The EU Artificial Intelligence (AI) Act, which went into effect on August 1, 2024.
This act implements a risk-based approach to AI regulation, categorizing AI systems based on the level of risk they pose. High-risk systems, such as those used in healthcare, transport, and law enforcement, face stringent requirements, including risk management, transparency, and human oversight.
Key provisions of the AI Act include:
Transparency and Safety Requirements: AI systems must be designed to be safe, transparent, and easily understandable to users. This includes labeling requirements for AI-generated content, such as deepfakes (Engadget).
Risk Management and Compliance: Companies must establish comprehensive governance frameworks to assess and manage the risks associated with their AI systems. This includes compliance programs that cover data privacy, ethical use, and geographical considerations (Faegre Drinker Biddle & Reath LLP) (Passle).
Copyright and Data Mining: Companies must adhere to copyright laws when training AI models, obtaining proper authorization from rights holders for text and data mining unless it is for research purposes (Engadget).
Prohibitions and Restrictions: AI systems that manipulate behavior, exploit vulnerabilities, or perform social scoring are prohibited. The act also sets out specific rules for high-risk AI applications and imposes fines for non-compliance (Passle).
For US tech firms, compliance with the EU AI Act is critical due to the EU’s significant market size
FLUX (or FLUX. 1) is a suite of text-to-image models from Black Forest Labs, a new company set up by some of the AI researchers behind innovations and models like VQGAN, Stable Diffusion, Latent Diffusion, and Adversarial Diffusion Distillation
Depth of field is the range within which focusing is resolved in a photo.
Aperture has a huge affect on to the depth of field.
Changing the f-stops (f/#) of a lens will change aperture and as such the DOF.
f-stops are a just certain number which is telling you the size of the aperture. That’s how f-stop is related to aperture (and DOF).
If you increase f-stops, it will increase DOF, the area in focus (and decrease the aperture). On the other hand, decreasing the f-stop it will decrease DOF (and increase the aperture).
The red cone in the figure is an angular representation of the resolution of the system. Versus the dotted lines, which indicate the aperture coverage. Where the lines of the two cones intersect defines the total range of the depth of field.
This image explains why the longer the depth of field, the greater the range of clarity.
QuickTime (.mov) files are fundamentally time-based, not frame-based, and so don’t have a built-in, uniform “first frame/last frame” field you can set as numeric frame IDs. Instead, tools like Shotgun Create rely on the timecode track and the movie’s duration to infer frame numbers. If you want Shotgun to pick up a non-default frame range (e.g. start at 1001, end at 1064), you must bake in an SMPTE timecode that corresponds to your desired start frame, and ensure the movie’s duration matches your clip length.
How Shotgun Reads Frame Ranges
Default start frame is 1. If no timecode metadata is present, Shotgun assumes the movie begins at frame 1.
Timecode ⇒ frame number. Shotgun Create “honors the timecodes of media sources,” mapping the embedded TC to frame IDs. For example, a 24 fps QuickTime tagged with a start timecode of 00:00:41:17 will be interpreted as beginning on frame 1001 (1001 ÷ 24 fps ≈ 41.71 s).
Embedding a Start Timecode
QuickTime uses a tmcd (timecode) track. You can bake in an SMPTE track via FFmpeg’s -timecode flag or via Compressor/encoder settings:
Compute your start TC.
Desired start frame = 1001
Frame 1001 at 24 fps ⇒ 1001 ÷ 24 ≈ 41.708 s ⇒ TC 00:00:41:17
The human eye perceives half scene brightness not as the linear 50% of the present energy (linear nature values) but as 18% of the overall brightness. We are biased to perceive more information in the dark and contrast areas. A Macbeth chart helps with calibrating back into a photographic capture into this “human perspective” of the world.
In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale in photography and printing, it is typically defined as 18% reflectance in visible light
Light meters, cameras, and pictures are often calibrated using an 18% gray card[4][5][6] or a color reference card such as a ColorChecker. On the assumption that 18% is similar to the average reflectance of a scene, a grey card can be used to estimate the required exposure of the film.
