In art, craft, and engineering, masking is the use of materials to protect areas from change, or to focus change on other areas. This can describe either the techniques and materials used to control the development of a work of art by protecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to be concealed from conscious attention. The term is derived from the word mask, in the sense that it hides the face from view. == In painting == Masking materials supplement a painter's dexterity and choice of applicator to control where paint is laid. Examples include the use of a stencil or masking tape to protect areas which are not to be painted. === Solid masks === Most solid masks require an adhesive to hold the mask in place while work is performed. Some, such as masking tape and frisket, come with adhesive pre-applied. Solid masks are readily available in bulk, and are used in large painting jobs. Paper products Kraft paper Butcher paper Masking tape Plastic film Frisket Polyester tape Stencils Silk screen === Liquid masks === Liquid masks are preferred where precision is needed; they prevent paint from seeping underneath, resulting in clean edges. Care must be taken to remove them without damaging the work underneath. Latex or other polymers Molten wax Gesso, typically a substrate for painting, but can also be applied to achieve masking effects == In photography == Masks used for photography are used to enhance the quality of an image. Representations of a scene—whether film, video display, or printed—do not have the dynamic contrast range available to the human eye looking directly at the same scene. Adjusting the contrast in an image helps restore some of the perceived qualities of the original scene. These adjustments are typically performed on "blown-out" highlights, and "crushed" or "muddy" shadow areas, where clipping has occurred; or on desaturated colors. Photographic masks are peculiar in that they are produced from the image they will alter, an exercise in recursion. Masks used to produce other effects are similar to those used in painting. === Controlling exposure === ==== Film ==== The basic methods of controlling exposure are dodging and burning, which respectively lighten (reduce exposure) and darken (increase exposure) areas of an image. The tools a film photographer uses range from shaped pieces of black material (such as studio foil, foam, and paper) to the photographer's hands. To create a photographic mask, a sheet of negative film is contact-exposed to the original film negative or slide positive in a particular way. Both films are then combined to produce a processed positive. The process is similar when applied using digital techniques: the inverse of the working image is reduced to an image mask; filters or other adjustments are then applied, using the mask to selectively block portions of the image. ==== Digital ==== Image editors offer at the very least a "Select All" command and a rectangular "marquee" selection tool. (The word "marquee" describes the "crawling ants" border used to highlight the active region.) Once a selection is created, further changes to the image will be confined to that area. To continue editing the rest of the image, the selection is either "deselected" or the entire image is selected. Advanced suites offer more ways to select portions of an image, as well as ways to combine these selections through. Selection masks can be switched between an editable greyscale image and a mask. They allow the user to create a mask using the suite's painting tools. === Contrast masking === When the contrast range of an image needs to be adjusted, a contrast mask is a simple solution. The processed image resembles what would be achieved when exposing through a neutral density filter, but the effects are focused highly upon the extreme regions of the image. The blocking areas of the mask coincide with the highlights of the image, and the permissive areas with the shadows, resulting in more detail appearing in each. ==== Film ==== The mask is often made from high-quality black-and-white film, such as Kodak Technical Pan, which allows for a degree of softening on the mask. Its processing time is reduced so as to not completely oppose the original negative. Both negatives are combined and registered, and collectively exposed with additional time to compensate for the presence of the mask. ==== Digital ==== Contrast masking is made simpler with digital editing. A grayscale version of the image is produced, either by desaturation or by calculating selected ratios of the image's color channels, inverted, and blurred. The mask and original image are blended together to produce the final processed image. Some image editors allow for refinement of the effect by changing the strength of the blend. Contrast masking can be considered to be the opposite of gamma correction, which adjusts the midtones of an image. Effects similar to contrast masking can be achieved by adjusting the response curves of an image. === Unsharp masking === A derivative of contrast masking is unsharp masking, an unusual term for a process intended to increase the apparent sharpness (acutance) of an image. Unsharp masking uses a blurred form of the image to increase contrast along regions of moderate contrast difference. Around edges, the blur region causes highlights to overexpose and shadows to underexpose. Taken to an extreme, the edges become overly visible and detract from the quality of the image—this is referred to as halation. Unsharp masking does not increase the actual sharpness, as it cannot recover details lost to blurring. ==== Film ==== Unsharp masking allows the photographer to sharpen areas that have become blurred in the original negative, due to long shutter speed/exposure time, or from using a wide aperture/"fast" lens. When creating the unsharp mask, extra space or diffusing material is added between the image and the mask to produce the necessary blur. ==== Digital ==== Unsharp masking has become automated in digital editing, with higher-end suites offering the process as a "tool" or "filter" in their standard sharpening kits—the actual creation of a mask is bypassed in favor of calculations that represent the mask's effect. The process depends on three factors: the radius of the blur, the strength of the effect, and the threshold degree of contrast above which the effect will be applied. (Adjusting the threshold allows the editor to apply the effect selectively upon moderately defined edges and ignore image noise.) Unsharp masking is computationally more complex than other sharpening algorithms, but results in a higher-quality remedy. Deconvolution allows for truer sharpening, but is much more complex than unsharp masking.
Physical access
Physical access is a term in computer security that refers to the ability of people to physically gain access to a computer system. According to Gregory White, "Given physical access to an office, the knowledgeable attacker will quickly be able to find the information needed to gain access to the organization's computer systems and network." == Attacks and countermeasures == === Attacks === Physical access opens up a variety of avenues for hacking. Michael Meyers notes that "the best network software security measures can be rendered useless if you fail to physically protect your systems," since an intruder could simply walk off with a server and crack the password at his leisure. Physical access also allows hardware keyloggers to be installed. An intruder may be able to boot from a CD or other external media and then read unencrypted data on the hard drive. They may also exploit a lack of access control in the boot loader; for instance, pressing F8 while certain versions of Microsoft Windows are booting, specifying 'init=/bin/sh' as a boot parameter to Linux (usually done by editing the command line in GRUB), etc. One could also use a rogue device to access a poorly secured wireless network; if the signal were sufficiently strong, one might not even need to breach the perimeter. === Countermeasures === IT security standards in the United States typically call for physical access to be limited by locked server rooms, sign-in sheets, etc. Physical access systems and IT security systems have historically been administered by separate departments of organizations, but are increasingly being seen as having interdependent functions needing a single, converged security policy. An IT department could, for instance, check security log entries for suspicious logons occurring after business hours, and then use keycard swipe records from a building access control system to narrow down the list of suspects to those who were in the building at that time. Surveillance cameras might also be used to deter or detect unauthorized access.
Cepstral mean and variance normalization
Cepstral mean and variance normalization (CMVN) is a computationally efficient normalization technique for robust speech recognition. The performance of CMVN is known to degrade for short utterances. This is due to insufficient data for parameter estimation and loss of discriminable information as all utterances are forced to have zero mean and unit variance. CMVN minimizes distortion by noise contamination for robust feature extraction by linearly transforming the cepstral coefficients to have the same segmental statistics. Cepstral Normalization has been effective in the CMU Sphinx for maintaining a high level of recognition accuracy over a wide variety of acoustical environments. == Cepstral Normalization Techniques == There are multiple algorithms that achieve Cepstral Normalization in different ways. === Fixed codeword-dependent cepstral normalization (FCDCN) === FCDCN was developed to provide a form of compensation that provides greater recognition accuracy than SDCN but in a more computationally-efficient manner than the CDCN algorithm. The FCDCN algorithm applies an additive correction that depends on the instantaneous SNR of the input (like SDCN), but that can also vary from codeword to codeword (like CDCN). === Multiple Fixed Codeword-dependent Cepstral Normalization (MFCDCN) === MFCDCN is a simple extension of FCDCN algorithm that does not need environment specific training. In MFCDCN, compensation vectors are pre-computed in parallel for a set of target environments, using the FCDCN algorithm. === Incremental Multiple Fixed Codeword-dependent Cepstral Normalization (IMFCDCN) === While environment selection for the compensation vectors of MFCDCN is generally performed on an utterance-by-utterance basis, IMFCFCN improves on it by allowing the classification process to make use of cepstral vectors from previous utterances in a given session. == Cepstral Noise Subtraction == Automatic speech recognition (ASR) describes the steps of transcribing speech utterances represented as acoustic wave forms to written words. As is, CMVN has been used in different applications as this technique has proven to provide better speech recognitions results in different environments. CMVN has the capabilities to reduce differences between test and training data produced by channel distortions and colorizations . CMVN has also been found to be able to reduce differences in feature representation between speakers can also partly reduce the influence of background noise.
Echo Lake (software)
Echo Lake (AKA Family Album Creator) was the most notable multimedia software product produced by Delrina, which debuted in June 1995. It was touted internally as a "cross [of] Quark Xpress and Myst". It featured an immersive 3D environment where a user could go to a virtual desktop in a virtual office and assemble video and audio clips along with images, and then print them out as either a virtual book other users of the program could use, or for print. It was a highly innovative product for its time, and ultimately was hampered by the inability of many users able to input their own multimedia content easily into a computer from that period. Creative Wonders bought the rights to the Echo Lake multimedia product, which was re-shaped as an introductory program on multimedia and re-released as Family Album Creator in 1996.
Productivity software
Productivity software (also called personal productivity software or office productivity software) is application software used for producing information (such as documents, presentations, worksheets, databases, charts, graphs, digital paintings, electronic music and digital video). Its names arose from it increasing productivity, especially of individual office workers, from typists to knowledge workers, although its scope is now wider than that. Office suites, which brought word processing, spreadsheet, and relational database programs to the desktop in the 1980s, are the core example of productivity software. They revolutionized the office with the magnitude of the productivity increase they brought as compared with the pre-1980s office environments of typewriters, paper filing, and handwritten lists and ledgers. In the United States, as of 2015, some 78% of "middle-skill" occupations (those that call for more than a high school diploma but less than a bachelor's degree) required the use of productivity software. == Details == Productivity software traditionally runs directly on a computer. For example, Plus/4 model of computer contains in ROM for applications of productivity software. Productivity software is one of the reasons people use personal computers. == Office suite == An office suite is a bundle of productivity software (a software suite) intended to be used by office workers. The components are generally distributed together, have a consistent user interface and usually can interact with each other, sometimes in ways that the operating system would not normally allow. The earliest office suite for personal computers was MicroPro International's StarBurst in the early 1980s, comprising the WordStar word processor, the CalcStar spreadsheet and the DataStar database software. Other suites arose in the 1980s, and Microsoft Office came to dominate the market in the 1990s, a position it retains as of 2024. During the 1990s, office suite products gained popularity by offering bundles of applications that, when bought as part of a suite, effectively discounted the individual applications, with four or five applications being bundled for the price of two applications bought separately. When faced with such potential savings, customers could be "tempted by the suite, rather than the value of a particular product", and by 1994 more than 60 percent of the sales of Microsoft Word and around 70 percent of the sales of Microsoft Excel were as part of sales of Microsoft Office. Such considerations had an impact on vendors of individual applications, often smaller companies, raising concerns that office suites were "stifling innovation", and even established vendors such as Borland and WordPerfect were having to adapt to the suite phenomenon, Borland ultimately deciding to sell its Quattro Pro spreadsheet to WordPerfect as the latter sought to assemble its own suite product. The dominant suite vendors, Microsoft and Lotus, downplayed competition and innovation concerns, claiming that users were still able to exercise choice and that "user-driven development" was guiding the evolution of office suites. Another view was that component-based software would eventually emerge, focusing development on more specialised components used by productivity software, empowering "a plethora of third-party developers", and that a "mix and match" approach of such components would adapt to the user's way of working. === Office suite components === The base components of office suites are: Word processor Spreadsheet Presentation program Other components include: Database software Graphics suite (raster graphics editor, vector graphics editor, image viewer) Desktop publishing software Formula editor Diagramming software Email client Communication software Personal information manager Notetaking Groupware Project management software Table (information) Web log analysis software
Dynamic epistemic logic
Dynamic epistemic logic (DEL) is a logical framework dealing with knowledge and information change. Typically, DEL focuses on situations involving multiple agents and studies how their knowledge changes when events occur. These events can change factual properties of the actual world (they are called ontic events): for example a red card is painted in blue. They can also bring about changes of knowledge without changing factual properties of the world (they are called epistemic events): for example, a card is revealed publicly (or privately) to be red. Originally, DEL focused on epistemic events. Only some of the basic ideas are present in this entry of the original DEL framework; more details about DEL in general can be found in the references. Due to the nature of its object of study and its abstract approach, DEL is related and has applications to numerous research areas, such as computer science (artificial intelligence), philosophy (formal epistemology), economics (game theory) and cognitive science. In computer science, DEL is for example very much related to multi-agent systems, which are systems where multiple intelligent agents interact and exchange information. As a combination of dynamic logic and epistemic logic, dynamic epistemic logic is a young field of research. It really started in 1989 with Plaza's logic of public announcement. Independently, Gerbrandy and Groeneveld proposed a system dealing moreover with private announcement and that was inspired by the work of Veltman. Another system was proposed by van Ditmarsch whose main inspiration was the Cluedo game. But the most influential and original system was the system proposed by Baltag, Moss and Solecki. This system can deal with all the types of situations studied in the works above and its underlying methodology is conceptually grounded. This entry will present some of its basic ideas. Formally, DEL extends ordinary epistemic logic by the inclusion of event models to describe actions, and a product update operator that defines how epistemic models are updated as the consequence of executing actions described through event models. Epistemic logic will first be recalled. Then, actions and events will enter into the picture and we will introduce the DEL framework. == Epistemic logic == Epistemic logic is a modal logic dealing with the notions of knowledge and belief. As a logic, it is concerned with understanding the process of reasoning about knowledge and belief: which principles relating the notions of knowledge and belief are intuitively plausible? Like epistemology, it stems from the Greek word ϵ π ι σ τ η μ η {\displaystyle \epsilon \pi \iota \sigma \tau \eta \mu \eta } or ‘episteme’ meaning knowledge. Epistemology is nevertheless more concerned with analyzing the very nature and scope of knowledge, addressing questions such as “What is the definition of knowledge?” or “How is knowledge acquired?”. In fact, epistemic logic grew out of epistemology in the Middle Ages thanks to the efforts of Burley and Ockham. The formal work, based on modal logic, that inaugurated contemporary research into epistemic logic dates back only to 1962 and is due to Hintikka. It then sparked in the 1960s discussions about the principles of knowledge and belief and many axioms for these notions were proposed and discussed. For example, the interaction axioms K p → B p {\displaystyle Kp\rightarrow Bp} and B p → K B p {\displaystyle Bp\rightarrow KBp} are often considered to be intuitive principles: if an agent Knows p {\displaystyle p} then (s)he also Believes p {\displaystyle p} , or if an agent Believes p {\displaystyle p} , then (s)he Knows that (s)he Believes p {\displaystyle p} . More recently, these kinds of philosophical theories were taken up by researchers in economics, artificial intelligence and theoretical computer science where reasoning about knowledge is a central topic. Due to the new setting in which epistemic logic was used, new perspectives and new features such as computability issues were then added to the research agenda of epistemic logic. === Syntax === In the sequel, A G T S = { 1 , … , n } {\displaystyle AGTS=\{1,\ldots ,n\}} is a finite set whose elements are called agents and P R O P {\displaystyle PROP} is a set of propositional letters. The epistemic language is an extension of the basic multi-modal language of modal logic with a common knowledge operator C A {\displaystyle C_{A}} and a distributed knowledge operator D A {\displaystyle D_{A}} . Formally, the epistemic language L EL C {\displaystyle {\mathcal {L}}_{\textsf {EL}}^{C}} is defined inductively by the following grammar in BNF: L EL C : ϕ ::= p ∣ ¬ ϕ ∣ ( ϕ ∧ ϕ ) ∣ K j ϕ ∣ C A ϕ ∣ D A ϕ {\displaystyle {\mathcal {L}}_{\textsf {EL}}^{C}:\phi ~~::=~~p~\mid ~\neg \phi ~\mid ~(\phi \land \phi )~\mid ~K_{j}\phi ~\mid ~C_{A}\phi ~\mid ~D_{A}\phi } where p ∈ P R O P {\displaystyle p\in PROP} , j ∈ A G T S {\displaystyle j\in {AGTS}} and A ⊆ A G T S {\displaystyle A\subseteq {AGTS}} . The basic epistemic language L E L {\displaystyle {\mathcal {L}}_{EL}} is the language L E L C {\displaystyle {\mathcal {L}}_{EL}^{C}} without the common knowledge and distributed knowledge operators. The formula ⊥ {\displaystyle \bot } is an abbreviation for ¬ p ∧ p {\displaystyle \neg p\land p} (for a given p ∈ P R O P {\displaystyle p\in PROP} ), ⟨ K j ⟩ ϕ {\displaystyle \langle K_{j}\rangle \phi } is an abbreviation for ¬ K j ¬ ϕ {\displaystyle \neg K_{j}\neg \phi } , E A ϕ {\displaystyle E_{A}\phi } is an abbreviation for ⋀ j ∈ A K j ϕ {\displaystyle \bigwedge \limits _{j\in A}K_{j}\phi } and C ϕ {\displaystyle C\phi } an abbreviation for C A G T S ϕ {\displaystyle C_{AGTS}\phi } . Group notions: general, common and distributed knowledge. In a multi-agent setting there are three important epistemic concepts: general knowledge, distributed knowledge and common knowledge. The notion of common knowledge was first studied by Lewis in the context of conventions. It was then applied to distributed systems and to game theory, where it allows to express that the rationality of the players, the rules of the game and the set of players are commonly known. General knowledge. General knowledge of ϕ {\displaystyle \phi } means that everybody in the group of agents A G T S {\displaystyle {AGTS}} knows that ϕ {\displaystyle \phi } . Formally, this corresponds to the following formula: E ϕ := ⋀ j ∈ A G T S K j ϕ . {\displaystyle E\phi :={\underset {j\in {AGTS}}{\bigwedge }}K_{j}\phi .} Common knowledge. Common knowledge of ϕ {\displaystyle \phi } means that everybody knows ϕ {\displaystyle \phi } but also that everybody knows that everybody knows ϕ {\displaystyle \phi } , that everybody knows that everybody knows that everybody knows ϕ {\displaystyle \phi } , and so on ad infinitum. Formally, this corresponds to the following formula C ϕ := E ϕ ∧ E E ϕ ∧ E E E ϕ ∧ … {\displaystyle C\phi :=E\phi \land EE\phi \land EEE\phi \land \ldots } As we do not allow infinite conjunction the notion of common knowledge will have to be introduced as a primitive in our language. Before defining the language with this new operator, we are going to give an example introduced by Lewis that illustrates the difference between the notions of general knowledge and common knowledge. Lewis wanted to know what kind of knowledge is needed so that the statement p {\displaystyle p} : “every driver must drive on the right” be a convention among a group of agents. In other words, he wanted to know what kind of knowledge is needed so that everybody feels safe to drive on the right. Suppose there are only two agents i {\displaystyle i} and j {\displaystyle j} . Then everybody knowing p {\displaystyle p} (formally E p {\displaystyle Ep} ) is not enough. Indeed, it might still be possible that the agent i {\displaystyle i} considers possible that the agent j {\displaystyle j} does not know p {\displaystyle p} (formally ¬ K i K j p {\displaystyle \neg K_{i}K_{j}p} ). In that case the agent i {\displaystyle i} will not feel safe to drive on the right because he might consider that the agent j {\displaystyle j} , not knowing p {\displaystyle p} , could drive on the left. To avoid this problem, we could then assume that everybody knows that everybody knows that p {\displaystyle p} (formally E E p {\displaystyle EEp} ). This is again not enough to ensure that everybody feels safe to drive on the right. Indeed, it might still be possible that agent i {\displaystyle i} considers possible that agent j {\displaystyle j} considers possible that agent i {\displaystyle i} does not know p {\displaystyle p} (formally ¬ K i K j K i p {\displaystyle \neg K_{i}K_{j}K_{i}p} ). In that case and from i {\displaystyle i} ’s point of view, j {\displaystyle j} considers possible that i {\displaystyle i} , not knowing p {\displaystyle p} , will drive on the left. So from i {\displaystyle i} ’s point of view, j {\displaystyle j} might drive on the left as well (by the same argument as abov
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ