It's also a a problem because not all states are the same, some don't allow O, some do. Some allow 0, some don't! The cameras need to be able to read both.
The cameras that they have to read plates in a lot of different conditions and various states of cleanliness. Some states allow O and some states allow 0, and some states don't care. Combine the two issues and cops get lazy and want to check the plate with both the 0 and O just to "make sure".
The cameras also confuse D and Q with 0 and O. And 5 & S, and 2 & Z, and 6 & G, and 8 & B.
The cops have likely been doing this for decades, because the human eyeball can confuse an O for a 0 much worse than image recognition does these days.
I think at this point you need to consider how the human eye see color. It's not like each wavelength gets picked up and then communicated perfectly.
(I'm going to skip over some basic stuff, and use some generalities)
Each Cone in the eye responds to a range of frequencies. This means that things that unless it's on the extreme low, or high, end of the frequencies that the human eye can discern you are going to have two, or all three, Cone types responding. The strength of those responses is what your brain uses to interpret the color that you see.
The real problem is that out in space there is no attenuation of sunlight, it's bright. Super crazy bright. It basically overloads all of your Cones, and Rods, all at once, there is no way for your brain to find a signal of "oh there's more higher wavelengths here so interpret bluer than normal" because all of the signals got maxed out. If you max out all of the signals, you get white.
It doesn't matter that in absolute terms there's more blue, the lower and mid frequencies are also maxed out.
IIUC, saturation is a (not uncommon) distractor here. As you get the same observation when desaturated by a neutral filter. Even on the "ground" with low air mass (Sun vertical, at altitude, etc).
Offer topic, but the Codeless Code isn't Zen Koans. It's formatted like Zen Koans, and it's entertaining and brings value to the world, but it isn't the same thing.
I think Demis was just so embarrassed by the AI in Black and White he constructed his life around fixing it. I'm expecting a patch drop from him as his last contribution to humanity.
What he's talking about is that the CGI in B5 was filmed in 4:3 and not in 16:9 like the rest of the show. When they did the "high res" releases they had to make the choice of doing everything in 16:9 or in 4:3.
In 4:3 it looks good and like the original airing show, in 16:9 any non-digital/composite shot looks freaking fantastic. But once you get to any digital or composite shot it takes a nose dive in quality.
A very well written show. It's crazy to think a lot of people don't even get to watch this, because it's so hard to find. I couldn't find it anywhere (except for DVD's) so I had to resort to torrents.
There's a 4K 4:3 remaster streaming on HBO Max. It wasn't exactly well advertised (certainly not to the extent that it has been hard to miss this Mad Men advertising), but it exists and is a good way to watch the show. Feels a bit less cinematic not being in 16:9, but it looks good other than that because the show was shot to be 4:3 safe (as that was still the most common TV at the time).
I loved B5's story, but no remaster is going to fix the cheeseball acting of the show. It felt 200 years old even when it was airing. (Sigh, I'm probably still going to rewatch it...)
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