The Simplified Wrapper and Interface Generator (SWIG) is an open-source software tool used to connect computer programs or libraries written in C or C++ with scripting languages such as Lua, Perl, PHP, Python, R, Ruby, Tcl, and other language implementations like C#, Java, JavaScript, Go, D, OCaml, Octave, Scilab and Scheme. Output can also be in the form of XML. == Function == The aim is to allow the calling of native functions (that were written in C or C++) by other programming languages, passing complex data types to those functions, keeping memory from being inappropriately freed, inheriting object classes across languages, etc. The programmer writes an interface file containing a list of C/C++ functions to be made visible to an interpreter. SWIG will compile the interface file and generate code in regular C/C++ and the target programming language. SWIG will generate conversion code for functions with simple arguments; conversion code for complex types of arguments must be written by the programmer. The SWIG tool creates source code that provides the glue between C/C++ and the target language. Depending on the language, this glue comes in three forms: a shared library that an extant interpreter can link to as some form of extension module, or a shared library that can be linked to other programs compiled in the target language (for example, using Java Native Interface (JNI) in Java). a shared dynamic library source code that should be compiled and dynamically loaded (e.g. Node.js native extensions) SWIG is not used for calling interpreted functions by native code; this must be done by the programmer manually. == Example == SWIG wraps simple C declarations by creating an interface that closely matches the way in which the declarations would be used in a C program. For example, consider the following interface file: In this file, there are two functions sin() and strcmp(), a global variable Foo, and two constants STATUS and VERSION. When SWIG creates an extension module, these declarations are accessible as scripting language functions, variables, and constants respectively. In Python: == Purpose == There are two main reasons to embed a scripting engine in an existing C/C++ program: The program can then be customized far faster, via a scripting language instead of C/C++. The scripting engine may even be exposed to the end-user, so that they can automate common tasks by writing scripts. Even if the final product is not to contain the scripting engine, it may nevertheless be very useful for writing test scripts. There are several reasons to create dynamic libraries that can be loaded into extant interpreters, including: Provide access to a C/C++ library which has no equivalent in the scripting language. Write the whole program in the scripting language first, and after profiling, rewrite performance-critical code in C or C++. == History == SWIG is written in C and C++ and has been publicly available since February 1996. The initial author and main developer was David M. Beazley who developed SWIG while working as a graduate student at Los Alamos National Laboratory and the University of Utah and while on the faculty at the University of Chicago. Development is currently supported by an active group of volunteers led by William Fulton. SWIG has been released under a GNU General Public License. == Google Summer of Code == SWIG was a successful participant of Google Summer of Code in 2008, 2009, 2012. In 2008, SWIG got four slots. Haoyu Bai spent his summers on SWIG's Python 3.0 Backend, Jan Jezabek worked on Support for generating COM wrappers, Cheryl Foil spent her time on Comment 'Translator' for SWIG, and Maciej Drwal worked on a C backend. In 2009, SWIG again participated in Google Summer of Code. This time four students participated. Baozeng Ding worked on a Scilab module. Matevz Jekovec spent time on C++0x features. Ashish Sharma spent his summer on an Objective-C module, Miklos Vajna spent his time on PHP directors. In 2012, SWIG participated in Google Summer of Code. This time four out of five students successfully completed the project. Leif Middelschulte worked on a C target language module. Swati Sharma enhanced the Objective-C module. Neha Narang added the new module on JavaScript. Dmitry Kabak worked on source code documentation and Doxygen comments. == Alternatives == For Python, similar functionality is offered by SIP, Pybind11, and Boost's Boost.python library. == Projects using SWIG == ZXID (Apache License, Version 2.0) Symlabs SFIS (commercial) LLDB GNU Radio up to (including) version 3.8.x.x; later versions use Pybind11 Xapian TensorFlow Apache SINGA QuantLib Babeltrace
GeneTalk
GeneTalk is a web-based platform, tool, and database for filtering, reduction and prioritization of human sequence variants from next-generation sequencing (NGS) data. GeneTalk allows editing annotation about sequence variants and build up a crowd sourced database with clinically relevant information for diagnostics of genetic disorders. GeneTalk allows searching for information about specific sequence variants and connects to experts on variants that are potentially disease-relevant. == Application to diagnostics == Users can upload NGS data in Variant Call Format (VCF) onto the GeneTalk server into their accounts. All entries of the file are preprocessed and shown in the integrated VCF viewer. Filtering tools are set by the user to reduce the number of clinically non-relevant variants. After filtering and prioritization users can interpret relevant variants by retrieving information (annotations) about variants from the GeneTalk database. The communication platform allow users to contact experts about specific variants, genes, or genetic disorders, to exchange knowledge and expertise. === Analysis procedure === Steps required to analyze VCF files Upload VCF file Edit pedigree and phenotype information for segregation filtering Filter VCF file by editing the filtering options View results and annotations Add annotations === Filtering tools === The following filtering options may be used to reduce the non-relevant sequence variants in VCF files. Functional – filter out variants that have effects on protein level Linkage – filter out variants that are on specified chromosomes Gene panel – filter variants by genes or gene panels, subscribe to publicly available gene panels or create own ones Frequency – show only variants with a genotype frequency lower than specified Inheritance – filter out variants by presumed mode of inheritance Annotation – show only variants with a score for medical relevance and scientific evidence == Communication platform and expert network == Users can share VCF files with colleagues and coworkers. The integrated mailing systems allows users to contact experts easily. Users can create annotations and comments and rate annotations regarding medical relevance and scientific evidence, that is helpful for the community of users for diagnosis of genetic disorders. Registered users provide information about their field of knowledge in their profile and can be contacted by other users. == Potential applications == Developing diagnostics Genetic analysis Capturing data generated by community Communication and exchange of knowledge and expertise
Computer Graphics International
Computer Graphics International (CGI) is one of the oldest annual international conferences on computer graphics. It is organized by the Computer Graphics Society (CGS). Researchers across the whole world are invited to share their experiences and novel achievements in various fields - like computer graphics and human-computer interaction. Former conferences have been held recently in Hong Kong (China), Geneva (Switzerland), Shanghai (China), Geneva (virtually), Calgary (Canada), Bintan (Indonesia) and Yokohama (Japan). == Awards == Starting in the year of 2013, CGI has given yearly a Best Paper Award and a Career Achievement Award. == Venues ==
Dark data
Dark data is data which is acquired through various computer network operations but not used in any manner to derive insights or for decision making. The ability of an organisation to collect data can exceed the throughput at which it can analyse the data. In some cases the organisation may not even be aware that the data is being collected. IBM estimate that roughly 90 percent of data generated by sensors and analog-to-digital conversions never get used. In an industrial context, dark data can include information gathered by sensors and telematics. Organizations retain dark data for a multitude of reasons, and it is estimated that most companies are only analyzing 1% of their data. Often it is stored for regulatory compliance and record keeping. Some organizations believe that dark data could be useful to them in the future, once they have acquired better analytic and business intelligence technology to process the information. Because storage is inexpensive, storing data is easy. However, storing and securing the data usually entails greater expenses (or even risk) than the potential return profit. In academic discourse, the term dark data was essentially coined by Bryan P. Heidorn. He uses it to describe research data, especially from the long tail of science (the many, small research projects), which are not or no longer available for research because they disappear in a drawer without adequate data management. Without this, the data become dark, and further reasons for this are e.g. missing metadata annotation, missing data management plans and data curators. == Analysis == The term "dark data" very often refers to data that is not amenable to computer processing. For example, a company might have a great deal of data that exists only as scanned page-images. Even the bare text in such documents is not available without something like Optical character recognition, which can vary greatly in accuracy. Even with OCR, the significance of each part of the data is unavailable. An obvious examples is whether a capitalized word is a name or not, and if so, whether it represents a person, place, organization, or even a work of art. Bibliographic and other references, data within tables (that may be labeled quite adequately for humans, but not for processing), and countless assertions represented with the full complexity and ambiguity of human language. A lot of unused data is very valuable, and would be used if it could be; but is blocked because it is in formats that are difficult to process, categorise, identify, and analyse. Often the reason that business does not use their dark data is because of the amount of resources it would take and the difficulty of having that data analysed. In other words, the data is "dark" not because it is not used, but because it cannot (feasibly or affordably) be used, given its poor representation. There are many data representations that can make data much more accessible for automation. However, a great deal of information lacks any such identification of information items or relationships; and much more loses it during "downhill" conversion such as saving to page-oriented representations, printing, scanning, or faxing. The journey back "uphill" can be costly. According to Computer Weekly, 60% of organisations believe that their own business intelligence reporting capability is "inadequate" and 65% say that they have "somewhat disorganised content management approaches". == Relevance == Useful data may become dark data after it becomes irrelevant, as it is not processed fast enough. This is called "perishable insights" in "live flowing data". For example, if the geolocation of a customer is known to a business, the business can make offer based on the location, however if this data is not processed immediately, it may be irrelevant in the future. According to IBM, about 60 percent of data loses its value immediately. == Storage == According to the New York Times, 90% of energy used by data centres is wasted. If data was not stored, energy costs could be saved. Furthermore, there are costs associated with the underutilisation of information and thus missed opportunities. According to Datamation, "the storage environments of EMEA organizations consist of 54 percent dark data, 32 percent redundant, obsolete and trivial data and 14 percent business-critical data. By 2020, this can add up to $891 billion in storage and management costs that can otherwise be avoided." The continuous storage of dark data can put an organisation at risk, especially if this data is sensitive. In the case of a breach, this can result in serious repercussions. These can be financial, legal and can seriously hurt an organisation's reputation. For example, a breach of private records of customers could result in the stealing of sensitive information, which could result in identity theft. Another example could be the breach of the company's own sensitive information, for example relating to research and development. These risks can be mitigated by assessing and auditing whether this data is useful to the organisation, employing strong encryption and security and finally, if it is determined to be discarded, then it should be discarded in a way that it becomes unretrievable. == Future == It is generally considered that as more advanced computing systems for analysis of data are built, the higher the value of dark data will be. It has been noted that "data and analytics will be the foundation of the modern industrial revolution". Of course, this includes data that is currently considered "dark data" since there are not enough resources to process it. All this data that is being collected can be used in the future to bring maximum productivity and an ability for organisations to meet consumers' demand. Technology advancements are helping to leverage this dark data affordably. Furthermore, many organisations do not realise the value of dark data right now, for example in healthcare and education organisations deal with large amounts of data that could create a significant "potential to service students and patients in the manner in which the consumer and financial services pursue their target population".
Josh (app)
Josh (stylized as JOSH) was a video-sharing social networking service but it has since evolved into a live call and chat application owned by VerSe Innovation – an Indian technology company based in Bangalore, India. Josh was an Indian short video app that was launched in immediately after the Indian Government banned TikTok and other Chinese apps in June 2020. The founders of the platform have promoted the app as the “Instagram for Bharat” referring to their focus on the Indian audience that speaks its own regional and state languages. Josh was among the top 10 most downloaded apps social and entertainment apps in India of 2021 and had 150 million monthly active users as per April 2022. The word 'Josh' translates to fervour or passion. The app was launched under the aegis of the Atmanirbhar Bharat campaign and to compete with the duopoly of Google and Facebook in India. Josh's parent company VerSe Innovations Pvt. Ltd. owns another startup Dailyhunt, which a content and news aggregator application. Both Dailyhunt and Josh are a part of the VerSe's focus on the "next billion" regional language users of India. Founders Virendra Gupta and Umang Bedi conceptualised Josh as a short-video platform that made content creation accessible to vernacular language users, essentially the non-English speaking audience in India. == Features == Josh is currently available in 12 Indian languages and allows users to upload, share, remix bite-sized videos of up to 120 seconds. There are various categories across the video section including viral, trending, glamour, dance, devotion, yoga and cooking among others. Similar to Instagram and TikTok, it has a video feed which is curated for individuals on the basis of their app behaviour. The app hosts many daily, weekly and monthly social media challenges. == Funding == In December 2020, within 3 months of its launch, Josh's parent app VerSe Innovation raised more than $100 million from investors including Alphabet Inc's Google and Microsoft. In February 2021, VerSe Innovation raised $100 million in Series H funding from Qatar Investment Authority, the sovereign wealth fund of the State of Qatar, and Glade Brook Capital Partners. In August 2021, VerSe raised over $450 million in its Series I financing round with a valuation of $1 billion. Investors included Canada Pension Plan Investment Board (CPPIB), Siguler Guff, Baillie Gifford, Carlyle Asia Partners Growth II affiliates, and others. The startup announced its plan to expand overseas and broaden its ecommerce play for both Dailyhunt and Josh. In April 2022, VerSe announced that it has raised $805 million in funding from investors at a valuation of nearly $5 billion. ByteDance Offloads Stake In Josh Parent VerSe, Exits At 56% Discount == Partnerships == In February 2021, Saregama and Josh signed a music licensing deal, wherein Josh expanded its musical library with 1.3 lakh songs from Saregama in 25 different languages. To improve their user experience, Josh partnered with computer vision company D-ID in August 2021. The company helped Josh introduce photo-to-video features, live portrait technology, animate their photos etc. In order to solidify their efforts in enhancing Josh, VerSe acquired Indian social networking platform GolBol in October 2021. The move came as an effort by the startup to strengthen their discovery initiatives on the platform and classify content at scale and understand the core behaviour of Indian regional audiences. Josh has also announced its plans to include live commerce as a potential revenue stream through its partnership with multiple large e-commerce players. == Notable campaigns == Say No To Dowry – In association with Josh, the Kerala Police partook in the #SayNo2Dowry online social media campaign that was started to highlight and stop the social evil in the state. Salute India – Josh entered the Guinness World Records by creating the largest online video album of people saluting (29,529). It organised an online campaign #SaluteIndia on the app during the 75th Independence Day of India during 10–15 August 2021.
Matchbox Educable Noughts and Crosses Engine
The Matchbox Educable Noughts and Crosses Engine (sometimes called the Machine Educable Noughts and Crosses Engine or MENACE) was a mechanical computer made from 304 matchboxes designed and built by artificial intelligence researcher Donald Michie and his colleague Roger Chambers, in 1961. It was designed to play human opponents in games of noughts and crosses (tic-tac-toe) by returning a move for any given state of play and to refine its strategy through reinforcement learning. This was one of the first types of artificial intelligence. Michie and Chambers did not have immediate access to a computer; they worked around this by building the engine out of matchboxes. The matchboxes they used each represented a single possible layout of a noughts and crosses grid. When the computer first played, it would randomly choose moves based on the current layout. As it played more games, through a reinforcement loop, it disqualified strategies that led to losing games, and supplemented strategies that led to winning games. Michie held a tournament against MENACE in 1961, wherein he experimented with different openings. Following MENACE's maiden tournament against Michie, it demonstrated successful artificial intelligence in its strategy. Michie's essays on MENACE's weight initialisation and the BOXES algorithm used by MENACE became popular in the field of computer science research. Michie was honoured for his contribution to machine learning research, and was twice commissioned to program a MENACE simulation on an actual computer. == Origin == Donald Michie (1923–2007) had been on the team decrypting the German Tunny Code during World War II. Fifteen years later, he wanted to further display his mathematical and computational prowess with an early convolutional neural network. Since computer equipment was not obtainable for such uses, and Michie did not have a computer readily available, he decided to display and demonstrate artificial intelligence in a more esoteric format and constructed a functional mechanical computer out of matchboxes and beads. MENACE was constructed as the result of a bet with a computer science colleague who postulated that such a machine was impossible. Michie undertook the task of collecting and defining each matchbox as a "fun project", later turned into a demonstration tool. Michie completed his essay on MENACE in 1963, "Experiments on the mechanization of game-learning", as well as his essay on the BOXES Algorithm, written with R. A. Chambers and had built up an AI research unit in Hope Park Square, Edinburgh, Scotland. MENACE learned by playing successive matches of noughts and crosses. Each time, it would eliminate a losing strategy by the human player confiscating the beads that corresponded to each move. It reinforced winning strategies by making the moves more likely, by supplying extra beads. This was one of the earliest versions of the Reinforcement Loop, the schematic algorithm of looping the algorithm, dropping unsuccessful strategies until only the winning ones remain. This model starts as completely random, and gradually learns. == Composition == MENACE was made from 304 matchboxes glued together in an arrangement similar to a chest of drawers. Each box had a code number, which was keyed into a chart. This chart had drawings of tic-tac-toe game grids with various configurations of X, O, and empty squares, corresponding to all possible permutations a game could go through as it progressed. After removing duplicate arrangements (ones that were simply rotations or mirror images of other configurations), MENACE used 304 permutations in its chart and thus that many matchboxes. Each individual matchbox tray contained a collection of coloured beads. Each colour represented a move on a square on the game grid, and so matchboxes with arrangements where positions on the grid were already taken would not have beads for that position. Additionally, at the front of the tray were two extra pieces of card in a "V" shape, the point of the "V" pointing at the front of the matchbox. Michie and his artificial intelligence team called MENACE's algorithm "Boxes", after the apparatus used for the machine. The first stage "Boxes" operated in five phases, each setting a definition and a precedent for the rules of the algorithm in relation to the game. == Operation == MENACE played first, as O, since all matchboxes represented permutations only relevant to the "X" player. To retrieve MENACE's choice of move, the opponent or operator located the matchbox that matched the current game state, or a rotation or mirror image of it. For example, at the start of a game, this would be the matchbox for an empty grid. The tray would be removed and lightly shaken so as to move the beads around. Then, the bead that had rolled into the point of the "V" shape at the front of the tray was the move MENACE had chosen to make. Its colour was then used as the position to play on, and, after accounting for any rotations or flips needed based on the chosen matchbox configuration's relation to the current grid, the O would be placed on that square. Then the player performed their move, the new state was located, a new move selected, and so on, until the game was finished. When the game had finished, the human player observed the game's outcome. As a game was played, each matchbox that was used for MENACE's turn had its tray returned to it ajar, and the bead used kept aside, so that MENACE's choice of moves and the game states they belonged to were recorded. Michie described his reinforcement system with "reward" and "punishment". Once the game was finished, if MENACE had won, it would then receive a "reward" for its victory. The removed beads showed the sequence of the winning moves. These were returned to their respective trays, easily identifiable since they were slightly open, as well as three bonus beads of the same colour. In this way, in future games MENACE would become more likely to repeat those winning moves, reinforcing winning strategies. If it lost, the removed beads were not returned, "punishing" MENACE, and meaning that in future it would be less likely, and eventually incapable if that colour of bead became absent, to repeat the moves that cause a loss. If the game was a draw, one additional bead was added to each box. == Results in practice == === Optimal strategy === Noughts and crosses has a well-known optimal strategy. A player must place their symbol in a way that blocks the other player from achieving any rows while simultaneously making a row themself. However, if both players use this strategy, the game always ends in a draw. If the human player is familiar with the optimal strategy, and MENACE can quickly learn it, then the games will eventually only end in draws. The likelihood of the computer winning increases quickly when the computer plays against a random-playing opponent. When playing against a player using optimal strategy, the odds of a draw grow to 100%. In Donald Michie's official tournament against MENACE in 1961 he used optimal strategy, and he and the computer began to draw consistently after twenty games. Michie's tournament had the following milestones: Michie began by consistently opening with "Variant 0", the middle square. At 15 games, MENACE abandoned all non-corner openings. At just over 20, Michie switched to consistently using "Variant 1", the bottom-right square. At 60, he returned to Variant 0. As he neared 80 games, he moved to "Variant 2", the top-middle. At 110, he switched to "Variant 3", the top right. At 135, he switched to "Variant 4", middle-right. At 190, he returned to Variant 1, and at 210, he returned to Variant 0. The trend in changes of beads in the "2" boxes runs: === Correlation === Depending on the strategy employed by the human player, MENACE produces a different trend on scatter graphs of wins. Using a random turn from the human player results in an almost-perfect positive trend. Playing the optimal strategy returns a slightly slower increase. The reinforcement does not create a perfect standard of wins; the algorithm will draw random uncertain conclusions each time. After the j-th round, the correlation of near-perfect play runs: 1 − D D − D ( j + 2 ) ∑ i = 0 j D ( j i + 1 ) V i {\displaystyle {1-D \over D-D^{(j+2)}}\sum _{i=0}^{j}D^{(ji+1)}V_{i}} Where Vi is the outcome (+1 is win, 0 is draw and -1 is loss) and D is the decay factor (average of past values of wins and losses). Below, Mn is the multiplier for the n-th round of the game. == Legacy == Donald Michie's MENACE proved that a computer could learn from failure and success to become good at a task. It used what would become core principles within the field of machine learning before they had been properly theorised. For example, the combination of how MENACE starts with equal numbers of types of beads in each matchbox, and how these are then selected at random, creates a learning behaviour similar to weight initialisation
Morphing
Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX