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Vegas Pro

Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap
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Video game

A video game, computer game, or simply game is an electronic game that involves interaction with a user interface or input device (such as a joystick, controller, keyboard, or motion sensing device) to generate visual feedback from a display device, most commonly shown in a video format on a television set, computer monitor, flat-panel display or touchscreen on handheld devices, or a virtual reality headset. Most modern video games are audiovisual, with audio complement delivered through speakers or headphones, and sometimes also with other types of sensory feedback (e.g., haptic technology that provides tactile sensations). Some video games also allow microphone and webcam inputs for in-game chatting and livestreaming. Video games are typically categorized according to their hardware platform, which traditionally includes arcade video games, console games, and computer games (which includes LAN games, online games, and browser games). More recently, the video game industry has expanded onto mobile gaming through mobile devices (such as smartphones and tablet computers), virtual and augmented reality systems, and remote cloud gaming. Video games are also classified into a wide range of genres based on their style of gameplay and target audience. The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using video-like output from large, room-sized mainframe computers. The first consumer video game was the arcade video game Computer Space in 1971, which took inspiration from the earlier 1962 computer game Spacewar!. In 1972 came the now-iconic video game Pong and the first home console, the Magnavox Odyssey. The industry grew quickly during the "golden age" of arcade video games from the late 1970s to early 1980s but suffered from the crash of the North American video game market in 1983 due to loss of publishing control and saturation of the market. Following the crash, the industry matured, was dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and methods around the development and distribution of video games to prevent a similar crash in the future, many of which continue to be followed. In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier experimental games. Coupled with the availability of the Internet and digital distribution, this gave room for independent video game development (or "indie games") to gain prominence into the 2010s. Since then, the commercial importance of the video game industry has been increasing. The emerging Asian markets and proliferation of smartphone games in particular are altering player demographics towards casual and cozy gaming, and increasing monetization by incorporating games as a service. Today, video game development requires numerous skills, vision, teamwork, and liaisons between different parties, including developers, publishers, distributors, retailers, hardware manufacturers, and other marketers, to successfully bring a game to its consumers. As of 2020, the global video game market had estimated annual revenues of US$159 billion across hardware, software, and services, which is three times the size of the global music industry and four times that of the film industry in 2019, making it a formidable heavyweight across the modern entertainment industry. The video game market is also a major influence behind the electronics industry, where personal computer component, console, and peripheral sales, as well as consumer demands for better game performance, have been powerful driving factors for hardware design and innovation. == Origins == Early video games used interactive electronic devices with various display formats. The earliest example dates to 1947—a "cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent 2455992. Inspired by radar display technology, it consisted of an analog device allowing a user to control the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which were paper drawings fixed to the screen. Other early examples include the Nimrod computer at the 1951 Festival of Britain; Christopher Strachey's Checkers, possibly the first game to display visuals on an electronic screen in 1952; OXO, a tic-tac-toe computer game by Alexander S. Douglas for the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in 1958; and Spacewar!, written by Massachusetts Institute of Technology students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a DEC PDP-1 computer in 1962. Each game had different means of display: NIMROD had a panel of lights to play the game of Nim, OXO had a graphical display to play tic-tac-toe, Tennis for Two had an oscilloscope to display a side view of a tennis court, and Spacewar! had the DEC PDP-1's vector display to have two spaceships battle each other. These inventions laid the foundation for modern video games. In 1966, while working at Sanders Associates, Ralph H. Baer devised a system to play a basic table tennis game on a television screen. With the company's approval, Baer created the prototype known as the "Brown Box". Sanders patented Baer's innovations and licensed them to Magnavox, which commercialized the technology as the first home video game console, the Magnavox Odyssey, released in 1972. Separately, Nolan Bushnell and Ted Dabney, inspired by seeing Spacewar! running at Stanford University, devised a similar version running in a smaller coin-operated arcade cabinet using a less expensive computer. This was released as Computer Space, the first arcade video game, in 1971. Bushnell and Dabney went on to form Atari, Inc., and with Allan Alcorn, created their second arcade game in 1972, the hit ping pong-style Pong, which was directly inspired by the table tennis game on the Odyssey. Atari made a home version of Pong, which was released by Christmas 1975. The success of the Odyssey and Pong, both as an arcade game and home machine, launched the video game industry. Both Baer and Bushnell have been titled "Father of Video Games" for their contributions. == Terminology == The term "video game" was developed to describe electronic games played on a video display rather than on a teletype printer, audio speaker, or similar device. This also distinguished from handheld electronic games such as Merlin, which commonly used LED lights for indicators not in combination for imaging purposes. "Computer game" may also be used as a descriptor, as all these types of games essentially require the use of a computer processor; in some cases, it is used interchangeably with "video game". Particularly in the United Kingdom and Western Europe, this is common due to the historic relevance of domestically produced microcomputers. Other terms used include digital game, for example, by the Australian Bureau of Statistics. The term "computer game" can also refer to PC games, which are played primarily on personal computers or other flexible hardware systems, to distinguish them from console games, arcade games, or mobile games. Other terms, such as "television game", "telegame", or "TV game", had been used in the 1970s and early 1980s, particularly for home gaming consoles that rely on connection to a television set. However, these terms were also used interchangeably with "video game" in the 1970s, primarily due to "video" and "television" being synonymous. In Japan, where consoles like the Odyssey were first imported and then made within the country by the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV games", "TV geemu", or "terebi geemu". The term "TV game" is still commonly used into the 21st century. "Electronic game" may also be used to refer to video games, but this also incorporates devices like early handheld electronic games that lack any video output. The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited a 10 November 1973 BusinessWeek article as the first printed use of the term. Though Bushnell believed the term came from a vending magazine review of Computer Space in 1971, a review of the major vending magazines Vending Times and Cashbox showed that the term may have come even earlier, appearing first in a letter dated July 10, 1972. In the letter, Bushnell uses the term "video game" twice. Per video game historian Keith Smith, the sudden appearance suggested that the term had been proposed and readily adopted by those in the field. Around March 1973, Ed Adlum, who ran Cashbox's coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement field, in 1975, used the term in an article in March 1973. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as "video games": "RePlay
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The Big Book of Social Media

The Big Book of Social Media: Case Studies, Stories, Perspectives, released in November 2010 by Yorkshire Publishing, is a compilation of non-fiction articles and chapters written by social media experts in their respective fields and edited by Robert Fine, organizer of the Cool Social Conferences World Tour and founder of Cool Blue Press, with a foreword by Sam Feist, political director for CNN. == Synopsis == The publisher, on its site, summed up the book as, "Not business. Not marketing. This is an idea book." And an article in Business Insider described the book as bringing "the social back into social media." == Contributors == Contributing authors include: Alan Rosenblatt, Alane Anderson, Alecia Dantico, Alex Priest, Alfred Naranjo, Becky Carroll, Carri Bugbee, Cathy Scott, Colleen Crinklaw, Constantine Markides, Cordelia Mendoza, Craig Kanalley, Dave Ingland, Eric Andersen, Eric Brown, Gary Zukowski, Haja Rasambainarivo, Jennifer Kaplan, Kari Quaas, Lauri Stevens, Lev Ekster, Mark Stelzner, Matthew Felling, Matt Stewart, Melani Gordon, Michael Bourne, Michele Mattia, Mirna Bard, Neal Schaffer, Nic Evans, Noaf Ereiqat, Pek Pongpaet, Perri Gorman, Phil Baumann, Regina Holliday, Rory Cooper, Sam Feist, Shashi Bellamkonda, Shrinath Navghane, Steve Pratt, Ted Nguyen, Todd Schnick, Tonia Ries, Wayne Burke, as well as Robert Fine. In December 2011, some of the contributing authors organized "Tweet It Forward," a holiday charity fundraiser, with net proceeds benefitting the Food Bank for New York City. == Reception == Reviewer Mike Brown wrote on the Brainzooming blog that the book goes "beyond the valueless chatter out there; it provides solid discussions of real-life social media strategy implementations that have truly integrated organizational objectives and delivered real metrics." And Tech Cocktail wrote it in its review, "Through a collection of entertaining anecdotes and insightful marketing agendas, one sees what social media is truly all about and how it is revolutionizing the communications industry." In 2011, at the SXSW social media festival in Austin, Texas, Fine launched Cool Blue Press and reintroduced The Big Book of Social Media, with plans, he told a reporter from the Washington Examiner, for other new media books and publishing projects, including The Social Media Monthly magazine. The book was reviewed in 2012 by SAGE Publications for its Journalism and Mass Communication Educator magazine. It is also cited in several books and journals. === Awards === The book was a winner in the 4th Annual Reader's Choice "Small Business Book Awards" for 2011. Windmill Networking named it the Top 15 recommended social media books of 2010.
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Ambient awareness

Ambient awareness (AmA) is a term used by social scientists to describe a form of peripheral social awareness through social media. This awareness is propagated from relatively constant contact with one's friends and colleagues via social networking platforms on the Internet. The term essentially defines the sort of omnipresent knowledge one experiences by being a regular user of these media outlets that allow a constant connection with one's social circle. According to Clive Thompson of The New York Times, ambient awareness is "very much like being physically near someone and picking up on mood through the little things; body language, sighs, stray comments". Academic Andreas Kaplan defines ambient awareness as "awareness created through regular and constant reception, and/or exchange of information fragments through social media". Two friends who regularly follow one another's digital information can already be aware of each other's lives without actually being physically present to have had a conversation. == Social == Socially speaking, ambient awareness and social media are products of the new generations who are being born or growing up in the digital age, starting circa 1998 and running to current times. Social media is personal media (what you're doing in the moment, how you feel, a picture of where you are) combined with social communication. Social media is the lattice work for ambient awareness. Without social media the state of ambient awareness cannot exist. Artificial Social Networking Intelligence (ASNI) refers to the application of artificial intelligence within social networking services and social media platforms. It encompasses various technologies and techniques used to automate, personalize, enhance, improve, and synchronize user's interactions and experiences within social networks. ASNI is expected to evolve rapidly, influencing how we interact online and shaping their digital experiences. Transparency, ethical considerations, media influence bias, and user control over data will be crucial to ensure responsible development and positive impact. A significant feature of social media is that it is created by those who also consume it. Mostly, those participating in this phenomenon are adolescents, college age, or young adult professionals. According to Dr. Mimi Ito, a cultural anthropologist and Professor in Residence at the University of California at Irvine, the mobile device is the greatest proxy device used to create and distribute Social Media. She reportedly states that "teenagers capture and produce their own media, and stay in constant ambient contact with each other..." using mobile devices. Usually while doing this they are consuming other forms of media such as music or video content via their smart phones, tablets, or other similar devices. Effectively this has led social scientists to believe that learning and multitasking will have a new face as the products of the digital generation enter the work force and begin to integrate their learning methods into the standard preexisting business models of today. Professors Kaplan and Haenlein see ambient awareness as one of the major reasons for the success of such microblogging sites as Twitter. == Origins == The earliest available technology that could be used for constant social contact is the cell phone. For the first time, people could be contacted readily and at will beyond the confines of their work or homes. Then later, with the additional service of texting, one can see the somewhat primitive form of the status update. Since the text message only allows for 160 characters to transmit pertinent information it paved the way for the status update as we know it today. The transition from only having a few points of regular long distance contact, to being constantly available via cell phone, is what primed society for social networking websites. Perhaps the first instance where these websites created the possibility of larger scale ambient awareness was when Facebook installed the news feed. The news feed automatically sends compiled information on all of a users contacts activities directly to them so that they can access all of the happenings in their world from one location. For the first time, becoming someone's Facebook friend was the equivalent of subscribing to a feed of their daily minutiae. Since this innovation, a new wave of micro-blogging services have emerged, such as Twitter or Tumblr. Although these services have often been criticized as containing seemingly meaningless snippets of information, when a follower gathers a certain amount of information, they begin to obtain an ambient understanding of who they are following. This has led to the mass usage of social media as not only a social tool but also as a marketing and business tool. == Uses in marketing == Websites such as Twitter, YouTube, Facebook, and Myspace, among many others, have been used by people in all forms of business to create a closer digital/ambient bond with their clientele base. This is most notably seen in the music industry where social media networking has become the mainstay of all advertising for independent and major artists. The effect of this type of ambient marketing is that the consumer begins to get a sense of the artist's life style and personality. In this way social media outlets and ambient awareness have managed to tighten the gap between consumers and producers in all areas of business. == Uses in business processes == As web-based collaboration tools and social project management suites proliferate, the addition of activity streams to those products help to create business context-specific ambient awareness, and produce a new class of products, such as social project management platforms.
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Conservative morphological anti-aliasing

Conservative morphological anti-aliasing (CMAA) is an antialiasing technique originally developed by Filip Strugar at Intel. CMAA is an image-based, post processing technique similar to that of morphological antialiasing. CMAA uses 4 main steps which are image analysis for color discontinuities, locally dominant edge detection, simple shape handling, and lastly symmetrical long edge shape handling. A couple of years after CMAA was introduced, Intel unveiled an updated version which they named CMAA2.
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Fifth Estate

The Fifth Estate is a socio-cultural reference to groupings of outlier viewpoints in contemporary society, and is most associated with bloggers, journalists publishing in non-mainstream media outlets, and online social networks. The "Fifth" Estate extends the sequence of the three classical estates (clergy (first), nobility (second), commoners (third)) and the preceding Fourth Estate, essentially the common press. The use of "fifth estate" dates to the 1960s counterculture, and in particular the influential Fifth Estate, an underground newspaper first published in Detroit in 1965. Web-based technologies have enhanced the scope and power of the Fifth Estate far beyond the modest and boutique conditions of its beginnings. Nimmo and Combs asserted in 1992 that political pundits constitute a Fifth Estate. Media researcher Stephen D. Cooper argued in 2006 that bloggers are the Fifth Estate. In 2009, William Dutton argued that the Fifth Estate is not just the blogging community, nor an extension of the media, but "networked individuals" enabled by the Internet, e.g. social media, in ways that can hold the other estates accountable.
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Digital first

Digital first is a communication theory that publishers should release content into new media channels in preference to old media. The premise behind the theory is that after the advent of Internet, most established media organizations continued to give priority to traditional media. Over time, those organizations faced a choice to either publish first in digital media or traditional media. A "digital first" decision occurs when a publisher chooses to distribute information online in preference to or at the expense of traditional media like print publishing. Many employers and employees find it challenging to imagine using digital first practices. Distributing content digital first introduces new practices, including a need to manage the data which tracks readership. Many paper print publishers feel intimidated by the idea of publishing content online before publishing it in paper media. Comedian John Oliver in the show Last Week Tonight criticized digital first practices as a cause of lower standards in journalism. == Digital-First Transformation in Business and Education == The classical perspective of an information system is that it represents and reflects physical reality. However, it is increasingly evident that digital technologies not only represent reality but also actively shape it, as, in many instances, the digital version is created first, and the physical version follows. Gradually, digital infrastructures are integrated in people's work and life, shaping a digital environment through technologies such as 5G, sensors, and blockchain. The Digital First Framework, developed by Professor Youngjin Yoo, is a conceptual approach that helps the physical companies in the integration of digital technologies into the core of product and service design. The shift from traditional cars, where the physical vehicle precedes its digital representation on Google maps, to autonomous vehicles, where the digital representation (the blue dot) is created first, emphasizes the digital-first mindset in the design and operation of systems. In today's business environment, it's critical for organizations to embrace a digital-first strategy. Companies built on digital platforms will significantly diverge from traditional, hierarchical business structures that typically focus on a single product or market. These digitally-centered enterprises will offer products and services that are tailored to individual requirements, utilizing algorithms to assess needs based on specific situations, and relying on external partners to provide these solutions. This highlights the need to transform traditional R&D practices. It's essential for R&D teams to move beyond their laboratories and immerse themselves in the environments of their users. Understanding the context of use is fundamental to creating a relevant platform. As an illustration, the concept of Digital-first, as defined by Rohm et al. (2019), involves the integration of digital projects within educational courses, exemplified by institutions like M-School. The program adopts a programmatic approach, where successive courses progressively build upon one another, adopting an all-encompassing perspective that regards all aspects of marketing as inherently digital. Students actively participate in real-world projects, including campaigns for community improvement, and are tasked with generating content for diverse platforms. Through hands-on collaboration with live clients and the utilization of tools such as Google AdWords and Facebook Advertising, students acquire practical experience in the realms of digital marketing and analytics. == vBook == A vBook is an eBook that is digital first media with embedded video, images, graphs, tables, text, and other media.
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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
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Sample (graphics)

In computer graphics, a sample is an intersection of a channel and a pixel. The diagram below depicts a 24-bit pixel, consisting of 3 samples for Red, Green, and Blue. In this particular diagram, the Red sample occupies 9 bits, the Green sample occupies 7 bits and the Blue sample occupies 8 bits, totaling 24 bits per pixel. Note that the samples do not have to be equal size and not all samples are mandatory in a pixel. Also, a pixel can consist of more than 3 samples (e.g. 4 samples of the RGBA color space). A sample is related to a subpixel on a physical display.
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Data communication

Data communication is the transfer of data over a point-to-point or point-to-multipoint communication channel. Data communication comprises data transmission and data reception and can be classified as analog transmission and digital communications. Analog data communication conveys voice, data, image, signal or video information using a continuous signal, which varies in amplitude, phase, or some other property. In baseband analog transmission, messages are represented by a sequence of pulses by means of a line code; in passband analog transmission, they are communicated by a limited set of continuously varying waveforms, using a digital modulation method. Passband modulation and demodulation are carried out by modem equipment. Digital transmission and digital reception are the transfer of either a digitized analog signal or a born-digital bitstream. Baseband digital transmission is regarded as comprising part of a digital signal, whereas passband transmission of digital data may also or alternatively be considered a form of digital-to-analog conversion. Data communication channels include copper wires, optical fibers, wireless communication using radio spectrum, storage media and computer buses. The data are represented as an electromagnetic signal, such as an electrical voltage, radiowave, microwave, or infrared signal. == Distinction between related subjects == Digital transmission or data transmission traditionally belongs to telecommunications and electrical engineering. Basic principles of data transmission may also be covered within the computer science or computer engineering topic of data communications, which also includes computer networking applications and communication protocols, for example, routing, switching and inter-process communication. Although the Transmission Control Protocol (TCP) involves transmission, TCP and other transport layer protocols are covered in computer networking but not discussed in a textbook or course about data transmission. In most textbooks, the term analog transmission only refers to the transmission of an analog message signal (without digitization) by means of an analog signal, either as a non-modulated baseband signal or as a passband signal using an analog modulation method such as AM or FM. It may also include analog-over-analog pulse modulated baseband signals such as pulse-width modulation. In a few books within the computer networking tradition, analog transmission also refers to passband transmission of bit-streams using digital modulation methods such as FSK, PSK and ASK. The theoretical aspects of data transmission are covered by information theory and coding theory. == Protocol layers and sub-topics == Courses and textbooks in the field of data transmission typically deal with the following OSI model protocol layers and topics: Layer 1, the physical layer: Channel coding including Digital modulation schemes Line coding schemes Forward error correction (FEC) codes Bit synchronization Multiplexing Equalization Channel models Layer 2, the data link layer: Channel access schemes, media access control (MAC) Packet mode communication and Frame synchronization Error detection and automatic repeat request (ARQ) Flow control Layer 6, the presentation layer: Source coding (digitization and data compression), and information theory. Cryptography (may occur at any layer) It is also common to deal with the cross-layer design of those three layers. == Applications and history == Data (mainly but not exclusively informational) has been sent via non-electronic (e.g. optical, acoustic, mechanical) means since the advent of communication. Analog signal data has been sent electronically since the advent of the telephone. However, the first data electromagnetic transmission applications in modern time were electrical telegraphy (1809) and teletypewriters (1906), which are both digital signals. The fundamental theoretical work in data transmission and information theory by Harry Nyquist, Ralph Hartley, Claude Shannon and others during the early 20th century, was done with these applications in mind. In the early 1960s, Paul Baran invented distributed adaptive message block switching for digital communication of voice messages using switches that were low-cost electronics. Donald Davies invented and implemented modern data communication during 1965–7, including packet switching, high-speed routers, communication protocols, hierarchical computer networks and the essence of the end-to-end principle. Baran's work did not include routers with software switches and communication protocols, nor the idea that users, rather than the network itself, would provide the reliability. Both were seminal contributions that influenced the development of computer networks. Data transmission is utilized in computers in computer buses and for communication with peripheral equipment via parallel ports and serial ports such as RS-232 (1969), FireWire (1995) and USB (1996). The principles of data transmission are also utilized in storage media for error detection and correction since 1951. The first practical method to overcome the problem of receiving data accurately by the receiver using digital code was the Barker code invented by Ronald Hugh Barker in 1952 and published in 1953. Data transmission is utilized in computer networking equipment such as modems (1940), local area network (LAN) adapters (1964), repeaters, repeater hubs, microwave links, wireless network access points (1997), etc. In telephone networks, digital communication is utilized for transferring many phone calls over the same copper cable or fiber cable by means of pulse-code modulation (PCM) in combination with time-division multiplexing (TDM) (1962). Telephone exchanges have become digital and software controlled, facilitating many value-added services. For example, the first AXE telephone exchange was presented in 1976. Digital communication to the end user using Integrated Services Digital Network (ISDN) services became available in the late 1980s. Since the end of the 1990s, broadband access techniques such as ADSL, Cable modems, fiber-to-the-building (FTTB) and fiber-to-the-home (FTTH) have become widespread to small offices and homes. The current tendency is to replace traditional telecommunication services with packet mode communication such as IP telephony and IPTV. Transmitting analog signals digitally allows for greater signal processing capability. The ability to process a communications signal means that errors caused by random processes can be detected and corrected. Digital signals can also be sampled instead of continuously monitored. The multiplexing of multiple digital signals is much simpler compared to the multiplexing of analog signals. Because of all these advantages, because of the vast demand to transmit computer data and the ability of digital communications to do so and because recent advances in wideband communication channels and solid-state electronics have allowed engineers to realize these advantages fully, digital communications have grown quickly. The digital revolution has also resulted in many digital telecommunication applications where the principles of data transmission are applied. Examples include second-generation (1991) and later cellular telephony, video conferencing, digital TV (1998), digital radio (1999), and telemetry. Data transmission, digital transmission or digital communications is the transfer of data over a point-to-point or point-to-multipoint communication channel. Examples of such channels include copper wires, optical fibers, wireless communication channels, storage media and computer buses. The data are represented as an electromagnetic signal, such as an electrical voltage, radio wave, microwave, or infrared light. While analog transmission is the transfer of a continuously varying analog signal over an analog channel, digital communication is the transfer of discrete messages over a digital or an analog channel. The messages are either represented by a sequence of pulses by means of a line code (baseband transmission) or by a limited set of continuously varying waveforms (passband transmission), using a digital modulation method. The passband modulation and corresponding demodulation (also known as detection) are carried out by modem equipment. According to the most common definition of a digital signal, both baseband and passband signals representing bit-streams are considered as digital transmission, while an alternative definition only considers the baseband signal as digital, and passband transmission of digital data as a form of digital-to-analog conversion. Data transmitted may be digital messages originating from a data source, for example, a computer or a keyboard. It may also be an analog signal, such as a phone call or a video signal, digitized into a bit-stream, for example,e using pulse-code modulation (PCM) or more advanced source coding (analog-to-digital conversion and
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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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Hyperscale computing

In computing, hyperscale is the ability of an architecture to scale appropriately as increased demand is added to the system. This typically involves the ability to seamlessly provide and add computing, memory, networking, and storage resources to a given node or set of nodes that make up a larger computing, distributed computing, or grid computing environment. Hyperscale computing is necessary in order to build a robust and scalable cloud, big data, map reduce, or distributed storage system and is often associated with the infrastructure required to run large distributed sites such as Google, Facebook, Twitter, Amazon, Microsoft, IBM Cloud, Oracle Cloud, or Cloudflare. Companies like Ericsson, AMD, and Intel provide hyperscale infrastructure kits for IT service providers. Companies like Scaleway, Switch, Alibaba, IBM, QTS, Neysa, Digital Realty Trust, Equinix, Oracle, Meta, Amazon Web Services, SAP, Microsoft, Google, and Cloudflare build data centers for hyperscale computing. Such companies are sometimes called "hyperscalers". They are recognized for their massive scale in cloud computing and data management, operating in environments that require extensive infrastructure to accommodate large-scale data processing and storage.
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RFPolicy

The RFPolicy outlines a method for contacting vendors about security vulnerabilities found in their products. It was initially written in 2000 by hacker and security consultant Rain Forest Puppy. It was perhaps the second disclosure policy, following Simple Nomad's. The policy gives the vendor five working days to respond to the reporter of the bug. If the vendor fails to contact the reporter within those five days, the issue is recommended to be disclosed to the general community. The reporter should help the vendor reproduce the bug and work out a fix. The reporter should delay notifying the general community about the bug if the vendor provides feasible reasons for requiring so. If the vendor fails to respond or shuts down communication with the reporter of the problem within five working days, the reporter should disclose the issue to the general community. When issuing an alert or fix, the vendor should give the reporter proper credit for reporting the bug. Context for the history of vulnerability disclosure is available in a history article.
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International Webmasters Association

The International Webmasters Association (IWA) is a non-profit association for education and certification of web professionals founded in 1996. It provides a Certified Web Professional certification. One of its objectives is to build a World Wide Web that is a true global community. According to the IWA, as of 2025 it has more than 100 official chapters with over 300,000 individual members in 106 countries. In 2001, the IWA merged with the HTML Writers Guild (HWG) and joined the World Wide Web Consortium (W3C). IWA's accomplishments include the publishing of the industry's first guidelines for ethical and professional standards, web certification and education programs, specialized employment resources, and technical assistance to individuals and businesses. IWA members participate to the activities of W3C WCAG Working Group, ATAG Working Group, and the XHTML Working Group. They have also participated in other initiatives such as the Multimodal Interaction Working Group which developed EMMA, the Extensible MultiModal Annotation markup language.
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Nitro Zeus

Nitro Zeus is the project name for a well funded comprehensive cyber attack plan created as a mitigation strategy after the Stuxnet malware campaign and its aftermath. Unlike Stuxnet, that was loaded onto a system after the design phase to affect its proper operation, Nitro Zeus's objectives are built into a system during the design phase unbeknownst to the system users. This built-in feature allows a more assured and effective cyber attack against the system's users. The information about its existence was raised during research and interviews carried out by Alex Gibney for his Zero Days documentary film. The proposed long term widespread infiltration of major Iranian systems would disrupt and degrade communications, power grid, and other vital systems as desired by the cyber attackers. This was to be achieved by electronic implants in Iranian computer networks. The project was seen as one pathway in alternatives to full-scale war.
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