Corpus-assisted discourse studies (abbr.: CADS) is related historically and methodologically to the discipline of corpus linguistics. The principal endeavor of corpus-assisted discourse studies is the investigation, and comparison of features of particular discourse types, integrating into the analysis the techniques and tools developed within corpus linguistics. These include the compilation of specialised corpora and analyses of word and word-cluster frequency lists, comparative keyword lists and, above all, concordances. A broader conceptualisation of corpus-assisted discourse studies would include any study that aims to bring together corpus linguistics and discourse analysis. Such research is often labelled as corpus-based or corpus-assisted discourse analysis, with the term CADS coined by a research group in Italy (Partington 2004) for a specific type of corpus-assisted discourse analysis (see the section 'in different countries' below). == Aims == Corpus-assisted discourse studies aim to uncover non-obvious meaning, that is, meaning which might not be readily available to naked-eye perusal. Much of what carries meaning in texts is not open to direct observation: “you cannot understand the world just by looking at it” (Stubbs [after Gellner 1959] 1996: 92). We use language “semi-automatically”, in the sense that speakers and writers make semi-conscious choices within the various complex overlapping systems of which language is composed, including those of transitivity, modality (Michael Halliday 1994), lexical sets (e.g. freedom, liberty, deliverance), modification, and so on. Authors themselves are, famously, generally unaware of all the meanings their texts convey. By combining the quantitative research approach, that is, statistical analysis of large amounts of the discourse in question - more precisely, large numbers of tokens of the discourse type under study contained in a corpus - with the more qualitative research approach typical of discourse analysis, that is, the close, detailed examination of particular stretches of discourse it may be possible to better understand the processes at play in the discourse type and to gain access to non-obvious meanings. Aims can differ in other types of corpus-based or corpus-assisted discourse analysis; but in general such studies combine quantitative and qualitative research and aim to shed light on discourses, registers, discourse patterns, etc., with the help of a corpus linguistic approach. Specific aims and techniques depend on the relevant project. == In different countries == In German-speaking countries: Pioneering work in corpus-based discourse analysis was conducted in Europe, in particular by Hardt-Mautner/Mautner (1995, 2000) and Stubbs (1996, 2001). CADS and other types of corpus-based discourse analysis are inspired by this important early work. In Italy: A considerable body of research has been conducted in Italy either by individual researchers or under the aegis of combined inter-university projects such as Newspool (Partington et al. 2004) and CorDis (Morley and Bayley eds, 2009). It has concentrated on political and media language, mainly because a nucleus of linguists in Italian universities work in Political Science faculties and are increasingly interested in the use of corpus techniques to conduct a particular type of sociopolitical discourse analysis, including the unearthing of noteworthy ideological metaphors and motifs in the language of political figures and institutions. Italian researchers also developed Modern diachronic corpus-assisted discourse studies (MD-CADS). This approach contrasts the language contained in comparable corpora from different but recent points in time in order to track changes in modern language usage but also social, cultural and political changes over modern times, as reflected - and shared among people - in language. It is this Italian body of research that makes most use of the label CADS. In the UK: Linguists in the UK tend to undertake corpus-based critical discourse analysis (CDA). CDA generally adopts a leftist political stance, focusing on the ways that social and political domination is reproduced by text and talk. This type of corpus-based research was originally associated with Lancaster University (Baker et al. 2008), but has spread more widely since. Such work typically studies the discourses around particular groups of people (e.g. Muslims, people with disabilities) or concepts/events (e.g. feminism, same-sex marriage). In Australia: Corpus-based discourse analysis is undertaken by a growing number of Australian researchers, most often on media texts. Some of this work aims to elucidate specific features of discourse types (news, social media, television series, etc.), while other work is rooted in the tradition of corpus-based critical discourse analysis. == Comparison with traditional corpus linguistics == Traditional corpus linguistics has, quite naturally, tended to privilege the quantitative approach. In the drive to produce more authentic dictionaries and grammars of a language, it has been characterised by the compilation of some very large corpora of heterogeneric discourse types in the desire to obtain an overview of the greatest quantity and variety of discourse types possible, in other words, of the chimerical but useful fiction called the “general language” (“general English”, “general Italian”, and so on). This has led to the construction of immensely valuable research tools such as the Bank of English and the British National Corpus. Some branches of corpus linguistics have also promoted an approach that is "corpus-driven", in which we need, grammatically speaking, a mental tabula rasa to free ourselves of the baleful prejudice exerted by traditional models and allow the data to speak entirely for itself. The aim of corpus-assisted discourse studies and related approaches is radically different. Here the aim of the exercise is to acquaint oneself as much as possible with the discourse type(s) in hand. Researchers typically engage with their corpus in a variety of ways. As well as via wordlists and concordancing, intuitions for further research can also arise from reading or watching or listening to parts of the data-set, a process which can help provide a feel for how things are done linguistically in the discourse-type being studied. Corpus-assisted discourse analysis is also typically characterised by the compilation of ad hoc specialised corpora, since very frequently there exists no previously available collection of the discourse type in question. Often, other corpora are utilized in the course of a study for purposes of comparison. These may include pre-existing corpora or may themselves need to be compiled by the researcher. In some sense, all work with corpora – just as all work with discourse - is properly comparative. Even when a single corpus is employed, it is used to test the data it contains against another body of data. This may consist of the researcher's intuitions, or the data found in reference works such as dictionaries and grammars, or it may be statements made by previous authors in the field. == CADS as a specific type of corpus-based discourse analysis == Researchers in Italy have developed CADS as a specific type of corpus-based discourse analysis, creating a standard set of methods: 'A basic, standard methodology in CADS may resemble the following:' Step 1: Decide upon the research question; Step 2: Choose, compile or edit an appropriate corpus; Step 3: Choose, compile or edit an appropriate reference corpus / corpora; Step 4: Make frequency lists and run a keywords comparison of the corpora; Step 5: Determine the existence of sets of key items; Step 6: Concordance interesting key items (with differing quantities of co-text); Step 7: (Possibly) refine the research question and return to Step 2. This basic procedure can of course vary according to individual research circumstances and requirements. A particular way of conceptualising research questions has also been proposed in such CADS projects: Given that P is a discourse participant (or possibly an institution) and G is a goal, often a political goal: How does P achieve G with language? What does this tell us about P? Comparative studies: how do P1 and P2 differ in their use of language? Does this tell us anything about their different principles and objectives? A second general type of CADS research question, which might be asked of interactive discourse data, has been conceptualised as follows: Given that P(x) is a particular participant or set of participants, DT is the discourse type, and R is an observed relationship between or among participants: How do {P(a), P(b)...P(n)} achieve / maintain R in DT [using language]? Another common type of research question has been conceptualised thus: Given that A is an author, Ph(x) is a phenomenon or practice or behaviour, and DT(x) is a particular discourse type. A has said P
Deep image compositing
Deep image compositing is a way of compositing and rendering digital images that emerged in the mid-2010s. In addition to the usual color and opacity channels a notion of spatial depth is created. This allows multiple samples in the depth of the image to make up the final resulting color. This technique produces high quality results and removes artifacts around edges that could not be dealt with otherwise. == Deep data == Deep data is encoded by advanced 3D renderers into an image that samples information about the path each rendered pixel takes along the z axis extending outward from the virtual camera through space, including the color and opacity of every non-opaque surface or volume it passes through along the way, as well as neighboring samples. It might be considered somewhat analogous to the way ray tracing generates simulated photon paths through such mediums; however, ray tracing and other traditional rendering techniques generally produce images that contain only three or four channels of color and opacity values per pixel, flattened into a two dimensional frame. Depth maps, on the other hand, contain z axis information encoded in a grayscale image. Each level of gray represents a different slice of the z space. The "thickness" of each slice is determined at time of render, allowing for more or less depth fidelity depending on how deep the scene is. Depth maps have been a boon to compositors for blending 3D renders with live action and practical elements. To be useful, the map must have high enough bit depth to encode separation between close-to-camera objects and objects near infinity. Most 3D software packages are now capable of generating 16-bit and 32-bit depth maps, providing up to 2 billion depth levels. Depth maps do not however include transparency information about non-opaque surfaces or volumes and as such, objects beyond and viewed through these semi- or fully-transparent objects will have no depth information of their own and may not get composited or blurred correctly. Even the popular addition of cryptomattes to many post-production and VFX studios' pipelines, while providing separate color-coded ID shapes for individual elements in a rendered scene to further bridge the gap between CGI and compositing, don't allow for the nearly automated and fully non-linear workflows that deep data does. This is because deep images encapsulate enough 3D information that normally time-intensive tasks such as rotoscoping with numerous holdout mattes for complex interactions between moving characters and semi-transparent environmental volumes like smoke or water, are essentially trivial. Instead of going through that process, multiple mattes could easily be generated from a single set of deep images with no need to re-render every matte element and background for each case. In addition to that efficiency and flexibility, deep data images inherently provide much higher visual quality in common areas that have been difficult with traditional renders, such as the motion-blurred edges of characters with semi-transparent elements like hair. One downside to the use of deep images is their substantial file size, since they encode a relatively enormous amount of data per frame compared to even multichannel formats such as OpenEXR. === Function-based (integrated) === The data is stored as a function of depth. This results in a function curve that can be used to look up the data at any arbitrary depth. Manipulating the data is harder. === Sample-based (deintegrated) === Each sample is considered as an independent piece and can so be manipulated easily. To make sure the data is representing the right detail, an additional expand value needs to be introduced. == Generating deep data == 3D renderers produce the necessary data as a part of the rendering pipeline. Samples are gathered in depth and then combined. The deep data can be written out before this happens and so is nothing new to the process. Generating deep data from camera data needs a proper depth map. This is used in a couple of cases but still not accurate enough for detailed representation. For basic holdout task this can be sufficient though. == Compositing deep data images == Deep images can be composited like regular images. The depth component makes it easier to determine the layering order. Traditionally this had to be input by the user. Deep images have that information for themselves and need no user input. Edge artifacts are reduced as transparent pixels have more data to work with. == History == Deep Images have been around in 3D rendering packages for quite a while now. The use of them for holdouts was first done at several VFX houses in shaders. Holdout mattes can be generated at render time. Using them in a more interactive manner was started recently by several companies, SideFX integrated it in their Houdini software and facilities like Industrial Light & Magic, DreamWorks Animation, Weta, AnimalLogic and DRD studios have implemented interactive solutions. In 2014 the Academy of Motion Picture Arts and Sciences honored the technology with its annual SciTech awards. Dr. Peter Hillman for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing and to Colin Doncaster, Johannes Saam, Areito Echevarria, Janne Kontkanen and Chris Cooper for the development, prototyping and promotion of technologies and workflows for deep compositing. == Resources == Pixar Paper Deep Image Paper Video tutorial of Deep Imaging as used on 2012 film Rise of the Planet of the Apes, Nuke compositing software Deep Compositing Course Deep Image File Format at Google Code Academy Award for the Technology Theory of Deep Pixels OpenEXR Deep Pixels
Beauty.AI
Beauty.AI is a mobile beauty pageant for humans and a contest for programmers developing algorithms for evaluating human appearance. The mobile app and website created by Youth Laboratories that uses artificial intelligence technology to evaluate people's external appearance through certain algorithms, such as symmetry, facial blemishes, wrinkles, estimated age and age appearance, and comparisons to actors and models. The Beauty.AI 2.0 contest caused great concern over important ethical issues with deep neural networks such as age, race and gender bias and lead to the creation of the Diversity.AI think tank dedicated to developing new methods for uncovering and managing bias in artificially intelligent systems. Beauty.AI was also an attempt to find approaches on how machines can perceive human face through evaluating particular features, commonly associated with health and beauty. == Concept == The Beauty.AI app was created by Youth Laboratories, a company based out of Russia and Hong Kong that focuses on facial skin analytics. The bioinformation company Insilico Medicine assists in the Beauty.AI app by testing its deep learning techniques to the app. One goal of the app is to reduce the need for human and animal testing as well as improving people's overall health. Its first contest was started in December 2016, and the results were announced in August 2016. More than 60,000 people submitted entries into the contest. The mobile app uses artificial intelligence technology to inspect photographs for certain facial features in order to both determine a person's beauty through artificial means by multiple robots. Part of the Beauty.AI app's purpose is to collect visual and anecdotal data to improve its creator's Youth Laboratories skin analyst skills. == Accusations of racism == There were a total of 44 individuals from different age groups and genders judged as the most attractive, with 37 white entrants, six Asian entrants, and one dark-skinned entrant. The app has received criticism from social justice advocates and computer science professionals. However, Alex Zhavoronkov, PhD, chief science officer of Youth Laboratories and chief technology officer Konstantin Kiselev, both for Youth Laboratories, noted that a lack of data may have contributed to these results. Also, Kiselev added that another issue was that approximately 75% of entrants were white Europeans, whereas only 7% and 1% were from India and Africa, respectively. Kiselev stated that they would work on doing more and better outreach to these areas to improve in this area. Despite this, it was said by Dr. Zhavoronkov that the AI would discard photos of dark-skinned people if the lighting is too poor. Dr. Zhavoronkov vowed to weed out the issues for the next beauty pageant and to try to avoid a similar controversy in the future.
Corel Designer
Corel DESIGNER is a vector-based graphics program. It was originally developed by Micrografx, which was bought by Corel in 2001. The last version developed by Micrografx was 9.0 in 2001. This program was later sold as Corel DESIGNER 9. There are still a number of users who continue working with version 9.0, because newer versions of the product are based on a modified CorelDRAW rather than the original product. Corel DESIGNER is effective for the creation of engineering drawings, but also offers many functions for graphic design. Starting with version X5, Corel DESIGNER Technical Suite includes Corel Designer, CorelDRAW and Corel Photo-Paint. X6 was the last release for Windows XP. == Release history and file formats ==
BigDog
BigDog is a dynamically stable quadruped military robot platform that was created in 2005 by Boston Dynamics with the Harvard University Concord Field Station. It was funded by the U.S. Defense Advanced Research Projects Agency (DARPA), but the project was shelved after the BigDog's gas engine was deemed too loud for combat. == History == BigDog was funded by the Defense Advanced Research Projects Agency (DARPA) in the hopes that it would be able to serve as a mechanic pack mule to accompany soldiers in terrain too rough for conventional vehicles. Instead of wheels or treads, BigDog uses four legs for movement, allowing it to move across surfaces that would be difficult for wheels. The legs contain a variety of sensors, including joint position and ground contact. BigDog also features a laser gyroscope and a stereo vision system. BigDog is 3 feet (0.91 m) long, stands 2.5 feet (0.76 m) tall, and weighs 240 pounds (110 kg), making it about the size of a small mule. It is capable of traversing difficult terrain, running at four miles per hour (6.4 km/h), carrying 340 pounds (150 kg), and climbing a 35 degree incline. Locomotion is controlled by an onboard computer that receives input from the robot's various sensors. Navigation and balance are also managed by the control system. BigDog's walking pattern is controlled through four legs, each equipped with four low-friction hydraulic cylinder actuators that power the joints. BigDog's locomotion behaviors can vary greatly. It can stand up, sit down, walk with a crawling gait that lifts one leg at a time, walk with a trotting gait lifting diagonal legs, or trot with a running gait. The travel speed of BigDog varies from a 0.62 mph (1 km/h) crawl to a 3.3 mph (5.3 km/h) trot. The BigDog project was headed by Dr. Martin Buehler, who received the Joseph Engelberger Award from the Robotics Industries Association in 2012 for the work. Dr. Buehler while previously a professor at McGill University, headed the robotics lab there, developing four-legged walking and running robots. Built onto the actuators are sensors for joint position and force, and movement is ultimately controlled through an onboard computer which manages the sensors. Approximately 50 sensors are located on BigDog. These measure the attitude and acceleration of the body, motion, and force of joint actuators as well as engine speed, temperature and hydraulic pressure inside the robot's internal engine. Low-level control, such as position and force of the joints, and high-level control such as velocity and altitude during locomotion, are both controlled through the onboard computer. BigDog was featured in episodes of Web Junk 20 and Hungry Beast, and in articles in New Scientist, Popular Science, Popular Mechanics, and The Wall Street Journal. In September 2011 Boston Dynamics released video footage of a new generation of BigDog known as AlphaDog. The footage shows AlphaDog's ability to walk on rough terrain and recover its balance when kicked from the side. The refined equivalent has been designed by Boston Dynamics to exceed the BigDog in terms of capabilities and use to dismounted soldiers. In February 2012, with further DARPA support, the militarized Legged Squad Support System (LS3) variant of BigDog demonstrated its capabilities during a hike over a rough terrain. Starting in the summer of 2012, DARPA planned to complete the overall development of the system and refine its key capabilities in 18 months, ensuring its worth to dismounted warfighters before it is rolled out to squads operating in-theatre. BigDog must be able to demonstrate its ability to complete a 20-mile (32 km) trail in 24 hours, without refuelling, while carrying a 325-pound (150 kg) load. A refinement of its vision sensors will also be conducted. At the end of February 2013, Boston Dynamics released video footage of a modified BigDog with an arm. The arm could pick up objects and throw them. The robot is relying on its legs and torso to help power the motions of the arm. It is believed that it can lift weights around 55 pounds (25 kg). This work was funded by the United States Army Research Laboratory and paved the way for integrating manipulators with quadrupeds as found on Spot, the spiritual successor of BigDog. === Discontinuation === At the end of December 2013, the BigDog project was discontinued. Despite hopes that it would one day work like a pack mule for US soldiers in the field, the gasoline-powered engine was deemed too noisy for use in combat, and it could be heard from hundreds of meters away. A similar project for an all-electric robot named Spot in 2016 was much quieter, but could only carry 45 pounds (20 kg). Both projects are no longer in progress, but the Spot was only released in 2020. == Hardware == BigDog is powered by a small two-stroke, one-cylinder, 15-brake-horsepower (11 kW) engine operating at 9,000 RPM. The engine drives a hydraulic pump, which in turn drives the hydraulic leg actuators. Each leg has four actuators (two for the hip joint, and two each for the knee and ankle joints), for a total of 16. Each actuator unit consists of a hydraulic cylinder, servo valve, position sensor, and force sensor. Onboard computing power is a ruggedized PC/104 board stack with two computers, one running a Pentium M processor running QNX (used for sensor data processing) and another running a Core Duo processor (used for visual data processing). == Gallery ==
Waveform graphics
Waveform graphics is a simple vector graphics system introduced by Digital Equipment Corporation (DEC) on the VT55 and VT105 terminals in the mid-1970s. It was used to produce graphics output from mainframes and minicomputers. DEC used the term "waveform graphics" to refer specifically to the hardware, but it was used more generally to describe the whole system. The system was designed to use as little computer memory as possible. At any given X location it could draw two dots at given Y locations, making it suitable for producing two superimposed waveforms, line charts or histograms. Text and graphics could be mixed, and there were additional tools for drawing axes and markers. The waveform graphics system was used only for a short period of time before it was replaced by the more sophisticated ReGIS system, first introduced on the VT125 in 1981. ReGIS allowed the construction of arbitrary vectors and other shapes. Whereas DEC normally provided a backward compatible solution in newer terminal models, they did not choose to do this when ReGIS was introduced, and waveform graphics disappeared from later terminals. == Description == Waveform graphics was introduced on the VT55 terminal in October 1975, an era when memory was extremely expensive. Although it was technically possible to produce a bitmap display using a framebuffer using technology of the era, the memory needed to do so at a reasonable resolution was typically beyond the price point that made it practical. All sorts of systems were used to replace computer memory with other concepts, like the storage tubes used in the Tektronix 4010 terminals, or the zero memory racing-the-beam system used in the Atari 2600. DEC chose to attack this problem through a clever use of a small buffer representing only the vertical positions on the screen. Such a system could not draw arbitrary shapes, but would allow the display of graph data. The system was based on a 512 by 236 pixel display, producing 512 vertical columns along the X-axis, and 236 horizontal rows on the Y-axis. Y locations were counted up from the bottom, so the coordinate 0,0 was in the lower left, and 511, 235 in the upper right. Had this been implemented using a framebuffer with each location represented by a single bit, 512 × 236 × 1 = 120,832 bits, or 15,104 bytes, would have been required. At the time, memory cost about $50 per kilobyte, so the buffer alone would cost over $700 (equivalent to $4,570 in 2025). Instead, the waveform graphic system used one byte of memory for each X axis location, with the byte's value representing the Y location. This required only 512 bytes for each graph, a total of 1024 bytes for the two graphs. Drawing a line required the programmer to construct a series of Y locations and send them as individual points, the terminal could not connect the dots itself. To make this easier, the terminal automatically incremented the X location every time an Y coordinate was received, so a graph line could be sent as a long string of numbers for subsequent Y locations instead of having to repeatedly send the X location every time. Drawing normally started by sending a single instruction to set the initial X location, often 0 on the left, and then sending in data for the entire curve. The system also included storage for up to 512 markers on both lines. These were always drawn centered on the Y value of the line they were associated with, meaning that a simple on/off indication for X locations was all that was needed, requiring only 1024 bits, or 128 bytes, in total. The markers extended 16 pixels vertically, and could only be aligned on 16-pixel boundaries, so they were not necessarily centered across the underlying graph. Markers were used to indicate important points on the graph, where a symbol of some sort would normally be used. The system also allowed a vertical line to be drawn for every horizontal location and a horizontal one at every vertical location. These were also stored as simple on/off bits, requiring another 128 bytes of memory. These lines were used to draw axes and scale lines, or could be used for a screen-spanning crosshair cursor. A separate set of two 7-bit registers held additional information about the drawing style and other settings. Although complex from the user's perspective, this system was easy to implement in hardware. A cathode ray tube produces a display by scanning the screen in a series of horizontal motions, moving down one vertical line after each horizontal scan. At any given instant during this process, the display hardware examines a few memory locations to see if anything needs to be displayed. For instance, it can determine whether to draw a marker on graph 0 by examining register 1 to see if markers are turned on, looking in the marker buffer to see if there is a 1 at the current X location, and then examining the Y location of graph 0 to see if it is within 16 pixels of the current scan line. If all of these are true, a spot is drawn to present that portion of the marker. As this will be true for 16 vertical locations during the scanning process, a 16-pixel high marker will be drawn. Sold alone, the VT55 was priced at $2,496 (equivalent to $16,295 in 2025),. Like other models of the VT50 series, the terminal could be equipped with an optional wet-paper printer in a panel on the right of the screen. This added $800 (equivalent to $5,223 in 2025) to the price. DEC also offered VT55 in a package with a small model of the PDP-11 to create one model of the DEClab 11/03 system. The DEClab normally sold for $14,000 (equivalent to $91,397 in 2025) with a DECwriter II (LA36) hard-copy terminal for $15,000 (equivalent to $97,925 in 2025), with the VT55. The system had I/O channels for up to 15 lab devices, and included libraries for FORTRAN and BASIC for reading the data and creating graphs. The fairly extensive VT55 Programmers Manual covered the latter in depth. == Commands and data == Data was sent to the terminal using an extended set of codes similar to those introduced on the VT52. VT52 codes generally started with the ESC character (octal 33, decimal 27) and was then followed by a single letter instruction. For instance, the string of four characters ESC H ESC J would reposition the cursor in the upper left (home) and then clear the screen from that point down. These codes were basically modeless; triggered by the ESC the resulting escape mode automatically exited again when the command was complete. Escape codes could be interspersed with display text anywhere in the stream of data. In contrast, the graphics system was entirely modal, with escape sequences being sent to cause the terminal to enter or exit graph drawing mode. Data sent between these two codes were interpreted by the graphics hardware, so text and graphics could not be mixed in a single stream of instructions. Graphics mode was entered by sending the string ESC 1, and exited again with the string ESC 2. Even the commands within the graphics mode were modal; characters were interpreted as being additional data for the previous load character (command) until another load character is seen. Ten load characters were available: @ - no operation, used to tell the terminal the last command is no longer active A - load data into register 0, selecting the drawing mode for the two graphs I - load data into register 1, selecting other drawing options H - load the starting X position (Horizontal) for the following commands B - load data for Y locations for graph 0 starting at the H position selected earlier J - load data for Y locations for graph 1 starting at the H position selected earlier C - store a marker on graph 0 at the following X location K - store a marker on graph 1 at the following X location D - draw a horizontal line at the given Y location L - draw a vertical line at the given X location X and Y locations were sent as 10-bit decimal numbers, encoded as ASCII characters, with 5 bits per character. This means that any number within the 1024 number space (210) can be stored as a string of two characters. To ensure the characters can be transmitted over 7-bit links, the pattern 01 is placed in front of both 5-bit numbers, producing 7-bit ASCII values that are always within the printable range. This results in a somewhat complex encoding algorithm. For instance, if one wanted to encode the decimal value 102, first you convert that to the 10-bit decimal pattern 0010010010. That is then split that into upper and lower 5-bit parts, 00100 and 10010. Then append 01 binary to produce 7-bit numbers 0100100 and 0110010. Individually convert back to decimal 40 and 50, and then look up those characters in an ASCII chart, finding ( and 2. These have to be sent to the terminal least significant character first. If these were being used to set the X coordinate, the complete string would be H2(. When used as X and Y locations for the graphs, extra digits were ignored. For instance, the 512 pixel X axis r
Video editing software
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.