Sprite multiplexing is a computer graphics technique where additional sprites (moving images) can be drawn on the screen, beyond the nominal maximum. It is largely historical, applicable principally to older hardware, where limited resources (such as CPU speed and memory) meant only a relatively small number of sprites were supported. On the other hand, it is also true that without multiplexing, the sprite circuitry would be idle much of the time, and limited resources were wasted. == Description == The sprite multiplexing technique is based on the idea that while the hardware may only support a finite number of sprites, it is sometimes possible to re-use the same sprite "slots" more than once per frame or scan line. The program will first use the hardware to draw one or more sprite(s), as normal. Before the next frame (or next scanline) needs to be drawn, the software reprograms the hardware to display additional sprites, in other positions. For example, the Nintendo Entertainment System explicitly supports hardware sprite multiplexing, where it has 64 hardware sprites, but is only capable of rendering 8 of them per scanline. On the older Atari 2600, sprite multiplexing was not intentionally designed in, but programmers discovered they could reset the TIA graphics chip to draw additional sprites on the same scanline. The sprite multiplexing technique relies on the program being able to identify what part of the video screen is being drawn at the moment, or being triggered by the video hardware to run a subroutine at the crucial moment. The programmer must carefully consider the layout of the screen. If the video graphics hardware is not reprogrammed in time for the extra sprites to be displayed, they will not appear, or will be drawn incorrectly. Modern video graphics hardware typically does not use hardware sprites, since modern computer systems do not have the kind of limitations that sprite hardware is designed to circumvent. == Implementations == Systems that allow the programmer to employ the sprite multiplexing technique include: Atari 2600 Atari 8-bit computers Amiga Commodore 64 MSX Nintendo Entertainment System Super Nintendo Entertainment System Master System Sega Genesis/Mega Drive
VoxForge
VoxForge is a free speech corpus and acoustic model repository for open source speech recognition engines. VoxForge was set up to collect transcribed speech to create a free GPL speech corpus in order to be uses with open source speech recognition engines. The speech audio files will be 'compiled' into acoustic models for use with open source speech recognition engines such as Julius, ISIP, and Sphinx and HTK (note: HTK has distribution restrictions). VoxForge has used LibriVox as a source of audio data since 2007.
Layers (digital image editing)
Layers are used in digital image editing to separate different elements of an image. A layer can be compared to a transparency on which imaging effects or images are applied and placed over or under an image. Today they are an integral feature of image editors. In the early days of computing, memory was at a premium and the idea of using multi-layered images was considered infeasible in personal computer applications as the tradeoffs were image size and color depth. As the price of memory fell it became feasible to apply the concept of layering to raster images. The first software known to apply the concept of layers was LALF, which was released in 1989 for the NEC PC-9801. LALF's terminology for layers is "cells", after the concept of drawing animation frames over-top of a stencil. Layers were introduced in Western markets by Fauve Matisse (later Macromedia xRes), and then available in Adobe Photoshop 3.0, in 1994, which lead to widespread adoption. In vector image editors that support animation, layers are used to further enable manipulation along a common timeline for the animation; in SVG images, the equivalent to layers are "groups". == Layer types == There are different kinds of layers, and not all of them exist in all programs. They represent a part of a picture, either as pixels or as modification instructions. They are stacked on top of each other, and depending on the order, determine the appearance of the final picture. In graphics software, layers are the different levels at which one can place an object or image file. In the program, layers can be stacked, merged, or defined when creating a digital image. Layers can be partially obscured allowing portions of images within a layer to be hidden or shown in a translucent manner within another image. Layers can also be used to combine two or more images into a single digital image. For the purpose of editing, working with layers allows for applying changes to just one specific layer. == Layer (basic) == The standard layer available to most programs consists of a rectangular, semitransparent picture which may be superimposed over other layers. Some programs require that layers cover the same area as the final canvas, but others offer layers of multiple sizes. Each layer may bear individual settings, such as opacity, blending modes, dynamic filters, and potentially hundreds of other properties. == Layer mask == A layer mask is linked to a layer and hides part of the layer from the picture. What is painted black on the layer mask will not be visible in the final picture. What is grey will be more or less transparent depending on the shade of grey. As the layer mask can be both edited and moved around independently of both the background layer and the layer it applies to, it gives the user the ability to test a lot of different combinations of overlay. == Adjustment layer == An adjustment layer typically applies a common effect like brightness or saturation to other layers. However, as the effect is stored in a separate layer, it is easy to try it out and switch between different alternatives, without changing the original layer. In addition, an adjustment layer can easily be edited, just like a layer mask, so an effect can be applied to just part of the image.
Coolgorilla
Coolgorilla was one of the earliest software developers that created 3rd party native applications for Apple iPod devices. Coolgorilla was an early adopter of using a sponsorship business model to enable mobile applications to be given away freely. Coolgorilla developed a series of Talking Phrasebooks for iPods in 2006. They partnered with online travel company lastminute.com who sponsored the applications enabling them to be made available to download completely free of charge. As mobile devices became more sophisticated, Coolgorilla developed the Talking Phrasebooks for Sony Ericsson and Nokia Mobile Devices which at the time were considerably noteworthy since the applications used real voice audio translations. With Apple's introduction of the iPhone in 2007, Coolgorilla developed a Web App before having four of the iPhone Talking Phrasebooks available to download from Apple's App Store on the day it opened in 2008. == Almanac in Chronological Order == On 23 December 2005, CoolGorilla, a new start-up, launched a trivia game for the iPod. It was titled "Rock and Pop Quiz". It was a quiz game that tested users' knowledge on bands such as U2, Metallica, Beyonce, and the Beatles. The quiz contained twenty megabytes of audible trivia questions. The free game was compatible with 3rd, 4th and 5th generation iPods, iPod mini and nano. In March 2006, Coolgorilla released "Movie Quiz for iPods" with a price of $5. It was an audio game narrated by New York's DJ Thomas, a radio and television host, voice over artist and event Master of Ceremonies. There were questions on Star Wars, Spiderman, The Godfather, Pulp Fiction, The Matrix, James Bond, and others. The user could keep track of their score. The game included a secret code for players who answered all questions correctly which enabled users to enter their name on the Coolgorilla Hall of Fame. In May 2006, Coolgorilla launched a World Cup Encyclopedia which was released prior to the 2006 FIFA World Cup. It had information on the World Cup schedule, details of every player from every team, every score from every world cup game ever played, stadium details, and manager profiles. It was a free download. In June 2006, Coolgorilla released a series of iPod Phrasebooks in German, Greek, French and Spanish. They were sponsored by lastminute.com and were free. The phrasebooks included common words and phrases for tourists with 750 sound files. They were accessed through the iPod's Notes feature. In April 2007, Coolgorilla released a downloadable version of the Talking Phrasebooks for Nokia and Sony Ericsson mobile devices. French, Spanish, German, Greek, Italian, and Portuguese were produced. The application provided real voice translations. They initially sold for £3 but 3 months later were offered for free. The branding was lastminute.com branding. Apple's iPhone was released at the end of June 2007. Soon after, Coolgorilla released an online all-in-one version of their Talking Phrasebooks for iPhone (Web App). The Phrasebooks were made available online in the form of a web app as iPhone did not yet allow for the download of additional apps. The app provided both text and audio translations in French, Spanish, Portuguese, Italian, German, and Greek. The iPhone translated the phrases using the recordings of real, native voice-over artists. A text translation on screen was also displayed. Apple's App Store opened in July 2008 with approximately 500 native apps available. Four of these Apps were Coolgorilla's Talking Phrasebooks for iPhone (Native Apps). There was French, German, Italian, and Spanish. These Apps carried lastminute.com branding and were available for free download. In the first three weeks following their release, the phrasebooks had over 350,000 downloads. Subsequently, Dutch, Arabic, Mandarin and Cantonese were also released. In October 2008, Coolgorilla released an iPhone London Travel Guide. Coolgorilla featured on NBC News in August 2009. In 2010, FIAT used the Italian Phrasebook to help promote the release of their FIAT 500 in the US. There has been no further activity since.
Pixel shift
Pixel shift is a method in digital cameras for producing a super-resolution image. The method works by taking several images, after each such capture moving ("shifting") the sensor to a new position. In digital colour cameras that employ pixel shift, this avoids a major limitation inherent in using Bayer pattern for obtaining colour, and instead produces an image with increased colour resolution and, assuming a static subject or additional computational steps, an image free of colour moiré. Taking this idea further, sub-pixel shifting may increase the resolution of the final image beyond that suggested by the specified resolution of the image sensor. Additionally, assuming that the various individual captures are taken at the same sensitivity, the final combined image will have less image noise than a single capture. This can be thought of as an averaging effect (for instance, in a pixel shift image composed of four individual frames with a classic Bayer pattern, every pixel in the final colour image is based on two measurements of the green channel). == List of cameras implementing pixel shift == All of the following cameras are fabricated with one imaging sensor, thus any kind of pixel shift requires a movement of the whole sensor. === Canon === Canon R5: Contains a 45 Mpixel sensor. The High-Resolution Mode shifts the sensor by one pixel to obtain a sequence of nine images that are merged into a 400 Mpixel image. === Fujifilm === Fujifilm GFX50S II: contains a 51 Mpixel sensor. The Pixel Shift Multi-Shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 16 images that are subsequently merged into a 200 Mpixel image. Fujifilm GFX100, Fujifilm GFX100 II: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image. Fujifilm GFX100S, Fujifilm GFX100S II: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image Fujifilm GFX100IR: contains a 102 Mpixel sensor. A sequence of 16 pixel shifted images are merged into a 400 Mpixel image Fujifilm X-H2: contains a 40 Mpixel sensor. A sequence of 20 shifted images are merged into a 160 Mpixel image. Fujifilm X-T5: contains a 40 Mpixel sensor. A sequence of 20 shifted images are merged into a 160 Mpixel image. === Nikon === Nikon Z8: contains a 47.5 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of up to 32 images that can be merged in Nikon's NX studio software. Nikon Zf: contains a 24 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of up to 32 images that can be merged in Nikon's NX studio software. === Olympus === Olympus OM-D E-M1 Mark II: contains a 20.4 Mpixel sensor. The High Res shot mode produces a 50 Mpixel image. Olympus OM-D E-M5 Mark II: contains a 16 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 8 images that are subsequently merged into a 40 Mpixel image. Olympus OM-D E-M5 Mark III: contains a 20.4 Mpixel sensor. The High Res shot mode shifts the imaging sensor by 0.5-pixel movements to obtain a sequence of 8 images that are subsequently merged into a 50 Mpixel image. Olympus OM-D E-M1X: contains a 20.4 Mpixel sensor. The camera sports two pixel shift mode: (a) the 80Mp Tripod mode produces an 80 Mpixel image, (b) the Handheld High Res shot mode produces a 50 Mpixel image. Olympus PEN-F: contains a 20.4 Mpixel sensor. The High Res Shot mode takes multiple images, continually shifting the position of the sensor in sub-pixel increments. Combining these images results in either a 50MP JPEG or an 80MP Raw file. ==== OM System ==== OM System OM-1: contains a 20MPix sensor. The High Res Shot mode takes multiple images, and it can be used handheld or on a tripod. Handheld it will internally produce 50 Mpix files and 80 Mpix when mounted on a tripod. OM System OM-5: contains a 20MPix sensor. The High Res Shot mode takes multiple images, and it can be used handheld or on a tripod. Handheld it will internally produce 50 Mpix files and 80 Mpix when mounted on a tripod. === Panasonic === Panasonic Lumix DC-G9: contains a 20.3 Mpixel sensor. The High Resolution Mode takes a sequence of 8 shots in quick succession between which the sensor is shifted by 0.5 pixel for each image. These are subsequently merged into an 80 Mpixel image. Panasonic Lumix DC-S1: contains a 24.2 Mpixel sensor. The High Resolution Mode takes a sequence of shots in quick succession between which the sensor is shifted by a small amount. These are subsequently merged into a 96 Mpixel image. Panasonic Lumix DC-S1R: contains a 47.3 Mpixel sensor. The High Resolution Mode shifts the imaging sensor by a small increments to obtain a sequence of 8 images that are subsequently merged into a 187 Mpixel image. Panasonic Lumix DC-S1H Panasonic Lumix DC-S5 === Pentax === Pentax K-70: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'all color data in each pixel to deliver super-high-resolution images'. Pentax KP: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'high-resolution images with more accurate colours and much finer details'. Pentax K-3 II: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'super-high-resolution images with far more truthful color reproduction and much finer details'. Pentax K-3 III: contains a 25.7 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'a cancelling out of the Bayer pattern and removal of the need for sharpness-sapping demosaicing'. Pentax K-1: contains a 36.4 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'improved detail and colour resolution'. Pentax K-1 II: contains a 36.4 Mpixel sensor. The camera sports two pixel shift mode: (a) a series of 4 tripod-stabilised images shifted by 1 pixel each are subsequently combined into a 47.3 Mpixel image, (b) a series of images taken in handheld mode are combined into a 47.3 Mpixel image that is, within limits, able to cope even with moving subjects. === Sony === Sony a6600: contains a 24.3 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into an image sporting 'all color data in each pixel to deliver super-high-resolution images'. Sony α7R III: contains a 42.4 Mpixel sensor. The pixel shift mode takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 42.4 Mpixel image with improved tonal resolution. Sony α7R IV: contains a 61 Mpixel sensor. The camera has two pixel shift modes, (a) the first takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 61 Mpixel image with improved tonal resolution, (b) the other takes a sequence of 16 shots between which the sensor is shifted by 0.5 pixel. These are subsequently merged into a 240 Mpixel image with both enhanced detail and improved tonal resolution. Sony α1: contains a 50 Mpixel sensor. The camera has two pixel shift modes, (a) the first takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a 50 Mpixel image with improved tonal resolution, (b) the other takes a sequence of 16 shots between which the sensor is shifted by 0.5 pixel. These are subsequently merged into a 200 Mpixel image with both enhanced detail and improved tonal resolution. === Hasselblad === Hasselblad H3DII: the model H3DII-39 sports a 39 Mpixel sensor, the model H3DII-50 a 50 Mpixel sensor. Both enable a pixel shift mode which takes a sequence of 4 shots between which the sensor is shifted by 1 pixel. These are subsequently merged into a single image. Hasselblad H4D series: the model H4D-200MS contains a 50 Mpixel sensor. The sensor sports 3 different pixel shift modes which take (a) a sequence of 6 shots taken at slight offsets, (b) a sequence of 4 shots between which the sensor is shifted by 1 pixel, (c) a sequence of 4 shots between which the sensor is shifted by 0.5 pixels. Images obtained by all three modes are subsequently merged into 200 Mpixel images. Hasselblad H5D series: both models H5D-50c MS and H5D-200c MS contain a 50 Mpixel sensor. This sensor sports 2 different pixel shift modes which take (a) a sequence of 6 shots with full and half pixel moveme
List of monochrome and RGB color formats
This list of monochrome and RGB palettes includes generic repertoires of colors (color palettes) to produce black-and-white and RGB color pictures by a computer's display hardware. RGB is the most common method to produce colors for displays; so these complete RGB color repertoires have every possible combination of R-G-B triplets within any given maximum number of levels per component. Each palette is represented by a series of color patches. When the number of colors is low, a 1-pixel-size version of the palette appears below it, for easily comparing relative palette sizes. Huge palettes are given directly in one-color-per-pixel color patches. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 256-level grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet, and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. These images are not necessarily representative of how the image would be displayed on the original graphics hardware, as the hardware may have additional limitations regarding the maximum display resolution, pixel aspect ratio and color placement. Implementation of these formats is specific to each machine. Therefore, the number of colors that can be simultaneously displayed in a given text or graphic mode might be different. Also, the actual displayed colors are subject to the output format used - PAL or NTSC, composite or component video, etc. - and might be slightly different. For simulated images and specific hardware and alternate methods to produce colors other than RGB (ex: composite), see the List of 8-bit computer hardware palettes, the List of 16-bit computer hardware palettes and the List of video game console palettes. For various software arrangements and sorts of colors, including other possible full RGB arrangements within 8-bit color depth displays, see the List of software palettes. == Monochrome palettes == These palettes only have some shades of gray, from black to white (considered the darkest and lightest "grays", respectively). The general rule is that those palettes have 2n different shades of gray, where n is the number of bits needed to represent a single pixel. === Monochrome (1-bit grayscale) === Monochrome graphics displays typically have a black background with a white or light gray image, though green and amber monochrome monitors were also common. Such a palette requires only one bit per pixel. Where photo-realism was desired, these early computer systems had a heavy reliance on dithering to make up for the limits of the technology. In some systems, as Hercules and CGA graphic cards for the IBM PC, a bit value of 1 represents white pixels (light on) and a value of 0 the black ones (light off); others, like the Playdate and Atari ST and Apple Macintosh with monochrome monitors, a bit value of 0 means a white pixel (no ink) and a value of 1 means a black pixel (dot of ink), which it approximates to the printing logic. === 2-bit Grayscale === In a 2-bit color palette each pixel's value is represented by 2 bits resulting in a 4-value palette (22 = 4). 2-bit dithering: It has black, white and two intermediate levels of gray as follows: A monochrome 2-bit palette is used on: The Monochrome Display Adapter for the IBM PC NeXT Computer, NeXTcube and NeXTstation monochrome graphic displays. Original Game Boy system portable video game console. Macintosh PowerBook 150 monochrome LC displays. Amiga with A2024 monochrome monitor in high-resolution mode. The original Amazon Kindle The original WonderSwan The Tiger Electronics Game.com portable video game console The original Neo Geo Pocket. === 4-bit Grayscale === In a 4-bit color palette each pixel's value is represented by 4 bits resulting in a 16-value palette (24 = 16): 4-bit grayscale dithering does a fairly good job of reducing visible banding of the level changes: A monochrome 4-bit palette is used on: MOS Technology VDC (on the Commodore 128 with monochrome monitor) Amstrad CPC series with a GT64/GT65 Green Monitor (16 unique green shades) Amstrad CPC Plus series with the MM12 Monochrome monitor (16 shades of grey) Some Apple PowerBooks equipped with monochrome displays like the PowerBook 5300 The original VideoNow === 8-bit Grayscale === In an 8-bit color palette each pixel's value is represented by 8 bits resulting in a 256-value palette (28 = 256). This is usually the maximum number of grays in ordinary monochrome systems; each image pixel occupies a single memory byte. Most scanners can capture images in 8-bit grayscale, and image file formats like TIFF and JPEG natively support this monochrome palette size. Alpha channels employed for video overlay also use (conceptually) this palette. The gray level indicates the opacity of the blended image pixel over the background image pixel. == Dichrome palettes == === 16-bit RG palette === The RG or red–green color space is a color space that uses only two primary colors: red and green. It was used on early color processes for films. It was used as an additive format, similar to the RGB color model but without a blue channel, on processes such as Kinemacolor, Prizma, Technicolor I, Raycol, etc., producing shades of black, red, green and yellow. Alternatively, it was used as a subtractive format on Brewster Color I, Kodachrome I, Prizma II, Technicolor II, etc., producing shades of transparent, red, green and black. Until recently, its primary use was in low-cost light-emitting diode displays in which red and green tended to be far more common than the still nascent blue LED technology, but full-color LEDs with blue have become more common in recent years. ColorCode 3-D, a anaglyph stereoscopic color scheme, uses the RG color space to simulate a broad spectrum of color in one eye, while the blue portion of the spectrum transmits a black-and-white (black-and-blue) image to the other eye to give depth perception. === 16-bit RB palette === === 16-bit GB palette === == Regular RGB palettes == Here are grouped those full RGB hardware palettes that have the same number of binary levels (i.e., the same number of bits) for every red, green and blue components using the full RGB color model. Thus, the total number of colors are always the number of possible levels by component, n, raised to a power of 3: n×n×n = n3. === 3-bit RGB === 3-bit RGB dithering: Systems with a 3-bit RGB palette use 1 bit for each of the red, green and blue color components. That is, each component is either "on" or "off" with no intermediate states. This results in an 8-color palette ((21)3 = 23 = 8) that has black, white, the three RGB primary colors red, green and blue and their correspondent complementary colors cyan, magenta and yellow as follows: The color indices vary between implementations; therefore, index numbers are not given. The 3-bit RGB palette is used by: Text terminals following the ECMA-48 standard (sometimes known as the "ANSI standard", although ANSI X3.128 does not define colors) World System Teletext Level 1/1.5 Videotex Oric computers BBC Micro PC-8801 (up to the MkII) PC-9801 (with original 8086 CPU, before the VM/VX models) Sharp X1 (models before the X1 Turbo Z) Sharp MZ 700 FM-7, FM New 7, FM 77 (before the FM77AV) Sinclair QL Space Invaders Part II (arcade hardware) Macintosh SE (with a color printer or external monitor) Atari 2600 (SECAM version) Color Maximite (PIC32 based microcomputer) Arcadia 2001 PV-1000 Monkey Magic (arcade hardware) VIC-20 (high-res mode) Mouse Trap (arcade hardware) Sanyo MBC-550 series Windows 1.0 (includes dithering) === 6-bit RGB === Systems with a 6-bit RGB palette use 2 bits for each of the red, green, and blue color components. This results in a (22)3 = 43 = 64-color palette as follows: 6-bit RGB systems include the following: Enhanced Graphics Adapter (EGA) for IBM PC/AT (16 colors at once) Sega Master System video game console (32 colors at once) GIME for TRS-80 Color Computer 3 (16 colors at once) Pebble Time smartwatch which has a 6-bit (64 color) e-paper display Parallax Propeller using the reference VGA circuit === 9-bit RGB === Systems with a 9-bit RGB palette use 3 bits for each of the red, green, and blue color components. This results in a (23)3 = 83 = 512-color palette as follows: 9-bit RGB systems include the following: Atari ST (Normally 4 to 16 at once without tricks) MSX2 computers (up to 16 at once) Sega Genesis video game console, (64 colors at once) Sega Nomad TurboGrafx-16 (NEC PC-Engine) ZX Spectrum Next The NEC PC-88
Semi-automation
Semi-automation is a process or procedure that is performed by the combined activities of man and machine with both human and machine steps typically orchestrated by a centralized computer controller. Within manufacturing, production processes may be fully manual, semi-automated, or fully automated. In this case, semi-automation may vary in its degree of manual and automated steps. Semi-automated manufacturing processes are typically orchestrated by a computer controller which sends messages to the worker at the time in which he/she should perform a step. The controller typically waits for feedback that the human performed step has been completed via either a human-machine interface or via electronic sensors distributed within the process. Controllers within semi-automated processes may either directly control machinery or send signals to machinery distributed within the process. Centralized computer controllers within semi-automated processes orchestrate processes by instructing the worker, providing electronic communication and control to process equipment, tools, or machines, as well as perform data management to record and ensure that the process meets established process criteria. Many manufacturers choose not to fully automate a process, and instead implement semi-automation due to the complexity of the task, or the number of products produced is too low to justify the investment in full automation. Other processes may not be fully automated because it may reduce the flexibility to easily adapt the processes to reflect production needs.