Circular thresholding is an algorithm for automatic image threshold selection in image processing. Most threshold selection algorithms assume that the values (e.g. intensities) lie on a linear scale. However, some quantities such as hue and orientation are a circular quantity, and therefore require circular thresholding algorithms. The example shows that the standard linear version of Otsu's method when applied to the hue channel of an image of blood cells fails to correctly segment the large white blood cells (leukocytes). In contrast the white blood cells are correctly segmented by the circular version of Otsu's method. == Methods == There are a relatively small number of circular image threshold selection algorithms. The following examples are all based on Otsu's method for linear histograms: (Tseng, Li and Tung 1995) smooth the circular histogram, and apply Otsu's method. The histogram is cyclically rotated so that the selected threshold is shifted to zero. Otsu's method and histogram rotation are applied iteratively until several heuristics involving class size, threshold location, and class variance are satisfied. (Wu et al. 2006) smooth the circular histogram until it contains only two peaks. The histogram is cyclically rotated so that the midpoint between the peaks is shifted to zero. Otsu's method and histogram rotation are applied iteratively until convergence of the threshold. (Lai and Rosin 2014) applied Otsu's method to the circular histogram. For the two class circular thresholding task they showed that, for a histogram with an even number of bins, the optimal solution for Otsu's criterion of within-class variance is obtained when the histogram is split into two halves. Therefore the optimal solution can be efficiently obtained in linear rather than quadratic time. == References and further reading == D.-C. Tseng, Y.-F. Li, and C.-T. Tung, Circular histogram thresholding for color image segmentation in Proc. Int. Conf. Document Anal. Recognit., 1995, pp. 673–676. J. Wu, P. Zeng, Y. Zhou, and C. Olivier, A novel color image segmentation method and its application to white blood cell image analysis in Proc. Int. Conf. Signal Process., vol. 2. 2006, pp. 16–20. Y.K. Lai, P.L. Rosin, Efficient Circular Thresholding, IEEE Trans. on Image Processing 23(3), 992–1001 (2014). doi:10.1109/TIP.2013.2297014
Film-out
Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu
AI Paraphrasing Tools Reviews: What Actually Works in 2026
Comparing the best AI paraphrasing tool? An AI paraphrasing tool is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI paraphrasing tool slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Mark Heimann
Mark A. Heimann is an American chess grandmaster and machine learning researcher. == Chess career == Heimann began playing chess at the age of 5 after his father bought him and his twin brother Alexander a chess set. He then won several national grade-level championships as well as the Pennsylvania and Ohio state championships in middle school and high school. In October 2007, he was ranked as the national #2 under-14 player, only behind future grandmaster Marc Tyler Arnold. In the February 2008 national rankings, he moved up to being the top-ranked under-14 player. In December 2012, he played for Washington University St. Louis' "A" team in the Pan-American Intercollegiate Chess Championships, where he was the second-most successful player, recording 4 wins, 1 draw, and 1 loss. The university's team also won the Division II championship title. In three tournaments between September and December 2022, Heimann earned three international master title norms, earning the international master title at the age of 29. In November 2024, he scored a GM norm at the U.S. Masters Chess Championship. He finished the event in joint-6th place. The following week, at the Saint Louis Masters tournament, he earned his final grandmaster norm and crossed 2500 in live rating, achieving the Grandmaster title. It was formally awarded to him in April 2025. == Research career == He obtained a bachelor's degree from Washington University in St. Louis in the School of Arts and Sciences and got his PhD from the University of Michigan. He is a machine learning researcher at Lawrence Livermore National Laboratory. == Personal life == Outside of chess and research, he also plays several instruments and is a competitive powerlifter.
How to Choose an AI Subtitle Generator
Shopping for the best AI subtitle generator? An AI subtitle generator is software that uses machine learning to help you get more done — it keeps getting smarter as the underlying models improve. Pricing, accuracy, and the size of the model behind the tool are the three factors that most affect daily usefulness. Whether you are a beginner or a pro, the right AI subtitle generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Kernel density estimation
In statistics, kernel density estimation (KDE) is the application of kernel smoothing for probability density estimation, i.e., a non-parametric method to estimate the probability density function of a random variable based on kernels as weights. KDE answers a fundamental data smoothing problem where inferences about the population are made based on a finite data sample. In some fields such as signal processing and econometrics it is also termed the Parzen–Rosenblatt window method, after Emanuel Parzen and Murray Rosenblatt, who are usually credited with independently creating it in its current form. One of the famous applications of kernel density estimation is in estimating the class-conditional marginal densities of data when using a naive Bayes classifier, which can improve its prediction accuracy. == Definition == Let x = ( x 1 , x 2 , x 3 , . . . ) {\displaystyle \mathbf {x} =\left(x_{1},x_{2},x_{3},...\right)} be independent and identically distributed samples drawn from some univariate distribution with an unknown density f at any given point x. We are interested in estimating the shape of this function f. Its kernel density estimator is f ^ h ( x ) = 1 n ∑ i = 1 n K h ( x − x i ) = 1 n h ∑ i = 1 n K ( x − x i h ) , {\displaystyle {\hat {f}}_{h}(x)={\frac {1}{n}}\sum _{i=1}^{n}K_{h}(x-x_{i})={\frac {1}{nh}}\sum _{i=1}^{n}K{\left({\frac {x-x_{i}}{h}}\right)},} where K is the kernel — a non-negative function — and h > 0 is a smoothing parameter called the bandwidth or simply width. A kernel with subscript h is called the scaled kernel and defined as Kh(x) = 1/h K(x/h). Intuitively one wants to choose h as small as the data will allow; however, there is always a trade-off between the bias of the estimator and its variance. The choice of bandwidth is discussed in more detail below. A range of kernel functions are commonly used: uniform, triangular, biweight, triweight, Epanechnikov (parabolic), normal, and others. The Epanechnikov kernel is optimal in a mean square error sense, though the loss of efficiency is small for the kernels listed previously. Due to its convenient mathematical properties, the normal kernel is often used, which means K(x) = ϕ(x), where ϕ is the standard normal density function. The kernel density estimator then becomes f ^ h ( x ) = 1 n ∑ i = 1 n 1 h 2 π exp ( − ( x − x i ) 2 2 h 2 ) , {\displaystyle {\hat {f}}_{h}(x)={\frac {1}{n}}\sum _{i=1}^{n}{\frac {1}{h{\sqrt {2\pi }}}}\exp \left({\frac {-(x-x_{i})^{2}}{2h^{2}}}\right),} where h {\displaystyle h} is the standard deviation of the sample x {\displaystyle \mathbf {x} } . The construction of a kernel density estimate finds interpretations in fields outside of density estimation. For example, in thermodynamics, this is equivalent to the amount of heat generated when heat kernels (the fundamental solution to the heat equation) are placed at each data point locations xi. Similar methods are used to construct discrete Laplace operators on point clouds for manifold learning (e.g. diffusion map). == Example == Kernel density estimates are closely related to histograms, but can be endowed with properties such as smoothness or continuity by using a suitable kernel. The diagram below based on these 6 data points illustrates this relationship: For the histogram, first, the horizontal axis is divided into sub-intervals or bins which cover the range of the data: In this case, six bins each of width 2. Whenever a data point falls inside this interval, a box of height 1/12 is placed there. If more than one data point falls inside the same bin, the boxes are stacked on top of each other. For the kernel density estimate, normal kernels with a standard deviation of 1.5 (indicated by the red dashed lines) are placed on each of the data points xi. The kernels are summed to make the kernel density estimate (solid blue curve). The smoothness of the kernel density estimate (compared to the discreteness of the histogram) illustrates how kernel density estimates converge faster to the true underlying density for continuous random variables. == Bandwidth selection == The bandwidth of the kernel is a free parameter which exhibits a strong influence on the resulting estimate. To illustrate its effect, we take a simulated random sample from the standard normal distribution (plotted at the blue spikes in the rug plot on the horizontal axis). The grey curve is the true density (a normal density with mean 0 and variance 1). In comparison, the red curve is undersmoothed since it contains too many spurious data artifacts arising from using a bandwidth h = 0.05, which is too small. The green curve is oversmoothed since using the bandwidth h = 2 obscures much of the underlying structure. The black curve with a bandwidth of h = 0.337 is considered to be optimally smoothed since its density estimate is close to the true density. An extreme situation is encountered in the limit h → 0 {\displaystyle h\to 0} (no smoothing), where the estimate is a sum of n delta functions centered at the coordinates of analyzed samples. In the other extreme limit h → ∞ {\displaystyle h\to \infty } the estimate retains the shape of the used kernel, centered on the mean of the samples (completely smooth). The most common optimality criterion used to select this parameter is the expected L2 risk function, also termed the mean integrated squared error: MISE ( h ) = E [ ∫ ( f ^ h ( x ) − f ( x ) ) 2 d x ] {\displaystyle \operatorname {MISE} (h)=\operatorname {E} \!\left[\int \!{\left({\hat {f}}\!_{h}(x)-f(x)\right)}^{2}dx\right]} Under weak assumptions on f and K, (f is the, generally unknown, real density function), MISE ( h ) = AMISE ( h ) + o ( ( n h ) − 1 + h 4 ) {\displaystyle \operatorname {MISE} (h)=\operatorname {AMISE} (h)+{\mathcal {o}}{\left((nh)^{-1}+h^{4}\right)}} where o is the little o notation, and n the sample size (as above). The AMISE is the asymptotic MISE, i. e. the two leading terms, AMISE ( h ) = R ( K ) n h + 1 4 m 2 ( K ) 2 h 4 R ( f ″ ) {\displaystyle \operatorname {AMISE} (h)={\frac {R(K)}{nh}}+{\frac {1}{4}}m_{2}(K)^{2}h^{4}R(f'')} where R ( g ) = ∫ g ( x ) 2 d x {\textstyle R(g)=\int g(x)^{2}\,dx} for a function g, m 2 ( K ) = ∫ x 2 K ( x ) d x {\textstyle m_{2}(K)=\int x^{2}K(x)\,dx} and f ″ {\displaystyle f''} is the second derivative of f {\displaystyle f} and K {\displaystyle K} is the kernel. The minimum of this AMISE is the solution to this differential equation ∂ ∂ h AMISE ( h ) = − R ( K ) n h 2 + m 2 ( K ) 2 h 3 R ( f ″ ) = 0 {\displaystyle {\frac {\partial }{\partial h}}\operatorname {AMISE} (h)=-{\frac {R(K)}{nh^{2}}}+m_{2}(K)^{2}h^{3}R(f'')=0} or h AMISE = R ( K ) 1 / 5 m 2 ( K ) 2 / 5 R ( f ″ ) 1 / 5 n − 1 / 5 = C n − 1 / 5 {\displaystyle h_{\operatorname {AMISE} }={\frac {R(K)^{1/5}}{m_{2}(K)^{2/5}R(f'')^{1/5}}}n^{-1/5}=Cn^{-1/5}} Neither the AMISE nor the hAMISE formulas can be used directly since they involve the unknown density function f {\displaystyle f} or its second derivative f ″ {\displaystyle f''} . To overcome that difficulty, a variety of automatic, data-based methods have been developed to select the bandwidth. Several review studies have been undertaken to compare their efficacies, with the general consensus that the plug-in selectors and cross validation selectors are the most useful over a wide range of data sets. Substituting any bandwidth h which has the same asymptotic order n−1/5 as hAMISE into the AMISE gives that AMISE(h) = O(n−4/5), where O is the big O notation. It can be shown that, under weak assumptions, there cannot exist a non-parametric estimator that converges at a faster rate than the kernel estimator. Note that the n−4/5 rate is slower than the typical n−1 convergence rate of parametric methods. If the bandwidth is not held fixed, but is varied depending upon the location of either the estimate (balloon estimator) or the samples (pointwise estimator), this produces a particularly powerful method termed adaptive or variable bandwidth kernel density estimation. Bandwidth selection for kernel density estimation of heavy-tailed distributions is relatively difficult. === A rule-of-thumb bandwidth estimator === If Gaussian basis functions are used to approximate univariate data, and the underlying density being estimated is Gaussian, the optimal choice for h (that is, the bandwidth that minimises the mean integrated squared error) is: h = ( 4 σ ^ 5 3 n ) 1 / 5 ≈ 1.06 σ ^ n − 1 / 5 , {\displaystyle h={\left({\frac {4{\hat {\sigma }}^{5}}{3n}}\right)}^{1/5}\approx 1.06\,{\hat {\sigma }}\,n^{-1/5},} An h {\displaystyle h} value is considered more robust when it improves the fit for long-tailed and skewed distributions or for bimodal mixture distributions. This is often done empirically by replacing the standard deviation σ ^ {\displaystyle {\hat {\sigma }}} by the parameter A {\displaystyle A} below: A = min ( σ ^ , I Q R 1.34 ) {\displaystyle A=\min \left({\hat {\sigma }},{\frac {\mathrm {IQR} }{1.34}}\right)} where IQR is the
The Best Free AI Marketing Tool for Beginners
Looking for the best AI marketing tool? An AI marketing tool is software that uses machine learning to help you get more done — it can save you hours every week by automating repetitive work. Most options offer a generous free tier, with paid plans unlocking higher limits, faster processing, and team features. Whether you are a beginner or a pro, the right AI marketing tool slots into your workflow and pays for itself fast. Read on for hands-on impressions, pricing tiers, and the standout features that matter.