The Social Media Working Group Act of 2014 (H.R. 4263) is a bill that would direct the United States Secretary of Homeland Security to establish within the United States Department of Homeland Security (DHS) a social media working group (the Group) to provide guidance and best practices to the emergency preparedness and response community on the use of social media technologies before, during, and after a terrorist attack. The bill was introduced into the United States House of Representatives during the 113th United States Congress. == Background == === Social media === Social media is the social interaction among people in which they create, share or exchange information and ideas in virtual communities and networks. Andreas Kaplan and Michael Haenlein define social media as "a group of Internet-based applications that build on the ideological and technological foundations of Web 2.0, and that allow the creation and exchange of user-generated content." Furthermore, social media depend on mobile and web-based technologies to create highly interactive platforms through which individuals and communities share, co-create, discuss, and modify user-generated content. They introduce substantial and pervasive changes to communication between organizations, communities, and individuals. Social media differ from traditional or industrial media in many ways, including quality, reach, frequency, usability, immediacy, and permanence. === Virtual Social Media Working Group === First responders have increasingly used social media in emergency response and recovery operations. Social media tools are used to connect with citizens after a disaster and share information. The Virtual Social Media Working group (VSMWG) is an online platform that gives advice to first responders on how to safely and effectively use social media in emergency response operations. The working group is made up of subject matter experts from across the U.S. It was created by DHS in December 2010 and gives first responders guidance and best practices regarding the use of social media during emergencies. The DHS S&T and the VSMWG work with local and state governments, academics and nonprofits. Meetings of the VSMWG are chaired by the Under Secretary of Homeland Security for Science and Technology. == Provisions of the bill == This summary is based largely on the summary provided by the Congressional Research Service, a public domain source. The Social Media Working Group Act of 2014 would amend the Homeland Security Act of 2002 to direct the United States Secretary of Homeland Security to establish within the United States Department of Homeland Security (DHS) a social media working group (the Group) to provide guidance and best practices to the emergency preparedness and response community on the use of social media technologies before, during, and after a terrorist attack. The bill would require the Group to submit an annual report that includes: (1) a review of current and emerging social media technologies being used to support preparedness and response activities related to terrorist attacks, of best practices and lessons learned on the use of social media during the response to terrorist attacks that occurred during the period covered by the report, and of available training for government officials on the use of social media in response to a terrorist attack; (2) recommendations to improve DHS's use of social media and to improve information sharing among DHS and its components and among state and local governments; and (3) a summary of coordination efforts with the private sector to discuss and resolve legal, operational, technical, privacy, and security concerns. == Congressional Budget Office report == This summary is based largely on the summary provided by the Congressional Budget Office, as ordered reported by the House Committee on Homeland Security on June 11, 2014. This is a public domain source. H.R. 4263 would direct the Department of Homeland Security (DHS) to establish a working group to provide guidance and best practices on the use of social media technologies, specifically during a terrorist attack or other emergency. The group would prepare guidance for the emergency preparedness and response community. The bill would define the membership of the working group, which would include more than 20 experts from federal, state, local, and tribal governments along with nongovernmental organizations. The working group would be exempt from the Federal Advisory Committee Act and would be authorized to hold virtual meetings to fulfill the requirement to meet twice a year. The working group would be required to submit an annual report on emerging trends and best practices for emergency response through social media. Based on the cost of similar activities carried out under the DHS Acquisition and Accountability Efficiency Act and the Critical Infrastructure Research and Development Advancement Act of 2013, the Congressional Budget Office (CBO) estimates that the new DHS responsibilities and the annual report required by H.R. 4263 would cost a total of less than $500,000 annually, assuming the availability of appropriated funds. Enacting the legislation would not affect direct spending or revenues; therefore, pay-as-you-go procedures do not apply. H.R. 4263 contains no intergovernmental or private-sector mandates as defined in the Unfunded Mandates Reform Act and would impose no costs on state, local, or tribal governments. == Procedural history == The Social Media Working Group Act of 2014 was introduced into the United States House of Representatives on March 14, 2014, by Rep. Susan W. Brooks (R, IN-5). It was referred to the United States House Committee on Homeland Security and the United States House Homeland Security Subcommittee on Emergency Preparedness, Response, and Communications. On June 19, 2014, it was reported (amended) alongside House Report 113-480. On July 8, 2014, the House voted in Roll Call Vote 369 to pass the bill 375–19. == Debate and discussion == Nate Elliott, a social media expert at Forrester Research, explains that "the hope is when government or another authority tweets something, people will share it for them," but that this often doesn't happen. This problem, that "messages wash away very quickly," is the reason that the federal government is trying to formulate a better social media strategy. Rep. Steven Palazzo (R-MS), who co-sponsored the bill, stated that "social media has played a crucial role in emergency preparedness and response in Mississippi, including during disasters like Hurricane Isaac and the tornadoes that hit the Hattiesburg area a little over a year ago." He said that their goal with the bill was to "build upon existing public-private partnerships and use social media in a more strategic way in order to help save lives and property."
Robot learning
Robot learning is a research field at the intersection of machine learning and robotics. It studies techniques allowing a robot to acquire novel skills or adapt to its environment through learning algorithms. The embodiment of the robot, situated in a physical embedding, provides at the same time specific difficulties (e.g. high-dimensionality, real time constraints for collecting data and learning) and opportunities for guiding the learning process (e.g. sensorimotor synergies, motor primitives). Example of skills that are targeted by learning algorithms include sensorimotor skills such as locomotion, grasping, active object categorization, as well as interactive skills such as joint manipulation of an object with a human peer, and linguistic skills such as the grounded and situated meaning of human language. Learning can happen either through autonomous self-exploration or through guidance from a human teacher, like for example in robot learning by imitation. Robot learning can be closely related to adaptive control, reinforcement learning as well as developmental robotics which considers the problem of autonomous lifelong acquisition of repertoires of skills. While machine learning is frequently used by computer vision algorithms employed in the context of robotics, these applications are usually not referred to as "robot learning". == Imitation learning == Many research groups are developing techniques where robots learn by imitating. This includes various techniques for learning from demonstration (sometimes also referred to as "programming by demonstration") and observational learning. == Sharing learned skills and knowledge == In Tellex's "Million Object Challenge", the goal is robots that learn how to spot and handle simple items and upload their data to the cloud to allow other robots to analyze and use the information. RoboBrain is a knowledge engine for robots which can be freely accessed by any device wishing to carry out a task. The database gathers new information about tasks as robots perform them, by searching the Internet, interpreting natural language text, images, and videos, object recognition as well as interaction. The project is led by Ashutosh Saxena at Stanford University. RoboEarth is a project that has been described as a "World Wide Web for robots" − it is a network and database repository where robots can share information and learn from each other and a cloud for outsourcing heavy computation tasks. The project brings together researchers from five major universities in Germany, the Netherlands and Spain and is backed by the European Union. Google Research, DeepMind, and Google X have decided to allow their robots share their experiences. == Vision-language-action model == Research groups and companies are developing vision-language-action models, foundation models that allow robotic control through the combination of vision and language. Google DeepMind, Figure AI and Hugging Face are actively working on that.
BeReal
BeReal (stylized on the app logo as BeReal.) is a French social-networking app released in 2020, developed by Alexis Barreyat and Kévin Perreau. Currently, it is owned by Voodoo. Its main feature is a daily notification that encourages users to share photos of themselves in their day-to-day life, on any randomly selected two-minute window every day. Critics noted its emphasis on authenticity, which some felt crossed the line into the mundane. The primary reference of its name relates to its focus on users uploading unpolished photos, with it being a pun of the term B-reel. According to the app's description on Apple's App Store, BeReal encourages its users to "show their friends who they really are, for once," by removing filters and opportunities to stage or edit photos. After a couple of years of relative obscurity, it rapidly gained popularity in early and mid-2022 growing from 21.6 million to 73.5 million users between July and August, before experiencing a decrease in use in 2023 and continuing to decline to 23 million users at the beginning of 2024. == History == The app was developed by Alexis Barreyat, a former employee at GoPro, and Kévin Perreau, a graduate from 42 in Paris. Initially released in 2020, it first gained widespread popularity in early 2022. It first spread widely on college campuses, partially due to a paid ambassador program. In late August 2022, the application had over 10 million active daily users and 21.6 million active monthly users. As of February 2023, the app has grown to 13 million active daily users and 47.8 million active monthly users. In June 2021, BeReal received a $30 million funding round led by Andreessen Horowitz and Accel. In May 2022, BeReal secured $85 million in a funding round led by Yuri Milner's DST Global, increasing its valuation to about $600 million. On July 25, 2022, BeReal topped Apple's free app list in the iOS App Store, and remained until September 2022. BeReal also received Apple's iPhone App of the Year in 2022. By late spring 2023, the app's momentum was waning, as daily users dropped to about 6 million, from 15 million in October 2022. In August 2024, there was a resurgence after a campaign at the Paris Olympics 2024, with the app reportedly gaining 1000 users. In June 2024, BeReal was acquired by the French company Voodoo for a reported €500 million. Alexis Barreyat is set to step down after a transition period. == Features == Once per day, BeReal notifies all users that a two-minute window to post is open. It asks users to create a post (known eponymously as a "BeReal") which, using mandatory simultaneous photos and now short videos from both the front and back cameras, provides a visual depiction of what they are doing at that moment, with an option to caption their post. The given window varies from day to day, and is not known to users before the notification is received. Once the daily notification is sent, users lose the ability to see others' BeReals from the previous day. Furthermore, users cannot see any of the current day's BeReals until they upload their own. On-time BeReals show the time it was uploaded, meanwhile, late BeReals uploaded after the two-minute window shows how late the BeReal was taken, but the user has to long-press the BeReal to reveal the time it was uploaded. Other users can also see how many attempts the poster took to take the BeReal, as well as their location when the BeReal was taken. Users only get one chance to delete their BeReal and post another one, and they used to not be able to post more than one at any time. However, in 2023, a feature was added that allowed users to post up to two extra BeReals on days when they posted their first BeReal within the 2-minute window. In July 2024, the number of bonus BeReals was increased to 5. [1] BeReal also features a "Discovery" section, wherein users are given the option to share to a much wider, public audience. This feature, however, is limited, as users are not able to interact with the posts through commenting—unlike the "My Friends" feature. In August 2023, in an attempt to make BeReal more social, another feature was added so that users are now able to see their friends of friends' BeReal. The app reportedly uses HiveAI to automate its image moderation process. However, there is also a report function that allows users to report a photo or another user if they are posting inappropriate content. === Comparison to other platforms === Because of its daily cycle of engagement, it has been compared to Wordle, which gained popularity earlier in 2022. It also supports a platform similar to Snapchat with a theme of impermanence and brevity. BeReal has been described as designed to compete with Instagram while simultaneously de-emphasising social media addiction and overuse. The app does not allow any photo filters or other editing, and has no follower counts. Marketing material from the company said that the app "can be addictive" and that "BeReal won't make you famous." Jacob Arnott, managing director of social agency We the People, describes BeReal as "an anti-Instagram" due to its raw and unedited nature. The app's foundation on friends rather than followers resembles Facebook's platform of adding friends, which comprise the content of a user's feed. This also resembles Instagram's "close friends" story feature. Further, rather than "liking" posts, BeReal uses "RealMojis" which involves taking a photo to interact with other posts. With the popularity of BeReal, other providers have launched similar features. In July 2022, Instagram launched a "Dual Camera" feature similar to BeReal, and in August 2022 it began testing a feature called "IG Candid Challenges", where users are prompted to post once a day within two minutes. As of September 2022, TikTok has also launched a feature called TikTok Now, following the same concept. In December 2022, similar to Spotify's "Wrapped," BeReal launched a feature involving a video of a compilation of users' BeReal posts of 2022. == User characteristics == BeReal is considered to be targeted towards Generation Z users, and attempts to minimise "social media fatigue", a feeling of numbness and disconnection from reality caused by constant interaction with an idealised version of others. This is a "core generational value" that this demographic holds compared to Millennials. Further, BeReal's users have been particularly strong across universities and university-aged students, and the majority of users are in the United States, the United Kingdom, and Germany. In 2022, the majority of users were female, with 43.2% of users falling within the age range of 16 to 25 and 55.1% of users being 26 to 44 years old. BeReal, the platform encourages users to share their real time moments by sending a daily notification that gives a least two minutes to post a unedited photo using bot the front and back camera, although users can post later and retake photos from when the notification happens, this action are still visible to friends, reinforcing transparency and genuine in the moment sharing. == Reception == Jason Koebler, a writer for Vice, wrote that in contrast to Instagram, which presents an unattainable view of people's lives, BeReal instead "makes everyone look extremely boring". Niklas Myhr, a professor of social media at Chapman University, argued that depth of engagement may determine whether the app is a passing trend or has "staying power". Kelsey Weekman, a reporter for BuzzFeed News, noted that the app's unwillingness to "glamorise the banality of life" made it feel "humbling" in its emphasis on authenticity. Niloufar Haidari for The Guardian comments similarly that where the app succeeds in being "drab" in perhaps a positive way, it fails in potentially "un-inspiring" users. Likewise, Dr. Brad Ridout, a behavioral psychologist at the University of Sydney, emphasizes that the "boring" experience is what the creators are targeting for the app and, in response to Instagram's platform of flawlessness, that "perfection is the enemy of happiness". === Criticisms === Some people regularly post after the two-minute notification expires, leading to some criticism of the app, as the ability to post late undermines its aims of authenticity. In addition, BeReal's daily two-minute window has been argued to contribute to social media fatigue and a need for self-exposure, as well as constant access to phones.
Avid Symphony
Avid Symphony is non-linear editing software aimed at professionals in the film and television industry. It is available for Microsoft Windows PCs and Apple Macintosh platforms. Symphony is Avid's high end SD/HD finishing platform for long form work, such as documentary and episodic TV. Its interface is based on the same look and feature set as the Media Composer and Xpress systems, but contains the highest level of features and resolution including secondary color correction, uncompressed HD, and higher real-time performance. == Release history == Symphony is the software component of a tightly integrated package that includes specific hardware audio/video interfaces, storage, and the computer, also sold by Avid. Its release history is therefore tightly related to the release of new Avid interface hardware: Symphony was introduced to the market in 1998. It was based on Avid's Meridien hardware, supporting SD only, and was available first only for the PC and later for the Macintosh platforms. Its last release was 5.0.5 which supported Windows 2000 and Mac OS X v10.2. The next major upgrade was Symphony Nitris in 2005, with a redesigned software and integration with the Nitris DNA hardware (PCI-X). It supported 8 bit and 10 bit SD and HD resolutions in both compressed and uncompressed forms, the MXF format and DNxHD codec, and ran only on Windows PC platforms. Symphony Nitris DX, released in 2008, added support for a range of HD codecs, including HDV, XDCAM-HD, DVCPRO HD, and AVC-I, and brought back Mac OS support for OS X 10.5, as well as Windows Vista. Since the introduction of Symphony 6, it can be used in software-only mode (where a Nitris or Nitris DX BOB used to be required), and at the same time, like Media Composer, Symphony was opened up with "Open I/O", allowing users to have Symphony use their third party hardware from companies like AJA, Matrox, BlueFish, Blackmagic Design and MOTU. The last remaining features that differentiate it from Media Composer are Advanced Color Correction (channels, secondary color correction,), Relational Color Correction (corrections based on common clip name, tape name, program track) and Universal HD Mastering (only with Nitris DX hardware). The latter allows cross-conversions of 23.976p or 24p projects sequences to most any other format during Digital Cut. In 2013, Avid announced it would no longer offer Symphony a standalone product. Starting version 7, Symphony will be sold as an option to Media Composer. This optional package (sold at a premium) will contain all the traditional Symphony-only features to any Media Composer install. == Use in movies == The Celibacy, Director: Horacio Bocaranda Avid Media Composer 6 and Avid Symphony 6 Nitris DX American Hardcore, Director: Paul Rachman Avid Xpress Pro and Symphony Summercamp!, Director: Spike Lee Avid Xpress Pro and Symphony When the Levees Broke Avid Media Composer and Symphony Nitris Superman Returns Edited with Mac-based Film Composer XL, but HD screenings prepped with Symphony
ImageMixer
ImageMixer is a brand name of video editing software that edits digital video and still image in camcorders and authors to VCD and DVD. It is a second-party Japanese product, distributed by Pixela Corporation, a Japanese manufacturer of PC peripheral hardware and multimedia software. == Bundling == ImageMixer is widely used for several camcorder brands, such as JVC, Hitachi and Canon. Also, Sony has chosen to package ImageMixer with its DVD and HDD Handycam. == ImageMixer series == ImageMixer has other series of software for digital camera, such as ImageMixer Label Maker and ImageMixer DVD dubbing. ImageMixer also has movie editing solution for Macintosh. == Windows Vista version of ImageMixer == A Windows Vista version of ImageMixer has been developed (ImageMixer3).
Luma (video)
In video, luma ( Y ′ {\displaystyle Y'} ) represents the brightness in an image (the "black-and-white" or achromatic portion of the image). Luma is typically paired with chroma. Luma represents the achromatic image, while the chroma components represent the color information. Converting R′G′B′ sources (such as the output of a three-CCD camera) into luma and chroma allows for chroma subsampling: because human vision has finer spatial sensitivity to luminance ("black and white") differences than chromatic differences, video systems can store and transmit chromatic information at lower resolution, optimizing perceived detail at a particular bandwidth. == Luma versus relative luminance == Luma is the weighted sum of gamma-compressed R′G′B′ components of a color video—the prime symbols ′ denote gamma compression. The word was proposed to prevent confusion between luma as implemented in video engineering and relative luminance as used in color science (i.e. as defined by CIE). Relative luminance is formed as a weighted sum of linear RGB components, not gamma-compressed ones. Even so, luma is sometimes erroneously called luminance. SMPTE EG 28 recommends the symbol Y ′ {\displaystyle Y'} to denote luma and the symbol Y {\displaystyle Y} to denote relative luminance. === Use of relative luminance === While luma is more often encountered, relative luminance is sometimes used in video engineering when referring to the brightness of a monitor. The formula used to calculate relative luminance uses coefficients based on the CIE color matching functions and the relevant standard chromaticities of red, green, and blue (e.g., the original NTSC primaries, SMPTE C, or Rec. 709). For the Rec. 709 (and sRGB) primaries, the linear combination, based on pure colorimetric considerations and the definition of relative luminance is: Y = 0.2126 R + 0.7152 G + 0.0722 B {\displaystyle Y=0.2126R+0.7152G+0.0722B} The formula used to calculate luma in the Rec. 709 spec arbitrarily also uses these same coefficients, but with gamma-compressed components: Y ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ , {\displaystyle Y'=0.2126R'+0.7152G'+0.0722B',} where the prime symbol ′ denotes gamma compression. == Rec. 601 luma versus Rec. 709 luma coefficients == For digital formats following CCIR 601 (i.e. most digital standard definition formats), luma is calculated with this formula: Y 601 ′ = 0.299 R ′ + 0.587 G ′ + 0.114 B ′ {\displaystyle Y'_{\text{601}}=0.299R'+0.587G'+0.114B'} Formats following ITU-R Recommendation BT. 709 (i.e. most digital high definition formats) use a different formula: Y 709 ′ = 0.2126 R ′ + 0.7152 G ′ + 0.0722 B ′ {\displaystyle Y'_{\text{709}}=0.2126R'+0.7152G'+0.0722B'} Modern HDTV systems use the 709 coefficients, while transitional 1035i HDTV (MUSE) formats may use the SMPTE 240M coefficients: Y 240 ′ = 0.212 R ′ + 0.701 G ′ + 0.087 B ′ = Y 145 ′ {\displaystyle Y'_{\text{240}}=0.212R'+0.701G'+0.087B'=Y'_{\text{145}}} These coefficients correspond to the SMPTE RP 145 primaries (also known as "SMPTE C") in use at the time the standard was created. The change in the luma coefficients is to provide the "theoretically correct" coefficients that reflect the corresponding standard chromaticities ('colors') of the primaries red, green, and blue. However, there is some controversy regarding this decision. The difference in luma coefficients requires that component signals must be converted between Rec. 601 and Rec. 709 to provide accurate colors. In consumer equipment, the matrix required to perform this conversion may be omitted (to reduce cost), resulting in inaccurate color. == Luma and luminance errors == As well, the Rec. 709 luma coefficients may not necessarily provide better performance. Because of the difference between luma and relative luminance, luma does not exactly represent the luminance in an image. As a result, errors in chroma can affect luminance. Luma alone does not perfectly represent luminance; accurate luminance requires both accurate luma and chroma. Hence, errors in chroma "bleed" into the luminance of an image. Note the bleeding in lightness near the borders. Due to the widespread usage of chroma subsampling, errors in chroma typically occur when it is lowered in resolution/bandwidth. This lowered bandwidth, coupled with high frequency chroma components, can cause visible errors in luminance. An example of a high frequency chroma component would be the line between the green and magenta bars of the SMPTE color bars test pattern. Error in luminance can be seen as a dark band that occurs in this area.
VGACAD
VGACAD was the parent of a suite of shareware graphic utilities made for the MS-DOS operating system used in the IBM PC and clones. It was popular for editing and capturing images using BSAVE (graphics image format) and provided an early graphic editing suite compatible with multiple graphic cards and resolutions, used on the IBM PC. == Usage == Written by Lawrence Gozum in 1987, it was the genesis of multiple versions and improvements over 10 years. Ran with his brother, Marvin initially helped with design ideas, strategic focus, technical support calls, and managing the early shareware business. The growth of the VGACAD suite grew quickly to preoccupy most of their time. Lawrence then focused more of his efforts on software and formed Applied Insights, to manage VGACAD and its offspring, VidFun, and Ai Picture Explorer. At its peak, its users ranged from individuals, Federal government offices, museums and major newspapers. == Features == VGACAD was a misnomer, and meant VGA-Computer Assisted Drawing, rather than computer-aided design, as CAD is commonly referred to today. Its longevity was due to its color accuracy, speed, small size, and that its suite of small utilities often worked stand-alone. One called VGACAP, for 'capture', dumped video memory into a file that could later be converted to popular graphic image formats, later made commonplace when Microsoft Windows programmed the print screen key to dump graphics into the clipboard. However, VGACAP ran insulated apart from early versions of Windows, and thus could capture screens were applications prohibited such function.