AI Video Tools

Explore the best AI Video Tools — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

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  Sample (graphics)

  In computer graphics, a sample is an intersection of a channel and a pixel. The diagram below depicts a 24-bit pixel, consisting of 3 samples for Red, Green, and Blue. In this particular diagram, the Red sample occupies 9 bits, the Green sample occupies 7 bits and the Blue sample occupies 8 bits, totaling 24 bits per pixel. Note that the samples do not have to be equal size and not all samples are mandatory in a pixel. Also, a pixel can consist of more than 3 samples (e.g. 4 samples of the RGBA color space). A sample is related to a subpixel on a physical display.

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  Lossless join decomposition

  In database design, a lossless join decomposition is a decomposition of a relation r {\displaystyle r} into relations r 1 , r 2 {\displaystyle r_{1},r_{2}} such that a natural join of the two smaller relations yields back the original relation. This is central in removing redundancy safely from databases while preserving the original data. Lossless join can also be called non-additive. == Definition == A relation r {\displaystyle r} on schema R {\displaystyle R} decomposes losslessly onto schemas R 1 {\displaystyle R_{1}} and R 2 {\displaystyle R_{2}} if π R 1 ( r ) ⋈ π R 2 ( r ) = r {\displaystyle \pi _{R_{1}}(r)\bowtie \pi _{R_{2}}(r)=r} , that is r {\displaystyle r} is the natural join of its projections onto the smaller schemas. A pair ( R 1 , R 2 ) {\displaystyle (R_{1},R_{2})} is a lossless-join decomposition of R {\displaystyle R} or said to have a lossless join with respect to a set of functional dependencies F {\displaystyle F} if any relation r ( R ) {\displaystyle r(R)} that satisfies F {\displaystyle F} decomposes losslessly onto R 1 {\displaystyle R_{1}} and R 2 {\displaystyle R_{2}} . Decompositions into more than two schemas can be defined in the same way. == Criteria == A decomposition R = R 1 ∪ R 2 {\displaystyle R=R_{1}\cup R_{2}} has a lossless join with respect to F {\displaystyle F} if and only if the closure of R 1 ∩ R 2 {\displaystyle R_{1}\cap R_{2}} includes R 1 ∖ R 2 {\displaystyle R_{1}\setminus R_{2}} or R 2 ∖ R 1 {\displaystyle R_{2}\setminus R_{1}} . In other words, one of the following must hold: ( R 1 ∩ R 2 ) → ( R 1 ∖ R 2 ) ∈ F + {\displaystyle (R_{1}\cap R_{2})\to (R_{1}\setminus R_{2})\in F^{+}} ( R 1 ∩ R 2 ) → ( R 2 ∖ R 1 ) ∈ F + {\displaystyle (R_{1}\cap R_{2})\to (R_{2}\setminus R_{1})\in F^{+}} === Criteria for multiple sub-schemas === Multiple sub-schemas R 1 , R 2 , . . . , R n {\displaystyle R_{1},R_{2},...,R_{n}} have a lossless join if there is some way in which we can repeatedly perform lossless joins until all the schemas have been joined into a single schema. Once we have a new sub-schema made from a lossless join, we are not allowed to use any of its isolated sub-schema to join with any of the other schemas. For example, if we can do a lossless join on a pair of schemas R i , R j {\displaystyle R_{i},R_{j}} to form a new schema R i , j {\displaystyle R_{i,j}} , we use this new schema (rather than R i {\displaystyle R_{i}} or R j {\displaystyle R_{j}} ) to form a lossless join with another schema R k {\displaystyle R_{k}} (which may already be joined (e.g., R k , l {\displaystyle R_{k,l}} )). == Example == Let R = { A , B , C , D } {\displaystyle R=\{A,B,C,D\}} be the relation schema, with attributes A, B, C and D. Let F = { A → B C } {\displaystyle F=\{A\rightarrow BC\}} be the set of functional dependencies. Decomposition into R 1 = { A , B , C } {\displaystyle R_{1}=\{A,B,C\}} and R 2 = { A , D } {\displaystyle R_{2}=\{A,D\}} is lossless under F because R 1 ∩ R 2 = A {\displaystyle R_{1}\cap R_{2}=A} and we have a functional dependency A → B C {\displaystyle A\rightarrow BC} . In other words, we have proven that ( R 1 ∩ R 2 → R 1 ∖ R 2 ) ∈ F + {\displaystyle (R_{1}\cap R_{2}\rightarrow R_{1}\setminus R_{2})\in F^{+}} .

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  Real-time computer graphics

  Real-time computer graphics or real-time rendering is the sub-field of computer graphics focused on producing and analyzing images in real time. The term can refer to anything from rendering an application's graphical user interface (GUI) to real-time image analysis, but is most often used in reference to interactive 3D computer graphics, typically using a graphics processing unit (GPU). One example of this concept is a video game that rapidly renders changing 3D environments to produce an illusion of motion. Computers have been capable of generating 2D images such as simple lines, images and polygons in real time since their invention. However, quickly rendering detailed 3D objects is a daunting task for traditional Von Neumann architecture-based systems. An early workaround to this problem was the use of sprites, 2D images that could imitate 3D graphics. Different techniques for rendering now exist, such as ray-tracing and rasterization. Using these techniques and advanced hardware, computers can now render images quickly enough to create the illusion of motion while simultaneously accepting user input. This means that the user can respond to rendered images in real time, producing an interactive experience. == Principles of real-time 3D computer graphics == The goal of computer graphics is to generate computer-generated images, or frames, using certain desired metrics. One such metric is the number of frames generated in a given second. Real-time computer graphics systems differ from traditional (i.e., non-real-time) rendering systems in that non-real-time graphics typically rely on ray tracing. In this process, millions or billions of rays are traced from the camera to the world for detailed rendering—this expensive operation can take hours or days to render a single frame. Real-time graphics systems must render each image in less than 1/30th of a second. Ray tracing is far too slow for these systems; instead, they employ the technique of z-buffer triangle rasterization. In this technique, every object is decomposed into individual primitives, usually triangles. Each triangle gets positioned, rotated and scaled on the screen, and rasterizer hardware (or a software emulator) generates pixels inside each triangle. These triangles are then decomposed into atomic units called fragments that are suitable for displaying on a display screen. The fragments are drawn on the screen using a color that is computed in several steps. For example, a texture can be used to "paint" a triangle based on a stored image, and then shadow mapping can alter that triangle's colors based on line-of-sight to light sources. === Video game graphics === Real-time graphics optimizes image quality subject to time and hardware constraints. GPUs and other advances increased the image quality that real-time graphics can produce. GPUs are capable of handling millions of triangles per frame, and modern DirectX/OpenGL class hardware is capable of generating complex effects, such as shadow volumes, motion blurring, and triangle generation, in real-time. The advancement of real-time graphics is evidenced in the progressive improvements between actual gameplay graphics and the pre-rendered cutscenes traditionally found in video games. Cutscenes are typically rendered in real-time—and may be interactive. Although the gap in quality between real-time graphics and traditional off-line graphics is narrowing, offline rendering remains much more accurate. === Advantages === Real-time graphics are typically employed when interactivity (e.g., player feedback) is crucial. When real-time graphics are used in films, the director has complete control of what has to be drawn on each frame, which can sometimes involve lengthy decision-making. Teams of people are typically involved in the making of these decisions. In real-time computer graphics, the user typically operates an input device to influence what is about to be drawn on the display. For example, when the user wants to move a character on the screen, the system updates the character's position before drawing the next frame. Usually, the display's response-time is far slower than the input device—this is justified by the immense difference between the (fast) response time of a human being's motion and the (slow) perspective speed of the human visual system. This difference has other effects too: because input devices must be very fast to keep up with human motion response, advancements in input devices (e.g., the current Wii remote) typically take much longer to achieve than comparable advancements in display devices. Another important factor controlling real-time computer graphics is the combination of physics and animation. These techniques largely dictate what is to be drawn on the screen—especially where to draw objects in the scene. These techniques help realistically imitate real world behavior (the temporal dimension, not the spatial dimensions), adding to the computer graphics' degree of realism. Real-time previewing with graphics software, especially when adjusting lighting effects, can increase work speed. Some parameter adjustments in fractal generating software may be made while viewing changes to the image in real time. == Rendering pipeline == The graphics rendering pipeline ("rendering pipeline" or simply "pipeline") is the foundation of real-time graphics. Its main function is to render a two-dimensional image in relation to a virtual camera, three-dimensional objects (an object that has width, length, and depth), light sources, lighting models, textures and more. === Architecture === The architecture of the real-time rendering pipeline can be divided into conceptual stages: application, geometry and rasterization. === Application stage === The application stage is responsible for generating "scenes", or 3D settings that are drawn to a 2D display. This stage is implemented in software that developers optimize for performance. This stage may perform processing such as collision detection, speed-up techniques, animation and force feedback, in addition to handling user input. Collision detection is an example of an operation that would be performed in the application stage. Collision detection uses algorithms to detect and respond to collisions between (virtual) objects. For example, the application may calculate new positions for the colliding objects and provide feedback via a force feedback device such as a vibrating game controller. The application stage also prepares graphics data for the next stage. This includes texture animation, animation of 3D models, animation via transforms, and geometry morphing. Finally, it produces primitives (points, lines, and triangles) based on scene information and feeds those primitives into the geometry stage of the pipeline. === Geometry stage === The geometry stage manipulates polygons and vertices to compute what to draw, how to draw it and where to draw it. Usually, these operations are performed by specialized hardware or GPUs. Variations across graphics hardware mean that the "geometry stage" may actually be implemented as several consecutive stages. ==== Model and view transformation ==== Before the final model is shown on the output device, the model is transformed onto multiple spaces or coordinate systems. Transformations move and manipulate objects by altering their vertices. Transformation is the general term for the four specific ways that manipulate the shape or position of a point, line or shape. ==== Lighting ==== In order to give the model a more realistic appearance, one or more light sources are usually established during transformation. However, this stage cannot be reached without first transforming the 3D scene into view space. In view space, the observer (camera) is typically placed at the origin. If using a right-handed coordinate system (which is considered standard), the observer looks in the direction of the negative z-axis with the y-axis pointing upwards and the x-axis pointing to the right. ==== Projection ==== Projection is a transformation used to represent a 3D model in a 2D space. The two main types of projection are orthographic projection (also called parallel) and perspective projection. The main characteristic of an orthographic projection is that parallel lines remain parallel after the transformation. Perspective projection utilizes the concept that if the distance between the observer and model increases, the model appears smaller than before. Essentially, perspective projection mimics human sight. ==== Clipping ==== Clipping is the process of removing primitives that are outside of the view box in order to facilitate the rasterizer stage. Once those primitives are removed, the primitives that remain will be drawn into new triangles that reach the next stage. ==== Screen mapping ==== The purpose of screen mapping is to find out the coordinates of the primitives during the clipping stage. ==== Rasterizer stage ==== The rasterizer

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  CityEngine

  ArcGIS CityEngine is a commercial 3D modeling program. Developed by Esri R&D Center Zurich (formerly Procedural Inc.), it specializes in the generation of 3D urban environments to support the creation of detailed large-scale 3D city models. Unlike traditional 3D modeling methodology, which uses computer-aided design (CAD) tools and techniques, CityEngine takes a procedural modeling approach which shapes generation via a rules-based system. Due to its integration with the wider ArcGIS platform, CityEngine can also be used with geographic information system (GIS) datasets. CityEngine can be used for urban planning and architecture, graphics visualization, game development, entertainment, and archeology. CityEngine can be used to visualize the building information modeling (BIM) data of buildings in a larger urban context, making for more realistic construction projects. == History and releases == === Software history === ArcGIS CityEngine, originally named Esri CityEngine, was developed at Swiss technology university ETH Zurich by Pascal Mueller, the co-founder and CEO of Procedural Inc. While researching for his PhD at the ETH Computer Vision Lab, Mueller invented a number of techniques for procedural modeling of 3D architecture that make up the foundation of CityEngine. CityEngine publically debuted at the 2001 SIGGRAPH conference; since then, additional research papers have been published that have contributed to CityEngine and its features. The first commercial version of CityEngine was released in 2008. In 2007, Procedural Inc. was founded and separated from ETH Zurich, the top-ranking technology university in Switzerland. In the summer of 2011, Procedural Inc. was acquired by Esri Inc., becoming Esri R&D Center Zurich. Esri CityEngine was renamed to ArcGIS CityEngine in June 2020 to offically make it a part of the ArcGIS software suite. === Releases === === Licensing and pricing === ArcGIS CityEngine is included in the Professional and Professional Plus tiers of ArcGIS Online. Pricing may vary by region and distributors. In the US, the professional tier costs US$2,200 per year; in the UK, it is £4,200 per year (excluding VAT). CityEngine can be purchased elsewhere via a local Esri partner. . Once purchased, users can download and obtain license details from the MyEsri portal. == Features == CGA (computer generated architecture) parametric modeling rules to control mass, geometry assets, proportions, or texturing of buildings or streets on a citywide scale Select a target location and import geo-referenced satellite imagery and 3D terrain of the location to more quickly build accurate urban environments through OpenStreetMap integration Interactively control specific street or building parameters, such as height or age Import/export geo-spatial/vector data with industry-standard formats such as Esri Shapefile, File Geodatabase, and OpenStreetMap, as well as file formats for WebGL, KMZ, Collada, Autodesk FBX, Autodesk Maya, 3DS, Wavefront OBJ, RenderMan RIB, Alembic, e-on software's Vue, Universal Scene Description USD, Khronos Group GLTF, Unreal Engine, and Unreal Datasmith Script and generate rules-based reports to show socioeconomic figures (e.g., Gross Floor Area (GFA) and Floor Area Ratio (FAR)) to analyze their urban design proposals. VR viewing of modeled environments with Samsung Gear VR Use a variety of materials through the Esri materials library == Procedural modeling == ArcGIS CityEngine uses a procedural modeling approach to automatically generate models through a predefined rule set. The rules are defined through a CGA shape grammar system, enabling the creation of complex parametric models. Users can change or add the shape grammar as needed. Urban environments can be modeled within CityEngine by starting with creating a street network (either from the street drawing tool or with data imported from map data). Then, lots may be subdivided as many times as specified, resulting in a map of multiple lots and streets. CityEngine can then be instructed to start generating the buildings using defined procedural modeling rules. At this point, the city model can be re-designed and adjusted by changing the parameters or the shape grammar. === Geodesign === Though CityEngine is not an analytical tool like GIS, discussions about geodesign often mention the use of ArcGIS CityEngine. As it can be used to enhance 3D shape generation in ArcGIS, ArcGIS CityEngine is a critical product to improve the applicability of geodesign by using geospatial information to design or analyze a city. == Applications == === Urban design and planning === Garsdale Design used ArcGIS CityEngine in the creation of city master plans in Iraq before 2013, both to model existing historic areas and also model future plans. Larger companies like Foster+Partners and HOK Architects have also used CityEngine in their urban planning projects. === Urban and environmental studies === Because its primary feature is building informative city models, some urban researchers use CityEngine to compare land-use planning schemes, for example in very dense global cities such as Hong Kong and Seoul. Environmental scientists can also utilize the instant 3D model generation in CityEngine, which can make for more convenient informative research than modeling a city by creating each building individually. === Game development === CityEngine can be used as a tool in the creation of video games that require detailed 3D environments to assign interactive scripts. === Movie industry === Zootopia (also known outside of the US as Zootopolis), which won the 2016 Academy Award for Best Animated Feature Film, used CityEngine to model the city in its movie. multi-scaling city, the designers used CityEngine due to its rule-based system. CityEngine was also used to create Big Hero 6's San-Fransokyo. === Military === Due to its integration with the Esri product suite and its ability to process geospatial data to create 3D scenes/maps, CityEngine can be used within military/defense organizations. == List of movies and TV shows using CityEngine == Studios and companies rarely state what software they use in their pipelines. When CityEngine is mentioned as a tool in production, it's often in a small reference in a larger article. Movies only claimed to use CityEngine by a single Esri employee Presented at FMX 2025 workshop == Ports == ArcGIS CityEngine is built on top of Eclipse IDE, and has therefore able to be used on Windows and Linux operating systems. Support for macOS was stopped in March 2021. == Plugins and extensions == ArcGIS CityEngine currently works with a number of third party 3D modeling, rendering, and analytical software products via its SDK and API; these currently are: ArcGIS CityEngine for ArcGIS Urban: ArcGIS Urban Suite Puma: ArcGIS CityEngine for Rhinoceros 3D Palladio: ArcGIS CityEngine for Houdini Serlio: ArcGIS CityEngine for Maya PyPRT: ArcGIS CityEngine for Python ArcGIS CityEngine provides a Python scripting interface built on Jython (current version 2.7.0) which allows users to create their own tools and functionality. == Publications ==

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  DBGallery

  DBGallery, short for Database Gallery, is a cloud-based Software as a Service (SaaS) and on-prem webserver for teams of various sizes. DBGallery enables users to centrally store, manage, catalog, archive, and securely share image, video, and document files. It facilitates version control, detects duplicates, and offers an intuitive and advanced search functionality, making assets easily accessible to all users. It takes advantage of current AI technologies to automatically add significant metadata to images, facilitates custom-trained AI models, and offers bespoke AI features. Additionally, DBGallery provides team management tools, workflow management, an activity audit trail, and other collaborative features that foster a productive environment for both internal and external stakeholders. == History == DBGallery's first public release was December 2007. Since then each year has seen continuous enhancements. 2013 added support for additional non-English languages in its meta-data. 2014 added support for creating custom data fields for tagging and search. In 2015 included the ability to auto-tag images using Reverse Geocoding. 2018 added artificial intelligence (AI) image recognition as a further addition to auto-tagging. March 2020 added complete image collection management via the web (e.g. file and folder drag and drop), a new collection dashboard, custom data layouts, and an improved audit trail. 2021 saw user experience improvements provided by improved styling and performance enhancements. Version 12 was released in October 2021. It added the ability to upload unlimited file sizes and made significant performance improvements for very large collections. June 2022 saw the release of a global duplicate images search. In late 2022, DBGallery began offering significantly reduced cloud storage cost, at a third of its previous prices, which played into its recent high-volume/high-capacity capabilities and its clients' subsequent demand for additional storage. 2023 saw improvements in user and role management, introduced it's mobile app (PWA), and improved custom-trained object detection. Release 14.0 in the spring of 2024 had large sharing improvements and a new find related images feature. Winter 2025's v15 release introduced AI-generated image descriptions, image-to-text, and facial recognition.

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  Linked timestamping

  Linked timestamping is a type of trusted timestamping where issued time-stamps are related to each other. Each time-stamp would contain data that authenticates the time-stamp before it, the authentication would be authenticating the entire message, including the previous time-stamps authentication, making a chain. This makes it impossible to add a time-stamp in to the middle of the chain, as any time-stamps afterwards would be different. == Description == Linked timestamping creates time-stamp tokens which are dependent on each other, entangled in some authenticated data structure. Later modification of the issued time-stamps would invalidate this structure. The temporal order of issued time-stamps is also protected by this data structure, making backdating of the issued time-stamps impossible, even by the issuing server itself. The top of the authenticated data structure is generally published in some hard-to-modify and widely witnessed media, like printed newspaper or public blockchain. There are no (long-term) private keys in use, avoiding PKI-related risks. Suitable candidates for the authenticated data structure include: Linear hash chain Merkle tree (binary hash tree) Skip list The simplest linear hash chain-based time-stamping scheme is illustrated in the following diagram: The linking-based time-stamping authority (TSA) usually performs the following distinct functions: Aggregation For increased scalability the TSA might group time-stamping requests together which arrive within a short time-frame. These requests are aggregated together without retaining their temporal order and then assigned the same time value. Aggregation creates a cryptographic connection between all involved requests; the authenticating aggregate value will be used as input for the linking operation. Linking Linking creates a verifiable and ordered cryptographic link between the current and already issued time-stamp tokens. Publishing The TSA periodically publishes some links, so that all previously issued time-stamp tokens depend on the published link and that it is practically impossible to forge the published values. By publishing widely witnessed links, the TSA creates unforgeable verification points for validating all previously issued time-stamps. == Security == Linked timestamping is inherently more secure than the usual, public-key signature based time-stamping. All consequential time-stamps "seal" previously issued ones - hash chain (or other authenticated dictionary in use) could be built only in one way; modifying issued time-stamps is nearly as hard as finding a preimage for the used cryptographic hash function. Continuity of operation is observable by users; periodic publications in widely witnessed media provide extra transparency. Tampering with absolute time values could be detected by users, whose time-stamps are relatively comparable by system design. Absence of secret keys increases system trustworthiness. There are no keys to leak and hash algorithms are considered more future-proof than modular arithmetic based algorithms, e.g. RSA. Linked timestamping scales well - hashing is much faster than public key cryptography. There is no need for specific cryptographic hardware with its limitations. The common technology for guaranteeing long-term attestation value of the issued time-stamps (and digitally signed data) is periodic over-time-stamping of the time-stamp token. Because of missing key-related risks and of the plausible safety margin of the reasonably chosen hash function this over-time-stamping period of hash-linked token could be an order of magnitude longer than of public-key signed token. == Research == === Foundations === Stuart Haber and W. Scott Stornetta proposed in 1990 to link issued time-stamps together into linear hash-chain, using a collision-resistant hash function. The main rationale was to diminish TSA trust requirements. Tree-like schemes and operating in rounds were proposed by Benaloh and de Mare in 1991 and by Bayer, Haber and Stornetta in 1992. Benaloh and de Mare constructed a one-way accumulator in 1994 and proposed its use in time-stamping. When used for aggregation, one-way accumulator requires only one constant-time computation for round membership verification. Surety started the first commercial linked timestamping service in January 1995. Linking scheme is described and its security is analyzed in the following article by Haber and Sornetta. Buldas et al. continued with further optimization and formal analysis of binary tree and threaded tree based schemes. Skip-list based time-stamping system was implemented in 2005; related algorithms are quite efficient. === Provable security === Security proof for hash-function based time-stamping schemes was presented by Buldas, Saarepera in 2004. There is an explicit upper bound N {\displaystyle N} for the number of time stamps issued during the aggregation period; it is suggested that it is probably impossible to prove the security without this explicit bound - the so-called black-box reductions will fail in this task. Considering that all known practically relevant and efficient security proofs are black-box, this negative result is quite strong. Next, in 2005 it was shown that bounded time-stamping schemes with a trusted audit party (who periodically reviews the list of all time-stamps issued during an aggregation period) can be made universally composable - they remain secure in arbitrary environments (compositions with other protocols and other instances of the time-stamping protocol itself). Buldas, Laur showed in 2007 that bounded time-stamping schemes are secure in a very strong sense - they satisfy the so-called "knowledge-binding" condition. The security guarantee offered by Buldas, Saarepera in 2004 is improved by diminishing the security loss coefficient from N {\displaystyle N} to N {\displaystyle {\sqrt {N}}} . The hash functions used in the secure time-stamping schemes do not necessarily have to be collision-resistant or even one-way; secure time-stamping schemes are probably possible even in the presence of a universal collision-finding algorithm (i.e. universal and attacking program that is able to find collisions for any hash function). This suggests that it is possible to find even stronger proofs based on some other properties of the hash functions. At the illustration above hash tree based time-stamping system works in rounds ( t {\displaystyle t} , t + 1 {\displaystyle t+1} , t + 2 {\displaystyle t+2} , ...), with one aggregation tree per round. Capacity of the system ( N {\displaystyle N} ) is determined by the tree size ( N = 2 l {\displaystyle N=2^{l}} , where l {\displaystyle l} denotes binary tree depth). Current security proofs work on the assumption that there is a hard limit of the aggregation tree size, possibly enforced by the subtree length restriction. == Standards == ISO 18014 part 3 covers 'Mechanisms producing linked tokens'. American National Standard for Financial Services, "Trusted Timestamp Management and Security" (ANSI ASC X9.95 Standard) from June 2005 covers linking-based and hybrid time-stamping schemes. There is no IETF RFC or standard draft about linking based time-stamping. RFC 4998 (Evidence Record Syntax) encompasses hash tree and time-stamp as an integrity guarantee for long-term archiving.

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  Stencil buffer

  A stencil buffer is an extra data buffer, in addition to the color buffer and Z-buffer, found on modern graphics hardware. The buffer is per pixel and works on integer values, usually with a depth of one byte per pixel. The Z-buffer and stencil buffer often share the same area in the RAM of the graphics hardware. In the simplest case, the stencil buffer is used to limit the area of rendering (stenciling). More advanced usage of the stencil buffer makes use of the strong connection between the Z-buffer and the stencil buffer in the rendering pipeline. For example, stencil values can be automatically increased/decreased for every pixel that fails or passes the depth test. The simple combination of depth test and stencil modifiers make a vast number of effects possible (such as stencil shadow volumes, Two-Sided Stencil, compositing, decaling, dissolves, fades, swipes, silhouettes, outline drawing, or highlighting of intersections between complex primitives) though they often require several rendering passes and, therefore, can put a heavy load on the graphics hardware. The most typical application is still to add shadows to 3D applications. It is also used for planar reflections. Other rendering techniques, such as portal rendering, use the stencil buffer in other ways; for example, it can be used to find the area of the screen obscured by a portal and re-render those pixels correctly. The stencil buffer and its modifiers can be accessed in computer graphics by using APIs like OpenGL, Direct3D, Vulkan or Metal. == Architecture == The stencil buffer typically shares the same memory space as the Z-buffer, and typically the ratio is 24 bits for Z-buffer + 8 bits for stencil buffer or, in the past, 15 bits for Z-buffer + 1 bit for stencil buffer. Another variant is 4 + 24, where 28 of the 32 bits are used and 4 ignored. Stencil and Z-buffers are part of the frame buffer, coupled to the color buffer. The first chip available to a wider market was 3Dlabs' Permedia II, which supported a one-bit stencil buffer. The bits allocated to the stencil buffer can be used to represent numerical values in the range [0, 2n-1], and also as a Boolean matrix (n is the number of allocated bits), each of which may be used to control the particular part of the scene. Any combination of these two ways of using the available memory is also possible. == Stencil test == Stencil test or stenciling is among the operations on the pixels/fragments (Per-pixel operations), located after the alpha test, and before the depth test. The stencil test ensures undesired pixels do not reach the depth test. This saves processing time for the scene. Similarly, the alpha test can prevent corresponding pixels to reach the stencil test. The test itself is carried out over the stencil buffer to some value in it, or altered or used it, and carried out through the so-called stencil function and stencil operations. The stencil function is a function by which the stencil value of a certain pixel is compared to a given reference value. If this comparison is logically true, the stencil test passes. Otherwise not. In doing so, the possible reaction caused by the result of comparing three different state-depth and stencil buffer: Stencil test is not passed Stencil test is passed but not the depth test Both tests are passed (or stencil test is passed, and the depth is not enabled) For each of these cases, different operations can be set over the examined pixel. In the OpenGL stencil functions, the reference value and mask, respectively, define the function glStencilFunc. In Direct3D each of these components is adjusted individually using methods SetRenderState devices currently in control. This method expects two parameters, the first of which is a condition that is set and the other its value. In the order that was used above, these conditions are called D3DRS_STENCILFUNC, D3DRS_STENCILREF, and D3DRS_STENCILMASK. Stencil operations in OpenGL adjust glStencilOp function that expects three values. In Direct3D, again, each state sets a specific method SetRenderState. The three states that can be assigned to surgery are called D3DRS_STENCILFAIL, D3DRENDERSTATE_STENCILZFAIL, and D3DRENDERSTATE_STENCILPASS. == Z-fighting == Due to the lack of precision in the Z-buffer, coplanar polygons that are short-range, or overlapping, can be portrayed as a single plane with a multitude of irregular cross-sections. These sections can vary depending on the camera position and other parameters and are rapidly changing. This is called Z-fighting. There exist multiple solutions to this issue: - Bring the far plane closer to restrict the scene's depth, thus increasing the accuracy of the Z-buffer, or reducing the distance at which objects are visible in the scene. - Increase the number of bits allocated to the Z-buffer, which is possible at the expense of memory for the stencil buffer. - Move polygons farther apart from one another, which restricts the possibilities for the artist to create an elaborate scene. All of these approaches to the problem can only reduce the likelihood that the polygons will experience Z-fighting, and do not guarantee a definitive solution in the general case. A solution that includes the stencil buffer is based on the knowledge of which polygon should be in front of the others. The silhouette of the front polygon is drawn into the stencil buffer. After that, the rest of the scene can be rendered only where the silhouette is negative, and so will not clash with the front polygon. == Shadow volume == Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. They were first proposed by Frank Crow in 1977 as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not. The stencil buffer implementation of shadow volumes is generally considered among the most practical general-purpose real-time shadowing techniques for use on modern 3D graphics hardware. It has been popularised by the video game Doom 3, and a particular variation of the technique used in this game has become known as Carmack's Reverse. == Reflections == Reflection of a scene is drawn as the scene itself transformed and reflected relative to the "mirror" plane, which requires multiple render passes and using of stencil buffer to restrict areas where the current render pass works: Draw the scene excluding mirror areas – for each mirror lock the Z-buffer and color buffer Render visible part of the mirror Depth test is set up so that each pixel is passed to enter the maximum value and always passes for each mirror: Depth test is set so that it passes only if the distance of a pixel is less than the current (default behavior) The matrix transformation is changed to reflect the scene relative to the mirror plane Unlock the Z-buffer and color buffer Draw the scene, but only the part of it that lies between the mirror plane and the camera. In other words, a mirror plane is also a clipping plane Again locks color buffer, depth test is set so that it always passes, reset stencil for the next mirror. == Planar Shadows == While drawing a plane of shadows, there are two dominant problems: The first concerns the problem of deep struggle in case the flat geometry is not awarded on the part covered with the shadow of shadows and outside. See the section that relates to this. Another problem relates to the extent of the shadows outside the area where the plane there. Another problem, which may or may not appear, depending on the technique, the design of more polygons in one part of the shadow, resulting in darker and lighter parts of the same shade. All three problems can be solved geometrically, but because of the possibility that hardware acceleration is directly used, it is a far more elegant implementation using the stencil buffer: 1. Enable lights and the lights 2. Draw a scene without any polygon that should be projected shadows 3. Draw all polygons which should be projected shadows, but without lights. In doing so, the stencil buffer, the pixel of each polygon to be assigned to a specific value for the ground to which they belong. The distance between these values should be at least two, because for each plane to be used two values for two states: in the shadows and bright. 4. Disable any global illumination (to ensure that the next steps will affect only individual selected light) For each plane: For each light: 1. Edit a stencil buffer and only the pixels that carry a specific value for the selected level. Increase the value of all the pixels that are projected objects between the date of a given level and bright. 2. Allow only selected light for him to draw level at which part of her specific value was not changed. == Spatial shadows == Stencil buffer implementation of spatial drawing shadows is any shadow of a geometric body that its volume includes part of the scene that is

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  Sanad (government app)

  Sanad (Arabic: سند) is the official digital identity and e-government services application of the Hashemite Kingdom of Jordan. Developed and managed by the Ministry of Digital Economy and Entrepreneurship, the app provides a unified platform for accessing a range of public services and personal records digitally. == Overview == Launched in February 2020, Sanad is part of Jordan's broader digital transformation strategy aimed at improving public service delivery and enhancing administrative efficiency. The app allows users to authenticate their identity digitally and access over 550 services from more than 50 government and private sector entities. == Features == Sanad provides a wide array of services, including: Viewing and managing official digital documents Applying for government services (e.g., jordanian passport issuance or renewal, health insurance) Accessing personal records (e.g., pension, property ownership) Digitally signing documents Paying utility bills and traffic fines Receiving and tracking official notifications The app is available on iOS, Android, and HarmonyOS platforms and supports both Arabic and English languages. == Digital Identity == A core feature of Sanad is the digital identity system, which enables secure login and authentication for all integrated services. Users must activate their digital identity at designated Sanad stations across Jordan to access the full suite of services. == Adoption and Impact == As of 2025, more than 1.6 million Jordanians have activated their digital identities through Sanad. The app has played a significant role in streamlining government interactions and reducing the need for in-person visits, especially during the COVID-19 pandemic. == Recent Developments == In 2025, the Ministry launched an updated version of the app with enhanced user experience and new services, including the e-passport issuance feature.

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  Maximum inner-product search

  Maximum inner-product search (MIPS) is a search problem, with a corresponding class of search algorithms which attempt to maximise the inner product between a query and the data items to be retrieved. MIPS algorithms are used in a wide variety of big data applications, including recommendation algorithms and machine learning. Formally, for a database of vectors x i {\displaystyle x_{i}} defined over a set of labels S {\displaystyle S} in an inner product space with an inner product ⟨ ⋅ , ⋅ ⟩ {\displaystyle \langle \cdot ,\cdot \rangle } defined on it, MIPS search can be defined as the problem of determining a r g m a x i ∈ S ⟨ x i , q ⟩ {\displaystyle {\underset {i\in S}{\operatorname {arg\,max} }}\ \langle x_{i},q\rangle } for a given query q {\displaystyle q} . Although there is an obvious linear-time implementation, it is generally too slow to be used on practical problems. However, efficient algorithms exist to speed up MIPS search. Under the assumption of all vectors in the set having constant norm, MIPS can be viewed as equivalent to a nearest neighbor search (NNS) problem in which maximizing the inner product is equivalent to minimizing the corresponding distance metric in the NNS problem. Like other forms of NNS, MIPS algorithms may be approximate or exact. MIPS search is used as part of DeepMind's RETRO algorithm.

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  Trustworthy computing

  The term trustworthy computing (TwC) has been applied to computing systems that are inherently secure, available, and reliable. It is particularly associated with the Microsoft initiative of the same name, launched in 2002. == History == Until 1995, there were restrictions on commercial traffic over the Internet. On, May 26, 1995, Bill Gates sent the "Internet Tidal Wave" memorandum to Microsoft executives assigning "...the Internet this highest level of importance..." but Microsoft's Windows 95 was released without a web browser as Microsoft had not yet developed one. The success of the web had caught them by surprise but by mid 1995, they were testing their own web server, and on August 24, 1995, launched a major online service, The Microsoft Network (MSN). The National Research Council recognized that the rise of the Internet simultaneously increased societal reliance on computer systems while increasing the vulnerability of such systems to failure and produced an important report in 1999, "Trust in Cyberspace". This report reviews the cost of un-trustworthy systems and identifies actions required for improvement. == Microsoft and Trustworthy Computing == Bill Gates launched Microsoft's "Trustworthy Computing" initiative with a January 15, 2002 memo, referencing an internal whitepaper by Microsoft CTO and Senior Vice President Craig Mundie. The move was reportedly prompted by the fact that they "...had been under fire from some of its larger customers–government agencies, financial companies and others–about the security problems in Windows, issues that were being brought front and center by a series of self-replicating worms and embarrassing attacks." such as Code Red, Nimda, Klez and Slammer. Four areas were identified as the initiative's key areas: Security, Privacy, Reliability, and Business Integrity, and despite some initial scepticism, at its 10-year anniversary it was generally accepted as having "...made a positive impact on the industry...". The Trustworthy Computing campaign was the main reason why Easter eggs disappeared from Windows, Office and other Microsoft products.

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  Public computer

  A public computer (or public access computer) is any of various computers available in public areas. Some places where public computers may be available are libraries, schools, or dedicated facilities run by government. Public computers share similar hardware and software components to personal computers, however, the role and function of a public access computer is entirely different. A public access computer is used by many different untrusted individuals throughout the course of the day. The computer must be locked down and secure against both intentional and unintentional abuse. Users typically do not have authority to install software or change settings. A personal computer, in contrast, is typically used by a single responsible user, who can customize the machine's behavior to their preferences. Public access computers are often provided with tools such as a PC reservation system to regulate access. The world's first public access computer center was the Marin Computer Center in California, co-founded by David and Annie Fox in 1977. == Kiosks == A kiosk is a special type of public computer using software and hardware modifications to provide services only about the place the kiosk is in. For example, a movie ticket kiosk can be found at a movie theater. These kiosks are usually in a secure browser with zero access to the desktop. Many of these kiosks may run Linux, however, ATMs, a kiosk designed for depositing money, often run Windows XP. == Public computers in the United States == === Library computers === In the United States and Canada, almost all public libraries have computers available for the use of patrons, though some libraries will impose a time limit on users to ensure others will get a turn and keep the library less busy. Users are often allowed to print documents that they have created using these computers, though sometimes for a small fee. ==== Privacy ==== Privacy is an important part of the public library institution, since the libraries entitle the public to intellectual freedom. Use of any computer or network may create records of users' activities that can jeopardize their privacy. It is possible for a patron to jeopardize their privacy if they do not delete cache, clear cookies, or documents from the public computer. In order for a member of the public to remain private on a computer, the American Library Association (ALA) has guidelines. These give patrons an idea of the right way to keep using public library computers. In their provision of services to library users, librarians have an ethical responsibility, expressed in the ALA Code of Ethics, to preserve users' right to privacy. A librarian is also responsible for giving users an understanding of private patron use and access. Libraries must ensure that users have the following rights when browsing on public computers: the computer automatically will clear a users history; libraries should display privacy screens so users do not see another patron's screen; updating software for effective safety measures; restoration data software to clear documents that users may have left on their computers and to combat possible malware; security practices; and making users aware of any possible monitoring of their browsing activities. Users can also view the Library Privacy Checklist for Public Access Computers and Networks to better understand what libraries strive for when protecting privacy. === School computers === The U.S. government has given money to many school boards to purchase computers for educational applications. Schools may have multiple computer labs, which contain these computers for students to use. There is usually Internet access on these machines, but some schools will put up a blocking service to limit the websites that students are able to access to only include educational resources, such as Google. In addition to controlling the content students are viewing, putting up these blocks can also help to keep the computers safe by preventing students from downloading malware and other threats. However, the effectiveness of such content filtering systems is questionable since it can easily be circumvented by using proxy websites, Virtual Private Networks, and for some weak security systems, merely knowing the IP address of the intended website is enough to bypass the filter. School computers often have advanced operating system security to prevent tech-savvy students from inflicting damage (i.e. the Windows Registry Editor and Task Manager, etc.) are disabled on Microsoft Windows machines. Schools with very advanced tech services may also install a locked down BIOS/firmware or make kernel-level changes to the operating system, precluding the possibility of unauthorized activity.

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  Generative art

  Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu

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  Text-to-video model

  A text-to-video model is a form of generative artificial intelligence that uses a natural language description as input to produce a video relevant to the input text. Advancements during the 2020s in the generation of high-quality, text-conditioned videos have largely been driven by the development of video diffusion models. == Models == There are different models, including open source models. Chinese-language input CogVideo is the earliest text-to-video model "of 9.4 billion parameters" to be developed, with its demo version of open source codes first presented on GitHub in 2022. That year, Meta Platforms released a partial text-to-video model called "Make-A-Video", and Google's Brain (later Google DeepMind) introduced Imagen Video, a text-to-video model with 3D U-Net. === 2023 === In February 2023, Runway released Gen-1 and Gen-2, among the first commercially available text-to-video and video-to-video models accessible to the public through a web interface. Gen-1, initially released as a video-to-video model, allowed users to transform existing video footage using text or image prompts. Gen-2, introduced in March 2023 and made publicly available in June 2023, added text-to-video capabilities, enabling users to generate videos from text prompts alone. In March 2023, a research paper titled "VideoFusion: Decomposed Diffusion Models for High-Quality Video Generation" was published, presenting a novel approach to video generation. The VideoFusion model decomposes the diffusion process into two components: base noise and residual noise, which are shared across frames to ensure temporal coherence. By utilizing a pre-trained image diffusion model as a base generator, the model efficiently generated high-quality and coherent videos. Fine-tuning the pre-trained model on video data addressed the domain gap between image and video data, enhancing the model's ability to produce realistic and consistent video sequences. In the same month, Adobe introduced Firefly AI as part of its features. === 2024 === In January 2024, Google announced development of a text-to-video model named Lumiere which is anticipated to integrate advanced video editing capabilities. Matthias Niessner and Lourdes Agapito at AI company Synthesia work on developing 3D neural rendering techniques that can synthesise realistic video by using 2D and 3D neural representations of shape, appearances, and motion for controllable video synthesis of avatars. In June 2024, Luma Labs launched its Dream Machine video tool. That same month, Kuaishou extended its Kling AI text-to-video model to international users. In July 2024, TikTok owner ByteDance released Jimeng AI in China, through its subsidiary, Faceu Technology. By September 2024, the Chinese AI company MiniMax debuted its video-01 model, joining other established AI model companies like Zhipu AI, Baichuan, and Moonshot AI, which contribute to China's involvement in AI technology. In December 2024 Lightricks launched LTX Video as an open source model. === 2025 === Alternative approaches to text-to-video models include Google's Phenaki, Hour One, Colossyan, Runway's Gen-3 Alpha, and OpenAI's Sora, Several additional text-to-video models, such as Plug-and-Play, Text2LIVE, and TuneAVideo, have emerged. FLUX.1 developer Black Forest Labs has announced its text-to-video model SOTA. Google was preparing to launch a video generation tool named Veo for YouTube Shorts in 2025. In May 2025, Google launched the Veo 3 iteration of the model. It was noted for its impressive audio generation capabilities, which were a previous limitation for text-to-video models. In July 2025 Lightricks released an update to LTX Video capable of generating clips reaching 60 seconds, and in October 2025 it released LTX-2, with audio capabilities built in. === 2026 === In February 2026, ByteDance released Seedance 2.0, it was noted for its impressive realistic generation, motion and camera control and 15 second generation, however the model faced huge critiscism from Motion Picture Association for copyright infringement. After viewing a viral clip of a fight between actors Brad Pitt and Tom Cruise, Rhett Reese, who is the co-writer of Deadpool & Wolverine and Zombieland announced that on social media "I hate to say it. It’s likely over for us," further stating that "In next to no time, one person is going to be able to sit at a computer and create a movie indistinguishable from what Hollywood now releases." == Architecture and training == There are several architectures that have been used to create text-to-video models. Similar to text-to-image models, these models can be trained using Recurrent Neural Networks (RNNs) such as long short-term memory (LSTM) networks, which has been used for Pixel Transformation Models and Stochastic Video Generation Models, which aid in consistency and realism respectively. An alternative for these include transformer models. Generative adversarial networks (GANs), Variational autoencoders (VAEs), — which can aid in the prediction of human motion — and diffusion models have also been used to develop the image generation aspects of the model. Text-video datasets used to train models include, but are not limited to, WebVid-10M, HDVILA-100M, CCV, ActivityNet, and Panda-70M. These datasets contain millions of original videos of interest, generated videos, captioned-videos, and textual information that help train models for accuracy. Text-video datasets used to train models include, but are not limited to PromptSource, DiffusionDB, and VidProM. These datasets provide the range of text inputs needed to teach models how to interpret a variety of textual prompts. The video generation process involves synchronizing the text inputs with video frames, ensuring alignment and consistency throughout the sequence. This predictive process is subject to decline in quality as the length of the video increases due to resource limitations. The Will Smith Eating Spaghetti test is a benchmark for models. == Limitations == Despite the rapid evolution of text-to-video models in their performance, a primary limitation is that they are very computationally heavy which limits its capacity to provide high quality and lengthy outputs. Additionally, these models require a large amount of specific training data to be able to generate high quality and coherent outputs, which brings about the issue of accessibility. Moreover, models may misinterpret textual prompts, resulting in video outputs that deviate from the intended meaning. This can occur due to limitations in capturing semantic context embedded in text, which affects the model's ability to align generated video with the user's intended message. Various models, including Make-A-Video, Imagen Video, Phenaki, CogVideo, GODIVA, and NUWA, are currently being tested and refined to enhance their alignment capabilities and overall performance in text-to-video generation. Another issue with the outputs is that text or fine details in AI-generated videos often appear garbled, a problem that stable diffusion models also struggle with. Examples include distorted hands and unreadable text. == Ethics == The deployment of text-to-video models raises ethical considerations related to content generation. These models have the potential to create inappropriate or unauthorized content, including explicit material, graphic violence, misinformation, and likenesses of real individuals without consent. Ensuring that AI-generated content complies with established standards for safe and ethical usage is essential, as content generated by these models may not always be easily identified as harmful or misleading. The ability of AI to recognize and filter out NSFW or copyrighted content remains an ongoing challenge, with implications for both creators and audiences. == Impacts and applications == Text-to-video models offer a broad range of applications that may benefit various fields, from educational and promotional to creative industries. These models can streamline content creation for training videos, movie previews, gaming assets, and visualizations, making it easier to generate content. During the Russo-Ukrainian war, fake videos made with artificial intelligence were created as part of a propaganda war against Ukraine and shared in social media. These included depictions of children in the Ukrainian Armed Forces, fake ads targeting children encouraging them to denounce critics of the Ukrainian government, or fictitious statements by Ukrainian President Volodymyr Zelenskyy about the country's surrender, among others. === Movies === Kaur vs Kore is the first Indian feature film made using generative AI which features dual role for the AI character of Sunny Leone, set to release in 2026. Chiranjeevi Hanuman – The Eternal is an Indian movie made entirely using Generative AI created by Vijay Subramaniam which is set for theatrical release in 2026. The movie was widely criticised by the Film makers in the Bollywood industr

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  Color gradient

  In color science, a color gradient (also known as a color ramp or a color progression) specifies a range of position-dependent colors, usually used to fill a region. In assigning colors to a set of values, a gradient is a continuous colormap, a type of color scheme. In computer graphics, the term swatch has come to mean a palette of active colors. == Definitions == Color gradient is a set of colors arranged in a linear order (ordered) A continuous colormap is a curve through a colorspace === Strict definition === A colormap is a function which associate a real value r with point c in color space C {\displaystyle C} f : [ r m i n , r m a x ] ⊂ R → C {\displaystyle f:[r_{min},r_{max}]\subset \mathbf {R} \to C} which is defined by: a colorspace C an increasing sequence of sampling points r 0 < . . . < r m ∈ [ r m i n , r m a x ] {\displaystyle r_{0}<... Read more →

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  Secure state

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

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