In statistics, a mixture model is a probabilistic model for representing the presence of subpopulations within an overall population, without requiring that an observed data set should identify the sub-population to which an individual observation belongs. Formally a mixture model corresponds to the mixture distribution that represents the probability distribution of observations in the overall population. However, while problems associated with "mixture distributions" relate to deriving the properties of the overall population from those of the sub-populations, "mixture models" are used to make statistical inferences about the properties of the sub-populations given only observations on the pooled population, without sub-population identity information. Mixture models are used for clustering, under the name model-based clustering, and also for density estimation. Mixture models should not be confused with models for compositional data, i.e., data whose components are constrained to sum to a constant value (1, 100%, etc.). However, compositional models can be thought of as mixture models, where members of the population are sampled at random. Conversely, mixture models can be thought of as compositional models, where the total size reading population has been normalized to 1. == Structure == === General mixture model === A typical finite-dimensional mixture model is a hierarchical model consisting of the following components: N random variables that are observed, each distributed according to a mixture of K components, with the components belonging to the same parametric family of distributions (e.g., all normal, all Zipfian, etc.) but with different parameters. However, it is also possible to have a finite mixture model where each component belongs to a different parametric family of distributions, for example, a mixture of a multivariate normal distribution and a generalized hyperbolic distribution. N random latent variables specifying the identity of the mixture component of each observation, each distributed according to a K-dimensional categorical distribution A set of K mixture weights, which are probabilities that sum to 1. A set of K parameters, each specifying the parameter of the corresponding mixture component. In many cases, each "parameter" is actually a set of parameters. For example, if the mixture components are Gaussian distributions, there will be a mean and variance for each component. If the mixture components are categorical distributions (e.g., when each observation is a token from a finite alphabet of size V), there will be a vector of V probabilities summing to 1. In addition, in a Bayesian setting, the mixture weights and parameters will themselves be random variables, and prior distributions will be placed over the variables. In such a case, the weights are typically viewed as a K-dimensional random vector drawn from a Dirichlet distribution (the conjugate prior of the categorical distribution), and the parameters will be distributed according to their respective conjugate priors. Mathematically, a basic parametric mixture model can be described as follows: K = number of mixture components N = number of observations θ i = 1 … K = parameter of distribution of observation associated with component i ϕ i = 1 … K = mixture weight, i.e., prior probability of a particular component i ϕ = K -dimensional vector composed of all the individual ϕ 1 … K ; must sum to 1 z i = 1 … N = component of observation i x i = 1 … N = observation i F ( x | θ ) = probability distribution of an observation, parametrized on θ z i = 1 … N ∼ Categorical ( ϕ ) x i = 1 … N | z i = 1 … N ∼ F ( θ z i ) {\displaystyle {\begin{array}{lcl}K&=&{\text{number of mixture components}}\\N&=&{\text{number of observations}}\\\theta _{i=1\dots K}&=&{\text{parameter of distribution of observation associated with component }}i\\\phi _{i=1\dots K}&=&{\text{mixture weight, i.e., prior probability of a particular component }}i\\{\boldsymbol {\phi }}&=&K{\text{-dimensional vector composed of all the individual }}\phi _{1\dots K}{\text{; must sum to 1}}\\z_{i=1\dots N}&=&{\text{component of observation }}i\\x_{i=1\dots N}&=&{\text{observation }}i\\F(x|\theta )&=&{\text{probability distribution of an observation, parametrized on }}\theta \\z_{i=1\dots N}&\sim &\operatorname {Categorical} ({\boldsymbol {\phi }})\\x_{i=1\dots N}|z_{i=1\dots N}&\sim &F(\theta _{z_{i}})\end{array}}} In a Bayesian setting, all parameters are associated with random variables, as follows: K , N = as above θ i = 1 … K , ϕ i = 1 … K , ϕ = as above z i = 1 … N , x i = 1 … N , F ( x | θ ) = as above α = shared hyperparameter for component parameters β = shared hyperparameter for mixture weights H ( θ | α ) = prior probability distribution of component parameters, parametrized on α θ i = 1 … K ∼ H ( θ | α ) ϕ ∼ S y m m e t r i c - D i r i c h l e t K ( β ) z i = 1 … N | ϕ ∼ Categorical ( ϕ ) x i = 1 … N | z i = 1 … N , θ i = 1 … K ∼ F ( θ z i ) {\displaystyle {\begin{array}{lcl}K,N&=&{\text{as above}}\\\theta _{i=1\dots K},\phi _{i=1\dots K},{\boldsymbol {\phi }}&=&{\text{as above}}\\z_{i=1\dots N},x_{i=1\dots N},F(x|\theta )&=&{\text{as above}}\\\alpha &=&{\text{shared hyperparameter for component parameters}}\\\beta &=&{\text{shared hyperparameter for mixture weights}}\\H(\theta |\alpha )&=&{\text{prior probability distribution of component parameters, parametrized on }}\alpha \\\theta _{i=1\dots K}&\sim &H(\theta |\alpha )\\{\boldsymbol {\phi }}&\sim &\operatorname {Symmetric-Dirichlet} _{K}(\beta )\\z_{i=1\dots N}|{\boldsymbol {\phi }}&\sim &\operatorname {Categorical} ({\boldsymbol {\phi }})\\x_{i=1\dots N}|z_{i=1\dots N},\theta _{i=1\dots K}&\sim &F(\theta _{z_{i}})\end{array}}} This characterization uses F and H to describe arbitrary distributions over observations and parameters, respectively. Typically H will be the conjugate prior of F. The two most common choices of F are Gaussian aka "normal" (for real-valued observations) and categorical (for discrete observations). Other common possibilities for the distribution of the mixture components are: Binomial distribution, for the number of "positive occurrences" (e.g., successes, yes votes, etc.) given a fixed number of total occurrences Multinomial distribution, similar to the binomial distribution, but for counts of multi-way occurrences (e.g., yes/no/maybe in a survey) Negative binomial distribution, for binomial-type observations but where the quantity of interest is the number of failures before a given number of successes occurs Poisson distribution, for the number of occurrences of an event in a given period of time, for an event that is characterized by a fixed rate of occurrence Exponential distribution, for the time before the next event occurs, for an event that is characterized by a fixed rate of occurrence Log-normal distribution, for positive real numbers that are assumed to grow exponentially, such as incomes or prices Multivariate normal distribution (aka multivariate Gaussian distribution), for vectors of correlated outcomes that are individually Gaussian-distributed Multivariate Student's t-distribution, for vectors of heavy-tailed correlated outcomes A vector of Bernoulli-distributed values, corresponding, e.g., to a black-and-white image, with each value representing a pixel; see the handwriting-recognition example below === Specific examples === ==== Gaussian mixture model ==== A typical non-Bayesian Gaussian mixture model looks like this: K , N = as above ϕ i = 1 … K , ϕ = as above z i = 1 … N , x i = 1 … N = as above θ i = 1 … K = { μ i = 1 … K , σ i = 1 … K 2 } μ i = 1 … K = mean of component i σ i = 1 … K 2 = variance of component i z i = 1 … N ∼ Categorical ( ϕ ) x i = 1 … N ∼ N ( μ z i , σ z i 2 ) {\displaystyle {\begin{array}{lcl}K,N&=&{\text{as above}}\\\phi _{i=1\dots K},{\boldsymbol {\phi }}&=&{\text{as above}}\\z_{i=1\dots N},x_{i=1\dots N}&=&{\text{as above}}\\\theta _{i=1\dots K}&=&\{\mu _{i=1\dots K},\sigma _{i=1\dots K}^{2}\}\\\mu _{i=1\dots K}&=&{\text{mean of component }}i\\\sigma _{i=1\dots K}^{2}&=&{\text{variance of component }}i\\z_{i=1\dots N}&\sim &\operatorname {Categorical} ({\boldsymbol {\phi }})\\x_{i=1\dots N}&\sim &{\mathcal {N}}(\mu _{z_{i}},\sigma _{z_{i}}^{2})\end{array}}} A Bayesian version of a Gaussian mixture model is as follows: K , N = as above ϕ i = 1 … K , ϕ = as above z i = 1 … N , x i = 1 … N = as above θ i = 1 … K = { μ i = 1 … K , σ i = 1 … K 2 } μ i = 1 … K = mean of component i σ i = 1 … K 2 = variance of component i μ 0 , λ , ν , σ 0 2 = shared hyperparameters μ i = 1 … K ∼ N ( μ 0 , λ σ i 2 ) σ i = 1 … K 2 ∼ I n v e r s e - G a m m a ( ν , σ 0 2 ) ϕ ∼ S y m m e t r i c - D i r i c h l e t K ( β ) z i = 1 … N ∼ Categorical ( ϕ ) x i = 1 … N ∼ N ( μ z i , σ z i 2 ) {\displaystyle {\begin{array}{lcl}K,N&=&{\text{as above}}\\\phi _{i=1\dots K},{\boldsymbol {\phi }}&=&{\text{as above}}\\z_{i=1\dots N},x_{i=1\dots N}&=&{\text{as above}}\\\theta _{i=1\
TIMIT
TIMIT is a corpus of phonemically and lexically transcribed speech of American English speakers of different sexes and dialects. Each transcribed element has been delineated in time. TIMIT was designed to further acoustic-phonetic knowledge and automatic speech recognition systems. It was commissioned by DARPA and corpus design was a joint effort between the Massachusetts Institute of Technology, SRI International, and Texas Instruments (TI). The speech was recorded at TI, transcribed at MIT, and verified and prepared for publishing by the National Institute of Standards and Technology (NIST). There is also a telephone bandwidth version called NTIMIT (Network TIMIT). TIMIT and NTIMIT are not freely available — either membership of the Linguistic Data Consortium, or a monetary payment, is required for access to the dataset. == Data == TIMIT contains ~5 hours of speech, of 10 sentences spoken by each of 630 speakers. The sentences were randomly sampled from a corpus of 2342 sentences. The speakers were native speakers of American English, classified under 8 major dialect regions: New England, Northern, North Midland, South Midland, Southern, New York City, Western, Army Brat (moved around). The speakers were 70% male and 30% female. Recordings were made in a noise-isolated recording booth at Texas Instrument, using a semi-automatic computer system (STEROIDS) to control the presentation of prompts to the speaker and the recording. Two-channel recordings were made using a Sennheiser HMD 414 headset-mounted microphone and a Brüel & Kjær 1/2" far-field pressure microphone (#4165). The speech was digitized at a sample rate of 20 kHz then and downsampled to 16 kHz. == History == The TIMIT telephone corpus was an early attempt to create a database with speech samples. It was published in the year 1988 on CD-ROM and consists of only 10 sentences per speaker. Two 'dialect' sentences were read by each speaker, as well as another 8 sentences selected from a larger set Each sentence averages 3 seconds long and is spoken by 630 different speakers. It was the first notable attempt in creating and distributing a speech corpus and the overall project has produced costs of 1.5 million US$. An update was released in October 1990. It included full 630-speaker corpus; checked and corrected transcriptions; word-alignment transcriptions; NIST SPHERE-headered waveform files and header manipulation software; phonemic dictionary; new test and training subsets balanced for dialectal and phonetic coverage; more extensive documentation. The full name of the project is DARPA-TIMIT Acoustic-Phonetic Continuous Speech Corpus and the acronym TIMIT stands for Texas Instruments/Massachusetts Institute of Technology. The main reason why a corpus of telephone speech was created was to train speech recognition software. In the Blizzard challenge, different software has the obligation to convert audio recordings into textual data and the TIMIT corpus was used as a standardized baseline.
Acquisition of DirecTV by AT&T
AT&T Inc. announced an agreement with the DirecTV Group on May 18, 2014, to acquire the company for $48.5 billion in a joint cash-stock transaction and assumed debts of $18.6 billion for a total offer of $67.1 billion. Due to stalling growth in the wireless sector, AT&T began diversifying into mass media to expand its consumer offerings. After regulatory agencies approved the purchase on July 24, 2015, AT&T briefly became the largest Pay-TV provider. DirecTV was brought under AT&T's communication segment and DirecTV Now was launched on November 30, 2016, as an alternative to cord-cutting. In the years following the purchase, DirecTV lost millions of subscribers across its satellite and streaming services and by 2019, calls grew for AT&T to divest itself off the business. Initially, AT&T rejected these calls and defended the acquisition, but by February 2021, it reached a deal with TPG Inc. to transfer ownership of DirecTV. Under the terms of the agreement, AT&T would retain a 70% majority stake in DirecTV but would no longer oversee its daily operations. The deal was finalized by August 2, 2021, with AT&T receiving $7.1 billion. By July 3, 2025, AT&T sold its majority stake to TPG, ending any ties of involvement. == Background and Development == === AT&T's history === The company to bear the name "AT&T" was founded on March 3, 1885, as American Telephone and Telegraph Company (or AT&T Corporation) by Theodore Newton Vail as a long-distance subsidiary of the Bell Telephone Company. By December 1899, the Bell Telephone's assets were transferred to AT&T, with the latter gaining control of the Bell System, a regional network of local telecom companies. Theodore Vail became AT&T's President in 1907 and under his leadership, AT&T gained a monopoly over the telephone sector in the United States. This near century dominance earned AT&T the nickname of "Ma Bell." In 1974, the U.S. Department of Justice sued AT&T on accounts of antitrust violations. AT&T challenged the lawsuit, but in 1982, it reached a settlement with the DOJ to break apart its Bell System monopoly into seven regional companies. On January 1, 1984, the Bell System came to an end and led to a reshaped telecom industry. One of these regional companies, Southwestern Bell, emerged as the smallest, but after the passage of the 1996 Telecom Act, deregulated telecom rules allowed SBC to become a major telecom company. AT&T briefly became the largest cable and broadband company by the end of the 20th Century, but later deconsolidated to exit those industries. In 2005, SBC acquired its former parent, AT&T, and took on its branding as AT&T Inc, while retaining its previous business history. The newly reincorporated AT&T acquired BellSouth in 2006 and reconstituted much of its former Bell System. === DirecTV's history === == Acquisition Timeline == == Managing DirecTV == == Divestment and Spinoff ==
Digital media in education
Digital media in education refers to the use of digital technologies to support and enhance teaching and learning processes. This includes the application of multiple digital software applications, devices, and online platforms as tools for learning. Learners interact with these technologies to access, analyze, evaluate, and create media content and communication in various forms. The integration of digital media in education has dramatically increased over time, significantly transforming traditional educational practices. When viewed through a global and inclusive lens, digital education should be guided by principles of equity, inclusion, and public infrastructure to ensure meaningful participation of all learners. == History == === 20th century === Technological advances in the 20th century, particularly the invention of the Internet, laid the foundation for incorporating technology into education. In the early 1900s, the overhead projector and instructional radio broadcasts were among the first technologies used for educational purposes. The introduction of computers in classrooms occurred in 1950, when a flight simulation program was developed to train pilots at the Massachusetts Institute of Technology. However, access to computers remained extremely limited for several decades. In 1964, John Kemeny and Thomas Kurtz developed the BASIC programming language, which simplified computer interaction and introduced time-sharing, enabling multiple users to work on the same system simultaneously. This innovation made computing increasingly accessible for educational settings. By the 1980s, schools began to show more interest in computers as companies released mass-market devices to the public. Networking further enabled the interconnection of computers into unified communication systems, which proved more efficient and cost-effective than previous stand-alone machines. This development prompted wider adoption of computing in educational institutions. The invention of the World Wide Web in 1992 further simplified internet navigation and sparked further interest in educational settings. Initially, computers were integrated into school curricula for tasks such as word processing, spreadsheet creation, and data organization. By the late 1990s, the Internet became a research tool, functioning as a vast library. By 1999, 99% of public school teachers in the United States reported having access to at least one computer in their schools, and 84% had a computer available in their classrooms. The emergence of World Wide Web also contributed to the development of learning management systems (LMS), which allowed educators to create online teaching environments for content storage, student activities, discussions, and assignments. Advances in digital compression and high-speed Internet made video creation and distribution more affordable, fostering the use of the systems designed for recording lectures. These tools were often incorporated into learning management platforms, supporting the expansion of fully online courses. === 21st century === By 2002, the Massachusetts Institute of Technology began offering recorded lectures to the public, marking a significant milestone in the movement toward accessible online education. The launch of YouTube in 2005 further transformed educational content distribution. Educators increasingly uploaded lectures and instructional videos on platforms with initiatives like Khan Academy, which was active in 2006, contributing to You Tube's role as a prominent educational resource. In 2007, Apple launched iTunesU, another platform for sharing educational resources and videos. Meanwhile, learning management systems gained popularity, with Blackboard and Canvas becoming two of the most widely used platforms with Canvas's release in 2008. That same year also marked the introduction of the first Massive Open Online Course (MOOC), which provided open access to webinars and expert-led instructions for global learners. As technology evolved, traditional projectors were gradually replaced by interactive whiteboards, which enabled educators to integrate digital tools more effectively in their classrooms. By 2009, 97% of classrooms in the United States had at least one computer, and 93% had Internet access. The COVID-19 pandemic, which forced schools across the world to close, significantly impacted education with schools shifting to distance education. Students attended classes remotely using devices such as laptops, phones, and tablets, supported by digital platforms that facilitated at-home learning environments. However, adapting assessment methods to the new learning environment posed certain challenges. A study conducted by Eddie M. Mulenga and José M. Marbán on Zambian students during the pandemic revealed difficulties in adapting to digital learning, particularly in subjects like mathematics. Similar issues were reported among students in Romania, where the transition to virtual learning presented significant obstacles in engagement and adaptability. === Post-pandemic developments === In the period following the onset of COVID-19, education systems worldwide rapidly adopted digital solutions to maintain continuity of learning and teaching. By the end of March 2020, all 46 OECD and partners countries closed some or all of their schools nationwide. By June 2020, the length of school closures in these countries ranged from 7 to over 18 weeks. These disruptions in formal education prompted governments and educators to quickly adopt digital learning. This global shift to online education highlighted considerable inequalities in digital access, although many systems struggled with inequitable access, especially in regions lacking devices, stable internet connections, or conducive home learning environments. Stimultaneously, commercial educational technology (ed-tech) companies introduced rapid digital solutions to the disruption caused by the pandemic. This led to what has been described as a "seller's market," where the urgency of implementation may cause the prioritization of availability and scale over pedagogical and equity considerations. In the post-pandemic era, digital media in education continues to evolve. It increasingly intersects with artificial intelligence (AI) technologies such as adaptive learning platforms, AI-enabled content generation, and personalized learning environments. These tools enhance global engagement and access but also raise concerns about infrastructure, inclusivity, ethical implementation as well as critical pedagogies. Scholars recommend that educators and policymakers adopt inclusive practices, prioritize equitable infrastructure, and develop critical digital literacy. Facer and Selwyn also emphasize the need for public digital infrastructure and sustainable and justice-oriented policies that empower all learners. Overall, these perspectives reflect a growing consensus that digital media in education should be implemented critically to promote inclusive, multimodal, and future-oriented learning environments.
Digital intermediate
Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. == Definition and overview == A digital intermediate often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers. Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than original camera negative (OCN). One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, which could be used to mimic how the digital image would look once it was printed onto release print stock. This removed a large amount of guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the digital intermediate process can be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. While still subject to the natural degradation of any analog chemical master, this archival format, long used in the industry prior to the invention of DI, was considered valuable for providing an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == History == Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects. In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems. Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville, becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year. The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema. == Milestones == 1990: The Rescuers Down Under – First feature-length film to be entirely recorded to film from digital files; in this case animation assembled on computers using Walt Disney Feature Animation and Pixar's CAPS system. 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film Super Mario Bros. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K. 1993: Snow White and the Seven Dwarfs – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors. 1998: Pleasantville – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution and a MegaDef color correction system from UK Company Pandora International 1998: Zingo - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film Yellow Submarine for re-release. 1999: Star Wars: Episode I – The Phantom Menace - Industrial Light & Magic (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments. Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity. However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to Deluxe Labs where they were processed and color timed photochemically. 2000: Sorted - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry
Situational application
In computing, a situational application is "good enough" software created for a narrow group of users with a unique set of needs. The application typically (but not always) has a short life span, and is often created within the group where it is used, sometimes by the users themselves. As the requirements of a small team using the application change, the situational application often also continues to evolve to accommodate these changes. Although situational applications are specifically designed to embrace change, significant changes in requirements may lead to an abandonment of the situational application altogether – in some cases it is just easier to develop a new one than to evolve the one in use. == Characteristics == Situational applications are developed fast, easy to use, uncomplicated, and serve a unique set of requirements. They have a narrow focus on a specific business problem, and they are written in a way where if the business problem changes rapidly, so can the situational application. This contrasts with more common enterprise applications, which are designed to address a large set of business problems, require meticulous planning, and impose a sometimes-slow and often-meticulous change process. == Origination == Clay Shirky in his essay entitled "Situated Software" described a type of software that "...is designed for use by a specific social group, rather than for a generic set of "users"." IBM later morphed the term into "situational applications". == Evolution == The successful large-scale implementation of a situational application environment in an organization requires a strategy, mindset, methodology and support structure quite different from traditional application development. This is now evolving as more companies learn how to best leverage the ideas behind situational applications. In addition, the advent of cloud-based application development and deployment platforms makes the implementation of a comprehensive situational application environment much more feasible. == Examples == A structured wiki that can host wiki applications lends itself to creation of situational applications. Some mashups can also be considered situational applications. A forms application such as a Microsoft Access Database (MDB file) can be considered a situational application. The latest implementations of situational application environments include Longjump, Force.com and WorkXpress.
Mike Little
Mike Little (born 12 May 1962) is an English web developer and writer. He is the co-founder of the free and open source web publishing software WordPress. == Biography == Mike Little was born in Manchester, England in 1962 to a Nigerian father, who was a mathematics lecturer and musician, and an English mother who worked as a primary school teacher. Little was placed into foster care when he was four months of age, and was later adopted by the same family. He grew up on a council estate in Brinnington, Stockport, and was educated at Stockport School. In 2003, Little and Matt Mullenweg started working on a project in which they built on b2/cafelog and later named it WordPress, releasing the first version on 27 May 2003. Little states that, despite not being invited to join his co-founder's for-profit business Automattic, he and Mullenweg remain on good terms. He clarified: "I don’t want it to sound like he cheated me out of something or ripped me off in some way. He didn’t." In June 2013, Little was awarded the SAScon's "Outstanding Contribution to Digital" award for his part in co-founding and developing WordPress. Little has been described as "modest" and living in "virtual anonymity". He has one daughter. He identifies as a follower of Stoicism and a humanist, and in 2021, he became a patron of charity Humanists UK.