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仲間：熊2006（ry、ヒカル、がるむれいど）、最高の☆の数４最後は０です-- (熊チーム) 2006-07-02 21 43 40 ちろり。・しらこ。・ぎんじ。☆Max 4☆Fin 0 -- (銀豹) 2006-07-02 21 43 47 さとる・まさちゃん・○蛇○○○最高６最後０ 蛇さんごめん○読めなかったｗ；； -- (さとるチーム) 2006-07-02 21 53 48 ﾒﾝﾊﾞ：にゃぽ、ライト、ヒロ星の推移3→0(爆）-- (にゃぽ～ん) 2006-07-02 21 54 13 動物の森チーム：メェ、くまのプールさん、☆ジョーゼ☆星の数３⇒０ -- (メェ) 2006-07-02 21 56 09 ↑追記：最高６ -- (メェ) 2006-07-02 21 57 07 メンバー：きむちなべ、爆破神Ψレッズ、伝説のモゲ神最高３最後０ -- (きむちなべ) 2006-07-02 21 59 06 仲間 チャッシュ シコーク 御伽（代理でにるる）最高の☆の数は２８最後も２８ -- (チャッシュ) 2006-07-02 22 13 52 メンバー：シコーク、チャッシュ、御伽。＆（補欠君のにるる）最高28最後28 -- (にるる) 2006-07-02 22 14 12 仲間：爆破神ΨLARK ぱし 唐土聖人最高：１４最後：０ -- (唐土聖人) 2006-07-02 22 17 03 仲間 §クロス§、鴉揚羽、ジャム♪最高 12最後 5 -- (§クロス§) 2006-07-02 22 25 50 最高１４ コンビ 来栖 なるなる♪ -- (コンビ) 2006-07-02 23 06 06 最高20ヵﾅ？最後が14です!! -- (コンビ) 2006-07-02 23 12 41 最終試合の時７だったよね？んで最後勝って１４になった。７の前に２０までいったってこと？ -- (熊) 2006-07-03 02 05 40 あとコレ多分書いてないﾁｰﾑ何ﾁｰﾑかありそうだね。早めに落ちちゃったﾁｰﾑで。今１０ﾁｰﾑしか書かれてないから☆の数は全部で３０。でも４７あるから17多い。単純に考えると他に7ﾁｰﾑ以上存在してる事になるあとはどっかで数え間違えとかで増えちゃったんだろうな。 -- (熊) 2006-07-03 02 11 03 １７多いんだったら５か６チーム多い希ガス -- (うんりょ～) 2006-07-03 18 02 02 最高14です -- (なるなる♪) 2006-07-03 20 36 07 あ、あと補欠に☆ジョゼ☆入れて -- (なるなる♪) 2006-07-03 20 37 26 ってか、４７って物理的におかしいわけで。３の倍数ですらない。どっかに１or４のまま記入してないチームがあるってこと？もしくは不正… -- (銀豹) 2006-07-05 08 17 58 可能性として他に１試合しかやらなかったﾁｰﾑがあるって考え方もあるよ。-- (熊) 2006-07-05 15 07 54 nulllaboriously cheeky precociously remonstrative naturals ... 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Control Panel Reference SynthEyes has the following control panels · Summary Panel · Rotoscope Control Panel · Feature Control Panel · Tracking Control Panel. · Lens Control Panel. · Solver Control Panel. · Coordinate System Control Panel. · 3-D Control Panel. · Lighting Control Panel. · Flex/Curve Control Panel. Select via the control panel selection portion of the main toolbar. The Graph Editor icon appears in the toolbar area to indicate a nominal workflow, but it launches a floating window. Additional panels are described below · Add Many Trackers Dialog · Advanced Features · Clean Up Trackers · Coalesce Nearby Trackers · Curve tracking control · Finalize Trackers · Fine-Tuning Panel · Green-screen control · Hard and Soft Lock Controls · Hold Tracker Preparation Tool · Image Preparation · Spinal Editing Control The shot-setup dialog is described in the sectionOpening the Shot. Spinners SynthEyes uses spinners, the stacked triangles on the right of the following graphic ( ), to permit easy adjustment of numeric fields on the control panels. The spinner control provides the following features · Click either triangle to increase or decrease the value in steps, · Drag within the control to smoothly increase and decrease the value, · Turns red on key frames, · Right-click to remove a key, or if none, to reset to a predefined value, · Shift-drag or -click to change the value much more rapidly, · Control-drag or -click to change the value slowly for fine-tuning. Tool Bar New, Open, Save, Undo, Redo. Buttons. Standard Windows (only). Use the Undo/Redo menu items instead to see what function will be undone or redone. (Control Panel buttons). Changes the active control panel. Forward/Backward (/). Button. Changes the current playback and tracking direction. Reset Time. Button. Resets the timebar so that the entire shot is visible. Fill. Button. The camera viewport is reset so that the entire image becomes visible. Shift-fill sets the zoom to 1 1 horizontally. Viewport Configuration Select. List box. Selects the viewport configuration. Use the viewport manager on the Window menu to modify or add configurations. Camera01. Active camera/object. Click to cycle through the cameras and objects. Play Bar Rewind Button. Rewind back to the beginning of the shot. Back Key Button. Go backwards to the previous key of the selected tracker or object. Frame Number. Numeric Field. Sequential frame number, starting at zero or at 1 if selected on thepreferences. Forward Key Button. Go forward to the next key of the selected tracker or object. To End Button. Go to the last frame of the shot. Frame Backwards. Button. Go backwards one frame. Auto-repeats. Play/Stop/. Button. Begin playing the shot, forwards or backwards, at the rate specified on the View menu. Frame Forward. Button. Go forwards one frame. Auto-repeats. Summary Panel Auto.(the big green one)Run the entire match-move process create features(blips), generate trackers, and solve. If no shot has been set up yet, you will be prompted for that first, so this is truly a one-stop button. See alsoSubmit for Batch. Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Green Screen.Brings up thegreen-screencontrol dialog. Zoom Lens.Check this box if the camera zooms. On Tripod.Check this box if the camera was on a tripod. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Fine-tune.Performs an extra stage of re-tracking between the initial feature tracking and the solve. Thisfine-tuning passcan improve the sub-pixel stability of the trackers on some shots. Settings.Launches the settings panel for fine-tuning. Run Auto-tracker.Runs the automatic tracking stage, then stops. Solve.Runs the solver. Not solved.This field will show the overall scene error, in horizontal pixels, after solving. Coords（共同作用）.Initiates a mode where 3 trackers can be clicked to define a coordinate system. After the third, you will have the opportunity to re-solve the scene to apply the new settings. Same as *3 on the Coordinate System panel. 3つのトラッカーが座標系を定めるためにクリックすることができるモードを始めます。 第3の後、新しいセッティングを適用するためにシーンを再解析することがあると思います。 座標系パネルの*3と同じです。 Master Solution Reset ().Clear any existing solution points and object paths. Rotoscope Control Panel The roto panel controls the assignment of a shot s blips to cameras or objects. The roto mask can also be written as an alpha channel or RGB image using the image preprocessor. Spline/Object List. An ordered list of splines and the camera or object they are assigned to. The default Spline1 is a rectangle containing the entire image. A feature is automatically assigned to the camera/object of thelastspline in the list that contains the feature. Double-click a spline to rename it as desired. Camera/Object Selector. Drop-down list. Use to set the camera/object of the spline selected in the Spline/Object List. You can also selectGarbageto set the spline as a garbage matte. Show this spline. Checkbox. Turn on and off to show or hide the selected spline. Also see the View/Only Selected Splines menu item. Key all CPs if any. Checkbox. When on, moving any control point will place a key on all control points for that frame. This can help make keyframing more predictable for some splines. Enable. Button. Animatable spline enable. Create Circle. Lets you drag out circular splines. Create Box. Lets you drag out rectangular splines. Magic Wand. Lets you click out arbitrarily-shaped splines with many control points. Delete. Deletes the currently-selected spline. Move Up. Push button. Moves the selected spline up in the Spline/Object List, making it lower priority. Move Down. Push button. Moves the selected spline down in the Spline/Object List, making it higher priority. Shot Alpha Levels. Integer spinner. Sets the number of levels in the alpha channel for the shot. For example, select 2 for an alpha channel containing only 0 or 1(255), which you can then assign to a camera or moving object. Object Alpha Level. Spinner. Sets the alpha level assigned to thecurrentcamera or object. For example, with 2 alpha levels, you might assign level 0 to the camera, and 1 to a moving object. The alpha channel is used to assign a feature only if it is not contained in any of the splines. Import Tracker to CP. Button. When activated, select a tracker then click on a spline control point. The tracker s path will be imported as keys onto the control point. Feature Control Panel Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Clear all blips.Clears the blips from all frames. Use to save disk space after blips have been peeled to trackers. Blips this frame. Push button. Calculates features (blips) for this frame. Blips playback range. Push button. Calculates features for the playback range of frames. Blips all frames. Push button. Calculates features for the entire shot. Displays the frame number while calculating. Once started, can’t be interrupted! Delete. Button. Clears the skip frame channel from this frame to the end of the shot, or the entire shot if Shift is down when clicked. Skip Frame. Checkbox. When set, this frame will be ignored during automatic tracking and solving. Use (sparingly) for occasional bad frames during explosions or actors blocking the entire view. Camera paths are spline interpolated on skipped frames. Advanced. Push button. Brings up a panel with additional control parameters. Link frames. Push button. Blips from each frame in the shot are linked to those on the prior frame (depending on tracking direction). Useful after changes in splines or alpha channels. Peel. Mode button. When on, clicking on a blip adds a matching tracker, which will be utilized by the solving process. Use on needed features that were not selected by the automatic tracking system. Peel All. Push button. Causes all features to be examined and possibly converted to trackers. To Golden. Push button. Marks the currently-selected trackers as “golden,” so that they won’t be deleted by the Delete Leaden button. Delete Leaden. Push button. Deletes all trackers, except those marked as “golden.” All manually-added trackers are automatically golden, plus any automatically-added ones you previously converted to golden. This button lets you strip out automatically-added trackers. Tracking Control Panel The tracker panel has two variations with different sizes for the tracker view area, and slightly different button locations. The wider version gives a better view of the interior of the panel, especially on high-resolution displays. The smaller version is a more compact layout that reduces mouse motion, and because of the reduced size, is better for use on laptops. Select the desired version using theWider tracker-view panelpreference. Tracker Interior View. Shows its interior---the inner box of the tracker.Left Mouse Drag the tracker location.Middle Scroll Advance the current frame, tracking as you go.Right Mouse Add or remove a position key at the current frame. Or, cancel a drag in progress. Create. Mode Button. When turned on, depressing the left mouse button in the camera view creates new trackers. When off, the left mouse button selects and moves trackers. Delete. Button (also Delete key). Deletes the selected tracker. Finish. Button. Brings up the finalize dialog box, allowing final filtering and gap filtering as a tracker is locked down. Lock. Button. Non-animated enable, turn on when tracker is complete; will then be locked. Tracker Type.,,,. Button. Toggles the tracker type among normal match-mode, dark spot, bright spot, or symmetric spot. Direction. Button. Configures the tracker for backwards tracking it will only track when playing or stepping backwards. Enable. Button. Animated control turns tracker on or off. Turn off when tracker gets blocked by some thing, turn back on when it becomes visible again. Contrast. Number-less spinner. Enhances contrast in the Tracker Interior View window. Bright. Number-less spinner. Turns up the Tracker Interior View brightness. Color. Rectangular swatch. Sets the display color of the tracker for the camera, perspective, and 3-D views. Now. Button. Adds a tracker position key at the present location and frame. Right-click to remove a position key. Shift-right-click to truncate, removing all following keys. Key. Spinner tells SynthEyes to automatically add a key after this many frames, to keep the tracker on track. Key Smooth. Spinner. Tracker s path will be smoothed for this many frames before each key, so there is no glitch due to re-setting a key. Name. Edit field. Adjust the tracker s name to describe what it s tracking. Pos. H and V spinners. Tracker s horizontal and vertical position, from –1 to +1. You can delete a key (border is red) by right-clicking. Shift-right-clicking will truncate the tracker after this frame. Size. Size and aspect spinners. Size and aspect ratio (horizontal divided by vertical size) of the interior portion of the tracker. Search. H and V spinners. Horizontal and vertical size of the region (excluding the actual interior) that SynthEyes will search for the tracker around its position in the preceding frame. Preceding implies lower-numbered for forward tracking, higher-numbered for backward tracking. Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the 2-D data for each frame from this tracker. Higher values cause a closer match, lower values allow a sloppier match.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. Also see ZWTs below. Exact. For use after a scene has already been solved set the tracker s 2-D position to the exact re-projected location of the tracker s 3-D position. A quick fix for spurious or missing data points, do not overuse. See the section onfiltering and filling gaps. Note applied to a zero-weighted-tracker, error will not become zero because the ZWT will re-calculate using the new 2-D position, yielding a different 3-D and then 2-D position. F n.nnnhpix.(display field, right of Exact button) Shows the distance, in horizontal pixels, between the 2-D tracker location and the re-projected 3-D tracker location. Valid only if the tracker has been solved. ZWT. When on, the tracker s weight is internally set to zero—it is a zero-weighted-tracker (ZWT), which does not affect the camera or object s path at all. As a consequence, its 3-D position can be continually calculated as you update the 2-D track or change the camera or object path, or field of view. The Weight spinner of a ZWT will be disabled, because the weight is internally forced to zero and special processing engaged. The grayed-out displayed value will be the original weight, which will be restored if ZWT mode is turned off. T n.nnnhpix.(display field, right of ZWT button) Shows the total error, in horizontal pixels, for the solved tracker. This is the same error as from the Coordinate System panel. It updates dynamically during tracking of a zero-weighted tracker. Lens Control Panel Field of View. Spinner. Field of view, in degrees, on this frame. Focal Length. Spinner. Focal length, computed using the current Back Plate Width on Scene Settings. Provided for illustration only. Add/Remove Key., Button. Add or remove a key to the field of view (focal length) track at this frame. Known. Radio Button. Field of view is already known (typically from an earlier run) and is taken from the field of view seed track. May be fixed or zooming. You will be asked if you want to copy the solved FOV track to the seed FOV track—do that if you want to lock down the solved FOV. Fixed, Unknown. Radio Button. Field of view is unknown, but did not zoom during the shot. Fixed, with Estimate. Radio Button. Camera did not zoom, and a reasonable estimate of the field of view is available and has been set into the beginning of the lens seed track. This mode can make solving slightly faster and more robust.Important verify that you know, and have entered, the correct plate size before using any on-setfocal lengthvalues. A correct on-set focal length with an incorrect plate size makes the focal length useless, and this setting harmful. Zooming, Unknown. Radio Button. Field of view zoomed during shot. Lens Distortion. Spinner. Show/change the lens distortion coefficient. Calculate Distortion. Checkbox. When checked, SynthEyes will calculate the lens distortion coefficient. You should have plenty of well-distributed trackers in your shot. Add Line. Checkbox. Adds an alignment line to the image that you can line up with a straight line in the image, adjust the lens distortion to match, and/or use it for tripod or lock-off scene alignment. Kill Line. Checkbox. Removes the selected alignment line (the delete key also does this). Control-click to delete all the alignment lines at once. Axis Type. Drop-down list. Not oriented, if the line is only there for lens distortion determination, parallel to one of the three axes, along one of the three (XYZ) axes, or along one of the three axes, with the length specified by the spinner. Configures the line for alignment. - . Button. Swaps an alignment line end for end. The direction of a line is significant and displayed only for on-axis lines. Length. Spinner. Sets the length of the line to control overall scene sizing during alignment. Only a single line, which must be on-axis, can have a length. Atnnnf.Button. Shows(not set)if no alignment lines have been configured. This button shows the (single) frame on which alignment lines have been defined and alignment will take place; clicking the button takes you to this frame. Set each time you change an alignment line, or right-click the button to set it to the current frame. Align!Button. Aligns the scene to match the alignment lines defined—on the frame given by theAt…button. Other frames are adjusted correspondingly. To sequence through all the possible solutions,control-click this button. Solver Control Panel Go!Button. Starts the solving process, after tracking is complete. Master Reset. Button. Resets all cameras/objects and the trackers on them, though all Disabled camera/objects are left untouched. Control-click to clear the seed path, and optionally the seed FOV (after confirmation). Error. Number display. Root-mean-square error, in horizontal pixels, of all trackers associated with this object or tracker. Seeding Method.Upper drop-down list controlling the way the solver begins its solving process, chosen from the following methods Auto. List Item. Selects the automatic seeding(initial estimation) process, for a camera that physically moves during the shot. Refine. List item. Resumes a previous solving cycle, generally after changes in trackers or coordinate systems. Tripod. List Item. Use when the camera pans, tilts, and zooms, but does not move. Refine Tripod. List item. Resumes a previous solving cycle, but indicates that the camera was mounted on a tripod. Indirect. List Item. Use for camera/objects which will be seeded from links to other camera/objects, for example, a DV shot indirectly seeded from digital camera stills. Individual. List Item. Use for motion capture. The object s trackers are solved individually to determine their path, using the same feature on other “Individual” objects; the corresponding trackers are linked in one direction. Points. List Item. Seed from seed points, set up from the 3-D trackers panel. Use with on-set measurement data, or afterSet Allon the Coordinate Panel. You should still configure coordinate system constraints with this mode some hard locks and/or distance constraints. Path. List Item. Uses the camera/object s seed path as a seed, for example, from a previous solution or a motion-controlled camera. Disabled. List Item. This camera/object is disabled and will not be solved for. Directional Hint. Second drop-down list. Gives a hint to speed the initial estimation process, or to help select the correct solution, or to specify camera timing for “Individual” objects. Chosen from the following for Automatic objects Automatic. List Item. In automatic seeding mode, SynthEyes can be given a hint as to the general direction of motion of the camera to save time. With the automatic button checked, it doesn’t need such a hint. Left. List Item. The camera moved generally to its left. Right. List Item. The camera moved generally to its right. Up. List Item. The camera moved generally upwards. Down. List Item. The camera moved generally downwards. Push In. List Item. The camera moved forward (different than zooming in!). Pull Back. List Item. The camera moved backwards (different than zooming out!). Camera Timing Setting. The following items are displayed when “Individual” is selected as the object solving mode. They actually apply to the entire shot, not just the particular object. Sync Locked. List Item. The shot is either the main timing reference, or is locked to it (ie, gen-locked video camera). Crystal Sync. List Item. The camera has a crystal-controlled frame rate (ie a video camera at exactly 29.97 Hz), but it may be up to a frame out of synchronization because it is not actually locked. Loosely Synced. List item. The camera s frame rate may vary somewhat from nominal, and will be determined relative the reference. Notably, a mechanical film camera. Slow but sure. Checkbox. When checked, SynthEyes looks especially hard (and longer) for the best initial solution. Constrain. Checkbox for experts. When on, constraints set up using the coordinate system panel are applied rigorously, modifying the tracker positions. When off, constraints are used to position, size, and orient the solution, without deforming it. Seealignment vs constraints. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Begin. Spinner and checkbox. Numeric display shows an initial frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the begin frame solution. Either manually or automatically, the camera should have panned or tilted only about 30 degrees. If the camera does something wild between the automatically-selected frames, or if their data is particularly unreliable for some reason, you can manually select the frames instead. The selected frame will be selected as you adjust this, and the number of frames in common shown on the status line. End. Spinner and checkbox. Numeric display shows a final frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the end frame solution. World size. Spinner. Rough estimate of the size of the scene, including the trackers and motion of the camera. Transition Frms. Spinner. When trackers first become usable or are about to become unusable, SynthEyes gradually reduces their impact on the solution, to maintain an undetectable transition. The value specifies how many frames to spread the transition over. Filter Frms. Spinner. Controls post-solving path filtering. If this control is set to 3, say, then each frame s camera position is a (weighted) average of its position within 3 frames earlier and 3 frames later in the sequence. A larger number creates a smoother path, butincreaseserrors. Overall Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the data for each frame from this object s trackers. Lower values allow a sloppier match, higher values cause a closer match, for example, on a high-resolution calibration sequence consisting of only a few frames.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. More. Button. Brings up or takes down the Hard and Soft Lock Controls dialog. Axis Locks. 7 Buttons. When enabled, the corresponding axis of the current camera or object is constrained to match the corresponding value from the seed path. These constraints are enforced either loosely after solving, with Constrain off, or tightly during solving, with Constrain on. See the section onConstraining Camera or Object Position. Animated. Right-click to remove a key on the current frame. L/R. Left/right axis (ie X) F/B. Front/back axis (Y or Z) U/D. Up/down axis (Z in Z-up or Y in Y-up) FOV. Camera field of view (available/relevant only for Zoom cameras) Pan. Pan angle around ground plane Tilt. Tilt angle up or down from ground plane Roll. Roll angle from vertical Never convert to Far.Normally, SynthEyes monitors trackers during 3-D solves, and automatically converts trackers to Far if they are found to be too far away. This strategy backfires if the shot has very little perspective to start with, as most trackers can be converted to far. Use this checkbox if you wish to try obtaining a 3-D solve for your nearly-a-tripod shot. Coordinate System Control Panel Tracker Name. Edit. Shows the name of selected tracker, or change it to describe what it is tracking. Camera/Object. Drop-down list. Shows what object or camera the tracker is associated with; change it to move the tracker to a different object or camera on the same shot (or, you can clone it there for special situations). Entries beginning with asterisk(*) are on a different shot with the same aspect and length; trackers may be moved there, though this may adversely affect constraints, lights, etc. *3. Button. Starts and controls three-point coordinate setup mode. Click it once to begin, then click on origin, on-axis, and on-plane trackers in the camera view, 3-D viewports, or perspective window. The button will sequence through Or, LR, FB, and Pl to indicate which tracker should be clicked next. Click this button to skip from LR (left/right) to FB (front/back), or to skip setting other trackers. After the third tracker, you will have the opportunity to re-solve the scene to apply the new settings. Seed Lock Group X, Y, Z.Buttons. Multi-choice buttons flip between X, X+, X-; Y, Y+, Y-; and Z, Z+,Z- respectively. These buttons control which possible coordinate-system solution is selected when there are several possibilities. Only significant when the tracker is locked on one or two axes. X, Y, Z. Spinners. An initial position used as a guess at the start of solving (if seed checkbox on), and/or a position to which the tracker is locked, depending on the Lock Type list. Seed. Mode button. When on, the X/Y/Z location will be used to help estimate camera/object position at the start of solving, if Points seeding mode is selected. Peg. Mode button. If on, and the Solver panel s Constrain checkbox is on, the tracker will be pegged exactly, as selected by the Lock Type. Otherwise, the solver may modify the constraints to minimize overall error. See documentation for details and limitations. Far. Mode button. Turn on if the tracker is far from the camera. Example If the camera moved 10 feet during the shot, turn on for any point 10,000 feet or more away. Far points are on the horizon, and their distance can not be estimated. This button states yourwish, SynthEyes may solve a tracker as far anyway, if it is determined to have too little perspective. Lock Type. Drop-down list. Has no effect if Unlocked. The other settings tell SynthEyes to force one or more tracker position coordinates to 0 or the corresponding seed axis value. Use to lock the tracker to the origin, the floor, a wall, a known measured position, etc. See the section onLock Mode Details. If you select several trackers, some with targets, some without, this list will be empty—right-click the Target Point button to clear it. Target Point. Button. Use to set up links between trackers. Select one tracker, click the Target Point button to select the target tracker by name. Or, ALT-click (Mac Command-Left-Click) the target tracker in the camera view or 3-D viewport. If the trackers are on the same camera/object, the Distance spinner activates to control the desired distance between the trackers. You can also lock one or more of their coordinates to be identical, forcing them parallel to the same axis or plane. If the trackers are on different camera/objects, you have created a link the two trackers will be forced to the same location during solving. If two trackers track the same feature, but one tracker is on a DV shot, the other on digital camera stills, use the link to make them have the same location. Right-click to remove an existing target tracker. Dist. Spinner. Sets the desired distance between two trackers on the same object. Solved. X, Y, Z numbers. After solving, the final tracker location. Error. Number. After solving, the root-mean-square error between this tracker s predicted and actual positions. If the error exceeds 1 pixel, look for tracking problems using the Tracker Graph window. [FAR]. This will show up after the error value, if the tracker has been solved as far. Set Seed. Button. After solving, sets the computed location up as the seed location for later solver passes using Points mode. All. Button. Sets up all solved trackers as seeds for subsequent passes. Exportable. Checkbox. Uncheck this box to tell savvy export scripts not to export this tracker. For example, exporting to a compositor, you may want only a half dozen of a hundred or two automatically-generated trackers to be exported and create a new layer in the compositor. Non-exportable points are shown in a different color, somewhat closer to that of the background. 3-D Control Panel Creation Mesh Type. Drop-down. Selects the type of object created by the Create Tool. Create Tool. Mode button. Clicking in a 3-D viewport creates the mesh object listed on the creation mesh type list, such as a pyramid or Earthling. Most mesh objects require two drag sequences to set the position, size, and scale. Note that mesh objects are different than objects created with the Shot Menu s Add Moving Object button. Moving objects can have trackers associated with them, but are themselves null objects. Mesh objects have a mesh, but no trackers. Often you will create a moving object and its trackers, then add a mesh object(s) to it after solving to check the track. Object name. Editable drop-down. The name of the object selected in the 3-D or camera viewports. Changeable. Delete. Button. Deletes the selected object. Lock Selection. Mode button. Locks the selection in the 3-D viewport to prevent inadvertent reselection when moving objects. World/Object. Mode button. Switches between the usual world coordinate system, and the object coordinate system where everything else is displayed relative to the current object or camera, as selected by the shot menu. Lets you add a mesh aligned to an object easily. Move Tool. Mode button. Dragging an object in the 3-D viewport moves it. Rotate Tool. Mode button. Dragging an object in the 3-D viewport rotates it about the axis coming up out of the screen. Scale Tool. Mode button. Dragging an object in the 3-D viewport scales it uniformly. Use the spinners to change each axis individually. Make/Remove Key., Button. Adds or removes a key at the current frame for the currently-selected object. Show/Hide. Button. Show or hide the selected mesh object. Object color. Color Swatch. Object color, click to change. X/Y/Z Values. Spinners. Display X, Y, or Z position, rotation or scale values, depending on the currently-selected tool. Size. Spinner. This is an overall size spinner, use it when the Scale Tool is selected to change all three axis scales in lockstep. Whole. Button. When moving a solved object, normally it moves only for the current frame, allowing you to tweak particular frames. If you turn on Whole, moving the object moves the entire path, so you can adjust your coordinate system without using locks. If you do this, you should set up some locks subsequently and switch to Point or Path seeding, or you will have to readjust the path again if you re-solve.Hint Whole mode has some rules to decide whether or not to affect meshes. To force it to include all meshes in the action, turn onWhole affects mesheson the 3-D viewport and perspective window s right-click menu. Blast. Button. Writes the entire solved history onto the object s seed path, so it can be used for path seeding mode. Reset. Button. Clears the object s solved path, exposing the seed path. Cast Shadows. (Mesh) Object should cast a shadow in the perspective window. Catch Shadows. (Mesh) Object should catch shadows in the perspective window. Back Faces. Draw the both sides of faces, not only the front. Invert Normals. Make the mesh normals point the other way from their imported values. Lighting Control Panel New Light. Button. Click to create a new light in the scene. Delete Light. Button. Delete the light in the selected-light drop-down list. Selected Light. Drop-down list. Shows the select light, and lets you change its name, or select a different one. Far-away light. When checked, light is a distant, directional, light. When off, light is a nearby spotlight or omnidirectional(point) light. Compute over frames This, All, Lock. In the (normal) This mode, the light s position is computed for each frame independently. In the All or Lock mode, the light s position is averaged over all the frames in the sequence. In the All mode, this calculation is performed repeatedly for “live updates.” In the Lock mode, the calculation occurs only when clicking the Lock button. New Ray. Button. Creates a new ray on the selected light. Delete Ray. Button. Delete the selected ray. Previous Ray ( ). Button. Switch to the previous lower-numbered ray on the selected light. Ray Number. Text field. Shows something like 1/3 to indicate ray 1 of 3 for this light. Next Ray ( ). Button. Switch to the next higher ray on the selected light. Selected Ray Source. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. Target. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. If the source and target trackers are the same, it is a reflected-highlight tracking setup, and the Target button will show “(highlight).” For highlight tracking to be functional, there must be a mesh object for the tracker to reflect from. Distance. Spinner. When only a single ray to a nearby light is available, use this spinner to adjust the distance to the light. Leave at zero the rest of the time. Flex/Curve Control Panel Theflex/curvecontrol panel handles both object types, which are used to determine the 3-D position/shape of a curve in 3-D, even if it has no discernable point features. If you select a curve, the parameters of its parent flex (if any) will be shown in the flex section of the dialog. New Flex. Creates and selects a new flex. Left-click successively in a 3-D view or the perspective view to lay down a series of control points. Right-click to end. Delete Flex. Deletes the selected flex (even if it was a curve that was initially clicked). Flex Name List. Lists all the flexes in the scene, allowing you to select a flex, or change its name. Moving Object List. If the flex is parented to a moving object, it is shown here. Normally, “(world)” will be listed. Show this 3-D flex. Controls whether the flex is seen in the viewports or not. Clear. Clears any existing 3-D solution for the flex, so that the flex s initial seed control points may be seen and changed. Solve. Solves for the 3-D position and shape of the flex. The control points disappear, and the solved shape becomes visible. All. Causes all the flexes to be solved simultaneously. Pixel error. Root-mean-square (~average) error in the solved flex, in horizontal pixels. Count. The number of points that will be solved for along the length of the flex. Stiffness. Controls the relative importance of keeping the flex stiff and straight versus reproducing each detail in the curves. Stretch. Relative importance of (not) being stretchy. Endiness. (yes, made this up) Relative importance of exactly meeting the end-point specification. New Curve. Begins creating a new curve—click on a series of points in the camera view. Delete. Deletes the curve. Curve NameList.Shows the currently-selected curves name among a list of all the curves attached to the current flex, or all the unconnected curves if this one is not connected. Parent Flex List.Shows the parent flex of this curve, among all of the flexes. Show.Controls whether or not the curve is shown in the viewport. Enable.Animated checkbox indicating whether the curve should be enabled or not on the current frame. For example, turn it off after the curve goes off-screen, or if the curve is occluded by something that prevents its correct position from being determined. Key all.When on, changing one control point will add a key on all of them. Rough.Select several trackers, turn this button on, then click a curve to use the trackers to roughly position the curve throughout the length of the shot. Truncate.Kills all the keys off the tracker from the current frame to the end of the shot. Tune.Snaps the curve exactly onto the edge underneath it, on the current frame. All.Brings up theCurve Tracking Controldialog, which allows this curve, or all the curves, to be tracked throughout an entire range of frames.
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Patent Fundamentals for Scientists and Engineers Lewis Pub? Thomas T. Gordon? Arthur S. Cookfair? LewisPub? ThomasT.Gordon? ArthurS.Cookfair? ジャンル別? Substores-UnknownASINs-63? Subjects-Engineering-General? Subjects-Engineering-Patents&Inventions? Subjects-Law-IntellectualProperty-General? Subjects-Law-IntellectualProperty-Patent,Trademark&Copyright? Subjects-Law-LawPractice-Reference? Subjects-Law-General? Subjects-Nonfiction-Law-IntellectualProperty-General? Subjects-Nonfiction-Law-IntellectualProperty-Patent,Trademark&Copyright? Subjects-Nonfiction-Law-LawPractice-Reference? Subjects-Nonfiction-Law-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Patents&Inventions? Subjects-Professional&Technical-Law-IntellectualProperty-General? Subjects-Professional&Technical-Law-IntellectualProperty-Patent,Trademark&Copyright? Subjects-Professional&Technical-Law-LawPractice-Reference? Subjects-Reference-Law? 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Subjects-Science-Technology-General&Reference The Real McCoy African-American Invention and Innovation, 1619-1930 Smithsonian Inst Pr? Portia P. James? SmithsonianInstPr? PortiaP.James? ジャンル別? Subjects-Engineering-Patents&Inventions? Subjects-History-Americas-UnitedStates-AfricanAmericans-AfricanAmericanStudies? Subjects-History-World-General? Subjects-Nonfiction-SocialSciences-Demography? Subjects-Nonfiction-SocialSciences-SpecialGroups-African-AmericanStudies? Subjects-Professional&Technical-Engineering-Patents&Inventions? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown2? High Technology Human Freedom Smithsonian Inst Pr? Lewis H. Lapham? SmithsonianInstPr? LewisH.Lapham? ジャンル別? Substores-UnknownASINs-26? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-PhilosophyofTechnology? High Technology and Human Freedom (Smithsonian International Symposia Series) Smithsonian Inst Pr? Lewis H. Lapham? SmithsonianInstPr? LewisH.Lapham? ジャンル別? Subjects-Nonfiction-Philosophy-Political? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-Technology-General&Reference Excalibur III The Story of a P-51 Mustang (Famous Aircraft of the National Air and Space Museum) Smithsonian Inst Pr? Robert C. Mikesh? SmithsonianInstPr? RobertC.Mikesh? ジャンル別? Substores-UnknownASINs-26? Subjects-Engineering-General? Subjects-History-World-Transportation-Aviation? Subjects-Nonfiction-Transportation-Aviation-History? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? 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第二幕 第一場 舞台前方から奥まで一本の道が伸びている。この道は真ん中あたりで狭くなり、舞台奥で曲がっている。道の両脇に、角に沿って二つの家がある。右側にある豪邸がポーグナー家、左側の簡素な佇まいがザックスの家である。 ポーグナー家の前には菩提樹が、ザックスの家の前にはニワトコの木が立っている。まだほのかに明るい夏の夜で、第一場の間に次第に暗くなっていく。ダーフィトは街路に面した窓を外から閉めている。ほかの弟子たちもそれぞれに同じことをしている。 弟子たち （仕事をしながら） ヨハネ祭だ！ヨハネ祭だ！ お花もリボンも好きなだけたくさん！ ダーフィト （小声で独り言。） 絹でできた花冠が 僕を飾ってくれたら嬉しいのにな。 マグダレーネ （かごを腕にかけてポーグナー家から出てきて、気づかれないようにそっとダーフィトに近寄ろうとして） ねえ、ダーフィト。 ダーフィト （道のほうに目をやり、きっとなって） また呼びつける気か？ くだらない歌に巻き込むな！ （不機嫌にそっぽを向く。） 弟子たち （始めのうちマグダレーネの声音をまねて） ダーフィト、どうしたの？お高くとまってないで、 周りを見てよ、もし馬鹿でないんなら。 ヨハネ祭だ！ヨハネ祭だ！ こいつときたら、レーネ嬢に知らん顔してやがら！ マグダレーネ ねえ、ダーフィト！こっちを見てよ！ ダーフィト なんだ、レーネだったのか。 マグダレーネ （かごを指して） おいしいものを持ってきたわ。見てごらんなさい。 ぜんぶかわいいあなたのために作ったのよ。 でも、先に教えて。騎士様はどうだった？ よく教えてあげた？騎士様は花冠をもらえたの？ ダーフィト それがね、レーネさん。だめだったんだよ。彼は歌い損ねで失格になっちゃったんだ。 マグダレーネ （ショックを受けて） 歌い損ね？失格？ ダーフィト それがどうかしたの？ マグダレーネ （ダーフィトに差し出していたかごをひったくって） 手をどけて！あなたが食べるものなんかないわ！ ああ、神様！騎士様が失格だなんて！ 彼女はがっくりと肩を落として家に戻る。ダーフィトはびっくりして見送る。 弟子たち （こっそり立ち聞きしていたが、いま飛び出してきて、祝いを言うようなかっこうでダーフィトに近づく。） おめでとう！若者が求婚したぞ！ 何て幸せな求婚シーンなんだろ！ 俺たち、ぜーんぶ聞いたし、見ちゃったよ。 命を捧げても惜しくないくらい 首ったけの女性から かごをもらいそこなったね。 ダーフィト （かっとなって） 何をぼさっとつっ立ってるんだ！ 口には気をつけろ！ 弟子たち （ダーフィトの周りに輪を作り、踊りながら） ヨハネ祭だ！ヨハネ祭だ！ 誰もが気に入った人に求婚するわけさ。 マイスターでも弟子でもおかまいなし！ おじさんと男の子がシナリオの主人公。 おじさんは若い娘さんが好きで、 男の子はオールドミスにご執心だよ！ いいぞ、万歳！ヨハネ祭だ！ ダーフィトが怒り狂って飛び掛かろうとした時、ザックスが道端から現れ、割って入る。弟子たちはあわてて飛び退く。 ザックス （ダーフィトに） 何があったんだ？また喧嘩して！ ダーフィト 僕じゃありません。あいつらがばかにするんです！ ザックス そんなもの聞くな！やつらより利口になれ！ いいかげんにしなさい。家に入って、明かりをつけてくれ！ 弟子たちは散り散りに去っていく。 ダーフィト 歌のレッスンは？ ザックス 今日はしない。 教会で出しゃばった罰だ。 新しい靴を枠にかけておいてくれないか。 ダーフィトとザックスは仕事場に入って行き、 中からドアを閉める。 第二場 ポーグナーとエーファが散歩から戻ってくる。娘は父と腕を組み、二人とも無言で小路を歩いてくる。 ポーグナー （まだ小路にいて、商店ドアの隙間からザックスの仕事場をのぞいて） ザックスさんはご在宅かな。 話したいことがあるのだが、入ってもいいだろうか。 ダーフィトが明かりを持って部屋から出てきて、窓辺の仕事机に座って仕事を始める。 エーファ （窺って） いらっしゃるみたいよ。 明かりが見えるわ。 ポーグナー 入ってみようか。だが、何のために？やめたほうがいい。 （そっぽを向く。） 変わったことをしようとすると、 人からとやかく言われるものだ。 （考え込む。） 私が度を越したと言ったのはまさに彼ではないか。 だが、私のことばかり非難するとは。 彼の考えだって風変りではないか。 いや、こう考えるのも傲慢かな。 （エーファのほうを向いて） ところで、おまえは何も言わないんだね。 エーファ おとなしい子供は聞かれた時だけ口を開くものよ。 ポーグナー 賢い子だ。いい子だ！おいで、ここにお座り。 ちょっとの間ベンチで一緒に過ごそう。 （菩提樹の下にある石のベンチに座る。） エーファ 寒くない？ お昼はちょっと暑かったけど。 ポーグナー いやいや、穏やかでさわやかだ。 気持ちのいい夜だよ。 （エーファはためらいながら不安そうにそばに腰を下ろす。） 明日が素晴らしい日になることを 予感しているようだな。 娘や、明日どんな幸せが待っているかと思うと、 心が高鳴るんじゃないかね？ ニュルンベルクの街中が沸きかえって、 市民も庶民もやってくる。 マイスターも民衆も役人たちも勢ぞろいして、 おまえのところに集まってくるのだよ。 そしておまえは清らかな月桂冠を、 自分で選んだマイスターに 花嫁として捧げるのだ。 エーファ ねえ、パパ。結婚相手はマイスターじゃなきゃだめ？ ポーグナー いいかね、 おまえが選ぶマイスターだよ。 （マグダレーネが戸口に現れ、エーファに合図する。） エーファ （半分上の空で） そうね、私が選ぶのよね。でも、とにかく中に入りましょう。 （マグダレーネのほうを向いて大声で） すぐ行くわ。－夕食よ、パパ。 （立ち上がる。） ポーグナー （不機嫌に立ち上がりながら） お客はないだろうね？ エーファ （前と同じように） もしかして騎士様？ ポーグナー （うろたえたように） なぜだ？ エーファ 今日、お会いになったんでしょう？ ポーグナー （半ば独り言のように、考え込み、混乱したように） 彼のことでは不愉快な思いをした。 （気を取り直して） いや、そうじゃない！どうなってる？ （額を叩いて） 何も考えられない。 エーファ パパ、いらっしゃい。着替えてきたらいいわ。 ポーグナー （家に入って行きながら） ふむ。思考がうまく回らん。 マグダレーネ （ひそひそ声でエーファに） 何か言ってもらえた？ エーファ （同じくひそひそと） 黙ったまま何も言ってくれなかったわ。 マグダレーネ ダーフィトが言うには、 失格だったって。 エーファ （ショックを受けて） 騎士様が？まあ、どうしましょう。 ああ、レーネ、心配だわ。どうしたらいいと思う？ マグダレーネ ザックスさんだったら何か知恵を貸してくださるかも。 エーファ （元気を取り戻して） そういえばザックスさんは私に優しいわ。行ってみる。 マグダレーネ 今はだめよ。 ぐずぐずしていたらお父様に気づかれるわ。 夕食の後にしましょう。 私も話したいことがあるの。 （階段を上がりながら） ある人からこっそりことづてを頼まれて… エーファ （ぱっと振り返って） どなた？騎士様？ マグダレーネ あいにくちがうの。ベックメッサーよ。 エーファ じゃあ、さぞ素敵なことでしょうね。 （家に入り、マグダレーネがつづく。） 第三場 ザックスが動きやすい仕事着に着替えて作業場に戻り、相変わらず机で仕事をしているダーフィトのほうを向く。 ザックス 見せてごらん。うん、よくできたな。ドアの前に 机と足台を出しておいてくれ。 おまえはもう寝なさい。寝坊はせず、 愚行は眠って忘れ、明日は賢くなるんだ！ ダーフィト （机と足台を用意しながら） まだお仕事ですか？ ザックス 気になるのか？ ダーフィト （独り言。） レーネはどうしたんだろう。さっぱり分からない。 親方は何だってこんな遅くに仕事をなさるんだろう。 ザックス まだいたのか？ ダーフィト おやすみなさい、マイスター。 ザックス おやすみ。 ダーフィトは路地に面した自分の部屋に行く。 ザックス （作業の準備をし、ドアのすぐそばに置かれた椅子に座るが、やがて手を休め、閉められたままの下半分のドアに片腕をかけ、後ろに寄りかかる。） ニワトコのいい香りだ。 優しく、生命力にあふれている！ この香りを吸い込むとリラックスして、 詩的な気分になる。 だが、詩を作ったところで何の役に立つだろう？ 私は創造力に欠けた男だ。 仕事を放り出したりしないように、 友よ、私に構わないでくれ。 皮をなめしているほうがふさわしいのだ、 詩作になどかかってはいられない。 （騒々しい音を立てながら靴仕事にかかるが、また手を休め、後ろに寄りかかって考えにふける。） だが、どうもうまくいかない。 感じることはできるが、理解することはできない。 記憶しておくことはできないが、忘れることもできない。 意味は完全にわかるが、分析はできない。 だが、仮に分析できたとしても、 何の意味があるだろうか。 規則破りではあるが、 間違いなどどこにも見当たらない。 古く懐かしく響くが、斬新でもある。 まるで五月の鳥の歌のようだった！ その歌を聴いて、 何か勘違いして 鳥の後に続いて歌ってみようとすれば、 みんなの笑い者になるものだ！ 春の誘惑と甘い喜びが 彼の心に流れ込んだのだろう。 内面からあふれ出るまま彼は歌い、 見事に作り上げた。 めったにない素晴らしい個性だ。 今日歌ったあの鳥には 上品なくちばしが生えていた。 彼はマイスターたちを不安に陥れたが、 ハンス・ザックスはとても気に入ったぞ。 （気持ちが落ち着き、楽しそうに仕事にかかる。） 第四場 エーファが通りを横切ってきて、恥ずかしそうに仕事場に近寄り、気づかれないうちにザックスのすぐそばにあるドアの前に立つ。 エーファ こんばんは、マイスター。忙しそうね。 ザックス （びっくりはしたものの、機嫌よく） やあ、おまえだったのか。 エーファちゃん。こんなに遅くどうしたんだね？ ああ、分かった、こんな夜更けに来たわけは 例の新しい靴だろう？ エーファ はずれよ。 あの靴はまだ履いてみてないの。 あんまりきれいで、飾りがふんだんに使ってあるから 自分の足を入れるのがもったいないくらいなの。 （ザックスにぴったりくっつくようにして、石のベンチに腰を下ろす。） ザックス だが、明日は花嫁として履くんだろうに。 エーファ 誰が花婿になるのかしら。 ザックス それはもちろん分からないさ。 エーファ だったら明日私が結婚することはどうして知ってるの？ ザックス おやおや。街中が知ってるよ。 エーファ そりゃあ、街は知ってるわ。 だからザックスさんも知ってるわけなのね。 私、ザックスさんはもっとご存知かと思ったわ。 ザックス 何を知っていてほしかったんだね？ エーファ あら、私に言わせようって魂胆？ 私ってそんなにばかだったかしら。 ザックス そんなことは言ってない。 エーファ でも、ザックスさんは賢いんでしょう？ ザックス さあ、どうかな。 エーファ 何にもご存じないの？何も言ってくれないのね。 ピッチはワックスとは違うことは知ってるけど、 どこがどう違うか知りたいことって、たまにはあるじゃない？ ザックス エーファちゃん、 ワックスもピッチも私はよく慣れているよ。 おまえのきれいな靴を作る時は 絹糸とワックスを使ったんだ。 だが、今日はもっと太い針金で作る。 口汚い客にはピッチがふさわしい。 エーファ それ、どなた？結構いばりんぼに聞こえるわ。 ザックス そうとも！ マイスターなんだが、求婚しようとやっきになっているんだ。 明日、自分が出れば勝利間違いなしとうぬぼれている。 つまり、ベックメッサー殿さ。 エーファ じゃ、ピッチをたくさん塗ってちょうだい。 足がくっついたら私のこともほっといてくれるでしょうから。 ザックス やつはおまえを勝ち取ろうとしているよ。 エーファ どうしてまたあの人が？ ザックス 独身だからね。 あんまり独身者は多くないんだよ。 エーファ 男やもめでもいいんじゃない？ ザックス それでは年寄り過ぎるだろう。 エーファ 年なんか気にしないわ。大事なのは芸術ですもの。 芸術を理解できる人が私を妻にするって決まってるじゃない。 ザックス エーファちゃん、私にいい夢を見させるつもりかい？ エーファ 私じゃないわ。あなたのほうこそ期待させてたのよ。 ザックスさんってつかみどころがないんだから！ あなたが誰を好きなのかさっぱり分からないもの。 何年間か私のことが好きなのかと思っていたのに。 ザックス なるほど、よく抱っこしてやったしね。 エーファ 今思えば、ザックスさんは子供がいなかったから寂しかったのよね。 ザックス 昔は妻もいたし、子供もたくさんいたよ。 エーファ でも奥様は亡くなって、私は大きくなってしまった。 ザックス 成長して美しくなったよ！ エーファ ちょっと考えていたんだけど、 私、あなたの妻になって子供代わりにもなれるんじゃない？ ザックス なるほど、子供と妻をいっぺんに得られるわけか。 それはすてきだ。 いいアイディアだと思うよ。 エーファ ザックスさんったらからかう気？ もしかしたら明日ベックメッサーが 優勝して、私をさらって行っちゃうかもしれないのよ。 それでもいいの？ ザックス 彼が優勝するならだれにも止められないさ。 どうにかしたかったらお父様に相談してごらん。 エーファ もうザックスさん、気が利かないわね！ 家で解決できるならわざわざここに来るわけないでしょう？ ザックス （そっけなく） ああ、そうだね！それもそうだ、私がばかだったよ。 今日はいろいろと気がかりなことが多かったもんだから、 少々疲れ気味なんだよ。 エーファ （さらに近寄って） 歌の学校のこと？何かあったんでしょう？ ザックス そうなんだよ、試験があったんだがくたくたに疲れてね。 エーファ ザックスさんったらそれを早く言ってくれさえしたら、 あれこれ余計な質問はしなかったのに。 ねえ、どなたが試験を受けたの？ ザックス 騎士だよ、何の知識もないんだ。 エーファ （そっと） 騎士？教えて。 その方、合格した？ ザックス いや、だめだったよ。おかげで大騒ぎになった。 エーファ ねえ、教えて。どうしてそんなことになったの？ 首を突っ込むようで悪いけど、気になるの。 それじゃ、歌い方が悪くて、失格だったの？ ザックス あの騎士は目も当てられないほどだった。 マグダレーネ （家から出てきて、小声で呼ぶ。） ちょっと！エーファちゃん！ エーファ （あわててザックスのほうを向き、） 目も当てられないくらい？どうして？ この先覚える余地だってあったんじゃない？ そんなにめちゃくちゃで、間違いだらけだったのね。 マイスターたちは誰一人味方にならなかったの？ ザックス 残念だがねえ、あいつに関しては望み薄だよ。 どこに行ったってマイスターにはなれんだろう。 もともとマイスターに生まれついたような人は 他のマイスターたちからこき下ろされる運命にあるからね。 マグダレーネ （はっきりと聞こえるように） お父様がお呼びですよ。 エーファ （だんだんすがるようにザックスに） それじゃ、それじゃ、 その方はお友達すら得られなかったのね。 ザックス それは悪くないな。友達か。 だが、彼の前では自分がよほど小さく見えるんだ。 あの傲慢な騎士殿は放っておこう。 世界中で論争を巻き起こそうと構わんが、 我々が苦労して作り上げた芸術には 触らんでもらいたいものだ。 ここでは何も壊させないぞ。 やつの幸福はよそで花開けばいいのさ！ エーファ （怒って立ち上がる。） そうよ、他のところで幸せをつかんでほしいわ！ こんな卑劣で妬み深い男たちだけのところではだめよ！ もっと温かい心の人たちのところでなら ハンス親方が何て言ったって受け入れてくださるでしょう。 （マグダレーネに） わかってるわ、すぐ行くわよ！ ザックスさんは慰めてもくれない。 ピッチのにおいを漂わせて、仕事にかかりきり！ あんなもの放り投げて、優しくしてほしかったのに！ 彼女は気が違ったようにマグダレーネと一緒に通りを走って行き、ひどく取り乱した様子で玄関ドアの前に立ち止まる。 ザックス （理解した様子でうなずきながら見送り） やっぱりそうか。こうなったら うまくやらなくては。 （続く会話の間に接客ドアを閉めるので、ランプの光がわずかに漏れてくるのみでザックス自身の姿もほとんど見えなくなる。） マグダレーネ まあ、こんな遅くまで何をしていたの？お父様がお呼びですよ。 エーファ 私はもう眠ってるって お父様に伝えて。 マグダレーネ 冗談じゃないわ！ねえ、何が起きたと思って？ ベックメッサーに見つかっちゃって、うるさいのよ。 今夜リュートの伴奏で素敵な曲を歌うから、 あなたに窓にいてほしいんですって。 その歌であなたを勝ち取るつもりだから、 気に入ってもらえるかどうか知りたいそうなの。 エーファ ああ、困ったわ。あの方さえ来てくださったら。 マグダレーネ ダーフィトを見なかった？ エーファ ダーフィトがどうかしたの？ （道を窺う。） マグダレーネ （独り言。） 八つ当たりしてしまったからあの子、きっと悲しんでるわ。 エーファ 誰か見えない？ マグダレーネ （窺うようなかっこうをして） 誰か来るみたいだけど。 エーファ あの方かしら？ マグダレーネ とにかく、いまは家に入らないと！ エーファ でも、先にお会いしたいの。 マグダレーネ 見間違いだったみたいね。違う人でした。 とにかく今は家にいましょう。お父様に気づかれるわ。 エーファ 心配だわ。 マグダレーネ どうやってベックメッサーを追い払うか考えましょうよ。 エーファ あなたが私の代わりに窓に立ってくれない？ （聞き耳を立てる。） マグダレーネ えっ、私が？ （独り言。） そうしたらダーフィト、焼きもちやくかしら あの人の部屋は通りに面しているし。まあ、楽しそう！ エーファ 足音が聞こえるわ。 マグダレーネ （エーファに） とにかく急いで。今はだめ！ エーファ 近づいてくるみたいよ。 マグダレーネ 勘違いよ。絶対違うわ。 いいから、いらっしゃい。お父様が寝るまではだめ！ ポーグナーの声 （中から） おい、レーネ、エーファ！ マグダレーネ さあ、ぐずぐずしていられませんよ！ 聞こえたでしょう？いいから来て！騎士様はまだ遠くよ。 （彼女は嫌がるエーファを引っぱって玄関のドアを上がっていく。） ZWEITER AUFZUG ERSTE SZENE Die Bühne stellt im Vordergrund eine Strasse im Längendurchschnitt dar, welche in der Mitte von einer schmalen Gasse, nach dem Hintergrunde zu krumm abbiegend, durchschnitten wird, so dass sich in Front zwei Eckhäuser darbieten, von denen das eine reichere - rechts - das Haus Pogners, das andere einfachere - links - das des Hans Sachs ist. - Vor Pogners Haus eine Linde; vor dem Sachsens ein Fliederbaum. Heiterer Sommerabend, im Verlaufe der ersten Auftritte allmählich einbrechende Nacht. David ist darüber her, die Fensterläden nach der Gasse zu von aussen zu schliessen. Andere Lehrbuben tun das gleiche bei anderen Häusern LEHRBUBEN an der Arbeit Johannistag! Johannistag! Blumen und Bänder, so viel man mag! DAVID leise für sich Das Blumenkränzlein von Seiden fein möcht es mir balde beschieden sein! MAGDALENE ist mit einem Korbe am Arm aus Pogners Haus gekommen und sucht David unbemerkt sich zu nähern Pst, David! DAVID nach der Gasse zu sich umwendend, heftig Ruft ihr schon wieder? Singt allein eure dummen Lieder! Er wendet sich unwillig zur Seite LEHRBUBEN zuerst Magdalenes Stimme nachahmend David, was soll s? Wärst nicht so stolz, schaut st besser um, wärst nicht so dumm! Johannistag! Johannistag! Wie der nur die Jungfer Lene nicht kennen mag! MAGDALENE David, hör doch! Kehr dich zu mir! DAVID Ach, Jungfer Lene! Ihr seid hier? MAGDALENE auf ihren Korb deutend Bring dir was Gut s; schau nur hinein! Das soll für mein lieb Schätzel sein. Erst aber schnell, wie ging s mit dem Ritter? Du rietest ihm gut? Er gewann den Kranz? DAVID Ach, Jungfer Lene! Da steht s bitter; der hat versungen und ganz vertan! MAGDALENE erschrocken Versungen? Vertan? DAVID Was geht s Euch nur an? MAGDALENE den Korb, nach welchem David die Hand ausstreckt, heftig zurückziehend Hand von der Taschen! Nichts zu naschen! Hilf Gott! Unser Junker vertan! Sie geht mit Gebärden der Trostlosigkeit ins Haus zurück. David sieht verblüfft nach Die LEHRBUBEN welche unbemerkt nähergeschlichen waren und gelauscht hatten, präsentieren sich jetzt, wie glückwünschend, David Heil, Heil zur Eh dem jungen Mann! Wie glücklich hat er gefreit! Wir hörten s all und sahen s an der er sein Herz geweiht, für die er lässt sein Leben, die hat ihm den Korb nicht gegeben. DAVID auffahrend Was steht ihr hier faul? Gleich haltet das Maul! Die LEHRBUBEN schliessen einen Ring um David und tanzen um ihn Johannistag! Johannistag! Da freit ein jeder, wie er mag. Der Meister freit, der Bursche freit! Da gibt s Geschlamb und Geschlumbfer. Der Alte freit die junge Maid, der Bursche die alte Jungfer! Juchhei! Juchhei! Johannistag! David ist im Begriff wütend dreinzuschlagen, als Sachs, der aus der Gasse hervorgekommen, dazwischentritt. Die Lehrbuben fahren auseinander SACHS zu David Was gibt s? Treff ich dich wieder am Schlag? DAVID Nicht ich! Schandlieder singen die. SACHS Hör nicht drauf! Lern s besser wie sie! Zur Ruh ! Ins Haus! Schliess und mach Licht! Die Lehrbuben zerstreuen sich DAVID Hab ich heut Singstund ? SACHS Nein, singst nicht zur Straf für dein heutig frech Erdreisten. Die neuen Schuh steck mir auf den Leisten! David und Sachs sind in die Werkstatt eingetreten und gehen durch eine innere Tür ab ZWEITE SZENE Pogner und Eva, vom Spaziergang heimkehrend, die Tochter leicht am Arme des Vaters eingehängt, sind schweigsam die Gasse heraufgekommen POGNER noch auf der Gasse, durch eine Klinze im Fensterladen von Sachs Werkstatt spähend Lass seh n, ob Nachbar Sachs zu Haus? Gern spräch ich ihn. Trät ich wohl ein? David kommt mit Licht aus der Kammer, setzt sich damit an den Werktisch am Fenster und macht sich über die Arbeit her EVA spähend Er scheint daheim kommt Licht heraus. POGNER Tu ich s? Zu was doch? - Besser, nein! Er wendet sich ab Will einer Selt nes wagen, was liess er sich dann sagen? - - Er sinnt nach War er s nicht, der meint , ich ging zu weit? Und blieb ich nicht im Geleise, war s nicht auf seine Weise? Doch war s vielleicht auch - Eitelkeit? Er wendet sich zu Eva Und du, mein Kind, du sagst mir nichts? EVA Ein folgsam Kind, gefragt nur spricht s. POGNER Wie klug! Wie gut! - Komm, setz dich hier ein Weil noch auf die Bank zu mir. Er setzt sich auf die Steinbank unter der Linde EVA Wird s nicht zu kühl? ‘s war heut gar schwül. POGNER Nicht doch, ‘s ist mild und labend; gar lieblich lind der Abend. Eva setzt sich zögernd und beklommen Pogner zur Seite Das deutet auf den schönsten Tag, der morgen soll erscheinen. o Kind, sagt dir kein Herzensschlag, welch Glück dich morgen treffen mag, wenn Nüremberg, die ganze Stadt mit Bürgern und Gemeinen, mit Zünften, Volk und hohem Rat, vor dir sich soll vereinen, dass du den Preis, das edle Reis, erteilest als Gemahl dem Meister deiner Wahl? EVA Lieb Vater, muss es ein Meister sein? POGNER Hör wohl ein Meister deiner Wahl. Magdalene erscheint an der Tür und winkt Eva EVA zerstreut Ja - meiner Wahl! Doch tritt nur ein - Laut zu Magdalene gewandt Gleich, Lene, gleich! -zum Abendmahl. Sie steht auf POGNER ärgerlich aufstehend ‘s gibt doch keinen Gast? EVA wie zuvor Wohl den Junker? POGNER verwirrt Wieso? EVA Sahst ihn heut nicht? POGNER halb für sich nachdenklich zerstreut Ward sein nicht froh. - Sich zusammennehmend Nicht doch! Was denn? Sich vor die Stirn klopfend Ei, werd ich dumm? EVA Lieb Väterchen, komm! Geh , kleid dich um! POGNER während er ins Haus vorangeht Hm! - Was geht mir im Kopf doch ,rum? MAGDALENE heimlich zu Eva Hast was heraus? EVA ebenso Blieb still und stumm. MAGDALENE Sprach David meint , er habe vertan. EVA erschrocken Der Ritter! Hilf Gott, was fing ich an? Ach, Lene, die Angst! Wo was erfahren? MAGDALENE Vielleicht vom Sachs? EVA heiter Ach, der hat mich lieb! Gewiss, ich geh hin. MAGDALENE Lass drin nichts gewahren! Der Vater merkt es, wenn man jetzt blieb . Nach dem Mahl dann hab ich dir noch was zu sagen, im Abgehen auf der Treppe was jemand geheim mir aufgetragen. EVA sich umwendend Wer denn? Der Junker? MAGDALENE Nichts da! Nein, Beckmesser! EVA Das mag was Rechtes sein! Sie geht in das Haus, Magdalene folgt ihr DRITTE SZENE Sachs ist, in leichter Hauskleidung, von innen in die Werkstatt zurückgekommen. Er wendet sich zu David, der an seinem Werktische verblieben ist SACHS Zeig her! - ‘s ist gut. - Dort an die Tür riick mir Tisch und Schemel herfür! - Leg dich zu Bett! Steh auf beizeit verschlaf die Dummheit, sei morgen gescheit! DAVID während er den Tisch und Schemel richtet Schafft Ihr noch Arbeit? SACHS Kümmert dich das? DAVID für sich Was war nur der Lene? Gott weiss, was! - Warum wohl der Meister heute wacht? SACHS Was stehst noch? DAVID Schlaft wohl, Meister! SACHS Gut Nacht! David geht in die der Gasse zu gelegene Kammer ab SACHS legt sich die Arbeit zurecht, setzt sich an der Tür auf den Schemel, lässt aber die Arbeit wieder liegen und lehnt, mit dem Arm auf den geschlossenen Unterteil des Türladens gestützt, sich zurück Was duftet doch der Flieder so mild, so stark und voll! Mir löst es weich die Glieder, will, dass ich was sagen soll. Was gilt s, was ich dir sagen kann? Bin gar ein arm einfältig Mann! Soll mir die Arbeit nicht schmecken, gäbst, Freund, lieber mich frei; tät besser, das Leder zu strecken, und liess alle Poeterei. Er nimmt heftig und geräuschvoll die Schusterarbeit vor. Lässt wieder ab, lehnt sich von neuem zurück und sinnt nach Und doch, ‘s will halt nicht geh n. Ich fühl s - und kann s nicht versteh n - kann s nicht behalten - doch auch nicht vergessen; und fass ich es ganz - kann ich s nicht messen! Doch wie wollt ich auch messen, was unermesslich mir schien? Kein Regel wollte da passen und war doch kein Fehler drin. Es klang so alt und war doch so neu wie Vogelsang im süssen Mai! Wer ihn hört und wahnbetört sänge dem Vogel nach, dem brächt es Spott und Schmach. - Lenzes Gebot, die süsse Not, die legt es ihm in die Brust nun sang er, wie er musst ! Und wie er musst - so konnt er s; das merkt ich ganz besonders. Dem Vogel, der heut sang, dem war der Schnabel hold gewachsen macht er den Meistern bang, gar wohl gefiel er doch Hans Sachsen. Er nimmt mit heiterer Gelassenheit seine Arbeit vor VIERTE SZENE Eva ist auf die Strasse getreten, hat sich schüchtern der Werkstatt genähert und steht jetzt unbemerkt an der Tür bei Sachs EVA Gut n Abend, Meister! Noch so fleissig? SACHS fährt angenehm überrascht auf Ei, Kind! Lieb Evchen! Noch so spät? Und doch, warum so spät noch, weiss ich die neuen Schuh ? EVA Wie fehl er rät! Die Schuh hab ich noch gar nicht probiert; sie sind so schön und reich geziert, dass ich sie noch nicht an die Füss mir getraut. Sie setzt sich dicht neben Sachs auf den Steinsitz SACHS Doch sollst sie morgen tragen als Braut? EVA Wer wäre denn Bräutigam? SACHS Weiss ich das? EVA Wie wisst Ihr dann, dass ich Braut? SACHS Ei was! - Das weiss die Stadt. EVA Ja, weiss es die Stadt, Freund Sachs gute Gewähr dann hat. Ich dacht , er wüsst mehr. SACHS Was sollt ich wissen? EVA Ei seht doch! Werd ich s ihm sagen müssen? Ich bin wohl recht dumm? SACHS Das sag ich nicht. EVA Dann wärt Ihr wohl klug? SACHS Das weiss ich nicht. EVA Ihr wisst nichts? Ihr sagt nichts? Ei, Freund Sachs, jetzt merk ich wahrlich, Pech ist kein Wachs. Ich hätt Euch für feiner gehalten. SACHS Kind, beid , Wachs und Pech, vertraut mir sind. Mit Wachs strich ich die seid nen Fäden, damit ich dir die zieren Schuh gefasst heut fass ich die Schuh mit dicht ren Drähten, da gilt s mit Pech für den derb ren Gast. EVA Wer ist denn der? Wohl was Recht s? SACHS Das mein ich! Ein Meister, stolz auf Freiers Fuss, denkt morgen zu siegen ganz alleinig Herrn Beckmessers Schuh ich richten muss. EVA So nehmt nur tüchtig Pech dazu da kleb er drin und lass mir Ruh ! SACHS Er hofft dich sicher zu ersingen. EVA Wieso denn der? SACHS Ein Junggesell ‘s gibt deren wenig dort zur Stell . EVA Könnt s einem Witwer nicht gelingen? SACHS Mein Kind, der wär zu alt für dich. EVA Ei, was! Zu alt? Hier gilt s der Kunst, wer sie versteht, der werb um mich! SACHS Lieb Evchen! Machst mir blauen Dunst? EVA Nicht ich! Ihr seid s; Ihr macht mir Flausen! Gesteht nur, dass Ihr wandelbar; Gott weiss, wer Euch jetzt im Herzen mag hausen, glaubt ich mich doch drin so manches Jahr. SACHS Wohl, da ich dich gern auf den Armen trug? EVA Ich seh , ‘s war nur, weil Ihr kinderlos. SACHS Hatt einst ein Weib und Kinder genug. EVA Doch starb Eure Frau, so wuchs ich gross. SACHS Gar gross und schön! EVA Da dacht ich aus, Ihr nähmt mich für Weib und Kind ins Haus. SACHS Da hätt ich ein Kind und auch ein Weib! ‘s wär ein lieber Zeitvertreib! Ja, ja! Das hast du dir schön erdacht. EVA Ich glaub , der Meister mich gar verlacht? Am End auch liess er sich gar gefallen, dass unter der Nas ihm weg vor allen der Beckmesser morgen mich ersäng ? SACHS Wer sollt s ihm wehren, wenn s ihm geläng ? Dem wüsst allein dein Vater Rat. EVA Wo so ein Meister den Kopf nur hat! Käm ich zu Euch wohl, fänd ich s zu Haus? SACHS trocken Ach ja! Hast recht! ‘s ist im Kopf mir kraus. Hab heut manch Sorg und Wirr erlebt da mag s dann sein, dass was drin klebt. EVA wieder näher rückend Wohl in der Singschul ? ‘s war heut Gebot. SACHS Ja, Kind! Eine Freiung machte mir Not. EVA Ja, Sachs! Das hättet Ihr gleich soll n sagen; quält Euch dann nicht mit unnützen Fragen. Nun sagt, wer war s, der Freiung begehrt? SACHS Ein Junker, Kind, gar unbelehrt. EVA wie heimlich Ein Ritter? Mein, sagt! Und ward er gefreit? SACHS Nichts da, mein Kind! ‘s gab gar viel Streit. EVA So sagt! Erzählt, wie ging es zu? Macht s Euch Sorg , wie liess mir es Ruh ? So bestand er übel und hat vertan? SACHS Ohne Gnad versang der Herr Rittersmann. MAGDALENE kommt zum Hause heraus und ruft leise Pst! Evchen! Pst! EVA eifrig zu Sachs gewandt Ohne Gnade? Wie? Kein Mittel gäb s, das ihm gedieh? Sang er so schlecht, so fehlervoll, dass nichts mehr zum Meister ihm helfen soll? SACHS Mein Kind, für den ist alles verloren, und Meister wird der in keinem Land; denn wer als Meister geboren, der hat unter Meistern den schlimmsten Stand. MAGDALENE vernehmlicher rufend Der Vater verlangt. EVA immer dringender zu Sachs So sagt mir noch an, ob keinen der Meister zum Freund er gewann? SACHS Das wär nicht übel! Freund ihm noch sein! Ihm, vor dem sich alle fühlten so klein? Den Junker Hochmut, lasst ihn laufen, mag er durch die Welt sich raufen; was wir erlernt mit Not und Müh , dabei lasst uns in Ruh verschnaufen hier renn er uns nichts über n Haufen, sein Glück ihm anderswo erblüh ! EVA erhebt sich zornig Ja, anderswo soll s ihm erblühn als bei euch garst gen, neid schen Mannsen; wo warm die Herzen noch erglühen, trotz allen tück schen Meister Hansen! - zu Magdalene Gleich, Lene, gleich! Ich komme schon! Was trüg ich hier für Trost davon? Da riecht s nach Pech, dass Gott erbarm ! Brennt er s lieber, da würd er doch warm! Sie geht sehr aufgeregt mit Magdalene über die Strasse hinüber und verweilt in grosser Unruhe unter der Tür des Hauses SACHS sieht ihr mit bedeutungsvollem Kopfnicken nach Das dacht ich wohl. Nun heisst s schaff Rat! Er ist während des Folgenden damit beschäftigt, auch die obere Ladentüre so weit zu schiessen dass sie nur ein wenig Licht noch durchlässt er selbst verschwindet so fast gänzlich MAGDALENE Hilf Gott! Wo bliebst du nur so spat? Der Vater rief. EVA Geh zu ihm ein ich sei zu Bett im Kämmerlein. MAGDALENE Nicht doch! Hör mich! Komm ich dazu? Beckmesser fand mich, er lässt nicht Ruh , zur Nacht sollst du dich ans Fenster neigen, er will dir was Schönes singen und geigen, mit dem er dich hofft zu gewinnen, das Lied, ob das dir nach Gefallen geriet. EVA Das fehlte auch noch! - Käme nur er! MAGDALENE Hast David gesehn? EVA Was soll mir der? Sie späht aus MAGDALENE für sich Ich war zu streng; er wird sich grämen. EVA Siehst du noch nichts? MAGDALENE tut, als spähe sie ‘s ist, als ob Leut dort kämen. EVA Wär er s? MAGDALENE Mach und komm jetzt hinan! EVA Nicht eh r, bis ich sah den teuersten Mann! MAGDALENE Ich täuschte mich dort, er war es nicht. Jetzt komm, sonst merkt der Vater die Geschicht ! EVA Ach, meine Angst! MAGDALENE Auch lass uns beraten, wie wir des Beckmessers uns entladen. EVA Zum Fenster gehst du für mich. Sie lauscht MAGDALENE Wie, ich? - für sich Das machte wohl David eiferlich? Er schläft nach der Gassen! Hihi, ‘s wär fein! EVA Da hör ich Schritte. MAGDALENE zu Eva Jetzt komm, es muss sein! EVA Jetzt näher! MAGDALENE Du irrst! ‘s ist nichts, ich wett . Ei, komm! Du musst, bis der Vater zu Bett. POGNERS STIMME von innen He! Lene! Eva! MAGDALENE ‘s ist höchste Zeit! Hörst du s? Komm! Dein Ritter ist weit. Sie zieht die sich sträubende Eva am Arm die Stufen zur Tür hinauf All rights reserved © Maria Fujioka Wagner,Richard/Die Meistersinger von Nürnberg+/II-2
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受けてませんが行った事ないのとBCまるで進めていないのでやってみたいです。 ちなみにどこにコメント入れても最初の募集にコメントされます。 ここでいえば「Where Will This Lead Me?」に対して だからこれは編集で入れてみました-- Lars (2006-12-12 00 02 22) ブラッドラインクロニクル、ほとんどやってませんね。 ドモルド家の紋章(だっけ?)はその他のクエストをいくつかクリアしないと決戦のインスタンスに入ることができないようです。なので、これに限らずブラッドラインクロニクル関係のやつは片付けたいのですが……--Enora 名前 コメント Lynn 「壁の穴なんて大嫌い」 Lv35 エンチャントランド 多分 西の方ぬに住んでるホビットを倒すんだと思いますが …ボコられましたorz 名前 コメント Lynn 「最後の日記」 Lv35 エンチャントランド Runney eye Marcenary を２０体 一人ではぎりぎりなので 誰か一緒に倒しましょう。 名前 コメント
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Energy and Social Change The MIT Press? James O Toole? TheMITPress? JamesO Toole? ジャンル別? Subjects-Engineering-General? Subjects-Outdoors&Nature-NaturalResources-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Physics-Energy? Subjects-Science-Nature&Ecology-NaturalResources-General? Subjects-Science-Physics-Energy? The Rocket Team Mit Pr? Frederick Ira Ordway? MitPr? FrederickIraOrdway? ジャンル別? Subjects-Engineering-General? Subjects-History-Europe-Germany-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Physics-General? Subjects-Science-Astronomy-Aeronautics&Astronautics? Engineers and Engineering in the Renaissance The MIT Press? William Barclay Parsons? TheMITPress? WilliamBarclayParsons? ジャンル別? Subjects-Engineering-General? 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Advanced Level Tuition and Educational Technology in Schools and Colleges C A Nichols? Taxonomy and Geography David Nichols? Continuance of Life After Death Harold Nichols John Nichols (Western Writers Series, No 75) Peter Wild? Labour In A Global World Case Studies From The White Goods Industry In Africa, South America, East Asia And Europe (The Future of Work) Theo NicholsSurhan Cam? Mistress of Madderlea (Historical Romance S.) Mary Nichols? Jack Chiltern's Wife (Historical Romance S.) Mary Nichols? An Unusual Bequest (Historical Romance Large Print) Mary Nichols? An Unusual Bequest (Historical Romance) Mary Nichols? Talk of the Town (Historical Romance) Mary Nichols? An Unusual Bequest (Historical Romance) Mary Nichols? A Grammar of Consent The Existence of God in Christian Tradition (Library of Religious Philosophy) Aidan Nichols? The Moral Nation Humanitarianism and U.S. Foreign Policy Today Bruce Nichols?Gil Loescher? 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Benn's Media Directory, 1991 International (Benn's Media Europe) Lizard Tooth The Adventure Of Iguanodon (Dinosaur World) Michael Dahl?Garry Nichols? Lizard Tooth The Adventure of Iguanadon (Dinosaur World) Michael Dahl?Garry Nichols? Phantom Eye Theory Steven Leslie Nichols? Comprehension Through Conversation The Power of Purposeful Talk in the Reading Workshop Richard Allington?Maria Nichols?Gloria Pipkin? Long Arm The Adventure of Brachiosaurus (Dinosaur World) Michael Dahl?Garry Nichols? Monster Fish The Adventure of the Ichthyosaurs (Dinosaur World) Michael Dahl?Garry Nichols? Chilton's Honda - Civic/Crx/Del Sol Nichols Chilton? Stiff Armor The Adventure of Ankylosaurus (Dinosaur World) Michael Dahl?Garry Nichols? The Russian Presidency Thomas M. Nichols? Strange Lizard The Adventure of Allosaurus (Dinosaur World) Michael Dahl?Garry Nichols? Verdict on India Beverley Nichols? Myth, Magic, and Mystery One Hundred Years of American Children's Book Illustration Michael Patrick Hearn?Trinkett Clark?H. Nichols B. Clark? The Star Spangled Manner Beverley Nichols? Livestock Improvement Je Nichols? Twenty-Five - An Autobiography Beverley Nichols? Book of the Secrets of Enoch steve nichols? The Same Sun Merlin Nichols? Discovering Aquinas An Introduction to His Life, Work, and Influence Aidan Nichols? Developing Portfolios in Education A Guide to Reflection, Inquiry, And Assessment Ruth S. Johnson?J. Sabrina Mims-Cox?Adelaide Doyle-nichols? Developing Portfolios in Education A Guide to Reflection, Inquiry, and Assessment Ruth S. Johnson?J. Sabrina Mims?Adelaide Doyle-Nichols? Running Away from Home and Other Poems Jeanne Nichols? Splitting Up David I Nichols? The Changing Face of Luton Stephen Bunker?Robin Holgate?Marian Nichols? Okinawa C S Nichols?H I Shaw? Sir Francis Drake Revived Philip Nichols? Production and Reproduction of Trade Union Autocracy in the Turkish Metalworking Industry, The (Cardiff University, School of Social Sciences, Working Papers S.) Theo NicholsNadir Sugur?Erol Demir? Emergence of a New Generation of Workers in Turkish Industry, The (Cardiff University, School of Social Sciences, Working Papers S.) Theo Nicholsetc.? How to Build a Model Yacht (1902) Herbert Fisher?Frank Nichols?Russell Potts? Essential Help Handbook Anthea Nichols? Miguel Hernandez (World Authors S) Geraldine Cleary Nichols? Early American Culture (Discovering the Arts) Catherine Nichols? Archaeology in the Amesbury Area, Wiltshire (Wessex Archaeology Reports) Andrew B. Powell?Michael J. Allen?I. Barnes?Karen Nichols?John Hodgson? Aromatherapy Sylvia Nichols? CB Radio Richard Nichols? Custom Car Richard Nichols? Complete Citizen's Band Radio Richard Nichols? Do You Come Here Often? Richard Nichols? Privates on Parade Peter Nichols? 120 Idioms at Your Fingertips June Nichols? After Collapse The Regeneration of Complex Societies Glenn M. Schwartz?John J. Nichols? DNA Repair Processes From 3rd Annual Workshop Spons by Inst for Medical Res and the Natl Inst on Aging W W Nichols?D G Murphy? The Winged Wheelers of Suffolk Ken Nichols?Maureen Nichols? Harditts in Sawna Robert Nichols? Naked (Drama Series22) Luigi Pirandello?Nina Davinci Nichols? Resume Writing Without Paid Work Experience Walter Fortson?Harve Nichols? Potatoes from Gnocchi to Mash Anne Nichols?P. Myers? Show Your Own Dog Virginia Tuck Nichols? Scattering the Seed A Guide Through Balthasar's Early Writings on Philosophy And the Arts Aidan Nichols? Gaucho Cattle Hunter, Cavalryman, Ideal of Romance Madaline W. Nichols? Satie Remembered Robert Orledge?Reinhard G. Pauly?Roger Nichols? Museum Education Anthology Susan K. Nichols?Mary Alexander?Ken Yellis? A Grandparent's Prayer Journal Lifting My Grandchildren to the Throne of Grace Fern Nichols?Melanie Wayne? Epiphany A Theological Introduction to Catholicism Aidan Nichols? The Winter Garden Eluned Price?Clive Nichols Hidden Springs Cistercian Monastic Women (Cistercian Studies Series) John A. Nichols?Lillian Thomas Shank? Moving Learning 3e Cim MAC Nichols Medieval Religious Women Peaceweavers (Cistercian Studies Series) David Hugh Farmer?John A. Nichols?Lillian Thomas Shank? Encyclopedia Of Marine Science (Science Encyclopedia) C. Reid Nichols? Poland (Countries of the World) Jeremy Nichols?Emilia Trembicka-Nichols? Soda, Clay and Fire Gail Nichols? Poetics of Epiphany 19th Century Origins of the Modern Literary Moment Ashton Nichols? Italia, Italia Peter Nichols? All but the Right Folks Joan Kane Nichols? The Working Guide to Traditional Small-boat Sails A How-to Handbook for Builders And Owners David L. Nichols? Workers Divided Theo NicholsPeter Armstrong? Capital and Labour Theo Nichols? Beverley Nichols Cats X Y Z (Beverley Nichols' Cats' X. Y. Z.) Beverley Nichols? Founding the Future A History of Truman State University David Nichols? Disruption of American Democracy, 1856-61 Roy Franklin Nichols? Hearing Each Other Nichols We Held the Key Edward Nichols? Robert Lenkiewicz Keith Nichols Black Hawk Nichols Protestant Pioneers in Korea Everett Nichols Hunt? Beyond the Blue Glass Catholic Essays on Faith and Culture Aidan Nichols? Financing Elections David Nichols? Equations and Inequalities Eugene D, etc. Nichols? English Syntax A E Nichols? Scattering the Seed A Guide Through Balthasar's Early Writings on Philosophy And the Arts (Introduction to Hans Urs Von Balthasar) Aidan Nichols? Regional Broadband Networks Sue Uglow?Sally Walton?Eirwen Nichols? No Bloodless Myth A Guide Through Balthasar's Dramatics (Introduction to Hans Urs Von Balthasar) Aidan Nichols Op? Lectionary-Based Gospel Dramas for Lent and the Easter Triduum Sheila O Connell-Roussell?Therese Vorndran Nichols?Vicki Shuck? Divine Fruitfulness Nichols Regional Broadband Networks Sue Uglow?Monica Albarran O Donovan?Eirwen Nichols? Regional Broadband Networks Sue Uglow?Srinu Kumpatla?Eirwen Nichols? Mysterium Pacschale Hans Urs Von Balthasar?Aidan Nichols? 3G Survival Strategies Eirwen Nichols? Ownership, Control and Ideology (Stud. in Mgmt. S) Theo Nichols Taken Seriously Vicky Nichols? Phillip's '94 International Paper Directory (Phillips International Paper Directory) American Leviathan (Torchbks.) Roy Franklin Nichols? William Shakespeare (Pocket Essentials (Trafalgar)) Ian Nichols? Evans Christie - Great British Trials Trevor Nichols?Jon Baddeley?Robin Welch? Great War Literature Study Guide on Robert Nichols W. Lawrance? What Are You Doing Here? Dylan Nichols? Factory Regimes and the Dismantling of Established Labour in Asia (Working Paper) Theo NicholsSurhan Lam? Scottish Family Law Service John Fotheringham Ross?David Brownlee?David I. Nichols?Alison Cleland?Andrew Cubie?Brian Kearney?George Jamieson?Jane Mair?Ian Maxwell?Alexandra Plumtree? Glen Canyon Images of a Lost World Photographs and Recollections Tad Nichols? The "Corrs" Todd Nichols? A Piece of My Mind (Acting Edition) Peter Nichols? The Last Beautiful Days of Autumn A Memoir John Nichols? Chronicle of the Grey Friars of London (Camden Society London Pub First 53) J. G. Nichols? Hopkins Aidan Nichols? Globetrotter Rome the Vatican (Globetrotter Guides) Fiona Nichols? Abie's Irish Rose A Novel (The Modern Jewish Experience) Anne Nichols? Scottish Family Law Service David I. Nichols?etc.? Ruffo in Calabria Peter Nichols? Rehabilitation Medicine Philip John Russell Nichols?Elizabeth Ann Hamilton?
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