I love Elm. We use it in production, though we're not primarily a "web" company and it's used for admin UIs and simple SPAs.
Nothing in Javascript / HTML is very stable--I've hitched my wagon to so many stars that burned out. Everything from XSLT to JQuery to Bootstrap. So the fact that probably, something will replace Elm doesn't bother me.
It works now, it's stable, and it hides most of the crap from me so I can just code. It helps that I've been a "Functional Programmer" since 1980 when I first learned LISP, and that our core products are done in Erlang and F#.
Did you read the article? It says right at the top:
> There is something extremely simple Amazon could do about it. If you have a registered brand in the Brand Registry and don't sell the product wholesale - there could be one box to check for that.
Relative to the size of its population, Israel has a highly developed electronics engineering related industry. Part of it related to their state support of domestic defense contractors like IAI and their avionics/radar/C4I equipment. Aside from Cellbrite, companies like Ceragon, Alvarion, Radwin, ECI, Telrad, Elbit.
Second hand knowledge: Within international organizations that have worked extensively in the Israel-Lebanon border area it is well known that Israel has pwned most of the Lebanese telecoms and ISPs quite thoroughly. To the extent that Hezbollah started laying its own fiber optic cables.
Specifically, many Israli tech people (and especially those in defense) seem to be “graduates” of the IDF’s 8200 SIGINT unit, which has close relationships with VCs in both Israel and the US.
> Relative to the size of its population, Israel has a highly developed electronics engineering related industry. Part of it related to their state support of domestic defense contractors ...
It's not due only to Israeli resources. Much of Israel's defense budget comes from the U.S., plus there is much more support, including technology transfer, that isn't provided in cash.
get over it? it isn't their job to 1. have encyclopedic knowledge of a small and belligerent country and then 2. enforce others to the same standard. no country gets that treatment here.
? Israel defense budget is about 20 billion these days the military aid to Israel is about 2.5 billion without special congressional allowances.
Israel’s GDP is ~320 or so billion.
And if you wondering about the reason for discrepancies from the article above it's because that one is from 2012 the budget is larger and the US dollar devaluation against the Israeli Shekel by 15% since then, in fact fluctuations of the US Foreign Military Financing (FMF) as portion of the Israeli Defense budget are often due to currency exchange as much of the Israeli budget allocated in local currency is spent locally while the FMF is spent over in the US in dollars.
It's also important to note that the Israeli allocation of the budget does not include FMF or any other aid so when Israel allocates say 18 billion USD equivalent in local currency in the budget that is the amount to which the government will fund the defense ministry, beyond that the defense ministry has it's own internal budget which is funded via the Israeli government budget, FMF as well as any additional revenue streams of defense ministry such as rent, dividends from it's share of now privatized national defense contractors like IWI (form Israeli Military Industries) and IAI etc.
Ok then. I guess Apple's a Chinese company or an Irish Company or a Singaporean company because they have subsidiaries--each with a local CEO--in each of those countries:
Cellebrite itself is an Israeli company, despite being a subsidiary of a Japanese one.
Apple is an American company, but they have foreign subsidiaries like Shazam Entertainment, which is a British company. If Apple Singapore is a full subsidiary, then sure, that's a Singaporean company, but Apple Inc wouldn't be.
We own two electric cars: A Tesla P90D and a Chevy Bolt. The Bolt is an American Car, if that matters to you (it does for me) and has an EPA range of 238. (Consumer Reports got 250 in their tests).
We also have a car with an ICE -- a Chevy Volt. It gets 55 miles on all-electric, and has a gas engine too. Handy for when I have to do the occasional long drive and don't want to worry about superchargers, etc.
The Bolt isn't as glamorous as the Tesla S, but it's certainly nicer than the LEAF golf-cart.
I haven't tried the glasses-off product yet, past their demonstration pages, but I did practice this technique for a while based on the recommendations of a friend who similarly discovered it.
The "trick" as I see it is to become comfortable enough with the appearance of blurry text, and be relaxed enough so your eyes aren't constantly trying to focus, and straining the muscles. Once your eyes relax, it's amazing how well a person who's already a proficient reader can get enough information out of blurry text to read at normal speeds. In fact after a while, my brain kicks in and I'd swear that the text is sharp, even though if I pay too much attention it will appear blurry again as I realize my mind is playing tricks on me.
Many of my (Hollywood) clients need to do color grading and other accurate color work.
What platforms do they all use? Not Macintosh, despite its reputation for being the platform for "graphics professionals" (it was missing 10 bit/channel color until very recently). And not Linux, despite its use in render farms.
They use Windows 10 and HP DreamColor monitors. That's the only platform that works and works well for people who need to care about color.
I'm a colorist. Many of us do use windows, many use OSX, many more use Linux. Every major color critical application supports many types of LUTs and color management.
Further, HP Dreamcolors have tons of problems and aren't considered solid for color critical work (but are fine for semi color accurate stuff like intermediate comps etc). Color accurate work is done over SDI with dedicated LUT boxes handling the color transforms and the cheapest monitors being $7500 Flanders Scientific Inc 25" OLED panels.
Yep. I was a Colourist in my former life (TV ads, promo films, music videos mainly), used Resolve on OSX with a Flanders monitor. Most other people I talked to were either using OSX or Linux. (Granted, this is a few years ago when ProRes was the primary capture and delivery codec).
That's interesting regarding OLED, I thought over time the different colour LEDs decay at different rates?
A while ago I had a look at Eizo's 10 bit / channel TFTs, which looked impressive to me (from a layman's perspective), do you have any opinions of those?
Eizo's high end displays are great for almost all uses up to the highest end color critical installs. I recommend them over the DreamColors all the time. You can't get much better without moving to ultra high end pro solutions.
Flanders Scientific, Sony, Dolby in order from cheapest to most expensive. FSi and Sony use the same panels for their 25" models. Sony x300 is the go to right now for affordable HDR. Dolby is the gold standard for non projector color critical work.
For non color critical necessary displays, Eizo is about the best. Lots of" good enough" panels from LG, Acer, and Fell though. I actually have a gaming panel that calibrated surprisingly well and holds those numbers.
The best consumer display by far though are the LG OLED televisions. They're so good that we're installing them in lots of mid level suites as client monitors (aka close enough to our color critical panels).
I don't have any experience with the more expensive panels you listed, but I do have an LG OLED, and I'd be a bit more careful about recommending it for color critical work as a computer monitor.
I've owned it for about a year and the red channel on mine exhibits painfully obvious burn-in patterns.
I don't know why you are being downvoted so hard. Red is a very complicated color on OLED displays and manufacturers admit that frequent calibration is not only necessary but will eventually kill the display after a few years.
Sit in darkened rooms, spin 3 trackballs, and turn a few knobs to make pictures look pretty, mostly. DaVinci Resolve[1] and Baselight[2] are quite popular, take a look at the websites to give yourself an idea of what it looks like.
Hah, thanks! I should have been a little bit clearer - not an ELI5-layperson, a layperson who has some vague handwavey idea of how video/film is made and once read a popular article about orange/teal contrast.
It's more stuff like 'what is it about this process that makes a dedicated colour specialist necessary?', 'what are the things things they're supposed to accomplish?', 'what are their technical and creative constraints/inputs/deliverables?', etc.
I don't agree, the entire visual effects industry, including their color departments, run on linux. Baselight and Resolve, are the two most common color correction programs in the industry, baselight exclusively runs on linux, and the big color companies (company 3, efilm, technicolor) all run resolve on linux. Coloring is done either on projectors, or broadcast monitors (something like a sony PVMA250 on the low end @ ~$6,000)
Do you by any chance have some links where I can read more about Linux as a front-end system in the film/graphics industry? This is field of work in which I would never have guessed Linux to be strong.
Pretty much (there's a bit of Windows at the smaller places) all the big VFX studios (ILM, SPI, Weta, Framestore, MPC, DNeg) are running Linux for almost everything involving content creation, using apps like Maya, Nuke (for compositing), Katana, Houdini, etc.
There are exceptions - some apps (ZBrush) don't run on Linux, so there are Windows machines around, but in general >= 95% of machines the artists and developers use are Linux at the big places.
And most of those apps use OpenColorIO as a framework for handling colourspaces.
It’s mainly in large facilities that run huge jobs with massive amounts of data. Maya, Nuke, Houdini, Flame, Baselight, many in-house VFX software all run perfectly well Linux. And of course the cornucopia of renderers running on their server farms, as might be more expected.
The lineage is from SGI, where many of these applications were born, but as the company faltered and consumer graphics hardware took off thanks to gaming, Linux became the natural home.
Every large visual effects studio runs on linux, with hundreds of linux workstations at each one. Color sensitive work like lighting and compositing has been done for well over a decade on linux. Artist workstations are calibrated and every major computer graphics application has support for look up tables.
>Every large visual effects studio runs on linux, with hundreds of linux workstations at each one. Color sensitive work like lighting and compositing has been done for well over a decade on linux.
That's for rendering, where the OS and Desktop experience doesn't really matter, and the cheaper it is the better.
Few pros do the actual editing and color work (where the decisions are made, not the rendering part) on Linux.
This is just not true, you're spreading misinformation. I am a colorist, I'm the person making these final decisions. Every single high end color suite I've ever been in runs Linux. In fact, the full version of Baselight (one of the defacto color correction suites) only runs on Linux. DaVinci Resolve (one of the other major ones) ran only on Linux for the majority of it's existence and the full panel version (the pro choice) only ran on Linux until last year.
Every major color house I've worked in runs Linux exclusively in their suites (CO3, The Mill, Technicolor, etc).
That's not to say windows and OSX suites don't exist, I use them and my own suite runs windows, but the highest end of color is basically Linux only.
I am really very interested in reading about a typical hardware and software setup for a Linux colorist workstation with a special focus on which graphics card and which drivers to use! Nvidia?
So this is about DaVinci Resolve since it has the most flexibility for setup, many other systems are borderline turnkey.
The recommended setup is a super micro chassis with dual xeons (12 core cpus min rec, 20 core preferred), min 32GB ram (usually at least 64,128+ common on high end systems), SSD for OS, thunderbolt (min)/pciE/10GbE/fibre (preferred) attached storage usually 8 bay raid6 or similar min, almost always NVIDIA GPUs with 8x 1080ti's or the latest Titans being the most common set up I see.
This runs on CentOS or RHEL 6.8 or 7.3.
Video signal is output over SDI from a PCIe to a LUT box (for color transforms) then to a color critical display (FSi, Sony, or Dolby typically with the best suites using cinema projectors). A second SDI runs out to a box showing video scopes. Everything is usually calibrated by light Illusions software and using a Minolta colorimeter probe (typically a 3rd party service does this every few months).
The GUI monitor(s) are usually just regular consumer whatever.
The software is controlled by a large, $30K control panel that looks similar to an airplane cockpit.
That's most of the important stuff, but I can fill in details where you're curious.
Your work sounds fascinating. I was previously into my photography, specifically film (both slide and col neg) - I'm still a big fan of the medium, except for the expenses and faff of getting a good scan and then getting the colour right.
Can you help me answer two things, as both have bugged me for years..?!
How do they achieve a look of tinted monochrome in films, which are still actually in colour? If that doesn't make sense - I'm thinking of films like Heat where there is often a strong blue tint which gives the feel of monochrome but it is all in colour. I've found was able to replicate it somewhat by combining the image with a quadtoned version, but it was still fairly far off tbh.
The other question is - how does colour gamut relate to the brightness of the display? Is it all to do with the dynamic range of each channel - i.e. the difference between black and, say, red, rather than overall brightness? I was at a photography show recently, and was blown away by some of the prints made by some of fuji's printers. Is it ever possible to match the gamut our eyes can see? And what colour space/gamut do you usually work in? Sorry two extra Q's there...
Thanks, and thanks for the fascinating info already.
I think we might have a different definition of "Few pros do ... color work.. on Linux". Have you worked at Sony, Company 3, Dreamworks, Lucasfilm, Pixar, or Deluxe?
So this is about DaVinci Resolve since it has the most flexibility for setup, many other systems are borderline turnkey.
The recommended setup is a super micro chassis with dual xeons (12 core cpus min rec, 20 core preferred), min 32GB ram (usually at least 64,128+ common on high end systems), SSD for OS, thunderbolt (min)/pciE/10GbE/fibre (preferred) attached storage usually 8 bay raid6 or similar min, almost always NVIDIA GPUs with 8x 1080ti's or the latest Titans being the most common set up I see.
This runs on CentOS or RHEL 6.8 or 7.3.
Video signal is output over SDI from a PCIe to a LUT box (for color transforms) then to a color critical display (FSi, Sony, or Dolby typically with the best suites using cinema projectors). A second SDI runs out to a box showing video scopes. Everything is usually calibrated by light Illusions software and using a Minolta colorimeter probe (typically a 3rd party service does this every few months).
The GUI monitor(s) are usually just regular consumer whatever.
The software is controlled by a large, $30K control panel that looks similar to an airplane cockpit.
That's most of the important stuff, but I can fill in details where you're curious.
Are the ports on the 1080ti's used for video output at all? Is there one with SDI out? Or are they just used for CUDA?
At the risk of asking a silly question, what does the LUT-box do that couldn't be done in software (or, I guess, why isn't it done in software)?
This stuff is fascinating to me.
Do you know of any good YouTube videos on colorist hardware? I've seen a couple of videos on workflow, but neither went into the guts of the machines and LUT-boxes.
After reading this Linux rant and seeing how Apple is systematically marginalising its Pro customers, I'm actually inclined to believe you. Windows might be a pain for John Doe sometimes, but Microsoft also makes sure an insane amount of obscure professional features (like color management) keep working.
Everyone needs to characterize (not “calibrate”; that term is highly misleading) their display. The question is just whether you keep the characterization provided by the manufacturer, or measure the display yourself using a hardware device. Either way, the result is a display “profile”, which is basically a lookup table used by software to map color coordinates so that they will appear as expected on the display.
People using Macs certainly do care about ColorSync. That’s the name of the software which uses the display characterization to keep colors looking as expected throughout the operating system and most applications.
In many professional environments the preferred route is to use specialist hardware to send an RGB signal at a high bit rate and do any colour transformation in the monitor hardware.
Using LUTs either at the application or OS level to adjust colour information is a big no-no, although that doesn't stop some people from doing it. You simply don't want to change your colour space[1] until you absolutely have to.
The point of calibrating your monitor (which is a hardware + firmware level problem) is to see how your RGB image will look on a colour space restricted piece of hardware (for example in video this is often 12-bit RGB --> Rec709).
If you have some image data stored with reference to one color space, and you want to convert the data to a different color space (e.g. because you are targeting some particular output device), that is a gamut mapping problem. To learn about different trade-offs involved in choice of gamut mapping algorithms, I recommend Ján Morovič’s monograph, https://www.wiley.com/en-us/Color+Gamut+Mapping-p-9780470030...
Same story if you want to show your image on a display with a different gamut.
Most gamut mapping algorithms used in practice (whether on a display or in software) are actually pretty mediocre in my opinion. It would be possible to do substantially better by writing your own code, at the expense of being a bunch of work. Alas.
P.S. The Wikipedia article about color space (and articles about many other color-related topics) is pretty terrible, but I’ve been too lazy to rewrite it.
I currently work for a media conglomerate where colour tends to matter a lot to both the print and digital channels. I'm not sure which monitors they use as I tend to work rather separate from that group, but they all work on Macs—that's been the case since the late 80's early 90's in publishing and there seems to be no move to stray.
Girls aren't pulling the triggers? The "modern" school shooting was invented by a girl in San Diego when a Brenda Spencer shot up an elementary school:
Amazon is rapidly turning into eBay at its worst. It's very hard to buy things there. I used to send my 85 year old mom to Amazon to buy things, but she has trouble distinguishing name-brand items sold and fulfilled by Amazon from scammy clones. (And those pop-ups for extended warranties aren't good either.)
The fact that they let fake customer support numbers appear in Amazon hosted forums is reprehensible. And facilitating identity theft and money laundering seems downright criminal. I hope this victim can get the attention of a prosecutor.
It's worse than that, the authentic name-brand listing can still ship scammy clones instead because Amazon aggregates the listing from multiple sellers and pretends they're all the same thing
Yep. Just a couple weeks ago we bought Chemex coffee filters - the "Amazon's Choice" ones! We got a counterfeit that didn't even try to replicate the actual product (it was just sheets of tissue paper in the completely wrong shape). Looking at the reviews, we weren't the only ones who got these either.
> It's worse than that, the authentic name-brand listing can still ship scammy clones instead because Amazon aggregates the listing from multiple sellers and pretends they're all the same thing
It's called fraud. Some people here call it "scaling" but it's just good old fraud at scale.
Me and the wife had this conversation last night about whether or not buying things online is really saving time since the means of evaluation is all mental/reading. Confronted with a product in the physical world one can mobilize all sorts of senses at once to evaluate quality simultaneously. Online we're stuck reading reviews and gauging authenticity/quality. The sad part that's become the reality too is that once the thing arrives we're spending extra time scrutinizing the product for signs of being a counterfeit, even when sold directly from Amazon.
Yeah, I've drastically scaled back my Amazon shopping and scaled up my shopping at physical retailers like Best Buy and Barnes and Noble or specialized competitors like Newegg. My reasoning is:
1. Amazon Logistics delivery sucks and I hate them so much.
2. When you actually look, Amazon is no longer price competitive with big box retailers on a lot of products in a lot of areas.
3. I can get my stuff today rather than in ??? + 2 days.
4. I can actually see the stuff in person, and assess quality and size.
5. Much smaller counterfeit problem.
6. I'm afraid of Amazon getting too dominant in the retail space, so I feel good about sending business to its competitors.
I try to only go to Amazon when I'm buying something weird that I don't know how to buy elsewhere.
Interestingly enough, I find Amazon often has worse prices for the relatively-niche books I used to swear by Amazon for - art and critical theory, mainly. They used to have the convenience aspect as well, but now I generally feel like I can get better service by buying from the publisher and I feel better about it for the anti-monopoly reason you touched on
It depends, amazon quality is still good when compared to third world.
I travel frequntly to China/Philippines/SG and you need to go in person to buy random crap. I hate it. Lazada is the Asian Amazon and it is a total crapshoot.
I never complained about Amazon, whenever I have a issue it's always remedied correctly, returns are absolute and money is refunded.
Lazada tries to play games, tries to say "change of mind is not a valid reason of excuse" or worse it's bait and switch. A picture of a bookshelf with pictures by a palm tree, what's delivered is a doll house toy.
I hate online shopping in Asia. Japan is the only exception because of Amazon and Japan commitment to customer service.
Check out this solution from Bosch, I always wondered about generating unique codes per product instance. It would need to be a subset of a very large space, in this case 3418
It’s really terrible lately. When Wal-Mart has better quality products you know something’s up.
I’ve been using Fake Spot to get any non name brand item[1]. The only issue is now there are straight counterfeits instead of reply cheap knock offs. I recently learned of the all the counterfeit SD cards when I bought some for my Pis. A google search brings up examples on many forums and blogs.
Elixir is amazing! The original author, José Valim, took a brilliant approach: Take a 30 year-old battle-tested highly-parallel VM, and build a modern language on top of it. Syntax is inspired by the good parts of Ruby (very clean), but nothing comes close in terms of the ease of parallelism... it's so natural, and insanely fast.
The unit tests are what convinced me this will be the next big thing. Beautifully clear syntax, succinct tests, and most importantly: Parallel out of the box. Hundreds of unit tests run instantaneously. Ruby TDD setups run tests that changed with maybe 1-2s lag... Elixir runs all the tests so fast that, at the beginning, I wasn't sure the tests were running.
Nothing in Javascript / HTML is very stable--I've hitched my wagon to so many stars that burned out. Everything from XSLT to JQuery to Bootstrap. So the fact that probably, something will replace Elm doesn't bother me.
It works now, it's stable, and it hides most of the crap from me so I can just code. It helps that I've been a "Functional Programmer" since 1980 when I first learned LISP, and that our core products are done in Erlang and F#.