AI Grammar Paraphrase Generator

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  Adobe InDesign

  Adobe InDesign is a desktop publishing and page layout designing software application produced by Adobe and first released in 1999. It can be used to create works such as posters, flyers, brochures, magazines, newspapers, presentations, books and ebooks. InDesign can also publish content suitable for tablet devices in conjunction with Adobe Digital Publishing Suite. Graphic designers and production artists are the principal users. InDesign is the successor to PageMaker, which Adobe acquired by buying Aldus Corporation in late 1994. (Freehand, Aldus's competitor to Adobe Illustrator, was licensed from Altsys, the maker of Fontographer.) By 1998, PageMaker had lost much of the professional market to the comparatively feature-rich QuarkXPress version 3.3, released in 1992, and version 4.0, released in 1996. In 1999, Quark announced its offer to buy Adobe and to divest the combined company of PageMaker to avoid problems under United States antitrust law. Adobe declined Quark's offer and continued to develop a new desktop publishing application. Aldus had begun developing a successor to PageMaker, code-named "Shuksan". Later, Adobe code-named the project "K2", and Adobe released InDesign 1.0 in 1999. InDesign exports documents in Adobe's Portable Document Format (PDF) and supports multiple languages. It was the first DTP application to support Unicode character sets, advanced typography with OpenType fonts, advanced transparency features, layout styles, optical margin alignment, and cross-platform scripting with JavaScript. Later versions of the software introduced new file formats. To support the new features, especially typography, introduced with InDesign CS, the program and its document format are not backward-compatible. Instead, InDesign CS2 introduced the INX (.inx) format, an XML-based document representation, to allow backward compatibility with future versions. InDesign CS versions updated with the 3.1 April 2005 update can read InDesign CS2-saved files exported to the .inx format. The InDesign Interchange format does not support versions earlier than InDesign CS. With InDesign CS4, Adobe replaced INX with InDesign Markup Language (IDML), another XML-based document representation. InDesign was the first native Mac OS X publishing software. With the third major version, InDesign CS, Adobe increased InDesign's distribution by bundling it with Adobe Photoshop, Adobe Illustrator, and Adobe Acrobat in Adobe Creative Suite. Adobe developed InDesign CS3 (and Creative Suite 3) as universal binary software compatible with native Intel and PowerPC Macs in 2007, two years after the announced 2005 schedule, inconveniencing early adopters of Intel-based Macs. Adobe CEO Bruce Chizen said, "Adobe will be first with a complete line of universal applications." == File format == The MIME type is not official File Open formats: indd, indl, indt, indb, inx, idml, pmd, xqx New File formats: indd, indl, indb File Save As formats: indd, indt Save file format for InCopy: icma (Assignment file) icml (Content file, Exported file) icap (Package for InCopy) idap (Package for InDesign) File Export formats: pdf, idml, icml, eps, jpg, txt, XML, rtf == Versions == Newer versions can, as a rule, open files created by older versions, but the reverse is not true. Current versions can export the InDesign file as an IDML file (InDesign Markup Language), which can be opened by InDesign versions from CS4 upwards; older versions from CS4 down can export to an INX file (InDesign Interchange format). === Server version === In October 2005, Adobe released InDesign Server CS2, a modified version of InDesign (without a user interface) for Windows and Macintosh server platforms. It does not provide any editing client; rather, it is for use by developers in creating client-server solutions with the InDesign plug-in technology. In March 2007 Adobe officially announced Adobe InDesign CS3 Server as part of the Adobe InDesign family. == Features == Paragraph styles are an essential tool for designers when working with text in Adobe InDesign. Despite their menacing appearance, they are straightforward to operate. Other features that make InDesign a good tool for working with text and paragraphs include: Creating frames and shapes Aligning objects with grids and guides Manipulating objects Organizing objects Importing text Formatting text Spell checking Importing images Parent pages (formerly master pages) Paragraph styles == Internationalization and localization == InDesign Middle Eastern editions have unique settings for laying out Arabic or Hebrew text. They feature: Text settings: Special settings for laying out Arabic or Hebrew text, such as: Ability to use Arabic, Persian or Hindi digits; Use kashidas for letter spacing and full justification; Ligature option; Adjust the position of diacritics, such as vowels of the Arabic script; Justify text in three possible ways: Standard, Arabic, Naskh; Option to insert special characters, including Geresh, Gershayim, Maqaf for Hebrew and Kashida for Arabic texts; Apply standard, Arabic, or Hebrew styles for page, paragraph, and footnote numbering. Bi-directional text flow: Right-to-left behavior applies to several objects: Story, paragraph, character, and table. It allows mixing right-to-left and left-to-right words, paragraphs, and stories in a document. Changing the direction of neutral characters (e.g., / or ?) is possible according to the user's keyboard language. Table of contents: Provides a table of contents titles, one for each supported language. This table is sorted according to the chosen language. InDesign CS4 Middle Eastern versions allow users to select the language of the index title and cross-references. Indices: This allows the creation of a simple keyword index or a somewhat more detailed index of the information in the text using embedded indexing codes. Unlike more sophisticated programs, InDesign cannot insert character style information as part of an index entry (e.g., when indexing book, journal, or movie titles). Indices are limited to four levels (the top level and three sub-levels). Like tables of contents, indices can be sorted according to the selected language. Importing and exporting: Can import QuarkXPress files up to version 4.1 (1999), even using Arabic XT, Arabic Phonyx, or Hebrew XPressWay fonts, retaining the layout and content. Includes 50 import/export filters, including a Microsoft Word 97-98-2000 import filter and a plain text import filter. Exports IDML files can be read by QuarkXPress 2017. Reverse layout: Include a reverse layout feature to reverse the layout of a document when converting a left-to-right document to a right-to-left one or vice versa. Complex script rendering: InDesign supports Unicode character encoding, and Middle Eastern editions support complex text layouts for Arabic and Hebrew complex scripts. The underlying Arabic and Hebrew support is present in the Western editions of InDesign CS4, CS5, CS5.5, and CS6, but the user interface is not exposed, making it difficult to access.

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  Biohybrid microswimmer

  A biohybrid microswimmer also known as biohybrid nanorobot, can be defined as a microswimmer that consist of both biological and artificial constituents, for instance, one or several living microorganisms attached to one or various synthetic parts. In recent years nanoscopic and mesoscopic objects have been designed to collectively move through direct inspiration from nature or by harnessing its existing tools. Small mesoscopic to nanoscopic systems typically operate at low Reynolds numbers (Re ≪ 1), and understanding their motion becomes challenging. For locomotion to occur, the symmetry of the system must be broken. In addition, collective motion requires a coupling mechanism between the entities that make up the collective. To develop mesoscopic to nanoscopic entities capable of swarming behaviour, it has been hypothesised that the entities are characterised by broken symmetry with a well-defined morphology, and are powered with some material capable of harvesting energy. If the harvested energy results in a field surrounding the object, then this field can couple with the field of a neighbouring object and bring some coordination to the collective behaviour. Such robotic swarms have been categorised by an online expert panel as among the 10 great unresolved group challenges in the area of robotics. Although investigation of their underlying mechanism of action is still in its infancy, various systems have been developed that are capable of undergoing controlled and uncontrolled swarming motion by harvesting energy (e.g., light, thermal, etc.). Over the past decade, biohybrid microrobots, in which living mobile microorganisms are physically integrated with untethered artificial structures, have gained growing interest to enable the active locomotion and cargo delivery to a target destination. In addition to the motility, the intrinsic capabilities of sensing and eliciting an appropriate response to artificial and environmental changes make cell-based biohybrid microrobots appealing for transportation of cargo to the inaccessible cavities of the human body for local active delivery of diagnostic and therapeutic agents. == Background == Biohybrid microswimmers can be defined as microswimmers that consist of both biological and artificial constituents, for instance, one or several living microorganisms attached to one or various synthetic parts. The pioneers of this field, ahead of their time, were Montemagno and Bachand with a 1999 work regarding specific attachment strategies of biological molecules to nanofabricated substrates enabling the preparation of hybrid inorganic/organic nanoelectromechanical systems, so called NEMS. They described the production of large amounts of F1-ATPase from the thermophilic bacteria Bacillus PS3 for the preparation of F1-ATPase biomolecular motors immobilized on a nanoarray pattern of gold, copper or nickel produced by electron beam lithography. These proteins were attached to one micron microspheres tagged with a synthetic peptide. Consequently, they accomplished the preparation of a platform with chemically active sites and the development of biohybrid devices capable of converting energy of biomolecular motors into useful work. One of the most fundamental questions in science is what defines life. Collective motion is one of the hallmarks of life. This is commonly observed in nature at various dimensional levels as energized entities gather, in a concerted effort, into motile aggregated patterns. These motile aggregated events can be noticed, among many others, as dynamic swarms; e.g., unicellular organisms such as bacteria, locust swarms, or the flocking behaviour of birds. Ever since Newton established his equations of motion, the mystery of motion on the microscale has emerged frequently in scientific history, as famously demonstrated by a couple of articles that should be discussed briefly. First, an essential concept, popularized by Osborne Reynolds, is that the relative importance of inertia and viscosity for the motion of a fluid depends on certain details of the system under consideration. The Reynolds number Re, named in his honor, quantifies this comparison as a dimensionless ratio of characteristic inertial and viscous forces: R e = ρ u l μ {\displaystyle \mathrm {Re} ={\frac {\rho ul}{\mu }}} Here, ρ represents the density of the fluid; u is a characteristic velocity of the system (for instance, the velocity of a swimming particle); l is a characteristic length scale (e.g., the swimmer size); and μ is the viscosity of the fluid. Taking the suspending fluid to be water, and using experimentally observed values for u, one can determine that inertia is important for macroscopic swimmers like fish (Re = 100), while viscosity dominates the motion of microscale swimmers like bacteria (Re = 10−4). The overwhelming importance of viscosity for swimming at the micrometer scale has profound implications for swimming strategy. This has been discussed memorably by E. M. Purcell, who invited the reader into the world of microorganisms and theoretically studied the conditions of their motion. In the first place, propulsion strategies of large scale swimmers often involve imparting momentum to the surrounding fluid in periodic discrete events, such as vortex shedding, and coasting between these events through inertia. This cannot be effective for microscale swimmers like bacteria: due to the large viscous damping, the inertial coasting time of a micron-sized object is on the order of 1 μs. The coasting distance of a microorganism moving at a typical speed is about 0.1 angstroms (Å). Purcell concluded that only forces that are exerted in the present moment on a microscale body contribute to its propulsion, so a constant energy conversion method is essential. Microorganisms have optimized their metabolism for continuous energy production, while purely artificial microswimmers (microrobots) must obtain energy from the environment, since their on-board-storage-capacity is very limited. As a further consequence of the continuous dissipation of energy, biological and artificial microswimmers do not obey the laws of equilibrium statistical physics, and need to be described by non-equilibrium dynamics. Mathematically, Purcell explored the implications of low Reynolds number by taking the Navier-Stokes equation and eliminating the inertial terms: μ ∇ 2 u − ∇ p = 0 {\displaystyle {\begin{aligned}\mu \nabla ^{2}\mathbf {u} -{\boldsymbol {\nabla }}p&={\boldsymbol {0}}\\\end{aligned}}} where u {\displaystyle \mathbf {u} } is the velocity of the fluid and ∇ p {\displaystyle {\boldsymbol {\nabla }}p} is the gradient of the pressure. As Purcell noted, the resulting equation — the Stokes equation — contains no explicit time dependence. This has some important consequences for how a suspended body (e.g., a bacterium) can swim through periodic mechanical motions or deformations (e.g., of a flagellum). First, the rate of motion is practically irrelevant for the motion of the microswimmer and of the surrounding fluid: changing the rate of motion will change the scale of the velocities of the fluid and of the microswimmer, but it will not change the pattern of fluid flow. Secondly, reversing the direction of mechanical motion will simply reverse all velocities in the system. These properties of the Stokes equation severely restrict the range of feasible swimming strategies. Recent publications of biohybrid microswimmers include the use of sperm cells, contractive muscle cells, and bacteria as biological components, as they can efficiently convert chemical energy into movement, and additionally are capable of performing complicated motion depending on environmental conditions. In this sense, biohybrid microswimmer systems can be described as the combination of different functional components: cargo and carrier. The cargo is an element of interest to be moved (and possibly released) in a customized way. The carrier is the component responsible for the movement of the biohybrid, transporting the desired cargo, which is linked to its surface. The great majority of these systems rely on biological motile propulsion for the transportation of synthetic cargo for targeted drug delivery/ There are also examples of the opposite case: artificial microswimmers with biological cargo systems. Over the past decade, biohybrid microrobots, in which living mobile microorganisms are physically integrated with untethered artificial structures, have gained growing interest to enable the active locomotion and cargo delivery to a target destination. In addition to the motility, the intrinsic capabilities of sensing and eliciting an appropriate response to artificial and environmental changes make cell-based biohybrid microrobots appealing for transportation of cargo to the inaccessible cavities of the human body for local active delivery of diagnostic and therapeutic agents. Active locomotion, targeting and steering of concentrated therape

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  Spherical basis

  In pure and applied mathematics, particularly quantum mechanics and computer graphics and their applications, a spherical basis is the basis used to express spherical tensors. The spherical basis closely relates to the description of angular momentum in quantum mechanics and spherical harmonic functions. While spherical polar coordinates are one orthogonal coordinate system for expressing vectors and tensors using polar and azimuthal angles and radial distance, the spherical basis are constructed from the standard basis and use complex numbers. == In three dimensions == A vector A in 3D Euclidean space R3 can be expressed in the familiar Cartesian coordinate system in the standard basis ex, ey, ez, and coordinates Ax, Ay, Az: or any other coordinate system with associated basis set of vectors. From this extend the scalars to allow multiplication by complex numbers, so that we are now working in C 3 {\displaystyle \mathbb {C} ^{3}} rather than R 3 {\displaystyle \mathbb {R} ^{3}} . === Basis definition === In the spherical bases denoted e+, e−, e0, and associated coordinates with respect to this basis, denoted A+, A−, A0, the vector A is: where the spherical basis vectors can be defined in terms of the Cartesian basis using complex-valued coefficients in the xy plane: in which i {\displaystyle i} denotes the imaginary unit, and one normal to the plane in the z direction: e 0 = e z {\displaystyle \mathbf {e} _{0}=\mathbf {e} _{z}} The inverse relations are: === Commutator definition === While giving a basis in a 3-dimensional space is a valid definition for a spherical tensor, it only covers the case for when the rank k {\displaystyle k} is 1. For higher ranks, one may use either the commutator, or rotation definition of a spherical tensor. The commutator definition is given below, any operator T q ( k ) {\displaystyle T_{q}^{(k)}} that satisfies the following relations is a spherical tensor: [ J ± , T q ( k ) ] = ℏ ( k ∓ q ) ( k ± q + 1 ) T q ± 1 ( k ) {\displaystyle [J_{\pm },T_{q}^{(k)}]=\hbar {\sqrt {(k\mp q)(k\pm q+1)}}T_{q\pm 1}^{(k)}} [ J z , T q ( k ) ] = ℏ q T q ( k ) {\displaystyle [J_{z},T_{q}^{(k)}]=\hbar qT_{q}^{(k)}} === Rotation definition === Analogously to how the spherical harmonics transform under a rotation, a general spherical tensor transforms as follows, when the states transform under the unitary Wigner D-matrix D ( R ) {\displaystyle {\mathcal {D}}(R)} , where R is a (3×3 rotation) group element in SO(3). That is, these matrices represent the rotation group elements. With the help of its Lie algebra, one can show these two definitions are equivalent. D ( R ) T q ( k ) D † ( R ) = ∑ q ′ = − k k T q ′ ( k ) D q ′ q ( k ) {\displaystyle {\mathcal {D}}(R)T_{q}^{(k)}{\mathcal {D}}^{\dagger }(R)=\sum _{q'=-k}^{k}T_{q'}^{(k)}{\mathcal {D}}_{q'q}^{(k)}} === Coordinate vectors === For the spherical basis, the coordinates are complex-valued numbers A+, A0, A−, and can be found by substitution of (3B) into (1), or directly calculated from the inner product ⟨, ⟩ (5): A 0 = ⟨ e 0 , A ⟩ = ⟨ e z , A ⟩ = A z {\displaystyle A_{0}=\left\langle \mathbf {e} _{0},\mathbf {A} \right\rangle =\left\langle \mathbf {e} _{z},\mathbf {A} \right\rangle =A_{z}} with inverse relations: In general, for two vectors with complex coefficients in the same real-valued orthonormal basis ei, with the property ei·ej = δij, the inner product is: where · is the usual dot product and the complex conjugate must be used to keep the magnitude (or "norm") of the vector positive definite. == Properties (three dimensions) == === Orthonormality === The spherical basis is an orthonormal basis, since the inner product ⟨, ⟩ (5) of every pair vanishes meaning the basis vectors are all mutually orthogonal: ⟨ e + , e − ⟩ = ⟨ e − , e 0 ⟩ = ⟨ e 0 , e + ⟩ = 0 {\displaystyle \left\langle \mathbf {e} _{+},\mathbf {e} _{-}\right\rangle =\left\langle \mathbf {e} _{-},\mathbf {e} _{0}\right\rangle =\left\langle \mathbf {e} _{0},\mathbf {e} _{+}\right\rangle =0} and each basis vector is a unit vector: ⟨ e + , e + ⟩ = ⟨ e − , e − ⟩ = ⟨ e 0 , e 0 ⟩ = 1 {\displaystyle \left\langle \mathbf {e} _{+},\mathbf {e} _{+}\right\rangle =\left\langle \mathbf {e} _{-},\mathbf {e} _{-}\right\rangle =\left\langle \mathbf {e} _{0},\mathbf {e} _{0}\right\rangle =1} hence the need for the normalizing factors of 1 / 2 {\displaystyle 1/\!{\sqrt {2}}} . === Change of basis matrix === The defining relations (3A) can be summarized by a transformation matrix U: ( e + e − e 0 ) = U ( e x e y e z ) , U = ( − 1 2 − i 2 0 + 1 2 − i 2 0 0 0 1 ) , {\displaystyle {\begin{pmatrix}\mathbf {e} _{+}\\\mathbf {e} _{-}\\\mathbf {e} _{0}\end{pmatrix}}=\mathbf {U} {\begin{pmatrix}\mathbf {e} _{x}\\\mathbf {e} _{y}\\\mathbf {e} _{z}\end{pmatrix}}\,,\quad \mathbf {U} ={\begin{pmatrix}-{\frac {1}{\sqrt {2}}}&-{\frac {i}{\sqrt {2}}}&0\\+{\frac {1}{\sqrt {2}}}&-{\frac {i}{\sqrt {2}}}&0\\0&0&1\end{pmatrix}}\,,} with inverse: ( e x e y e z ) = U − 1 ( e + e − e 0 ) , U − 1 = ( − 1 2 + 1 2 0 + i 2 + i 2 0 0 0 1 ) . {\displaystyle {\begin{pmatrix}\mathbf {e} _{x}\\\mathbf {e} _{y}\\\mathbf {e} _{z}\end{pmatrix}}=\mathbf {U} ^{-1}{\begin{pmatrix}\mathbf {e} _{+}\\\mathbf {e} _{-}\\\mathbf {e} _{0}\end{pmatrix}}\,,\quad \mathbf {U} ^{-1}={\begin{pmatrix}-{\frac {1}{\sqrt {2}}}&+{\frac {1}{\sqrt {2}}}&0\\+{\frac {i}{\sqrt {2}}}&+{\frac {i}{\sqrt {2}}}&0\\0&0&1\end{pmatrix}}\,.} It can be seen that U is a unitary matrix, in other words its Hermitian conjugate U† (complex conjugate and matrix transpose) is also the inverse matrix U−1. For the coordinates: ( A + A − A 0 ) = U ∗ ( A x A y A z ) , U ∗ = ( − 1 2 + i 2 0 + 1 2 + i 2 0 0 0 1 ) , {\displaystyle {\begin{pmatrix}A_{+}\\A_{-}\\A_{0}\end{pmatrix}}=\mathbf {U} ^{\mathrm {} }{\begin{pmatrix}A_{x}\\A_{y}\\A_{z}\end{pmatrix}}\,,\quad \mathbf {U} ^{\mathrm {} }={\begin{pmatrix}-{\frac {1}{\sqrt {2}}}&+{\frac {i}{\sqrt {2}}}&0\\+{\frac {1}{\sqrt {2}}}&+{\frac {i}{\sqrt {2}}}&0\\0&0&1\end{pmatrix}}\,,} and inverse: ( A x A y A z ) = ( U ∗ ) − 1 ( A + A − A 0 ) , ( U ∗ ) − 1 = ( − 1 2 + 1 2 0 − i 2 − i 2 0 0 0 1 ) . {\displaystyle {\begin{pmatrix}A_{x}\\A_{y}\\A_{z}\end{pmatrix}}=(\mathbf {U} ^{\mathrm {} })^{-1}{\begin{pmatrix}A_{+}\\A_{-}\\A_{0}\end{pmatrix}}\,,\quad (\mathbf {U} ^{\mathrm {} })^{-1}={\begin{pmatrix}-{\frac {1}{\sqrt {2}}}&+{\frac {1}{\sqrt {2}}}&0\\-{\frac {i}{\sqrt {2}}}&-{\frac {i}{\sqrt {2}}}&0\\0&0&1\end{pmatrix}}\,.} === Cross products === Taking cross products of the spherical basis vectors, we find an obvious relation: e q × e q = 0 {\displaystyle \mathbf {e} _{q}\times \mathbf {e} _{q}={\boldsymbol {0}}} where q is a placeholder for +, −, 0, and two less obvious relations: e ± × e ∓ = ± i e 0 {\displaystyle \mathbf {e} _{\pm }\times \mathbf {e} _{\mp }=\pm i\mathbf {e} _{0}} e ± × e 0 = ± i e ± {\displaystyle \mathbf {e} _{\pm }\times \mathbf {e} _{0}=\pm i\mathbf {e} _{\pm }} === Inner product in the spherical basis === The inner product between two vectors A and B in the spherical basis follows from the above definition of the inner product: ⟨ A , B ⟩ = A + B + ⋆ + A − B − ⋆ + A 0 B 0 ⋆ {\displaystyle \left\langle \mathbf {A} ,\mathbf {B} \right\rangle =A_{+}B_{+}^{\star }+A_{-}B_{-}^{\star }+A_{0}B_{0}^{\star }}

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  Progressive Graphics File

  PGF (Progressive Graphics File) is a wavelet-based bitmapped image format that employs lossless and lossy data compression. PGF was created to improve upon and replace the JPEG format. It was developed at the same time as JPEG 2000 but with a focus on speed over compression ratio. PGF can operate at higher compression ratios without taking more encoding/decoding time and without generating the characteristic "blocky and blurry" artifacts of the original DCT-based JPEG standard. It also allows more sophisticated progressive downloads. == Color models == PGF supports a wide variety of color models: Grayscale with 1, 8, 16, or 31 bits per pixel Indexed color with palette size of 256 RGB color image with 12, 16 (red: 5 bits, green: 6 bits, blue: 5 bits), 24, or 48 bits per pixel ARGB color image with 32 bits per pixel Lab color image with 24 or 48 bits per pixel CMYK color image with 32 or 64 bits per pixel == Technical discussion == PGF claims to achieve an improved compression quality over JPEG adding or improving features such as scalability. Its compression performance is similar to the original JPEG standard. Very low and very high compression rates (including lossless compression) are also supported in PGF. The ability of the design to handle a very large range of effective bit rates is one of the strengths of PGF. For example, to reduce the number of bits for a picture below a certain amount, the advisable thing to do with the first JPEG standard is to reduce the resolution of the input image before encoding it — something that is ordinarily not necessary for that purpose when using PGF because of its wavelet scalability properties. The PGF process chain contains the following four steps: Color space transform (in case of color images) Discrete Wavelet Transform Quantization (in case of lossy data compression) Hierarchical bit-plane run-length encoding === Color components transformation === Initially, images have to be transformed from the RGB color space to another color space, leading to three components that are handled separately. PGF uses a fully reversible modified YUV color transform. The transformation matrices are: [ Y r U r V r ] = [ 1 4 1 2 1 4 1 − 1 0 0 − 1 1 ] [ R G B ] ; [ R G B ] = [ 1 3 4 − 1 4 1 − 1 4 − 1 4 1 − 1 4 3 4 ] [ Y r U r V r ] {\displaystyle {\begin{bmatrix}Y_{r}\\U_{r}\\V_{r}\end{bmatrix}}={\begin{bmatrix}{\frac {1}{4}}&{\frac {1}{2}}&{\frac {1}{4}}\\1&-1&0\\0&-1&1\end{bmatrix}}{\begin{bmatrix}R\\G\\B\end{bmatrix}};\qquad \qquad {\begin{bmatrix}R\\G\\B\end{bmatrix}}={\begin{bmatrix}1&{\frac {3}{4}}&-{\frac {1}{4}}\\1&-{\frac {1}{4}}&-{\frac {1}{4}}\\1&-{\frac {1}{4}}&{\frac {3}{4}}\end{bmatrix}}{\begin{bmatrix}Y_{r}\\U_{r}\\V_{r}\end{bmatrix}}} The chrominance components can be, but do not necessarily have to be, down-scaled in resolution. === Wavelet transform === The color components are then wavelet transformed to an arbitrary depth. In contrast to JPEG 1992 which uses an 8x8 block-size discrete cosine transform, PGF uses one reversible wavelet transform: a rounded version of the biorthogonal CDF 5/3 wavelet transform. This wavelet filter bank is exactly the same as the reversible wavelet used in JPEG 2000. It uses only integer coefficients, so the output does not require rounding (quantization) and so it does not introduce any quantization noise. === Quantization === After the wavelet transform, the coefficients are scalar-quantized to reduce the amount of bits to represent them, at the expense of a loss of quality. The output is a set of integer numbers which have to be encoded bit-by-bit. The parameter that can be changed to set the final quality is the quantization step: the greater the step, the greater is the compression and the loss of quality. With a quantization step that equals 1, no quantization is performed (it is used in lossless compression). In contrast to JPEG 2000, PGF uses only powers of two, therefore the parameter value i represents a quantization step of 2i. Just using powers of two makes no need of integer multiplication and division operations. === Coding === The result of the previous process is a collection of sub-bands which represent several approximation scales. A sub-band is a set of coefficients — integer numbers which represent aspects of the image associated with a certain frequency range as well as a spatial area of the image. The quantized sub-bands are split further into blocks, rectangular regions in the wavelet domain. They are typically selected in a way that the coefficients within them across the sub-bands form approximately spatial blocks in the (reconstructed) image domain and collected in a fixed size macroblock. The encoder has to encode the bits of all quantized coefficients of a macroblock, starting with the most significant bits and progressing to less significant bits. In this encoding process, each bit-plane of the macroblock gets encoded in two so-called coding passes, first encoding bits of significant coefficients, then refinement bits of significant coefficients. Clearly, in lossless mode all bit-planes have to be encoded, and no bit-planes can be dropped. Only significant coefficients are compressed with an adaptive run-length/Rice (RLR) coder, because they contain long runs of zeros. The RLR coder with parameter k (logarithmic length of a run of zeros) is also known as the elementary Golomb code of order 2k. === Comparison with other file formats === JPEG 2000 is slightly more space-efficient in handling natural images. The PSNR for the same compression ratio is on average 3% better than the PSNR of PGF. It has a small advantage in compression ratio but longer encoding and decoding times. PNG (Portable Network Graphics) is more space-efficient in handling images with many pixels of the same color. There are several self-proclaimed advantages of PGF over the ordinary JPEG standard: Superior compression performance: The image quality (measured in PSNR) for the same compression ratio is on average 3% better than the PSNR of JPEG. At lower bit rates (e.g. less than 0.25 bits/pixel for gray-scale images), PGF has a much more significant advantage over certain modes of JPEG: artifacts are less visible and there is almost no blocking. The compression gains over JPEG are attributed to the use of DWT. Multiple resolution representation: PGF provides seamless compression of multiple image components, with each component carrying from 1 to 31 bits per component sample. With this feature there is no need for separately stored preview images (thumbnails). Progressive transmission by resolution accuracy, commonly referred to as progressive decoding: PGF provides efficient code-stream organizations which are progressive by resolution. This way, after a smaller part of the whole file has been received, it is possible to see a lower quality of the final picture, the quality can be improved monotonically getting more data from the source. Lossless and lossy compression: PGF provides both lossless and lossy compression in a single compression architecture. Both lossy and lossless compression are provided by the use of a reversible (integer) wavelet transform. Side channel spatial information: Transparency and alpha planes are fully supported ROI extraction: Since version 5, PGF supports extraction of regions of interest (ROI) without decoding the whole image. == Available software == The author published libPGF via a SourceForge, under the GNU Lesser General Public License version 2.0. Xeraina offers a free Windows console encoder and decoder, and PGF viewers based on WIC for 32bit and 64bit Windows platforms. Other WIC applications including File Explorer are able to display PGF images after installing this viewer. Digikam is a popular open-source image editing and cataloging software that uses libPGF for its thumbnails. It makes use of the progressive decoding feature of PGF images to store a single version of each thumbnail, which can then be decoded to different resolutions without loss, thus allowing users to dynamically change the size of the thumbnails without having to recalculate them again.

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  Desktop Window Manager

  Desktop Window Manager (DWM, previously Desktop Compositing Engine or DCE in builds of pre-reset Windows Longhorn) is the compositing window manager in Microsoft Windows since Windows Vista that enables the use of hardware acceleration to render the graphical user interface of Windows. It was originally created to enable portions of the new "Windows Aero" user experience, which allowed for effects such as transparency, 3D window switching and more. It is also included with Windows Server 2008, but requires the "Desktop Experience" feature and compatible graphics drivers to be installed. == Architecture == The Desktop Window Manager is a compositing window manager, meaning that each program has a buffer that it writes data to; DWM then composites each program's buffer into a final image. By comparison, the stacking window manager in Windows XP and earlier (and also Windows Vista and Windows 7 with Windows Aero disabled) comprises a single display buffer to which all programs write. DWM works in different ways depending on the operating system (Windows 7 or Windows Vista) and on the version of the graphics drivers it uses (WDDM 1.0 or 1.1). Under Windows 7 and with WDDM 1.1 drivers, DWM only writes the program's buffer to the video RAM, even if it is a graphics device interface (GDI) program. This is because Windows 7 supports (limited) hardware acceleration for GDI and in doing so does not need to keep a copy of the buffer in system RAM so that the CPU can write to it. Because the compositor has access to the graphics of all applications, it easily allows visual effects that string together visuals from multiple applications, such as transparency. DWM uses DirectX to perform the function of compositing and rendering in the GPU, freeing the CPU of the task of managing the rendering from the off-screen buffers to the display. However, it does not affect applications painting to the off-screen buffers – depending on the technologies used for that, this might still be CPU-bound. DWM-agnostic rendering techniques like GDI are redirected to the buffers by rendering the user interface (UI) as bitmaps. DWM-aware rendering technologies like WPF directly make the internal data structures available in a DWM-compatible format. The window contents in the buffers are then converted to DirectX textures. The desktop itself is a full-screen Direct3D surface, with windows being represented as a mesh consisting of two adjacent (and mutually inverted) triangles, which are transformed to represent a 2D rectangle. The texture, representing the UI chrome, is then mapped onto these rectangles. Window transitions are implemented as transformations of the meshes, using shader programs. With Windows Vista, the transitions are limited to the set of built-in shaders that implement the transformations. Greg Schechter, a developer at Microsoft has suggested that this might be opened up for developers and users to plug in their own effects in a future release. DWM only maps the primary desktop object as a 3D surface; other desktop objects, including virtual desktops as well as the secure desktop used by User Account Control are not. Because all applications render to an off-screen buffer, they can be read off the buffer embedded in other applications as well. Since the off-screen buffer is constantly updated by the application, the embedded rendering will be a dynamic representation of the application window and not a static rendering. This is how the live thumbnail previews and Windows Flip work in Windows Vista and Windows 7. DWM exposes a public API that allows applications to access these thumbnail representations. The size of the thumbnail is not fixed; applications can request the thumbnails at any size - smaller than the original window, at the same size or even larger - and DWM will scale them properly before returning. Aero Flip does not use the public thumbnail APIs as they do not allow for directly accessing the Direct3D textures. Instead, Aero Flip is implemented directly in the DWM engine. The Desktop Window Manager uses Media Integration Layer (MIL), the unmanaged compositor which it shares with Windows Presentation Foundation, to represent the windows as composition nodes in a composition tree. The composition tree represents the desktop and all the windows hosted in it, which are then rendered by MIL from the back of the scene to the front. Since all the windows contribute to the final image, the color of a resultant pixel can be decided by more than one window. This is used to implement effects such as per-pixel transparency. DWM allows custom shaders to be invoked to control how pixels from multiple applications are used to create the displayed pixel. The DWM includes built-in Pixel Shader 2.0 programs which compute the color of a pixel in a window by averaging the color of the pixel as determined by the window behind it and its neighboring pixels. These shaders are used by DWM to achieve the blur effect in the window borders of windows managed by DWM, and optionally for the areas where it is requested by the application. Since MIL provides a retained mode graphics system by caching the composition trees, the job of repainting and refreshing the screen when windows are moved is handled by DWM and MIL, freeing the application of the responsibility. The background data is already in the composition tree and the off-screen buffers and is directly used to render the background. In pre-Vista Windows OSs, background applications had to be requested to re-render themselves by sending them the WM_PAINT message. DWM uses double-buffered graphics to prevent flickering and tearing when moving windows. The compositing engine uses optimizations such as culling to improve performance, as well as not redrawing areas that have not changed. Because the compositor is multi-monitor aware, DWM natively supports this too. During full-screen applications, such as games, DWM does not perform window compositing and therefore performance will not appreciably decrease. On Windows 8 and Windows Server 2012, DWM is used at all times and cannot be disabled, due to the new "start screen experience" implemented. Since the DWM process is usually required to run at all times on Windows 8, users experiencing an issue with the process are seeing memory usage decrease after a system reboot. This is often the first step in a long list of troubleshooting tasks that can help. It is possible to prevent DWM from restarting temporarily in Windows 8, which causes the desktop to turn black, the taskbar grey, and break the start screen/modern apps, but desktop apps will continue to function and appear just like Windows 7 and Vista's Basic theme, based on the single-buffer renderer used by XP. They also use Windows 8's centered title bar, visible within Windows PreInstallation Environment. Starting up Windows without DWM will not work because the default lock screen requires DWM unlike the fallback lockscreen that appears as a command line interface program when Windows.UI.Logon.dll isn't present on Windows versions such as 1507 and later, so it can only be done on the fly, and does not have any practical purposes. Starting with Windows 10, disabling DWM in such a way will cause the entire compositing engine to break, even traditional desktop apps, due to Universal App implementations in the taskbar and new start menu. Windows can still be partially usable without the presence of DWM but requires Sihost.exe to not be present due to it relying on DWM. Most of the applications in Windows 11 require DWM to render UI elements and transparency, Windows 11's new task manager requires dwm to render menus unlike the fallback -d version. Unlike its predecessors, Windows 8 supports basic display adapters through Windows Advanced Rasterization Platform (WARP), which uses software rendering and the CPU to render the interface rather than the graphics card. This allows DWM to function without compatible drivers, but not at the same level of performance as with a normal graphics card. DWM on Windows 8 also adds support for stereoscopic 3D. == Redirection == For rendering techniques that are not DWM-aware, output must be redirected to the DWM buffers. With Windows, either GDI or DirectX can be used for rendering. To make these two work with DWM, redirection techniques for both are provided. With GDI, which is the most used UI rendering technique in Microsoft Windows, each application window is notified when it or a part of it comes in view and it is the job of the application to render itself. Without DWM, the rendering rasterizes the UI in a buffer in video memory, from where it is rendered to the screen. Under DWM, GDI calls are redirected to use the Canonical Display Driver (cdd.dll), a software renderer. A buffer equal to the size of the window is allocated in system memory and CDD.DLL outputs to this buffer rather than the video memory. Another buffer is allocated in the video memory to represent t

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  PhotoWorks (ray tracing software)

  PhotoWorks is a raytrace rendering program created by Dassault Systèmes SolidWorks Corporation, formerly supplied as a photorealistic rendering add-in for SolidWorks. The program is based on the Mental Ray rendering engine. It has a library of scenes and materials that can be used with user-created SolidWorks files to create still frame images within the SolidWorks GUI. Since the 2011 release of SolidWorks, PhotoWorks has been replaced by the PhotoView 360 rendering utility. A 2010 review comparing PhotoWorks with three other rendering programs for SolidWorks (including PhotoView 360) gave the program high marks for render speed and built-in materials, but low marks for realism and user interface. Appearance File Type: .p2m

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  Microscope image processing

  Microscope image processing is a broad term that covers the use of digital image processing techniques to process, analyze and present images obtained from a microscope. Such processing is now commonplace in a number of diverse fields such as medicine, biological research, cancer research, drug testing, metallurgy, etc. A number of manufacturers of microscopes now specifically design in features that allow the microscopes to interface to an image processing system. == Image acquisition == Until the early 1990s, most image acquisition in video microscopy applications was typically done with an analog video camera, often simply closed circuit TV cameras. While this required the use of a frame grabber to digitize the images, video cameras provided images at full video frame rate (25-30 frames per second) allowing live video recording and processing. While the advent of solid state detectors yielded several advantages, the real-time video camera was actually superior in many respects. Today, acquisition is usually done using a CCD camera mounted in the optical path of the microscope. The camera may be full colour or monochrome. Very often, very high resolution cameras are employed to gain as much direct information as possible. Cryogenic cooling is also common, to minimise noise. Often digital cameras used for this application provide pixel intensity data to a resolution of 12-16 bits, much higher than is used in consumer imaging products. Ironically, in recent years, much effort has been put into acquiring data at video rates, or higher (25-30 frames per second or higher). What was once easy with off-the-shelf video cameras now requires special, high speed electronics to handle the vast digital data bandwidth. Higher speed acquisition allows dynamic processes to be observed in real time, or stored for later playback and analysis. Combined with the high image resolution, this approach can generate vast quantities of raw data, which can be a challenge to deal with, even with a modern computer system. While current CCD detectors allow very high image resolution, often this involves a trade-off because, for a given chip size, as the pixel count increases, the pixel size decreases. As the pixels get smaller, their well depth decreases, reducing the number of electrons that can be stored. In turn, this results in a poorer signal-to-noise ratio. For best results, one must select an appropriate sensor for a given application. Because microscope images have an intrinsic limiting resolution, it often makes little sense to use a noisy, high resolution detector for image acquisition. A more modest detector, with larger pixels, can often produce much higher quality images because of reduced noise. This is especially important in low-light applications such as fluorescence microscopy. Moreover, one must also consider the temporal resolution requirements of the application. A lower resolution detector will often have a significantly higher acquisition rate, permitting the observation of faster events. Conversely, if the observed object is motionless, one may wish to acquire images at the highest possible spatial resolution without regard to the time required to acquire a single image. == 2D image techniques == Image processing for microscopy application begins with fundamental techniques intended to most accurately reproduce the information contained in the microscopic sample. This might include adjusting the brightness and contrast of the image, averaging images to reduce image noise and correcting for illumination non-uniformities. Such processing involves only basic arithmetic operations between images (i.e. addition, subtraction, multiplication and division). The vast majority of processing done on microscope image is of this nature. Another class of common 2D operations called image convolution are often used to reduce or enhance image details. Such "blurring" and "sharpening" algorithms in most programs work by altering a pixel's value based on a weighted sum of that and the surrounding pixels (a more detailed description of kernel based convolution deserves an entry for itself) or by altering the frequency domain function of the image using Fourier Transform. Most image processing techniques are performed in the Frequency domain. Other basic two dimensional techniques include operations such as image rotation, warping, color balancing etc. At times, advanced techniques are employed with the goal of "undoing" the distortion of the optical path of the microscope, thus eliminating distortions and blurring caused by the instrumentation. This process is called deconvolution, and a variety of algorithms have been developed, some of great mathematical complexity. The end result is an image far sharper and clearer than could be obtained in the optical domain alone. This is typically a 3-dimensional operation, that analyzes a volumetric image (i.e. images taken at a variety of focal planes through the sample) and uses this data to reconstruct a more accurate 3-dimensional image. == 3D image techniques == Another common requirement is to take a series of images at a fixed position, but at different focal depths. Since most microscopic samples are essentially transparent, and the depth of field of the focused sample is exceptionally narrow, it is possible to capture images "through" a three-dimensional object using 2D equipment like confocal microscopes. Software is then able to reconstruct a 3D model of the original sample which may be manipulated appropriately. The processing turns a 2D instrument into a 3D instrument, which would not otherwise exist. In recent times this technique has led to a number of scientific discoveries in cell biology. == Analysis == Analysis of images will vary considerably according to application. Typical analysis includes determining where the edges of an object are, counting similar objects, calculating the area, perimeter length and other useful measurements of each object. A common approach is to create an image mask which only includes pixels that match certain criteria, then perform simpler scanning operations on the resulting mask. It is also possible to label objects and track their motion over a series of frames in a video sequence.

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  Automated Lip Reading

  Automated Lip Reading (ALR) is a software technology developed by speech recognition expert Frank Hubner. A video image of a person talking can be analysed by the software. The shapes made by the lips can be examined and then turned into sounds. The sounds are compared to a dictionary to create matches to the words being spoken. The technology was used successfully to analyse silent home movie footage of Adolf Hitler taken by Eva Braun at their Bavarian retreat Berghof. The video, with words, was included in a documentary titled "Hitler's Private World", Revealed Studios, 2006 Source: New Technology catches Hitler off guard

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  Energy-based model

  An energy-based model (EBM), also called Canonical Ensemble Learning (CEL) or Learning via Canonical Ensemble (LCE), is an application of canonical ensemble formulation from statistical physics for learning from data. The approach prominently appears in generative artificial intelligence. EBMs provide a unified framework for many probabilistic and non-probabilistic approaches to such learning, particularly for training graphical and other structured models. An EBM learns the characteristics of a target dataset and generates a similar but larger dataset. EBMs detect the latent variables of a dataset and generate new datasets with a similar distribution. Energy-based generative neural networks is a class of generative models, which aim to learn explicit probability distributions of data in the form of energy-based models, the energy functions of which are parameterized by modern deep neural networks. Boltzmann machines are a special form of energy-based models with a specific parametrization of the energy. == Description == For a given input x {\displaystyle x} , the model describes an energy E θ ( x ) {\displaystyle E_{\theta }(x)} such that the Boltzmann distribution P θ ( x ) = e − β E θ ( x ) Z ( θ ) {\displaystyle P_{\theta }(x)={e^{-\beta E_{\theta }(x)} \over Z(\theta )}} is a probability (density), and typically β = 1 {\displaystyle \beta =1} . Since the normalization constant: Z ( θ ) := ∫ x ∈ X e − β E θ ( x ) d x {\displaystyle Z(\theta ):=\int _{x\in X}e^{-\beta E_{\theta }(x)}dx} (also known as the partition function) depends on all the Boltzmann factors of all possible inputs x {\displaystyle x} , it cannot be easily computed or reliably estimated during training simply using standard maximum likelihood estimation. However, for maximizing the likelihood during training, the gradient of the log-likelihood of a single training example x {\displaystyle x} is given by using the chain rule: ∂ θ log ⁡ ( P θ ( x ) ) = E x ′ ∼ P θ [ ∂ θ E θ ( x ′ ) ] − ∂ θ E θ ( x ) ( ∗ ) {\displaystyle \partial _{\theta }\log \left(P_{\theta }(x)\right)=\mathbb {E} _{x'\sim P_{\theta }}[\partial _{\theta }E_{\theta }(x')]-\partial _{\theta }E_{\theta }(x)\,()} The expectation in the above formula for the gradient can be approximately estimated by drawing samples x ′ {\displaystyle x'} from the distribution P θ {\displaystyle P_{\theta }} using Markov chain Monte Carlo (MCMC). Early energy-based models, such as the 2003 Boltzmann machine by Hinton, estimated this expectation via blocked Gibbs sampling. Newer approaches make use of more efficient Stochastic Gradient Langevin Dynamics (LD), drawing samples using: x 0 ′ ∼ P 0 , x i + 1 ′ = x i ′ − α 2 ∂ E θ ( x i ′ ) ∂ x i ′ + ϵ {\displaystyle x_{0}'\sim P_{0},x_{i+1}'=x_{i}'-{\frac {\alpha }{2}}{\frac {\partial E_{\theta }(x_{i}')}{\partial x_{i}'}}+\epsilon } , where ϵ ∼ N ( 0 , α ) {\displaystyle \epsilon \sim {\mathcal {N}}(0,\alpha )} . A replay buffer of past values x i ′ {\displaystyle x_{i}'} is used with LD to initialize the optimization module. The parameters θ {\displaystyle \theta } of the neural network are therefore trained in a generative manner via MCMC-based maximum likelihood estimation: the learning process follows an "analysis by synthesis" scheme, where within each learning iteration, the algorithm samples the synthesized examples from the current model by a gradient-based MCMC method (e.g., Langevin dynamics or Hybrid Monte Carlo), and then updates the parameters θ {\displaystyle \theta } based on the difference between the training examples and the synthesized ones – see equation ( ∗ ) {\displaystyle ()} . This process can be interpreted as an alternating mode seeking and mode shifting process, and also has an adversarial interpretation. Essentially, the model learns a function E θ {\displaystyle E_{\theta }} that associates low energies to correct values, and higher energies to incorrect values. After training, given a converged energy model E θ {\displaystyle E_{\theta }} , the Metropolis–Hastings algorithm can be used to draw new samples. The acceptance probability is given by: P a c c ( x i → x ∗ ) = min ( 1 , P θ ( x ∗ ) P θ ( x i ) ) . {\displaystyle P_{acc}(x_{i}\to x^{})=\min \left(1,{\frac {P_{\theta }(x^{})}{P_{\theta }(x_{i})}}\right).} == History == The term "energy-based models" was first coined in a 2003 JMLR paper where the authors defined a generalisation of independent components analysis to the overcomplete setting using EBMs. Other early work on EBMs proposed models that represented energy as a composition of latent and observable variables. == Characteristics == EBMs demonstrate useful properties: Simplicity and stability. The EBM is the only object that needs to be designed and trained. Separate networks need not be trained to ensure balance. Adaptive computation time. An EBM can generate sharp, diverse samples or (more quickly) coarse, less diverse samples. Given infinite time, this procedure produces true samples. Flexibility. In Variational Autoencoders (VAE) and flow-based models, the generator learns a map from a continuous space to a (possibly) discontinuous space containing different data modes. EBMs can learn to assign low energies to disjoint regions (multiple modes). Adaptive generation. EBM generators are implicitly defined by the probability distribution, and automatically adapt as the distribution changes (without training), allowing EBMs to address domains where generator training is impractical, as well as minimizing mode collapse and avoiding spurious modes from out-of-distribution samples. Compositionality. Individual models are unnormalized probability distributions, allowing models to be combined through product of experts or other hierarchical techniques. == Experimental results == On image datasets such as CIFAR-10 and ImageNet 32x32, an EBM model generated high-quality images relatively quickly. It supported combining features learned from one type of image for generating other types of images. It was able to generalize using out-of-distribution datasets, outperforming flow-based and autoregressive models. EBM was relatively resistant to adversarial perturbations, behaving better than models explicitly trained against them with training for classification. == Applications == Target applications include natural language processing, robotics and computer vision. The first energy-based generative neural network is the generative ConvNet proposed in 2016 for image patterns, where the neural network is a convolutional neural network. The model has been generalized to various domains to learn distributions of videos, and 3D voxels. They are made more effective in their variants. They have proven useful for data generation (e.g., image synthesis, video synthesis, 3D shape synthesis, etc.), data recovery (e.g., recovering videos with missing pixels or image frames, 3D super-resolution, etc), data reconstruction (e.g., image reconstruction and linear interpolation ). == Alternatives == EBMs compete with techniques such as variational autoencoders (VAEs), generative adversarial networks (GANs) or normalizing flows. == Extensions == === Joint energy-based models === Joint energy-based models (JEM), proposed in 2020 by Grathwohl et al., allow any classifier with softmax output to be interpreted as energy-based model. The key observation is that such a classifier is trained to predict the conditional probability p θ ( y | x ) = e f → θ ( x ) [ y ] ∑ j = 1 K e f → θ ( x ) [ j ] for y = 1 , … , K and f → θ = ( f 1 , … , f K ) ∈ R K , {\displaystyle p_{\theta }(y|x)={\frac {e^{{\vec {f}}_{\theta }(x)[y]}}{\sum _{j=1}^{K}e^{{\vec {f}}_{\theta }(x)[j]}}}\ \ {\text{ for }}y=1,\dotsc ,K{\text{ and }}{\vec {f}}_{\theta }=(f_{1},\dotsc ,f_{K})\in \mathbb {R} ^{K},} where f → θ ( x ) [ y ] {\displaystyle {\vec {f}}_{\theta }(x)[y]} is the y-th index of the logits f → {\displaystyle {\vec {f}}} corresponding to class y. Without any change to the logits it was proposed to reinterpret the logits to describe a joint probability density: p θ ( y , x ) = e f → θ ( x ) [ y ] Z ( θ ) , {\displaystyle p_{\theta }(y,x)={\frac {e^{{\vec {f}}_{\theta }(x)[y]}}{Z(\theta )}},} with unknown partition function Z ( θ ) {\displaystyle Z(\theta )} and energy E θ ( x , y ) = − f θ ( x ) [ y ] {\displaystyle E_{\theta }(x,y)=-f_{\theta }(x)[y]} . By marginalization, we obtain the unnormalized density p θ ( x ) = ∑ y p θ ( y , x ) = ∑ y e f → θ ( x ) [ y ] Z ( θ ) =: e − E θ ( x ) , {\displaystyle p_{\theta }(x)=\sum _{y}p_{\theta }(y,x)=\sum _{y}{\frac {e^{{\vec {f}}_{\theta }(x)[y]}}{Z(\theta )}}=:e^{-E_{\theta }(x)},} therefore, E θ ( x ) = − log ⁡ ( ∑ y e f → θ ( x ) [ y ] Z ( θ ) ) , {\displaystyle E_{\theta }(x)=-\log \left(\sum _{y}{\frac {e^{{\vec {f}}_{\theta }(x)[y]}}{Z(\theta )}}\right),} so that any classifier can be used to define an energy function E θ ( x ) {\displaystyle E_{\theta }(x)} .

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  Audio mining

  Audio mining is a technique by which the content of an audio signal can be automatically analyzed and searched. It is most commonly used in the field of automatic speech recognition, where the analysis tries to identify any speech within the audio. The term audio mining is sometimes used interchangeably with audio indexing, phonetic searching, phonetic indexing, speech indexing, audio analytics, speech analytics, word spotting, and information retrieval. Audio indexing, however, is mostly used to describe the pre-process of audio mining, in which the audio file is broken down into a searchable index of words. == History == Academic research on audio mining began in the late 1970s in schools like Carnegie Mellon University, Columbia University, the Georgia Institute of Technology, and the University of Texas. Audio data indexing and retrieval began to receive attention and demand in the early 1990s, when multimedia content started to develop and the volume of audio content significantly increased. Before audio mining became the mainstream method, written transcripts of audio content were created and manually analyzed. == Process == Audio mining is typically split into four components: audio indexing, speech processing and recognition systems, feature extraction and audio classification. The audio will typically be processed by a speech recognition system in order to identify word or phoneme units that are likely to occur in the spoken content. This information may either be used immediately in pre-defined searches for keywords or phrases (a real-time "word spotting" system), or the output of the speech recognizer may be stored in an index file. One or more audio mining index files can then be loaded at a later date in order to run searches for keywords or phrases. The results of a search will normally be in terms of hits, which are regions within files that are good matches for the chosen keywords. The user may then be able to listen to the audio corresponding to these hits in order to verify if a correct match was found. === Audio Indexing === In audio, there is the main problem of information retrieval - there is a need to locate the text documents that contain the search key. Unlike humans, a computer is not able to distinguish between the different types of audios such as speed, mood, noise, music or human speech - an effective searching method is needed. Hence, audio indexing allows efficient search for information by analyzing an entire file using speech recognition. An index of content is then produced, bearing words and their locations done through content-based audio retrieval, focusing on extracted audio features. It is done through mainly two methods: Large Vocabulary Continuous Speech Recognition (LVCSR) and Phonetic-based Indexing. ==== Large Vocabulary Continuous Speech Recognizers (LVCSR) ==== In text-based indexing or large vocabulary continuous speech recognition (LVCSR), the audio file is first broken down into recognizable phonemes. It is then run through a dictionary that can contain several hundred thousand entries and matched with words and phrases to produce a full text transcript. A user can then simply search a desired word term and the relevant portion of the audio content will be returned. If the text or word could not be found in the dictionary, the system will choose the next most similar entry it can find. The system uses a language understanding model to create a confidence level for its matches. If the confidence level be below 100 percent, the system will provide options of all the found matches. ===== Advantages and disadvantages ===== The main draw of LVCSR is its high accuracy and high searching speed. In LVCSR, statistical methods are used to predict the likelihood of different word sequences, hence the accuracy is much higher than the single word lookup of a phonetic search. If the word can be found, the probability of the word spoken is very high. Meanwhile, while initial processing of audio takes a fair bit of time, searching is quick as just a simple test to text matching is needed. On the other hand, LVCSR is susceptible to common issues of speech recognition. The inherent random nature of audio and problems of external noise all affect the accuracies of text-based indexing. Another problem with LVCSR is its over reliance on its dictionary database. LVCSR only recognizes words that are found in their dictionary databases, and these dictionaries and databases are unable to keep up with the constant evolving of new terminology, names and words. Should the dictionary not contain a word, there is no way for the system to identify or predict it. This reduces the accuracy and reliability of the system. This is named the Out-of-vocabulary (OOV) problem. Audio mining systems try to cope with OOV by continuously updating the dictionary and language model used, but the problem still remains significant and has probed a search for alternatives. Additionally, due to the need to constantly update and maintain task-based knowledge and large training databases to cope with the OOV problem, high computational costs are incurred. This makes LVCSR an expensive approach to audio mining. ==== Phonetic-based Indexing ==== Phonetic-based indexing also breaks the audio file into recognizable phonemes, but instead of converting them to a text index, they are kept as they are and analyzed to create a phonetic-based index. The process of phonetic-based indexing can be split into two phases. The first phase is indexing. It begins by converting the input media into a standard audio representation format (PCM). Then, an acoustic model is applied to the speech. This acoustic model represents characteristics of both an acoustic channel (an environment in which the speech was uttered and a transducer through which it was recorded) and a natural language (in which human beings expressed the input speech). This produces a corresponding phonetic search track, or phonetic audio track (PAT), a highly compressed representation of the phonetic content of the input media. The second phase is searching. The user's search query term is parsed into a possible phoneme string using a phonetic dictionary. Then, multiple PAT files can be scanned at high speed during a single search for likely phonetic sequences that closely match corresponding strings of phonemes in the query term. ===== Advantages and disadvantages ===== Phonetic indexing is most attractive as it is largely unaffected by linguistic issues such as unrecognized words and spelling errors. Phonetic preprocessing maintains an open vocabulary that does not require updating. That makes it particularly useful for searching specialized terminology or words in foreign languages that do not commonly appear in dictionaries. It is also more effective for searching audio files with disruptive background noise and/or unclear utterances as it can compile results based on the sounds it can discern, and should the user wish to, they can search through the options until they find the desired item. Furthermore, in contrast to LVCSR, it can process audio files very quickly as there are very few unique phonemes between languages. However, phonemes cannot be effectively indexed like an entire word, thus searching on a phonetic-based system is slow. An issue with phonetic indexing is its low accuracy. Phoneme-based searches result in more false matches than text-based indexing. This is especially prevalent for short search terms, which have a stronger likelihood of sounding similar to other words or being part of bigger words. It could also return irrelevant results from other languages. Unless the system recognizes exactly the entire word, or understands phonetic sequences of languages, it is difficult for phonetic-based indexing to return accurate findings. === Speech processing and recognition system === Deemed as the most critical and complex component of audio mining, speech recognition requires the knowledge of human speech production system and its modeling. To correspond the Human speech production system, the electrical speech production system is developed to consist of: Speech generation Speech perception Voiced & unvoiced speech Model of human speech The electrical speech production system converts acoustic signal into corresponding representation of the spoken through the acoustic models in their software where all phonemes are represented. A statistical language model aids in the process by identifying how likely words are to follow each other in certain languages. Put together with a complex probability analysis, the speech recognition system is capable of taking an unknown speech signal and transcribing it into words based on the program's dictionary. ASR (automatic speech recognition) system includes: Acoustic analysis: input sound waveform is transformed into a feature Acoustic model: establishes relationship between speech signal and phonemes, pronunciation model and lang

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  PCVC Speech Dataset

  The PCVC (Persian Consonant Vowel Combination) Speech Dataset is a Modern Persian speech corpus for speech recognition and also speaker recognition. The dataset contains sound samples of Modern Persian combination of vowel and consonant phonemes from different speakers. Every sound sample contains just one consonant and one vowel So it is somehow labeled in phoneme level. This dataset consists of 23 Persian consonants and 6 vowels. The sound samples are all possible combinations of vowels and consonants (138 samples for each speaker). The sample rate of all speech samples is 48000 which means there are 48000 sound samples in every 1 second. Every sound sample starts with consonant then continues with vowel. In each sample, in average, 0.5 second of each sample is speech and the rest is silence. Each sound sample ends with silence. All of sound samples are denoised with "Adaptive noise reduction" algorithm. Compared to Farsdat speech dataset and Persian speech corpus it is more easy to use because it is prepared in .mat data files. Also it is more based on phoneme based separation and all samples are denoised. == Contents == The corpus is downloadable from its Kaggle web page, and contains the following: .mat data files of sound samples in a 23630000 matrix, in which 23 is number of consonants, 6 is the number of vowels and 30000 is the length of sound sample.

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  Multisample anti-aliasing

  Multisample anti-aliasing (MSAA) is a type of spatial anti-aliasing, a technique used in computer graphics to remove jaggies. It is an optimization of supersampling, where only the necessary parts are sampled more. Jaggies are only noticed in a small area, so the area is quickly found, and only that is anti-aliased. == Definition == The term generally refers to a special case of supersampling. Initial implementations of full-scene anti-aliasing (FSAA) worked conceptually by simply rendering a scene at a higher resolution, and then downsampling to a lower-resolution output. Most modern GPUs are capable of this form of anti-aliasing, but it greatly taxes resources such as texture, bandwidth, and fillrate. (If a program is highly TCL-bound or CPU-bound, supersampling can be used without much performance hit.) According to the OpenGL GL_ARB_multisample specification, "multisampling" refers to a specific optimization of supersampling. The specification dictates that the renderer evaluate the fragment program once per pixel, and only "truly" supersample the depth and stencil values. (This is not the same as supersampling but, by the OpenGL 1.5 specification, the definition had been updated to include fully supersampling implementations as well.) In graphics literature in general, "multisampling" refers to any special case of supersampling where some components of the final image are not fully supersampled. The lists below refer specifically to the ARB_multisample definition. == Description == In supersample anti-aliasing, multiple locations are sampled within every pixel, and each of those samples is fully rendered and combined with the others to produce the pixel that is ultimately displayed. This is computationally expensive, because the entire rendering process must be repeated for each sample location. It is also inefficient, as aliasing is typically only noticed in some parts of the image, such as the edges, whereas supersampling is performed for every single pixel. In multisample anti-aliasing, if any of the multi sample locations in a pixel is covered by the triangle being rendered, a shading computation must be performed for that triangle. However this calculation only needs to be performed once for the whole pixel regardless of how many sample positions are covered; the result of the shading calculation is simply applied to all of the relevant multi sample locations. In the case where only one triangle covers every multi sample location within the pixel, only one shading computation is performed, and these pixels are little more expensive than (and the result is no different from) the non-anti-aliased image. This is true of the middle of triangles, where aliasing is not an issue. (Edge detection can reduce this further by explicitly limiting the MSAA calculation to pixels whose samples involve multiple triangles, or triangles at multiple depths.) In the extreme case where each of the multi sample locations is covered by a different triangle, a different shading computation will be performed for each location and the results then combined to give the final pixel, and the result and computational expense are the same as in the equivalent supersampled image. The shading calculation is not the only operation that must be performed on a given pixel; multisampling implementations may variously sample other operations such as visibility at different sampling levels. == Advantages == The pixel shader usually only needs to be evaluated once per pixel for every triangle covering at least one sample point. The edges of polygons (the most obvious source of aliasing in 3D graphics) are anti-aliased. Since multiple subpixels per pixel are sampled, polygonal details smaller than one pixel that might have been missed without MSAA can be captured and made a part of the final rendered image if enough samples are taken. == Disadvantages == === Alpha testing === Alpha testing is a technique common to older video games used to render translucent objects by rejecting pixels from being written to the framebuffer. If the alpha value of a translucent fragment (pixel) is below a specified threshold, it will be discarded. Because this is performed on a pixel by pixel basis, the image does not receive the benefits of multi-sampling (all of the multisamples in a pixel are discarded based on the alpha test) for these pixels. The resulting image may contain aliasing along the edges of transparent objects or edges within textures, although the image quality will be no worse than it would be without any anti-aliasing. Translucent objects that are modelled using alpha-test textures will also be aliased due to alpha testing. This effect can be minimized by rendering objects with transparent textures multiple times, although this would result in a high performance reduction for scenes containing many transparent objects. === Aliasing === Because multi-sampling calculates interior polygon fragments only once per pixel, aliasing and other artifacts will still be visible inside rendered polygons where fragment shader output contains high frequency components. === Performance === While less performance-intensive than SSAA (supersampling), it is possible in certain scenarios (scenes heavy in complex fragments) for MSAA to be multiple times more intensive for a given frame than post processing anti-aliasing techniques such as FXAA, SMAA and MLAA. Early techniques in this category tend towards a lower performance impact, but suffer from accuracy problems. More recent post-processing based anti-aliasing techniques such as temporal anti-aliasing (TAA), which reduces aliasing by combining data from previously rendered frames, have seen the reversal of this trend, as post-processing AA becomes both more versatile and more expensive than MSAA, which cannot antialias an entire frame alone. == Sampling methods == === Point sampling === In a point-sampled mask, the coverage bit for each multisample is only set if the multisample is located inside the rendered primitive. Samples are never taken from outside a rendered primitive, so images produced using point-sampling will be geometrically correct, but filtering quality may be low because the proportion of bits set in the pixel's coverage mask may not be equal to the proportion of the pixel that is actually covered by the fragment in question. === Area sampling === Filtering quality can be improved by using area sampled masks. In this method, the number of bits set in a coverage mask for a pixel should be proportionate to the actual area coverage of the fragment. This will result in some coverage bits being set for multisamples that are not actually located within the rendered primitive, and can cause aliasing and other artifacts. == Sample patterns == === Regular grid === A regular grid sample pattern, where multisample locations form an evenly spaced grid throughout the pixel, is easy to implement and simplifies attribute evaluation (i.e. setting subpixel masks, sampling color and depth). This method is computationally expensive due to the large number of samples. Edge optimization is poor for screen-aligned edges, but image quality is good when the number of multisamples is large. === Sparse regular grid === A sparse regular grid sample pattern is a subset of samples that are chosen from the regular grid sample pattern. As with the regular grid, attribute evaluation is simplified due to regular spacing. The method is less computationally expensive due to having a fewer samples. Edge optimization is good for screen aligned edges, and image quality is good for a moderate number of multisamples. === Stochastic sample patterns === A stochastic sample pattern is a random distribution of multisamples throughout the pixel. The irregular spacing of samples makes attribute evaluation complicated. The method is cost efficient due to low sample count (compared to regular grid patterns). Edge optimization with this method, although sub-optimal for screen aligned edges. Image quality is excellent for a moderate number of samples. == Quality == Compared to supersampling, multisample anti-aliasing can provide similar quality at higher performance, or better quality for the same performance. Further improved results can be achieved by using rotated grid subpixel masks. The additional bandwidth required by multi-sampling is reasonably low if Z and colour compression are available. Most modern GPUs support 2×, 4×, and 8× MSAA samples. Higher values result in better quality, but are slower.

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  Boris FX

  Boris FX is a visual effects, video editing, photography, and audio software plug-in developer based in Miami, Florida, USA. The developer is known for its flagship products, Continuum (formerly Boris Continuum Complete/BCC), Sapphire, Mocha, and Silhouette. Boris FX creates plug-in tools for feature film, broadcast television, and multimedia post-production workflows. The plug-ins are compatible with various NLEs, including Adobe After Effects and Premiere Pro, Avid Media Composer, Apple Final Cut Pro, and OFX hosts such as Autodesk Flame, Foundry Nuke, Blackmagic Design DaVinci Resolve and Fusion, and VEGAS Pro. Boris FX has incorporated artificial intelligence into its software, introducing features for noise reduction, rotoscoping, upscaling, and masking. The company has acquired technologies via mergers and acquisitions from Imagineer Systems, GenArts, Silhouette FX, Digital Film Tools, CrumplePop and Andersson Technologies to expand its visual effects, editing, photography, and audio tools. == History == Boris FX was founded in 1995 by Boris Yamnitsky. The former Media 100 engineer (a member of the original Media 100 launch team in 1993) released “Boris FX,” the first plug-in-based digital video effects (DVE) for Adobe Premiere and Media 100, in 1995. The plug-in won Best of Show at Apple Macworld in Boston, MA that same year. The Boris FX Suite includes a range of visual effects and post-production tools, such as Sapphire, Continuum, Mocha Pro, Silhouette, SynthEyes, CrumplePop, Optics, and Particle Illusion. == Media 100 == In October 2005, Yamnitsky acquired Media 100 the company that launched his plug-in career. Boris FX had a long relationship with Media 100 which bundled Boris RED software as its main titling and compositing solution. Media 100's video editing software is available as freeware for macOS. == Continuum == Continuum is a visual effect and compositing plugin suite that includes a library of over 300 effects and more than 40 transitions, including tools for image restoration, compositing, titling, particle generation, and stylized effects, along with features such as lens flares, lighting effects, and cinematic color grading presets. A key component of Continuum is its integration with the Mocha planar tracking and masking system, enabling advanced tracking and rotoscoping within the effects. The suite also includes Particle Illusion, a real-time particle generator used for creating visual effects such as explosions, smoke, and abstract motion graphics, as well as Primatte Studio, a chroma keying and compositing toolset for green screen and blue screen workflows. Continuum supports GPU acceleration and offers compatibility with HDR and 360/VR content. Regular updates introduce new effects, presets, and performance enhancements to expand its capabilities. In October 2018, Continuum relaunched Particle Illusion, a Mocha Essentials workflow with magnetic edge-snapping, and updates to Title Studio. In October 2019, Continuum introduced Corner Pin Studio with built-in Mocha tracking for quick screen replacement and inserts, 6 stylized transitions, and 4 creative effects. In October 2020, Continuum released an update that included over 80 GPU-accelerated effects such as film stocks, color grades, optical filter simulations, and a digital gobo library. The update also introduced a custom FX Editor interface, real-time particles, and more than 1,000 drag-and-drop presets. In November 2021, it added multi-frame rendering for After Effects, native Apple M1 support, fluid dynamics in Particle Illusion, and 60 color-grade presets. In October 2022, the software introduced 10 additional transitions, a revised Particle Illusion workflow, an atmospheric glow effect, and more than 250 curated presets. Continuum plugins have been used in television, streaming, and film projects, including A Black Lady Sketch Show (HBO/HBO Max), Star Trek: Discovery (CBS), Andor (Disney+), The Curse of Oak Island (History Channel), Keeping up with the Kardashians (E!), This Old House (PBS), Ms. Marvel (Disney+), MasterChef (Fox), WipeOut (TBS), The Boys (Prime Video), and The Today Show (NBC). == Mocha Pro == In December 2014, Boris FX merged with Imagineer Systems, the UK-based developer of the Academy Award-winning planar motion tracking software, Mocha Pro. Mocha Pro's features include planar tracking (motion tracking), rotoscoping, image stabilization, 3D camera tracking, and object removal. In June 2016, Mocha released (v5) which introduced Mocha Pro's tools as plug-ins for Adobe After Effects and Premiere Pro, Avid Media Composer, and OFX hosts Foundry's NUKE, Blackmagic Design Fusion, VEGAS Pro, and HitFilm. A simplified version, Mocha AE, is included with Adobe After Effects Creative Cloud and has been bundled with the software since CS4. A similar version is also available with HitFilm Pro from FXhome and VEGAS Pro. Mocha's tracking SDK is integrated into other visual effects tools, including SAM Quantel Pablo Rio, Silhouette FX, CoreMelt, and Motion VFX. Mocha Pro has been used in various film and television productions, including Birdman, Black Swan, the Harry Potter series, The Hobbit, Star Wars, The Mandalorian, Star Trek: Discovery, and The Umbrella Academy. It has also been employed in projects such as Gone Girl, The Hunger Games: Mockingjay – Part 1, Game of Thrones, and House of Cards. == Sapphire == GenArts, founded by Karl Sims in 1996, developed visual effects plug-ins that were used by studios and post-production facilities. In September 2016, Boris FX merged with former competitor, GenArts, Inc., developer of Sapphire high-end visual effects plug-ins, to expand its suite of motion graphics and VFX tools. The merger brought Sapphire alongside Boris Continuum Complete (BCC) and Mocha Pro, integrating these tools for film and television post-production. The Sapphire suite includes a library of over 270 effects and transitions, organized into categories such as lighting, stylization, distortions, textures, and transitions. Commonly used effects include glows, lens flares, film looks, and blurs. The plug-ins are designed to be GPU-accelerated, allowing for improved rendering performance and real-time previews in supported host applications. A central feature of Sapphire is the Builder tool, a node-based workspace that allows users to create custom effects and transitions by combining multiple Sapphire plug-ins. This enables a high level of creative flexibility and reusability, making it a popular tool for both editors and VFX artists. Sapphire also integrates with Mocha, Boris FX's planar tracking and masking system, allowing for advanced control of visual elements within an effect. In October 2017, Boris FX released its first new version of Sapphire since the GenArts acquisition. Sapphire (v11) now includes integrated Mocha tracking and masking tools. Sapphire is available for Adobe, Avid, the Autodesk Flame family, and OFX hosts including Blackmagic DaVinci Resolve and Fusion, and Foundry's NUKE. As part of the merger, Boris FX acquired the rights to Particle Illusion. In 2018, Boris FX reintroduced the product to the larger NLE/Compositing market. Sapphire's plug-ins transitioned from C to C++ to improve performance and support higher-resolution visual effects. This update enhanced floating-point calculations, compatibility with film editing APIs, and integration with NVIDIA's CUDA for faster rendering. The plug-ins have been used in various films, including Avatar, the Harry Potter and the Prisoner of Azkaban, Iron Man, The Lord of the Rings, The Matrix trilogy, Titanic, and X-Men. == Particle Illusion == As part of the merger with GenArts in 2016, Boris FX acquired the rights to the Particle Illusion (formerly particleIllusion) product, a storied particle system from the original developer Alan Lorence, the founder of Wondertouch. In 2018, Boris FX released a redesigned version of the product to a larger NLE/compositing market as part of Continuum (2019). The new Particle Illusion plug-in supports Adobe, Avid, and many OFX hosts. == Silhouette == In September 2019, Boris FX merged with SilhouetteFX, Academy Award-winning developer of Silhouette, a high-end digital paint, advanced rotoscoping, motion tracking, and node-based compositing application for visual effects in film post-production. The acquisition integrated Silhouette's advanced rotoscoping and paint technology, recognized by the Academy of Motion Pictures, into Boris FX's suite of products, alongside Sapphire, Continuum, and Mocha Pro. In May 2021, Boris FX released Silhouette 2021, the first version of Silhouette released by Boris FX to function both as a standalone application and as a plug-in for Adobe, Autodesk, Nuke, and other OFX hosts. Silhouette has been used in the visual effects of films such as Avatar, Avengers: Infinity War, Blade Runner 2049, Ex Machina, and Interstellar. == Optics == In June 2020, Boris FX launched Optics, its first plugin deve

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  Kai's Power Tools

  Kai's Power Tools (KPT) are a set of API plugins created by the German computer scientist Kai Krause in 1992 that were designed for use with Adobe Photoshop and Corel Photo-Paint. Kai's Power Tools were sold to Corel in 2000 when MetaCreations was closed. There are various versions of Kai's Power Tools. KPT 3, 5, 6, and X sets are compilations of different filters. The program interface features a reward-based function in which a bonus function is revealed as the user moves towards more complex aspects of the tool. == Filters == The KPT Convolver is a mathematics based filter; the level of precision and varying effects can be achieved by using numerical values of colour, tint, hue, saturation, contrast, brightness, luminosity, and posterize. The KPT Projector takes the current image or selection and offers a number of interactive perspective warp effects. To a large extent, with its draggable distortion handles and its moving, scaling and rotating options, this simply duplicates Adobe Photoshop's Free Transform capabilities. What is completely different is the ability to rotate the bitmap image in 3D space and to tile the results if desired. It can also animate the distortions by dragging keyframes from the preview window into an animation palette. KPT 6 will then preview the animation and output it to various sizes in avi or mov format. This animation capability is even more useful with the KPT Turbulence filter. This is another distortion filter, but one that treats the image as if it was completely liquid. The preview panel shows the animation in real time. The KPT Goo filter is used to produce a single frame freeform liquid distortion. This filter is available both with KPT 6 and the standalone version. It works by effectively turning a bitmap image into a liquid that can be interactively smeared, smudged, twirled, and pinched with the range of tools on offer. The obvious use is to distort photographic portraits into caricatures. KPT Materializer can create advanced surface textures based on bump maps that define troughs and peaks. It can use any external image for the basis of the bump map or alternatively the user can pick out the hue, saturation, luminance or red, green, or blue channel of the current image. It can then offset, scale and rotate the texture map, control its lighting, and even blend in a reflection map. The filter can be used for anything from providing an oil-painting feel to an entire image, to giving the illusion of depth to a selection. Also producing the impression of depth is the KPT Gel filter which uses various paint tools to synthesize photo-realistic 3D materials such as metals, liquids, or plastics. Gel painting is very different from traditional 2D painting as the brush strokes pool together when they touch and refract the underlying image. It can also manipulate 3D paint—once it has been added—by twirling, pinching, and carving it. The opposite is true of the Equalizer filter, which is used for applying variations on sharpening effects. The filter has three modes. The first mode, Equalizer, looks and works rather like the graphic equalizer on a stereo system, enabling adjustment of the level of pixel contrast within nine bands of different visual frequencies. The second mode, Contrast Sharpen, allows for increasing the contrast between light and dark areas in an image. The third mode, Bounded Sharpen, can sharpen an image without causing oversharpening, which can lead to halo effects. This feature is particularly useful when pulling out the detail in an image softened by resizing. KPT SceneBuilder is used for producing photorealistic 3D scenes by importing and rendering 3DS files. The main image window offers three tabs for editing in 2D and 3D mode and for setting up the object's final texture. Many users regard this filter as being the most impressive because it acts as a standalone 3D rendering tool and provides control over everything from transparency, reflection, refraction, bump mapping through to multiple light sources, and so on but without the ability to create or edit objects. The final filter, KPT SkyEffects, also has its roots in Metacreations' experience with 3D programs such as Bryce and RayDream. This filter is designed to simulate the interaction between the light from the sun or moon with no less than six atmospheric layers of haze, fog and cloud. The filter is typical of the KPT 6 collection as a whole: at times the interface is inspired and offers the ability to create beautiful reddening sunsets simply by interactively dragging the sun toward the horizon, producing realistic sunsets and moonscapes. == Other effects == Kai's Power Tools 6 features a lens flare effect for precisely managing the type of glow, halo, streaks, and reflection. The addition of a library of preset effects helps to overcome this by allowing the user to choose a standard effect and then interactively position the flare in the image preview. KPT 6 provides a new engine in the form of the KPT Reaction, which takes a reaction seed and turns it into a seamlessly tiling pattern based on a reaction diffusion process. It offers random noise, regular dots or reticulated voronoi patterns or a bitmap image itself as the seed. Corel has no plans for any updates.

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  Video browsing

  Video browsing, also known as exploratory video search, is the interactive process of skimming through video content in order to satisfy some information need or to interactively check if the video content is relevant. While originally proposed to help users inspecting a single video through visual thumbnails, modern video browsing tools enable users to quickly find desired information in a video archive by iterative human–computer interaction through an exploratory search approach. Many of these tools presume a smart user that wants features to interactively inspect video content, as well as automatic content filtering features. For that purpose, several video interaction features are usually provided, such as sophisticated navigation in video or search by a content-based query. Video browsing tools often build on lower-level video content analysis, such as shot transition detection, keyframe extraction, semantic concept detection, and create a structured content overview of the video file or video archive. Furthermore, they usually provide sophisticated navigation features, such as advanced timelines, visual seeker bars or a list of selected thumbnails, as well as means for content querying. Examples of content queries are shot filtering through visual concepts (e.g., only shots showing cars), through some specific characteristics (e.g., color or motion filtering), through user-provided sketches (e.g., a visually drawn sketch), or through content-based similarity search. == History == Video browsing was originally proposed by Iranian engineer Farshid Arman, Taiwanese computer scientist Arding Hsu, and computer scientist Ming-Yee Chiu, while working at Siemens, and it was presented at the ACM International Conference in August 1993. They described a shot detection algorithm for compressed video that was originally encoded with discrete cosine transform (DCT) video coding standards such as JPEG, MPEG and H.26x. The basic idea was that, since the DCT coefficients are mathematically related to the spatial domain and represent the content of each frame, they can be used to detect the differences between video frames. In the algorithm, a subset of blocks in a frame and a subset of DCT coefficients for each block are used as motion vector representation for the frame. By operating on compressed DCT representations, the algorithm significantly reduces the computational requirements for decompression and enables effective video browsing. The algorithm represents separate shots of a video sequence by an r-frame, a thumbnail of the shot framed by a motion tracking region. A variation of this concept was later adopted for QBIC video content mosaics, where each r-frame is a salient still from the shot it represents. === Video Notebook === Modern video browsing solutions include Video Notebook, a Menlo Park startup founded in 2021 by Mike Lanza, which uses computer vision to extract slides and optical character recognition and speech recognition to facilitate video search. The software can be either used on the client side (using a browser extension), where the slides and text are extracted while the video is watched (e.g. on a video platform like YouTube or Udemy), or on the server side. Processed videos, which can be viewed in the Video Notebook web app, feature a video browsing user interface with extracted timestamped slides, a search bar for querying the video (or a collection of videos), and text chapters. Video Notebook customers include organisations like Ernst & Young. === Video Browser Showdown === The Video Browser Showdown (VBS) is an annual live evaluation competition for exploratory video search tools, where international researchers use video browsing tools to solve ad-hoc video search tasks on a moderately large data set as fast as possible. The main goal of the VBS, which started in 2012 at the International Conference on MultiMedia Modeling (MMM), is to advance the performance of video browsing tools. Since 2016, the VBS also collaborates with TRECVID. The aim of the VBS is to evaluate video browsing tools for efficiency at known-item search (KIS) tasks with a well-defined data set in direct comparison to other tools.

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