Video editing software or a video editor is software used for performing the post-production video editing of digital video sequences on a non-linear editing system (NLE). It has replaced traditional flatbed celluloid film editing tools and analog video tape editing machines. Video editing software serves a lot of purposes, such as filmmaking, audio commentary, and general editing of video content. In NLE software, the user manipulates sections of video, images, and audio on a sequence. These clips can be trimmed, cut, and manipulated in many different ways. When editing is finished, the user exports the sequence as a video file. == Components == === Timeline === NLE software is typically based on a timeline interface where sections moving image video recordings, known as clips, are laid out in sequence and played back. The NLE offers a range of tools for trimming, splicing, cutting, and arranging clips across the timeline. Another kind of clip is a text clip, used to add text to a video, such as title screens or movie credits. Audio clips can additionally be mixed together, such as mixing a soundtrack with multiple sound effects. Typically, the timeline is divided into multiple rows on the y-axis for different clips playing simultaneously, whereas the x-axis represents the run time of the video. Effects such as transitions can be performed on each clip, such as a crossfade effect going from one scene to another. === Exporting === Since video editors represent a project with a file format specific to the program, one needs to export the video file in order to publish it. Once a project is complete, the editor can then export to movies in a variety of formats in a context that may range from broadcast tape formats to compressed video files for web publishing (such as on an online video platform or personal website), optical media, or saved to mobile devices. To facilitate editing, source video typically has a higher resolution than the desired output. Therefore, higher resolution video needs to be downscaled during exporting, or after exporting in a process known as transsizing. === Visual effects === As digital video editing advanced, visual effects became possible, and is part of the standard toolkit, usually found in prosumer and professional grade software. A common ability is to do compositing techniques such as chroma keying or luma keying, among others, which allow different objects to look as if they are in the same scene. A different kind of visual effects is motion capture. Software such as Blender can perform motion capture to make animated objects follow an actor's movements. === Additional features === Most professional video editors are able to do color grading, which is to manipulate visual attributes of a video such as contrast to enhance output, and improve emotional impact. Some video editors such as iMovie include stock footage available for use. == Hardware requirements == As video editing puts great demands on storage and graphics performance, especially at high resolutions such as 4K, and for videos with many visual effects, powerful hardware is often required. It is not uncommon for a computer built for video editing to have a lot of drive capacity, and a powerful graphics processing unit, which optimally has hardware accelerated video encoding. Having sufficient disk space is important since videos can take up large amounts of storage, depending on the resolution and compression format used. Each minute of a Full HD (1080p) video at 30 fps takes up 60MB of space. When visual effects are used, a server farm can be employed to speed up the rendering process. == Examples == Video editing software can be divided into consumer grade, which focuses on ease-of-use, along with professional grade software, which focuses on feature availability, and advanced editing techniques. The typical use case for the former is to edit personal videos on the go, when more advanced editing is not required. === Consumer grade === Photos (Apple) Google Photos YouTube Create === Prosumer grade === ==== Proprietary software ==== iMovie CyberLink PowerDirector === Professional grade === ==== Proprietary software ==== Final Cut Pro Adobe Premiere Pro DaVinci Resolve Vegas Pro Lightworks Camtasia Media Composer ==== Free and open source software ==== Avidemux Blender Cinelerra Flowblade Kdenlive OpenShot Shotcut While most video editing software has been separate from the operating systems, some operating systems have had a video editor installed by default, such as Windows Movie Maker in Windows XP, or as a component of the default photo viewer, such as the Photos app on iOS. Some social media platforms, such as TikTok and Instagram may include a rudimentary video editor to trim clips.
N-jet
An N-jet is the set of (partial) derivatives of a function f ( x ) {\displaystyle f(x)} up to order N. Specifically, in the area of computer vision, the N-jet is usually computed from a scale space representation L {\displaystyle L} of the input image f ( x , y ) {\displaystyle f(x,y)} , and the partial derivatives of L {\displaystyle L} are used as a basis for expressing various types of visual modules. For example, algorithms for tasks such as feature detection, feature classification, stereo matching, tracking and object recognition can be expressed in terms of N-jets computed at one or several scales in scale space.
Catie Cuan
Catie Cuan is an artist, entrepeuneur, and innovator in the field of robotic art and human-robot interaction, where she specializes in choreorobotics, an emerging field at the intersection of choreographic dance and robotics. Catie Cuan is currently one of the academic researchers pioneering the field of choreorobotics and currently holds a post-doctoral fellowship at Stanford University. == Career == Catie Cuan earned a bachelor's degree from the University of California, Berkeley. She graduated with a Ph.D. from the Department of Mechanical Engineering at Stanford University, focusing in robotics. Her most cited publication is about how to improve robotic expressive systems using tools from dance theory, such as the Laban/Bartenieff Movement Analysis. In her most recent research projects, she explores a predictive model of imitation learning for robots moving around humans, a project that advances the field of social robotics. Cuan credits her work in robotics to the experience with her father when he had a stroke and was surrounded by many medical machines, which made her think about how people might feel empowered and hopeful rather than afraid. As a ballet dancer and choreographer, she has performed with the Metropolitan Opera Ballet and the Lyric Opera of Chicago. In 2020, she was the dancer and choreographer of the show Output, which was part of a collaboration with ThoughtWorks Arts and the Pratt Institute. In the production, she danced with an ABB IRB 6700 industrial robot. In 2022, she was named as an IF/THEN ambassador for the American Association for the Advancement of Science. The same year, she was appointed Futurist-in-Residence at the Smithsonian Arts and Industries Building, where she performed at the closing ceremonies of the FUTURES exhibit on July 6, 2022. Cuan has also contributed to product designs, working with IDEO and Dutch interior design firm moooi on their Piro project, which launched a dancing scent diffuser robot during Milan Design Week in June 2022. She is a TED speaker with talks about how to teach robots to dance, and what is coming up for dancing robots in the AI era.
VideoThang
VideoThang was free video editing software for Windows 2000, XP, and Vista. The software has three parts to it which are My Stuff, Edit My Stuff, and My Mix. The software accepts MOV, AVI, MPG, MP4, PNG, WMV, FLV, and MP3 standards. Its official website is now no longer available. == Reception == Jan Ozer, of Pcmag, said that the software "suffers from several unfortunate design and implementation flaws that dramatically limit output quality and overall utility." Jon L. Jacobi, of PC World, said that the software "may not be the most flexible multimedia editor in the world, but the trim/zoom basics are there, it's free, and it's so simple to use that just about anyone in the world should be able figure it out." Amit Agarwal, of Digital Inspiration, said that the software "doesn’t offer loads of features like other video editors but is perfect for making quick video slideshows of your pictures that you can upload on the web or share via email."
Automatic scorer
An automatic scorer is the computerized scoring system to keep track of scoring in ten-pin bowling. It was introduced en masse in bowling alleys in the 1970s and combined with mechanical pinsetters to detect overturned pins. By eliminating the need for manual score-keeping, these systems have introduced new bowlers into the game who otherwise would not participate because they had to count the score themselves, as many do not understand the mathematical formula involved in bowler scoring. At first, people were skeptical about whether a computer could keep an accurate score. In the twenty-first century, automatic scorers are used in most bowling centers around the world. The three manufacturers of these specialty computers have been Brunswick Bowling, AMF Bowling (later QubicaAMF), and RCA. == History == Automatic equipment is considered a cornerstone of the modern bowling center. The traditional bowling center of the early 20th century was advanced in automation when the pinsetter person ("pin boy"), who set back up by hand the bowled down pins, was replaced by a machine that automatically replaced the pins in their proper play positions. This machine came out in the 1950s. A detection system was developed from the pinsetter mechanism in the 1960s that could tell which pins had been knocked down, and that information could be transferred to a digital computer. Automatic electronic scoring was first conceived by Robert Reynolds, who was described by a newspaper story at the time as "a West Coast electronics calculator expert." He worked with the technical staff of Brunswick Bowling to develop it. The goal was realized in the late 1960s when a specialized computer was designed for the purpose of automatic scorekeeping for bowling. The field test for the automatic scorer took place at Village Lanes bowling center, Chicago in 1967. The scoring machine received approval for official use by the American Bowling Congress in August of that year. They were first used in national official league gaming on October 10, 1967. In November, Brunswick announced that they were accepting orders for the new digital computer, which cost around $3,000 per bowling lane. Bowling centers that installed these new automatic scoring devices in the 1970s charged a ten cents extra per line of scoring for the convenience. == Description == Each Automatic Scorer computer unit kept score for four lanes. It had two bowler identification panels serving two lanes each. The bowler pushed it into his named position when his turn came up so the computer knew who was bowling and score accordingly. After the bowler rolled the bowling ball down the lane and knocked down pins, the pinsetter detected which pins were down and relayed this information back to the computer for scoring. The result was then printed on a scoresheet and projected overhead onto a large screen for all to see. The Automatic Scorer digital computer was mathematically accurate, however the detection system at the pinsetter mechanism sometimes reported the wrong number of pins knocked down. The computer could be corrected manually for any errors in the system; similarly, human errors, such as neglecting to move the bowler identification mechanism, could be corrected for by manual action. The scorer could take into account bowlers' handicaps and could adjust for late-arriving bowlers. The automatic scorer is directly connected to the foul detection unit. As a result, foul line violations are automatically scored. Brunswick had put ten years of research and development into the Automatic Scorer, and by 1972 there were over 500 of these computers installed in bowling centers around the world. AMF Bowling, competitor to Brunswick, entered into the automatic scorer computer field during the 1970s and their systems were installed into their brand of bowling centers. By 1974, RCA was also making these computers for automatic scoring. == Reception and further developments == The purposes of the computerized scoring were to avoid errors by human scorers and to prevent cheating. It had the side benefit of speeding up the progress of the game and introducing new bowlers to the game. Score-keeping for bowling is based on a formula that many new to bowling were not familiar with and thought difficult to learn. These casual bowlers unfamiliar with the formula thought the scores given by the computers were confusing. Some bowlers were not comfortable with automatic scorers when they were introduced in the 1970s, so kept score using the traditional method on paper score sheets. The introduction of this device increased the popularity of the sport. Automatic scorers came to be considered a normal part of modern bowling installations worldwide, with owners and managers saying that bowlers expect such equipment to be present in bowling establishments and that business increased following their introduction. Brunswick introduced a color television style automatic scorer in 1983. Bowling center owners could use these style automatic scorers for advertising, management, videos, and live television. By the 2010s, these types of electronic visual displays could show bowler avatars and social media connections to publicize the bowlers' scores. Some are capable of being extended entertainment systems of games for children and adults. Some scoring systems support variations on traditional bowling, such as different kinds of bingo games where certain pins have to be knocked down at certain times or practice regimes where certain spares have to be accomplished. By this point, QubicaAMF Worldwide, an outgrowth of AMF, was one of the leading providers of bowling scoring equipment.
Computer Dreams
Computer Dreams is a 1988 film created by Digital Vision Entertainment and released by MPI Home Video. Written, produced and directed by Geoffrey de Valois and hosted by Amanda Pays, it consists primarily of clips and behind-the-scenes work of early computer graphics animation. Notably included are Luxo Jr. and Red's Dream, the first two short films from Pixar. The film is an hour long and features an electronic score by Music Fantastic. It was revised and re-released on DVD as The History of Computer Animation, Volume 2. It won the Winner Gold Special Jury Award at the 1989 Houston International Film Festival, and the 1989 Golden Decade Award from the US Film & Video Festival. Music used includes: Gail Lennon - Desire, Gail Lennon - Like A Dream, Shandi Sinnamon - Making It,
Continuum robot
A continuum robot is a type of robot that is characterised by infinite degrees of freedom and number of joints. These characteristics allow continuum manipulators to adjust and modify their shape at any point along their length, granting them the possibility to work in confined spaces and complex environments where standard rigid-link robots cannot operate. In particular, we can define a continuum robot as an actuatable structure whose constitutive material forms curves with continuous tangent vectors. This is a fundamental definition that allows to distinguish between continuum robots and snake-arm robots or hyper-redundant manipulators: the presence of rigid links and joints allows them to only approximately perform curves with continuous tangent vectors. The design of continuum robots is bioinspired, as the intent is to resemble biological trunks, snakes and tentacles. Several concepts of continuum robots have been commercialised and can be found in many different domains of application, ranging from the medical field to undersea exploration. == Classification == Continuum robots can be categorised according to two main criteria: structure and actuation. === Structure === The main characteristic of the design of continuum robots is the presence of a continuously curving core structure, named backbone, whose shape can be actuated. The backbone must also be compliant, meaning that the backbone yields smoothly to external loads. According to the design principles chosen for the continuum manipulator, we can distinguish between: single-backbone: these continuum manipulators have one central elastic backbone through which actuation/transmission elements can run. multi-backbone: the structure of these continuum robots has two or more elastic elements (either rods or tubes) parallel to each other and constrained with one another in some way. concentric-tube: the backbone is made of concentric tubes that are free to rotate and translate between each other, depending on the actuation happening at the base of the robot. === Actuation === The actuation strategy of continuum manipulators can be distinguished between extrinsic or intrinsic actuation, depending on where the actuation happens: extrinsic actuation: the actuation happens outside the main structure of the robot and the forces are transmitted via mechanical transmission; among these techniques, there are cable/tendon driven actuators and multi-backbone strategies. intrinsic actuation: the actuation mechanism operates within the structure of the robot; these strategies include pneumatic or hydraulic chambers and the shape memory effect. The Actuated Flexible Manifold (AFM), introduced by Medina, Shapiro, and Shvalb (2016), models flexible grid-based robots that approximate smooth manifolds using discrete segments, each contributing one degree of freedom. Their work provides forward and inverse kinematics for planar and spatial configurations, bridging hyper-redundant and continuum robotics. == Advantages == The particular design of continuum robots offers several advantages with respect to rigid-link robots. First of all, as already said, continuum robots can more easily operate in environments that require a high level of dexterity, adaptability and flexibility. Moreover, the simplicity of their structure makes continuum robots more prone to miniaturisation. The rise of continuum robots has also paved the way for the development of soft continuum manipulators. These continuum manipulators are made of highly compliant materials that are flexible and can adapt and deform according to the surrounding environment. The "softness" of their material grants higher safety in human-robot interactions. == Disadvantages == The particular design of continuum robots also introduces many challenges. To properly and safely use continuum robots, it is crucial to have an accurate force and shape sensing system. Traditionally, this is done using cameras that are not suitable for some of the applications of continuum robots (e.g. minimally invasive surgery), or using electromagnetic sensors that are however disturbed by the presence of magnetic objects in the environment. To solve this issue, in the last years fiber-Bragg-grating sensors have been proposed as a possible alternative and have shown promising results. It is also necessary to notice that while the mechanical properties of rigid-link robots are fully understood, the comprehension of the behaviour and properties of continuum robots is still subject of study and debate. This poses new challenges in developing accurate models and control algorithms for this kind of robots. == Modelling == Creating an accurate model that can predict the shape of a continuum robot allows to properly control the robot's shape. There are three main approaches to model continuum robots: Cosserat rod theory: this approach is an exact solution to the static of a continuum robot, as it is not subject to any assumption. It solves a set of equilibrium equations between position, orientation, internal force and torque of the robot. This method requires to be solved numerically and it is therefore computationally expensive, due to its high complexity. Constant curvature: this technique assumes the backbone to be made of a series of mutually tangent sections that can be approximated as arcs with constant curvature. This approach is also known as piecewise constant-curvature. This assumption can be applied to the entire segment of the backbone or to its subsegments. This model has shown promising results, however it must be taken into account that the segment/subsegments of the backbone may not comply to the constant curvature assumption and therefore the model's behaviour may not entirely reflect the behaviour of the robot. Rigid-link model: this approach is based on the assumption that the continuum robot can be divided in small segments with rigid links. This is a strong assumption, since if the number of segments is too low, the model hardly behaves like the continuum robot, while increasing the number of segments means increasing the number of variables, and thus complexity. Despite this limitation, rigid-link modelling allows the use of the standard control techniques that are well known for rigid-link robots. It has been proven that this model can be coupled with shape and force sensing to mitigate its inaccuracy and can lead to promising results. == Sensing == To develop accurate control algorithms, it is necessary to complement the presented modelling techniques with real time shape sensing. The following options are currently available: Electromagnetic (EM) sensing: shape is reconstructed thanks to the mutual induction between a magnetic field generator and a magnetic field sensor. The most common external EM tracking system is the commercially available NDI Aurora: small sensors can be placed on the robot and their position is tracked in an external generated magnetic field. The validity of this method has been extensively assessed, however its performance is hindered by the limited workspace, whose dimension depends on the magnetic field. Another alternative is to embed the sensors internally in the continuum robot, combining magnetic sensors with Hall effect sensors: the magnetic field is measured at the level of the Hall effect sensors in order to estimate the deflection of the robot. However, it has been noticed that the higher the bending of the manipulator, the higher is the estimation error, due to crosstalk between sensors and magnets. Optical sensing: fiber Bragg grating sensors incorporated in an optical fiber can be embedded into the backbone of the continuum robot to estimate its shape; these sensors can only reflect a small range of the input light spectrum depending on their strain; therefore, by measuring the strain on each sensor it is possible to obtain the shape of the robot. This type of sensor is however expensive and is more prone to breaking in case of excessive strain, and this can happen in robots that can perform high deflections. == Control strategies == The control strategies can be distinguished in static and dynamic; the first one is based on the steady-state assumption, while the latter also considers the dynamic behaviour of the continuum robot. We can also differentiate between model-based controllers, that depend on a model of the robot, and model-free, that learn the robot's behaviour from data. Model-based static controllers: they rely on one of the modelling approaches presented above; once the model is defined, the kinematics must be inverted to obtain the desired actuator or configuration space variables. There are several ways to do this, like differential inverse kinematics, direct inversion or optimization. Model-free static controllers: these approaches learn directly, via machine learning techniques (e.g. regression methods and neural networks), the inverse kinematic or the direct kinematic representation of the con