Flavia Mazzanti

Resolution is not the same as sharpness. The former tells us how much disk space is required, the latter is measured as MTF (modulation transfer function) and basically tells us how sharp the image is. Typically it is expressed by number of lines or line pairs (cycles) per picture height or width with some contrast (typically 20% - that humans can just discern (MTF20) , or 50% that humans perceive clearly (MTF50). Usually there is no correlation between resolution and sharpness - some 4K cameras are actually (measurably and subjectively) sharper than some 12K cameras. Or, in other words, pixel quality matters. IRIS.Analyst allows us to easily measure image sharpness of any image (doesn't have to be a chart).

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This post came out of a dialog about AI in animation. So I decided to open up the topic a bit. Read the full post on our blog. "For AI to be successfully incorporated into major production processes, it is important that research and development in this area takes into account the real needs of animation studios and professionals. The industry could benefit greatly if AI solutions are developed with animators' requirements in mind - such as the ability to control every aspect of movement, flexible emotion tuning, synchronisation of multi-person scenes and stable handling of dynamic backgrounds. AI in animation has huge potential, but more collaboration between developers, studios and professionals is required to fully realise its potential." #AI #technology #animation #

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On May 15th the early bird phase of XRCC ends and the ticket price will increase from 30€ to 60€ 📈 If you have been considering to join or not now is the time to get your spot. Additionally, we have sold 90/150 tickets already 🤯 Another reason why you should not sleep on this. If you can't make it due to geographical reasons 🌍 - Reply to this and tell me where you'd like to host our next XRCC Event - And tell us why this would be a good location to do so - Or would you prefer an online/hybrid event? If you already applied, and got approved, but didn't get the registration link let us know ASAP. This might be on our side and we'll get you the link before prices increase. This is going to be the most epic event this year! - The immersive insiders - hosting XRCC team is working on this day and night. Quick Teaser: We might have a mobile ice cream station🍦 it's pretty hot in June after all 😎 Apply here - https://xrcc.events/

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Some significant numbers here. "Better data will result in better numbers for the industry, Will Page argues" Well, an EU Music Observatory based on shared usage data across Publishing, Recording and Live Music could be a good start. Instrumental to say the least towards a better understanding of key economic and cultural trends in music, from discoverability to diversity. Does it sound achievable ? via Music Business Worldwide (MBW) https://lnkd.in/e2K2wKCk #Music #MusicBiz #CCI #MusicIndustry

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How do we know when the music is right for a movie? The truth is, we don’t - We test it. 🤷‍♀️ Music has the power to shape a film’s emotional tone and influence how an audience perceives a scene. Take, for example, an episode of "Mona Mittendrin", a beloved series, which followed the national women’s football team preparing for the World Cup. I composed two different tracks for the same sports theme, and although the images stayed the same, each track created a completely different emotional impact. Take a look and listen - even with just some photos you can feel the difference. So, how do we know which music is right? It all depends on what we want to communicate. The only way to find out is by testing - playing each track with the visuals and asking for feedback. And: the director decides what music will be used, not the composer. I offer musical options but the director has the full vision of the story in mind, ensuring the music aligns with the narrative and emotional arc of the scene. The episode is airing today 🎬 I am curious to know which music you would choose? The one in the beginning or the other one? (they change again)

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On May 15th the early bird phase of XRCC ends and the ticket price will increase from 30€ to 60€ 📈 If you have been considering to join or not now is the time to get your spot. Apply here - https://xrcc.events/ Additionally, we have sold 90/150 tickets already 🤯 Another reason why you should not sleep on this. If you can't make it due to geographical reasons 🌍 • Reply to this and tell me where you'd like to host our next XRCC Event • And tell us why this would be a good location to do so • Or would you prefer an online/hybrid event? If you already applied, and got approved, but didn't get the registration link let us know ASAP. This might be on our side and we'll get you the link before prices increase. This is going to be the most epic event this year! - The immersive insiders - hosting XRCC is working on this day and night. Quick Teaser: We're going to have a mobile ice cream station🍦 • it's pretty hot in June after all 😎 P.S. Please engage/share this with your network so we can make more events like these in the future ❤️

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KI Kompass (🇩🇪) from BUZZWOO! GmbH & Co. KG offers you to compare different LLMs either in specs or with a prompt comparison. It‘s pretty cool and you can gain some insights into a lot of models. #ai #llms #comparison #genai #arena

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Do YOU want a couple of free plugins? 120 Euro value. Watch the whole video to find out how you can be one of FIVE winners of the 0v1 Records Plutonium Plugins. I personally use them in all my productions. All I have to say is; Listen with your body. It's all about the feel. What do the Plutonium plugins do? Plutonium is a powerful psychoacoustic plugin that adds sub-audible signals to specific stereo ranges creating an effect that can be physically felt rather than heard. It utilises advanced techniques in stereo, compression, equalisation, and transient alteration to excite frequencies at specific stereo ranges. With Plutonium and PlutoniumXtra, music producers, engineers, and audiophiles can take their audio to the next level. Want to know more? Please go to the 0v1 Records website: https://lnkd.in/gmYbfT2m HOW TO WIN? 1. Leave a comment below, sharing why you, or someone you know deserves to be one of the lucky winners. 2. Engage with the community by liking the comments that inspire you the most. 3. The comments with the highest number of likes will receive the coveted Plutonium Plugins codes, absolutely free! PS! Make sure I can reach you, the winners of this contest. And now.....it is up to you. SHOW LESS

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And now I know why Krotos Audio was marked down so much on Black Friday… still happy I nabbed it for more intricate custom SFX work. Every workflow is changing so rapidly by the day. While I’m incredibly excited and wide-eyed at the creative opportunities, I also grieve and mourn and celebrate the journeys I have taken in production methodologies as they have evolved in the last 25 years. Sound effects editing for cartoons was my first freelance job graveyard-shift out of college, digging (not graves, thankfully! It was a cold Ottawa winter for most of the gig) through the classic sounds of the Warner Brothers and Hanna-Barberra libraries… with all the hits and stings that were infinitely recognizable through cherished hits in the last 75 years. I definitely learned an inescapable cultural shorthand in that gig! The reuse of those sonic gags made all the modern visual comedic beats and hits I was syncing to all the funnier for what those originally placed sounds made us feel in so many moments in animation history…. Often created decades before the audience was born. If one used the same sound but recorded in a cleaner, more modern production method… it lost a lot of impact. The limited frequency response. The wildly more cluttered sonic field. The tape hiss of the Ampex or Nagra heads staying firm as miles of sticky tape and rust coasted calmly past at various inches per second (and likely careful deviances at the ‘shrewd’ requests of penny-pinching production accountants of the day). For all its lack of precision, it somehow all coaxed more depth in our laughter from the very character of the recordings themselves. Somehow the vast hard drives and audio CD’s of the versions we had of those classic sounds still kept their soul as I blazed through ProTools at all tender hours of the day, carefully placing/chopping/time-stretching-the-hell out of those 16-bit 44.1khz binary maps of all those vivid frequencies. It will be deeply interesting to see how these models develop in terms of the nuances of our cultural imprints and sentimentality, or indeed if all those generational shorthands will be lost in the infinite averaging machines whizzing at our insatiable need to be narratively soothed in these ever-more-bizarre and fascinating times. #changes #soundeffects #editing #ai #film #history #tech #goodtimes #methods #sfx

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Not all hi-fi shows are created equal. Also, not all hi-fi shows are relevant for hi-fi publications to even cover; in fact, many ARE NOT. In this latest podcast episode about High End 2024, we talk about why we do and don't cover certain hi-fi shows. https://lnkd.in/e6vCTKci

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Coldplay's new release, Moon Music, includes something truly special: a replica of Chris Martin's actual studio notebook. 28 pages of raw creativity—scribbles, crossed-out lyrics, sketches. It's not polished. It's not fancy. But that's precisely why it works. This peek behind the curtain feels personal, inviting fans into the messy, real process behind the music. And Coldplay's not alone: • Charli XCX tucked an actual diary page into her Brat vinyl earlier this year • White Lies currently sharing real-time studio updates with their fan club Why does this resonate so deeply? Maybe we're craving something real in a world of polished social media posts. Maybe it's that deep-down need to be part of something bigger. Whatever it is, one thing's clear: FANS. WANT. IN. These "little windows" into an artist's world create a sense of intimacy that's hard to manufacture—and even harder to beat when it comes to deepening fan connections. So, let's get practical. How can you bring your fans closer? Here are some ideas: 1. Add rough demos to DTC downloads - perfect for spicing up digital music sales in your store. 2. Include handwritten notes in physical releases - giving fans a peek into your creative brain and process. 3. Share real-time studio updates with fans using Posts - Single’s latest fan community tool... and the easiest way to reach fans directly from your Shopify store! For artists and labels, the message is clear: Open up. Let fans in. Share the process, not just the polished product. These strategies aren't just about sharing content—they're about creating moments of connection. - - - PS: Want more D2C insights with real examples like this on Shopify? Subscribe to Single's newsletter that drops every Friday for more tips on going direct-to-fan & deepening fan connections: https://sn.gl/newsletter

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WebSummit Rio discusses Generative Artificial Intelligence as one of the main subjects of the event! #generativeartificialintelligence #ai #websummit #web3 #womenintech

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Amazing Article from our very own Magda Domagała "The dynamic interplay first brought about by the web and social, then evolved by AI and spatial computing, has not only democratised fandom, but has also blurred the lines between reality and fiction, giving rise to more interconnected and personally resonant relationships between fans and the characters that define the cultural landscape." Have a read: https://lnkd.in/ep6D4Qu7

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I have written many times, here, and in business publications about 𝘁𝗵𝗲 𝗶𝗺𝗽𝗮𝗰𝘁 𝗼𝗳 𝗮𝗶 𝗮𝗴𝗲𝗻𝘁𝘀 𝗼𝗻 𝘀𝘁𝗼𝗿𝘆𝘁𝗲𝗹𝗹𝗶𝗻𝗴. AI and storytelling are becoming deeply intertwined, as demonstrated in innovative projects like Walkcast. 𝗪𝗮𝗹𝗸𝗰𝗮𝘀𝘁 𝘂𝘀𝗲𝘀 𝗔𝗜 𝘁𝗼 𝗱𝘆𝗻𝗮𝗺𝗶𝗰𝗮𝗹𝗹𝘆 𝗴𝗲𝗻𝗲𝗿𝗮𝘁𝗲 𝗻𝗮𝗿𝗿𝗮𝘁𝗶𝘃𝗲𝘀 𝗯𝗮𝘀𝗲𝗱 𝗼𝗻 𝘁𝗵𝗲 𝘂𝘀𝗲𝗿’𝘀 𝘀𝘂𝗿𝗿𝗼𝘂𝗻𝗱𝗶𝗻𝗴𝘀 𝗱𝘂𝗿𝗶𝗻𝗴 𝘄𝗮𝗹𝗸𝘀, blending reality with creative elements. The storytelling process is driven by “agents” — AI-powered entities that take on different roles. For example: • 𝗧𝗵𝗲 𝗖𝘂𝗿𝗮𝘁𝗼𝗿 gathers facts from the environment, offering real or imagined points of interest. • 𝗧𝗵𝗲 𝗘𝗱𝗶𝘁𝗼𝗿 crafts these elements into a cohesive and dynamic script, sometimes adding creative twists. • 𝗧𝗵𝗲 𝗛𝗼𝘀𝘁 delivers the narrative with the right tone, adapting as the walk continues. These agents operate 𝗶𝗻 𝗮 𝗰𝗼𝗻𝘁𝗶𝗻𝘂𝗼𝘂𝘀 𝗹𝗼𝗼𝗽, 𝗰𝗿𝗲𝗮𝘁𝗶𝗻𝗴 𝗻𝗲𝘄 𝗰𝗼𝗻𝘁𝗲𝗻𝘁 𝗮𝘀 𝗹𝗼𝗻𝗴 𝗮𝘀 𝘁𝗵𝗲 𝘂𝘀𝗲𝗿 𝗰𝗼𝗻𝘁𝗶𝗻𝘂𝗲𝘀 𝘄𝗮𝗹𝗸𝗶𝗻𝗴. The goal is to transform each step into a 𝘀𝘂𝗿𝗽𝗿𝗶𝘀𝗶𝗻𝗴 𝗺𝗼𝗺𝗲𝗻𝘁, 𝗿𝗲𝘃𝗲𝗮𝗹𝗶𝗻𝗴 𝗵𝗶𝗱𝗱𝗲𝗻 𝗹𝗮𝘆𝗲𝗿𝘀 𝗼𝗳 𝘁𝗵𝗲 𝗲𝗻𝘃𝗶𝗿𝗼𝗻𝗺𝗲𝗻𝘁 𝗮𝗿𝗼𝘂𝗻𝗱 𝘁𝗵𝗲 𝘂𝘀𝗲𝗿. You can learn more about this project right here: https://www.oio.news/p/28 #Storytelling #AI #podcasts

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My dear colleagues Anna Schild and Julia Bayer at DW Innovation have put together an article about synthetic audio and elections. They share their research, examples and very importantly, tips for you how to handle #synthetic #audio verification challenges. Let us know what you think and what challenges you have with synthetic audio detection! https://lnkd.in/emMt2UPt

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Change makers don’t understand games; game makers don’t understand change. Policy makers, researchers and activists don’t really leave their own realities to visit the crazy multiverse of gaming. At the same time, game developers often think sustainability is about trowing plastic bottles in the recycling or about putting windmills in a grid. We need to bridge this divide if games are going to mean something for our collective futures. Change makers and game developers need to actually step into each other’s worlds. Having worked as a researcher on games and better futures for a number years in Anticiplay and now in Strategies Horizon, I find myself moving between two realities. The one reality is that of policy makers and researchers who want to use games for social impact on issues like sustainability. The other reality is the game industry, where people want to make good games, driven by a mix of commercial and artistic ambitions. There is a pretty huge rift between these two worlds. So how do we bridge it? Read on. Spotlighting Dutch Game Garden and Fossielvrij NL, as well as highlighting work by Arnaud Fayolle; International Game Developers Association (IGDA®) Climate SIG; Playing for the Planet; and HKU (Hogeschool voor de Kunsten Utrecht).

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Are you all ready for the new UE 2023/1115 rules? December 30 is coming… Good luck to everyone. Chat GPT summarizes it as follow: As a board game publisher, Regulation (EU) 2023/1115, aimed at combating deforestation and forest degradation, could impact your business if your products contain materials such as wood, paper, or cardboard. Here are the main points to consider: ***Identification of relevant materials*** The regulation applies to basic commodities such as wood and its derivatives, including paper and cardboard. If your games use these materials, they may be subject to the new obligations. ***Due diligence requirements*** You will need to implement due diligence procedures to ensure that the materials used do not come from land deforested after December 31, 2020, and that they comply with the laws of the country of origin. This involves: • Collecting detailed information about the supply chain. • Assessing deforestation risks associated with your suppliers. • Taking measures to mitigate these risks, if necessary. ***Material traceability*** It will be necessary to trace the origin of the materials down to the plot of land where they were produced. This traceability is essential to demonstrate compliance with the regulation. ***Documentation and declaration*** You will need to provide a due diligence declaration confirming that your products comply with the regulation's requirements. This documentation must be made available to the competent authorities in case of an inspection. ***Collaboration with suppliers*** It is crucial to work closely with your suppliers to obtain the necessary information and ensure compliance throughout the entire supply chain. ***Adaptation of internal processes*** You may need to adjust your internal processes to integrate these new obligations, including training your staff on the regulation's requirements and implementing appropriate management systems. *** In summary, Regulation (EU) 2023/1115 requires board game publishers using wood-derived materials to ensure their products do not contribute to deforestation and comply with applicable laws. This necessitates increased vigilance regarding the origin of materials and strengthened collaboration with suppliers to ensure compliance. https://lnkd.in/ebFWfid2 #Games #gameindustry #game #jeudesociete #jeuxdesociete #boardgame #boardgames

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