The CEO said when asked about Tesla achieving its promised unsupervised self-driving on HW3 vehicles:
We are not 100% sure. HW4 has several times the capability of HW3. It’s easier to get things to work on HW4 and it takes a lot of efforts to squeeze that into HW3. There is some chance that HW3 does not achieve the safety level that allows for unsupervised FSD.
Pixelmator has signed an agreement to be acquired by Apple, subject to regulatory approval. There will be no material changes to the Pixelmator Pro, Pixelmator for iOS, and Photomator apps at this time.
• Slashes file sizes by 90% (250MB → 25MB) with virtually zero quality loss
• Lightning-fast uploads/downloads, especially on mobile
• Dramatically reduced memory footprint
• Enables real-time processing right on your phone
Tech breakthrough:
• Smart compression of position, rotation, color & scale data
• Column-based organization for maximum efficiency
• Innovative fixed-point quantization & log encoding
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.
To measure the contrast ratio you will need a light meter. The process starts with you measuring the main source of light, or the key light.
Get a reading from the brightest area on the face of your subject. Then, measure the area lit by the secondary light, or fill light. To make sense of what you have just measured you have to understand that the information you have just gathered is in F-stops, a measure of light. With each additional F-stop, for example going one stop from f/1.4 to f/2.0, you create a doubling of light. The reverse is also true; moving one stop from f/8.0 to f/5.6 results in a halving of the light.
