The document discusses feedback received for three final products - a film trailer, poster, and magazine cover. For the trailer, feedback suggested focusing on urban themes rather than classical horror and using a chronological narrative. This led to changes incorporating modern environments and ordered storytelling. For the poster, minor changes were made like altering the title color and adding names. The magazine cover underwent the most changes based on feedback, such as photoshopping the model into a professional setting and choosing a unique color scheme and font design inspired by the feedback. Overall, the feedback helped provide direction, identity, and appeal for the final projects.
Techniques to optimize the pagerank algorithm usually fall in two categories. One is to try reducing the work per iteration, and the other is to try reducing the number of iterations. These goals are often at odds with one another. Skipping computation on vertices which have already converged has the potential to save iteration time. Skipping in-identical vertices, with the same in-links, helps reduce duplicate computations and thus could help reduce iteration time. Road networks often have chains which can be short-circuited before pagerank computation to improve performance. Final ranks of chain nodes can be easily calculated. This could reduce both the iteration time, and the number of iterations. If a graph has no dangling nodes, pagerank of each strongly connected component can be computed in topological order. This could help reduce the iteration time, no. of iterations, and also enable multi-iteration concurrency in pagerank computation. The combination of all of the above methods is the STICD algorithm. [sticd] For dynamic graphs, unchanged components whose ranks are unaffected can be skipped altogether.
Adjusting primitives for graph : SHORT REPORT / NOTESSubhajit Sahu
Graph algorithms, like PageRank Compressed Sparse Row (CSR) is an adjacency-list based graph representation that is
Multiply with different modes (map)
1. Performance of sequential execution based vs OpenMP based vector multiply.
2. Comparing various launch configs for CUDA based vector multiply.
Sum with different storage types (reduce)
1. Performance of vector element sum using float vs bfloat16 as the storage type.
Sum with different modes (reduce)
1. Performance of sequential execution based vs OpenMP based vector element sum.
2. Performance of memcpy vs in-place based CUDA based vector element sum.
3. Comparing various launch configs for CUDA based vector element sum (memcpy).
4. Comparing various launch configs for CUDA based vector element sum (in-place).
Sum with in-place strategies of CUDA mode (reduce)
1. Comparing various launch configs for CUDA based vector element sum (in-place).
Levelwise PageRank with Loop-Based Dead End Handling Strategy : SHORT REPORT ...Subhajit Sahu
Abstract — Levelwise PageRank is an alternative method of PageRank computation which decomposes the input graph into a directed acyclic block-graph of strongly connected components, and processes them in topological order, one level at a time. This enables calculation for ranks in a distributed fashion without per-iteration communication, unlike the standard method where all vertices are processed in each iteration. It however comes with a precondition of the absence of dead ends in the input graph. Here, the native non-distributed performance of Levelwise PageRank was compared against Monolithic PageRank on a CPU as well as a GPU. To ensure a fair comparison, Monolithic PageRank was also performed on a graph where vertices were split by components. Results indicate that Levelwise PageRank is about as fast as Monolithic PageRank on the CPU, but quite a bit slower on the GPU. Slowdown on the GPU is likely caused by a large submission of small workloads, and expected to be non-issue when the computation is performed on massive graphs.
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Empowering the Data Analytics Ecosystem: A Laser Focus on Value
The data analytics ecosystem thrives when every component functions at its peak, unlocking the true potential of data. Here's a laser focus on key areas for an empowered ecosystem:
1. Democratize Access, Not Data:
Granular Access Controls: Provide users with self-service tools tailored to their specific needs, preventing data overload and misuse.
Data Catalogs: Implement robust data catalogs for easy discovery and understanding of available data sources.
2. Foster Collaboration with Clear Roles:
Data Mesh Architecture: Break down data silos by creating a distributed data ownership model with clear ownership and responsibilities.
Collaborative Workspaces: Utilize interactive platforms where data scientists, analysts, and domain experts can work seamlessly together.
3. Leverage Advanced Analytics Strategically:
AI-powered Automation: Automate repetitive tasks like data cleaning and feature engineering, freeing up data talent for higher-level analysis.
Right-Tool Selection: Strategically choose the most effective advanced analytics techniques (e.g., AI, ML) based on specific business problems.
4. Prioritize Data Quality with Automation:
Automated Data Validation: Implement automated data quality checks to identify and rectify errors at the source, minimizing downstream issues.
Data Lineage Tracking: Track the flow of data throughout the ecosystem, ensuring transparency and facilitating root cause analysis for errors.
5. Cultivate a Data-Driven Mindset:
Metrics-Driven Performance Management: Align KPIs and performance metrics with data-driven insights to ensure actionable decision making.
Data Storytelling Workshops: Equip stakeholders with the skills to translate complex data findings into compelling narratives that drive action.
Benefits of a Precise Ecosystem:
Sharpened Focus: Precise access and clear roles ensure everyone works with the most relevant data, maximizing efficiency.
Actionable Insights: Strategic analytics and automated quality checks lead to more reliable and actionable data insights.
Continuous Improvement: Data-driven performance management fosters a culture of learning and continuous improvement.
Sustainable Growth: Empowered by data, organizations can make informed decisions to drive sustainable growth and innovation.
By focusing on these precise actions, organizations can create an empowered data analytics ecosystem that delivers real value by driving data-driven decisions and maximizing the return on their data investment.
4. Before Feedback
Before we received feedback for our trailer, we first took inspiration from other existing film trailers. Many of these
trailers were non-linear and portrayed their stories by a timeline of fear factor and instead focused on the elements of
surprise. Because of this, a lot of our trailer while in production did not follow a chronological order which often drove
the trailer’s plot into senselessness. We wanted to focus initially on classical horror, with themes of The Woman in
Black; where demons are traditionally placed in a decaying environment such as an abandoned property, and are only
summoned during generic timezones from midnight to Halloween. A lot of these ideas were again homaged from
popular culture cinema, as many of these famous titles seem to exhibit very similar techniques in terms of narrative
and screenwriting. This was something that we, prior to feedback, accepted as our form of trailer when we began to
film. We were in pursuit of standard conventions when it came to selecting how we were going to present our trailer,
though we hadn’t noticed the absence of identity until the feedback. Much of these conventions excluded challenges
towards other genres and did not stand out much.
5. After Feedback
After we received feedback for the first stages of our trailer, a lot of the changes were extremely drastic as the
storyline itself was affected. Upon approaching our target audience, they determined that our trailer instead would be
much more effective as a trailer if it focused less on classical horror and instead presented the ideas we had for the
production with urban themes. Because of these ideas and notes, we began to incorporate other concepts such as
modern environments and a chronologically ordered trailer narrative into our project. This was the beginning of
countering the cinematic ‘norms’ of our genre by running astray of expected trailer devices and instead illustrating a
refreshing take on horror through the ideas of urban explorers and where the order of events is much easier to
extinguish. What we didn’t change was exhibiting the best of our footage as most other horror trailers tend to do so,
because we did not produce a feature- length film. However, a lot of our feedback assisted us in generating a sense of
identity across the course of our products, not only for our trailer but also throughout the process of creating our
supporting products. We now believe that we illustrate a strong identity amongst the community of cinematic horror.
7. Before Feedback
I already had quite an interesting concept in mind for my film poster before I began to produce, to which I drafted up
and began to plan. Before the feedback of this task, I did not look into other film posters that went beyond what I had
already sketched up on my tablet. I reflected my film poster on my own interests rather than immediately pursuing
what my target audience would desire from a film poster, as the target audience we decided upon was relatively
similar if not the same as ourselves. I began to make the urban environment from our trailer’s feedback my point of
focus as the production for this product was initiated; My poster depended on the plot of the trailer and the essential
prop, the pentagram, and I wanted the plot of our trailer to remain ambiguous yet intriguing towards the audience. I
wished for this product to tell a story with very few words, and to leave much of the narrative to the imagination. I
believe I was so headstrong about this concept of a poster as I felt that it mirrored much of our trailer in terms of
presenting a unique identity that has not been seen often amongst film posters, as many of these media texts you will
see across the course of film are often inclusive of the antagonist or protagonist.
8. After Feedback
There was little feedback for my film poster as opposed to my other two products, so there wasn’t much else to apply
to this particular project that hadn’t been an idea already. Amongst the few notes of feedback, one regard in particular
was especially useful as I looked back on my choice of colour co-ordination. One suggestion was to alter the film’s title
to a deep red, which would then generate a sense of unity with the red gemstone embossed into the pentagram. The
other notes were to apply actress names and to ultimately sell the product with additional film awards and contact
information, hence the minor tweaks to the names applied, the website and film festival badges. For the photos
themselves, they seemed to sit well with the target audience criteria, as they believed the hazy clouds and pentagram
crossover left a slightly eerie and unsettling feeling- this was one of my aims originally. The only thing I attempted to
alter though could not achieve for this product was the toning of the clouds. From the deep grey, I wanted to shift to a
slightly reddened tint. Though doing this left the project finish feeling artificial. This was something I was unsure how to
counter, though I do believe the overall finish is quite successful.
10. Before Feedback
As I was producing my magazine cover, there was an initial concept I had in mind that wasn't complete. I had a
template to which helped sculpt my ideas, though there were many absent decisions made as to where I would take
this project in its entirety. I felt that the product had little direction to follow and it wasn't until I received audience
feedback that the product began to fall into place. The few ideas I had for this project encouraged a retro approach to
the style. For this, I looked into several different fonts and other film magazines until I found one cover in particular.
From this cover, I homaged several elements of design including a similar colour scheme and choice of font for
coverlines. The masthead font itself, 'horror.' appeared to be the only successful asset to the cover when I requested
feedback. This inspired the creative changes to the coverlines presentation and the photo itself. Before my target
audience assessed the product, the cover of choice was originally the genuine photo taken of the same model.
Except, she was in the same environment the photo had been taken. The photo did not look studio taken which I
believe was an issue I had to fix with minimal time.
11. After Feedback
The most dramatic change I made to my magazine was Photoshopping the image to present the character in a
professional setting that is appropriate for the themes of the trailer; the lowkey lighting and deep grey background
illustrate a sense of vulnerability which I believe effectively represents the storyline of this character in particular; as
she plays the protagonist whose storyline is the most affected by the circumstances of the plot. I also strayed from my
homages of design devices and chose to follow more unique traits when looking back on my original inspiration for
this cover. The colour scheme now plays an essential role in illustrating the dark themes and genres of the magazine
while the masthead is playfully retro. I felt that this font in particular can now attract the target audience as it creates a
stylish statement while exhibiting the appropriate themes. Essentially, I believe the target audience was most effective
in feeding back for this product in particular, as I now find the project outcome much more appealing, credited to the
suggestions I would seek after I requested the feedback. I allowed these notes to inspire the minimal details, including
the customized barcode, and I am overall pleased with this product.