elizabeth Schaeffer Brown, were previously in contact with the Qatari government to assist the team members in their evacuation from Afghanistan. By August 25, 2021, some members arrived in Mexico. Saghar, a team member who evacuated to Mexico, said, "We wanted to continue the path that we started to continue to go for our achievements and to go for having our dreams through reality. So that's why we decided to leave Afghanistan and go for somewhere safe" in an interview with The Associated Press. The members who have left Afghanistan participated in an online robotics competition in September and plan to continue their education. A documentary film titled Afghan Dreamers, produced by Beth Murphy and directed by David Greenwald, was in post-production when the team began to evacuate. == 2022 == The Afghan Dreamers were involved in a training program at the Texas A&M University at Qatar’s STEM Hub. == 2023 == The Afghan Girls Robotics Team had a booth at the 5th UN Conference on the Least Developed Countries, where they displayed some of the robots the team had constructed. == Afghan Dreamers documentary == The Afghan Dreamers documentary from MTV Documentary Films premiered in May 2023 on Paramount+. The film was directed by David Greenwald and produced by David Cowan and Beth Murphy. In a review for Screen Daily, Wendy Ide wrote, "This film, with its likeable cast of girl nerds and positive message, should enjoy a warm reception on the festival circuit, and will be of particular interest to events seeking to showcase women's stories from around the world. It also serves as a timely cautionary tale – a case study on just how quickly the rights and the opportunities of women can be curtailed, at the behest of the men in power." == Honors and awards == 2017 Silver medal for Courageous Achievement at the FIRST Global Challenge, science and technology 2017 Benefiting Humanity in AI Award at World Summit AI 2017 Winner, Entrepreneurship Challenge at Robotex in Estonia 2018 Permission to Dream Award, Raw Film Festival 2018 Conrad Innovation Challenge, Raw Film Festival 2018 Rookie All Star – District Championship, Canada 2018 Asia Game Changer Award Honoree 2019 Inspiring in Engineering Award – FIRST Detroit World Championship 2019 Asia Game Changer Award of California 2019 Safety Award – FIRST Global, Dubai 2021 Forbes 30 Under 30 Asia 2022 World Championships, Genoa, Switzerland
Read more →
Acoustic model

An acoustic model is used in automatic speech recognition to represent the relationship between an audio signal and the phonemes or other linguistic units that make up speech. The model is learned from a set of audio recordings and their corresponding transcripts. It is created by taking audio recordings of speech, and their text transcriptions, and using software to create statistical representations of the sounds that make up each word. == Background == Modern speech recognition systems use both an acoustic model and a language model to represent the statistical properties of speech. The acoustic model models the relationship between the audio signal and the phonetic units in the language. The language model is responsible for modeling the word sequences in the language. These two models are combined to get the top-ranked word sequences corresponding to a given audio segment. Most modern speech recognition systems operate on the audio in small chunks known as frames with an approximate duration of 10ms per frame. The raw audio signal from each frame can be transformed by applying the mel-frequency cepstrum. The coefficients from this transformation are commonly known as mel-frequency cepstral coefficients (MFCCs) and are used as an input to the acoustic model along with other features. Recently, the use of convolutional neural networks has led to major improvements in acoustic modeling. == Speech audio characteristics == Audio can be encoded at different sampling rates (i.e. samples per second – the most common being: 8, 16, 32, 44.1, 48, and 96 kHz), and different bits per sample (the most common being: 8-bits, 16-bits, 24-bits or 32-bits). Speech recognition engines work best if the acoustic model they use was trained with speech audio which was recorded at the same sampling rate/bits per sample as the speech being recognized. == Telephony-based speech recognition == The limiting factor for telephony based speech recognition is the bandwidth at which speech can be transmitted. For example, a standard land-line telephone only has a bandwidth of 64 kbit/s at a sampling rate of 8 kHz and 8-bits per sample (8000 samples per second 8-bits per sample = 64000 bit/s). Therefore, for telephony based speech recognition, acoustic models should be trained with 8 kHz/8-bit speech audio files. In the case of voice over IP, the codec determines the sampling rate/bits per sample of speech transmission. Codecs with a higher sampling rate/bits per sample for speech transmission (which improve the sound quality) necessitate acoustic models trained with audio data that matches that sampling rate/bits per sample. == Desktop-based speech recognition == For speech recognition on a standard desktop PC, the limiting factor is the sound card. Most sound cards today can record at sampling rates of between 16–48 kHz of audio, with bit rates of 8- to 16-bits per sample, and playback at up to 96 kHz. As a general rule, a speech recognition engine works better with acoustic models trained with speech audio data recorded at higher sampling rates/bits per sample. But using audio with too high a sampling rate/bits per sample can slow the recognition engine down. A compromise is needed. Thus for desktop speech recognition, the current standard is acoustic models trained with speech audio data recorded at sampling rates of 16 kHz/16 bits per sample.
Read more →
Client-side persistent data

Client-side persistent data or CSPD is a term used in computing for storing data required by web applications to complete internet tasks on the client-side as needed rather than exclusively on the server. As a framework it is one solution to the needs of Occasionally connected computing or OCC. A major challenge for HTTP as a stateless protocol has been asynchronous tasks. The AJAX pattern using XMLHttpRequest was first introduced by Microsoft in the context of the Outlook e-mail product. The first CSPD were the 'cookies' introduced by the Netscape Navigator. ActiveX components which have entries in the Windows registry can also be viewed as a form of client-side persistence.
Read more →
Optical sorting

Optical sorting (sometimes called digital sorting) is the automated process of sorting solid products using cameras and/or lasers. Depending on the types of sensors used and the software-driven intelligence of the image processing system, optical sorters can recognize an object's color, size, shape, structural properties and chemical composition. The sorter compares objects to user-defined accept/reject criteria to identify and remove defective products and foreign material (FM) from the production line, or to separate product of different grades or types of materials. Optical sorters are in widespread use in the food industry worldwide, with the highest adoption in processing harvested foods such as potatoes, fruits, vegetables and nuts where it achieves non-destructive, 100 percent inspection in-line at full production volumes. The technology is also used in pharmaceutical manufacturing and nutraceutical manufacturing, tobacco processing, waste recycling and other industries. Compared to manual sorting, which is subjective and inconsistent, optical sorting helps improve product quality, maximize throughput and increase yields while reducing labor costs. == History == Optical sorting is an idea that first came out of the desire to automate industrial sorting of agricultural goods like fruits and vegetables. Before automated optical sorting technology was conceived in the 1930s, companies like Unitec were producing wooden machinery to assist in the mechanical sorting of fruit processing. In 1931, a company known as “the Electric Sorting Company” was incorporated and began the creation of the world’s first color sorters, which were being installed and used in Michigan’s bean industry by 1932. In 1937, optical sorting technology had advanced to allow for systems based on a two-color principle of selection. The next few decades saw the installation of new and improved sorting mechanisms, like gravity feed systems and the implementation of optical sorting in more agricultural industries. In the late 1960s, optical sorting began to be implemented to new industries beyond agriculture, like the sorting of ferrous and non-ferrous metals. By the 1990s, optical sorting was being used heavily in the sorting of solid wastes. With the large technological revolution happening in the late 1990s and early 2000s, optical sorters were being made more efficient via the implementation of new optical sensors, like CCD, UV, and IR cameras. Today, optical sorting is used in a wide variety of industries and, as such, is implemented with a varying selection of mechanisms to assist in that specific sorter’s task. == The sorting system == In general, optical sorters feature four major components: the feed system, the optical system, image processing software, and the separation system. The objective of the feed system is to spread products into a uniform monolayer so products are presented to the optical system evenly, without clumps, at a constant velocity. The optical system includes lights and sensors housed above and/or below the flow of the objects being inspected. The image processing system compares objects to user-defined accept/reject thresholds to classify objects and actuate the separation system. The separation system — usually compressed air for small products and mechanical devices for larger products, like whole potatoes — pinpoints objects while in-air and deflects the objects to remove into a reject chute while the good product continues along its normal trajectory. The ideal sorter to use depends on the application. Therefore, the product's characteristics and the user's objectives determine the ideal sensors, software-driven capabilities and mechanical platform. == Sensors == Optical sorters require a combination of lights and sensors to illuminate and capture images of the objects so the images can be processed. The processed images will determine if the material should be accepted or rejected. There are camera sorters, laser sorters and sorters that feature a combination of the two on one platform. Lights, cameras, lasers and laser sensors can be designed to function within visible light wavelengths as well as the infrared (IR) and ultraviolet (UV) spectrums. The optimal wavelengths for each application maximize the contrast between the objects to be separated. Cameras and laser sensors can differ in spatial resolution, with higher resolutions enabling the sorter to detect and remove smaller defects. === Cameras === Monochromatic cameras detect shades of gray from black to white and can be effective when sorting products with high-contrast defects. Sophisticated color cameras with high color resolution are capable of detecting millions of colors to better distinguish more subtle color defects. Trichromatic color cameras (also called three-channel cameras) divide light into three bands, which can include red, green and/or blue within the visible spectrum as well as IR and UV. The interaction of different materials with parts of the electromagnetic spectrum make these contrasts more evident than how they appear to the naked human eye. Coupled with intelligent software, sorters that feature cameras are capable of recognizing each object's color, size and shape; as well as the color, size, shape and location of a defect on a product. Some intelligent sorters even allow the user to define a defective product based on the total defective surface area of any given object. === Lasers === While cameras capture product information based primarily on material reflectance, lasers and their sensors are able to distinguish a material's structural properties along with their color. This structural property inspection allows lasers to detect a wide range of organic and inorganic foreign material such as insects, glass, metal, sticks, rocks and plastic; even if they are the same color as the good product. Lasers can be designed to operate within specific wavelengths of light; whether on the visible spectrum or beyond. For example, lasers can detect chlorophyll by stimulating fluorescence using specific wavelengths; which is a process that is very effective for removing foreign material from green vegetables. === Camera/laser combinations === Sorters equipped with cameras and lasers on one platform are generally capable of identifying the widest variety of attributes. Cameras are often better at recognizing color, size and shape while laser sensors identify differences in structural properties to maximize foreign material detection and removal. === Hyperspectral Imaging === Driven by the need to solve previously impossible sorting challenges, a new generation of sorters that feature multispectral and hyperspectral imaging Optical Sorters. Like trichromatic cameras, multispectral and hyperspectral cameras collect data from the electromagnetic spectrum. Unlike trichromatic cameras, which divide light into three bands, hyperspectral systems can divide light into hundreds of narrow bands over a continuous range that covers a vast portion of the electromagnetic spectrum. This opens the door for more detailed analysis that leads to a more consistent product. Using IR alone might detect some defects, but combining it with a broader range of the spectrum makes it more effective. Compared to the three data points per pixel collected by trichromatic cameras, hyperspectral cameras can collect hundreds of data points per pixel, which are combined to create a unique spectral signature (also called a fingerprint) for each object. When complemented by capable software intelligence, a hyperspectral sorter processes those fingerprints to enable sorting on the chemical composition of the product. This is an emerging area of chemometrics. == Software-driven intelligence == Once the sensors capture the object's response to the energy source, image processing is used to manipulate the raw data. The image processing extracts and categorizes information about specific features. The user then defines accept/reject thresholds that are used to determine what is good and bad in the raw data flow. The art and science of image processing lies in developing algorithms that maximize the effectiveness of the sorter while presenting a simple user-interface to the operator. Object-based recognition is a classic example of software-driven intelligence. It allows the user to define a defective product based on where a defect lies on the product and/or the total defective surface area of an object. It offers more control in defining a wider range of defective products. When used to control the sorter's ejection system, it can improve the accuracy of ejecting defective products. This improves product quality and increases yields. New software-driven capabilities are constantly being developed to address the specific needs of various applications. As computing hardware becomes more powerful, new software-driven advancements become possible. Some of these advancements enhance the effectivene
Read more →
Continuous Function Chart

A Continuous Function Chart (CFC) is a graphic editor that can be used in conjunction with the STEP 7 software package or with other tools, such as CODESYS. It is used to create the entire software structure of the CPU from ready-made blocks. When working with the editor, you place blocks on function charts, assign parameters to them, and interconnect them. Interconnecting means, for example, that values are transferred from one output to one or more inputs during communication between the blocks. Continuous function charts are basically used for controlling continuous processes, where all the logic is executed and outputs are calculated in each PLC scan. Whereas in SFC, execution will be sequential as done is batch processes.
Read more →
Normalization (image processing)

In image processing, normalization is a process that changes the range of pixel intensity values, a kind of intensity mapping. Applications include photographs with poor contrast due to glare, for example. A typical case is contrast stretching. In more general fields of data processing, such as digital signal processing, it is referred to as dynamic range expansion. The purpose of dynamic range expansion in the various applications is usually to bring the image, or other type of signal, into a range that is more familiar or normal to the senses, hence the term normalization. Often, the motivation is to achieve consistency in dynamic range for a set of data, signals, or images to avoid mental distraction or fatigue. For example, a newspaper will strive to make all of the images in an issue share a similar range of grayscale. Auto-normalization in image processing software typically normalizes to the full dynamic range of the number system specified in the image file format. == Definition == Normalization transforms an n-dimensional grayscale image I : { X ⊆ R n } → { Min , . . , Max } {\displaystyle I:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{Min}},..,{\text{Max}}\}} with intensity values in the range ( Min , Max ) {\displaystyle ({\text{Min}},{\text{Max}})} , into a new image I N : { X ⊆ R n } → { newMin , . . , newMax } {\displaystyle I_{N}:\{\mathbb {X} \subseteq \mathbb {R} ^{n}\}\rightarrow \{{\text{newMin}},..,{\text{newMax}}\}} with intensity values in the range ( newMin , newMax ) {\displaystyle ({\text{newMin}},{\text{newMax}})} . The linear normalization of a grayscale digital image is performed according to the formula I N = ( I − Min ) newMax − newMin Max − Min + newMin {\displaystyle I_{N}=(I-{\text{Min}}){\frac {{\text{newMax}}-{\text{newMin}}}{{\text{Max}}-{\text{Min}}}}+{\text{newMin}}} For example, if the intensity range of the image is 50 to 180 and the desired range is 0 to 255 the process entails subtracting 50 from each of pixel intensity, making the range 0 to 130. Then each pixel intensity is multiplied by 255/130, making the range 0 to 255. Normalization might also be non-linear, as the relationship between I {\displaystyle I} and I N {\displaystyle I_{N}} may not be linear. An example of non-linear normalization is when the normalization follows a sigmoid function, in which case the normalized image is computed according to the formula I N = ( newMax − newMin ) 1 1 + e − I − β α + newMin {\displaystyle I_{N}=({\text{newMax}}-{\text{newMin}}){\frac {1}{1+e^{-{\frac {I-\beta }{\alpha }}}}}+{\text{newMin}}} Where α {\displaystyle \alpha } defines the width of the input intensity range, and β {\displaystyle \beta } defines the intensity around which the range is centered. Gamma correction (log/inverse log) is also a common transformation function. === Colorspace === Intensity operations generally operate on a colorspace that maps to the human perception of lightness without intentionally changing the other properties. This can be done, for example, by operating on the L component of the CIELAB color space, or approximately by operating on the Y component of YCbCr. It is also possible to operate on each of the RGB color channels, though the result will not always make sense. == Contrast stretching == This is the most significant and essential technique of spatial-based image enhancement. The basic intent of this contrast enhancement technique is to adjust the local contrast in the image so as to bring out the clear regions or objects in the image. Low-contrast images often result from poor or non-uniform lighting conditions, a limited dynamic range of the imaging sensor, or improper settings of the lens aperture. This operation tries to change the intensity of the pixel in the image, particularly in the input image, to obtain an enhanced image. It is based on the number of techniques, namely local, global, dark and bright levels of contrast. The contrast enhancement is considered as the amount of color or gray differentiation that lies among the different features in an image. The contrast enhancement improves the quality of image by increasing the luminance difference between the foreground and background. A contrast stretching transformation can be achieved by: Stretching the dark range of input values into a wider range of output values: This involves increasing the brightness of the darker areas in the image to enhance details and improve visibility. Shifting the mid-range of input values: This involves adjusting the brightness levels of the mid-tones in the image to improve overall contrast and clarity. Compressing the bright range of input values: This process involves reducing the brightness of the brighter areas in the image to prevent overexposure resulting in a more balanced and visually appealing image. It can be described as the following piecewise funciton: I N = { s 1 r 1 I if I < r 1 s 2 − s 1 r 1 − r 2 ( I − r 1 ) if r 1 ≤ I ≤ r 2 1 − s 2 1 − r 2 ( I − r 2 ) if I > r 2 {\displaystyle I_{N}={\begin{cases}{\frac {s_{1}}{r_{1}}}I&{\text{if }}Ir_{2}\end{cases}}} Where: ( r 1 , s 1 ) {\displaystyle (r_{1},s_{1})} defines the transition point between the "dark" range to the "main" range. ( r 2 , s 2 ) {\displaystyle (r_{2},s_{2})} defines the transition point between the "main" range to the "bright" range. A typical linear stretch is obtained when ( r 1 , s 1 ) = ( r min , 0 ) {\displaystyle (r_{1},s_{1})=(r_{\text{min}},0)} and ( r 2 , s 2 ) = ( r max , 1 ) {\displaystyle (r_{2},s_{2})=(r_{\text{max}},1)} , where r min {\displaystyle r_{\text{min}}} and r max {\displaystyle r_{\text{max}}} denote the minimum and maximum levels in the source image. === Global contrast stretching === Global Contrast Stretching considers all color palate ranges at once to determine the maximum and minimum values for the entire RGB color image. This approach utilizes the combination of RGB colors to derive a single maximum and minimum value for contrast stretching across the entire image. === Local contrast stretching === Local contrast stretching (LCS) is an image enhancement method that focuses on locally adjusting each pixel's value to improve the visualization of structures within an image, particularly in both the darkest and lightest portions. It operates by utilizing sliding windows, known as kernels, which traverse the image. The central pixel within each kernel is adjusted using the following formula: I p ( x , y ) = 255 × [ I 0 ( x , y ) − m i n ] ( m a x − m i n ) {\displaystyle I_{p}(x,y)=255\times {\frac {[I_{0}(x,y)-min]}{(max-min)}}} Where: Ip(x,y) is the color level for the output pixel (x,y) after the contrast stretching process. I0(x,y) is the color level input for data pixel (x, y). max is the maximum value for color level in the input image within the selected kernel. min is the minimum value for color level in the input image within the selected kernel. A piecewise form (see above) may also be used. LCS can be applied to the three color channels of an image separately.
Read more →
Device-independent pixel

A device-independent pixel (also: density-independent pixel, dip, dp) is a unit of length. A typical use is to allow mobile device software to scale the display of information and user interaction to different screen sizes. The abstraction allows an application to work in pixels as a measurement, while the underlying graphics system converts the abstract pixel measurements of the application into real pixel measurements appropriate to the particular device. For example, on the Android operating system a device-independent pixel is equivalent to one physical pixel on a 160 dpi screen, while the Windows Presentation Foundation specifies one device-independent pixel as equivalent to 1/96th of an inch. As dp is a physical unit it has an absolute value which can be measured in traditional units, e.g. for Android devices 1 dp equals 1/160 of inch or 0.15875 mm. While traditional pixels only refer to the display of information, device-independent pixels may also be used to measure user input such as input on a touch screen device.
Read more →
Shadow and highlight enhancement

Shadow and highlight enhancement refers to an image processing technique used to correct exposure. The use of this technique has been gaining popularity, making its way onto magazine covers, digital media, and photos. It is, however, considered by some to be akin to other destructive Photoshop filters, such as the Watercolor filter, or the Mosaic filter. == Shadow recovery == A conservative application of the shadow/highlight tool can be very useful in recovering shadows, though it tends to leave a telltale halo around the boundary between highlight and shadow if used incorrectly. A way to avoid this is to use the bracketing technique, although this usually requires a tripod. == Highlight recovery == Recovering highlights with this tool, however, has mixed results, especially when using it on images with skin in them, and often makes people look like they have been "sprayed with fake tan". == Shadow brightening - manual == One way to brighten shadows in image editing software such as GIMP or Adobe Photoshop is to duplicate the background layer, invert the copy and set the blend modes of that top layer to "Soft Light". You can also use an inverted black and white copy of the image as a mask on a brightening layer, such as Curves or Levels. == Shadow brightening - automatic == Several automatic computer image processing-based shadow recovery and dynamic range compression methods can yield a similar effect. Some of these methods include the retinex method and homomorphic range compression. The retinex method is based on work from 1963 by Edwin Land, the founder of Polaroid. Shadow enhancement can also be accomplished using adaptive image processing algorithms such as adaptive histogram equalization or contrast limiting adaptive histogram equalization (CLAHE).
Read more →
ACLU Mobile Justice

ACLU Mobile Justice was a video live streaming application developed for smartphones by various state chapters of the American Civil Liberties Union. It was intended to allow instant, secure video recording and transmission of interactions with, and perceived abuses by, law enforcement officers. Since its release by the ACLU of California for California residents, other versions of the app have been released for 16 other states and the District of Columbia by their ACLU chapters. It was discontinued in February 2025.
Read more →
Final Cut Express

Final Cut Express was a video editing software suite created by Apple Inc. It was the consumer version of Final Cut Pro and was designed for advanced editing of digital video as well as high-definition video, which was used by many amateur and professional videographers. Final Cut Express was considered a step above iMovie in terms of capabilities, but a step underneath Final Cut Pro and its suite of applications. As of June 21, 2011, Final Cut Express was discontinued in favor of Final Cut Pro X. == History == Final Cut Express 1.0, based on Final Cut Pro 3, was released at Macworld Conference and Expo in San Francisco in 2003. The second version, based on Final Cut Pro 4, was released at Macworld San Francisco in 2004. The third version, capable of editing high definition video, was also announced at Macworld San Francisco a year later, and was released as Final Cut Express HD in February 2005. It was based on Final Cut Pro HD (version 4.5) and included LiveType 1.2 and Soundtrack 1.2. Final Cut Express version 3.5 was released with little fanfare in May 2006 as a Universal Binary. In addition to improving real-time rendering with Dynamic RT, version 3.5 upgraded LiveType to version 2.0 and Soundtrack to version 1.5. In November 2007, Apple released Final Cut Express 4, which although it did not support real-time editing in the AVCHD format (it only allowed for transcoding AVCHD to Apple Intermediate Codec (AIC) provided that the camera was actually attached to the computer - it did not convert AVCHD files stored elsewhere and is currently for Intel processors only), imported iMovie '08 projects and included 50 new filters. It did not include Soundtrack 1.5, but it still included LiveType which enables users to create advanced text for the movies they created in Final Cut. The price was dropped from $299 for version 3.5 to $199 for version 4.0. In June 2011, Final Cut Express was officially discontinued, in favor of Final Cut Pro X. == Features == Final Cut Express' interface was identical to that of Final Cut Pro, but lacks some film-specific features, including Cinema Tools, multi-cam editing, batch capture, and a time code view. The program performed 32 undo operations, while Final Cut Pro did 99 [2]. Features the program did include were: The ability to keyframe filters Dynamic RT, which changes real-time settings on-the-fly Motion path keyframing Opacity keyframing Ripple, roll, slip, slide and blade edits Picture-in-picture and split-screen effects Up to 99 video tracks and 12 compositing modes Up to 99 audio tracks Motion project import Two-way color correction. Chroma key One feature of Final Cut Express that was not available in Final Cut Pro is the ability to import iMovie '08 projects (though transitions are not preserved). === RT Extreme === Inherited from Final Cut Pro, Final Cut Express features RT Extreme, which allows previews of some video filters and transitions without rendering. Audio that is not in the native AIFF file format needs rendering before it can be played back. RT Extreme has three modes: 'Safe', for seeing multiple video layers at a quality that more or less guarantees a smooth playback; 'Unlimited', which allows the maximum number of composited video layers to be viewed at the same time; and 'Dynamic', which alternates between these settings depending on how many simultaneous video tracks are present. Frame dropping may result from using 'Unlimited' on low-resource machines. === Boris Calligraphy === Like Final Cut Pro, Express also comes with Boris Calligraphy, a plugin for advanced titling and scrolling/crawling titles more sophisticated than the ones that can be created with the built-in title overlays. Calligraphy has a WYSIWYG interface and features wrapping, alignment, leading, kerning and tracking features, as well as allowing up to five custom outlines and five custom drop shadows to be defined for a selected portion of the title. == Soundtrack == Prior to version 4, Final Cut Express included Soundtrack 1.5, a music program similar to the consumer-level GarageBand, but designed for videographers who wish to add music to their films. Soundtrack comes with around 4,000 professionally recorded instrument loops and sound effects that can be arranged in multiple tracks beneath the video track. To use Soundtrack, users export their Final Cut Express sequence, or a marked portion thereof, as a reference file, which can include scoring markers defined in the timeline. This reference file can be imported as the video track in Soundtrack. Soundtrack is functionally and visually identical to Soundtrack Pro's multitrack editing mode, but includes fewer Logic plugins and lacks the highly regarded noise removal tool. Soundtrack was removed from Final Cut Express 4, which lowered its price and may have encouraged people to buy Logic Express.
Read more →
Circular thresholding

Circular thresholding is an algorithm for automatic image threshold selection in image processing. Most threshold selection algorithms assume that the values (e.g. intensities) lie on a linear scale. However, some quantities such as hue and orientation are a circular quantity, and therefore require circular thresholding algorithms. The example shows that the standard linear version of Otsu's method when applied to the hue channel of an image of blood cells fails to correctly segment the large white blood cells (leukocytes). In contrast the white blood cells are correctly segmented by the circular version of Otsu's method. == Methods == There are a relatively small number of circular image threshold selection algorithms. The following examples are all based on Otsu's method for linear histograms: (Tseng, Li and Tung 1995) smooth the circular histogram, and apply Otsu's method. The histogram is cyclically rotated so that the selected threshold is shifted to zero. Otsu's method and histogram rotation are applied iteratively until several heuristics involving class size, threshold location, and class variance are satisfied. (Wu et al. 2006) smooth the circular histogram until it contains only two peaks. The histogram is cyclically rotated so that the midpoint between the peaks is shifted to zero. Otsu's method and histogram rotation are applied iteratively until convergence of the threshold. (Lai and Rosin 2014) applied Otsu's method to the circular histogram. For the two class circular thresholding task they showed that, for a histogram with an even number of bins, the optimal solution for Otsu's criterion of within-class variance is obtained when the histogram is split into two halves. Therefore the optimal solution can be efficiently obtained in linear rather than quadratic time. == References and further reading == D.-C. Tseng, Y.-F. Li, and C.-T. Tung, Circular histogram thresholding for color image segmentation in Proc. Int. Conf. Document Anal. Recognit., 1995, pp. 673–676. J. Wu, P. Zeng, Y. Zhou, and C. Olivier, A novel color image segmentation method and its application to white blood cell image analysis in Proc. Int. Conf. Signal Process., vol. 2. 2006, pp. 16–20. Y.K. Lai, P.L. Rosin, Efficient Circular Thresholding, IEEE Trans. on Image Processing 23(3), 992–1001 (2014). doi:10.1109/TIP.2013.2297014
Read more →
Pixel aspect ratio

A pixel aspect ratio (PAR) is a mathematical ratio that describes how the width of a pixel in a digital image compares to the height of that pixel. Most digital imaging systems display an image as a grid of tiny, square pixels. However, some imaging systems, especially those that must be compatible with standard-definition television motion pictures, display an image as a grid of rectangular pixels, in which the pixel width and height are different. Pixel aspect ratio describes this difference. Use of pixel aspect ratio mostly involves pictures pertaining to standard-definition television and some other exceptional cases. Most other imaging systems, including those that comply with SMPTE standards and practices, use square pixels. PAR is also known as sample aspect ratio and abbreviated SAR, though it can be confused with storage aspect ratio. == Introduction == The ratio of the width to the height of an image is known as the aspect ratio, or more precisely the display aspect ratio (DAR) – the aspect ratio of the image as displayed; for TV, DAR was traditionally 4:3 (a.k.a. fullscreen), with 16:9 (a.k.a. widescreen) now the standard for HDTV. In digital images, there is a distinction with the storage aspect ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with square pixels, then these ratios agree; if not, then non-square, "rectangular" pixels are used, and these ratios disagree. The aspect ratio of the pixels themselves is known as the pixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity: Rearranging (solving for PAR) yields: For example: A 640 × 480 VGA image has a SAR of 640/480 = 4:3, and if displayed on a 4:3 display (DAR = 4:3) has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but if displayed on a 4:3 display (DAR = 4:3) the PAR is 4/3 : 5/4 = 16:15 ≈ 1.066. This means that the pixels of the PAL picture must be "stretched" by this amount to fit in the 4:3 display. In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, but in the digitization of analog images the resulting digital image has pixels, hence SAR (and accordingly PAR, if displayed at the same aspect ratio as the original). Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose vertical and "effective" horizontal resolutions differ and are thus best described by non-square pixels – and also in some digital video cameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise also in transcoding between resolutions with different SARs. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions. There are several complicating factors in understanding PAR, particularly as it pertains to digitization of analog video: First, analog video does not have pixels, but rather a raster scan, and thus has a well-defined vertical resolution (the lines of the raster), but not a well-defined horizontal resolution, since each line is an analog signal. However, by a standardized sampling rate, the effective horizontal resolution can be determined by the sampling theorem, as is done below. Second, due to overscan, some of the lines at the top and bottom of the raster are not visible, as are some of the possible image on the left and right – see Overscan: Analog to digital resolution issues. Also, the resolution may be rounded (DV NTSC uses 480 lines, rather than the 486 that are possible). Third, analog video signals are interlaced – each image (frame) is sent as two "fields", each with half the lines. Thus either the pixels are twice as tall as they would be without interlacing, or the image is deinterlaced. == Background == Video is presented as a sequential series of images called video frames. Historically, video frames were created and recorded in analog form. As digital display technology, digital broadcast technology, and digital video compression evolved separately, it resulted in video frame differences that must be addressed using pixel aspect ratio. Digital video frames are generally defined as a grid of pixels used to present each sequential image. The horizontal component is defined by pixels (or samples), and is known as a video line. The vertical component is defined by the number of lines, as in 480 lines. Standard-definition television standards and practices were developed as broadcast technologies and intended for terrestrial broadcasting, and were therefore not designed for digital video presentation. Such standards define an image as an array of well-defined horizontal "Lines", well-defined vertical "Line Duration" and a well-defined picture center. However, there is not a standard-definition television standard that properly defines image edges or explicitly demands a certain number of picture elements per line. Furthermore, analog video systems such as NTSC 480i and PAL 576i, instead of employing progressively displayed frames, employ fields or interlaced half-frames displayed in an interwoven manner to reduce flicker and double the image rate for smoother motion. === Analog-to-digital conversion === As a result of computers becoming powerful enough to serve as video editing tools, video digital-to-analog converters and analog-to-digital converters were made to overcome this incompatibility. To convert analog video lines into a series of square pixels, the industry adopted a default sampling rate at which luma values were extracted into pixels. The luma sampling rate for 480i pictures was 12+3⁄11 MHz and for 576i pictures was 14+3⁄4 MHz. The term pixel aspect ratio was first coined when ITU-R BT.601 (commonly known as Rec. 601) specified that standard-definition television pictures are made of lines of exactly 720 non-square pixels. ITU-R BT.601 did not define the exact pixel aspect ratio but did provide enough information to calculate the exact pixel aspect ratio based on industry practices: The standard luma sampling rate of precisely 13+1⁄2 MHz. Based on this information: The pixel aspect ratio for 480i would be 10:11 as: 12 3 11 ÷ 13 1 2 = 10 11 {\displaystyle 12{\tfrac {3}{11}}\div 13{\tfrac {1}{2}}={\tfrac {10}{11}}} The pixel aspect ratio for 576i would be 59:54 as: 14 3 4 ÷ 13 1 2 = 59 54 {\displaystyle 14{\tfrac {3}{4}}\div 13{\tfrac {1}{2}}={\tfrac {59}{54}}} SMPTE RP 187 further attempted to standardize the pixel aspect ratio values for 480i and 576i. It designated 177:160 for 480i or 1035:1132 for 576i. However, due to significant difference with practices in effect by industry and the computational load that they imposed upon the involved hardware, SMPTE RP 187 was simply ignored. SMPTE RP 187 information annex A.4 further suggested the use of 10:11 for 480i. As of this writing, ITU-R BT.601-6, which is the latest edition of ITU-R BT.601, still implies that the pixel aspect ratios mentioned above are correct. === Digital video processing === As stated above, ITU-R BT.601 specified that standard-definition television pictures are made of lines of 720 non-square pixels, sampled with a precisely specified sampling rate. A simple mathematical calculation reveals that a 704 pixel width would be enough to contain a 480i or 576i standard 4:3 picture: A 4:3 480-line picture, digitized with the Rec. 601-recommended sampling rate, would be 704 non-square pixels wide. x 480 × 10 11 = 4 3 ⇒ x = 480 × 11 × 4 10 × 3 = 704 {\displaystyle {\frac {x}{480}}\times {\frac {10}{11}}={\frac {4}{3}}\Rightarrow x={\frac {480\times 11\times 4}{10\times 3}}=704} A 4:3 576-line picture, digitized with the Rec. 601-recommended sampling rate, would be 702+54⁄59 non-square pixels wide. x 576 × 59 54 = 4 3 ⇒ x = 576 × 54 × 4 59 × 3 = 702 54 59 {\displaystyle {\frac {x}{576}}\times {\frac {59}{54}}={\frac {4}{3}}\Rightarrow x={\frac {576\times 54\times 4}{59\times 3}}=702{\tfrac {54}{59}}} Unfortunately, not all standard TV pictures are exactly 4:3: As mentioned earlier, in analog video, the center of a picture is well-defined but the edges of the picture are not standardized. As a result, some analog devices (mostly PAL devices but also some NTSC devices) generated motion pictures that were horizontally (slightly) wider. This also proportionately applies to anamorphic widescreen (16:9) pictures. Therefore, to maintain a safe margin of error, ITU-R BT.601 required sampling 16 more non-square pixels per line (8 more at each edge) to ensure saving all video data near the margins. This requirement, however, had implications for PAL motion pictures. PAL pixel aspect ratios for standard (4:3) and anamorphic wide screen (16:9), respectively 59:54 and 118:81, were awkward for digital image processing, especially for mixing PAL and NTSC video clips. Therefore, video editing products chose the almost equivalent value
Read more →
Vegas Pro

Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap
Read more →