Harmonic

In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series. The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. An n {\displaystyle \ n} th characteristic mode, for n > 1 , {\displaystyle \ n>1\ ,} will have nodes that are not vibrating. For example, the 3rd characteristic mode will have nodes at 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L , {\displaystyle \ {\tfrac {2}{3}}\ L\ ,} where L {\displaystyle \ L\ } is the length of the string. In fact, each n {\displaystyle \ n} th characteristic mode, for n {\displaystyle \ n\ } not a multiple of 3, will not have nodes at these points. These other characteristic modes will be vibrating at the positions 1 3 L {\displaystyle \ {\tfrac {1}{3}}\ L\ } and 2 3 L . {\displaystyle \ {\tfrac {2}{3}}\ L~.} If the player gently touches one of these positions, then these other characteristic modes will be suppressed. The tonal harmonics from these other characteristic modes will then also be suppressed. Consequently, the tonal harmonics from the n {\displaystyle \ n} th characteristic characteristic modes, where n {\displaystyle \ n\ } is a multiple of 3, will be made relatively more prominent. In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, bowed harmonics have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string. == Terminology == Harmonics may be called "overtones", "partials", or "upper partials", and in some music contexts, the terms "harmonic", "overtone" and "partial" are used fairly interchangeably. But more precisely, the term "harmonic" includes all pitches in a harmonic series (including the fundamental frequency) while the term "overtone" only includes pitches above the fundamental. == Characteristics == A whizzing, whistling tonal character, distinguishes all the harmonics both natural and artificial from the firmly stopped intervals; therefore their application in connection with the latter must always be carefully considered. Most acoustic instruments emit complex tones containing many individual partials (component simple tones or sinusoidal waves), but the untrained human ear typically does not perceive those partials as separate phenomena. Rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Many acoustic oscillators, such as the human voice or a bowed violin string, produce complex tones that are more or less periodic, and thus are composed of partials that are nearly matched to the integer multiples of fundamental frequency and therefore resemble the ideal harmonics and are called "harmonic partials" or simply "harmonics" for convenience (although it's not strictly accurate to call a partial a harmonic, the first being actual and the second being theoretical). Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are often long and thin, such as a guitar string or a column of air open at both ends (as with the metallic modern orchestral transverse flute). Wind instruments whose air column is open at only one end, such as trumpets and clarinets, also produce partials resembling harmonics. However they only produce partials matching the odd harmonics—at least in theory. In practical use, no real acoustic instrument behaves as perfectly as the simplified physical models predict; for example, instruments made of non-linearly elastic wood, instead of metal, or strung with gut instead of brass or steel strings, tend to have not-quite-integer partials. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials. Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Other oscillators, such as cymbals, drum heads, and most percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can. Building on of Sethares (2004), dynamic tonality introduces the notion of pseudo-harmonic partials, in which the frequency of each partial is aligned to match the pitch of a corresponding note in a pseudo-just tuning, thereby maximizing the consonance of that pseudo-harmonic timbre with notes of that pseudo-just tuning. == Partials, overtones, and harmonics == An overtone is any partial higher than the lowest partial in a compound tone. The relative strengths and frequency relationships of the component partials determine the timbre of an instrument. The similarity between the terms overtone and partial sometimes leads to their being loosely used interchangeably in a musical context, but they are counted differently, leading to some possible confusion. In the special case of instrumental timbres whose component partials closely match a harmonic series (such as with most strings and winds) rather than being inharmonic partials (such as with most pitched percussion instruments), it is also convenient to call the component partials "harmonics", but not strictly correct, because harmonics are numbered the same even when missing, while partials and overtones are only counted when present. This chart demonstrates how the three types of names (partial, overtone, and harmonic) are counted (assuming that the harmonics are present): In many musical instruments, it is possible to play the upper harmonics without the fundamental note being present. In a simple case (e.g., recorder) this has the effect of making the note go up in pitch by an octave, but in more complex cases many other pitch variations are obtained. In some cases it also changes the timbre of the note. This is part of the normal method of obtaining higher notes in wind instruments, where it is called overblowing. The extended technique of playing multiphonics also produces harmonics. On string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch. Harmonics may be used to check at a unison the tuning of strings that are not tuned to the unison. For example, lightly fingering the node found halfway down the highest string of a cello produces the same pitch as lightly fingering the node ⁠ 1 / 3 ⁠ of the way down the second highest string. For the human voice see Overtone singing, which uses harmonics. While it is true that electronically produced periodic tones (e.g. square waves or other non-sinusoidal waves) have "harmonics" that are whole number multiples of the fundamental frequency, practical instruments do not all have this characteristic. For example, higher "harmonics" of piano notes are not true harmonics but are "overtones" and can be very sharp, i.e. a higher frequency than given by a pure harmonic series. This is especially true of instruments other than strings, brass, or woodwinds. Examples of these "other" instruments are xylophones, drums, bells, chimes, etc.; not all of their overtone frequencies make a simple whole number ratio with the fundamental frequency. (The fundamental frequency is the reciprocal of the longest time period of the collection of vibrations in some single periodic phenomenon.) == On stringed instruments == Harmonics may be singly produced [on stringed instruments] (1) by varying the point of contact with the bow, or (2) by slightly pressing the string at the nodes, or divisions of its aliquot parts ( 1 2 {\displaystyle {\tfrac {1}{2}}} , 1

Coupled pattern learner

Coupled Pattern Learner (CPL) is a machine learning algorithm which couples the semi-supervised learning of categories and relations to forestall the problem of semantic drift associated with boot-strap learning methods. == Coupled Pattern Learner == Semi-supervised learning approaches using a small number of labeled examples with many unlabeled examples are usually unreliable as they produce an internally consistent, but incorrect set of extractions. CPL solves this problem by simultaneously learning classifiers for many different categories and relations in the presence of an ontology defining constraints that couple the training of these classifiers. It was introduced by Andrew Carlson, Justin Betteridge, Estevam R. Hruschka Jr. and Tom M. Mitchell in 2009. == CPL overview == CPL is an approach to semi-supervised learning that yields more accurate results by coupling the training of many information extractors. Basic idea behind CPL is that semi-supervised training of a single type of extractor such as ‘coach’ is much more difficult than simultaneously training many extractors that cover a variety of inter-related entity and relation types. Using prior knowledge about the relationships between these different entities and relations CPL makes unlabeled data as a useful constraint during training. For e.g., ‘coach(x)’ implies ‘person(x)’ and ‘not sport(x)’. == CPL description == === Coupling of predicates === CPL primarily relies on the notion of coupling the learning of multiple functions so as to constrain the semi-supervised learning problem. CPL constrains the learned function in two ways. Sharing among same-arity predicates according to logical relations Relation argument type-checking === Sharing among same-arity predicates === Each predicate P in the ontology has a list of other same-arity predicates with which P is mutually exclusive. If A is mutually exclusive with predicate B, A’s positive instances and patterns become negative instances and negative patterns for B. For example, if ‘city’, having an instance ‘Boston’ and a pattern ‘mayor of arg1’, is mutually exclusive with ‘scientist’, then ‘Boston’ and ‘mayor of arg1’ will become a negative instance and a negative pattern respectively for ‘scientist.’ Further, Some categories are declared to be a subset of another category. For e.g., ‘athlete’ is a subset of ‘person’. === Relation argument type-checking === This is a type checking information used to couple the learning of relations and categories. For example, the arguments of the ‘ceoOf’ relation are declared to be of the categories ‘person’ and ‘company’. CPL does not promote a pair of noun phrases as an instance of a relation unless the two noun phrases are classified as belonging to the correct argument types. === Algorithm description === Following is a quick summary of the CPL algorithm. Input: An ontology O, and a text corpus C Output: Trusted instances/patterns for each predicate for i=1,2,...,∞ do foreach predicate p in O do EXTRACT candidate instances/contextual patterns using recently promoted patterns/instances; FILTER candidates that violate coupling; RANK candidate instances/patterns; PROMOTE top candidates; end end ==== Inputs ==== A large corpus of Part-Of-Speech tagged sentences and an initial ontology with predefined categories, relations, mutually exclusive relationships between same-arity predicates, subset relationships between some categories, seed instances for all predicates, and seed patterns for the categories. ==== Candidate extraction ==== CPL finds new candidate instances by using newly promoted patterns to extract the noun phrases that co-occur with those patterns in the text corpus. CPL extracts, Category Instances Category Patterns Relation Instances Relation Patterns ==== Candidate filtering ==== Candidate instances and patterns are filtered to maintain high precision, and to avoid extremely specific patterns. An instance is only considered for assessment if it co-occurs with at least two promoted patterns in the text corpus, and if its co-occurrence count with all promoted patterns is at least three times greater than its co-occurrence count with negative patterns. ==== Candidate ranking ==== CPL ranks candidate instances using the number of promoted patterns that they co-occur with so that candidates that occur with more patterns are ranked higher. Patterns are ranked using an estimate of the precision of each pattern. ==== Candidate promotion ==== CPL ranks the candidates according to their assessment scores and promotes at most 100 instances and 5 patterns for each predicate. Instances and patterns are only promoted if they co-occur with at least two promoted patterns or instances, respectively. == Meta-Bootstrap Learner == Meta-Bootstrap Learner (MBL) was also proposed by the authors of CPL. Meta-Bootstrap learner couples the training of multiple extraction techniques with a multi-view constraint, which requires the extractors to agree. It makes addition of coupling constraints on top of existing extraction algorithms, while treating them as black boxes, feasible. MBL assumes that the errors made by different extraction techniques are independent. Following is a quick summary of MBL. Input: An ontology O, a set of extractors ε Output: Trusted instances for each predicate for i=1,2,...,∞ do foreach predicate p in O do foreach extractor e in ε do Extract new candidates for p using e with recently promoted instances; end FILTER candidates that violate mutual-exclusion or type-checking constraints; PROMOTE candidates that were extracted by all extractors; end end Subordinate algorithms used with MBL do not promote any instance on their own, they report the evidence about each candidate to MBL and MBL is responsible for promoting instances. == Applications == In their paper authors have presented results showing the potential of CPL to contribute new facts to existing repository of semantic knowledge, Freebase

MoltenVK

MoltenVK is a software library which allows Vulkan applications to run on top of Metal on Apple's macOS, iOS, and tvOS operating systems. It is the first software component to be released for the Vulkan Portability Initiative, a project to have a subset of Vulkan run on platforms lacking native Vulkan drivers. There are some limitations compared with a native Vulkan implementation. == History == MoltenVK was first released as a proprietary and commercially licensed product by The Brenwill Workshop on July 27, 2016. On July 31, 2017, Khronos announced the formation of the Vulkan Portability Technical Subgroup. === Open source === On February 26, 2018, Khronos announced that Vulkan became available on macOS and iOS products through the MoltenVK library. Valve announced that Dota 2 will run on macOS using the Vulkan API with the aid of MoltenVK, and that they had made an arrangement with developer The Brenwill Workshop Ltd to release MoltenVK as open-source software under the Apache License version 2.0. On May 30, 2018, Qt was updated with Vulkan for Qt on macOS using MoltenVK. On May 31, 2018, optional Vulkan support for Dota 2 on macOS was released. Benchmarks for the game were available the following day, showing better performance using Vulkan and MoltenVK compared to OpenGL. On July 20, 2018, Wine was updated with Vulkan support on macOS using MoltenVK. On 29 July 2018, the first app using MoltenVK was accepted onto the App Store, after initially being rejected. On 6 August 2018, Google open-sourced Filament, a crossplatform real-time physically based rendering engine with MoltenVK for macOS/iOS. On November 28, 2018, Valve released Artifact, their first Vulkan-only game on macOS using MoltenVK. === Version 1.0 === On 29 January 2019, MoltenVK 1.0.32 was released with early prototype of Vulkan Portability Extensions. RPCS3 and Dolphin emulators were updated with Vulkan support on macOS using MoltenVK. On 13 April 2019, MoltenVK 1.0.34 was released with support for tessellation. On July 30, 2019, MoltenVK 1.0.36 was released targeting Metal 3.0. On July 31, 2020, MoltenVK 1.0.44 was released, adding support for the tvOS platform. On January 23, 2020, MoltenVK was updated to support for some of the new features of Vulkan 1.2, as of Vulkan SDK 1.2.121. === Version 1.1 === On October 1, 2020, MoltenVK 1.1.0 was released, adding full support for Vulkan 1.1, as of Vulkan SDK 1.2.154. On 9 December 2020, MoltenVK 1.1.1 was released, providing support for Vulkan on Apple silicon GPUs and support for the Mac Catalyst platform for porting iOS/iPadOS apps to macOS. === Version 1.2 === On October 18, 2022, MoltenVK 1.2.0 was released, adding full support for Vulkan 1.2 as of Vulkan SDK 1.3.231. In January 2023, MoltenVK 1.2.2 added support for Vulkan as of SDK 1.3.239, while this version of Vulkan SDK fixed some issues with the interconnectivity with Metal API, while version 1.2.3 supported some additional extensions. === Version 1.3 === On May 1, 2025, MoltenVK 1.3 was released with support for Vulkan 1.3. === Version 1.4 === On August 20, 2025, MoltenVK 1.4 was released with support for Vulkan 1.4.

Adobe Encore

Adobe Encore (previously Adobe Encore DVD) was a DVD authoring software tool produced by Adobe Systems and targeted at professional video producers. Video and audio resources could be used in their current format for development, allowing the user to transcode them to MPEG-2 video and Dolby Digital audio upon project completion. DVD menus could be created and edited in Adobe Photoshop using special layering techniques. Adobe Encore did not support writing to a Blu-ray Disc using AVCHD 2.0. Encore is bundled with Adobe Premiere Pro CS6. Adobe Encore CS6 was the last release. While Premiere Pro CC has moved to the Creative Cloud, Encore has now been discontinued. == Licensing == All forms of Adobe Encore used a proprietary licensing system from its developer, Adobe Systems. Versions 1.0 and 1.5 required a separate license fee (rather than making 1.5 available as a free update). Version 3, also known as CS3, was sold only in bundle with Premiere CS3. Encore CS4, CS5, CS5.5 and CS6 were only sold in the Premiere Pro CS4, CS5, CS5.5 and CS6 bundles, respectively. Adobe CC subscribers no longer have access to Adobe Encore CS6. Adobe Encore is not included with Premiere Pro CC. == Functionality == Adobe Encore allowed for creating interactive DVD menus from Photoshop documents, which could be tweaked from within Encore. Video and audio streams could be embedded in the DVD and be made to play when certain elements of the menu are interacted with. It had similar functionality to Adobe Flash and Premiere Pro, due to its ability to both edit video on a timeline and embed interactive content.

Seam carving

Seam carving (or liquid rescaling) is an algorithm for content-aware image resizing, developed by Shai Avidan, of Mitsubishi Electric Research Laboratories (MERL), and Ariel Shamir, of the Interdisciplinary Center and MERL. It functions by establishing a number of seams (paths of least importance) in an image and automatically removes seams to reduce image size or inserts seams to extend it. Seam carving also allows manually defining areas in which pixels may not be modified, and features the ability to remove whole objects from photographs. The purpose of the algorithm is image retargeting, which is the problem of displaying images without distortion on media of various sizes (cell phones, projection screens) using document standards, like HTML, that already support dynamic changes in page layout and text but not images. Image Retargeting was invented by Vidya Setlur, Saeko Takage, Ramesh Raskar, Michael Gleicher and Bruce Gooch in 2005. The work by Setlur et al. won the 10-year impact award in 2015. == Seams == Seams can be either vertical or horizontal. A vertical seam is a path of pixels connected from top to bottom in an image with one pixel in each row. A horizontal seam is similar with the exception of the connection being from left to right. The importance/energy function values a pixel by measuring its contrast with its neighbor pixels. == Process == The below example describes the process of seam carving: The seams to remove depends only on the dimension (height or width) one wants to shrink. It is also possible to invert step 4 so the algorithm enlarges in one dimension by copying a low energy seam and averaging its pixels with its neighbors. === Computing seams === Computing a seam consists of finding a path of minimum energy cost from one end of the image to another. This can be done via Dijkstra's algorithm, dynamic programming, greedy algorithm or graph cuts among others. ==== Dynamic programming ==== Dynamic programming is a programming method that stores the results of sub-calculations in order to simplify calculating a more complex result. Dynamic programming can be used to compute seams. If attempting to compute a vertical seam (path) of lowest energy, for each pixel in a row we compute the energy of the current pixel plus the energy of one of the three possible pixels above it. The images below depict a DP process to compute one optimal seam. Each square represents a pixel, with the top-left value in red representing the energy value of that pixel. The value in black represents the cumulative sum of energies leading up to and including that pixel. The energy calculation is trivially parallelized for simple functions. The calculation of the DP array can also be parallelized with some interprocess communication. However, the problem of making multiple seams at the same time is harder for two reasons: the energy needs to be regenerated for each removal for correctness and simply tracing back multiple seams can form overlaps. Avidan 2007 computes all seams by removing each seam iteratively and storing an "index map" to record all the seams generated. The map holds a "nth seam" number for each pixel on the image, and can be used later for size adjustment. If one ignores both issues however, a greedy approximation for parallel seam carving is possible. To do so, one starts with the minimum-energy pixel at one end, and keep choosing the minimum energy path to the other end. The used pixels are marked so that they are not picked again. Local seams can also be computed for smaller parts of the image in parallel for a good approximation. == Issues == The algorithm may need user-provided information to reduce errors. This can consist of painting the regions which are to be preserved. With human faces it is possible to use face detection. Sometimes the algorithm, by removing a low energy seam, may end up inadvertently creating a seam of higher energy. The solution to this is to simulate a removal of a seam, and then check the energy delta to see if the energy increases (forward energy). If it does, prefer other seams instead. == Implementations == Adobe Systems acquired a non-exclusive license to seam carving technology from MERL, and implemented it as a feature in Photoshop CS4, where it is called Content Aware Scaling. As the license is non-exclusive, other popular computer graphics applications (e. g. GIMP, digiKam, and ImageMagick) as well as some stand-alone programs (e. g. iResizer) also have implementations of this technique, some of which are released as free and open source software. There also exists an implementation for webpages. == Improvements and extensions == Better energy function and application to video by introducing 2D (time+1D) seams. Faster implementation on GPU. Application of this forward energy function to static images. Multi-operator: Combine with cropping and scaling. Much faster removal of multiple seams. Removing seams through neural deformation fields to extend to continuous domains like 3D scenes. A 2010 review of eight image retargeting methods found that seam carving produced output that was ranked among the worst of the tested algorithms. It was, however, a part of one of the highest-ranking algorithms: the multi-operator extension mentioned above (combined with cropping and scaling).

Data augmentation

Data augmentation is a statistical technique which allows maximum likelihood estimation from incomplete data. Data augmentation has important applications in Bayesian analysis, and the technique is widely used in machine learning to reduce overfitting when training machine learning models, achieved by training models on several slightly-modified copies of existing data. == Synthetic oversampling techniques for traditional machine learning == Synthetic Minority Over-sampling Technique (SMOTE) is a method used to address imbalanced datasets in machine learning. In such datasets, the number of samples in different classes varies significantly, leading to biased model performance. For example, in a medical diagnosis dataset with 90 samples representing healthy individuals and only 10 samples representing individuals with a particular disease, traditional algorithms may struggle to accurately classify the minority class. SMOTE rebalances the dataset by generating synthetic samples for the minority class. For instance, if there are 100 samples in the majority class and 10 in the minority class, SMOTE can create synthetic samples by randomly selecting a minority class sample and its nearest neighbors, then generating new samples along the line segments joining these neighbors. This process helps increase the representation of the minority class, improving model performance. == Data augmentation for image classification == When convolutional neural networks grew larger in mid-1990s, there was a lack of data to use, especially considering that some part of the overall dataset should be spared for later testing. It was proposed to perturb existing data with affine transformations to create new examples with the same labels, which were complemented by so-called elastic distortions in 2003, and the technique was widely used as of 2010s. Data augmentation can enhance CNN performance and acts as a countermeasure against CNN profiling attacks. Data augmentation has become fundamental in image classification, enriching training dataset diversity to improve model generalization and performance. The evolution of this practice has introduced a broad spectrum of techniques, including geometric transformations, color space adjustments, and noise injection. === Geometric Transformations === Geometric transformations alter the spatial properties of images to simulate different perspectives, orientations, and scales. Common techniques include: Affine Transformation Rotation: Rotating images by a specified degree to help models recognize objects at various angles. Reflection: Reflecting images horizontally or vertically to introduce variability in orientation. Translation: Shifting images in different directions to teach models positional invariance. Scaling Shear Mapping Cropping: Removing sections of the image to focus on particular features or simulate closer views. Elastic Distortion Morphing within the same class: Generating new samples by applying morphing techniques between two images belonging to the same class, thereby increasing intra-class diversity. === Color Space Transformations === Color space transformations modify the color properties of images, addressing variations in lighting, color saturation, and contrast. Techniques include: Brightness Adjustment: Varying the image's brightness to simulate different lighting conditions. Contrast Adjustment: Changing the contrast to help models recognize objects under various clarity levels. Saturation Adjustment: Altering saturation to prepare models for images with diverse color intensities. Color Jittering: Randomly adjusting brightness, contrast, saturation, and hue to introduce color variability. === Noise Injection === Injecting noise into images simulates real-world imperfections, teaching models to ignore irrelevant variations. Techniques involve: Gaussian Noise: Adding Gaussian noise mimics sensor noise or graininess. Salt and Pepper Noise: Introducing black or white pixels at random simulates sensor dust or dead pixels. == Data augmentation for signal processing == Residual or block bootstrap can be used for time series augmentation. === Biological signals === Synthetic data augmentation is of paramount importance for machine learning classification, particularly for biological data, which tend to be high dimensional and scarce. The applications of robotic control and augmentation in disabled and able-bodied subjects still rely mainly on subject-specific analyses. Data scarcity is notable in signal processing problems such as for Parkinson's Disease Electromyography signals, which are difficult to source - Zanini, et al. noted that it is possible to use a generative adversarial network (in particular, a DCGAN) to perform style transfer in order to generate synthetic electromyographic signals that corresponded to those exhibited by sufferers of Parkinson's Disease. The approaches are also important in electroencephalography (brainwaves). Wang, et al. explored the idea of using deep convolutional neural networks for EEG-Based Emotion Recognition, results show that emotion recognition was improved when data augmentation was used. A common approach is to generate synthetic signals by re-arranging components of real data. Lotte proposed a method of "Artificial Trial Generation Based on Analogy" where three data examples x 1 , x 2 , x 3 {\displaystyle x_{1},x_{2},x_{3}} provide examples and an artificial x s y n t h e t i c {\displaystyle x_{synthetic}} is formed which is to x 3 {\displaystyle x_{3}} what x 2 {\displaystyle x_{2}} is to x 1 {\displaystyle x_{1}} . A transformation is applied to x 1 {\displaystyle x_{1}} to make it more similar to x 2 {\displaystyle x_{2}} , the same transformation is then applied to x 3 {\displaystyle x_{3}} which generates x s y n t h e t i c {\displaystyle x_{synthetic}} . This approach was shown to improve performance of a Linear Discriminant Analysis classifier on three different datasets. Current research shows great impact can be derived from relatively simple techniques. For example, Freer observed that introducing noise into gathered data to form additional data points improved the learning ability of several models which otherwise performed relatively poorly. Tsinganos et al. studied the approaches of magnitude warping, wavelet decomposition, and synthetic surface EMG models (generative approaches) for hand gesture recognition, finding classification performance increases of up to +16% when augmented data was introduced during training. More recently, data augmentation studies have begun to focus on the field of deep learning, more specifically on the ability of generative models to create artificial data which is then introduced during the classification model training process. In 2018, Luo et al. observed that useful EEG signal data could be generated by Conditional Wasserstein Generative Adversarial Networks (GANs) which was then introduced to the training set in a classical train-test learning framework. The authors found classification performance was improved when such techniques were introduced. === Mechanical signals === The prediction of mechanical signals based on data augmentation brings a new generation of technological innovations, such as new energy dispatch, 5G communication field, and robotics control engineering. In 2022, Yang et al. integrate constraints, optimization and control into a deep network framework based on data augmentation and data pruning with spatio-temporal data correlation, and improve the interpretability, safety and controllability of deep learning in real industrial projects through explicit mathematical programming equations and analytical solutions.

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