Path tracing is a rendering algorithm in computer graphics that simulates how light interacts with objects and participating media to generate realistic (physically plausible) images. It is based on earlier, more limited, ray tracing algorithms. Path tracing is used to create photorealistic images for artistic purposes, and for applications such as architectural rendering and product design. It is also used to render frames for animated films, and visual effects for film and television. Because it can be very accurate and unbiased, it is commonly used to generate reference images when testing the quality of other rendering algorithms. The technique uses the Monte Carlo method to compute estimates of global illumination and simulate the ways different materials reflect (or scatter), transmit, absorb, and emit light. It can incorporate simple modeling of the effects of aperture and lens (depth of field, and bokeh) and shutter speed (motion blur), or more realistic simulation of the optical components in a camera. The algorithm works by describing illumination in a scene using the rendering equation, or light transport equation, and finding an approximate solution using Monte Carlo integration. An inefficient (but accurate) version of the algorithm can be very simple, and involves tracing a ray from the camera, allowing this ray to bounce in random directions as it hits different objects in the scene, and computing the amount of light transmitted along the path to the camera whenever the path encounters a light source. This process is repeated many times for each pixel (each repetition, with generated path and transmitted light, is called a sample), and the results are averaged. One main difference between this algorithm and standard ray tracing is that a single unbranching path is traced each time, while "Whitted-style" or "Cook-style" ray tracing recursively samples branching paths (e.g. when light is both reflected and refracted by a glass object). More practical versions incorporate improvements such as quasi-Monte Carlo methods (techniques that distribute samples more evenly), importance sampling (take more samples of paths that are likely to transport more light), and next event estimation (allow a very limited form of branching, and sample additional paths that connect to the lights more directly). Because path tracing uses random samples there is noise in the final image, which decreases as more samples are taken. Images commonly require many thousands of samples per pixel (spp) to reduce noise to an acceptable level, and denoising techniques (e.g. based on neural networks) are often used. Denoising is usually necessary when path tracing is used for real-time rendering in video games, because relatively few samples can be taken. Many alternative algorithms for path tracing have been developed, although they do not always outperform more straightforward implementations. These include bidirectional path tracing (which traces paths forwards from the light source as well as backwards from the camera), Metropolis light transport, and ways of combining path tracing with photon mapping. Video games often use biased versions of path tracing to improve performance (e.g. limiting the number of bounces in each path). A family of techniques called ReSTIR has been developed that can help real-time path tracing by sharing data between nearby pixels and consecutive frames. == History == Like all ray tracing methods, path tracing is based on ray casting, which Arthur Appel used for computer graphics rendering in the late 1960s. In 1980, John Turner Whitted published a recursive ray tracing algorithm that allows rendering images of scenes containing mirrored surfaces and refractive transparent objects. In 1984, Cook et al. described a form of ray tracing called distributed ray tracing, which uses Monte Carlo integration to render effects such as depth of field, motion blur, reflection from rough surfaces, and area lights. The same year, the radiosity method (not a ray tracing method) was published, which was the first physically based method for rendering diffuse global illumination. In 1986, Jim Kajiya published a paper exploring how to use distributed ray tracing to render physically-based global illumination, and this paper also introduced and named the method called "path tracing". Path tracing and other distributed ray tracing techniques were further refined in the late 1980s and early 1990s by researchers such as James Arvo and Peter Shirley, and by Greg Ward in the open source Radiance software. Despite being theoretically able to render any lighting, the original form of path tracing can sometimes be very inefficient (or noisy) for rendering light that is reflected or refracted before illuminating a visible surface, including diffuse global illumination where light enters an area through narrow gaps, because it traces paths only from the camera. To address this, variations of path tracing that trace paths from both the camera and from light sources, called bidirectional path tracing, were published in 1993 by Eric Lafortune and Yves Willems, and in 1997 by Eric Veach and Leonidas Guibas. In 1997 Veach and Guibas also published an alternative method called Metropolis light transport, which combines bidirectional path tracing with the Metropolis method. Veach's lengthy Ph.D. dissertation described both techniques, along with the theoretical background of path tracing; later, the book Physically Based Rendering (which won an Academy Award for Technical Achievement in 2014) helped to make information about path tracing more widely available. Path tracing requires tracing a large number of paths of light in order to produce an image with a visually acceptable amount of noise. This made path tracing very slow on computers available in the 1980s and 1990s, and noise remained a problem when trying to reproduce the style of earlier computer graphics animated films. Most animated films produced until around 2010, by studios such as Pixar, used rasterization-based rendering, with ray tracing used selectively for reflections (and later for precomputed or cached global illumination). However the speed of computers rapidly increased during the 1990s. Blue Sky Studios pioneered using Monte Carlo ray tracing for global illumination in animation, including in the 1998 short film "Bunny", but they did not disclose the precise techniques used. Path tracing gradually become more practical for film production in the early 2000s. The Arnold renderer, developed by Marcos Fajardo, was used by Sony Pictures Imageworks to produce the feature-length film Monster House, released in 2006. Pixar rewrote their RenderMan software to use path tracing, and released their first feature-length path-traced film Finding Dory in 2016. Although path tracing still had a large computational cost, animation studios discovered that less human labor was required when using it, for example because global illumination no longer needed to be faked by manually placing lights. The amount of noise present in path traced images still caused difficulties, particularly when rendering motion blur (which was used extensively by earlier animated films) but denoising techniques were developed to address this. New techniques were also needed for rendering hair and fur, and to handle the extremely large scenes sometimes required by films. Renderers such as Arnold, and Disney's Hyperion, originally only used CPUs for rendering, but as GPUs became more capable (and APIs such as CUDA, OpenCL, and OptiX were released) researchers and developers began adapting algorithms and implementations to use GPUs. GPUs can dramatically reduce rendering time: for example using a high-end GPU to accelerate portions of the rendering code can make it over 30 times faster than using only a high-end CPU. == Description == Kajiya's 1986 paper defined a recursive integral equation called the rendering equation, which describes a simplified form of light transport. Using Monte Carlo integration for the integral on the right side of the equation leads fairly directly to the path tracing algorithm: I ( x , x ′ ) = g ( x , x ′ ) [ ϵ ( x , x ′ ) + ∫ S ρ ( x , x ′ , x ″ ) I ( x ′ , x ″ ) d x ″ ] {\displaystyle I(x,x')=g(x,x')\left[\epsilon (x,x')+\int _{S}\rho (x,x',x'')I(x',x'')dx''\right]} This expresses I(x,x'), the light arriving at point x from point x', as the product of a geometry term, g(x,x'), which is 0 if there is something blocking the light between the two points and 1 otherwise, and the amount of light leaving point x' and traveling towards x. The light leaving point x' is the sum of the light emitted by the surface at x', and the integral of the light arriving at x' from all other points in the scene (the integration domain S) and being reflected towards x. The factor ρ(x,x',x''), which calculates how much light is reflected, must take into account the angles at which the light is arriving and leaving, and
Autonomous things
Autonomous things, abbreviated AuT, or the Internet of autonomous things, abbreviated as IoAT, is an emerging term for the technological developments that are expected to bring computers into the physical environment as autonomous entities without human direction, freely moving and interacting with humans and other objects. Self-navigating drones are the first AuT technology in (limited) deployment. It is expected that the first mass-deployment of AuT technologies will be the autonomous car, generally expected to be available around 2020. Other currently expected AuT technologies include home robotics (e.g., machines that provide care for the elderly, infirm or young), and military robots (air, land or sea autonomous machines with information-collection or target-attack capabilities). AuT technologies share many common traits, which justify the common notation. They are all based on recent breakthroughs in the domains of (deep) machine learning and artificial intelligence. They all require extensive and prompt regulatory developments to specify the requirements from them and to license and manage their deployment (see the further reading below). And they all require unprecedented levels of safety (e.g., automobile safety) and security, to overcome concerns about the potential negative impact of the new technology. As an example, the autonomous car both addresses the main existing safety issues and creates new issues. It is expected to be much safer than existing vehicles, by eliminating the single most dangerous element – the driver. The US's National Highway Traffic Safety Administration estimates 94 percent of US accidents were the result of human error and poor decision-making, including speeding and impaired driving, and the Center for Internet and Society at Stanford Law School claims that "Some ninety percent of motor vehicle crashes are caused at least in part by human error". So while safety standards like the ISO 26262 specify the required safety, there is still a burden on the industry to demonstrate acceptable safety. While car accidents claim every year 35,000 lives in the US, and 1.25 million worldwide, some believe that even "a car that's 10 times as safe, which means 3,500 people die on the roads each year [in the US alone]" would not be accepted by the public. The acceptable level may be closer to the current figures on aviation accidents and incidents, with under a thousand worldwide deaths in most years – three orders of magnitude lower than cars. This underscores the unprecedented nature of the safety requirements that will need to be met for cars, with similar levels of safety expected for other Autonomous Things.
Parasolid
Parasolid is a geometric modeling kernel originally developed by Shape Data Limited, now owned and developed by Siemens Digital Industries Software. It can be licensed by other companies for use in their 3D computer graphics software products. Parasolid's abilities include model creation and editing utilities such as Boolean modeling operators, feature modeling support, advanced surfacing, thickening and hollowing, blending and filleting, and sheet modeling. It also incorporates modeling with mesh surfaces and lattices. Parasolid also includes tools for direct model editing, including tapering, offsetting, geometry replacement and removing feature details with automated regeneration of surrounding data. Parasolid also provides wide-ranging graphical and rendering support, including hidden-line, wireframe and drafting, tessellation, and model data inquiries. To use Parasolid effectively, software developers need knowledge of CAD in general, computational geometry, and topology. Parasolid is available for Windows (32-bit, 64-bit and AArch64), Linux (64-bit and AArch64), macOS (Apple silicon and Intel), iOS, and Android. == Parasolid XT format == Parasolid parts are normally saved in XT format, which usually has the file extension .X_T. The format is documented and open. There is also a binary version of the format, usually with an .X_B extension, which is somewhat more compact. Both .X_T and .X_B are used for parts files. == Applications == It is used in many computer-aided design (CAD), computer-aided manufacturing (CAM), computer-aided engineering (CAE), product visualization, and CAD data exchange packages. Notable uses include:
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
Ordered dithering
Ordered dithering is any image dithering algorithm which uses a pre-set threshold map tiled across an image. It is commonly used to display a continuous image on a display of smaller color depth. For example, Microsoft Windows uses it in 16-color graphics modes. With the most common "Bayer" threshold map, the algorithm is characterized by noticeable crosshatch patterns in the result. == Threshold map == The algorithm reduces the number of colors by applying a threshold map M to the pixels displayed, causing some pixels to change color, depending on the distance of the original color from the available color entries in the reduced palette. The first threshold maps were designed by hand to minimise the perceptual difference between a grayscale image and its two-bit quantisation for up to a 4x4 matrix. An optimal threshold matrix is one that for any possible quantisation of color has the minimum possible texture so that the greatest impression of the underlying feature comes from the image being quantised. It can be proven that for matrices whose side length is a power of two there is an optimal threshold matrix. The map may be rotated or mirrored without affecting the effectiveness of the algorithm. This threshold map (for sides with length as power of two) is also known as a Bayer matrix or, when unscaled, an index matrix. For threshold maps whose dimensions are a power of two, the map can be generated recursively via: M 2 n = 1 ( 2 n ) 2 [ 4 M n 4 M n + 2 J n 4 M n + 3 J n 4 M n + J n ] = J 2 ⊗ M n + 1 n 2 M 2 ⊗ J n , {\displaystyle \mathbf {M} _{2n}={\frac {1}{(2n)^{2}}}{\begin{bmatrix}4\mathbf {M} _{n}&4\mathbf {M} _{n}+2\mathbf {J} _{n}\\4\mathbf {M} _{n}+3\mathbf {J} _{n}&4\mathbf {M} _{n}+\mathbf {J} _{n}\end{bmatrix}}=\mathbf {J} _{2}\otimes \mathbf {M} _{n}+{\frac {1}{n^{2}}}\mathbf {M} _{2}\otimes \mathbf {J} _{n},} where J n {\displaystyle \mathbf {J} _{n}} are n × n {\displaystyle n\times n} matrices of ones and ⊗ {\displaystyle \otimes } is the Kronecker product. While the metric for texture that Bayer proposed could be used to find optimal matrices for sizes that are not a power of two, such matrices are uncommon as no simple formula for finding them exists, and relatively small matrix sizes frequently give excellent practical results (especially when combined with other modifications to the dithering algorithm). This function can also be expressed using only bit arithmetic: M(i, j) = bit_reverse(bit_interleave(bitwise_xor(i, j), i)) / n ^ 2 == Pre-calculated threshold maps == Rather than storing the threshold map as a matrix of n {\displaystyle n} × n {\displaystyle n} integers from 0 to n 2 {\displaystyle n^{2}} , depending on the exact hardware used to perform the dithering, it may be beneficial to pre-calculate the thresholds of the map into a floating point format, rather than the traditional integer matrix format shown above. For this, the following formula can be used: Mpre(i,j) = Mint(i,j) / n^2 This generates a standard threshold matrix. for the 2×2 map: this creates the pre-calculated map: Additionally, normalizing the values to average out their sum to 0 (as done in the dithering algorithm shown below) can be done during pre-processing as well by subtracting 1⁄2 of the largest value from every value: Mpre(i,j) = Mint(i,j) / n^2 – 0.5 maxValue creating the pre-calculated map: == Algorithm == The ordered dithering algorithm renders the image normally, but for each pixel, it offsets its color value with a corresponding value from the threshold map according to its location, causing the pixel's value to be quantized to a different color if it exceeds the threshold. For most dithering purposes, it is sufficient to simply add the threshold value to every pixel (without performing normalization by subtracting 1⁄2), or equivalently, to compare the pixel's value to the threshold: if the brightness value of a pixel is less than the number in the corresponding cell of the matrix, plot that pixel black, otherwise, plot it white. This lack of normalization slightly increases the average brightness of the image, and causes almost-white pixels to not be dithered. This is not a problem when using a gray scale palette (or any palette where the relative color distances are (nearly) constant), and it is often even desired, since the human eye perceives differences in darker colors more accurately than lighter ones, however, it produces incorrect results especially when using a small or arbitrary palette, so proper normalization should be preferred. In other words, the algorithm performs the following transformation on each color c of every pixel: c ′ = n e a r e s t _ p a l e t t e _ c o l o r ( c + r × ( M ( x mod n , y mod n ) − 1 / 2 ) ) {\displaystyle c'=\mathrm {nearest\_palette\_color} {\mathopen {}}\left(c+r\times \left(M(x{\bmod {n}},y{\bmod {n}})-1/2\right){\mathclose {}}\right)} where M(i, j) is the threshold map on the i-th row and j-th column, c′ is the transformed color, and r is the amount of spread in color space. Assuming an RGB palette with 23N evenly distanced colors where each color (a triple of red, green and blue values) is represented by an octet from 0 to 255, one would typically choose r ≈ 255 N {\textstyle r\approx {\frac {255}{N}}} . (1⁄2 is again the normalizing term.) Because the algorithm operates on single pixels and has no conditional statements, it is very fast and suitable for real-time transformations. Additionally, because the location of the dithering patterns always stays the same relative to the display frame, it is less prone to jitter than error-diffusion methods, making it suitable for animations. Because the patterns are more repetitive than error-diffusion method, an image with ordered dithering compresses better. Ordered dithering is more suitable for line-art graphics as it will result in straighter lines and fewer anomalies. The values read from the threshold map should preferably scale into the same range as the minimal difference between distinct colors in the target palette. Equivalently, the size of the map selected should be equal to or larger than the ratio of source colors to target colors. For example, when quantizing a 24 bpp image to 15 bpp (256 colors per channel to 32 colors per channel), the smallest map one would choose would be 4×2, for the ratio of 8 (256:32). This allows expressing each distinct tone of the input with different dithering patterns. === A variable palette: pattern dithering === == Non-Bayer approaches == The above thresholding matrix approach describes the Bayer family of ordered dithering algorithms. A number of other algorithms are also known; they generally involve changes in the threshold matrix, which changes the distribution of the "noise" introduced by all kinds of dithering (the difference between the original image and the dithered image). === Halftone === Halftone dithering performs a form of clustered dithering, creating a look similar to halftone patterns, using a specially crafted matrix. === Void and cluster === The Void and cluster algorithm uses a pre-generated blue noise as the matrix for the dithering process. The blue noise matrix keeps the Bayer's good high frequency content, but with a more uniform coverage of all the frequencies involved shows a much lower amount of patterning. The "voids-and-cluster" method gets its name from the matrix generation procedure, where a black image with randomly initialized white pixels is gaussian-blurred to find the brightest and darkest parts, corresponding to voids and clusters. After a few swaps have evenly distributed the bright and dark parts, the pixels are numbered by importance. It takes significant computational resources to generate the blue noise matrix: on a modern computer a 64×64 matrix requires a couple seconds using the original algorithm. This algorithm can be extended to make animated dither masks which also consider the axis of time. This is done by running the algorithm in three dimensions and using a kernel which is a product of a two-dimensional gaussian kernel on the XY plane, and a one-dimensional Gaussian kernel on the Z axis. === Simulated Annealing === Simulated annealing can generate dither masks by starting with a flat histogram and swapping values to optimize a loss function. The loss function controls the spectral properties of the mask, allowing it to make blue noise or noise patterns meant to be filtered by specific filters. The algorithm can also be extended over time for animated dither masks with chosen temporal properties.
Amazon Q
Amazon Q is a chatbot developed by Amazon for enterprise use. Based on both Amazon Titan and GPT-5, it was announced on November 28, 2023. At launch, it was a part of the Amazon Web Services management console. Amazon CodeWhisperer is a part of Amazon Q Developer, a part of Amazon Q. == History == Amazon's business-focused chatbot Q was announced on November 28, 2023 in a preview, with a full version available at $20 per person per month. On July 19, 2025, the Amazon Q Visual Studio Code extension was compromised to delete the user's home directory. The issue was fixed on July 21. == Capabilities == Q can be prompted to summarize long documents and group chats, create charts, data analysis and write code. Q is also capable of accessing non-Amazon services. The chatbot is based on Amazon Titan and GPT-5, and uses the Amazon Bedrock repository of foundational models. It is part of the Amazon Web Services management console.
Enterprise mobile application
The term enterprise mobile application is used in the context of mobile apps created/brought by individual organizations for their workers to carry out the functions required to run the organization. It is the process of building a mobile application for the requirements of an enterprise. An enterprise mobile application belonging to an organization is expected to be used by only the workers of that organization. The definition of enterprise mobile application does not include the mobile apps that an organization create for its customers or consumers of the products or services generated by the organization. == Example == An organization, whether for-profit or non-profit, may create a mobile app for its members to track inventory levels of supplies they distribute to their target communities or materials used in product manufacturing. Such a mobile app comes under the definition of enterprise mobile application. However, the same organization may also create another mobile app to sell their products to end users or spread awareness of their services to various communities, and that mobile app would not come under definition of enterprise mobile application. == Enterprise mobile solution providers == Enterprise Mobile solution providers create and develop apps for individual organizations that can buy instead of creating the apps themselves. Reasons for Organizations buying the apps include time and cost savings, technical expertise. Today Enterprise Mobility is playing track role for enterprise transformation. Today, enterprises needs productivity is a fast way. Enterprise mobility helps business owners to build their work in a progressive way by assisting enterprise mobility solutions.