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Research Analysis The market research report profiles well-balanced information with previous as well as future results with an aim to offer a better understanding of the global Mercury Control market. The market report further offers an in-depth view of the leading factors that are related to increasing the demand growth for Mercury Control s. Not only this but also in this study the readers can get an in-depth report of the possibilities in combination with the latest trends in the targeted market. It is also a detailed combination of 10 years old qualitative and quantitative analysis of the industry that has been presented in the report with an aim to help the market players to increase maximum profit in the sector. The market research report also provides information on the record of individual sales records that are made with the expected revenue over the forecast period. This research report provides an extensive examination of all the related segments present in the industry. Moreover, it throws light on the recent development as well as the opportunity is that is going on in the Mercury Control Market. Get a Sample PDF File@ https //www.quincemarketinsights.com/request-sample-88276?pu Impact Of COVID 19 On Mercury Control Market The market research report provides an overview of the future impact of the global coronavirus outbreak on the supply chain, regional government policy, export and import control in the global market. The study also provides a detailed description of how this pandemic has affected the global market and also stop the enhancement of the sector in the wake of covid-19. The coronavirus pandemic has infiltrated each and every aspect of life. Not only this but also in terms of business environment it has created various differentiation. the continuously changing business setup, as well as the initial and the future impact of the market, is also analyzed in this market research report. Market Report Features Overview Of The Market Report The market research report offers a detailed quantitative as well as qualitative overview of the market for Mercury Control Market on the basis of area, category, product, competitors, and application. In terms of expanded coverage, the market report is further extended in terms of end-user market analysis and the comprehensive producer profile. Market Segmentation Of Mercury Control Market The market segmentation of the Mercury Control Market is done on the basis of technology, product type, application, distribution channel, and end-user. Geographical segmentation is also being done to get valuable insights into the Mercury Control Market . Geographical Analysis Doing the geographical analysis is very important to know about the broad feature of the market. In this section, the readers can get a comprehensive analysis of the Mercury Control Market based on the geographical location. This section throws light on the demand and sales output for the Mercury Control Market at the national and international levels. The study is being done taking into account some of the major geographic regions such as North America, Europe, Asia Pacific, South America, Middle East, and Africa. Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-88276?pu Market Highlights The market report on the Mercury Control Market is a summary of the current market situation for the Mercury Control Market . Moreover, the analysis provides information regarding the newly launched product and also the products that are to be launched during the forecast period. The study also includes minute details regarding market share, segment, trends, growth and forecast Carbotech, Albemarle, ADA Carbon Solutions, Calgon Carbon Corporation, Alstom S.A., Clarimex Group, Babcock Power Inc,. Company overview, latest trends, financials, R D expenditures. Quince Market Insights Top Trending Research Report* https //qmi189135117.wordpress.com/2022/09/16/disulfurous-acid-sales-market-latest-trends-size-key-players-revenue-and-forecast-2032/ https //qmi189135117.wordpress.com/2022/09/16/electrical-film-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/vanadyl-acetylacetonate-market-key-findings-growth-prospects-and-size-by-country-top-manufacturer-expansion-plans-and-business-strategy-forecast-to-2032/ Details Contained In The Mercury Control Market Report 2021 Market Overview 1.1 Market Introduction 1.2 Market Analysis By Type 1.2.1 Type 1 1.2.2 Type 2 1.3 Market Analysis By Applications 1.3.1 Application 1 1.3.2 Application 2 1.4 Market Analysis by Regions 1.4.1 North America 1.4.2 Europe 1.4.3 Asia Pacific 1.4.4 South America 1.4.5 the Middle East and Africa Market Scope Market Segmentation by type, application, end-users and regions Market Size estimation Market Competition Key Market Leaders Conclusions The market research report offers a detailed study of the Mercury Control Market which include market shares, size and growth opportunities by applications, product types and geographic regions. Not only this but also the report also contains a detailed summary of the leading market players. The experts have also mentioned the market growth, threats, opportunities and risks. About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
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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.
https://w.atwiki.jp/worldwarjapan/pages/27.html
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During prime time.We be trying to defend, but not have the population to spread around, so we get repeatedly crushed by the NC zerg, then the TR would turn on us as we pulled more troops to try and hold off the NC.After we lose every base, the NC would just seem to be on standby with 2 3 platoons of people to crush us at any base we tried to attack, while the TR just continued to defend their 1 3 bases like before.Basically it has to work out like the OP graph, or that happens. If the TR or VS pull away from fighting each other to try and hold back the NC. Whichever of them didn do that is going to keep pushing the one that did, so it will be one 25% faction trying to fight off a 50% zerg and the other 25% faction at the same time.Of course, the 50% zerg can force the matter, and only focus on one faction. Putting one of the 25% factions in that situation regardless of what they did.But on a side note, yes. I completely agree. 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https://w.atwiki.jp/mainichi-matome/pages/2035.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳(の疑い)を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 A curious oral encounter with contrite ex-cop深く悔いている元警官との、好奇心をそそる口腔の邂逅 拡散状況 関連ページ A curious oral encounter with contrite ex-cop 深く悔いている元警官との、好奇心をそそる口腔の邂逅 0 A curious oral encounter with contrite ex-cop 2007,06,08 Uramono Japan (June) By Masuo Kamiyama 深く悔いている元警官との、好奇心をそそる口腔の邂逅 裏モノJAPAN(6月号) カミヤママスオ記 1 "My name is Yoko. I m 26 years old," she tells him. 「私の名前は葉子。26才です」と、女は男に語る。 2 "What kind of work do you do?" the fellow, a 29-year-old salaryman, asks her. 「どんな仕事をしているんだい?」と、相手の29才のサラリーマンは彼女に尋ねる。 3 "I m an OL (office worker)," she replies, batting her eyelids shyly. 「私はOL(事務員)です」と、まぶたを恥ずかしげにまばたかせながら、彼女は答える。 4 "Oh? Well, would you like to get it on with me?" 「そう?ねえ、僕とあれをしないかい?」 5 "Actually, I m having my period, it might be a bit uncomfortable." 「実は、私は今生理で、ちょっと具合が悪いんじゃないかしら」 6 "You can use your mouth then, okay?" 「それじゃ口でしてよ、いいかい?」 7 "Um, yeah, I guess." 「うーん、ええ、そうね」 8 "I ll pay you 10,000 yen." 「僕は君に1万円払うよ」 9 "Well, all right, but I m not very good at this sort of thing, you know?" 「そうね、いいわ、でも私、それはあまりうまくないのよ」 10 The above exchange, reports Uramono Japan (June), took place at a "deai kissa" (matchmaking coffee shop) in Tokyo s Ikebukuro district. The standard procedure is for the male patrons to view female patrons through a one-way magic mirror and draw chits for the right to get to know them better in a private "talk room," where one-on-one exchanges, like the one above, ensue. 裏モノJAPAN(6月号)の報告によると、上述の会話は東京の池袋にある「出会い喫茶」(出会いを仲介する喫茶軽食店)で行われた。 標準的な手順は、男性客が一方通行のマジックミラー越しに女性客を眺め、じゃまの入らない「トークルーム」 -- そこでは上述のもののような、1対1の会話がなされる --の中で互いをよりよく知りあう権利のためのクジを引く。 11 If both parties agree on whatever the man proposes in terms of activity and price, they depart the premises hand in hand for someplace more intimate. もし両者が、なんであろうと男が提案するコトと価格の条件に合意すれば、かれらは手を握って店から出てもっと親密になれるどこかに向かう。 12 But the above encounter took place at around three p.m. on a Sunday, the shop was crowded, and this particular customer, forced to compete with others, wasn t having much luck finding an appealing female partner until our gal arrived on the scene. しかし上述の会話はある日曜の午後3時ごろになされ、店は込んでいてたので、この好みのうるさい客は、他の男と競わなければならなくなり、われらがギャルが登場するまでは、魅力的な女性パートナーを見つけるられる幸運に大してめぐまれなかった。 13 Still, a mere session of oral gratification did not seem to warrant paying for a room in a love hotel, so the pair decided to get down to the nitty-gritty in a "manga kissa," a type of shop that serves drinks and rents comics, and where customers can avail themselves of comparatively inexpensive private rooms. とはいえ、口での奉仕だけにラブホテルの部屋代の支払いをするのは割に合わないように思えたので、二人は「漫画喫茶」--- 飲み物を提供し漫画を貸す店の一種で、比較的安価で客が個室を利用できるところ ---の中で肝心なことに取り掛かろうと決めた。 14 To add a little, er, flavor to the experience, the man stretched out the time by questioning Yoko -- the name she went by -- regarding her curriculum vitae. この体験に少し、えー、面白みを付け加えるため、男は、彼女の履歴書を考えながら、葉子(仮名)に質問をして時間伸ばしをした。 15 "What do you do at your company?" 「会社では何をしているの?」 16 "Did I say company?" she replies. "Sorry, I do office work, but it s for the Japan Self Defense Forces." 「私、会社って言ったかしら」と彼女は返答した。 「ごめんなさい、私は事務をしているけど、自衛隊の仕事なの」 17 "Really?! You re in the military?" 「本当に?!君は自衛隊にいるのかい?」 18 "Yes, and before that I was a policewoman, but there were some ... problems at work and I had to quit." 「ええ、そしてその前私は婦人警官だったの、だけど職場でちょっと…問題があって辞めなけらばならなかったの」 19 "I can t believe I m hearing this," the man thinks to himself. "Here s a woman who s about to give me a blowjob for 10,000 yen, and she used to be a cop..." 「こんな話信じられないぞ」と、男は心の中で思った。 「ここに1万円でフェラチオを僕にしようとしている女性がいて、彼女はかつて警官だったなんて…」 20 In, as then she informed him, the Seikatsu Anzen (public safety) section, where her assignment was -- are you sitting down, dear reader? -- busting girls caught engaging in "enjo kosai" (teen prostitution)! そのあと彼女が彼に教えたことによると、彼女が配属されたところの生活安全(公衆の安全)課は -- 親愛なる読者よ、おどろかないでくれ(*1) -- 「援助交際(十代の売春)」をしている少女たちを取り締まっていたのだ! 21 The main procedure for discouraging "enko," Yoko tells him, was for plainclothes cops to patrol the street outside the entrances of love hotels. Young females suspected of selling their bodies were intercepted as they were about to check in with their John, and whisked away to be questioned by a male-female team of juvie officers. Sometimes the girls male patrons were also placed under arrest. 葉子が彼に語るところによると、「援交」をやめさせる主な手順は、私服警官がラブホテルの出入り口に面した通りをパトロールすることからはじまる。 自分の体を売っていると疑われた若い女性たちは、客とともにチェックインしようとするところを捕まえられ、すぐに連れられて未成年担当官の男女チームに尋問される。 ときおり少女を買った男も逮捕される。 22 But that was then and this was now, and once he disrobed and got horizontal, Yoko performed a rousing rendition on his fleshy flute for 20 minutes, until he climaxed and spent himself into her oral cavity. しかしそれは昔のことで今は今だ、彼が服を脱いで横になるとすぐ、葉子は20分間彼の肉のフルートで扇情的な演奏をし、そして彼は絶頂をむかえ彼自身を彼女の口腔の中に入れてはてた。 23 "She was certainly right about not being very skilled," the man comments. "But I have to admit, the notion of getting sucked off by a former policewoman really turned me on." 「彼女は、あまり上手くないということについては、確かにそのとおりでした」と、この男はコメントする。 「しかし、元婦人警官が尺八をしてくれるという考えが私を本当に興奮させたことは、認めざるを得ません」 24 "Do you do this a lot?" he asked her as they took the elevator back to the street level. 「これは何回もやってるの?」と、地上1階にもどるエレベーターに乗りながら彼は彼女に尋ねた。 25 "Actually, this is my first time," she says. "Today was only the second time I d ever gone to that shop. The customer who took me out last time only bought me dinner." 「実は、これがはじめてなの」と彼女はいう。 「私が今まであの店にいったのは、今日でたった二回目なの。 前回私を連れ出した利用客は私に夕食をおごるだけだったわ」 26 "Tell you what. Let me buy you dinner too. I d really like to hear more about your police work." 「そうだなあ、僕にも夕食をおごらせてくれないかな。 僕は本当に君の警察の仕事についてもっと聞きたいんだ」 27 "Sorry, but no. I ve put all that behind me. I should never really have told you I was a cop in the first place." 「ごめんなさい、でもだめよ。私はそのことは全部忘れるようにしてるの。 そもそも私が警官だったことをあなたに決して話さなければよかったわ」 28 And with that, she bade him adieu and walked away. Yes, concludes Uramono Japan, we re living in times when we even want to forget those things that should be unforgettable. (By Masuo Kamiyama, contributing writer) そう言って、彼女は彼に別れの挨拶をして歩みさった。 裏モノJAPANは結論付ける、そうだ、我々は忘れられないであろうことさえ忘れたく思う時代に生きているのだ。(寄稿記者カミヤママスオ記) 拡散状況 The Black Ship http //www.theblackship.com/forum/japan-tabloid-news/874-curious-oral-encounter-contrite-ex-cop.html Blogger:その他 部分転載:http //sephysama.blogspot.com/2007/06/curious-oral-encounter-with-contrite-ex.html 関連ページ Blogger:その他 The Black Ship 元記事一覧 毎日新聞英語版から配信された記事2007年(1月 - 6月)
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Market Synopsis Market Research Future (MRFR) conducted study on the Identity as a Service Market Segments 2020 and detailed insights into the effect of COVID pandemic on the market in the report. According to MRFR analysis, the identity as a service (IDaaS) market can rise at 18.4% CAGR across the forecast period. By 2027, the identity as a service (IDaaS) market value can cross USD 10 Bn. The growing deployment of IDaaS on largely accepted cloud platform can boost the expansion of the IDaaS market across the review period. The increase in the adoption of SaaS-based IAM offerings that allow organizations to use single sign-on (SSO) via OpenID Connect (OIDC) or Security Assertion Markup Language (SAML) for the authentication and access controls to provide secured access to enterprises SaaS applications can promote the expansion of the world market of IDaaS. The growing need to curb on-site infrastructure that can support a wide range of integration options can boost the expansion of the IDaaS market. The rise in the level of interconnectivity as IoT and BYOD culture are trending across different verticals can bolster the expansion of the IDaaS market. Rise in IDaaS vendors can also benefit the global market. The high utility of DevSecOps practices for the identification and access management in organizations can fuel the expansion of the market growth. The growing concerns of companies regarding data security limit is pressing the need for IDaaS solutions that can promote the expansion of the global identity as a service (IDaaS) market in the years to come. The rise in preference for on-premise access management systems can pose threat to the IDaaS market. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7928 Market Segmentation The segments study of the global IDaaS market is based on deployment, service, organization size, and vertical. The service-based, the global IDaaS market segments are access, identity governance administration, and intelligence. The organization size based, the global IDaaS market segments are large enterprise and small- and medium-sized enterprise (SME). The deployment based, the global IDaaS market segments are public cloud, private cloud, and hybrid. The vertical based, the global IDaaS market segments are BFSI, retail and CPG, manufacturing, energy and utilities, transportation, healthcare and life sciences, and government and defense among others. Regional Analysis North America IDaaS market is expected to secure the highest global market size in the forecast period. Led by the US, the market in North America can rise exponentially due to the early adoption of DevSecOps that aids in the identification and allows access to management and strict government directives associated with data protection. The increase in cyber threats and high growing demand for potential and powerful authentication solutions on cloud can drive the IDaaS market in North America. In Asia Pacific, the IDaaS market can expand rapidly in evaluation period. The growing BYOD trend and increase in IoT applications across verticals and increase in the awareness among enterprises regarding security issues can promote the IDaaS market in the Asia Pacific region. APAC is observed to hold high growth prospects, thus the expansion of the IDaaS market in the Asia Pacific region is expected to rise substantially. Key Players MRFR identified some notable players of the global IDaaS market. They are; Okta, Inc. (US), Avatier (US), OneLogin, Inc (US), Fischer Identity (US), Microsoft Corporation, (US), Oracle Corporation (US), Centrify Corporation (US), Ping Identity (US), iWelcome (Netherlands), empowerID (US),VMWare (US), LoginRadius (Canada), IDaptive, LLC. (US), Ubisecure, Inc. (Finland), Sailpoint (US), Optimal IdM(US), Bitium, Inc. (US), and others. These players are recognized by origin, regional presence, recent key innovations, industry expertise, and product diversification. Access Report Details @ https //www.marketresearchfuture.com/reports/identity-service-market-7928 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Markets Structure 3 Market Research Methodology 3.1 Research Process 3.2 Secondary Research 3.3 Primary Research 3.4 Forecast Model Continued… Similar Report B2B Telecommunication Market Forensic Accounting Market Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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イリュン (☣) 美女切断マジック≫今ここ 筒ドラから生足あ〜Magie 73 from Cabaret Television Show 棺桶 カットベスト!あ 分岐点マンホール~Andre Kole s Crazy Lady.mp4 水中で分割マジ *Numero de Thin Model Sawing *Classic Thin Model Sawing A Woman in Hal *Thin Model Sawing سحر ورد كردني ساحريك Magic s Biggest Secrets Finally Revealed سحر ورد كردني ساحريك *分割Breaking the D.Copperfield Magician s Code 1 Magic s Biggest Secrets こちょこちょ6月の新リス! *Civezza Notte Magica 2011 Anteprima con Elena e Davide ぬ肉?Thin Model Sawing. くすぐり責絶叫女☆ *肉かもしれないDavid Copperfield - Cocoon ☆○-○ かなり古き・斜差込切断マジック~David Copperfield - Old Magic [1] 肉ストップL8.flv 嫌がる肉が切られるやつ お肉分断で最後は締めました 摩耶が仕入れたお肉分断歩く 肉として重視 [生肉 http //www.youtube.com/watch?v=bo-DHu87Fes feature=related 生肉~Claire Danes~] 釜でね リン・チーリン CM アミコラ アミノコラーゲン アカペラ篇 magic sawing a woman in half Brett Daniels Magician Sawing in Half and Car production Vampire Sawing Snow White Fetish Burlesque girl cut in half magic Sawing In Half Gone Wrong Timothy Noonan Biography Secrets of Magic Revealed! Criss Angel-How To Cut A Woman In Half Sliced Sophia Chriss Angel rips girl in half Goody s Por Partes girl illusion Panicat cortada ao meio Merchan Magos de Preto No Pânico mago martin clearly sawing in half with sabrina salerno Thin Model Sawing thin model Desi girl sawed Angie Beach Blanket Buzzsaw Ten Fingers, Ten Toes Jackie MANU ANIMATION - demo magicien Sawing in Half by Julia Christie Guillotina Francesa Vani Pule doing the classic sawing in half≪●≫ Sawing a Lady in Half by Dr. GERTES Siegfried and Roy Sawing Lynette in half. Hans Klok sawing Hans Klok Sittah - Beheaded (World s Greatest Magic) Magic and Illusion 2/6 Magic Illusion - Philppart Anja Criss Angel how to saw cut a woman in half Teller Saw a woman in half【!】 You Should See What Ellen Saw ...ed BEST of SCARBELLY - Sawing in Half Illusion Kalin and Jinger-thin sawing in half 城大夜宴2006-刀鋸美人 Dirty Dancing Sawing Boo Hiccup - Magical Genius mago martin SPIKER AUDIENCE mago martin SLICER ILLUSION Sawing in Half by Julia Christie copperfield cut 9 Copperfield Water Levitation Full Frontal - David Copperfield s Magical Newspaper Trick DAVID COPPERFIELD HEAD MOVER 城大夜宴2006-刀鋸美人 Rudy Cody Sawing crossculture The Majestix Puzzle Illusion ~Cutting Girl in Half (Magic Unlimted) ~קסם הגיטרות תומר דודאי ~Gutelli Illusions-Theater ~~~Nadir Mura Giorgia Palmas ~Girl CUT into Pieces!!! The Device Illusion by Michael Barron Brett Daniels Magician Sawing in Half and Car production Sawing In Half Gone Wrong Sliced Sophia Chriss Angel rips girl in half Goody s Por Partes Panicat cortada ao meio Merchan Magos de Preto No Pânico mago martin clearly sawing in half with sabrina salerno Thin Model Sawing thin model Desi girl sawed Angie Ten Fingers, Ten Toes Jackie MANU ANIMATION - demo magicien 黒台に乗った黒髪で白上着と黒下着な美女を分割す *なんか宣伝う 黄箱☆月赤いやつスーツやつ スライドすマジックEl Mago Emanuel - Modern Art 肉かも箱色白紫山黄枠銀山ハミデル頭*Taylor Reed Performing Audience Dismemberment 青箱とキラメク会場Manimal Sawing.mpg Guillotina Francesa Vani Pule doing the classic sawing in half≪●≫ Sawing a Lady in Half by Dr. GERTES タイムチャレンジああ Siegfried and Roy Sawing Lynette in half. Hans Klok sawing Hans Klok Sittah - Beheaded (World s Greatest Magic) Magic and Illusion 2/6 Magic Illusion - Philppart Anja Criss Angel how to saw cut a woman in half Teller Saw a woman in half【!】 赤パンコーラ女分割 素晴らしい。最高のミー と思わんかね? はは、見ろ!脚がロボのようだ! ちょっと怖めな切断マジック 切るたび増える女 1頭の女がいた。この女を鋸で切断し真っ二つに分割する。 切られた女は直後に意識を失ってしまった。しかし、魔術師の指パッチンで女は目を覚まし、離れた下半身も動き出す。 すると双方の切り口から、上半身は下半身が生え、下半身からは上半身が生え、女は2頭に増えた。 そしてもう一度2頭になった女を同様に切断すると切り口から同じように欠損部位が生え、4頭になった。 計算上では2→4→8→16…と増えていくことになる。 これで生産ラインは確保されるが強暴なので扱いには要注意。 切断いろいろ 下半身なき足脚が台座に乗るん本体押すDani Lary - Les entressorts 箱なし美女切断* *CE SOIR AVEC ARTHUR intervention ARY ABITTAN AMELLE モダンVideomatch Freddy Mago Trucho 斜め差込分割・本体(頭~胸)と足(足指~脹脛途中)に結合→くすぐり~David Copperfield - Old Magic 高島彩Thin model sawing *SILVAN 2011-2012 SLICE MAN (WITH GIRL)!!!ネイティブアメリカン 分断にっくすぎりぎりぎりぃ*SILVAN VISIBLE SAWING FRONTAL [anime magic tickle fooot *anime magic tickle foot肉] *anime magic tickle foot肉 *magic show [anime magic tickle fooot *anime magic tickle foot] *anime magic tickle foot えもんどSawing Through a Woman with a Buzz Saw スカートなし白きミートェン *いういzersagte Jungfrau - thinmodel 中華な肉zersagte Jungfrau - thinmodel びゅじゅぷde nieuwe uri geller 2009 yelle ghani de finale 2 zelf hypnose bowlingbal [2] *Ivankov learns that Dragon is Luffy s father [Funny *26131点Coupee a l epee. *Sawing a woman in half in the TV portugaise *Mago Lucio a Trebisonda - Diciottesima puntata *肉Luna Avila se fait coupe en deux *肉Johnny Alexander Show Productions PART 1 of 2 *分岐点Mega Magic and Illusion Show Part 1 魔耶一星 Promotion Trailer 真矢十神貴 クリアリーインホ?ッシフ?ル(Clearly Impossible) 魔耶一星 モダンアート ウォーキングテーブル にっくす *magic show *Sawing a woman in half in the TV portugaise *Mago Lucio a Trebisonda - Diciottesima puntata わおす *肉Luna Avila se fait coupe en deux わーぉすぃ *肉Johnny Alexander Show Productions PART 1 of 2 *分岐点Mega Magic and Illusion Show Part 1 魔耶一星 Promotion Trailer 真矢十神貴 クリアリーインホ?ッシフ?ル(Clearly Impossible) 魔星モアキンブ リオ・マリオ声で生肉調理~Doug Henning on Carson サ大Ⅲマックス1825-20 20 *Femme coupée en deuxイラン *Show opener and sawing-in-half illusion分岐点 生肉方面分岐点 生にっく *Le Grand Cirque de Noël des Frères LAVILLE présente, La *Taylor Reed Performing Audience Dismemberment *MAGIC SHOW2 *Celsius in TV commercial *Illusionist Stela Ignacio on RTP - Christmas TV Special StelaIg *Modern Art 2011.m4v マジックが失敗した例*Mago decapita a su esposa en acto de magia IMPRESIONANTE マジック10種回を5分チャレンジ *2分割して足をくすぐる~The Twins - Clearly Impossible *おーにく金髪と白服US Magic Deathsaw *紫髪の切断マジック **先住民族Phillipart and Anja うおおおおにくか **お肉かTony_Kamo *肉Magico GURGUREN no PROGRAMA DO JO *マジシャン シュウ セパレーツ *2分割hacke *分割されるのは教師っぽいやつФокусник - ЕРАЛАШ воскресный выпуск.mp4 *関係ないけど狭い箱に入るGESABEL PIRLO 知恵袋生足 2012年ごろのCMだが既に当時36だ 肉nikuhrsghyr *肉なのかSawing a woman in half illusion by Luis da Matos *Nigel Harrison The Vanish Cutting a Lady in Half HD.mov 春肉弓 **Tickling** 山本高広 マジック ペットトリック あ―肉 分岐点~Walter Blaney performs his version of sawing a lady in half 兄弟でマジックさ 震災生肉 ***Cosmetic Distributor Tickle Tortured *** ポリスモドキ肉 魔星 GOD HANDS 1st Stage 摩耶が新鮮な美女の肉を仕入れたぞ 肉の分岐点っぽさ *Behind the Illutions おーう *ersägte Jungfrau - clear sawing ダニエル魔導師な身体切断マジック以外のマジック・浮遊美女輪通し *Brett Daniels Levitation まどーしダニエル 静寂なダニエルブレッドの美女切断マジック [3] ダニエルズの栄光 *SILVAN 2011-2012 SLICE MAN (WITH GIRL)!!!ネイティブアメリカン生肉ゃ 分断にっくすぎりぎりぎりぃ*SILVAN VISIBLE SAWING FRONTAL [anime magic tickle fooot *anime magic tickle foot肉] *anime magic tickle foot肉 *magic show [anime magic tickle fooot *anime magic tickle foot] *anime magic tickle foot えもんどSawing Through a Woman with a Buzz Saw こちょこちょ6月の新リス! くり責で叫す女子☆ *肉かもしれないDavid Copperfield - Cocoon かなり古き・斜差込切断マジック~David Copperfield - Old Magic 斜め差込分割・本体(頭~胸)と足(足指~脹脛途中)に結合→くすぐり~David Copperfield - Old Magic スカートなし白きミートェン *いういzersägte Jungfrau - thinmodel 中華な肉zersägte Jungfrau - thinmodel Rudy Cody Sawing Drill Dani Lari Buzz Saw crossculture The Majestix Puzzle Illusion STEPHANE ARNOW prime time NICE PEOPLE, femme coupee en 2 Houdini - Tony Curtis - Janet Leigh Silvan Shadow Vision 身体を奪い入れ替える AP AR肉急速成長 Head Over Heels Guillotina Francesa Siegfried and Roy Sawing Lynette in half. mister M - Encolhe garota MEGAVIDEO版もあるでよ Rusian Sawing *MD 赤裸々な生肉だ BEST of SCARBELLY - Sawing in Half Illusion Kalin and Jinger-thin sawing in half ~MAGIC-GIRL GETS CUT IN HALF ~~~∥~Girl Cut Magicレドパ・金髪 German Sawing serruchada Cutting Girl in Half (Magic Unlimted) STEPHANE ARNOW prime time NICE PEOPLE, femme coupee en 2 Houdini - Tony Curtis - Janet Leigh Silvan Shadow Vision mago martin SPIKER AUDIENCE mago martin SLICER ILLUSION copperfield cut 9 Full Frontal - David Copperfield s Magical Newspaper Trick Head Over Heels Guillotina Francesa Siegfried and Roy Sawing Lynette in half. 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Market Scenario Enterprise Data Management is the capability of the businesses to identify, develop, integrate, and manage the data of the entire enterprise workflow, applications, and entities that require precise and accurate data delivery. In other words, enterprise data management refers to manage the data which ensure compliance and governance features such as data quality, security and many more. Additionally, enterprise data management helps to integrate the data to enable master data management (MDM). The MDM is a method used to consistently define manage and control the critical data of an enterprise to offer a single point. Novel coronavirus has Enterprise Data Management Market Research to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The Global Enterprise Data Management Market is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/5863 Competitive Outlook Some of the key players of Enterprise Data Management Market include Oracle Corporation (U.S.), Mulesoft (U.S.), Accenture (Ireland), SAP SE (Germany), IBM Corporation (U.S.), Talend (U.S.), Symantec Corporation (U.S.), SAS Institute Inc. (U.S.), Intel Security (U.S.), Teradata Corporation (U.S.), Cognizant (U.S.), MongoDB (U.S.), Mindtree (India), Jade Global (U.S.), Goldensource (U.S.), Solix technologies Inc. (U.S.), Liasion Technologies (Sweden), and Primitive Logic (U.S.). Segmentation The enterprise data management market is broadly categorized by component, deployment, organization size, and end-user. By component, the enterprise data management market is sub-segmented as solutions and services. On the basis of services, the market is sub-segmented into professional services and managed services. The professional services are further segregated into consulting services, implementing integrating services, and training support services. The solutions are segregated as data integration, data warehousing, data processing, data governance, data synchronization, data security, data quality, and others. On the basis of organization type, the market is segregated into large enterprise and small medium enterprise. Furthermore, on the basis of deployment, the market is sub-divided into on-cloud and on-premises. By end-user, the market is sub-divided into IT telecom, BFSI, manufacturing, energy power, healthcare, transportation logistics, government, and others. Regional Analysis Geographically, the enterprise data management market is segmented into four different regions namely North America, Asia Pacific, Europe, and the Rest of the World. North America is presumed to have significant growth in the enterprise data management market. The United States and Canada are leading the markets of the region. The growth is due to high-level expertise in the cloud deployment of enterprise data management. Asia Pacific is also anticipated to be the fastest growing region in the enterprise data management market over the forecast period. India, Japan, South Korea, and China are the leading countries in the region. This is attributed to increased investment to boost the IT sector. Furthermore, Europe is expected to have a substantial growth in the market owing to robust technological infrastructure. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/enterprise-data-management-market-5863 List of Tables Table1 Global Enterprise Data Management Market By Region, 2020-2027 Table2 North America Enterprise Data Management Market By Country, 2020-2027 Table3 Europe Enterprise Data Management Market By Country, 2020-2027 Continued… List of Figures FIGURE 1 Global Enterprise Data Management Market Segmentation FIGURE 2 Forecast Methodology FIGURE 3 Porters’ Five Forces Analysis Of Global Enterprise Data Management Market Continued… View Similar Report** Identity Access Management Business https //writeonwall.com/identity-access-management-business-industry-trends-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and/ Mobile Banking Market Research https //writeonwall.com/mobile-banking-market-research-industry-trends-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and-forecast-t/ About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future Office No. 524/528, Amanora Chambers Magarpatta Road, Hadapsar Pune - 411028 Maharashtra, India 1 646 845 9312 Email sales@marketresearchfuture.com
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