約 5,240,904 件
https://w.atwiki.jp/nostradamus/pages/1573.html
『1571年のつい先頃の聖ミカエルの祝日に一日中続いた悲痛なる日蝕の提示』(Demonstration de l eclipce lamentable du Soleil que dura le long du jour de la Saint Michel dernier passé 1571)は、1571年にパリのニコラ・デュモンによって出版されたアントワーヌ・クレスパンの著書。 【画像】扉(*1) 正式名 DEMONSTRACION DE L ECLIPCE LAMEN-Table du Souleil que dura le long du iour de la Seint Michel dernier passé. 1571. auec autres plusieurs monstres ueu par ung monde infiny de peuple contample declaire par M. Anthoine Crespin Nostradamus de Prouance Docteur Conseillier medecin Astrologue ordinere du Treschretien Roy de France de Madame la Dugesse de Sauoye dedie a nostre S. Pere le Pappe. A PARIS MDLXXI. Par Nicolas dumont. Auec Priuilege du Roy. 1571年のつい先頃の聖ミカエルの祝日に一日中続いた悲痛なる日蝕と数え切れない人々によって目撃された他の多くの他の怪異の提示敬虔なキリスト教徒たるフランス王とサヴォワ公妃お抱えの博士、顧問、医師、占星術師アントワーヌ・クレスパン・ノストラダムス師によって熟慮されて明示され、教皇聖下にささげられた版。 パリにて、1571年。 ニコラ・デュモンによって。国王の特認とともに。 Demonstration は中期フランス語で「表明、顕示」(manifestation)、「兆候、特徴」(signe)の意味(*2)。 内容 ノンブルのない7葉の文献である。 扉にもあるように、全体がローマ教皇にあてた書簡の形式が採用されている。なお、聖ミカエルの祝日は9月29日である。 所蔵先 フランス国立図書館 名前 コメント
https://w.atwiki.jp/cookie_kaisetu/pages/3608.html
概要 正式名称は『【東方Vocal】「Nana Takahashi」メドレー【SOUND HOLIC】』(2017年9月14日)。 Nana Takahashiが歌った東方Vocal曲のメドレー。miko平などとともにキャラソン集として本編入りしている。 [部分編集] +曲リスト 1 Grip Breakdown!! 0 00~ 2 GRISAILLE 4 01~ 3 SPIRAL RED 7 07~ 4 Oceanic blue 11 53~ 5 萃夢 ーSUIMUー 16 09~ 6 サイケデリック鬼桜同盟 20 04~ 7 Diamond Memories 23 36~ 8 GALAXY FLOWER 27 52~ 9 SHAMAN QUEEN 32 43~ 10 WANNA BE CRAZY PRINCESS 36 39~ 11 妖怪山ウォッチング 41 26~ 12 Delights ~秘宝の指す方へ~ 45 05~ 13 非統一魔法世界論 49 40~ 14 来光 ーらいこうー 54 12~ 15 Rabbit Shooting 59 21~ 16 No Life Queen 1 04 23~ 17 SCAPEGOAT BOY 1 08 24~ 18 Lost Paradise (and then) 1 12 43~ 19 零次元エクスプロス 1 17 27~ 20 LAST MYTHOLOGY 1 22 12~ 21 Priere ープリエールー 1 28 22~ 22 廃獄ドリームランド 1 34 38~ 23 SPARKIN 1 38 52~ 24 FIRESTORM OUTBREAK 1 43 45~ 25 WONDER WONDER 1 47 42~ 26 夢幻のルフラン 1 52 42~ 27 LITTLE GODDESS 1 57 29~ 28 STARSHIP 2012 2 01 52~ 29 Highway to Heaven 2 06 29~ 30 UNITE THE STAR 2 12 16~ 31 POWER OF DREAMS 2 16 40~ 32 Holly Virtue 2 21 43~ 33 Drive my Life 2 27 08~ 34 FUTURE FLIGHT 2 31 38~ 35 MAD CIRCUS 2 35 45~ 36 春色ガーデン 2 40 42~ 37 Finale 2 45 09~ 38 INFINITE WORLD 2 49 00~ 39 INFINITY INFINITY 2 53 10~ 40 Fantasia of Love ーMega Peer mixー 2 57 24~ 41 ASTRO DREAMER 3 02 09~ 42 パノラマ藍色写真 3 05 49~ 43 卍ZAKURA 3 11 59~ 44 REQUIEM BLUE 3 16 38~ 45 Cosmic Magic Shooter 3 22 11~ 46 bEAT GATHER 3 26 51~ 47 GOLD THREAD SPIDER 3 31 23~ 48 HOLY NIGHT STORY 3 34 51~ 49 GHOST NIGHTMARE 3 39 57~ 50 呪歌 3 44 49~ 51 PRESERVED VAMPIRE 3 49 08~ 52 デタラメ妖精大戦争 3 52 38~ 53 Earthquake Super Shock 3 56 37~ 54 ホテルニュー輝針城 4 00 37~ 55 Brave of Being 4 04 55~ 56 Quod Erat Demonstrandum 4 09 06~ 57 KIRISAME☆DRIVE 4 13 26~ 58 TOP OF THE GAME 4 17 27~ 59 Countdown Diamonds 4 22 40~ 60 きせかえ my ハート 4 28 35~ 61 絡繰りドール 4 32 25~ 62 cloud⑨ 4 36 49~ 63 SCOTOMA 4 42 17~ 64 Grazin Bullets 4 46 52~ 65 SNOW MEMORIES 4 53 06~ 66 しゅわスパ大作戦☆ 4 57 12~ 67 星舟 5 01 00~ 68 如蓮華在水 5 05 13~5 11 25 [部分編集] CTV☆での扱い 雄平と同じく歌詞を無理やり語録化して合いの手にする流れが起こったが、あまり定着しなかった。
https://w.atwiki.jp/toho/pages/1022.html
LOST PARADISE DEMONSTRATION DISC サークル:絃奏水琴樂章 Number Track Name Arranger Original Works Original Tune Length 01 Far Eastern Fantastic Night Op.1842 霧島 静久 東方文花帖 東の国の眠らない夜 [6 17] 02 Intermezzo Predict 霧島 静久 東方紅魔郷 ツェペシュの幼き末裔 [3 17] 例大祭新作のデモ版 M3-2007春(2007/04/29)にて初頒布 イベント価格:無料 レビュー 名前 コメント
https://w.atwiki.jp/pityu_sim/pages/57.html
【パーソナリティ】 名前:エリス・スチュアート 愛称:エリス博士 種族:人間(ボーナス:知性) 性別:女 年齢:27歳 属性:科学信仰-Quod Erat Demonstrandum- レベル:2 職業:Ph.D.(理学博士) 所属:アンゼロット記念大学(講師) 目的:あらゆる面からの万物の理論の探求 宿縁:人の身では理解できない理論 生立ち:博識なエリート研究者 【背景】 「魔法が存在すると言う事は,そこに未知の法則が存在するということなのです」 帝国最高峰の大学といわれるアンゼロット記念大学の理学博士課程を修了した研究者。 現在は同大学の講師となっている。卒業後多少の間技術者として働いたこともあるとか。 現在は研究室にこもって理論構築を行っているかフィールドワークかの生活を送っている。 なお、科学側の人間ではあるが、魔法研究の第一人者として知られる。 研究熱心なのはいいのだがその分世間の常識に疎い場合も。 【能力値】 体格:8 敏捷:10 知性:19 魔力:16 魅力:6 財産:11 ヒットポイント:114 マジックポイント:194 アーマークラス:20 レジストクラス:21 【特技】795p 科学技能…科学知識:100,小火器:80,修理(手製道具):65,実験:50,医術:80 魔法技能…魔法知識:50,詠唱:50,儀式:10,瞑想:10 一般技能…帝国知識:40,貴人:40,観察:100 【魔法】 氷属性防御『零点振動』-zeropoint motion- 夢紡ぎ-Dream Spinning- 矛盾律-law of contradiction- 背理法-reduction to absurdity- 反転分布-Population inversion- 整理整頓-Keep a room in order- 【財産】11p 小銃(2p):手製の小銃。弾速がマッハ5という趣味の一品。整備に手間が掛かる。 白衣:なぜか普段着にしている、いわゆる耐薬品性の高い特殊繊維製ラボ・コート。アンゼ記念大の刺繍入り。 魔術理論書(2p):氷属性触媒。青い表紙の魔法理論書。ページごとに魔法的意味があるという。 博士号(3p):社会的地位(町の名士)。アンゼ記念大博士号。学園都市内では一つのステータス。 研究室(2p):持ち家(アパート)。仮眠室や資料室なども付属。黒板や歯車式計算機があったりする。 教授(2p):後援者(導師)。アンゼ記念大の教授。魔法に関する学術論文を共同執筆したりしたことも。 【縁故】 小銃:10 白衣:50 研究室:10 教授:50 【持ち家】エリス研究室 仮眠室、作業室、資料室、計算機室などが付属している研究室。大抵彼女は黒板の前で考え事にふけっている。 ・執務室…研究室の入り口。黒板と机が置かれているの部屋。書物の執筆などもここで。 ・仮眠室…ベッドが置かれている部屋。ベッドテーブルもあったりする。 ・作業室…小銃や実験器具や魔法触媒などを工作したり修理するための作業室。 ・資料室…書架やさまざまな資料を保管する部屋。 ・地下室…さまざまな道具を保管する保管庫。 ・計算機室…割と大きな歯車式計算機が置かれている部屋。 【特記事項】 プレイヤー:Planck フルネーム:エリス・スチュアート 英名:Ellis Stuart 種族:人間 外見年齢:27 髪の色:銀 瞳の色:青 肌の色:薄肌色 身長:161cm 体重:45kg 誕生日:12月24日 血液型:AB(Rh+) 外見:白衣眼鏡の研究者 職業:Philosophy Doctor(理学博士) 能力:魔法研究の第一人者になる程度の能力 武器:科学と魔法の知識、真理を求める 属性:白衣、眼鏡 趣味・特技:科学的手法での魔法の研究 設定:アンゼロット記念大学の天才魔法研究者。 宿命:未設定 背景:未設定 目的:知識の探求(魔法という道の現象の研究)
https://w.atwiki.jp/rulersofnationswiki/pages/22.html
Actions [行動] Lift a total embargo a country [国家完全禁輸指定] Subsidize [助成金] Customs duties [関税] Exonerate [免税] Contracts [契約] New contract [新しい契約] 選択項目 Aeronautical construction [航空建造] Aircraft carrier [空母] Aluminum [アルミニウム] Automobile construction [自動車建造] Bauxite [ボーキサイト] Biotechnology [バイオテクノロジー] Bottled water [ボトル水] Building, housing and roadway construction [ビル、住宅、道路工事] Cement [セメント] Chemical industry [化学産業] Clothing [衣類] Computer hardware industry [コンピュータハードウェア産業] Consumer electronics [家電] Conventional submarines [従来式潜水艦] Copper [銅] Diamond [ダイアモンド] Electrical materials [電気材料] Electrical components [電装品] Fighter planes [戦闘機] Gold [金] Helicopters [ヘリコプター] Household appliances [家庭用具] Iron [鉄] Jewellery [宝石類] Lead [鉛] Missile launch [ミサイルランチャー] Naval construction [軍艦建造] Nickel [ニッケル] Nuclear submarines [原子力潜水艦] Other surface ships [他の水上艦] Paper [紙] Perfumes and cosmetics [香水や化粧品] Pharmaceutics industry [製薬産業] Plastic industry [プラスチック工業] Railway construction [鉄道建設] Robots [ロボット] Satellites [衛星] Silver [銀] Sodas [炭酸] Software industry [ソフトウェア産業] Steel [鉄鋼] Synthetic fibers [合成繊維] Tanks and armored vehicles [戦車や装甲車] Tire industry [タイヤ産業] Utility vehicle construction [小型トラック建造] Video games [ビデオゲーム] Water supply networks [排水溝] Zinc [亜鉛]
https://w.atwiki.jp/crisisxcrisis/pages/27.html
イメージ画像 【パーソナリティ】 名前:エリス・スチュアート 愛称:エリス博士 種族:人間(ボーナス:知性) 性別:女 年齢:27歳 属性:科学信仰-Quod Erat Demonstrandum- レベル:2 職業:Ph.D.(理学博士) 所属:アンゼロット記念大学(講師) 目的:あらゆる面からの万物の理論の探求 宿縁:人の身では理解できない理論 生立ち:博識なエリート研究者 【背景】 「魔法が存在すると言う事は,そこに未知の法則が存在するということなのです」 帝国最高峰の大学といわれるアンゼロット記念大学の理学博士課程を修了した研究者。 現在は同大学の講師となっている。卒業後多少の間技術者として働いたこともあるとか。 現在は研究室にこもって理論構築を行っているかフィールドワークかの生活を送っている。 なお、科学側の人間ではあるが、魔法研究の第一人者として知られる。 研究熱心なのはいいのだがその分世間の常識に疎い場合も。 【能力値】 体格:8 敏捷:10 知性:19 魔力:16 魅力:6 財産:11 ヒットポイント:114 マジックポイント:194 アーマークラス:20 レジストクラス:21 【特技】795p 科学技能…科学知識:100,小火器:80,修理(手製道具):65,実験:50,医術:80 魔法技能…魔法知識:50,詠唱:50,儀式:10,瞑想:10 一般技能…帝国知識:40,貴人:40,観察:100 【魔法】 氷属性防御『零点振動』-zeropoint motion- 夢紡ぎ-Dream Spinning- 矛盾律-law of contradiction- 背理法-reduction to absurdity- 反転分布-Population inversion- 整理整頓-Keep a room in order- 【財産】11p 小銃(2p):手製の小銃。弾速がマッハ5という趣味の一品。整備に手間が掛かる。 白衣:なぜか普段着にしている、いわゆる耐薬品性の高い特殊繊維製ラボ・コート。アンゼ記念大の刺繍入り。 魔術理論書(2p):氷属性触媒。青い表紙の魔法理論書。ページごとに魔法的意味があるという。 博士号(3p):社会的地位(町の名士)。アンゼ記念大博士号。学園都市内では一つのステータス。 研究室(2p):持ち家(アパート)。仮眠室や資料室なども付属。黒板や歯車式計算機があったりする。 教授(2p):後援者(導師)。アンゼ記念大の教授。魔法に関する学術論文を共同執筆したりしたことも。 【縁故】 小銃:10 白衣:50 研究室:10 教授:50 【持ち家】エリス研究室 仮眠室、作業室、資料室、計算機室などが付属している研究室。大抵彼女は黒板の前で考え事にふけっている。 ・執務室…研究室の入り口。黒板と机が置かれているの部屋。書物の執筆などもここで。 ・仮眠室…ベッドが置かれている部屋。ベッドテーブルもあったりする。 ・作業室…小銃や実験器具や魔法触媒などを工作したり修理するための作業室。 ・資料室…書架やさまざまな資料を保管する部屋。 ・地下室…さまざまな道具を保管する保管庫。 ・計算機室…割と大きな歯車式計算機が置かれている部屋。 【特記事項】 プレイヤー:planck
https://w.atwiki.jp/xboxonescore/pages/955.html
Monstrum 項目数:16 総ポイント:1000 難易度: Got To It Escape via helicopter 50 The Most Dangerous Game Win the game against the Hunter 50 Women and Children First Escape via the life raft 50 The Hunt for Me is Over Escape via the sub. 50 Well Done Win the game against the Brute. 50 Fiendzoned Win the game against the Fiend. 50 秘密の実績 Charlie s Devils Get killed by all 3 monsters 20 Aim Away From Face Stun a monster with the fire extinguisher 20 I Love It When A Plan Comes Together Gain access to a barricaded room 150 Bait N Switch Trigger a Hunter trap with an item 30 Let There Be Light Power 2 additional areas in one playthrough 30 Steam Won t Connect Activate the main steam valve 150 I Don t Know What I Expected Hit the brute with a flare gun 30 Child Of The 90s Have 6 glowsticks at once. 50 A Sequence Of Unfortunate Events Get killed by a monster after falling on a pit trap 20 Now Think About What You ve Done Lock a monster in a power-locked room. 200
https://w.atwiki.jp/spaghetti/pages/34.html
821 名前: 恵普(千葉県)[] 投稿日:2008/07/27(日) 15 11 45.60 ID pHECuiDc0 ?PLT(12111) 1 【解明編】 借金男は凄腕のスナイパーに頭を下げて依頼した。 スナイパーは黒塗りのヘリでムエタイ男の部屋の横でホバリングし、 ムエタイ男をわざと致命傷を外すように銃で撃ちまくった。 ムエタイ男は無数のかすり傷を負い恐れおののいて窓を閉めようと リモコンで窓を閉めた。この時点で密室は完成する。 そしてムエタイ男は死んだ。なぜか?スナイパー男の使用した弾丸には 猛毒が塗ってあったから。 ∴Quod Erat Demonstrandum(合理的に証明された) 909 名前: 恵普(千葉県)[] 投稿日:2008/07/27(日) 15 16 15.85 ID pHECuiDc0 ?PLT(12111) また理系はダメだったね。数式で扱えない相手にはホント無力、 弱い者いじめしか出来ない方法論なんだね。ダメだね、本当に。 この複雑化する社会で、勉強しても未来が無いね。 ↓三日後… 778 名前: 東芝(神奈川県)[] 投稿日:2008/07/30(水) 23 43 23.61 ID OfXOafxQ0 スパに問題 100円玉5枚使ってコンパスを使わないと出来ないような 大きな円を描くにはどうしたら良い 811 名前: 雪佛龍(千葉県)[] 投稿日:2008/07/30(水) 23 47 48.11 ID 7Ci7C2bQ0 ?PLT(12111) 778 近所の数学者に100円玉5枚と「金の包み」を握らせて解かせる。 ※QED 830 名前: 東芝(神奈川県)[] 投稿日:2008/07/30(水) 23 50 06.26 ID OfXOafxQ0 811 スパさんガッカリだよ... そんな金の包みなんて使わなくても100円玉が5枚もあれば近所のコンビニで コンパス買ってきてそれで引けばいいだろバーカwww 308 名前:体育 投稿日:2006/10/16(月) 22 51 16 ID T4SK3Tgl0 スパ 問 1キロバイトって何ビット? 310 名前:番組の途中ですが名無しです 投稿日:2006/10/16(月) 22 53 03 ID v6YBMwSt0 ?BRZ(3003) 308 1024ビット 神「私を試そうとするな。」 by聖書 8192ビットです 413 : ダンサー(沖縄県):2007/08/23(木) 21 12 59 ID 8ds/Kfd50 ?PLT(12001) 「教義が無い」ってのは正しい事が無いってことでありそれはすなわち 「オレが正義」ってことであり結局226事件の「話せばわかる」 と言った犬養首相を「問答無用」と殺した、暴力至上主義なんだがな。 しかし、日本のウヨが日本思想史の中の文化相対主義を西洋的な、 それでいて西洋より進んだ「進歩の証」として流用するってのは面白いもんだなw それは5・15事件ですよ。 496 名前:番組の途中ですが名無しです[] 投稿日:2006/12/02(土) 19 15 50 ID sTdpyTzP0 ?BRZ(5101) 予言するよ。Wiiの中古市場は3ヵ月後には15000円台まで暴落する。 外れたら自殺します
https://w.atwiki.jp/keroro00innovator/pages/2840.html
MONSTER GENERATiON MONSTER GENERATiON アーティスト IDOLiSH7 発売日 2015年12月2日 レーベル ランティス デイリー最高順位 2位(2015年12月5日) 週間最高順位 3位(2015年12月8日) 月間最高順位 8位(2015年12月) 年間最高順位 121位(2015年) 初動売上 14208 累計売上 23582 収録内容 曲名 タイアップ 視聴 1 MONSTER GENERATiON アイドリッシュセブン キャラソン 2 Joker Flag 3 MEMORiES MELODiES ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 12/8 3 新 14208 14208 2 12/15 11 ↓ 2354 16562 3 12/22 15 ↓ 1236 17798 4 12/29 ↓ 748 18546 5 16/1/5 580 19126 2015年12月 8 新 19126 19126 6 1/12 565 19691 7 1/19 397 20088 8 1/26 258 20346 9 2/2 267 20613 2016年1月 ↓ 1487 20613 10 2/9 217 20830 11 2/16 534 21364 13 3/1 529 21893 2016年2月 1280 21893 14 3/8 326 22219 15 3/15 256 22475 16 3/22 228 22703 17 4/5 215 22918 2016年3月 1025 22918 18 4/26 181 23099 19 5/17 254 23353 20 17/3/21 229 23582 関連CD SECRET NIGHT NATSU☆しようぜ! 恋のかけら
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Constraining Camera Position and Motion Sometimes you may already know some or all of the path of the camera, for example, · it may be available from a motion controlled camera, · the camera motion may be mechanically constrained by a camera dolly, · you may have measured some on-set camera data to determine overall scene sizing, or · you may have already solved the camera path, then hand-edited it for cleanup. SynthEyes lets you take advantage of this information to improve a solution or help set up the coordinate system, using the trajectory lock controls at the bottom of theSolver Control Panel, theHard and Soft Lock Controldialog, and the camera s seed path information. Warning using camera position, orientation, and field of view locks is avery advanced topic. You need to thoroughly understand SynthEyes and the coordinate system setup process, and have excellent mental visualization skills, before you are ready to consider camera locks. Under no circumstances should they be considered a way to compensate for inadequate basic tracking skills. Concept and Terminology SynthEyes allows you to create locks on path (X, Y, and/or Z translation), rotation (pan, tilt, and roll), and field of view. You can lock one or more channels, and locks are animated, so they might apply to an entire shot, a range of frames, or one frame. Each lock forces the camera to, or towards, the camera s seed path. The seed path is what you see before solving, or after clearing the solution. You can see the seed path at any time using theView/Show seed pathmenu control, or the button on the Hard and Soft Lock Control dialog. Locks may be hard or soft. Hard locks force the camera to the specified values exactly (except if Constrain is off), similar to pegged trackers. Soft locks force the camera towards the specified value, but with a strength determined by a weight value. Locks are affected by theConstraincheckbox on the solver panel, similar to what happens with trackers. With Constrain off, locks are appliedaftersolving, anddo notwarp the solution. All soft locks are treated as hard locks. With Constrain on, locks are applied before and during solving, soft locks are treated as such, and locksdowarp the solution. Field of view locks are not affected by Constrain, and are always applied. Camera position locks are more useful than orientation locks; we’ll consider position locks separately to start with. You can also constrain objects, but this is even more complex. Basic Operation Set up generally proceeds as follows 1. If you have not already attempted to solve the scene, go to step 5. 2. Go to the Solver Control Panel. Click themorebutton to bring up theHard and Soft Lock Controlpanel. 3. Position and animate the camera as desired, creating a key on each frame where you want the position to be constrained. The Get buttons can help with this. 4. Turn on the L/R, F/B, and/or U/D buttons as appropriate depending on the axes to be constrained — these stand for left/right, front/back, and up/down respectively. 5. Adjust the Constrain checkbox as needed. The camera position constraints behave similarly to constraints on the trackers if the Constrain checkbox on, they are enforced exactly during the solve, but if the Constrain checkbox is off, they are enforced only loosely after the completion of the solve. Loosely means that they are satisfied as best as can be, without modifying the trajectory or overall RMS error of the solution. The result of this process is to make the camera match the X, Y, and/or Z coordinates of the seed path at each key. This basic setup can be used to accomplish a variety of effects, as described above and covered in more detail below. At the end of the section, we’ll show some even more exotic possibilities. Using a Camera Height Measurement Suppose the camera is sitting on a moving dolly in a studio, and you measured the camera (lens s) height above the floor, and you have some trackers that are (exactly) on that floor. You can use the height measurement to set up the scene size as follows 1. Show the seed path View/Show Seed Path menu item 2. At frame 0, position the camera at the desired height above the ground plane 2 meters, 48 inches, whatever. 3. Turn on the U/D button on frame 0,turn it back off at frame 1. 4. Set up a main coordinate system using 3 or more trackers on the floor. Make sure tonotcreate a size constraint in the process if using the *3 button on the Coordinate system panel or the Coord button on the Summary panel, select the 2nd(on-axis) tracker, and in the Coordinate panel, change it from Lock Point (at 20,0,0) to On X Axis or On Y Axis. 5. Solve with Go! on the Solver panel Note that you can use whatever more complex setup you like in step 4, as long as it completely constrains both the translation and rotation, but not the size. WARNING You might be tempted to think “Hmmm, the camera is on a dolly, so the entire path must be exactly 43 inches off the floor, let me set that up!” (by not turning U/D back off). But this is almost alwaysa bad idea! The obvious problem is that the dolly track is never really completely flat and free of bumps. If the vertical field of view is 2 meters, and you are shooting 1080i/p HDTV, then roughly your track must beperfectly flat to 1 millimeteror so to have a sub-pixel impact. If your track is that flat, congratulations. The conceptually more subtle, but bigger impact problem is this a normal tripod head puts the camera lens very far from the center of rotation of the head—roughly 1 foot or 0.25 meter. As you tilt the head, the position of the camera increases and decreases up to that much in height! Unless your camera does not tilt during the shot, or you have an extra-special nodal-pan head, the camera height will change dramatically during the shot. A Straight Dolly Track Setup If your camera rides a straight dolly track, you can use the length of that track to set the scale, and almost the entire coordinates system if desired. While the camera height measurement setup discussed above is simpler, it is appropriate mainly for a studio environment with a flat floor. The dolly track setup here is useful when a dolly track is set up outdoors in an environment with no clearly-defined ground plane—in front of a hillside, say. For this setup, you should measure the distance traveled by the camera head down the track, by a consistent point on the camera or tripod. For example, if you have a 20’ track, the camera might travel only 16’ or so because there will be a 2’ dead zone at each end due to the width of the tripod and dolly. Measure the starting/ending position of the right front wheel, say. Next, clear any solved path (or click View/Show seed path), and animate the camera motion, for example moving from 0,0,0 at the beginning of the shot to 16,0,0 at the end (or wherever it reaches the maximum, if it comes back). You now have two main options A) mostly tracker-based coordinate setup, or B) mostly dolly-based coordinate setup, for side-of-hillside shots. For setup A, turn on only the L/R camera axis constraint checkbox on the first and last frames (only). The X values you have set up for the camera have set up an X positioning for the scene, so when you set up constraints on the trackers, they should constrain rotation fully, plus the front/back and up/down directions—but not the L/R direction since that would duplicate and conflict with the camera constraint (unless you are careful and lucky). For setup B, turn on L/R, F/B, and U/D on the first and last frames (only). You should take some more care in deciding exactly what coordinate values you want to use for each axis of the animated camera path, because those will be defining the coordinate system. [By setting keys only at the beginning and end of the shot, you largely avoid problems with the camera tilting up and down—at most it tilts the overall coordinate system from end to end, without causing conflicting constraints.] If the track is not level from end to end, you can adjust the beginning or ending height coordinate of the tracker as appropriate. But usually we expect the track to have been leveled from end to end. With X, Y, and Z coordinates keyed at the beginning and end of the shot, you have already completely constrained translation and scale, and have constrained 2 of the 3 rotation axes. The only remaining unconstrained rotation axis is a rotation around the dolly. To constrain this remaining rotation requires only a single additional tracker, and only its height measurement! On the set, you should measure the relative height of a trackable feature compared to the track (usually this will be to the base of the track, so you should also measure the height of the camera versus the base). You can measure this height using a level line (a string and a clip-on bubble level) and a ruler. On theCoordinate System Control Panel, select the tracker and set it toAny XY Planeand set the Z coordinate (for Z-up mode), or selectAny XZ Planeand set the Y coordinate (for Y-up mode). Now you’re ready to go! This setup is a valuable one for outdoor shots where a true vertical reference is required, but the features being tracked are not structured (rocks, bushes, etc). Again, we recommendnot trying to constrain the camera to be exactly linear, though you can easily set this up by locking Y and Z to be fixed for the duration of the shot, with single-frame locks on X at the beginning and end of the shot. This setup forces the camera motion to be exactly straight, but moving in an unknown fashion in X. Although the motion will be constrained, the setup willnotallow you to use fewer trackers for the solve. Using a Supplied Camera Path This section addresses the case where you have been supplied with an existing camera translation path, either from a motion-controlled camera rig, or as a result of hand-editing a previous camera solution, which can be useful in marginal tracks where you have a good idea what the desired camera motion is. After editing the path, you want to find the best orientation data for the given path. If you have an existing camera path in an external application (either from a rig, or after editing in maya or max, for example), typically you will import it using a standard or custom camera-path import script. Be sure that the solved camera path is cleared first, so that the seed path is loaded. If you have a solved camera path in SynthEyes, you can edit it directly. First, select the camera, and hit the Blast button on the 3-D panel. This transfers the path data from the solved path store into the seed path store. Clear the solved path and edit the seed path. Rewind and turn on all 3 camera axis locks L/R, F/B, and U/D. Next, configure the solver s seeding method. This requires some care. You can use the Path Seeding methodonly if your existing path includes correct orientation and field of view data. Otherwise, you can use the Automatic method or maybe Seed Points. The Refine mode is not an option since you have already cleared the solution to load the seed path, and don’t have orientation data anyway or you’d use Path Seeding. You can use Seed Points mode if you are editing the path in SynthEyes—but be sure to hit theSet Allbutton on the Coordinate System Setup Control panelbeforeclearing the prior solution, so that the points are set up properly as seeds. You should probablynotmake them locks, unless you are confident of the positions already. With the camera path locked to a complex path (other than a straight line), no further coordinate system setup is required, or it will be redundant. You can solve the scene first with the Constrain checkbox off, then switch to Refine mode, turn on Constrain, and solve again. This will make it apparent during the second solve whether or not you have any problems in your constraint setup, instead of having a solution fail unexpectedly due to conflicting constraints the first time. Camera-based Coordinate System Setup The camera axis constraints can be used in small doses to set up the coordinate system, as we’ve seen in the prior sections. Typically you will want to use only 1 or 2 keys on the seed path; 3 or more keys will usually heavily constrain the path and require exact knowledge of the camera move timing. Roughly, each keyed frame is equivalent in effect to a constrained tracker located at the same spot. You should keep that in mind as you plan your setup, to avoid under- or over-constraining the coordinate system. Soft Locks So far we have described hard locks, which force the camera exactly to the specified values. Soft locks pull more gently on the camera path, for example, to add stability to a section of the track with marginal tracking. In either case, for a lock to be active, the corresponding lock button (U/D, L/R, pan, etc) must be on. The weight values on the Hard and Soft Lock dialog controls whether locks are hard or soft. If the weight is zero (the default), it is a hard lock. A non-zero weight value specifies a soft lock. Weight values range from 1 to 120, with 60 a nominal neutral value. However, we recommend that when creating soft locks, you start with a weight of 10, and work upwards through 20, 30, etc until the desired effect is obtained. Weight values are in decibels, a logarithmic scale where 20 decibels is a factor of 10, and 6 decibels is a factor of two. So 40 is 10 times stronger than 20, and 26 is twice as strong as a weight of 20. (Decibels are commonly used for sound level measurements.) A lock can switch from hard to soft on a frame-by-frame basis, ie frames 0-9 can be hard, and 10-14 soft. You may need to key the weight track carefully to avoid slow transitions from 20 down to 0, for example. Soft locks are treated as such only when the Constrain check box is on it is the solver that distinguishes between hard and soft locks. If Constrain is off, the locks will be applied during the final alignment, when they do not affect the path at all, just re-orient it, so soft locks are treated the same as hard locks. Note that the soft lock weight isnota path blending control. You might naively be tempted to set up a nominal locked path, and try to animate the soft lock weights expecting a smooth blend between the solved path and your animated locked path. But that is not what will happen. The weight changes how seriously SynthEyes takes your request that the camera should be located at the specified position—but it will affect the tracker positions and everything else as well. Orientation Locks You can apply Pan, Tilt, and Roll rotation locks as well as translational locks. They can be used for path editing and, to a lesser extent, for coordinate system setup. For example, a roll-angle constraint can be used to keep the camera forced upright. That can be handy on tripod shots with large pans small amounts of lens distortion can bend the path into a banana shape; the roll constraint can flatten that back out. If the camera looks in two different directions with the roll locked, it constrainstwodegrees of freedom only a single pan angle is undetermined! For example, if looks along the X axis then along the Y axis, both with roll=0. You might want to think about that for a minute. The perspective window s local-coordinate-system and path-relative handles can help make specific adjustments to the camera path. Inherently, SynthEyes is not susceptible to “gimbal-lock” problems. However, when you have orientation locks, you are using pan, tilt, and roll axes that do define overall north and south poles, and you may encounter some problems if you are trying to lock the camera almost straight up or down. If this is the case, you may want to change your coordinate system so those views are along the +Y and –Y axes, for example. Object Tracking You can also use locks on moving objects, in addition to cameras. However, there are several restrictions on this, because moving objects are solved relative their hosting camera path, but the locks are world coordinate system values. If a moving object has path locks, then 1. the host camera must have been previously solved, pre-loaded, or pre-keyed, and the camera solving mode set to Disabled, 2. the translation axis locks must either all be on, or all off, and 3. the rotation axis locks must either all be on, or all off. Normally, when SynthEyes handles shots with a moving camera and moving object, it solves camera and object simultaneously, optimizing them both for the best overall solution. However, when object locks are present, SynthEyes must be able to access the camera solution first, in order to be able to apply the object locks. With the camera path, SynthEyes changes the translation and rotation axis lock values into a form usable for the object, but the individual axes are no longer available, and either all must be constrained, or none. SynthEyes will automatically turn all the enables on or off together if a moving object is active. Object locks have very hard-to-think-about impacts on the local coordinate system of the trackers within the object. Most object locks will wind up over-constraining the object coordinate system. We recommend that object locking be used only to work on the object path, not to try to set up the object coordinate system.