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Shadow and highlight enhancement
Shadow and highlight enhancement refers to an image processing technique used to correct exposure. The use of this technique has been gaining popularity, making its way onto magazine covers, digital media, and photos. It is, however, considered by some to be akin to other destructive Photoshop filters, such as the Watercolor filter, or the Mosaic filter. == Shadow recovery == A conservative application of the shadow/highlight tool can be very useful in recovering shadows, though it tends to leave a telltale halo around the boundary between highlight and shadow if used incorrectly. A way to avoid this is to use the bracketing technique, although this usually requires a tripod. == Highlight recovery == Recovering highlights with this tool, however, has mixed results, especially when using it on images with skin in them, and often makes people look like they have been "sprayed with fake tan". == Shadow brightening - manual == One way to brighten shadows in image editing software such as GIMP or Adobe Photoshop is to duplicate the background layer, invert the copy and set the blend modes of that top layer to "Soft Light". You can also use an inverted black and white copy of the image as a mask on a brightening layer, such as Curves or Levels. == Shadow brightening - automatic == Several automatic computer image processing-based shadow recovery and dynamic range compression methods can yield a similar effect. Some of these methods include the retinex method and homomorphic range compression. The retinex method is based on work from 1963 by Edwin Land, the founder of Polaroid. Shadow enhancement can also be accomplished using adaptive image processing algorithms such as adaptive histogram equalization or contrast limiting adaptive histogram equalization (CLAHE).
Digital cinema
Digital cinema is the digital technology used within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs, then projected using a digital video projector instead of a film projector. Typically, digital movies are shot using digital movie cameras or in animation transferred from a file and are edited using a non-linear editing system (NLE). The NLE is often a video editing application installed in one or more computers that may be networked to access the original footage from a remote server, share or gain access to computing resources for rendering the final video, and allow several editors to work on the same timeline or project. Alternatively a digital movie could be a film reel that has been digitized using a motion picture film scanner and then restored, or, a digital movie could be recorded using a film recorder onto film stock for projection using a traditional film projector. Digital cinema is distinct from high-definition television and does not necessarily use traditional television or other traditional high-definition video standards, aspect ratios, or frame rates. In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels). The 2K and 4K resolutions used in digital cinema projection are often referred to as DCI 2K and DCI 4K. DCI stands for Digital Cinema Initiatives. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. Digital cinema technology has continued to develop over the years with RealD 3D, IMAX, RPX, 4DX, Dolby Cinema, and ScreenX, allowing moviegoers more immersive experiences. == History == The transition from film to digital video was preceded by cinema's transition from analog to digital audio, with the release of the Dolby Digital (AC-3) audio coding standard in 1991. Its main basis is the modified discrete cosine transform (MDCT), a lossy audio compression algorithm. It is a modification of the discrete cosine transform (DCT) algorithm, which was first proposed by Nasir Ahmed in 1972 and was originally intended for image compression. The DCT was adapted into the MDCT by J.P. Princen, A.W. Johnson and Alan B. Bradley at the University of Surrey in 1987, and then Dolby Laboratories adapted the MDCT algorithm along with perceptual coding principles to develop the AC-3 audio format for cinema needs. Cinema in the 1990s typically combined analog photochemical images with digital audio. Digital media playback of high-resolution 2K files has at least a 20-year history. Early video data storage units (RAIDs) fed custom frame buffer systems with large memories. In early digital video units, the content was usually restricted to several minutes of material. Transfer of content between remote locations was slow and had limited capacity. It was not until the late 1990s that feature-length films could be sent over the "wire" (Internet or dedicated fiber links). On October 23, 1998, Digital light processing (DLP) projector technology was publicly demonstrated with the release of The Last Broadcast, the first feature-length movie, shot, edited and distributed digitally. In conjunction with Texas Instruments, the movie was publicly demonstrated in five theaters across the United States (Philadelphia, Portland (Oregon), Minneapolis, Providence, and Orlando). === Foundations === In the United States, on June 18, 1999, Texas Instruments' DLP Cinema projector technology was publicly demonstrated on two screens in Los Angeles and New York for the release of Lucasfilm's Star Wars Episode I: The Phantom Menace. In Europe, on February 2, 2000, Texas Instruments' DLP Cinema projector technology was publicly demonstrated, by Philippe Binant, on one screen in Paris for the release of Toy Story 2. From 1997 to 2000, the JPEG 2000 image compression standard was developed by a Joint Photographic Experts Group (JPEG) committee chaired by Touradj Ebrahimi (later the JPEG president). In contrast to the original 1992 JPEG standard, which is a DCT-based lossy compression format for static digital images, JPEG 2000 is a discrete wavelet transform (DWT) based compression standard that could be adapted for motion imaging video compression with the Motion JPEG 2000 extension. JPEG 2000 technology was later selected as the video coding standard for digital cinema in 2004. In 1992, Hughes-JVC was founded by JVC and Hughes Electronics to develop ILA (Image Light Amplifer) digital video projectors for commercial movie theaters using liquid crystal on silicon (LCOS) technology. In 1997, JVC introduced D-ILA (Direct-Drive ILA) technology with a 2K resolution digital video projector. In 2000, JVC introduced a 4K resolution video projector using D-ILA technology. === Initiatives === On January 19, 2000, the Society of Motion Picture and Television Engineers, in the United States, initiated the first standards group dedicated to developing digital cinema. By December 2000, there were 15 digital cinema screens in the United States and Canada, 11 in Western Europe, 4 in Asia, and 1 in South America. Digital Cinema Initiatives (DCI) was formed in March 2002 as a joint project of many motion picture studios (Disney, Fox, MGM, Paramount, Sony Pictures, Universal and Warner Bros.) to develop a system specification for digital cinema. The same month it was reported that the number of cinemas equipped with digital projectors had increased to about 50 in the US and 30 more in the rest of the world. In April 2004, in collaboration with the American Society of Cinematographers, DCI created standard evaluation material (the ASC/DCI StEM material) for testing of 2K and 4K playback and compression technologies. DCI selected JPEG 2000 as the basis for the compression in the system the same year. Initial tests with JPEG 2000 produced bit rates of around 75–125 Mbit/s for 2K resolution and 100–200 Mbit/s for 4K resolution. === Worldwide deployment === In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. DMs estimated that the system would expand to 40,000 screens in 2009. In 2005, the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid-2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month. In August 2006, the Malayalam digital movie Moonnamathoral, produced by Benzy Martin, was distributed via satellite to cinemas, thus becoming the first Indian digital cinema. This was done by Emil and Eric Digital Films, a company based at Thrissur using the end-to-end digital cinema system developed by Singapore-based DG2L Technologies. In January 2007, Guru became the first Indian film mastered in the DCI-compliant JPEG 2000 Interop format and also the first Indian film to be previewed digitally, internationally, at the Elgin Winter Garden in Toronto. This film was digitally mastered at Real Image Media Technologies in India. In 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas; Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens, were launched on 9 February 2007. By March 2007, with the release of Disney's Meet the Robinsons, about 600 screens had been equipped with digital projectors. In June 2007, Arts Alliance Media announced the first European commercial digital cinema Virtual Print Fee (VPF) agreements (with 20th Century Fox and Universal Pictures). In March 2009, AMC Theatres announced that it closed a $315 million deal with Sony to replace all of its movie projectors with 4K HDR digital projectors starting in the second quarter of 2009; it was anticipated that this replacement would be finished by 2012. As digital cinema technology improved in the early 2010s, most theaters across the world converted to digital video projection. In January 2011, the total number of digital screens worldwide was 36,242, up from 16,339 at end 2009 or a growth rate of 121.8 percent during the year. There were 10,083 d-screens in Europe as a whole (28.2 percent of global figure), 16,522 in the United States and Canada (46.2 percent of global figure) and 7,703 in Asia (21.6 percent of global figure). Worldwide progress was slower as in some territories, particularly Latin America and Africa. As of 31 March 2015, 38,719 screens (out of a total of 3
DiscoVision
DiscoVision is the name of several things related to the video LaserDisc format. It was the original name of the "Reflective Optical Videodisc System" format later known as "LaserVision" or LaserDisc. == Description == MCA DiscoVision, Inc. was a division of entertainment giant MCA (Music Corporation of America), established in 1969 to develop and sell an optical videodisc system. MCA released discs pressed in Carson and Costa Mesa, California on the DiscoVision label from the format's Atlanta, Georgia launch in 1978 to 1982 and the release of the film The Four Seasons. DiscoVision titles included films from Universal Pictures, Paramount Pictures, Warner Bros. Pictures, and Disney content. Agreements were made with Columbia Pictures and United Artists, though no discs were released on the DiscoVision label from either studio. Most of these companies later established their own labels for the format, the first being Paramount with a dozen movies released on the Paramount Home Video label in the summer of 1981. The successor to MCA DiscoVision, DiscoVision Associates (DVA), was the result of a partnership between IBM and MCA. It was hoped that the merger would provide the basis for improvement of the quality of DiscoVision pressings, but no appreciable improvement ever took hold. In 1981, responsibility for the laser videodisc was sold to Pioneer Electronic Corporation, after MCA Discovision had previously started a partnership in 1977 with Pioneer, Universal Pioneer, to produce the Pioneer PR-7820 player (the first industrial model of DiscoVision player from 1978), as well as establishing disc pressing plants in Japan. As part of the partnership, Pioneer, in association with MCA, had a disc replication facility in Kofu, Japan that produced discs. Some of the last DiscoVision label discs were manufactured by Pioneer in Japan. In the same year, MCA discontinued their DiscoVision branding, due to the sale of the technology to Pioneer (who then rebranded the format as LaserDisc) and in turn rebranded their laserdisc releases, now fabricated by Pioneer, under the MCA Videodisc banner; this was changed to the "MCA Home Video" name for both its VHS and videodisc releases. Some of DiscoVision's technical staff went on to form MCA Video Games, in an effort to produce video game cartridges. DiscoVision Associates later evolved into a patent holding company which manages and licenses intellectual property related to LaserDisc, Compact Disc, and optical disc technologies, as well as other non-disc related fields. In 1989, Pioneer acquired DiscoVision Associates where it continues to license its technologies independently. As the portfolio of patent expired, the presence of DiscoVision became less visible. However, it established the success of a patent holding company, which other companies are stimulated to generate royalty income from their own patent portfolio.
Radio code
A radio code is any code that is commonly used over a telecommunication system such as Morse code, brevity codes and procedure words. == Brevity code == Brevity codes are designed to convey complex information with a few words or codes. Specific brevity codes include: ACP-131 Aeronautical Code signals ARRL Numbered Radiogram Multiservice tactical brevity code Ten-code Phillips Code NOTAM Code === Operating signals === Brevity codes that are specifically designed for use between communications operators and to support communication operations are referred to as "operating signals". These include: Prosigns for Morse code 92 Code, Western Union telegraph brevity codes Q code, initially developed for commercial radiotelegraph communication, later adopted by other radio services, especially amateur radio. Used since circa 1909. QN Signals, published by the ARRL and used by Amateur radio operators to assist in the transmission of ARRL Radiograms in the National Traffic System. R and S brevity codes, published by the British Post Office in 1908 for coastal wireless stations and ships, superseded in 1912 by Q codes X code, used by European military services as a wireless telegraphy code in the 1930s and 1940s Z code, also used in the early days of radiotelegraph communication. == Other == Morse code is commonly used in amateur radio. Morse code abbreviations are a type of brevity code. Procedure words used in radiotelephony procedure, are a type of radio code. Spelling alphabets, including the ICAO spelling alphabet, are commonly used in communication over radios and telephones. == Other meanings == Many car audio systems (car radios) have a so-called 'radio code' number which needs to be entered after a power disconnection. This was introduced as a measure to deter theft of these devices. If the code is entered correctly, the radio is activated for use. Entering the code incorrectly several times in a row will cause a temporary or permanent lockout. Some car radios have another check which operates in conjunction with car electronics. If the VIN or another vehicle ID matches the previously stored one, the radio is activated. If the radio cannot verify the vehicle, it is considered to be moved into another vehicle. The radio will then request for the code number or simply refuse to operate and display an error message such as "CANCHECK" or "SECURE".
Web development
Web development is the process of designing, developing and maintaining websites and web apps. Web development encompasses several different fields, most commonly referring to the programming of websites. Front-end development is the act of developing the user interface and client-side code, while back-end development focuses on the infrastructure behind a website, mainly server-side code. Since the World Wide Web was released publicly in 1993, web development has evolved greatly, with websites changing from a collection of static HTML pages to complex projects using frameworks, servers, and databases. == Overview == Web development includes many individual tasks, including web design, web content development, networking, and coding. Among web professionals, "web development" usually refers to the main non-design aspects of building websites: writing markup and coding. Web development is generally split into two fields: front-end development and back-end development. Front-end developers create the user interface of websites, turning web designs into HTML, CSS, and JavaScript code. Front-end developers must also make sure that websites work consistently across different browsers and devices. Back-end development, also known as server-side development, focuses on the infrastructure behind a website, including APIs, database management, and security. Some choose to be full-stack developers, meaning they work on both the front-end and back-end. == History == The World Wide Web is often categorised into three generations: Web 1.0, Web 2.0, and Web 3.0 (or Web3). It was invented in 1989, and released to the public in 1993. In the early years of the web, restrospecitvely referred to as Web 1.0, websites were simply a collection of static HTML files, and had limited interactivity. After the introduction of JavaScript in 1995, websites could contain logic, allowing for interactivity. The following year CSS was released, allowing greater control over the styling of web pages. In 1999, the term Web 2.0 was coined by Darcy DiNucci. The term later resurfaced in the early 2000s, as websites started to increase in complexity, requiring server-side services in addition to JavaScript. This led to the emergence of various new programming languages and frameworks designed for backend services, such as PHP, Active Server Pages, and Jakarta Server Pages. This enabled websites to do additional server-side processing, such as accessing databases. Another shift in web development was the release of the iPhone in 2007. This created a new medium for accessing the web, requiring a new approach to web development, and resulting in responsive web design, which allows a single website to appear different depending on the device running it. Later, progressive web apps were introduced, allowing websites to be installed on a device as an independent application. In the 2010s, JavaScript frameworks began to emerge, creating new ways to manipulate web pages, and increasing compatibility between web browsers. JQuery was popular in the early 2010s, but was later surpassed by other frameworks such as React and Vue.js. In the mid 2020s, use of AI became prevalent among web developers, with the 2025 Stack Overflow survey showing over 80% of developers saying the use AI at least monthly in their development process.
Open Rights Group
The Open Rights Group (ORG) is a UK-based organisation that works to preserve digital rights and freedoms by campaigning on digital rights issues and by fostering a community of grassroots activists. It campaigns on numerous issues including mass surveillance, internet filtering and censorship, and intellectual property rights. == History == The organisation was started by Danny O'Brien, Cory Doctorow, Ian Brown, Rufus Pollock, James Cronin, Stefan Magdalinski, Louise Ferguson and Suw Charman after a panel discussion at Open Tech 2005. O'Brien created a pledge on PledgeBank, placed on 23 July 2005, with a deadline of 25 December 2005: "I will create a standing order of 5 pounds per month to support an organisation that will campaign for digital rights in the UK but only if 1,000 other people will too." The pledge reached 1000 people on 29 November 2005. The Open Rights Group was launched at a "sell-out" meeting in Soho, London. == Work == The group has made submissions to the All Party Internet Group (APIG) inquiry into digital rights management and the Gowers Review of Intellectual Property. The group was honoured in the 2008 Privacy International Big Brother Awards alongside No2ID, Liberty, Genewatch UK and others, as a recognition of their efforts to keep state and corporate mass surveillance at bay. In 2010 the group worked with 38 Degrees to oppose the introduction of the Digital Economy Act, which was passed in April 2010. The group opposes measures in the draft Online Safety Bill introduced in 2021, that it sees as infringing free speech rights and online anonymity. The group campaigns against the Department for Digital, Culture, Media and Sport's plan to switch to an opt-out model for cookies. The group spokesperson stated that "[t]he UK government propose to make online spying the default option" in response to the proposed switch. == Areas of interest == The organisation, though focused on the impact of digital technology on the liberty of UK citizens, operates with an apparently wide range of interests within that category. Its interests include: === Access to knowledge === Copyright Creative Commons Free and open source software The public domain Crown copyright Digital Restrictions Management Software patents === Free speech and censorship === Internet filtering Right to parody s. 127 Communications Act 2003 === Government and democracy === Electronic voting Freedom of information legislation === Privacy, surveillance and censorship === Automatic Vehicle Tracking Communications data retention Identity management Net Neutrality NHS patients' medical database Police DNA Records RFID == Structure == ORG has a paid staff, whose members include: Jim Killock (executive director) Former staff include Suw Charman-Anderson and Becky Hogge, both executive directors, e-voting coordinator Jason Kitcat, campaigner Peter Bradwell, grassroots campaigner Katie Sutton and administrator Katerina Maniadaki. Neil Gaiman was previously the group's patron. As of October 2022, the group had over 43,000 supporters. == ORGCON == ORGCON was the first ever conference dedicated to digital rights in the UK, marketed as "a crash course in digital rights". It was held for the first time in 2010 at City University in London and included keynote talks from Cory Doctorow, politicians and similar pressure groups including Liberty, NO2ID and Big Brother Watch. ORGCON has since been held in 2012, 2013, 2014, 2017, and 2019 where the keynote was given by Edward Snowden.