A color picker (also color chooser or color tool) is a graphical user interface widget, usually found within graphics software or online, used to select colors and, in some cases, to create color schemes (the color picker might be more sophisticated than the palette included with the program). Operating systems such as Microsoft Windows or macOS have a system color picker, which can be used by third-party programs (e.g., Adobe Photoshop). == History == The concept of color pickers dates back to the early days of computer graphics and digital design. Early versions were rudimentary, often featuring basic color palettes and limited functionality. One of the first drawing programs to include a color picker was SketchPad (also referred to as LisaSketch), designed by Bill Atkinson in 1983 to showcase LisaGraf's capabilities. It used a black and white pattern system, using dithering to create the illusion of color depth. With the increased popularity of personal computers with color graphics, there soon came software similar to SketchPad that supported more than two colors, like Broderbund's Dazzle Draw for the Apple II or Electronic Arts' Deluxe Paint. However, the color pickers present in those programs relied on indexed colors. Color pickers, resembling ones used in modern software with support for direct, 24-bit color, appeared soon after the release of the Macintosh II, with the release of programs like Adobe Photoshop and Corel Painter. As the increase of color depth allowed the choice of significantly more colors, the shape and form of color pickers started to diverge. For example, Adobe Photoshop used a hue-saturation color wheel with a slider for brightness in version 0.63, later on switching to a rectangular design accompanied by a hue slider. Corel Painter pioneered the triangular saturation and brightness picker with a hue ring around it, aiming to better represent the continuity of the hue spectrum and the relationship between saturation and brightness. == Purpose == A color picker is used to select and adjust color values. In graphic design and image editing, users typically choose colors via an interface with a visual representation of a color—organized with quasi-perceptually-relevant hue, saturation and lightness dimensions (HSL) – instead of keying in alphanumeric text values. Because color appearance depends on comparison of neighboring colors (see color vision), many interfaces attempt to clarify the relationships between colors. == Interface == Color tools can vary in their interface. Some may use sliders, buttons, text boxes for color values, or direct manipulation. Often a two-dimensional square is used to create a range of color values (such as lightness and saturation) that can be clicked on or selected in some other manner. Drag and drop, color droppers, and various other forms of interfaces are commonly used as well. Usually, color values are also displayed numerically, so they can be precisely remembered and keyed-in later, such as three values of 0-255 representing red, green, and blue, respectively. === Eyedropper === The eyedropper is a tool present in most color pickers and graphics software that allows a user to read a color at a specific point in an image, or position on a display. This enables the color to be transferred to other applications particularly quickly. Modern implementations of eyedropper tools are also available as browser extensions, allowing users to pick colors directly from web pages, such as in Google Chrome and Microsoft Edge. == Working == A color picker has two main parts, first a color slider and second a color canvas. The color slider has a linear or radial gradient of the seven rainbow colors i.e. Violet, Indigo, Blue, Green, Yellow, Orange and Red. It allows one to choose any of the seven primary colors. The color value chosen from the color slider instantly reflects in the color canvas. The color canvas is a mixture of two linear color gradients. First a linear gradient of the current chosen color and second a linear gradient of the black color. This mixture of color gradients lets one choose a lighter and darker version of the current chosen color from the color slider.
Gradient vector flow
Gradient vector flow (GVF), a computer vision framework introduced by Chenyang Xu and Jerry L. Prince, is the vector field that is produced by a process that smooths and diffuses an input vector field. It is usually used to create a vector field from images that points to object edges from a distance. It is widely used in image analysis and computer vision applications for object tracking, shape recognition, segmentation, and edge detection. In particular, it is commonly used in conjunction with active contour model. == Background == Finding objects or homogeneous regions in images is a process known as image segmentation. In many applications, the locations of object edges can be estimated using local operators that yield a new image called an edge map. The edge map can then be used to guide a deformable model, sometimes called an active contour or a snake, so that it passes through the edge map in a smooth way, therefore defining the object itself. A common way to encourage a deformable model to move toward the edge map is to take the spatial gradient of the edge map, yielding a vector field. Since the edge map has its highest intensities directly on the edge and drops to zero away from the edge, these gradient vectors provide directions for the active contour to move. When the gradient vectors are zero, the active contour will not move, and this is the correct behavior when the contour rests on the peak of the edge map itself. However, because the edge itself is defined by local operators, these gradient vectors will also be zero far away from the edge and therefore the active contour will not move toward the edge when initialized far away from the edge. Gradient vector flow (GVF) is the process that spatially extends the edge map gradient vectors, yielding a new vector field that contains information about the location of object edges throughout the entire image domain. GVF is defined as a diffusion process operating on the components of the input vector field. It is designed to balance the fidelity of the original vector field, so it is not changed too much, with a regularization that is intended to produce a smooth field on its output. Although GVF was designed originally for the purpose of segmenting objects using active contours attracted to edges, it has been since adapted and used for many alternative purposes. Some newer purposes including defining a continuous medial axis representation, regularizing image anisotropic diffusion algorithms, finding the centers of ribbon-like objects, constructing graphs for optimal surface segmentations, creating a shape prior, and much more. == Theory == The theory of GVF was originally described by Xu and Prince. Let f ( x , y ) {\displaystyle \textstyle f(x,y)} be an edge map defined on the image domain. For uniformity of results, it is important to restrict the edge map intensities to lie between 0 and 1, and by convention f ( x , y ) {\displaystyle \textstyle f(x,y)} takes on larger values (close to 1) on the object edges. The gradient vector flow (GVF) field is given by the vector field v ( x , y ) = [ u ( x , y ) , v ( x , y ) ] {\displaystyle \textstyle \mathbf {v} (x,y)=[u(x,y),v(x,y)]} that minimizes the energy functional In this equation, subscripts denote partial derivatives and the gradient of the edge map is given by the vector field ∇ f = ( f x , f y ) {\displaystyle \textstyle \nabla f=(f_{x},f_{y})} . Figure 1 shows an edge map, the gradient of the (slightly blurred) edge map, and the GVF field generated by minimizing E {\displaystyle \textstyle {\mathcal {E}}} . Equation 1 is a variational formulation that has both a data term and a regularization term. The first term in the integrand is the data term. It encourages the solution v {\displaystyle \textstyle \mathbf {v} } to closely agree with the gradients of the edge map since that will make v − ∇ f {\displaystyle \textstyle \mathbf {v} -\nabla f} small. However, this only needs to happen when the edge map gradients are large since v − ∇ f {\displaystyle \textstyle \mathbf {v} -\nabla f} is multiplied by the square of the length of these gradients. The second term in the integrand is a regularization term. It encourages the spatial variations in the components of the solution to be small by penalizing the sum of all the partial derivatives of v {\displaystyle \textstyle \mathbf {v} } . As is customary in these types of variational formulations, there is a regularization parameter μ > 0 {\displaystyle \textstyle \mu >0} that must be specified by the user in order to trade off the influence of each of the two terms. If μ {\displaystyle \textstyle \mu } is large, for example, then the resulting field will be very smooth and may not agree as well with the underlying edge gradients. Theoretical Solution. Finding v ( x , y ) {\displaystyle \textstyle \mathbf {v} (x,y)} to minimize Equation 1 requires the use of calculus of variations since v ( x , y ) {\displaystyle \textstyle \mathbf {v} (x,y)} is a function, not a variable. Accordingly, the Euler equations, which provide the necessary conditions for v {\displaystyle \textstyle \mathbf {v} } to be a solution can be found by calculus of variations, yielding where ∇ 2 {\displaystyle \textstyle \nabla ^{2}} is the Laplacian operator. It is instructive to examine the form of the equations in (2). Each is a partial differential equation that the components u {\displaystyle u} and v {\displaystyle v} of v {\displaystyle \mathbf {v} } must satisfy. If the magnitude of the edge gradient is small, then the solution of each equation is guided entirely by Laplace's equation, for example ∇ 2 u = 0 {\displaystyle \textstyle \nabla ^{2}u=0} , which will produce a smooth scalar field entirely dependent on its boundary conditions. The boundary conditions are effectively provided by the locations in the image where the magnitude of the edge gradient is large, where the solution is driven to agree more with the edge gradients. Computational Solutions. There are two fundamental ways to compute GVF. First, the energy function E {\displaystyle {\mathcal {E}}} itself (1) can be directly discretized and minimized, for example, by gradient descent. Second, the partial differential equations in (2) can be discretized and solved iteratively. The original GVF paper used an iterative approach, while later papers introduced considerably faster implementations such as an octree-based method, a multi-grid method, and an augmented Lagrangian method. In addition, very fast GPU implementations have been developed in Extensions and Advances. GVF is easily extended to higher dimensions. The energy function is readily written in a vector form as which can be solved by gradient descent or by finding and solving its Euler equation. Figure 2 shows an illustration of a three-dimensional GVF field on the edge map of a simple object (see ). The data and regularization terms in the integrand of the GVF functional can also be modified. A modification described in , called generalized gradient vector flow (GGVF) defines two scalar functions and reformulates the energy as While the choices g ( ∇ f | ) = μ {\displaystyle \textstyle g(\nabla f|)=\mu } and h ( | ∇ f | ) = | ∇ f | 2 {\displaystyle \textstyle h(|\nabla f|)=|\nabla f|^{2}} reduce GGVF to GVF, the alternative choices g ( | ∇ f | ) = exp { − | ∇ f | / K } {\displaystyle \textstyle g(|\nabla f|)=\exp\{-|\nabla f|/K\}} and h ( ∇ f | ) = 1 − g ( | ∇ f | ) {\displaystyle \textstyle h(\nabla f|)=1-g(|\nabla f|)} , for K {\displaystyle K} a user-selected constant, can improve the tradeoff between the data term and its regularization in some applications. The GVF formulation has been further extended to vector-valued images in where a weighted structure tensor of a vector-valued image is used. A learning based probabilistic weighted GVF extension was proposed in to further improve the segmentation for images with severely cluttered textures or high levels of noise. The variational formulation of GVF has also been modified in motion GVF (MGVF) to incorporate object motion in an image sequence. Whereas the diffusion of GVF vectors from a conventional edge map acts in an isotropic manner, the formulation of MGVF incorporates the expected object motion between image frames. An alternative to GVF called vector field convolution (VFC) provides many of the advantages of GVF, has superior noise robustness, and can be computed very fast. The VFC field v V F C {\displaystyle \textstyle \mathbf {v} _{\mathrm {VFC} }} is defined as the convolution of the edge map f {\displaystyle f} with a vector field kernel k {\displaystyle \mathbf {k} } where The vector field kernel k {\displaystyle \textstyle \mathbf {k} } has vectors that always point toward the origin but their magnitudes, determined in detail by the function m {\displaystyle m} , decrease to zero with increasing distance from the origin. The beauty of VFC is that it can be computed very rapidly using a fast Fourier tra
Apps to analyse COVID-19 sounds
Apps to analyse COVID-19 sounds are mobile software applications designed to collect respiratory sounds and aid diagnosis in response to the COVID-19 pandemic. Numerous applications are in development, with different institutions and companies taking various approaches to privacy and data collection. Current efforts are aimed at gathering data. In a later stage, it is possible that sound apps will have the capacity (and ethical approvals) to provide information back to users. In order to develop and train signal analysis approaches, large datasets are required. == History == The COVID-19 outbreak was announced as a global pandemic by the World Health Organization in March 2020 and has affected a growing number of people globally. In this context, advanced artificial intelligence techniques are being considered as tools in aiding our response to global health crisis. Other COVID-19 apps which offer solutions for user tracking have been developed. At the same time a number of approaches which tries to use respiratory sounds and artificial intelligence to understand if the disease can be diagnosed have been proposed. A few studies are available as preprints (i.e. not yet peer-reviewed) documents. == Methodologies == The potential for using speech and sound analysis by artificial intelligence to help in this scenario, by surveying which types of related or contextually significant phenomena can be automatically assessed from speech or sound has been recently overviewed. These include the automatic recognition and monitoring of breathing, dry and wet coughing or sneezing sounds, speech under cold, eating behaviour, sleepiness, or pain. Additionally, the potential use-cases of intelligent speech analysis for COVID-19 diagnosed patients has also been presented. In particular, by analysing speech recordings from these patients, an audio-only-based model to automatically categorise the health state of patients from four aspects, including the severity of illness, sleep quality, fatigue, and anxiety, is constructed. This work shows promise in estimating the severity of illness. Machine learning methods have been explored to recognize and diagnose coughs from different diseases. These included a low complexity, automated recognition and diagnostic tool for screening respiratory infections that utilizes convolutional neural networks (CNNs) to detect cough within environment audio and diagnose three potential illnesses (i.e. bronchitis, bronchiolitis and pertussis) based on their unique cough audio features. A large-scale crowdsourced dataset of respiratory sounds has been collected to aid diagnosis of COVID-19: coughs and breathing sounds are sufficient to distinguish users affected by COVID-19 versus those affected by asthma or healthy controls. Behind these studies is the ambition that automated systems to screen for respiratory diseases based on voice, raw cough or other sound data would have positive medical applications in both clinical and public health arenas. == List of apps to analyse COVID-19 sounds ==
Super-resolution imaging
Super-resolution imaging (SR) is a class of techniques that improve the resolution of an imaging system. In optical SR the diffraction limit of systems is transcended, while in geometrical SR the resolution of digital imaging sensors is enhanced. In some radar and sonar imaging applications (e.g. magnetic resonance imaging (MRI), high-resolution computed tomography), subspace decomposition-based methods (e.g. MUSIC) and compressed sensing-based algorithms (e.g., SAMV) are employed to achieve SR over standard periodogram algorithm. Super-resolution imaging techniques are used in general image processing and in super-resolution microscopy. == Super-resolution principles == Several concepts are fundamental to super-resolution imaging: Diffraction limit: the capacity of an optical instrument to reproduce the details of an object in an image has limits that are imposed by laws of physics: the diffraction equations in the wave theory of light, or the uncertainty principle for photons in quantum mechanics. Information transfer can never be increased beyond this boundary, but packets outside the limits can be cleverly swapped for (or multiplexed with) some inside it. Super-resolution microscopy does not so much “break” as “circumvent” the diffraction limit. New procedures probing electro-magnetic disturbances at the molecular level (in the so-called near field) remain fully consistent with Maxwell's equations. Spatial frequency domain: A succinct expression of the diffraction limit is given in the spatial frequency domain. In Fourier optics light distributions are expressed as superpositions of a series of grating light patterns in a range of fringe widths - these widths represent the spatial frequencies. It is generally taught that diffraction theory stipulates an upper limit, the cut-off spatial-frequency, beyond which pattern elements fail to be transferred into the optical image, i.e., are not resolved. But in fact what is set by diffraction theory is the width of the passband, not a fixed upper limit. No laws of physics are broken when a spatial frequency band beyond the cut-off spatial frequency is swapped for one inside it: this has long been implemented in dark-field microscopy. Nor are information-theoretical rules broken when superimposing several bands, disentangling them in the received image needs assumptions of object invariance during multiple exposures, i.e., the substitution of one kind of uncertainty for another. Information: When the term super-resolution is used in techniques based on the inference of object details using a statistical treatment of the image within standard resolution limits (for example, averaging multiple exposures), it involves an exchange of one kind of information (extracting signal from noise) for another (the assumption that the target has remained invariant). Recent breakthroughs incorporate quantum-transformer hybrids into super-resolution, such as QUIET‑SR, a 2025 model that employs shifted quantum window attention within a transformer to enhance image detail while respecting diffraction and information-theory limits Similarly, frequency-integrated transformers (e.g., FIT) enrich super-resolution by explicitly combining spatial and frequency-domain information via FFT-based attention, improving reconstruction across scales Resolution and localization: True resolution involves the distinction of whether a target, e.g. a star or a spectral line, is single or double, ordinarily requiring separable peaks in the image. When a target is known to be single, its location can be determined with higher precision than the image width by finding the centroid (center of gravity) of its image light distribution. The word ultra-resolution had been proposed for this process but it did not catch on, and the high-precision localization procedure is typically referred to as super-resolution. == Techniques == === Optical or diffractive super-resolution === Substituting spatial-frequency bands: Though the bandwidth allowable by diffraction is fixed, it can be positioned anywhere in the spatial-frequency spectrum. Dark-field illumination in microscopy is an example. See also aperture synthesis. ==== Multiplexing spatial-frequency bands ==== An image is formed using the normal passband of the optical device. Then, some known light structure (for example, a set of light fringes) is superimposed on the target. The image now contains components resulting from the combination of the target and the superimposed light structure, e.g. moiré fringes, and carries information about target detail which simple unstructured illumination does not. The “superresolved” components, however, need disentangling to be revealed. For an example, see structured illumination (figure to left). ==== Multiple parameter use within traditional diffraction limit ==== If a target has no special polarization or wavelength properties, two polarization states or non-overlapping wavelength regions can be used to encode target details, one in a spatial-frequency band inside the cut-off limit the other beyond it. Both would use normal passband transmission but are then separately decoded to reconstitute target structure with extended resolution. ==== Probing near-field electromagnetic disturbance ==== Super-resolution microscopy is generally discussed within the realm of conventional optical imagery. However, modern technology allows the probing of electromagnetic disturbance within molecular distances of the source, which has superior resolution properties. See also evanescent waves and the development of the new super lens. === Geometrical or image-processing super-resolution === ==== Multi-exposure image noise reduction ==== When an image is degraded by noise, the resolution may be improved by averaging multiple exposures. See example on the right. ==== Single-frame deblurring ==== Known defects in a given imaging situation, such as defocus or aberrations, can sometimes be mitigated in whole or in part by suitable spatial-frequency filtering of even a single image. Such procedures all stay within the diffraction-mandated passband, and do not extend it. ==== Sub-pixel image localization ==== The location of a single source can be determined by computing the "center of gravity" (centroid) of the light distribution extending over several adjacent pixels (see figure on the left). Provided that there is enough light, this can be achieved with arbitrary precision, very much better than pixel width of the detecting apparatus and the resolution limit for the decision of whether the source is single or double. This technique, which requires the presupposition that all the light comes from a single source, is at the basis of what has become known as super-resolution microscopy, e.g. stochastic optical reconstruction microscopy (STORM), where fluorescent probes attached to molecules give nanoscale distance information. It is also the mechanism underlying visual hyperacuity. ==== Bayesian induction beyond traditional diffraction limit ==== Some object features, though beyond the diffraction limit, may be known to be associated with other object features that are within the limits and hence contained in the image. Then conclusions can be drawn, using statistical methods, from the available image data about the presence of the full object. The classical example is Toraldo di Francia's proposition of judging whether an image is that of a single or double star by determining whether its width exceeds the spread from a single star. This can be achieved at separations well below the classical resolution bounds, and requires the prior limitation to the choice "single or double?" The approach can take the form of extrapolating the image in the frequency domain, by assuming that the object is an analytic function, and that we can exactly know the function values in some interval. This method is severely limited by the ever-present noise in digital imaging systems, but it can work for radar, astronomy, microscopy or magnetic resonance imaging. More recently, a fast single image super-resolution algorithm based on a closed-form solution to ℓ 2 − ℓ 2 {\displaystyle \ell _{2}-\ell _{2}} problems has been proposed and demonstrated to accelerate most of the existing Bayesian super-resolution methods significantly. == Aliasing == Geometrical SR reconstruction algorithms are possible if and only if the input low resolution images have been under-sampled and therefore contain aliasing. Because of this aliasing, the high-frequency content of the desired reconstruction image is embedded in the low-frequency content of each of the observed images. Given a sufficient number of observation images, and if the set of observations vary in their phase (i.e. if the images of the scene are shifted by a sub-pixel amount), then the phase information can be used to separate the aliased high-frequency content from the true low-frequency content, and the full-resolution image can be accurate
Vegas Pro
Vegas Pro (formerly known as Sony Vegas) is a professional video editing software package for non-linear editing (NLE), designed to run on the Microsoft Windows operating system. The first release of Vegas Beta was on June 11, 1999. Vegas was originally developed as a non-linear audio editing application. Version 2.0 would split the program into audio and video editing variants, with the former being dropped by version 4.0, making the video offering the only variant available to consumers. Vegas Pro features real-time multi-track video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects, compositing tools, 24-bit/192 kHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. The software was originally published by Sonic Foundry until May 2003, when Sony purchased Sonic Foundry and formed Sony Creative Software. On May 24, 2016, Sony announced that Vegas was sold to MAGIX, which formed VEGAS Creative Software, to continue support and development of the software. As of the end of March 2026, it was publicly announced that Boris FX had taken ownership of Vegas Pro. Each release of Vegas is sold standalone; however, upgrade discounts are sometimes provided. == Features == Vegas does not require any specialized hardware to run properly, allowing it to operate on any Windows computer that meets the system requirements. == History == Vegas 1.0 was released after a brief public beta by Sonic Foundry on July 23, 1999 at the NAMM Show in Nashville, Tennessee as an audio-only tool with a particular focus on re-scaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Martin Walker from Sound on Sound described working in Vegas 1.0 as a "very pleasurable experience, especially since so many functions are highly intuitive" though also criticizing some features as hard to figure out due to the lack of a central help file. Later, on June 12, 2000, Vegas Video and Audio 2.0 (also referred to as just Vegas 2.0) was released, with its beta releasing earlier that year on April 10. This was the first version of Vegas to include video-editing tools and was also the first to have a low-cost "LE" version alongside the regular release. The LE releases would continue through version 3.0 of Vegas but would be discontinued by the release of Vegas 4.0. Vegas 3.0 was released the next year on December 3, and added new video effects, features for ease-of-use with DV, and support for editing Windows Media files. Vegas 4.0 was released on 6 February 2003 and added application scripting, advanced color correction, 5.1 surround sound mixing, and Steinberg ASIO support. This was the last release under the Sonic Foundry name after it sold much of its software suite, including Sound Forge and Acid Pro, to Sony Pictures Digital for $18 million later in 2003. Under Sony's ownership, Vegas 5.0 was released on April 19, 2004, bringing 3D track motion, compositing, reversing, envelope automation, etc. 7.0 also added an improved video preview, enhanced layout management, improved snapping, and more customization. With the release of 8.0, Sony opted to go back to the original "Vegas Pro" branding that the first version released with. It added the ability to burn Blu-ray and DVD optical media, support for 32-bit floating point audio, support for tempo-based audio effects, and more. It also moved the timeline to the bottom of the window by default with the option of moving it back to the top if the user wished to. Sony was also experimenting with 64-bit at this time and ported Vegas Pro 8.0 to 64-bit systems under the name "Vegas Pro 8.1". Vegas Pro 9.0 added support for 4K resolution and pro camcorder formats like Red and XDCAM EX. In 2009, Sony Creative Software purchased the Velvetmatter Radiance suite of video FX plug-ins which were included in Sony Vegas Pro 9.0. As a result, they were no longer available as a separate product from Velvetmatter. Vegas Pro 10 was released in 2010 with stereoscopic 3D editing, image stabilization, OpenFX plugin support, real-time audio event effects, and a few UI changes. This was the last release to include support for Windows XP. Vegas Pro 11 was released the next year on 17 October, with GPGPU video acceleration, enhanced text tools, enhanced stereoscopic/3D features, RAW photo support, and new event synchronization mechanisms. In addition, Vegas Pro 11 comes pre-loaded with "NewBlue" Titler Pro, a 2D and 3D titling plug-in. Vegas Pro 12 would add two new configurations: Vegas Pro 12 Edit, for "Professional Video and Audio Production"; and Vegas Pro 12 Suite, for "Professional Editing, Disc Authoring, and Visual Effects Design". Vegas Pro 13 would be the last version released with Sony branding after the acquisition of much of Sony Creative Software's library by Magix. After they acquired Vegas, Magix released version 14 on September 20, 2016. It featured advanced 4K upscaling as well as many bug fixes, a higher video velocity limit, RED camera support, and a variety of other features. This was also the last version to have the light theme enabled by default. Released on August 28, 2017, Vegas Pro 15 features major UI changes that claim to bring usability improvements and customization. It was the first version of VEGAS Pro to have a dark theme; it also allows more efficient editing speeds, including adding new shortcuts to speed the video editing process. Vegas Pro 15 includes support for Intel Quick Sync Video (QSV) and other technologies, as well as various other features. It introduced a new VEGAS Pro icon as a V. Vegas Pro 16 has some new features including file backup, motion tracking, improved video stabilization, 360° editing and HDR support. Magix has continued to improve Vegas through version 21 with support for reading Matroska files, a more detailed render dialogue, live streaming, VST3 support, a VST 32-bit bridge, and a selective Paste Event Attributes menu. Magix would later release a subscription model for using Vegas named "Vegas Pro 365" on January 17, 2018, although the perpetual licence is still an option for customers. This version includes cloud-based speech synthesis among other features not included in the mainline Vegas release. == Version history == Each release of Vegas is sold standalone, however upgrade discounts are sometimes provided. === Vegas Beta === Sonic Foundry introduced a sneak preview version of Vegas Pro on June 11, 1999. It is called a "Multitrack Media Editing System". === Vegas 1.0 === Released on July 23, 1999 at the NAMM Show in Nashville, Tennessee, Vegas was an audio-only tool with a particular focus on rescaling and resampling audio. It supported formats like DivX and Real Networks RealSystem G2 file formats. Version 1.0 is the final Vegas release to include Windows 95 support. === Vegas Video beta (Vegas 2.0 beta) === Released on April 10, 2000, this was the first version of Vegas to include video-editing tools. === Vegas Video (Vegas 2.0) === Released on June 12, 2000. Version 2.0 is the final Vegas Video release to include Windows NT 4.0 support. === Vegas Video 3.0 === Released on December 3, 2001. This release added: New Video Effects – Lens Flare, Light Rays, Film FX, Color Curves, Mirror, Remap, Deform, Convolution, Linear Blur, Black Restore, Levels, Unsharp Mask, Color Grading, and Timecode Burn filter. Batch Capture with Automatic Scene Detection – Captures DV with automatic scene detection, batch capture, tape logging, still image capture and thumbnail previews. Red Book Audio CD Mastering with CD Architect (TM) Technology – Used for burning Red Book audio CD masters directly from the Vegas timeline with ISRC, UPC, and PQ list support. New Sonic Foundry DV Codec – Introduces a DV codec developed by Sonic Foundry that offers artifact-free compositing and DV chromakeying. DV Print-to-Tape from the Timeline – Prints projects to DV cameras and decks from the Vegas timeline. Windows Media (TM) File Editing – Creates and edits Windows Media (TM) files. New MPEG Encoding Tools – Used for producing MPEG-2 files for DVD productions. Dynamic RAM Previewing – Temporary RAM/render-free previews for analysis and tweaking of complex video FX without rendering. VideoCD and Data CD Burning – Burning projects directly to VideoCD for playback on most DVD players or data CDs for playback computers' CD-ROMs. === Vegas 4.0 === Released on February 6, 2003. This release added: Advanced Color Correction Tools Searchable Media Pool Bins Vectorscope, Histogram, Parade and Waveform Monitoring Application Scripting Improved Ripple Editing Motion Blur and Super-Sampling Envelopes 5.1 Surround Mixing Dolby® Digital AC-3 Encoding certified and tested by Dolby Laboratories DirectX® Audio Plug-In Effects Automation ASIO Driver Support Windows Media™ 9 Support, including Surround Encoding DVD Authoring with AC-3 File Import Capabilities Integration with DVD Architect via Chap
ConEmu
ConEmu (short for Console emulator) is a free and open-source tabbed terminal emulator for Windows. ConEmu presents multiple consoles and simple GUI applications as one customizable GUI window with tabs and a status bar. It also provides emulation for ANSI escape codes for color, bypassing the capabilities of the standard Windows Console Host to provide 256 and 24-bit color in Windows. The program has a large range of customization, including custom color palettes for the standard 16 colors, hotkeys, transparency, an auto-hideable mode (similar to the way Quake originally displayed its developer console). Initially, the program was created as a companion to Far Manager, bringing some features common for graphical file managers to this console application (thumbnails and tiles, drag and drop with other windows, true color interface, and others). As of 2012, ConEmu could be used with any other Win32 console application or simple GUI tool (such as Notepad, PuTTY or DOSBox). ConEmu doesn't provide any shell itself, but rather allows using any other shell. It does provide a limited macro language, to control the hosted applications startup.
LCD crosstalk
LCD crosstalk is a visual defect in an LCD screen which occurs because of interference between adjacent pixels. Owing to the way rows and columns in the display are addressed, and charge is pushed around, the data on one part of the display has the potential to influence what is displayed elsewhere. This is generally known as crosstalk, and in matrix displays typically occurs in the horizontal and vertical directions. Crosstalk used to be a serious problem in the old passive-matrix (STN) displays, but is rarely discernable in modern active-matrix (TFT) displays. A fortunate side effect of inversion (see above) is that, for most display material, what little crosstalk there is largely cancelled out. For most practical purposes, the level of crosstalk in modern LCDs is negligible. Certain patterns, particularly those involving fine dots, can interact with the inversion and reveal visible crosstalk. If you try moving a small Window in front of the inversion pattern (above) which makes your screen flicker the most, you may well see crosstalk in the surrounding pattern. Different patterns are required to reveal crosstalk on different displays (depending on their inversion scheme).