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Image Preparation Dialog The image preparation dialog allows the incoming images from disk to be modified before they are cached in RAM for replay and tracking. The dialog is launched either from the open-shot dialog, or from the Shot/Image Preparation menu item. Like the main SynthEyes user interface, the image preparation dialog has several tabs, each bringing up a different set of controls. The Stabilize tab is active above. With the left button pushed, you can review all the tabs quickly. For more information on this panel, see the Image Preparation and Stabilization sections. Warning you should be sure to set up the cropping and distortion/scale values before beginning tracking or creating rotosplines. The splines and trackers do not automatically update to adapt to these changes in the underlying image structure, which can be complex. Use the Apply/Remove Lens Distortion script on the main Script menu to adapt to late changes in the distortion value. Shared Controls OK. Button. Closes the image preprocessing dialog and flushes no-longer-valid frames the RAM buffer to make way for the new version of the shot images. You can use SynthEyes s main undo button to undo all the effects of the Image Preprocessing dialog as a unit, or then redo them if desired. Cancel. Button. Undoes the changes made using the image preprocessing dialog, then closes it. Undo. Button. Undo the latest change made using the image preprocessing panel. You can not undo changes made before the panel was opened. Redo. Button. Redo the last change undone. Final. Button. Reads either Final or Padded the two display modes of the viewport. The final view shows the final image coming from the image preparation subsection. The padded view shows the image after padding and lens undistortion, but before stabilization or resampling. Both. Button. Reads either Both, Neither, or ImgPrep, indicating whether the image prep and/or main SynthEyes display window are updated simultaneously as you change the image prep controls. Neither mode saves time if you do not need to see what you are doing. Both mode allows you to show the Padded view and Final view (in the main camera view) simultaneously. Margin. Spinner. Creates an extra off-screen border around the image in the image prep view. Makes it easier to see and understand what the stabilizer is doing, in particular. Show. Button. When enabled, trackers are shown in the image prep view. Image Prep View. Image display. Shows either the final image produced by the image prep subsystem (Final mode), or the image obtained after padding the image and undistorting it (Padded mode). You can drag the Region-of-interest (ROI) and Point-of-interest (POI) around, plus you can click to select trackers, or lasso-select by dragging. Playbar (at bottom) Preset Manager. Drop-down. Lets you create and control presets for the image prep system, for example, different presets for the entire shot and for each moving object in the shot. Preset Mgr. Disconnect from the current preset; further changes on the panel will not affect the preset. New preset. Create and attach to a new preset. You will be prompted for the name of the new preset. Reset. Resets the current preset to the initial settings, which do nothing to the image. Rename. Prompt for a new name for the current preset. Delete. Delete the current preset. Your presets. Selecting your preset will switch to it. Any changes you then make will affect that preset, unless you later select the Preset Mgr. item before switching to a different preset. Rewind. Button. Go back to the beginning of the shot. Back Key. Button. Go back to the previous frame with a ROI or Levels key. Back Frame. Button. Go back one frame; with Control down, back one key; with Shift down, back to the beginning of the shot. Auto-repeats. Frame. Spinner. The frame to be displayed in the viewport, and to set keys for. Note that the image does not update while the spinner drags because that would require fetching all the intermediate frames from disk, which is largely what we’re trying to avoid. Forward Frame. Button. Go forward one frame; with Control down, forward one key; with Shift down, forward to the end of the shot. Auto-repeats. Forward Key. Button. Go forward to the next frame with a ROI or Levels key. To End. Button. Go to the end of the shot. Make Keys. Checkbox. When off, any changes to the levels or region of interest create keys at frame zero (for when they are not animated). With the checkbox on, keys are created at the current frame. Enable. Button (stoplight). Allows you to temporarily disable levels, color, blur, downsampling, channels, and ROI, but not padding or distortion. Use to find a lost ROI, for example. Effective only within image prep. Rez Tab Blur. Spinner. Causes a Gaussian blur with the specified radius, typically to minimize the effect of grain in film. Applied before down-sampling, so it can eliminate artifacts. Hi-Pass. Spinner. When non-zero, creates a high-pass filter using a Gaussian blur of this radius. Use to handle footage with very variable lighting, such as explosions and strobes. Radius is usually much larger than typical blur compensations. Applied before down-sampling. DownRez. Drop-down list None, By 1/2, By 1/4. Causes the image from disk to be reduced in resolution by the specified amount, saving RAM and time for large film images, but reducing accuracy as well. Interpolation. Drop-down list. Bi-Linear, 2-Lanczos, 3-Lanczos. The bi-linear method is fastest but softens the image slightly. If the shot has a lot of noise, that can be a good thing. The 2-Lanczos filter provides a sharper result, after a longer time. The 3-Lanczos filter is even sharper, with more time and of course the noise is made sharper also. Channel. Drop-down list RGB, Luma, R, G, B, A. Allows a luminance image to be used for tracking, or an individual channel such as red or green. Blue is usually noisy, alpha is only for spot-checking the incoming alpha. This can reduce memory consumption by a factor of 3. Invert. Checkbox. Inverts the RGB image or channel to improve feature visibility. Levels Tab High. Spinner. Incoming level that will be mapped to full white in RAM. Changing the level values will create a key on the current frame if the Make Keys checkbox is on, so you can dynamically adjust to changes in shot image levels. Use right-click to delete a key, shift-right-click to truncate keys past the current frame, and control-right-click to kill all keys. High, Mid, and Low are all keyed together. Mid. Spinner. Incoming level that will be mapped to 50% white in RAM. (Controls the effective gamma.) Low. Spinner. Incoming level that will be mapped to 0% black in RAM. Gamma. Spinner. A gamma level corresponding to the relationship between High, Mid, and Low. Saturation. Spinner. Controls the saturation (color gain) of the images, without affecting overall brightness. Hue. Spinner. Rotates the hue angle +/- 180 degrees. Might be used to line up a color axis a bit better in advance of selecting a single-channel output. Cropping Tab Left Crop. Spinner. The amount of image that was cropped from the left side of the film. Width Used. Spinner. The amount of film actually scanned for the image. This value is not stored permanently; it multiplies the left and right cropping values. Normally it is 1, so that the left and right crop are the fraction of the image width that was cropped on that size. But if you have film measurements in mm, say, you can enter all the measurements in mm and they will eventually be converted to relative values. Right Crop. Spinner. The relative amount of the width that was cropped from the right. Top Crop. Spinner. The relative amount of the height that was cropped. Height Used. Spinner. The actual height of the scanned portion of the image, though this is an arbitrary value. Right Crop. Spinner. The relative amount of the height that was cropped along the bottom. Effective Center. 2 Spinners. The optic center falls, by definition, at the center of the padded-up (uncropped) image. These values show the location of the optic center in the U and V coordinates of the original image. You can also change them to achieve a specified center, and corresponding cropping values will be created. Stabilize Tab For more information, see the Stabilization section of the manual. Get Tracks. Button. Acquires the path of all selected trackers and computes a weighted average of them together to get a single net point-of-interest track. Stabilize Axes Translation. Dropdown list None/Filter/Peg. Controls stabilization of the left/right and up/down axes of the stabilizer, if any. The Filter setting uses the cut frequency spinner, and is typically used for traveling shots such as a car driving down a highway, where features come and go. The Pegged setting causes the initial position of the point of interest on the first frame to be kept throughout the shot (subject to alteration by the Adjust tracks). This is typical for shots orbiting a target. Rotation. Dropdown list None/Filter/Peg. Controls the stabilization of the rotation of the image around the point of interest. Cut Freq(Hz). Spinner. This is the cutoff frequency (cycles/second) for low-pass filtering when the peg checkbox(es) are off. Any higher frequencies are attenuated, and the higher they are, the less they will be seen. Higher values are suitable for removing interlacing or residual vibration from a car mount, say. Lower values under 1 Hz are needed for hand-held shots. Note that below a certain frequency, depending on the length of the shot, further reducing this value will have no effect. Auto-Scale. Button. Creates a Delta-Zoom track that is sufficient to ensure that there are no empty regions in the stabilized image, subject to the maximum auto-zoom. Can also animate the zoom and create Delta U and V pans depending on the Animate setting. Animate. Dropdown list Neither/Translate/Zoom/Both. Controls whether or not Auto-Scale is permitted to animate the zoom or delta U/V pan tracks to stay under the Maximum auto-zoom value. This can help you achieve stabilization with a smaller zoom value. But, if it is creating an animated zoom, be sure you set the main SynthEyes lens setting to Zoom. Maximum auto-zoom. Spinner. The auto-scale will not create a zoom larger than this. If the zoom is larger, the delta U/V and zoom tracks may be animated, depending on the Animate setting. Clear Tracks. Button. Clears the saved point-of-interest track and reference track, turning off the stabilizer. Lens Tab Get Solver FOV. Button. Imports the field of view determined by a SynthEyes solve cycle, or previously hand-animated on the main SynthEyes lens panel, placing these field of view values into the stabilizer s FOV track. Field of View. Spinner. Horizontal angular field of view in degrees. Animatable. Separate from the solver s FOV track, as found on the main Lens panel. Focal Length. Spinner. Camera focal length, based on the field of view and back plate width shown below it. Since plate size is rarely accurately known, use the field of view value wherever possible. Plate. Text display. Shows the effective plate size in millimeters and inches. To change it, close the Image Prep dialog, and select the Shot/Edit Shot menu item. Get Solver Distort. Button. Brings the distortion coefficient from the main Lens panel into the image prep system s distortion track. Note that while the main lens distortion can not be animated, this image prep distortion can be. This button imports the single value, clearing any other keys. You will be asked if you want to remove the distortion from the main lens panel, you should usually answer yes to avoid double-distortion. Distortion. Spinner. Removes this much distortion from the image. You can determine this coefficient from the alignment lines on the SynthEyes Lens panel, then transfer it to this Image Preparation spinner. Do this BEFORE beginning tracking. Can be animated. Scale. Spinner. Enlarges or reduces the image to compensate for the effect of the distortion correction. Can be animated. Apply distortion. Checkbox. Normally the distortion, scale, and cropping specified are removed from the shot in preparation for tracking. When this checkbox is turned on, the distortion, scale, and cropping are applied instead, typically to reapply distortion to externally-rendered shots to be written to disk for later compositing. Adjust Tab Delta U. Spinner. Shifts the view horizontally during stabilization, allowing the point-of-interest to be moved. Animated. Allows the stabilization to be “directed,” either to avoid higher zoom factors, or for pan/scan operations. Note that the shift is in 3-D, and depends on the lens field of view. Delta V. Spinner. Shifts the view vertically during stabilization. Animated. Delta Rot. Spinner. Degrees. Rotates the view during stabilization. Animated. Delta Zoom. Spinner. Zooms in and out of the image. At a value of 1.0, pixels are the same size coming in and going out. At a value of 2.0, pixels are twice the size, reducing the field of view and image quality. This value should stay down in the 1.10-1.20 range (10-20% zoom) to minimize impact on image quality. Animated. Note that the Auto-Scale button overwrites this track. Output Tab Resample. Checkbox. When turned on, the image prep output can be at a different resolution and aspect than the source. For example, a 3K 4 3 film scan might be padded up to restore the image center, then panned and scanned in 3-D and resampled to produce a 16 9 1080p HD image. New Width. Spinner. When resampling is enabled, the new width of the output image. New Height. Spinner. The new height of the resampled image. New Aspect. Spinner. The new aspect ratio of the resampled image. The resampled width is always the full width of the zoomed image being used, so this aspect ratio winds up controlling the height of the region of the original being used. Try it in “Padded” mode and you’ll see. 4 3. Button. A convenience button, sets the new aspect ratio spinner to 1.333. 16 9. Button. More convenience, sets the new aspect ratio to 1.778. Save Sequence. Button. Brings up a dialog which allows the entire modified image sequence to be saved back to disk. Apply to Trkers. Button. Takes whatever all the stabilization system is doing to the image, and does the same thing to the trackers, so that they will still be in the same place in the main SynthEyes interface. Used to avoid retracking after stabilizing a shot. Do not hit more than once! Remove f/Trkers. Button. Assuming you’ve already hit the Apply button above, this removes the effect of the stabilization. You must do this before changing the stabilization around again, then re-Apply it. Region of Interest (ROI) Hor. Ctr., Ver. Ctr. Spinners. These are the horizontal and vertical center position of the region of interest, ranging from -1 to +1. These tracks are animated, and keys will be set when the Make Keys checkbox is on. Normally set by dragging in the view window. A smaller ROI will require less RAM, allowing more frames to be stored for real-time playback. Use right-click to delete a key, shift-right-click to truncate keys past the current frame, and control-right-click to kill all keys. Half Width, Half Height. Spinners. The width and height of the region of interest, where 0 is completely skinny, and 1 is the entire width or height. They are called Half Width and Height because with the center at 0, a width of 1 goes from -1 to +1 in U,V coordinates. Use Control-Drag in the viewport to change the width and height. Keyed simultaneously with the center positions. Use right-click to delete a key, shift-right-click to truncate keys past the current frame, and control-right-click to kill all keys. Save Processed Image Sequence Dialog Launched from the Save Sequence button on the Output tab. … Button. Click this to set the output file name to write the sequence to. Make sure to select the desired file type as you do this. When writing an image sequence, include the number of zeroes you wish in the resulting sequence file names. For example, seq0000 will be a four-digit image number, starting at zero, while seq1 will have a varying number of digits, starting from 1. Compression Settings. Button. Click to set the desired compression settings, after setting up the file name and type. Subtle non-SynthEyes Quicktime “feature ” the H.264 codec requires that the Key Frame every … frames checkbox in its compression settings must be turned off. Otherwise the codec produces only a single frame! RGB Included. Checkbox. Include the RGB channels in the files produces (should usually be on). 16bit/channel. Checkbox. Produce 16 bit/channel files. Possible only if the source is 16 bit/channel. Alpha Included. Checkbox. Include the alpha channel in the output. Can be turned on only if the output format permits it. If the input images do not contain alpha data, it will be generated from the roto-splines and/or green-screen key. Or, if (only after) you turn off the RGB Included checkbox, you can turn on the Alpha Included checkbox, and alpha channel data will be produced from the roto-spline/green-screen and converted to RGB data that is written. This feature allows a normal black/white alpha-channel image to be produced even for formats that do not support alpha information, or for other applications that require separate alpha data. Start. Button. Get going… Cancel. Button. Stop when next convenient. For image sequences on multi-core processors, this can be several frames later because frames are being generated in parallel.
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Ampling 名前 Ampling No. 019 タイプ Electric 進化元 進化先 Amphatyr Amplingは、明らかに鹿の子鹿に基づいた、小さくて黒い黄色いTemtemです。 それはその体を横切って印象的な、電気の青い目、小さな青い鼻と黄色の稲妻のモチーフを持っています。 額と小さなふさふさした尾に小さな黄色い二本の枝角があります。 スキル 習得Lv. スキル名
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GENRE TITLE ARTIST bpm notes CLEAR RATE HARD TRANCE The Sampling Paradise Mamonis 150 1191 n%(yyyy/mm/dd) 攻略・コメント BSSしながらもう片方で皿とか、BSS終点から更に連皿と、これまでにない皿の扱いが出て来て驚かされる -- 名無しさん (2011-09-30 23 45 24) あきらかに☆10ではない。初見でのEX-HARDは超地雷。 -- 名無しさん (2011-10-01 17 35 01) 皿絡みが新機軸すぎて初見はかなりキツく感じる。つーかびっくりした。最後の左BSSが殺しになっていて、ここで大きく減らされるとラストの乱打で回復し切れず終わる。末端を無視して右の皿に注力した方がゲージを維持できると思うので覚えておくと吉。総合的に見れば☆１０の範疇だと思うが、とにかく「慣れる」ことが必要な譜面 -- 名無しさん (2011-10-02 09 43 17) BSS＋連皿はイメトレの段階から既に難しいので、家庭用コントローラーなどでじっくり練習した方がいいかと -- 名無しさん (2011-10-03 15 51 09) 初見ハードだが、二回目は落ちた。譜面を理解したため、BSSをきちんと取ろうとしたのが原因。埋めたいだけなら無理そうなものはいさぎよく捨てて連皿や鍵盤拾った方が絶対楽。ただし、きちんと出来たときの爽快感はヤバいし何より楽しい。 -- 名無しさん (2011-10-03 23 42 28) BSS+皿は複雑な配置ではない為、何回かプレイする事で余裕を持って対応できるようになる -- 名無しさん (2011-10-10 00 56 57) これはオモシロイ！もう何だか皿絡みのてんてこ舞い譜面。こんな譜面待ってたんだ。よくぞやったコナミ。 -- 名無しさん (2011-10-15 03 37 47) 10挑戦レベルだと全く手も足も出ない。七段上位か八段が取れるくらいでないと、皿も鍵盤も取るのは難しい。要認識力 -- 名無しさん (2011-10-20 10 17 51) BSSからの連皿は、BSSを速く回し過ぎない方が安全。自分が連皿を縦横どちらで取るかによって、BSSの終点で手がどこに来るかを調節できるといい感じ。まずは、あまり気負わずにノリノリでプレイして忙しさを楽しもう。☆10未クリアが1/4くらいの人には、練習にもお勧め。 -- 名無しさん (2011-10-27 14 56 21) DPAより40枚くらい皿が多い。というかSPAとほぼ同じ枚数の皿。 -- 名無しさん (2011-10-27 20 14 39) 三番目のコメントにもあるが、白ランプ狙い時はBSSの始点だけを回すようにすると巻き込みミスを減らせる。特にBSS+連皿の部分、無理に拾いに行ってミスを連続するくらいなら、連皿に注視してミスを空POOR1つに済ませる方がマシ。 -- 名無しさん (2011-12-22 23 26 28) 今日カード買って確認してみたら、クリアレートが49%と☆10としてはかなり低い。もともと全体難の上に終盤はBSS+連皿で殺しと落とす要素たっぷりなので、☆10挑戦者は要警戒か。 -- 名無しさん (2012-02-03 17 42 28) バスドラの代わりに皿みたいな箇所が多く着地が10にしてはかなり凶悪、皿が苦手だと絶望的。 -- 名無しさん (2013-02-20 05 56 07) 所々にあるトリルも結構厄介で、トリル側でない方も忙しいため、トリルがズレるとそれだけでFailedの危険性が高まる クリアレートの低さはコレもあると思う -- 名無しさん (2014-01-26 15 38 57) 1回目のサビ以降を見てみると、61～63小節目のBSS絡みの皿以外目立った難所がないため、HARDクリアは1回目のサビを超えられればクリアは近い -- 名無しさん (2014-04-11 20 35 09) 名前 コメント
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開発環境 Microsoft Visual C# 2010 Express (SP1) 実行環境 Microsoft Windows XP Home Edition (SP3) プロジェクトの種類 空のプロジェクト プロジェクト名 MdxSample プロジェクト プロジェクトの保存 [ソリューションのディレクトリを作成]はチェックを付けなくてもいい。 プロジェクトのプロパティ [アプリケーション]タブ 出力の種類：Windows アプリケーション プロジェクトにクラスを追加。 テンプレート：クラス 名前：Program.cs 名前：Form1.cs 名前：MdxSample.cs プロジェクトに新しい項目を追加。 テンプレート：アプリケーション構成ファイル 名前：App.config プロジェクトの参照設定に追加。(.NETタブ) ※Ctrlキーで複数選択可 System System.Drawing System.Windows.Forms プロジェクトの参照設定に追加。(参照タブ) ※Ctrlキーで複数選択可 C \WINDOWS\Microsoft.NET\DirectX for Managed Code\1.0.2902.0 Microsoft.DirectX.dll Microsoft.DirectX.Direct3D.dll Microsoft.DirectX.Direct3DX.dll Microsoft.DirectX.DirectInput.dll 注意 MdxSample.exeと同じディレクトリにMdxSample.exe.configがないと動作が不安定になる。 参考 Managed DirectX - ソーサリーフォース LoaderLockエラーの対処 メニューから[ツール]-[設定]-[上級者設定]を選択する。 メニューから[デバッグ]-[例外]を選択する。 Managed Debugging Assistants／LoaderLockの[スローされるとき]のチェックを外す。 App.config ?xml version="1.0" encoding="utf-8" ? configuration startup useLegacyV2RuntimeActivationPolicy="true" supportedRuntime version="v4.0"/ /startup /configuration Program.cs using System; using System.Threading; using System.Windows.Forms; namespace MdxSample { static class Program { [STAThread] static void Main() { using (Form1 form = new Form1()) using (MdxSample main = new MdxSample()) { if (!main.DXInitialize(form)) { MessageBox.Show("Direct3Dの初期化に失敗しました。", "MdxSample"); return; } form.Show(); while (form.Created) { main.Render(); Thread.Sleep(1); Application.DoEvents(); } } } } } Form1.cs using System.Drawing; using System.Windows.Forms; namespace MdxSample { class Form1 Form { public Form1() { Text = "MdxSample"; ClientSize = new Size(1280, 720); MaximizeBox = false; FormBorderStyle = FormBorderStyle.FixedSingle; } } } MdxSample.cs using System; using System.Drawing; using System.Threading; using Microsoft.DirectX; using Microsoft.DirectX.Direct3D; using Microsoft.DirectX.DirectInput; namespace MdxSample { class MdxSample IDisposable { Form1 form; PresentParameters pp; Microsoft.DirectX.Direct3D.Device dev; Microsoft.DirectX.Direct3D.Font font; Microsoft.DirectX.DirectInput.Device keyboard; VertexBuffer vertexBuffer; // fps int fpsSec; int fpsDraw = 0; int fpsCount = 0; // カメラ float camDist = 3; int camLat = 0; int camLon = 180; public bool DXInitialize(Form1 topLevelForm) { try { form = topLevelForm; // キーボードデバイスの初期化 keyboard = new Microsoft.DirectX.DirectInput.Device(SystemGuid.Keyboard); keyboard.SetCooperativeLevel(form, CooperativeLevelFlags.NonExclusive | CooperativeLevelFlags.Background); keyboard.Acquire(); // Direct3Dデバイス作成 pp = new PresentParameters(); pp.Windowed = true; pp.SwapEffect = SwapEffect.Discard; pp.EnableAutoDepthStencil = true; pp.AutoDepthStencilFormat = DepthFormat.D16; dev = new Microsoft.DirectX.Direct3D.Device(0, Microsoft.DirectX.Direct3D.DeviceType.Hardware, form.Handle, CreateFlags.HardwareVertexProcessing, pp); // フォントの作成 FontDescription fd = new FontDescription(); fd.Height = 24; fd.FaceName = "ＭＳ ゴシック"; font = new Microsoft.DirectX.Direct3D.Font(dev, fd); // 頂点バッファ CustomVertex.PositionColored[] vertices = new CustomVertex.PositionColored[3]; vertices[0] = new CustomVertex.PositionColored(0, 1, 0, Color.Red.ToArgb()); vertices[1] = new CustomVertex.PositionColored(1, -1, 0, Color.Green.ToArgb()); vertices[2] = new CustomVertex.PositionColored(-1, -1, 0, Color.Blue.ToArgb()); vertexBuffer = new VertexBuffer(typeof(CustomVertex.PositionColored), 3, dev, Usage.WriteOnly, CustomVertex.PositionColored.Format, Pool.Managed); using (GraphicsStream data = vertexBuffer.Lock(0, 0, LockFlags.None)) { data.Write(vertices); vertexBuffer.Unlock(); } dev.Transform.Projection = Matrix.PerspectiveFovLH(Geometry.DegreeToRadian(45), (float)dev.Viewport.Width / (float)dev.Viewport.Height, 1, 100); dev.RenderState.Lighting = false; return true; } catch { return false; } } public void Render() { KeyboardState state; state = keyboard.GetCurrentKeyboardState(); if (state[Key.Escape]) { form.Close(); return; } if (state[Key.Up]) camLat = Math.Min(camLat + 1, 89); if (state[Key.Down]) camLat = Math.Max(camLat - 1, -89); if (state[Key.Left]) camLon = (camLon + 1) % 360; if (state[Key.Right]) camLon = (camLon + 359) % 360; if (state[Key.PageUp]) camDist -= 0.1f; if (state[Key.PageDown]) camDist += 0.1f; // fps fpsDraw++; int sec = DateTime.Now.Second; if (fpsSec != sec) { fpsCount = fpsDraw; fpsDraw = 0; fpsSec = sec; } // カメラ位置 Vector3 pos; float rad = Geometry.DegreeToRadian(camLat); pos.Y = (float)Math.Sin(rad) * camDist; float r = (float)Math.Cos(rad) * camDist; rad = Geometry.DegreeToRadian(camLon); pos.X = (float)Math.Sin(rad) * r; pos.Z = (float)Math.Cos(rad) * r; dev.Transform.View = Matrix.LookAtLH(pos, new Vector3(), new Vector3(0, 1, 0)); // バックバッファのクリア dev.Clear(ClearFlags.Target | ClearFlags.ZBuffer, Color.CornflowerBlue, 1.0f, 0); dev.BeginScene(); dev.SetStreamSource(0, vertexBuffer, 0); dev.VertexFormat = CustomVertex.PositionColored.Format; dev.DrawPrimitives(PrimitiveType.TriangleList, 0, 1); string text = string.Format("fps={0} lat={1} lon={2} dist={3 f1}", fpsCount, camLat, camLon, camDist); font.DrawText(null, text, 0, 0, Color.White); // バックバッファを表画面に反映 dev.EndScene(); try { dev.Present(); } catch (DeviceLostException) { ResetDevice(); } } void ResetDevice() { int result; if (!dev.CheckCooperativeLevel(out result)) { switch ((ResultCode)result) { case ResultCode.DeviceLost Thread.Sleep(10); break; case ResultCode.DeviceNotReset dev.Reset(pp); break; default form.Close(); break; } } } public void Dispose() { if (font != null) { font.Dispose(); } } } }
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【登録タグ A 初音ミク 吟 曲】 作詞：吟 作曲：吟 編曲：吟 唄：初音ミク 曲紹介 吟氏の処女作。 歌詞 （ピアプロより転載） 交差する道の向こう 背の高い君の姿 間抜け顔も愛しくて 知らないフリするのは 気付いた君の表情 見られる大事な一瞬だから アスペクトな君はいつも 優柔不断で頼りないね それでも手を振られたなら 応えたくなる、最高の笑顔で さりげなく距離を詰め 君の顔を見上げるよ のぞき込む君と目が合った 他愛の無い会話も それが君の声だから 退屈じゃない時間に変わる アスペクトな僕はいつも 君のそのしぐさ、言葉だけで 夢のどこかを彷徨って 戻れなくなる、それくらい好きだよ アスペクトな君はいつも 僕には心が読めないまま 繋がらない二人の手が もどかし過ぎて切ないね アスペクトな僕はいつも 素直になれない、弱い僕で それでも君が笑うから 幸せだよと伝えたい 好きだよ コメント 名前 コメント
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【登録タグ CD CDG レシオPCD】 前作 本作 次作 - GOLDEN RATIO メモリアルハイスクール レシオP 流通 即売 通販 発売 2019年8月12日 2019年11月17日 価格 ￥1,000 ￥1,650 サークル レシオさんとこ CD紹介 レシオPの1stアルバム。 コミックマーケット96（C96）で頒布される。 THE VOC@LOiD M@STER43で頒布される。 曲目 Beginning Of The End Nobody Knows My Name BITTER SWEET LOVE マイナスドライバー ニコイチメモリーズ Clink Twinkle インマイマインド 東京ラプソディー 故郷の空 ハロウィン・オブ・ザ・デッド ADDICTION 真夜中のギター リンク 特設サイト Twitter コメント 名前 コメント
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開発環境 Microsoft Visual C# 2010 Express (SP1) 実行環境 Microsoft Windows XP Home Edition (SP3) プロジェクトの種類 Windows Game (4.0) プロジェクト名 XnaSample Xファイルをメタセコイアなどの3Dポリゴンモデラー、DirectX SDKサンプルなどから用意する。 ソリューションエクスプローラーのXnaSampleContent (Content)を右クリックして[追加]-[既存の項目]を選択する。 参考 Xファイルを読み込んでモデルを表示 モデルの読み込みと描画 Program_2.cs using System; using Microsoft.Xna.Framework; using Microsoft.Xna.Framework.Graphics; class Game1 Game { GraphicsDeviceManager gdm; Model model; Matrix world, view, proj; float rotate = 0.0f; SpriteBatch sprBat; SpriteFont sprFont; DateTime prevTime; int count = 0; int fps = 0; public Game1() { gdm = new GraphicsDeviceManager(this); Content.RootDirectory = "Content"; } protected override void Initialize() { prevTime = DateTime.Now; world = Matrix.Identity; proj = Matrix.CreatePerspectiveFieldOfView( MathHelper.ToRadians(45.0f), GraphicsDevice.Viewport.AspectRatio, 1.0f, 1000.0f); view = Matrix.CreateLookAt(new Vector3(2.0f, 2.0f, 5.0f), Vector3.Zero, Vector3.Up); base.Initialize(); } protected override void LoadContent() { sprBat = new SpriteBatch(GraphicsDevice); // ContentにSprite Fontを追加しておく sprFont = Content.Load SpriteFont ("SpriteFont1"); // ContentにXファイルを追加しておく model = Content.Load Model ("teapot"); base.LoadContent(); } protected override void Update(GameTime gameTime) { rotate -= (float)gameTime.ElapsedGameTime.TotalSeconds; world = Matrix.CreateRotationY(rotate); foreach (ModelMesh mesh in model.Meshes) { foreach (ModelMeshPart meshPart in mesh.MeshParts) { BasicEffect effect = meshPart.Effect as BasicEffect; //effect.World = world; //effect.View = view; //effect.Projection = proj; effect.LightingEnabled = true; } } base.Update(gameTime); } protected override void Draw(GameTime gameTime) { GraphicsDevice.Clear(Color.CornflowerBlue); // モデル描画 model.Draw(world, view, proj); /* foreach (ModelMesh mesh in model.Meshes) { foreach (ModelMeshPart meshPart in mesh.MeshParts) { GraphicsDevice.SetVertexBuffer(meshPart.VertexBuffer); GraphicsDevice.Indices = meshPart.IndexBuffer; foreach (EffectTechnique tech in meshPart.Effect.Techniques) { foreach (EffectPass pass in tech.Passes) { pass.Apply(); GraphicsDevice.DrawIndexedPrimitives( PrimitiveType.TriangleList, meshPart.VertexOffset, 0, meshPart.NumVertices, meshPart.StartIndex, meshPart.PrimitiveCount); } } } } */ // フレームレート count++; DateTime now = DateTime.Now; TimeSpan t = now - prevTime; if (t.TotalMilliseconds = 1000) { fps = count; count = 0; prevTime = now; } sprBat.Begin(); sprBat.DrawString(sprFont, "fps = " + fps, new Vector2(0, 0), Color.White); sprBat.End(); base.Draw(gameTime); } } class Program { static void Main() { using (Game1 game = new Game1()) { game.IsMouseVisible = true; game.Run(); } } }
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GENRE TITLE ARTIST bpm notes CLEAR RATE HARD TRANCE The Sampling Paradise Mamonis 150 1646 n%(yyyy/mm/dd) 攻略・コメント ガチムチマッスル譜面。高密度両手同時バラ打ちと連皿、皿往復等てんこもりでプレイヤーの体力が削り取られる。 -- 名無しさん (2011-10-01 00 23 48) 着地得意なら12，3弱だねえ。ＡＡＡとか無理ゲー。ＢＳＳ＋皿が意外と難しい。 -- 名無しさん (2011-10-01 21 32 04) 連皿、着地、スパイダー、BSS等皿に関する全ての要素が詰まっている 一つでも苦手だと難がきつい -- 名無しさん (2011-10-02 18 23 08) 最後だけをみると、4 piecesの上位っぽい譜面で12.3な印象。ただ、道中は4 piecesほど厳しくないので、難推奨。 -- 名無しさん (2011-10-02 22 11 58) 右利きですが左鏡オススメ、ラス殺し。水木しげるが丹下段平を書いたらこうなりました、みたいなレイヤーを気にしないように。 -- 名無しさん (2011-10-03 00 06 31) ラス殺しなのでHARD逃げが有効。ただし初見ではBSS中の皿という要素に混乱してミスが嵩む恐れが高いので一度はノマゲで予習推奨。 -- 名無しさん (2011-10-04 17 43 27) 両鏡オヌヌヌ -- 名無しさん (2011-10-14 20 15 06) 1PでBSSしつつ2Pで連皿というDPならではのトリッキーな譜面がハードの難所。ラストの着地はfour piecesより皿が少なく鍵盤に比重が傾いているので(1、2枚取れなくても何とかなる)ノマゲに必要な着地力で考えたらこっちの方が弱い。four pieces緑だけどこっちは赤点いた。 -- 名無しさん (2011-10-17 19 01 57) 大当たりこそないが、乱もそこそこ有効。また、ラスト着地は100%突入できれば右皿全捨てでもどうにかなる範囲。 -- 名無しさん (2011-10-23 23 13 04) FLIPのみでexhardが視野に入るぐらいすごく見やすくかつ押し易くなった。BSS連皿地帯はBSS側を見ましょう。 -- 名無しさん (2011-11-18 13 58 29) ４天よりｂｐｍが遅い分だけ弱いと思う。難以上だと連皿がネックだがノマゲなら12.2中堅クリアした地力なら着地次第で楽にできる。 -- 名無しさん (2011-11-20 16 51 33) 正規ノマゲを前提とすると確かに12.3はあってもいいかな。ラストの着地殺しの難しさは、イナズマ穴の最初の着地＞＞＞当曲のラスト＞フォーピース穴のラスト、だいたいこんな感じ。HARDの方が楽とはいえ、皿が得意じゃない人は、鍵盤だけの所は100ノーツに対し見逃し1無駄押し1くらいで押せないとラストでゲージが足りなくなる。ラストの着地前に40％は残しておきたい。 -- 名無しさん (2011-12-13 22 34 15) 気づいたら両側の皿をぐるぐる回し続けてたでござる。ただクリアしたいだけならBSSは捨てるといい。あとは散々言われてるように左側がミラー配置になるオプションが有効かな。開幕は早めに回して着地に余裕を持とう -- 名無しさん (2012-01-28 11 32 35) 左ミラーは人によると思う。左正規だと、階段は内向きの方が若干多いので、1鍵バスができるのならば正規の方が楽という人もいるだろう。 -- 名無しさん (2012-01-28 23 34 20) HARD逃げ切り攻略について。BSSや着地が注目されているが、鍵盤も普通に難しい。特に前半、高密度乱打からいきなり左右同時の青鍵トリルが降ってくるが、そこでタイミングがずれると普通に50％ぐらい持ってかれることもあるので注意。直前が高密度なのでずれやすいって人は餡蜜も考慮すると良い。 -- 名無しさん (2012-02-06 23 27 06) 右利きですがFのみでBP69でハードできました。BSSは入りだけ取る戦法でした。 -- 名無しさん (2012-02-09 12 23 51) 皿得意右利きだと普＞難＞＞易な感じ（正規）。中盤までに難ゲージ30％まで落ちたが十分挽回可能。個人差だが皿さえ取れれば意外と減らない。 -- 名無しさん (2012-02-21 18 09 32) 両鏡かFLIPでかなり易化する。是非お試しあれ。 -- 名無しさん (2012-07-27 01 45 33) ノマゲは曲終了時70％台安定。HARDは２回に１回は補正に助けられて辛勝。やはりノマゲだと、イナズマで一度も補正に入らないで白抜けできるくらいの着地力は必要か。 -- 名無しさん (2012-11-08 00 57 08) ラス前にしれっと左側に23トリル擬きが混じっているのでここ対策だけしておけばOK -- 名無しさん (2019-11-25 20 59 30) 名前 コメント
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A General Framework of Hybrid Graph Sampling for Complex Network Analysis Xin Xu, Chul-Ho Lee, Do Young Eun INFOCOM 2014 概要 グラフをサンプリングしたい どっちかっていうとΣf(v)を近似したい ランダムウォークとかランダムジャンプとかある ランダムジャンプはたまに失敗する ↑を統合したのを考えて解析 分散（小さいと良）がランダムジャンプ確率に対して凸 既存手法 ランダムウォーク Simple Random Walk (SRW) with Re-weighting Metropolis-Hastings Random Walk (MHRW) 収束に時間が掛かる 一様頂点サンプリング ‘Random Jump’ based on Rejection Sampling 普通ID空間は疎なので辛い 上の組み合わせ よさそうだが，解析が不十分だったりする ランダムウォーク Markov Chainになる 極限は定常分布に収束（条件下） 分散が評価基準 Metropolis-Hastings Random Walk ある確率で遷移を棄却する 定常分布が一様になる 提案枠組 Ω ID全体の集合 N 現在あるID集合 β=|N|/|Ω| 歩行者は， 確率1-αで，近傍に遷移 確率αで，IDを発行し 確率1-βで，その場に留まる 確率βで，そのIDに対応する頂点に遷移 P_α = (1-α)P + α(1-β)I + αβ/n 11^T PはMHRWとする P_αの定常分布は一様 P_αの固有値分布が知りたい Pの固有値がλiだとすれば，P_αの固有値は(1-α)λi+α(1-β) 分散が固有値で分かる，で，αの凸関数，簡単に最小化できる 実験 以下を計算する 次数分布 特定の次数の頂点に遭遇したらカウントアップ クラスタ係数 結構サンプル数必要だよなあ まとめ むしろ今までこういうことやってなかったんスカ…． INFOCOM グラフサンプリング ランダムウォーク 2014/12/30 21 51