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https://w.atwiki.jp/toho/pages/1395.html
Vernacular サークル：M2ind Manufactory Number Track Name Arranger Original Works Original Tune Length 01 along long Nights haLRu 東方永夜抄 永夜抄 [03 10] 02 landscape inside haLRu 東方風神録 少女が見た日本の原風景 [03 17] 03 Natural Born Girls haLRu 東方永夜抄 懐かしき東方の血 [06 06] 04 vernacular haLRu 東方風神録 信仰は儚き人間の為に [04 19] 05 山のあなた haLRu 東方風神録 妖怪の山 [02 45] 06 光彩陸離 haLRu 蓬莱人形 サーカスレヴァリエ [06 47] 詳細 コミックマーケット73(2007/12/31)にて頒布 イベント価格：500円 ショップ価格：735円(税込) レビュー おとなしめ・やや暗めのテクノ風アレンジだろうか。 CD一枚通して心地よい浮遊感を伴う曲が続く作品。特に１曲目の永夜抄アレンジは透明感があり、透き通った夜をイメージさせる良アレンジ。 各楽器がやや散漫としすぎていて、密度の少ないスカスカした印象を受けることが玉に瑕だろうか。 あまり密度を増やそうとしても、現時点で感じられる浮遊感を損ねてしまうのかもしれないが、それでももう少し音を近くに…と思ってしまった。また、せっかくの心地よい気分が、20分少々で終わってしまうのはもったいない。 アレンジ方向と自分の好みが一致しすぎたのかもしれないが、予想を遙かに上回る出来だと思った。 今後は是非より曲数を増やしたフルアルバムの形で作品を出して欲しいと思うばかりである。 -- min (2008-01-07 01 44 53) 名前 コメント
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Curve Tracking and Analysis in 3-D While the bulk of SynthEyes is concerned with determining the location of points in 3-D, sometimes it can be essential to determine the shape of a curve in 3-D, even if that curve has no trackable points on it, and every point along the curve appears the same as every other. For example, it might be the curve of a highway overpass to which a car chase must be added, the shape of a window opening on a car, or the shape of a sidewalk on a hilly road, which must be used as a 3-D masking edge for an architectural insert. In such situations, acquiring the 3-D shape can be a tremendous advantage, and SynthEyes can now bring it to you using its novel curve tracking and flex solving capability, as operated with the Flex/Curve Control Panel . Terminology There s a bit of new terminology to define here, since there are both 2-D and 3-D curves being considered. Curve. This refers to a spline-like 2-D curve. It will always live on one particular shot s images, and is animated with a different location on each frame. Flex. A spline-like 3-D curve. A flex resides in 3-D, though it may be attached to a moving object. One or more curves will be attached to the flex; those curves will be analyzed to determine the 3-D shape of the flex. Rough-in. Placing control-point keys periodically and approximately. Tuning a curve. Adjusting a curve so it matches edges exactly. Overview Here s the overall process for using the curve and flex system to determine a 3-D curve. The quick synopsis is that we will get the 2-D curves positioned exactly on each frame throughout the shot, then run a 3-D solving stage. Note that the ordering of the steps can be changed around a bit, and additional wrinkles added, once you know what you are doing — this is the simplest and easiest to explain. 1. Open the shot in SynthEyes 2. Obtain a 3-D camera solution, using automatic or supervised tracking 3. At the beginning of the shot, create a (2-D) curve corresponding to the flex-to-be. 4. “Rough-in” the path of the curve, with control-point animation keys throughout the shot. There is a tool that can help do this, using the existing point trackers. 5. Tune the curve to precisely match the underlying edges (manual or automatic). 6. Draw a new flex in an approximate location. Assign the curve to it. 7. Configure the handling of the ends of the flex. 8. Solve the flex 9. Export the flex or convert it to a series of trackers. Shot Planning and Limitations Determining the 3-D position of a curve is at the mercy of underlying mathematics, just as is the 3-D camera analysis performed by the rest of SynthEyes. Because every point along a curve/flex is equivalent, there is necessarily less information in the curve data than in a collection of trackers. As a result, first, flex analysis can only be performed after a successful normal 3-D solve that has determined camera path and field of view. The curve data can not help obtain that solve; it does not replace and is not equivalent to the data of several trackers. Additionally, the camera motion must be richer and more complex than for a collection of trackers. Consider a flex consisting of a horizontal line, perhaps a clothesline or the top of a fence. If the camera moves left to right so that its path is parallel to the flex, no 3-D information (depth) can be produced for the flex. If the camera moves vertically, then the depth information can be obtained. The situation is reversed for a vertical line a vertical camera motion will not produce any depth information. Generally, both the shape of the flex and camera path will be more complex, and you will need to ensure that the camera path is sufficiently complex to produce adequate depth information for all of the flex. If the flex is circular, and the camera motion horizontal, then the top and bottom of the circle will not have well-defined depth. The flex will prefer a flat configuration, which is often, but not necessarily, correct. Note that a simple diagonal motion will not solve this problem it will not explore the depth in the portion of the circle that is parallel to the motion path. The camera path must itself curve to more completely identify the depth all the way around the circle — hence the comment that the camera motion must itself be more complex than for point tracking. Similarly, tripod (nodal pan) shots are not suitable for use with the curve flex solving system. As with point tracking, tripod shots do not produce any depth information. Flexes and curves are not closed like the letter O — they are open like the letter U or C. Also, they do not contain corners, like a V. Nor do they contain tangency handles, since the curvature is controlled by SynthEyes. Generally, the curve will be set up to track a fairly visible edge in the image. Very marginal edges can still be used and solved to produce a flex, if you are willing to do the tracking by hand. Initial Curve Setup Once you have identified the section of curve to be tracked and made into a 3-D flex, you should open the Flex Control Panel , which contains both flex and curve controls, and select the camera view. Click the New Curve button, then, in the Camera View, click along the section of curve to be tracked, creating control points as you go. Place additional control points in areas of rapid curvature, and at extremal points of the curve. Avoid area where there is no trackable edge if possible. When you have finished with the last control point, right-click to exit the curve creation mode. Roughing in the Curve Keys Next, we will approximately position the curve to track the underlying edge. This can be done manually or automatically, if the situation permits. Manual Roughing For manual roughing, you move through the shot and periodically re-set the position of the curve. By starting at the ends, and then successively correcting the position at the most extremely-wrong positions within the shot, usually this isn’t too time consuming (unless the shot is a jumpy hand-held one). SynthEyes splines the control point positions over time. To re-set the curve, you can drag the entire curve into an approximate position, then adjust the control points as necessary. If you find you need additional control points, you can shift-click within the curve to create them. You should monitor the control point density so that you don’t bunch many of them in the same place. But you do not have to worry about control points “chattering” in position along the curve. This will not affect SynthEyes or the resulting flex. Automatic Roughing SynthEyes can automatically rough the curve into place with a special tool — as long as there is a collection of trackers around the curve (not just one end), such that the trackers and curve are all roughly on the same plane. When this is the case, shift-select all the trackers you want to use, click the Rough button on the Flex control panel, then click the curve to be roughed into place. The Rough Curve Import panel will appear, a simple affair. The first field asks how many trackers must be valid for the roughing process to continue. In this case, 5 trackers were selected to start. As shown, it will continue even if only one is valid. If the value is raised to 5, the process will stop once any tracker becomes invalid. If only a few trackers are valid (especially less than 4), less useful predictions of the curve shape can be made. The Key every N frames setting controls how often the curve is keyed. At the default setting of 1, a key will be placed at every frame, which is suitable for a hand-held shot, but less convenient to subsequently refine. For a smooth shot, a value of 10-20 might be more appropriate. The Rough Curve Importer will start at the current frame, and begin creating keys every so often as specified. It will stop if it reaches the end of the shot, if there are too few trackers still valid, or if it passes by any existing key on the curve. You can take advantage of this last point to “fill in” keys selectively as needed, using different sets of trackers at different times, for example. After you’ve used the Rough Curve Import tool, you should scrub through the shot to look for any places where additional manual tweaking is required. The curve may go offscreen or be obscured. If this happens, you can use the curve Enable checkbox to disable the curve. Note that it is OK if the curve goes partly offscreen, as long as there is enough information to locate it while it is onscreen. Curve Tuning Once the curve has been roughed into place, you’re ready to “tune” it to place it more accurately along the edge. Of course, you can do this all by hand, and in adverse conditions, that may be necessary. But it is much better to use the automated Tune tool. You can tune either a single frame, with the Tune button, or all of the frames using of course the All button. When a curve is tuned on a frame, the curve control points will latch onto the nearby edge. For this reason, before you begin tuning, you may wish to create additional control points along the curve, by shift-clicking it. The All button will bring up a control panel that controls both the single- and multi-frame tuning. If you want to adjust the parameters without tuning all the frames, simply close the dialog instead of hitting its Go button. You can adjust to edges of different widths, control the distance within which the edge is searched, and alter the trade-off between a large distant edge, and a smaller nearby one. Clearly, it is going to be easier to track edges with no nearby edges of similar magnitude. The control panel allows you to tune all frames (potentially just those within the animation playback range), only the frames that already have keys (to tune your roughed-in frames), or only the frames that do not have keys (to preserve your previously-keyed frames). You can also tell the tracking dialog to use the tuned locations as it estimates (using splining) where the curve is in subsequent frames, by turning on the Continuous Update checkbox. If you have a simple curve well-separated from confounding factors, you can use this feature to track a curve through a shot without roughing it in first. The drawback of doing this is that if the curve does get off course, you can wind up with many bad keys that must be repaired or replaced. [You can remove erroneous keys using Truncate.] With the Continuous Update box off, the tuning process is more predictable, relying solely on your roughed-in animation. Flex Creation With your curve(s) complete, you can now create a flex, which is the 3-D splined curve that will be made to match the curve animation. The flex will be created in 3-D in a position that approximately matches its actual position and shape. It is usually most convenient to open the Quad view, so that you can see the camera view at the same time you create the flex in one of the 3-D views (such as the Top view). Click the New Flex button, then begin clicking in the chosen 3-D view to lay out a succession of control points. Right-click to end the mode. You can now adjust the flex control points as needed to better match the curve. You should keep the flex somewhat shorter than the curve. To attach the curve to the flex, select the curve in the camera view, then, on the flex control panel, change the parent-flex list box for the curve to be your flex. (Note if you create a flex, then a curve while the flex is still selected, the curve is automatically connected to the flex.) Flex Endpoints The flex s endpoints must be “nailed down” so that the flex can not just shrivel up along the length of the curve, or pour off the end. The ends are controlled by one of several different means 1. the end of the flex can stay even with its initial position, 2. the end of the flex can stay even with a specific tracker, or 3. the end of the flex can exactly match the position of a tracker. The first method is the default. The last method is possible only if there is a tracker at the desired location; this arises most often when several lines intersect. You can track the intersection, then force all of the flexes to meet at the same 3-D location. To set the starting or ending tracker location for a flex, click the Start Pt or End Pt button, then click on the desired tracker. Note that the current 3-D location of the tracker will be saved, so if you re-track or re-solve, you will need to reset the endpoint. The flex will end “even” with the specified point, meaning so that the point is perpendicular to the end of the flex. To match the position exactly, turn on the Exact button. Flex Solving Now that you’ve got the curve and flex set up, you are ready to solve. This is very easy — click the Solve button (or Solve All if you have several flexes ready to be solved). After you solve a flex, the control points will no longer be visible—they are replaced by a more densely sampled sequence of non-editable points. If you want to get back to the original control points to adjust the initial configuration, you can click Clear. Flex Exports Once you have solved the flex, you can export it. At present, there are two principal export paths. The flexes are not currently exported as part of regular tracker exports. First, you can convert the flex into a sequence of trackers with the Convert Flex to Trackers script on the Script menu. The trackers can be exported directly, or, more usefully, you can use them in the Perspective window to create a mesh containing those trackers. For example, on a building project where the flex is the edge of the road, you can create a ground mesh to be landscaped, and still have it connect smoothly with the road, even if the road is not planar. Second, you can export the coordinates of the points along the flex into a text file using the Flex Vertex Coordinates exporter. Using that file is up to you, though it should be possible to use it to create paths in most packages.
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http //masayu-i.seesaa.net/ http //masayui.fc2web.com/ http //8609.teacup.com/masayu-i/bbs http //masayu-i.hp.infoseek.co.jp/ http //www.vesta.dti.ne.jp/~masayu-i/index.html など、他人スペースを間借りしまくっています。 VAIO NOTE Z (PCG-Z1R)や SIGMA SD9 / PC 1000 / N900i などのレビューも扱っています。
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Title Metal Gear Solid 4 Guns of the Patriots メタルギアソリッド4 ガンズ・オブ・ザ・パトリオット Genre Tactical Espionage Action タクティカル・エスピオナージ・アクション Platform PLAYSTATION 3 Publisher Konami Digital Entertainment コナミデジタルエンタテインメント Developer Kojima Productions 小島プロダクション Producer Kenichiro Imaizumi, Hideo Kojima 今泉健一郎, 小島秀夫 Director Shuyo Murata, Hideo Kojima 村田周陽, 小島秀夫 Game Disign Hideo Kojima 小島秀夫 Release date 2008 Q1
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RaceRoom Hillclimb(レースルームヒルクライム) The RR Hillclimb takes you on a mad dash up the dangerous switchback roads of the French Alps. Precision, focus and pure nerve is what you will need to be fast here. It is a long way to the top, but it is worth it. レースルーム・ヒルクライムは、フランスはアルプスの危険な峠道を凄まじいスピードで駆け抜けるという体験をあなたに提供します。ここを速く走るためには正確さ、集中、本物の度胸が必要です。頂上までの道のりは長いですが、それをするだけの価値はあります。 渓谷と山村が舞台。 勾配は緩やかだが、急なコーナーが連続するため見通しは悪い。 Lakeview Hillclimbとそれほど距離は変わらないのだが、こちらは低速コーナーが非常に多く、平均速度が遅いため、ゴールまでの距離が長く感じられる。 先の見えないヘアピンや直角コーナーだらけなうえ、こちらも道幅が狭いため、コースを覚えていないうちは、何度も壁に激突することになるだろう、こちらのほうが難易度は高いと思われる。 レイアウトは、上りと下りが有る。
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drummania original soundtrack 発売日：1999/8/6 レーベル：キングレコード ASIN：B00005FAQE Disc 1/1 [original edition] 01 I think about you Elizabeth Dobbs 1 18 02 Eyes of kids Thomas Howard Lichtenstein 1 52 03 When I dream of you Elizabeth and Thomas 5 11 04 Good times Elizabeth Dobbs 1 49 05 Ska Ska No.1 Hideyuki Ono 2 57 06 Heaven is a 57 metallic gray Sweet little 30 s 3 19 07 Look at me Elizabeth Dobbs 3 56 08 Sunny side street ～another ver.～ Yoshihiko Koezuka 1 29 09 Depend on me Thomas Howard Lichtenstein 4 07 [game soundtrack] 10 Drummania (title demonstration) Toshio Sakurai 0 14 11 Here s a jam session (session application BGM) Sweet little 30 s 0 17 12 Select play mode (mode selection BGM) Toshio Sakurai 0 26 13 Practice Toshio Sakurai 1 51 14 Eyes of kids Thomas Howard Lichtenstein 0 59 15 I think about you Elizabeth Dobbs 1 10 16 Cutie pie Toshio Sakurai 1 19 17 Onion man Jimmy Weckl 1 12 18 Good times Elizabeth Dobbs 1 17 19 Ska Ska No.1 Hideyuki Ono 1 14 20 Happy man Mutsuhiko Izumi 1 14 21 River crossin Shige Kawagoe 1 25 22 Hypnotica Naoki Maeda 1 24 23 Sunny side street Yoshihiko Koezuka 1 30 24 When I dream of you Elizabeth and Thomas 1 28 25 Ultimate power Vaccines 1 26 26 Across the nightmare Jimmy Weckl 1 23 27 Look at me Elizabeth Dobbs 1 02 28 Heaven is a 57 metallic gray Sweet little 30 s 1 25 29 Crunchy nuts Atsuki 1 09 30 Road for thunder Jimmy Weckl 1 33 31 Depend on me Thomas Howard Lichtenstein 1 35 32 Waza Jimmy Weckl 1 31 33 Make you happy -I think about you- Eli friends 1 03
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目次 ↑ 概要 URL インストール 設定 類似アプリ タグ 概要 複数のファイルに対するコマンドライン処理の繰り返しをドラッグ＆ドロップ操作で実現する バッチファイルを作ることに対する利点は、複数のフォルダにまたがった複数のファイルを任意に手で選んで一括処理できること ポータブル URL http //www.donationcoder.com/Software/Mouser/dragdrop/index.html （本家; 英語） インストール 普通にインストーラで もしくは、インストーラ（DragAndRunRobotSetup.exe）を DrugAndRunRobotSetup.zip にリネームして展開すればポータブル版として使用可能 設定 お好みで （例） *.zip を 7-Zip で展開（コマンドライン版 7za.exe を使う） %appdir%..\7za\7za.exe x %a -y 類似アプリ なし タグ
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28 クリエイティブ時代2➀Neutronium Ingot ②Infinity Armor ③Cheater's Thaumonomicon ④ CONGRATURATIONS!!! 28 クリエイティブ時代2 ここでは、このMODパックを終了する。(ただし、すべてのクエストはクリアしない。) ➀Neutronium Ingot Assembly Line Input Output 64 HPIC32 4x Superconductor wire4 Americium Plate2 Field Generator (ZPM)1 Fusion Coil Block4 Wetware Mainframe2880mB Soldering Alloy 1 Fusion Reactor Computer Mark 3Fusion Reactor Input Output 16mB Americium16mB Naquadria 2mB Neutronium ②Infinity Armor Assembly Line Input Output 16 Naquadah Alloy Plate4 Neutronium Plate2 Field Generator (IV)1 Draconic ArmorMolten InfinityLubricant 1 Infinity ArmorFusion Crafting Input Output 4 Red Matter4 Neutronium Ingot2 Ender Star2 Draconic Core1 Boots of the Traveller 1 Infinity Boots ③Cheater s Thaumonomicon Human Brain 入手法不明 Crimson Rites Wiki参照 Preserved Curiosity Amber Bearing Stoneから入手 ④ CONGRATURATIONS!!! FTB Interactionsを完了。おそらく、これでInteractionsの鎖が完全に解けたと思っているだろう。 You have completed the pack, mastered all the Interactions and persisted on a quest that few others will complete. Thank you on behalf of the FTB Team, and we sincerely hope you enjoyed your playthrough. Can you find the hidden easter egg for the release date of Interactions 2? Perfectly balanced... As all things should be. 「歴史は繰り返す」
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86 Race公式通知 86 Raceエントリーリスト 86 Raceリザルト 86 Raceポイントランキング 86 Raceその他通知
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imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (WtLMS WotEC 3hor LOGO.png) 開催日 2015年3月28日(土) imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (ARTwork WtLMS WotEC 3hor.jpg) 公式アートワーク WotEC WtLMS Fjords 3 Hours Endurance Race 決勝レース動画 大会概要 選手権名 World of Tanks Endurance ChampionshipWorld of Tanks Le Mans Series ラウンド 第5戦(WotEC)第3戦(WtLMS) 大会名 WotEC WtLMS Severogorsk 3 Hours Endurance Race 開催マップ フィヨルド レース時間 180分（25分+27分×5+20分） タイムスケジュール WotEC & WtLMS Fjords 3 Hours Endurance Race タイムスケジュール 第2シーズン エントリーリスト WotEC & WtLMS Fjords 3 Hours Endurance Race エントリーリスト 第2シーズン レースリザルト WotEC WtLMS Fjords 3 Hours Endurance Race リザルト 第2シーズン