AI Chatbots and Assistants

Explore the best AI Chatbots and Assistants — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

Glow (app)

Glow is a fertility awareness and period-tracking app. It is part of a suite of mobile apps focused on women's reproductive health and childcare, which includes Eve by Glow (a dedicated period tracker), Glow Nurture (a pregnancy tracker), and Glow Baby (a baby development tracker). The Glow company also operates an online shop that sells several fertility-related products, including ovulation test strips, pregnancy tests, and wearable breast pumps. In 2024, Glow was reported to have approximately 25 million users across its various apps and community message boards. == History == Glow debuted in August 2013 as an iOS app. It was founded by Michael Huang and Max Levchin and launched with $6 million in Series A funding from venture capital firms Founders Fund and Andreesen Horowitz. In 2014, Glow raised an additional $17 million in Series B funding, with Formation 8 joining existing investors. In 2015, Glow launched Ruby, an app dedicated to sexual health. That year, Wired reported that the company had added features to their apps allowing men to monitor their fertility. Glow subsequently released an additional set of apps focused on pregnancy tracking and infant development. In 2016, Glow reported that it had a total of approximately 3 million users; by 2018, this had grown to 15 million. Vox described it as one of the “big two” period and fertility tracking apps and the one that had started the “boom” in the femtech space. == Application and features == Glow was initially described as a fertility application that applied data-driven methods to menstrual and ovulation tracking. Core features include cycle logging, ovulation prediction, and symptom tracking. The app also provides educational content related to reproductive health and childcare, as well as a set of online message boards that allow individuals to share experiences and seek peer support. == Privacy and legal issues == Glow has received significant media attention for its privacy and security practices. In 2016, Consumer Reports identified potential exploits in the Glow app that they claimed could have exposed private user data to hackers. Glow subsequently reported that it had fixed the vulnerabilities and told The Washington Post they had no evidence that user data had been compromised. In September 2020, the California Attorney General announced a settlement with Glow related to Consumer Reports’ findings, which included a $250,000 civil penalty. Following the US Supreme Court's 2022 Dobbs v. Jackson ruling, which legalized state-level bans on abortion, Glow (and other fertility trackers, such as Clue and Flo) came under additional scrutiny over concerns that user data on abortions could be reported to law enforcement. After this surge of media interest, a research team affiliated with the University of New South Wales conducted an investigation into the privacy practices of several popular fertility apps, including Glow. Their review of Glow was mixed, noting that they provided several privacy settings and de-identified sensitive data, but that user information could still be disclosed in the future if the app was sold. Glow rejected that claim, telling the Australian Associated Press that it "did not share" personal data. The company also cited several internal security measures it had implemented and its apps' offline data protection setting, which allows users to permanently delete their health-related data. == Reception == In 2014, Fast Company reported that 20,000 women had used Glow to conceive. Later that year, The Guardian included Glow Nurture on its list of the best iPhone apps of 2014. Media coverage often praised Glow's array of menstrual tracking options, although some reviews also noted that fertility apps are not birth control tools and cautioned against relying on them for that purpose. In 2019, Cosmopolitan singled Glow's community of users as one of its standout features.
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Mixvoip

Mixvoip S.A. is a Luxembourg-based telecommunications service provider founded in 2008. The company offers IP telephony, high-speed Internet connectivity, and IT solutions to businesses and individuals. == Company history == In November 2017, Mixvoip expanded its operations to Belgium and Germany. At the beginning of 2019, the company acquired the telecommunications provider Voipgate. In December 2019, Mixvoip was named Telecom Company of the Year at the Luxembourg ICT Awards 2019 organized by Farvest and IT One. A 2024 article in Duke described the company's transition during the 2010s from traditional telephony services to cloud-based communication platforms. In the end of 2024, the ILR published the statistics about electronic communications in Luxembourg, including Mixvoip in the fix telephony section. In July 2025, Mixvoip acquired Crossing Telecom. In 2026, Mixvoip acquired Nomado's portfolio.
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Interstellar communication

Interstellar communication is the transmission of signals between planetary systems. Sending interstellar messages is potentially much easier than interstellar travel, being possible with technologies and equipment which are currently available. However, the distances from Earth to other potentially inhabited systems introduce prohibitive delays, assuming the limitations of the speed of light. Even an immediate reply to radio communications sent to stars tens of thousands of light-years away would take many human generations to arrive. == Radio == The SETI project has for the past several decades been conducting a search for signals being transmitted by extraterrestrial life located outside the Solar System, primarily in the radio frequencies of the electromagnetic spectrum. Special attention has been given to the Water Hole, the frequency of one of neutral hydrogen's absorption lines, due to the low background noise at this frequency and its symbolic association with the basis for what is likely to be the most common system of biochemistry (but see alternative biochemistry). The regular radio pulses emitted by pulsars were briefly thought to be potential intelligent signals; the first pulsar to be discovered was originally designated "LGM-1", for "Little Green Men." They were quickly determined to be of natural origin, however. Several attempts have been made to transmit signals to other stars as well. (See "Realized projects" at Active SETI.) One of the earliest and most famous was the 1974 radio message sent from the largest radio telescope in the world, the Arecibo Observatory in Puerto Rico. An extremely simple message was aimed at a globular cluster of stars known as M13 in the Milky Way Galaxy and at a distance of 30,000 light years from the Solar System. These efforts have been more symbolic than anything else, however. Further, a possible answer needs double the travel time, i.e. tens of years (near stars) or 60,000 years (M13). == Other methods == It has also been proposed that higher frequency signals, such as lasers operating at visible light frequencies, may prove to be a fruitful method of interstellar communication; at a given frequency it takes surprisingly small energy output for a laser emitter to outshine its local star from the perspective of its target. Other more exotic methods of communication have been proposed, such as modulated neutrino or gravitational wave emissions. These would have the advantage of being essentially immune to interference by intervening matter. Sending physical mail packets between stars may prove to be optimal for many applications. While mail packets would likely be limited to speeds far below that of electromagnetic or other light-speed signals (resulting in very high latency), the amount of information that could be encoded in only a few tons of physical matter could more than make up for it in terms of average bandwidth. The possibility of using interstellar messenger probes for interstellar communication — known as Bracewell probes — was first suggested by Ronald N. Bracewell in 1960, and the technical feasibility of this approach was demonstrated by the British Interplanetary Society's starship study Project Daedalus in 1978. Starting in 1979, Robert Freitas advanced arguments for the proposition that physical space-probes provide a superior mode of interstellar communication to radio signals, then undertook telescopic searches for such probes in 1979 and 1982.
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Line splice

In electrical engineering and telecommunications, a line splice is a joint directly connecting lengths of electrical cables (electrical splice) or optical fibers (optical splice). The splices are often protected by sleeves. == Splicing of copper wires == The splicing of copper wires happens in the following steps: The cores are laid one above the other at the junction. The core insulation is removed. The wires are wrapped two to three times around each other (twisting). The bare veins on a length of about 3 cm "strangle" or "twist". In some cases, the strangulation is soldered. To isolate the splice, an insulating sleeve made of paper or plastic is pushed over it. The splicing of copper wires is mainly used on paper insulated wires. LSA techniques (LSA: soldering, screwing and stripping free) are used to connect copper wires, making the copper wires faster and easier to connect. LSA techniques include: Wire connection sleeves (AVH = Adernverbindungshülsen) and other crimp connectors. The two wires to be connected are inserted into the AVH without being stripped, which is then compressed with special pliers. The about 2 cm long AVH consist of contact, pressure and insulation. For wire connection strips (AVL = Adernverbindungsleisten) several pairs of wires (10 = AVL10 or 20 = AVL20) are inserted, the strip is then closed with a lid and pressed together with a hydraulic press, which ensures the connection. == Splicing of glass fibers == Fiber-optic cables are spliced using a special arc-splicer, with installation cables connected at their ends to respective "pigtails" - short individual fibers with fiber-optic connectors at one end. The splicer precisely adjusts the light-guiding cores of the two ends of the glass fibers to be spliced. The adjustment is done fully automatically in modern devices, whereas in older models this is carried out manually by means of micrometer screws and microscope. An experienced splicer can precisely position the fiber ends within a few seconds. Subsequently, the fibers are fused together (welded) with an electric arc. Since no additional material is added, such as gas welding or soldering, this is called a "fusion splice". Depending on the quality of the splicing process, attenuation values at the splice points are achieved by 0.3 dB, with good splices also below 0.02 dB. For newer generation devices, alignment is done automatically by motors. Here one differentiates core and jacket centering. At core centering (usually single-mode fibers), the fiber cores are aligned. A possible core offset with respect to the jacket is corrected. In the jacket centering (usually in multimode fibers), the fibers are adjusted to each other by means of electronic image processing in front of the splice. When working with good equipment, the damping value is according to experience at max. 0.1 dB. Measurements are made by means of special measuring devices including optical time-domain reflectometry (OTDR). A good splice should have an attenuation of less than 0.3 dB over the entire distance. Finished fiber optic splices are housed in splice boxes. One differentiates: Fusion splice Adhesive splicing Crimp splice or NENP (no-epoxy no-polish), mechanical splice
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Kdan Mobile

Kdan Mobile Software Limited is a software application development company based in Tainan City, Taiwan. Kdan also has branches in Taipei, Changsha, Irvine, California, Japan, and South Korea. The company was founded in 2009 by Kenny Su, the company's CEO. == History == Kdan Mobile was founded in 2009 by Kenny Su (蘇柏州) and develops an application for PDF documents. Su previously worked at the Industrial Technology Research Institute (ITRI) . In 2018, the company completed its Series B round of fundraising, in which it raised 16 million USD in total. Four global firms, Dattoz Partners (South Korea), WI Harper Group (U.S.), Taiwania Capital (Taiwan), and Golden Asia Fund Mitsubishi UFJ Capital (Japan), made up the Series B investment. Kdan previously raised 5 million USD in its Series A round in 2018.
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Infone

Infone was a service launched by Metro One Telecommunications in 2003. The service was discontinued effective December 14, 2005. == How it worked == Infone included directory assistance and other services via a toll-free phone number. A user could call 888-411-1111 to request directory assistance, directions, traffic information, movie times, call completion, dinner reservation assistance and other services. Infone provided a number of innovative 411 'concierge'-like services, including movie listings from a live operator, and offered a feature where they could provide information from a linked Microsoft Outlook calendar when set up in advance. For a period of time they advertised heavily on U.S. television, featuring ads with then Governor of Minnesota Jesse Ventura, emphasizing their use of all U.S. based operators. The price offered was $0.89 per call up to 15 minutes (for use when the operator connects you to the requested number, as well as for additional information requests afterwards), with $0.05 for each additional minute, making Infone also a competitively priced long-distance service. New users received 5–10 free calls. Infone identified a registered user (along with billing information; the service was only payable by credit card) by caller ID (numbers were registered on signing up) and by an advanced voiceprint recognition system (VPRS) from SpeechWorks that identified the user when the user called from an unregistered telephone number (or no caller ID) through the use of a personal phrase spoken by the user (e.g., "Hello Infone!") after the welcome tone.
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MADI

Multichannel Audio Digital Interface (MADI) standardized as AES10 by the Audio Engineering Society (AES) defines the data format and electrical characteristics of an interface that carries multiple channels of digital audio. The AES first documented the MADI standard in AES10-1991 and updated it in AES10-2003 and AES10-2008. The MADI standard includes a bit-level description and has features in common with the two-channel AES3 interface. MADI supports serial digital transmission over coaxial cable or fibre-optic lines of 28, 56, 32, or 64 channels; and sampling rates to 96 kHz and beyond with an audio bit depth of up to 24 bits per channel. Like AES3 and ADAT Lightpipe, it is a unidirectional interface from one sender to one receiver. == Development and applications == MADI was developed by AMS Neve, Solid State Logic, Sony and Mitsubishi and is widely used in the audio industry, especially in the professional audio sector. It provides advantages over other audio digital interface protocols and standards such as AES3, ADAT Lightpipe, TDIF (Tascam Digital Interface), and S/PDIF (Sony/Philips Digital Interface). These advantages include: Support for a greater number of channels per line Use of coaxial and optical fiber media that support transmission of audio signals over 100 meters, up to 3000 meters over multi-mode and 40,000 meters over single-mode optical fiber The original specification (AES10-1991) defined the MADI link as a 56-channel transport for linking large-format mixing consoles to digital multitrack recording devices. Large broadcast studios also adopted it for routing multi-channel audio throughout their facilities. The 2003 revision (AES10-2003) adds a 64-channel capability by removing varispeed operation and supports 96 kHz sampling frequency with reduced channel capacity. The latest AES10-2008 standard includes minor clarifications and updates to correspond to the current AES3 standard. Audio over Ethernet of various types is the primary alternative to MADI for transport of many channels of professional digital audio. == Transmission format == MADI links use a transmission format similar to Fiber Distributed Data Interface (FDDI) networking. Since MADI is most often transmitted on copper links via 75-ohm coaxial cables, it more closely compares to the FDDI specification for copper-based links, called CDDI. AES10-2003 recommends using BNC connectors with coaxial cables and SC connectors with optic fibers. MADI over fibre can support a range of up to 2 km. The basic data rate is 100 Mbit/s of data using 4B5B encoding to produce a 125 MHz physical baud rate. Unlike AES3, this clock is not synchronized to the audio sample rate, and the audio data payload is padded using JK sync symbols. Sync symbols may be inserted at any subframe boundary, and must occur at least once per frame. Though the standard disassociates the transmission clock from the audio sample rate, and thus requires a separate word clock connection to maintain synchronization, some vendors do give the option of locking to parts of the transmission timing information for purposes of deriving a word clock. The audio data is almost identical to the AES3 payload, though with more channels. Rather than letters, MADI assigns channel numbers from 0–63. Frame synchronization is provided by sync symbols outside the data itself, rather than an embedded preamble sequence, and the first four time slots of each sub-channel are encoded as normal data, used for sub-channel identification: Bit 0: Set to 1 to mark channel 0, the first channel in each frame Bit 1: Set to 1 to indicate that this channel is active (contains interesting data) Bit 2: notA/B channel marker, used to mark left (0) and right (1) channels. Generally, even channels are A and odd channels are B. Bit 3: Set to 1 to mark the beginning of a 192-sample data block == Sampling frequency == The original AES10-1991 specification allowed 56 channels at sample rates from 32 to 48 kHz with an additional vari-speed range of ± 12.5%. This leads to a total range of 28 to 54 kHz. At the highest frequency, this produces a total of 56 × 32 × 54 = 96768 kbit/s, leaving 3.232% of the channel for synchronization marks and transmit clock error. The 2003 revision specifies different relations between sampling frequency and number of channels. 32 kHz to 48 kHz ± 12.5%, 56 channels; 32 kHz to 48 kHz nominal, 64 channels; 64 kHz to 96 kHz ± 12.5%, 28 channels. With a 48 kHz sampling frequency, 64 channels take 64 × 32 × 48000 = 98.304 Mbit/s. Adding the minimum 8 × 58 kbit/s of framing produces 98688 bit/s, leaving 1.312% free for timing variation and other overhead. Both versions of the standard accommodate higher sampling frequencies (for example, 96 kHz or 192 kHz) by using two or more channels per audio sample on the link.
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Supercomputer operating system

A supercomputer operating system is an operating system intended for supercomputers. Since the end of the 20th century, supercomputer operating systems have undergone major transformations, as fundamental changes have occurred in supercomputer architecture. While early operating systems were custom tailored to each supercomputer to gain speed, the trend has been moving away from in-house operating systems and toward some form of Linux, with it running all the supercomputers on the TOP500 list in November 2017. In 2021, top 10 computers run for instance Red Hat Enterprise Linux (RHEL), or some variant of it or other Linux distribution e.g. Ubuntu. Given that modern massively parallel supercomputers typically separate computations from other services by using multiple types of nodes, they usually run different operating systems on different nodes, e.g., using a small and efficient lightweight kernel such as Compute Node Kernel (CNK) or Compute Node Linux (CNL) on compute nodes, but a larger system such as a Linux distribution on server and input/output (I/O) nodes. While in a traditional multi-user computer system job scheduling is in effect a tasking problem for processing and peripheral resources, in a massively parallel system, the job management system needs to manage the allocation of both computational and communication resources, as well as gracefully dealing with inevitable hardware failures when tens of thousands of processors are present. Although most modern supercomputers use the Linux operating system, each manufacturer has made its own specific changes to the Linux distribution they use, and no industry standard exists, partly because the differences in hardware architectures require changes to optimize the operating system to each hardware design. == Context and overview == In the early days of supercomputing, the basic architectural concepts were evolving rapidly, and system software had to follow hardware innovations that usually took rapid turns. In the early systems, operating systems were custom tailored to each supercomputer to gain speed, yet in the rush to develop them, serious software quality challenges surfaced and in many cases the cost and complexity of system software development became as much an issue as that of hardware. In the 1980s the cost for software development at Cray came to equal what they spent on hardware and that trend was partly responsible for a move away from the in-house operating systems to the adaptation of generic software. The first wave in operating system changes came in the mid-1980s, as vendor specific operating systems were abandoned in favor of Unix. Despite early skepticism, this transition proved successful. By the early 1990s, major changes were occurring in supercomputing system software. By this time, the growing use of Unix had begun to change the way system software was viewed. The use of a high level language (C) to implement the operating system, and the reliance on standardized interfaces was in contrast to the assembly language oriented approaches of the past. As hardware vendors adapted Unix to their systems, new and useful features were added to Unix, e.g., fast file systems and tunable process schedulers. However, all the companies that adapted Unix made unique changes to it, rather than collaborating on an industry standard to create "Unix for supercomputers". This was partly because differences in their architectures required these changes to optimize Unix to each architecture. As general purpose operating systems became stable, supercomputers began to borrow and adapt critical system code from them, and relied on the rich set of secondary functions that came with them. However, at the same time the size of the code for general purpose operating systems was growing rapidly. By the time Unix-based code had reached 500,000 lines long, its maintenance and use was a challenge. This resulted in the move to use microkernels which used a minimal set of the operating system functions. Systems such as Mach at Carnegie Mellon University and ChorusOS at INRIA were examples of early microkernels. The separation of the operating system into separate components became necessary as supercomputers developed different types of nodes, e.g., compute nodes versus I/O nodes. Thus modern supercomputers usually run different operating systems on different nodes, e.g., using a small and efficient lightweight kernel such as CNK or CNL on compute nodes, but a larger system such as a Linux-derivative on server and I/O nodes. == Early systems == The CDC 6600, generally considered the first supercomputer in the world, ran the Chippewa Operating System, which was then deployed on various other CDC 6000 series computers. The Chippewa was a rather simple job control oriented system derived from the earlier CDC 3000, but it influenced the later KRONOS and SCOPE systems. The first Cray-1 was delivered to the Los Alamos Lab with no operating system, or any other software. Los Alamos developed the application software for it, and the operating system. The main timesharing system for the Cray 1, the Cray Time Sharing System (CTSS), was then developed at the Livermore Labs as a direct descendant of the Livermore Time Sharing System (LTSS) for the CDC 6600 operating system from twenty years earlier. In developing supercomputers, rising software costs soon became dominant, as evidenced by the 1980s cost for software development at Cray growing to equal their cost for hardware. That trend was partly responsible for a move away from the in-house Cray Operating System to UNICOS system based on Unix. In 1985, the Cray-2 was the first system to ship with the UNICOS operating system. Around the same time, the EOS operating system was developed by ETA Systems for use in their ETA10 supercomputers. Written in Cybil, a Pascal-like language from Control Data Corporation, EOS highlighted the stability problems in developing stable operating systems for supercomputers and eventually a Unix-like system was offered on the same machine. The lessons learned from developing ETA system software included the high level of risk associated with developing a new supercomputer operating system, and the advantages of using Unix with its large extant base of system software libraries. By the middle 1990s, despite the extant investment in older operating systems, the trend was toward the use of Unix-based systems, which also facilitated the use of interactive graphical user interfaces (GUIs) for scientific computing across multiple platforms. The move toward a commodity OS had opponents, who cited the fast pace and focus of Linux development as a major obstacle against adoption. As one author wrote "Linux will likely catch up, but we have large-scale systems now". Nevertheless, that trend continued to gain momentum and by 2005, virtually all supercomputers used some Unix-like OS. These variants of Unix included IBM AIX, the open source Linux system, and other adaptations such as UNICOS from Cray. By the end of the 20th century, Linux was estimated to command the highest share of the supercomputing pie. == Modern approaches == The IBM Blue Gene supercomputer uses the CNK operating system on the compute nodes, but uses a modified Linux-based kernel called I/O Node Kernel (INK) on the I/O nodes. CNK is a lightweight kernel that runs on each node and supports a single application running for a single user on that node. For the sake of efficient operation, the design of CNK was kept simple and minimal, with physical memory being statically mapped and the CNK neither needing nor providing scheduling or context switching. CNK does not even implement file I/O on the compute node, but delegates that to dedicated I/O nodes. However, given that on the Blue Gene multiple compute nodes share a single I/O node, the I/O node operating system does require multi-tasking, hence the selection of the Linux-based operating system. While in traditional multi-user computer systems and early supercomputers, job scheduling was in effect a task scheduling problem for processing and peripheral resources, in a massively parallel system, the job management system needs to manage the allocation of both computational and communication resources. It is essential to tune task scheduling, and the operating system, in different configurations of a supercomputer. A typical parallel job scheduler has a master scheduler which instructs some number of slave schedulers to launch, monitor, and control parallel jobs, and periodically receives reports from them about the status of job progress. Some, but not all supercomputer schedulers attempt to maintain locality of job execution. The PBS Pro scheduler used on the Cray XT3 and Cray XT4 systems does not attempt to optimize locality on its three-dimensional torus interconnect, but simply uses the first available processor. On the other hand, IBM's scheduler on the Blue Gene supercomputers aims to exploit locality a
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Computer Graphics: Principles and Practice

Computer Graphics: Principles and Practice is a textbook written by James D. Foley, Andries van Dam, Steven K. Feiner, John Hughes, Morgan McGuire, David F. Sklar, and Kurt Akeley and published by Addison–Wesley. First published in 1982 as Fundamentals of Interactive Computer Graphics, it is widely considered a classic standard reference book on the topic of computer graphics. It is sometimes known as the bible of computer graphics (due to its size). == Editions == === First Edition === The first edition, published in 1982 and titled Fundamentals of Interactive Computer Graphics, discussed the SGP library, which was based on ACM's SIGGRAPH CORE 1979 graphics standard, and focused on 2D vector graphics. === Second Edition === The second edition, published 1990, was completely rewritten and covered 2D and 3D raster and vector graphics, user interfaces, geometric modeling, anti-aliasing, advanced rendering algorithms and an introduction to animation. The SGP library was replaced by SRGP (Simple Raster Graphics Package), a library for 2D raster primitives and interaction handling, and SPHIGS (Simple PHIGS), a library for 3D primitives, which were specifically written for the book. === Second Edition in C === In the second edition in C, published in 1995, all examples were converted from Pascal to C. New implementations for the SRGP and SPHIGS graphics packages in C were also provided. === Third Edition === A third edition covering modern GPU architecture was released in July 2013. Examples in the third edition are written in C++, C#, WPF, GLSL, OpenGL, G3D, or pseudocode. == Awards == The book has won a Front Line Award (Hall of Fame) in 1998.
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Digital Cinema Package

A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation for packaging DC contents. However, the industry tends to apply the term to the structure more formally known as the composition. A DCP is a container format for compositions, a hierarchical file structure that represents a title version. The DCP may carry a partial composition (e.g. not a complete set of files), a single complete composition, or multiple and complete compositions. The composition consists of a Composition Playlist (in XML format) that defines the playback sequence of a set of Track Files. Track Files carry the essence (audio, image, subtitles), which is wrapped using Material eXchange Format (MXF). Track Files must contain only one essence type. Two track files at a minimum must be present in every composition (see SMPTE ST429-2 D-Cinema Packaging – DCP Constraints, or Cinepedia): a track file carrying picture essence, and a track file carrying audio essence. The composition, consisting of a Composition Playlist (CPL) and associated track files, are distributed as a Digital Cinema Package (DCP). A composition is a complete representation of a title version, while the DCP need not carry a full composition. However, as already noted, it is commonplace in the industry to discuss the title in terms of a DCP, as that is the deliverable to the cinema. The Picture Track File essence is compressed using JPEG 2000 and the Audio Track File carries a 24-bit linear PCM uncompressed multichannel WAV file. Encryption may optionally be applied to the essence of a track file to protect it from unauthorized use. The encryption used is AES 128-bit in CBC mode. In practice, there are two versions of composition in use. The original version is called Interop DCP. In 2009, a specification was published by SMPTE (SMPTE ST 429-2 Digital Cinema Packaging – DCP Constraints) for what is commonly referred to as SMPTE DCP. SMPTE DCP is similar but not backwards compatible with Interop DCP, resulting in an uphill effort to transition the industry from Interop DCP to SMPTE DCP. SMPTE DCP requires significant constraints to ensure success in the field, as shown by ISDCF. While legacy support for Interop DCP is necessary for commercial products, new productions are encouraged to be distributed in SMPTE DCP. == Technical specifications == The DCP root folder (in the storage medium) contains a number of files, some used to store the image and audio contents, and some other used to organize and manage the whole playlist. === Picture MXF files === Picture contents may be stored in one or more reels corresponding to one or more MXF files. Each reel contains pictures as MPEG-2 or JPEG 2000 essence, depending on the adopted codec. MPEG-2 is no longer compliant with the DCI specification. JPEG 2000 is the only accepted compression format. Supported frame rates are: SMPTE (JPEG 2000) 24, 25, 30, 48, 50, and 60 fps @ 2K 24, 25, and 30 fps @ 4K 24 and 48 fps @ 2K stereoscopic MXF Interop (JPEG 2000) – Deprecated 24 and 48 fps @ 2K (MXF Interop can be encoded at 25 frame/s but support is not guaranteed) 24 fps @ 4K 24 fps @ 2K stereoscopic MXF Interop (MPEG-2) – Deprecated 23.976 and 24 fps @ 1920 × 1080 Maximum frame sizes are 2048 × 1080 for 2K DC, and 4096 × 2160 for 4K DC. Common formats are: SMPTE (JPEG 2000) Flat (1998 × 1080 or 3996 × 2160), = 1.85:1 aspect ratio Scope (2048 × 858 or 4096 × 1716), ~2.39:1 aspect ratio HDTV (1920 × 1080 or 3840 × 2160), 16:9 aspect ratio (~1.78:1) (although not specifically defined in the DCI specification, this resolution is DCI compliant per section 8.4.3.2). Full (2048 × 1080 or 4096 × 2160) (~1.9:1 aspect ratio, official name by DCI is Full Container. Not widely accepted in cinemas.) MXF Interop (MPEG-2) – Deprecated Full Frame (1920 × 1080) 12 bits per component precision (36 bits total per pixel) XYZ' colorspace; the prime mark indicates gamma encoding (gamma=2.6) Maximum bit rate is 250 Mbit/s (1.3 MBytes per frame at 24 frame per second) === Sound MXF files === Sound contents are also stored in reels corresponding to picture reels in number and duration. In case of multilingual features, separate reels are required to convey different languages. Each file contains linear PCM essence. Sampling rate is 48,000 or 96,000 samples per second Sample precision of 24 bits Linear mapping (no companding) Up to 16 independent channels === Asset map file === List of all files included in the DCP, in XML format. === Composition playlist file === Defines the playback order during presentation. The order is saved in XML format in this file; each picture and sound reel is identified by its UUID. In the following example, a reel is composed by picture and sound: === Packing list file or package key list (PKL) === All files in the composition are hashed and their hash is stored here, in XML format. This file is generally used during ingestion in a digital cinema server to verify if data have been corrupted or tampered with in some way. For example, an MXF picture reel is identified by the following element: The hash value is the Base64 encoding of the SHA-1 checksum. It can be calculated with the command: openssl sha1 -binary "FILE_NAME" | openssl base64 === Volume index file === A single DCP may be stored in more than one medium (e.g., multiple hard disks). The XML file VOLINDEX is used to identify the volume order in the series. == 3D DCP == The DCP format is also used to store stereoscopic (3D) contents for 3D films. In this case, 48 frames exist for every second – 24 frames for the left eye, 24 frames for the right. Depending on the projection system used, the left eye and right eye pictures are either shown alternately (double or triple flash systems) at 48 fps or, on 4k systems, both left and right eye pictures are shown simultaneously, one above the other, at 24 fps. In triple flash systems, active shutter glasses are required whereas optical filtering such as circular polarisation is used in conjunction with passive glasses on polarized systems. Since the maximum bit rate is always 250 Mbit/s, this results in a net 125 Mbit/s for single frame, but the visual quality decrease is generally unnoticeable. == D-Box == D-Box codes for motion controlled seating (labelled as "Motion Data" in the DCP specification), if present, are stored as a monoaural WAV file on Sound Track channel 13. Motion Data tracks are unencrypted and not watermarked. == Creation == Most film producers and distributors rely on digital cinema encoding facilities to produce and quality control check a digital cinema package before release. Facilities follow strict guidelines set out in the DCI recommendations to ensure compatibility with all digital cinema equipment. For bigger studio release films, the facility will usually create a Digital Cinema Distribution Master (DCDM). A DCDM is the post-production step prior to a DCP. The frames are in XYZ TIFF format and both sound and picture are not yet wrapped into MXF files. A DCP can be encoded directly from a DCDM. A DCDM is useful for archiving purposes and also facilities can share them for international re-versioning purposes. They can easily be turned into alternative version DCPs for foreign territories. For smaller release films, the facility will usually skip the creation of a DCDM and instead encode directly from the Digital Source Master (DSM) the original film supplied to the encoding facility. A DSM can be supplied in a multitude of formats and color spaces. For this reason, the encoding facility needs to have extensive knowledge in color space handling including, on occasion, the use of 3D LUTs to carefully match the look of the finished DCP to a celluloid film print. This can be a highly involved process in which the DCP and the film print are "butterflied" (shown side by side) in a highly calibrated cinema. Less demanding DCPs are encoded from tape formats such as HDCAM SR. Quality control checks are always performed in calibrated cinemas and carefully checked for errors. QC checks are often attended by colorists, directors, sound mixers and other personnel to check for correct picture and sound reproduction in the finished DCP. == Accessibility == === Hearing impaired audio === A Hearing Impaired (HI) audio track is designed for people who are hearing-impaired to better hear dialog. Moviegoers can wear headphones which play this audio track synchronized with the film. Hearing Impaired audio is stored in the DCP on Sound Track channel 7. === Audio description === Audio description is narration for people who are blind or visually impaired. Audio description is stored in the DCP as "Visually Impaired-Native" (VI-N) audio on Sound Track channel 8. === Sign Language Video === A Sign Language Video track can be included in a DCP to allow for display of sign la
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Filter (social media)

Filters are digital image effects often used on social media. They initially simulated the effects of camera filters, and they have since developed with facial recognition technology and computer-generated augmented reality. Social media filters—especially beauty filters—are often used to alter the appearance of selfies taken on smartphones or other similar devices. While filters are commonly associated with beauty enhancement and feature alterations, there is a wide range of filters that have different functions. From adjusting photo tones to using face animations and interactive elements, users have access to a range of tools. These filters allow users to enhance photos and allow room for creative expression and fun interactions with digital content. == History == Beauty filters originate from Purikura ("print club"), a type of Japanese photographic arcade game machine conceived in 1994 by Sasaki Miho, a female employee at Atlus, and released in 1995 by Atlus and Sega primarily for female visitors at Japanese arcades. They allowed the manipulation of digital selfie photos with kawaii beauty filters similar to later Snapchat filters. Purikura filters included beautifying the image, cat whiskers, bunny ears, writing text, scribbling graffiti, selecting backdrops, borders, insertable decorations, icons, hair extensions, twinkling diamond tiaras, tenderized light effects, and predesigned decorative margins. To capitalize on the Purikura phenomenon in Japan during the late 1990s, Japanese mobile phones began including a front-facing camera, starting with the Kyocera Visual Phone VP‑210 in 1999. The Sanyo SCP-5300 released in 2002 was the first camera phone with filter effects, such as illumination, white‑balance control, sepia, black and white, and negative colors. Purikura-like beauty filters later appeared in smartphone apps such as Instagram and Snapchat in the 2010s. In 2010, Apple introduced the iPhone 4—the first iPhone model with a front-facing camera. It gave rise to a dramatic increase in selfies, which could be touched up with more flattering lighting effects with applications such as Instagram. The American photographer Cole Rise was involved in the creation of the original filters for Instagram around 2010, designing several of them himself, including Sierra, Mayfair, Sutro, Amaro, and Willow. However, the technology for virtual lens filters was invented and patented by Patrick Levy-Rosenthal in 2007. The patent received 100 citations, including Facebook, Nvidia, Microsoft, Samsung, and Snap. In September, 2011, the Instagram 2.0 update for the application introduced "live filters," which allowed the user to preview the effect of the filter while shooting with the application's camera. #NoFilter, a hashtag label to describe an image that had not been filtered, became popular around 2013. An update in 2014 allowed users to adjust the intensity of the filters as well as fine-tune other aspects of the image, features that had been available for years on applications such as VSCO and Litely. In 2014, Snapchat started releasing sponsored filters to monetize the participatory use of the application. In September 2015, Snapchat acquired Looksery and released a feature called "lenses," animated filters using facial recognition technology. Some of the early lenses available on Snapchat at the time were Heart Eyes, Terminator, Puke Rainbows, Old, Scary, Rage Face, Heart Avalanche. The Coachella filter released April 2016 was a popular early augmented reality filter. In April 2017, Facebook released the Camera Effects Platform, which is the first augmented reality platform that allows developers to create their own filters and effects on Facebook's Camera. In December 2017, Snapchat also launched their Lens Studio augmented reality developer tool that allows users and advertisers to do the same on the Snapchat application. In April 2022,TikTok joined the two, and launched their own augmented reality developer platform called Effect house. In February 2023, Effect House gave opened up the access to generative AI tools that allowed creators to change facial features in real time. In November 2023, TikTok released a feature where users no longer needed Effect House to create their own filters, as they are now able to create their own effects on the TikTok application. In August 2024, Meta announced that it would be removing third-party filter effects from its family of apps by January 14, 2025. The AR development software Meta Spark AR will also be retired at the same time; it was at one point the "world's largest mobile AR platform". Brand and creator effects represent the vast majority of filters available on Meta platforms, with over 2 million third-party filters available as of 2021. == Beauty filter == A beauty filter is a filter applied to still photographs, or to video in real time, to enhance the physical attractiveness of the subject. Typical effects of such filters include smoothing skin texture and modifying the proportions of facial features, for example enlarging the eyes or narrowing the nose. Filters may be included as a built-in feature of social media apps such as Instagram or Snapchat, or implemented through standalone applications such as Facetune. In 2020, the "Perfect Skin" filter for Snapchat and Instagram which was created by Brazilian augmented reality developer Brenno Faustino gained more than 36 million impressions in the first 24 hours of its release. In 2021, TikTok users pointed out how the default front-facing camera on the platform automatically applied the retouch and other feature-altering filters. Users noted that these filters slimmed down faces, smoothed skin, whitened teeth, and altered facial features such as nose and eye size, without the option to disable this feature through settings. In March 2023, the "Bold Glamour" filter was released on TikTok and instantly went viral with over 18 million videos created within its first week. This filter subtly enhances the user's facial features seamlessly, giving the illusion of fuller eyebrows, taller cheekbones, enhanced eye make up, a smaller nose, plumper lips, and clearer skin, giving off a natural yet distinct effect. As of May 2024, the filter has been used in over 220 million videos and has become a pivotal moment for beauty filters on digital platforms. Critics have raised concerns that the widespread use of such filters on social media may lead to negative body image, particularly among girls. Though Meta's intention of removing third-party filters will likely see all beauty filters removed, academics feel that the damage of beautifying filters is already done. === Background === The manipulation of photos to enhance attractiveness has long been possible using software such as Adobe Photoshop and, before that, analogue techniques such as airbrushing. However, such tools required considerable technical and artistic skill, and so their use was mostly limited to professional contexts, such as magazines or advertisements. By contrast, filters work in an automated fashion through the use of complex algorithms, requiring little or no input from the user. This ease of use, in combination with the increase in processing power of smartphones, and the rise of social media and selfie culture, have led to photographic manipulation occurring on a much wider scale than ever before. One of the earliest examples of a content-aware digital photographic filter is red-eye reduction. === Effects === Typical changes applied by beauty filters include: Smoothing skin texture; minimizing fine lines and blemishes Erasing under-eye bags Erasing naso-labial lines ("laugh lines") Application of virtual makeup, such as lipstick or eyeshadow Slimming the face; erasing double chins Enlarging the eyes Whitening teeth Narrowing the nose Increasing fullness of the lips Beauty filters most frequently target the face, though in some cases they may affect other body parts. For example, the app "Retouch Me" was reported to have a feature which allows users to superimpose visible abdominal muscles (a "six pack") onto photos featuring the subject's bare stomach. === Reception and psychological effects === Some commentators have expressed concern that beauty filters may create unrealistic beauty standards, particularly among girls, and contribute to rates of body dysmorphic disorder. A correlation has been established between negative body image and the use of beautifying filters, though the direction of causation is unknown. The inability to discern whether a particular image has been filtered is thought to exacerbate their negative psychological effects. Policymakers have advocated for social networks to disclose the use of filters; TikTok, Instagram, and Snapchat all label filtered photos and videos with the name of the filter applied. It has also been noted that beauty filters on social media tend to highlight Eurocentric features, like lighter eyes, a smaller nose, and flushed ch
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Gnowit

Gnowit (pronounced "know it") is a Canadian software company that provides automated, near-real-time monitoring of legislative, regulatory, and political activity across Canada. Its platform aggregates and analyzes information from government publications, parliamentary debates, committee, and proceedings to provide searchable alerts and reports for organizations monitoring public policy and regulatory developments. The system uses natural-language processing and machine learning techniques to organize and filter large volumes of public information.; the company reports that new publication documents are captured and millions of items are added to its repository daily. == History, Founders and Leadership == Gnowit was co-founded in Ottawa in 2010 by Shahzad Khan and Mohammad Al-Azzouni; Khan serves as chief executive officer. Khan holds a PhD in Computer Science from the University of Cambridge, has more than two decades of experience in AI/ML and computational linguistics, and has authored or co-authored 37 peer-reviewed publications and five patents. Traditionally, companies performed this analysis manually; Gnowit has delivered efficiencies achieved through AI innovations. The company has participated in several Canadian startup and accelerator programs, including Carleton University's Lead To Win initiative, the University of Ottawa's Startup Garage, the Invest Ottawa incubator, and the League of Innovators' BOOST program. === Kubernetes validation (2019–2020) === As part of a Canada's Centre of Excellence in Next Generation Networks (CENGN) project, Gnowit validated a containerized version of its web-intelligence software on Kubernetes. Between 2019 and 2020, Gnowit participated in a project with Canada’s Centre of Excellence in Next Generation Networks (CENGN) to test and scale its platform using containerized infrastructure based on Kubernetes. The initiative focused on improving scalability and supporting the company’s transition from a monolithic software architecture to a cloud-native deployment model. == Products and services == Gnowit markets several modules for public-affairs, compliance, and market-intelligence teams. Legislative & Regulatory Monitoring (vAnalyst). vAnalyst is a monitoring platform that tracks legislative and regulatory activity across Canadian federal, provincial, and territorial jurisdictions. The system aggregates parliamentary debates, bills, committee proceedings, and regulatory publications and provides searchable alerts and reporting tools. The product monitors more than two million web sources to surface relevant items quickly. Parliamentary Live (vAnalyst). Monitors live video feeds from parliamentary sessions and committees with same-day transcripts, AI-generated summaries, witness summaries, and motion detection; municipal coverage is offered as an option. Gnowit can avail transcripts up to two weeks before official releases. These transcripts enable users to navigate and review lengthy parliamentary sittings and committee discussions through searchable text. Municipal Monitoring (vAnalyst). The platform also tracks council meetings, agendas, bylaws, and other municipal government publications from hundreds of Canadian municipalities. The platform aggregates these sources into a single searchable interface for reviewing local government decisions. Curation Edge (analyst service). Curation Edge is an add-on service in which expert analysts work and collaborate with clients to develop a tailored curation guide and deliver daily newsletters or briefs on legislation and media. These reports provide concise summaries, relevant links, and optional metadata, prioritizing key updates with additional context and analysis. The service is customizable, including branding and formatting for executive audiences, and is intended to reduce information overload, support decision-making, and streamline the synthesis and distribution of information. === Coverage and sources === Gnowit monitors sources span Canadian government materials across federal, provincial, and territorial jurisdictions Hansard transcripts (All Jurisdictions, including committees), order papers, committee transcripts, gazettes, bills, acts and regulations, consultations, regulatory-agency publications, and global news media as well as press releases and council-meeting materials from hundreds of municipalities. == Partnerships and support == Gnowit reports collaborations with Canadian academic and ecosystem partners, including: Algonquin College Carleton University McGill University University of Ottawa Université du Québec en Outaouais (UQO) Queen's University The company also participated in the accelerator program at Invest Ottawa and has received support from Canadian research and innovation programs, including: NRC Industrial Research Assistance Program (NRC-IRAP) Mitacs Ontario Centre of Innovation (OCI) (formerly OCE) Gnowit has also referenced membership in the Southern Ontario Smart Computing Innovation Platform (Government of Canada profile: FedDev Ontario – SOSCIP overview). == Technology == Gnowit develops technology intended to support timely decision-making by delivering updates from monitored web sources as they are published. The platform applies artificial intelligence (AI) and machine learning (ML) techniques to monitor, capture, clean, analyze, filter, and organize text, and to generate concise briefs. Its technical approach combines Boolean queries, shallow language processing techniques, and machine learning classifiers within a self-service interface. The company has described its longer-term development framework in relation to a belief–desire–intention (BDI) model of intelligent agents on the web. Gnowit and its founder are listed as inventors/assignees on patents concerning multi-document clustering, salient-content extraction, and sentiment analysis methods that are consistent with these features: US 9,600,470 – Method and system relating to re-labelling multi-document clusters (assignee: Whyz Technologies Ltd.). US 9,336,202 – Method and system relating to salient content extraction for information retrieval (assignee: Whyz Technologies Ltd.). CA 2,865,184 C – Method and system relating to re-labelling multi-document clusters. CA 2,865,186 C – Procédé et système concernant l'analyse de sentiment d'un contenu (sentiment analysis; French record). CA 2,865,187 C – Method and system relating to salient content extraction for information retrieval. == Research and community == In January 2025, Gnowit personnel contributed to regulatory NLP by co-authoring a peer-reviewed paper at the 1st Regulatory NLP Workshop (RegNLP 2025), co-located with COLING in Abu Dhabi. Titled Unifying Large Language Models and Knowledge Graphs for Efficient Regulatory Information Retrieval and Answer Generation, the work introduces PolicyInsight, a framework that joins a dynamic policy data model and knowledge graph with LLMs to monitor policy texts, detect changes, and support retrieval and answer generation; the author list includes Shahzad Khan (CEO, Gnowit Inc.). (ACL Anthology, aclweb.org). Similar information-retrieval technologies are widely used for competitive intelligence, policy monitoring, and media analysis. == White paper == Gnowit has published a practical guide, Automated Government Information Monitoring, which outlines how GR and regulatory teams can design a monitoring and briefing workflow and describes Gnowit's automation features and export options (PDF, email, dashboards, CSV/JSON/XML/API).
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Zero-shot learning

Zero-shot learning (ZSL) is a problem setup in deep learning where, at test time, a learner observes samples from classes which were not observed during training, and needs to predict the class that they belong to. The name is a play on words based on the earlier concept of one-shot learning, in which classification can be learned from only one, or a few, examples. Zero-shot methods generally work by associating observed and non-observed classes through some form of auxiliary information, which encodes observable distinguishing properties of objects. For example, given a set of images of animals to be classified, along with auxiliary textual descriptions of what animals look like, an artificial intelligence model which has been trained to recognize horses, but has never been given a zebra, can still recognize a zebra when it also knows that zebras look like striped horses. This problem is widely studied in computer vision, natural language processing, and machine perception. == Background and history == The first paper on zero-shot learning in natural language processing appeared in a 2008 paper by Chang, Ratinov, Roth, and Srikumar, at the AAAI'08, but the name given to the learning paradigm there was dataless classification. The first paper on zero-shot learning in computer vision appeared at the same conference, under the name zero-data learning. The term zero-shot learning itself first appeared in the literature in a 2009 paper from Palatucci, Hinton, Pomerleau, and Mitchell at NIPS'09. This terminology was repeated later in another computer vision paper and the term zero-shot learning caught on, as a take-off on one-shot learning that was introduced in computer vision years earlier. In computer vision, zero-shot learning models learned parameters for seen classes along with their class representations and rely on representational similarity among class labels so that, during inference, instances can be classified into new classes. In natural language processing, the key technical direction developed builds on the ability to "understand the labels"—represent the labels in the same semantic space as that of the documents to be classified. This supports the classification of a single example without observing any annotated data, the purest form of zero-shot classification. The original paper made use of the Explicit Semantic Analysis (ESA) representation but later papers made use of other representations, including dense representations. This approach was also extended to multilingual domains, fine entity typing and other problems. Moreover, beyond relying solely on representations, the computational approach has been extended to depend on transfer from other tasks, such as textual entailment and question answering. The original paper also points out that, beyond the ability to classify a single example, when a collection of examples is given, with the assumption that they come from the same distribution, it is possible to bootstrap the performance in a semi-supervised like manner (or transductive learning). Unlike standard generalization in machine learning, where classifiers are expected to correctly classify new samples to classes they have already observed during training, in ZSL, no samples from the classes have been given during training the classifier. It can therefore be viewed as an extreme case of domain adaptation. == Prerequisite information for zero-shot classes == Naturally, some form of auxiliary information has to be given about these zero-shot classes, and this type of information can be of several types. Learning with attributes: classes are accompanied by pre-defined structured description. For example, for bird descriptions, this could include "red head", "long beak". These attributes are often organized in a structured compositional way, and taking that structure into account improves learning. While this approach was used mostly in computer vision, there are some examples for it also in natural language processing. Learning from textual description. As pointed out above, this has been the key direction pursued in natural language processing. Here class labels are taken to have a meaning and are often augmented with definitions or free-text natural-language description. This could include for example a wikipedia description of the class. Class-class similarity. Here, classes are embedded in a continuous space. A zero-shot classifier can predict that a sample corresponds to some position in that space, and the nearest embedded class is used as a predicted class, even if no such samples were observed during training. == Generalized zero-shot learning == The above ZSL setup assumes that at test time, only zero-shot samples are given, namely, samples from new unseen classes. In generalized zero-shot learning, samples from both new and known classes, may appear at test time. This poses new challenges for classifiers at test time, because it is very challenging to estimate if a given sample is new or known. Some approaches to handle this include: a gating module, which is first trained to decide if a given sample comes from a new class or from an old one, and then, at inference time, outputs either a hard decision, or a soft probabilistic decision a generative module, which is trained to generate feature representation of the unseen classes—a standard classifier can then be trained on samples from all classes, seen and unseen. == Domains of application == Zero shot learning has been applied to the following fields: image classification semantic segmentation image generation object detection natural language processing computational biology abstract reasoning
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Digital cinematography

Digital cinematography is the process of capturing (recording) a motion picture using digital image sensors rather than through film stock. As digital technology has improved in recent years, this practice has become dominant. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, as well as new vendors like Red, Blackmagic, Silicon Imaging, Vision Research and companies which have traditionally focused on consumer and broadcast video equipment, like Sony, GoPro, and Panasonic. As of 2023, professional 4K digital cameras were approximately equal to 35mm film in their resolution and dynamic range capacity. Some filmmakers still prefer to use film picture formats to achieve the desired results. == History == The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors. The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor (CMOS sensor), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987). Rainbow (1996) was the world's first film to utilize extensive digital post production techniques. Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to a 35mm negative via an electron beam recorder for theatrical release. The first digitally videoed and post produced feature was Windhorse, shot in Tibet and Nepal in 1996 on the Sony DVW-700WS Digital Betacam and the prosumer Sony DCR-VX1000. The offline editing (Avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998. In 1997, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction in the market. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace. In May 2000, Vidocq, which was directed by Pitof, began principal photography shot entirely using a Sony HDW-F900 camera, with the video being released in September the next year. According to the Guinness World Records, Vidocq is the first full length feature filmed in digital high resolution. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video, partially developed by George Lucas using a Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids. A lesser-known movie, Russian Ark (2002), was also shot with the same camera and was the first tapeless digital movie, recorded on HDD instead of tape. In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography. The highest-grossing movie in the history of cinema, Avatar (2009), not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection. Major movies shot on digital video overtook those shot on film in 2013. Since 2016 over 90% of major films were shot on digital video. As of 2017, 92% of films are shot on digital. Only 24 major films released in 2018 were shot on 35mm. Since the 2000s, most movies across the world have been captured as well as distributed digitally. Today, cameras from companies like Sony, Panasonic, JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony, Vision Research, Arri, Blackmagic Design, Panavision, Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited needs of broadcast television. == Technology == Digital cinematography captures motion pictures digitally in a process analogous to digital photography. While there is a clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs. === Recording === ==== Cameras ==== Professional cameras include the Sony CineAlta (F) Series, Blackmagic Cinema Camera, Red One, Arri D-20, D-21 and Alexa, Panavision Genesis, Silicon Imaging SI-2K, Thomson Viper, Vision Research Phantom, IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent micro-budget filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. Flagship smartphones like the Apple iPhone have been used to shoot movies like Unsane (shot on the iPhone 7 Plus) and Tangerine (shot on three iPhone 5S phones) and in January 2018, Unsane's director and Oscar winner Steven Soderbergh expressed an interest in filming other productions solely with iPhones going forward. ==== Sensors ==== Digital cinematography cameras capture digital images using image sensors, either charge-coupled device (CCD) sensors or CMOS active-pixel sensors, usually in one of two arrangements. Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool. Codecs Professional raw video recording codecs include Blackmagic Raw, Red Raw, Arri Raw and Canon Raw. ==== Video formats ==== Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in "nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly 1024 n {\displaystyle 1024n} pixels. Here the "K" has a customary meaning corresponding to the binary prefix "kibi" (ki). For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to the "nK" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 182
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COVFEFE Act

The Communications Over Various Feeds Electronically for Engagement Act (COVFEFE Act), House Bill H.R. 2884, was introduced in the United States House of Representatives on June 12, 2017, during the 115th United States Congress. The bill was intended to amend the Presidential Records Act to preserve Twitter posts and other social media interactions of the President of the United States and require the National Archives to store such items. H.R. 2884 was assigned to the House Oversight and Reform Committee for consideration. While in committee, there were no roll call votes related to the bill. The bill died in committee. U.S. Representative Mike Quigley, Democrat of Illinois, introduced the legislation due to Donald Trump's routine use of Twitter, stating "In order to maintain public trust in government, elected officials must answer for what they do and say; this includes 140-character tweets. If the president is going to take to social media to make sudden public policy proclamations, we must ensure that these statements are documented and preserved for future reference". If enacted, the bill "would bar the prolifically tweeting president from deleting his posts, as he has sometimes done". The COVFEFE Act would have also treated a president's personal social media accounts (e.g., Trump's "@realDonaldTrump" Twitter account) the same as official social media accounts (e.g., the "@POTUS" Twitter account). == Background == The bill title refers to "covfefe", a word in a May 31, 2017 tweet that Trump sent at 12:06 AM EDT, reading "Despite the constant negative press covfefe". This incomplete tweet was liked and retweeted hundreds of thousands of times, making it one of the most popular tweets of 2017, as people speculated on its meaning. The tweet was deleted at 5:48 AM EDT. At 6:09 AM EDT, Trump's account tweeted "Who can figure out the true meaning of 'covfefe' ??? Enjoy!" During the May 31 White House press briefing, Hunter Walker of Yahoo! News asked White House press secretary Sean Spicer about the tweet and if there was any concern about the president sending out incoherent tweets that stay up for hours. Spicer responded, "I think the president and a small group of people know exactly what he meant" and offered no other explanation. This unexpected response spawned additional media attention and criticism for its cryptic meaning, with commentators unsure whether or not Spicer was joking. Callum Borchers of The Washington Post's The Fix noted that the Trump administration deliberately responded in a way that encouraged the media and the public to focus on covfefe instead of other controversies like the Russia investigation, resignation of White House communications director Michael Dubke, or U.S.-Germany relations. == Legal significance of Trump's tweeting == Trump's tweets have been legally significant in the past. White House Press Secretary Sean Spicer stated that Trump's tweets are "considered official statements by the President of the United States". Some of his tweets have contradicted his agenda by undercutting or contradicting statements of public officials as well as the arguments of U.S. Department of Justice attorneys seeking to defend Trump's decisions in court. A federal appellate court cited one of Trump's tweets in upholding a lower court's order blocking Trump's Executive Order 13780 from going into effect in 2017. Courts have been clear that Twitter statements can be used as evidence of intent. Before Trump's "@realDonaldTrump" Twitter account was suspended, he blocked a number of users, preventing them from viewing his tweets or posting public replies. A group associated with Columbia University filed a lawsuit on behalf of blocked users, called Knight First Amendment Institute v. Trump. Plaintiffs successfully argued that @realDonaldTrump reply threads constituted a "designated public forum" akin to a public meeting, and therefore blocking users based on their political viewpoints violated their constitutional right to freedom of speech. The Second Circuit upheld this ruling on July 9, 2019. Regardless of the failure of the bill, Trump's tweets have been archived in accordance with the Presidential and Federal Records Act Amendments of 2014.
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