A.i Paraphrasing Online

A.i Paraphrasing Online — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Flektor

Flektor was a web application that allowed users the ability to create and "mashup" their own content (photos, videos, music, etc.) and share it via email, on social networking websites MySpace, Facebook, Blogger, Digg, eBay or on personal blogs. The company's website (Flektor.com) launched on April 2, 2007, and over 40,000 people began utilizing its features just one month later. Flektor closed down in January 2009. Flektor offered tools and widgets that included audio, video, photos, text, and approximately 100 effects, transitions and filters to be used with media. Users could create personalized slideshows, polls, postcards, and streaming video projects which the website calls "fleks". Flektor also offered Chat (used as a MySpace addon) and Movie Editor, which provided the ability to edit content and assets together. Users of Flektor could import media from websites like Photobucket and Google's YouTube, and then edit their content with the site's editing tools. Flektor's erstwhile competitors include Slide.com (founded by PayPal co-founder Max Levchin), RockYou!, Yahoo's JumpCut and Brightcove. == History == Flektor was created by Jason Rubin, Andy Gavin and former HBO executive Jason R. Kay. Both Rubin and Gavin spent most of their careers in the video game industry developing games for publishers like Electronic Arts, Universal Interactive Studios and Sony Computer Entertainment America. They founded a successful game development studio called Naughty Dog and were responsible for games such as Crash Bandicoot and Jak and Daxter. After selling Naughty Dog to Sony, Rubin focused on a comic book series called Iron and the Maiden before teaming up again with Gavin to venture into the web industry with Flektor. Jason Kay spent four years at Home Box Office, working as a consultant to the EVP of Business Development. They recruited former employee and then Naughty Dog Lead Programmer Scott Shumaker to lead the technology team along with Gavin. Ryan Evans joined shortly thereafter, spearheading product development. Flektor is based in Culver City, California. In May 2007, the company was sold to Fox Interactive Media, which is a division of News Corp., for more than $20 million. The deal coincided with Fox's acquisition of Photobucket, an image-hosting and sharing website. Fox Interactive Media already holds possession of MySpace, IGN Entertainment, FOXSports.com, AmericanIdol.com and Rotten Tomatoes. After the acquisition, Rubin, Gavin and Kay departed, leaving the studio in the hands of Shumaker and Evans. In the fall of 2007, Flektor partnered with its sister company, MySpace, and MTV to provide instant audience feedback via polls for the interactive MySpace/ MTV Presidential Dialogues series with presidential candidates Senator Barack Obama, Senator John McCain and John Edwards. Use of Flektor's polling system, enabled hosts John McLaughlin and Geoffrey Garin to cater their questions towards subjects of voter-interest. In the fall of 2008, Flektor built the official site for the 2008 Presidential debates, hosted at MyDebates. In January 2009, due to a company directive to focus on the core MySpace property, Fox Interactive announced that Flektor would be shut down, with some of its technology being incorporated into MySpace.
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Digital history

Digital history is the use of digital media to further historical analysis, presentation, and research. It is a branch of the digital humanities and an extension of quantitative history, cliometrics, and computing. Digital history is commonly known as digital public history, concerned primarily with engaging online audiences with historical content, or digital research methods, that further academic research. Digital history outputs include: digital archives, online presentations, data and information visualizations, interactive maps, timelines, audio files, and virtual worlds. These outputs are designed to enhance accessibility to users, facilitating engagement with historical content. Recent digital history projects focus on creativity, collaboration, and technical innovation, text mining, corpus linguistics, network analysis, 3D modeling, and big data analysis. By utilizing these resources, the user can rapidly develop new analyses that can link to, extend, and bring to life existing histories. == History == Rooted in earlier social science history work, particularly around the history of enslavement in the United States, early digital history in the 1960s and 70s focused on using computers to conduct quantitative analyses, primarily of demographic and social history data - censuses, election returns, city directories, and other tabular or countable data. - with the aim of producing defensible research findings These early computers could be programmed to conduct statistical analyses of these records, creating tallies, or seeking trends across records. This research into historical demography was rooted in the rise of social history as a field of historical interest. The historians involved in this work sought to quantify past societies, to come to new conclusions about communities and population. Computers proved capable tools for that type of work. By the late 1970s younger historians turned to cultural studies, most of these studies involved online databases that were checked by Professionals in Great Britain about once a year. The outpouring of quantitative studies by established scholars continued. Since then, quantitative history and cliometrics have been used primarily by historically minded economists and political scientists. In the late 1980s quantifiers founded the Association for History and Computing. This movement provided some of the impetus for the rise of digital history in the 1990s. The more recent roots of digital history were in software rather than online networks. In 1982, the Library of Congress embarked on its Optical Disk Pilot Project, which placed text and images from its collection on to laserdiscs and CD-ROMs. The library started offering online exhibits in 1992 when it launched Selected Civil War Photographs. In 1993, Roy Rosenzweig, along with Steve Brier and Josh Brown, produced their award-winning CD-ROM Who Built America? From the Centennial Exposition of 1876 to the Great War of 1914, designed for Apple, Inc. that integrated images, text, film and sound clips, displayed in a visual interface that supported a text narrative. Among the earliest online digital history projects were The Heritage Project of the University of Kansas, and medieval historian Dr. Lynn Nelson's World History Index and History Central Catalogue. Another was The Valley of the Shadow, conceived in 1991 by current University of Richmond professor of humanities and president emeritus, Edward L. Ayers, who was then at the University of Virginia. The Institute for Advanced Technology in the Humanities (IATH) at the University of Virginia adopted the Valley Project and partnered with IBM to collect and transcribe historical sources into digital files. The project collected data related to Augusta County in Virginia and Franklin County in Pennsylvania during the American Civil War. In 1996, William G. Thomas III joined Ayers on the Valley Project. Together, they produced an online article entitled "The Differences Slavery Made: A Close Analysis of Two American Communities," which also appeared in The American Historical Review in 2003. A CD-ROM also accompanied the Valley Project, published by W. W. Norton and Company in 2000. Rosenzweig, who died October 11, 2007, founded the Center for History and New Media (CHNM) at George Mason University in 1994. Today, CHNM boasts several digital tools available to historians, such as Zotero, Omeka or Tropy. In 1997, Ayers and Thomas used the term "digital history" when they proposed and founded the Virginia Center for Digital History (VCDH) at the University of Virginia, the earliest center devoted exclusively to history. Several other institutions promoting digital history include the Center for Humane Arts, Letters, and Social Sciences Online (MATRIX) at Michigan State University, Maryland's Institute for Technology in the Humanities, and the Center for Digital Research in the Humanities at the University of Nebraska. In 2004, Emory University launched Southern Spaces, a "peer-reviewed Internet journal and scholarly forum" examining the history of the South. == Applications == There are many potential benefits to the use of digital history when combined with traditional historical methods. Some of these applications include: Combining traditional historical methods and new research methods in order to come to new conclusions. Using different tools to extract and analyse larger amounts of data that would not be manageable otherwise. Create models and maps of data extracted to create a visualisation of the data. Data extracted and analysed can be placed alongside existing historiography to increase combined historical knowledge. By adding new research methods to existing historical method, historians can benefit greatly from the ability to work with larger amounts of data and develop new interpretations from this. == Notable Projects == The collaborative nature of most digital history endeavors has meant that the discipline has developed primarily at institutions with the resources to sponsor content research and technical innovation. Two of the first centers, George Mason University's Center for History and New Media and the Virginia Center for Digital History at the University of Virginia have been among the leaders in the development of digital history projects and the education of digital historians. Some of the noteworthy projects emerging from these pioneering centers are The Geography of Slavery, The Texas Slavery Project, and The Countryside Transformed at VCDH and Liberty, Equality, Fraternity: Exploring the French Revolution and The Lost Museum at the CHNM. In each of these projects, mediated archives holding multiple types of sources are combined with digital tools to analyze and illuminate an historical question to a varying degree; this integration of content and tools with analysis is one of the hallmarks of digital history—projects move beyond archives or collections and into scholarly analysis and the use of digital tools to develop that analysis. The differences between the ways projects incorporate these integrations are a measure of the development of the field and point to the ongoing debates over what digital history can and should be. While many of the projects at VCDH, CHNM, and other university's centers have been geared towards academics and post-secondary education, the University of Victoria (British Columbia), in conjunction with the Université de Sherbrooke and the Ontario Institute for Studies in Education at the University of Toronto, has created as series of projects for all ages, "Great Unsolved Mysteries in Canadian History." Laden with instructional aids, this site asks teachers to introduce students to historical research methods to help them develop analytical skills and a sense of the complexities of their national history. Issues of race, religion, and gender are addressed in carefully constructed modules that cover incidents in Canadian history from Viking exploration through the 1920s. One of the original co-creators of the project, John Lutz has also developed Victoria's Victoria with the University of Victoria and Malaspina University-College. In addition to Ayers, Thomas, Lutz, and Rosenzweig, numerous other individual scholars work with digital history techniques and have made and/or continue to make important contributions to the field. Robert Darnton's 2000 article, "An Early Information Society: News and the Media in Eighteenth-Century Paris" was supplemented with electronic resources and is an early model of the discussions around digital history and its future in the humanities. One of the first major digital projects to be reviewed by the American Historical Review (AHR) was Philip Ethington's "Los Angeles and the Problem of Urban Historical Knowledge"—a multimedia exploration of changes to Los Angeles' physical profile over the course of several decades. In this essay, he also expresses his beliefs that historians have major power in
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Horus Music

Horus Music Limited is a global digital distribution and label services company. Established in 2006, Horus Music allows artists, labels and right-holders to send their music to over 200 download, streaming, and interactive platforms including iTunes, Google Play, Amazon, VEVO, 7digital, Spotify, Beatport, Deezer, Tidal, as well as offering digital marketing and playlisting opportunities. == History == The company were named Best Business Partner of 2014 by Huawei Technology of China, and were also a finalist in the International Trade category as part of the Leicester Mercury Business Awards during that same year. Their client base consists of unsigned and independent musicians and record labels, as well as well known recording artists. In November 2015, Horus Music sponsored the UK’s first Independent Label Week, in order to highlight the music that is released by the UK’s indie labels. In 2016, Horus Music celebrated their 10th anniversary Horus Music's sister companies Help for Bands and Help For Writers, provide advice and opportunities for musicians and E-book distribution for writers, respectively. Anara Publishing opened in 2017 which allows the company to work closely with a handpicked roster of musicians to provide royalty administration and sync licensing services. On 21 April 2017, Her Majesty Queen Elizabeth II’s 91st birthday, Horus Music was awarded with the Queen’s Award for Enterprise in International Trade. In 2021, Horus Music, UnitedMasters, and Symphonic Distribution partnered with pioneering music fintech company, beatBread, to offer clients access to more capital. beatBread's chordCashAI technology provides an automated advance experience for independent musicians while enable clients to choose their own terms and retain ownership of their music. == Clients == Horus Music has partnered with a number of charities including Save the Children, for the recording "Look into Your Heart", featuring Beverley Knight with Rolling Stones' Mick Jagger and Ronnie Wood, 100% of proceeds from the single were donated to the charity. The Pixel Project, who produced songs about violence against women and the blood cancer charity Bloodwise. The company have spoken openly about the state of the music industry and artists' rights and were one of the first distributors to remove their catalogue from Rdio after the streaming service was acquired by Pandora. Their relationships with artists and labels, as well as leading industry contacts, means they have the ability to work with musicians in a myriad of ways, including offering performance opportunities and even local auditions for TV shows such as The Voice UK. == Horus Music India == Horus Music India opened in 2016 and is based in Mumbai. By opening Horus Music India, the company are able to expand on their local connections as well as to provide a much more personalised service to musicians based in this area. The appointment of two Business Development Managers in India cemented their move.
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DBOS

DBOS (Formerly Database-Oriented Operating System, now just DBOS) is an open source durable workflow execution software library written for the Python, TypeScript, Java, and Go programming languages. DBOS arose from a joint open source project from MIT and Stanford, after a discussion between Michael Stonebraker and Matei Zaharia on how to scale and improve scheduling and performance of millions of Apache Spark tasks. Today it is a commercial company that offers an open source system to add durable computing to any software, built on concepts derived from the joint research project. == History == === 2020: Academic R&D Project === DBOS originated in 2020 as a joint open source project between MIT, Stanford, and Carnegie Mellon. The project explored the idea of operating system services built atop a distributed database - a database-oriented operating system meant to simplify and improve the scalability, security and resilience of large-scale distributed applications. The basic concept was to run a multi-node multi-core, transactional, highly-available distributed database, such as VoltDB, as the only application for a microkernel, and then to implement scheduling, messaging, file systems and other operating system services on top of the database. The architectural philosophy is described by this quote from the abstract of their initial preprint: All operating system state should be represented uniformly as database tables, and operations on this state should be made via queries from otherwise stateless tasks. This design makes it easy to scale and evolve the OS without whole-system refactoring, inspect and debug system state, upgrade components without downtime, manage decisions using machine learning, and implement sophisticated security features. A prototype was built with competitive performance to existing systems. ==
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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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Signal-to-interference-plus-noise ratio

In information theory and telecommunication engineering, the signal-to-interference-plus-noise ratio (SINR) (also known as the signal-to-noise-plus-interference ratio (SNIR)) is a quantity used to give theoretical upper bounds on channel capacity (or the rate of information transfer) in wireless communication systems such as networks. Analogous to the signal-to-noise ratio (SNR) used often in wired communications systems, the SINR is defined as the power of a certain signal of interest divided by the sum of the interference power (from all the other interfering signals) and the power of some background noise. If the power of noise term is zero, then the SINR reduces to the signal-to-interference ratio (SIR). Conversely, zero interference reduces the SINR to the SNR, which is used less often when developing mathematical models of wireless networks such as cellular networks. The complexity and randomness of certain types of wireless networks and signal propagation has motivated the use of stochastic geometry models in order to model the SINR, particularly for cellular or mobile phone networks. == Description == SINR is commonly used in wireless communication as a way to measure the quality of wireless connections. Typically, the energy of a signal fades with distance, which is referred to as a path loss in wireless networks. Conversely, in wired networks the existence of a wired path between the sender or transmitter and the receiver determines the correct reception of data. In a wireless network one has to take other factors into account (e.g. the background noise, interfering strength of other simultaneous transmission). The concept of SINR attempts to create a representation of this aspect. == Mathematical definition == The definition of SINR is usually defined for a particular receiver (or user). In particular, for a receiver located at some point x in space (usually, on the plane), then its corresponding SINR given by S I N R ( x ) = P I + N {\displaystyle \mathrm {SINR} (x){=}{\frac {P}{I+N}}} where P is the power of the incoming signal of interest, I is the interference power of the other (interfering) signals in the network, and N is some noise term, which may be a constant or random. Like other ratios in electronic engineering and related fields, the SINR is often expressed in decibels or dB. == Propagation model == To develop a mathematical model for estimating the SINR, a suitable mathematical model is needed to represent the propagation of the incoming signal and the interfering signals. A common model approach is to assume the propagation model consists of a random component and non-random (or deterministic) component. The deterministic component seeks to capture how a signal decays or attenuates as it travels a medium such as air, which is done by introducing a path-loss or attenuation function. A common choice for the path-loss function is a simple power-law. For example, if a signal travels from point x to point y, then it decays by a factor given by the path-loss function ℓ ( | x − y | ) = | x − y | α {\displaystyle \ell (|x-y|)=|x-y|^{\alpha }} , where the path-loss exponent α>2, and |x-y| denotes the distance between point y of the user and the signal source at point x. Although this model suffers from a singularity (when x=y), its simple nature results in it often being used due to the relatively tractable models it gives. Exponential functions are sometimes used to model fast decaying signals. The random component of the model entails representing multipath fading of the signal, which is caused by signals colliding with and reflecting off various obstacles such as buildings. This is incorporated into the model by introducing a random variable with some probability distribution. The probability distribution is chosen depending on the type of fading model and include Rayleigh, Rician, log-normal shadow (or shadowing), and Nakagami. == SINR model == The propagation model leads to a model for the SINR. Consider a collection of n {\displaystyle n} base stations located at points x 1 {\displaystyle x_{1}} to x n {\displaystyle x_{n}} in the plane or 3D space. Then for a user located at, say x = 0 {\displaystyle x=0} , then the SINR for a signal coming from base station, say, x i {\displaystyle x_{i}} , is given by S I N R ( x i ) = F i ℓ ( | x i | ) ∑ j ≠ i [ F j ℓ ( | x j | ) ] + N {\displaystyle \mathrm {SINR} (x_{i}){=}{\frac {\frac {F_{i}}{\ell (|x_{i}|)}}{\sum _{j\neq i}\left[{\frac {F_{j}}{\ell (|x_{j}|)}}\right]+N}}} , where F i {\displaystyle F_{i}} are fading random variables of some distribution. Under the simple power-law path-loss model becomes S I N R ( x i ) = F i | x i | α ∑ j ≠ i F j | x j | α + N {\displaystyle \mathrm {SINR} (x_{i}){=}{\frac {\frac {F_{i}}{|x_{i}|^{\alpha }}}{\sum _{j\neq i}{\frac {F_{j}}{|x_{j}|^{\alpha }}}+N}}} . == Stochastic geometry models == In wireless networks, the factors that contribute to the SINR are often random (or appear random) including the signal propagation and the positioning of network transmitters and receivers. Consequently, in recent years this has motivated research in developing tractable stochastic geometry models in order to estimate the SINR in wireless networks. The related field of continuum percolation theory has also been used to derive bounds on the SINR in wireless networks.
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Web API

A web API is an application programming interface (API) for either a web server or a web browser. As a web development concept, it can be related to a web application's client side (including any web frameworks being used). A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML by means of an HTTP-based web server. A server API (SAPI) is not considered a server-side web API, unless it is publicly accessible by a remote web application. == Client side == A client-side web API is a programmatic interface to extend functionality within a web browser or other HTTP client. Originally these were most commonly in the form of native plug-in browser extensions however most newer ones target standardized JavaScript bindings. The Mozilla Foundation created their WebAPI specification which is designed to help replace native mobile applications with HTML5 applications. Google created their Native Client architecture which is designed to help replace insecure native plug-ins with secure native sandboxed extensions and applications. They have also made this portable by employing a modified LLVM AOT compiler. == Server side == A server-side web API consists of one or more publicly exposed endpoints to a defined request–response message system, typically expressed in JSON or XML. The web API is exposed most commonly by means of an HTTP-based web server. Mashups are web applications which combine the use of multiple server-side web APIs. Webhooks are server-side web APIs that take input as a Uniform Resource Identifier (URI) that is designed to be used like a remote named pipe or a type of callback such that the server acts as a client to dereference the provided URI and trigger an event on another server which handles this event thus providing a type of peer-to-peer IPC. === Endpoints === Endpoints are important aspects of interacting with server-side web APIs, as they specify where resources can be accessed by third-party software. Usually the access is via a URI to which HTTP requests are posted, and from which the response is thus expected. Web APIs may be public or private, the latter of which requires an access token. Endpoints need to be static, otherwise the correct functioning of software that interacts with them cannot be guaranteed. If the location of a resource changes (and with it the endpoint) then previously written software will break, as the required resource can no longer be found at the same place. As API providers still want to update their web APIs, many have introduced a versioning system in the URI that points to an endpoint. === Resources versus services === Web 2.0 Web APIs often use machine-based interactions such as REST and SOAP. RESTful web APIs use HTTP methods to access resources via URL-encoded parameters, and use JSON or XML to transmit data. By contrast, SOAP protocols are standardized by the W3C and mandate the use of XML as the payload format, typically over HTTP. Furthermore, SOAP-based Web APIs use XML validation to ensure structural message integrity, by leveraging the XML schemas provisioned with WSDL documents. A WSDL document accurately defines the XML messages and transport bindings of a Web service. === Documentation === Server-side web APIs are interfaces for the outside world to interact with the business logic. For many companies this internal business logic and the intellectual property associated with it are what distinguishes them from other companies, and potentially what gives them a competitive edge. They do not want this information to be exposed. However, in order to provide a web API of high quality, there needs to be a sufficient level of documentation. One API provider that not only provides documentation, but also links to it in its error messages is Twilio. However, there are now directories of popular documented server-side web APIs. === Growth and impact === The number of available web APIs has grown consistently over the past years, as businesses realize the growth opportunities associated with running an open platform, that any developer can interact with. ProgrammableWeb tracks over 24000 Web APIs that were available in 2022, up from 105 in 2005. Web APIs have become ubiquitous. There are few major software applications/services that do not offer some form of web API. One of the most common forms of interacting with these web APIs is via embedding external resources, such as tweets, Facebook comments, YouTube videos, etc. In fact there are very successful companies, such as Disqus, whose main service is to provide embeddable tools, such as a feature-rich comment system. Any website of the TOP 100 Alexa Internet ranked websites uses APIs and/or provides its own APIs, which is a very distinct indicator for the prodigious scale and impact of web APIs as a whole. As the number of available web APIs has grown, open source tools have been developed to provide more sophisticated search and discovery. APIs.json provides a machine-readable description of an API and its operations, and the related project APIs.io offers a searchable public listing of APIs based on the APIs.json metadata format. === Business === ==== Commercial ==== Many companies and organizations rely heavily on their Web API infrastructure to serve their core business clients. In 2014 Netflix received around 5 billion API requests, most of them within their private API. ==== Governmental ==== Many governments collect a lot of data, and some governments are now opening up access to this data. The interfaces through which this data is typically made accessible are web APIs. Web APIs allow for data, such as "budget, public works, crime, legal, and other agency data" to be accessed by any developer in a convenient manner. == Example == An example of a popular web API is the Astronomy Picture of the Day API operated by the American space agency NASA. It is a server-side API used to retrieve photographs of space or other images of interest to astronomers, and metadata about the images. According to the API documentation, the API has one endpoint: https://api.nasa.gov/planetary/apod The documentation states that this endpoint accepts GET requests. It requires one piece of information from the user, an API key, and accepts several other optional pieces of information. Such pieces of information are known as parameters. The parameters for this API are written in a format known as a query string, which is separated by a question mark character (?) from the endpoint. An ampersand (&) separates the parameters in the query string from each other. Together, the endpoint and the query string form a URL that determines how the API will respond. This URL is also known as a query or an API call. In the below example, two parameters are transmitted (or passed) to the API via the query string. The first is the required API key and the second is an optional parameter — the date of the photograph requested. https://api.nasa.gov/planetary/apod?api_key=DEMO_KEY&date=1996-12-03 Visiting the above URL in a web browser will initiate a GET request, calling the API and showing the user a result, known as a return value or as a return. This API returns JSON, a type of data format intended to be understood by computers, but which is somewhat easy for a human to read as well. In this case, the JSON contains information about a photograph of a white dwarf star: The above API return has been reformatted so that names of JSON data items, known as keys, appear at the start of each line. The last of these keys, named url, indicates a URL which points to a photograph: https://apod.nasa.gov/apod/image/9612/ngc2440_hst2.jpg Following the above URL, a web browser user would see this photo: Although this API can be called by an end user with a web browser (as in this example) it is intended to be called automatically by software or by computer programmers while writing software. JSON is intended to be parsed by a computer program, which would extract the URL of the photograph and the other metadata. The resulting photo could be embedded in a website, automatically sent via text message, or used for any other purpose envisioned by a software developer.
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List of UPnP AV media servers and clients

This is a list of UPnP AV media servers and client application or hard appliances. == UPnP AV media servers == === Software === === Cross-platform === Allonis myServer, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Runs on Microsoft Windows. Supports most all HTML5 devices as remote controls. Asset UPnP (DLNA compatible) from Illustrate. An audio specific UPnP/DLNA server for Windows, QNAP, macOS and Linux. Features audio WAVE/LPCM transcoding from a range of audio codecs, ReplayGain and playlists. FreeMi UPnP Media Server, very simple server, historically used to stream to the STB Freebox, based on .net/mono. Home Media Server, a free media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. Jellyfin, a free and open-source suite of multimedia applications designed to organize, manage, and share digital media files to networked devices. JRiver Media Center, a multi-faceted media player/organizer with a DLNA/UPnP server, controller, and renderer, including conversion. Supports Microsoft Windows, macOS and Linux. Kodi (previously XBMC), a cross platform open source software media-player/media center for Android, Apple TV, Linux, macOS and Windows. LimboMedia, a free cross platform home- and UPnP/DLNA mediaserver with android app and WebM transcoding for browser playback (build with java and FFmpeg). MinimServer, a Java-based highly configurable uPnP/DNLA music server with additional consideration given to Classical Music, supports transcoding with MinimStreamer, supports Microsoft Windows, macOS, Linux, and various NAS devices. Neutron Music Player, acts as a cross platform UPnP/DLNA Media Renderer server available for Android, iOS, BlackBerry 10 & PlayBook platforms. Supports gapless playback and has possibility to output rendered audio further to the high-resolution internal DAC or external USB DAC or another UPnP/DLNA Media Renderer with all supported DSP effects applied. Plex, a cross-platform and closed source software media player and entertainment hub for digital media, available for macOS, Microsoft Windows, Linux, as well as mobile clients for iOS (including Apple TV (2nd generation) onwards), Android, Windows Phone, and many devices such as Xbox. Supports on-the-fly transcoding of video and music. PonoMusic World. Based on the JRiver Media Center software, includes similar features along with a store for purchasing HD audio tracks. PS3 Media Server, a free cross platform Java based UPnP DLNA server especially good for AVC and other current HD media codecs with on-the-fly transcoding. Serviio, is available with a free and a pro license. It can stream media files (music, video or images) to renderer devices (e.g. a TV set, Blu-ray player, games console or mobile phone) on a local area network. TVMOBiLi, a cross platform, high performance UPnP/DLNA Media Server for Windows, macOS and Linux. TwonkyMedia server, a cross-platform multimedia server and entertainment hub for digital media, available for Android, Apple TV, iOS, Linux, macOS, Microsoft Windows, Windows Phone, and Xbox 360. Universal Media Server, a free (open source) DLNA-compliant UPnP Media Server for Windows, macOS and Linux (originally based on the PS3 Media Server). It is able to stream videos, audio and images to any DLNA-capable device. It contains more features than most paid UPnP/DLNA Media Servers. It streams to many devices including TVs (Samsung, Sony, Panasonic, LG, Philips and more.), PS3, Xbox(One/360), smartphones, Blu-ray players and more. vGet Cast, a simple, cross platform (Chrome App) DLNA server and controller for single, local video files. Vuze, an open-source Java-based BitTorrent client which contains MediaServer plugin. Wild Media Server, a media server/player/controller for Windows, Linux, macOS, individual device settings, transcoding, external and internal subtitles, restricted device access to folders, uploading files, Internet-Radio, Internet-Television, Digital Video Broadcasting (DVB), DMR-control and "Play To", Music (Visualization), Photo (Slideshow), support for 3D-subtitles, support for BitTorrent files, Web-navigation with HTML5 player, Digital Media Renderer (DMR) emulation for AirPlay and Google Cast devices. === Android === BubbleUPnP Android UPnP/DLNA server, player, controller and renderer CastLab Android UPnP/DLNA server. Pixel Media Server, Android UPnP/DLNA Media Server. Supports all popular Video and Audio files. It also support external subtitle file (SRT) Plato is an Android UPnP client app that can play videos and audio. Toaster Cast Android UPnP/DLNA server, controller and renderer vGet, Android App that can play videos embedded in websites on DLNA renderers. Media Cast UPnP, Android UPnP client app that can play videos/Audio. Media Server Pro is a DLNA server that allows individual file selections for sharing. Slick UPnP A minimal and intuitive open-source Android UPnP client app that can play video/audio. (It is not DMS) YAACC Open source UPnP controller, renderer and server app === Linux === === Microsoft Windows === Sundtek Streamingserver a native Windows TV Server providing DVB, ATSC and ISDB-T via UPnP/DLNA, it also supports streaming media files (it only supports TV devices from Sundtek). Stream What You Hear, a Windows application that streams the sound of your computer (i.e.: “what you hear”) to UPnP/DLNA device such as TVs, amps, network receivers, game consoles, etc... TVersity Media Server, a Windows application that streams multimedia content from a personal computer to UPnP, DLNA and mobile devices (Chromecast is also supported). It was the first media server to offer real-time transcoding (back in 2005). TVersity Screen Server, a Windows application that mirrors the screen of a personal computer to UPnP, DLNA and mobile devices. DVBViewer, a Windows application, mainly for TV/Radio recording/playback, but with the ability to stream live TV/radio as well as multimedia files via UPnP/DLNA. DivX, a Windows application, mainly for video encoding into DivX format, but has the ability to stream multimedia files via DLNA. foobar2000, a freeware audio player for Windows. Highly customizable, audio only. Download of dlna-extension from the developers' webpage necessary. Home Media Center, a free and open source media server compatible with DLNA. Includes web interface for streaming content to web browser (Android, iOS, ...), subtitles integration and Windows desktop streaming. This server is easy to use. KooRaRoo Media, a commercial DLNA media server and organizer for Windows. Includes on-the-fly transcoding, per-file and per-folder parental controls, powerful organizing features with dynamic playlists, Internet radio streaming, "Play To" functionality and remote device control, burned-in and external subtitles, extensive format support including RAW photo formats. Streams all files to all devices. Media Go, media player and tagger MediaMonkey, a free media player/tagger/editor with an UPnP/DLNA client and server for Microsoft Windows MusicBee, an audio player, supports UPnP via a plugin. Mezzmo, a commercial software package. Mezzmo streams music, movies, photos and subtitles to the UPnP and DLNA-enabled devices. It automatically finds and organizes music, movies and photos, imports multimedia files from iPad, iPhone, iPod, Audio CDs, iTunes, Windows Media Player and WinAmp. DLNA server supports all popular media file formats with real time transcoding to meet the device specifications. PlayOn, a commercial UPnP/DLNA media server for Windows, includes a transcoder for streaming web video. TVble, a cloud connected (Rotten tomatoes/TMDB etc.), Torrent streaming, DLNA enabled media server. Allows single file or playlist downloads. Windows Media Connect from Microsoft, a free UPnP AV MediaServer and control point (server and client) for Microsoft Windows WMC version 2.0 can be installed for usage with Windows Media Player 10 for Windows XP WMC version 3.0 can be installed for usage with Windows Media Player 11 for Windows XP WMC version 4.0 comes pre-installed on Windows Vista with its Windows Media Player 11 WMC can also refer to Windows Media Center. From the Windows Media Center entry in Wikipedia: In May 2015, Microsoft announced that Windows Media Center would be discontinued on Windows 10, and that it would be uninstalled when upgrading; but stated that those upgrading from a version of Windows that included the Media Center application would receive the paid Windows DVD Player app to maintain DVD playback functio
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Load file

A load file in the litigation community is commonly referred to as the file used to import data (coded, captured or extracted data from ESI processing) into a database; or the file used to link images. These load files carry commands, commanding the software to carry out certain functions with the data found in them. Load files are usually ASCII text files that have delimited fields of information. Such load files may have data about documents to be imported into a document management software such as Concordance or Summation. Or they may have the path or directory where images may reside so that the software can link such images to their corresponding records. Some database programs take one load file for importing images and another for importing data while others take only one load file for both pieces of information. OCR or Search-able Text which is considered "data" is also imported into most database programs via the same load files. Though some people prefer to load the OCR into their databases by running a separate command to search and find the desired text. Commonly used databases and their corresponding file extensions are: Summation (DII , CSV), Concordance (OPT, DAT), Sanction (SDT), IPRO (LFP), Ringtail (MDB) and DB/TextWorks (TXT).
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International Webmasters Association

The International Webmasters Association (IWA) is a non-profit association for education and certification of web professionals founded in 1996. It provides a Certified Web Professional certification. One of its objectives is to build a World Wide Web that is a true global community. According to the IWA, as of 2025 it has more than 100 official chapters with over 300,000 individual members in 106 countries. In 2001, the IWA merged with the HTML Writers Guild (HWG) and joined the World Wide Web Consortium (W3C). IWA's accomplishments include the publishing of the industry's first guidelines for ethical and professional standards, web certification and education programs, specialized employment resources, and technical assistance to individuals and businesses. IWA members participate to the activities of W3C WCAG Working Group, ATAG Working Group, and the XHTML Working Group. They have also participated in other initiatives such as the Multimodal Interaction Working Group which developed EMMA, the Extensible MultiModal Annotation markup language.
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FutureMedia

FutureMedia is a program that analyzes the state and future of digital, social, and mobile media. It functions as a collaborative initiative at Georgia Tech and the Georgia Tech Research Institute. FutureMedia consults approximately 500 faculty members working in those fields. == History == In 2019, Future Media expanded into the Direct-To-Consumer market by acquiring Australian watchmaker Oak & Jackal. == Programs == === FutureMedia Fest === The organization most recently hosted FutureMedia Fest 2010, a four-day conference (Oct 4–7, 2010) with a keynote addresses from Michael Jones, the chief technology advocate at Google. The event featured panels, workshops, and technology demonstrations. === FutureMedia Outlook === Contemporaneous with FutureMedia Fest 2010, the organization released the FutureMedia Outlook, an analysis of the future of media, concentrating on six major trends in those fields, including information overload, personalization, data integrity, an expectation of multimedia, augmented reality, and collaborative software.
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RR Media

RR Media was a NASDAQ listed provider of global digital media services to the broadcast industry and content owners. Its services can be divided into four main groups: global content distribution network (satellite, fiber and the internet); content management & playout; sports, news & live events; and online video services. The company was rebranded to RR Media from RRsat in September 2014. In February 2016, it was announced that, subject to regulatory approvals, RR Media was to be acquired by SES, based in Betzdorf, Luxembourg, and merged with SES subsidiary company, SES Platform Services a media services provider for television broadcasters, production companies and platform operators, based in Unterföhring near Munich, Germany. In July 2016, the merged company was named MX1. == Digital media services == Global content distribution services RR Media's global distribution network uses a combination of satellite, fiber and the internet. The network includes satellite downlink and uplink; fiber connectivity to digital media hubs; connectivity to TV service providers; and internet-based content delivery. RR Media's network delivers live television channels, streaming media and Video on demand (VOD) content in all formats including Standard-definition television (SD), High-definition television (HD), 4K resolution (4K) & 3D television (3D). End-to-end content management & playout services RR Media manages, prepares and plays out content from its media centers. Services include: content preparation (digitization, localization, conversion, ingest, multiple formatting, editing, restoration); content management (digital asset management, media ingest and library, streamlined workflows, metadata curation, Video on demand (VOD) delivery) and playout, channel creation, playlist management, advertising insertion/management, graphics, titles & overlay, live events operations). RR Media also creates branded or white label product television channels using live and archived materials. Sports, news & live events RR Media delivers live sports and event content for sports rights holders, broadcasters and news channels. Services include: live production (Outside broadcasting vans, Satellite news gathering (SNG), studios), global live distribution, sports content preparation and content management, playout and origination.RR Media provides downlink, uplink, simultaneous translation, turnaround and live production services for sports events like football, basketball, tennis and golf, news and entertainment channels. Online video services RR Media converts existing and archive content into programs, channels and other digital assets, and converges broadcast and internet delivery. Services include converged media (preparing content for broadcast or online use) Content Management Systems (CMS), VOD services, branded platforms, multi-screen delivery, web video portals and viewer measurement tools (using digital analytics). == Media centers == RR Media's media centers are based in Hawley, PA (USA), Emeq Ha’Ela (Israel) Bucharest (Romania), with another facility opened in London, (UK) in June 2015. An additional facility in Miami, FL United States was announced in April 2016. The centers provide RR Media's services, including content preparation, management, online video, live content and distribution, and 24/7 service and support. == Awards == In November 2014, RR Media won the award for Achievement in Legacy Content at the 2014 TVB Europe awards in London, in recognition for its work with British Pathe and the restoration for YouTube. In February 2014, the World Teleport Association named Avi Cohen, CEO of RR Media (formerly RRsat), as its 2014 Teleport Executive of the Year. In 2009, the World Teleport Association awarded RR Media (then RRsat) the Independent Teleport Operator of the Year award for excellence. == History == RR Media (as RRsat) was established in 1981 as a communications provider. The company was founded by David Rivel, an electronics, computers and communications engineer. Rivel is CEO of the company for 31 years and from 2012 a Member of RR Media's board of directors. Under management of Rivel RRsat Communications Network Ltd. went public on 2006-11-01 - NASDAQ:RRST In 2014, the Company rebranded from RRsat Global Communications Network to RR Media. The rebrand was launched at the International Broadcasting Convention (IBC) Show in Amsterdam. In 2015, RR Media announced its NASDAQ stock ticker symbol change to RRM. == Acquisitions == In April 2015, RR Media acquired Eastern Space Systems (ESS) in Romania, a privately held provider of content management and content distribution services and related consulting services. In June 2015, RR Media acquired Satlink Communications as part of strategy to increase scale and expand its global content distribution network and content management footprint, strengthening its customer mix and leverage media industry expertise.
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Tridium

Tridium Inc. is an American engineering hardware and software company based in Richmond, Virginia, whose products facilitate and integrate the automation of building and other engineering control systems. Since November 2005, the company has operated as an independent business entity of Honeywell International Inc. == History == Tridium Inc. was founded in 1995. In 1999, Tridium launched the Niagara Framework, a software infrastructure that connects all systems and devices to a central console. In 2002, John Petze became president and CEO, replacing Jerry Frank. The company was acquired by Honeywell International Inc in 2005. == Products == Tridium's products facilitate by integrating building automation using open and proprietary communications protocols such as Modbus, Lonworks and BACnet. Tridium is the developer of Niagara Framework. The Niagara Framework is a universal software infrastructure that allows building controls integrators, HVAC and mechanical contractors to build custom, web-enabled applications for accessing, automating and controlling smart devices real-time via local network or over the Internet.
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Digital scrapbooking

Digital scrapbooking is the term for the creation of a new 2D artwork by re-combining various graphic elements. It is a form of scrapbooking that is done using a personal computer, digital or scanned photos and computer graphics software. It is a relatively new form of the traditional print scrapbooking. Recent advances in technology now enable the craft to be pursued on tablets and smart devices utilising imaging apps as well as hobby specific apps, some of which have been created specifically by brands for use with their own image products. Digital scrapbooking kits are available to purchase and download at many websites that specialize in the craft. Kits contain graphics and word-art and are usually themed and color-coordinated. They usually consist of a mix of background images and "cut out" [extracted] images containing alpha channels. Once a kit has been downloaded to the computer or device, it can then be used over and over again to make new scrapbook pages (scrapbook layouts) within the software program that one chooses to use, often in combination with the users's own family photographs, scanned keepsakes and other unique personal elements scanned on a flatbed scanner. Scanning is usually done at 300dpi, to make the resulting images suitable for print. == Licensing and Copyright == Kits are sometimes licensed differently from other forms of traditional royalty-free stock images that may be purchased per-item or in sets at online stock photography sites. Some kit packs will be wholly royalty-free, but some kit makers may restrict usage to non-commercial work only. Some may specifically forbid the use of their work in projects for commercial gain, for example greetings cards and gift tags that may be made with their kits. Licensing often varies from kit to kit, even from the same maker. Some kits include derivative works of public domain material. In contrast to stock, creators of digital scrapbooking kits often require a credit or byline to indicate that their image elements have been used in a new creation. == Uses == Some artistic individuals combine digital scrapbooking with traditional scrapbooking to create what's known as hybrid scrapbooking projects. Hybrid scrapbooking involves creating layouts on the computer using digital supplies that will then be printed and combined with traditional supplies such as buttons, ribbons and other elements. Conversely, a hybrid scrapbook project may also be created using traditional paper supplies and augmented with digital elements that have been printed and cut out specifically for use on the project. Journaling may be done within the software programs to accompany images and to create digital storybooks, or scrapbooks, which are then published in photo books via various popular print-on-demand services, printed and added to traditional scrapbooks, burned to CDs or posted on the Web. Digital Scrapbooking may also be done online by uploading photos to a specialist scrapbooking website and utilising their custom built platforms and decorative image elements to complete the projects for print to finished products, for example photo books and holiday greeting cards. == Market Size == The traditional scrapbooking market appeared to decline somewhat in the USA since 2010, probably due to the 2008 financial crisis, and the digital scrapbooking market (being potentially a much cheaper form of scrapbooking) may have increased accordingly. Both markets currently appear to have recovered lost ground and expanded since the beginning of the COVID-19 pandemic as many people sought to productively fill their time during lockdowns, quarantines and self-isolation / stay at home directions. == Digital scrapbooking software == The main software programs that are typically used are Adobe Photoshop, Adobe Photoshop Elements, paint.net (freeware), Filter Forge, Corel Paintshop Pro, and GIMP. Additionally Adobe offer the Photoshop iOS product using the same code base as the desktop version to drive the app version. == Digital scrapbooking supplies == Digital scrapbooking supplies are downloaded from the Internet and then stored on a computer or external hardrive, DVD or CD media, SD cards, or in the cloud, to be used as needed. Both paid and free digital scrapbooking supplies available from numerous designers on their blogs or in e-commerce stores either as solo designers or as part of a wide cohort of designers working cooperatively in large full service e-commerce websites. Usually designed at 300ppi image resolution, digital scrapbooking product offerings and supplies often include: Full coordinated kits containing digital background “papers”, decorative alphabets, and diverse embellishments generally containing a mixture of .JPG and .PNG files; "Quick pages", flattened files containing a completed page layout with transparent photo windows in .PNG file format; Digital templates, fully layered layouts i.e. pages that have had the composition pre-designed ready for use in an imaging program or app, fully customizable for color schemes, kit choices, photographs and other embellishments, generally supplied in either .PSD or .TIF file format; Hybrid “quick pages”, i.e. layouts that are both fully designed and fully layered for customization, generally supplied in either .PSD or .TIF file format; Adobe Photoshop actions, brushes, custom shapes, paths and styles, saved in their respective native Photoshop file formats; and Corel PaintShop Pro equivalent tools.
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Motion picture film scanner

A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files. A film scanner scans original film stock: negative or positive print or reversal/IP. Units may scan gauges from 8 mm to 70 mm (8 mm, Super 8, 9.5 mm, 16 mm, Super 16, 35 mm, Super 35, 65 mm and 70 mm) with very high resolution scanning at 2K, 4K, 8K, or 16K resolutions. (2K is approximately 2048×1080 pixels and 4K is approximately 4096×2160 pixels). Some models of film scanner are intermittent pull-down film scanners which scan each frame individually, locked down in a pin-registered film gate, taking roughly a second per frame. Continuous-scan film scanners, where the film frames are scanned as the film is continuously moved past the imaging pick up device, are typically evolved from earlier telecine mechanisms, and can act as such at lower resolutions. The scanner scans the film frames into a file sequence (using high-end computer data storage devices), whose single file contains a digital scan of each still frame; the preferred image file format used as output are usually Cineon, DPX or TIFF, because they can store color information as raw data, preserving the optical characteristics of the film stock. These systems take a lot of storage area network (SAN) disk space. The files can be played back one after each other on high-end workstation non-linear editing system (NLE) or a virtual telecine systems. The playback is at the normal rate of 24 frames per second (or original projection frame rate of: 25, 30 or other speeds). Each year hard disks get larger and are able to hold more hours of movies on SAN systems. The challenge is to archive this massive amount of data on to data storage devices. The scanned footage is edited and composited on work stations then mastered back on film, see film-out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The data film files may be converted to SDTV (NTSC or PAL) video TV systems. Film recorders are the opposite of film scanners, copying content from a computer system onto film stock, for preservation or for display using film projectors. Telecines are similar to film scanners. == Imaging device == The front end of a motion picture film scanner is similar to a telecine. The imaging system may be either a charge-coupled device (CCD), a complementary metal–oxide–semiconductor (CMOS) or photomultipliers imaging pick up. A lamp is used as the light source in a CCD imaging front end. The CCDs convert the light to the video signals. In a cathode-ray tube (CRT) imaging system the CRT (also called a Flying spot tube) is used as the light source and part of the scanning system. Photomultipliers or avalanche photodiodes are used to convert the light to electrical video signals. A prism and/or dichroic mirrors or color filters are used to separate the light into the three: red, green and blue, imaging pick up devices. == Image processing == The three color signals (RGB) are electronically processed and color graded. A 3D look up table (3D LUT) is usually applied to the RGB values before it is coded into the DPX output files. The DPX files are usually made output through a network port cable or an optical fiber port: HIPPI, Fibre Channel or newer systems like gigabit Ethernet. A computer then stores the files on to hard drives of a storage area network for later processing and use. Modern motion picture film scanners many have an option for an infrared CCD channel for dirt mapping, that can be used to automatically or in post manually remove dirt-dust spots on the film. The IR camera channel can be used with IR dirt and scratch removal system or made output on a four IR channel for downstream dirt and dirt and scratch removal systems. Popular downstream dirt and dirt and scratch removal systems are PF Clean and Digital ICE. HDR or high dynamic range is a new system, using a compositing and tone-mapping of images to extend the dynamic range beyond the native capability of the capturing device. This may be done by using a triple exposure for the film and then compositing the three back together. Compositing can be done in a workstation in none real time or in the scanner in real time. == Models == Bold indicates a currently produced model Single frame intermittent pull-down: ARRI - Arriscan Cintel - diTTo Filmlight - Northlight 1 (up to 6K, 16mm to VistaVision), Northlight 2 (up to 8K, 16mm to VistaVision) Imagica scanner, single frame intermittent scanner. Kodak - Cineon, the first system designed for DI work, included a scanner, tapes drives, workstations and a film recorder. Lasergraphics Director 13.5K, 8mm to 70mm, IMAX & VistaVision) Continuous motion scanning: Arri - ARRISCAN XT (up to 6K, S35 down to 16mm) Cintel's C-Reality/DSX and ITK - Millennium/dataMill. Under ownership of Blackmagic Design, the Cintel Scanner was released, with the current 3rd generation capable of up to 4K scans at 30 fps. DFT - Spirit Classic (up to 2K), Spirit 4k/2k/HD (up to 4K), POLAR HQ (up to 8K, 8mm to S35), OXScan 14K (up to 14K, 16mm to 70mm), Scanity HDR (up to 4K, 16mm to S35) Filmfabriek - HDS+ (up to 4k), Pictor Pro (up to 2.7K), Pictor (up to 1080p). Filmfabriek scanners can only scan 17.5mm or smaller film formats. GE4 - Golden Eye Four - Filmscanner, 38 Mega Pixel camera. LED light source and continuous film transport using Capstan. From Digital Vision. Lasergraphics ScanStation (6.5K, 8mm to 70mm, IMAX & VistaVision) Lasergraphics Archivist (up to 5K) MWA Nova Vario series with patented laser-based, sprocket and claw free transport for 16/35mm for realtime (24/25fps) scanning with sensors for either 2K+ 2236 x 1752, or 2.5K+ HDR High Dynamic Range at 2560 x 2160, direct optical and magnetic sound on and 16 and 35mm. MWA Nova Choice 2K+ patented laser-based, sprocket and claw free transport for 8/Super8, 9.5mm, 16mm realtime (24/25fps) scanning w at 2K+, 2236 x 1752 with direct optical and magnetic sound on 16mm, magnetic from main and balance stripes on 8, Super8. Faster than real time scanning at lower resolution. P+S Technik - SteadyFrame Universal Format Film Scanner Walde - FilmStar 4K UHD 2K @ 25fps, 4K UHD @ 6fps. 35mm/16mm/8mm archive quality, continuous motion capstan driven.
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