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https://w.atwiki.jp/mrfrtech/pages/57.html
Overview The Social Media Security Market Companies is anticipated to grow by US$1.9 billion by 2027 rapidly growing at a CAGR of 17% during the forecast period. The drivers for the growth of the social media security market are the rising number of attacks across social media networks, growing social media site use on computers and the recognition of BYOD trends by businesses.. These factors have helped shape the social media security market and are expected to boost the growth. Companies in the social media security market could also face challenges such as lack of awareness among companies as well as weak data protection policies. The details covered in the social media security market report cover all the aspects of the industry. Analysts studying the social media security market have also shared growth projections in the report and have suggested social media security market players to plan business strategies accordingly. Market Segmentation The global social media security market has been segmented based on vertical, solution, security type, organization size, and deployment. On the basis of vertical, the market for social media security is segmented based on BFSI. Additionally, the market on the basis of solution, is segmented into advanced threat protection. The global market for social media security is also covered based on the security type segment which is further split into cloud security, data security. On the basis of deployment, the market for social media security is segmented based on on-cloud. Additionally, the market on the basis of organization size, is segmented into large enterprises. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6842 Factors like no acceptable protection procedures, no corporate social media policies and no staff training, support the social media security market growth. The performance of the social media security market has also been studied for the past and current years. Additionally, the social media security market report provides analysis of these segments. The social media security market segmental analysis provided in the report offers major details about the social media security market based on the data and forecasts till 2027. Regional Overview Companies in the social media security market are spread across the world. The social media security market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American social media security market has many companies across the United States, Canada, and Mexico. The social media security market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the social media security market can be found in the market research report. Europe has companies in the social media security market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the social media security market across India, China, and Japan in the Asia-Pacific region is also presented in the report. Competitive Landscape The social media security market is supported by big leaders from well-established companies across the United States, and Canada who spend heavily on research and development to protect information security for the enactment of enterprise data are growing.. The population growth around the world and increasing demand of social media security market based services and products also support the market growth. However, the social media security market growth can be affected due to lack of safety and data protection policies even during the increasing adoption of social media platforms. The report covers all such details which will help companies in the social media security market to strengthen their business plan and improve their product portfolio. The social media security market research report also provides company profiles of major companies. The company profiles of many organizations operating in the social media security market report highlights crucial details like company size, revenue growth, and details of mergers and acquisitions taking place in the social media security market. New companies and established businesses can plan their strategies based on this data provided in the social media security market research report. Industry News Francisco Partners, the world s top science innovator that specializes in engaging with data and technology companies, today confirmed that it is closing the previously announced Raytheon Technologies purchase of the full contract. Forcepoint is a marketing supplier of information protection tools that secure the primary data and networks of thousands of users around the globe. The board of directors of the company has immediately named Manny Rivelo as chief executive officer (CEO), at the same time that the agreement was closed and opened. On the contrary, risk associated with social engineering, failure to understand the organizations exact needs, and lack of common laws across countries and cross-boundary location of servers may limit the global social media security market growth over the forecast period. Access Report Details @ https //www.marketresearchfuture.com/reports/social-media-security-market-6842 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 Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions 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
https://w.atwiki.jp/mrfrtech/pages/129.html
Market Overview The Social Media Security Market Companies is anticipated to grow by US$1.9 billion by 2027 rapidly growing at a CAGR of 17% during the forecast period. The drivers for the growth of the social media security market are the rising number of attacks across social media networks, growing social media site use on computers and the recognition of BYOD trends by businesses.. These factors have helped shape the social media security market and are expected to boost the growth. Companies in the social media security market could also face challenges such as lack of awareness among companies as well as weak data protection policies. The details covered in the social media security market report cover all the aspects of the industry. Analysts studying the social media security market have also shared growth projections in the report and have suggested social media security market players to plan business strategies accordingly. Market Segmentation The global social media security market has been segmented based on vertical, solution, security type, organization size, and deployment. On the basis of vertical, the market for social media security is segmented based on BFSI. Additionally, the market on the basis of solution, is segmented into advanced threat protection. The global market for social media security is also covered based on the security type segment which is further split into cloud security, data security. On the basis of deployment, the market for social media security is segmented based on on-cloud. Additionally, the market on the basis of organization size, is segmented into large enterprises. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6842 Factors like no acceptable protection procedures, no corporate social media policies and no staff training, support the social media security market growth. The performance of the social media security market has also been studied for the past and current years. Additionally, the social media security market report provides analysis of these segments. The social media security market segmental analysis provided in the report offers major details about the social media security market based on the data and forecasts till 2027. Regional Overview Companies in the social media security market are spread across the world. The social media security market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American social media security market has many companies across the United States, Canada, and Mexico. The social media security market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the social media security market can be found in the market research report. Europe has companies in the social media security market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the social media security market across India, China, and Japan in the Asia-Pacific region is also presented in the report. Competitive Landscape The social media security market is supported by big leaders from well-established companies across the United States, and Canada who spend heavily on research and development to protect information security for the enactment of enterprise data are growing.. The population growth around the world and increasing demand of social media security market based services and products also support the market growth. However, the social media security market growth can be affected due to lack of safety and data protection policies even during the increasing adoption of social media platforms. The report covers all such details which will help companies in the social media security market to strengthen their business plan and improve their product portfolio. The social media security market research report also provides company profiles of major companies. The company profiles of many organizations operating in the social media security market report highlights crucial details like company size, revenue growth, and details of mergers and acquisitions taking place in the social media security market. New companies and established businesses can plan their strategies based on this data provided in the social media security market research report. Industry News Francisco Partners, the world s top science innovator that specializes in engaging with data and technology companies, today confirmed that it is closing the previously announced Raytheon Technologies purchase of the full contract. Forcepoint is a marketing supplier of information protection tools that secure the primary data and networks of thousands of users around the globe. The board of directors of the company has immediately named Manny Rivelo as chief executive officer (CEO), at the same time that the agreement was closed and opened. On the contrary, risk associated with social engineering, failure to understand the organizations exact needs, and lack of common laws across countries and cross-boundary location of servers may limit the global social media security market growth over the forecast period. Access Report Details @ https //www.marketresearchfuture.com/reports/social-media-security-market-6842 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 Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions 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
https://w.atwiki.jp/mediasenterenglish/pages/16.html
Adoption of various media Although various media exist in a school library and it is mainly divided into three, a "pencil press", "audiovisual media", and "electronic media", the old school library has been managed mainly in case of a pencil press. However, it is also necessary for investigating hours of comprehensive learning etc. oneself and understanding to take in elements other than character media, such as audiovisual media and electronic media, in the education called for. Since it complains of audiovisual media and electronic media to vision or hearing, they can understand the contents for a short time. The contents which read a character over several times and can occasionally understand it at last may be able to understand by once. It is what is called "seeing is believing." In this media center, I am preparing three media abundantly so that a user may learn and it can use for amusement. Although there is the purpose, when there is no telling which media should be used, please speak to a nearby teacher-librarian. A teacher-librarian s role A teacher-librarian s work is mainly choosing media according to a student s needs, and teaching a student the method of use of media. Since judgment of information of corrigenda, choice, etc. are needed, a student enables it to use information by his judgment in the present information society by guiding the method of media use. In this center, at least one person always stations the teacher-librarian. Information gathering using media In the old school library, pencil presses, such as a newspaper currently kept in books or a library, were in the mainstream. When development and development of information machines and equipment in recent years produced various media, a school library will take in various media. However, in the conventional school library, the needs of the user who asks for collection of various information and dispatch cannot be met in the society computerized by the present altitude. On the present Internet, always new information is disseminated regardless of truth, and by a future information society, use of the Internet will become indispensable, when collecting information. In this media center, I have introduced the computer as a communication tool for performing collection of information, integration, and dispatch. The student can use a computer for favorite time fundamentally, and if there is a question, a teacher-librarian corresponds. This media center is aiming at a student s study and assistance of collection of information by introducing a computer. Moreover, since the power which makes judgment of the information which is needed in an information society of corrigenda, and choice is learned, a teacher-librarian teaches about the usage of media.
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https://w.atwiki.jp/matchmove/pages/96.html
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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https://w.atwiki.jp/tsukamaroeg/
one of the suspects About this site A thirteen years old boy died in Otsu Shiga-pri Japan last year. The boy s body found on a ground in a building where he and his family lived. He had been severely tortured several years in his school before his death. The authority has closed this case as suicide despite of witnesses. Recently a lot cover-ups have been found. Our aims are total disclosure and justice. This site needs your help to improve. English native check is most welcome. This page is basically translated from this original page. http //www48.atwiki.jp/tukamarosiga/ 編集制限はかけていないので誰でもページの追加・編集ができます （決して改ざんなどはしないこと）。 新しい情報を見つけた場合は、ページの追加・編集をお願いします。 What is happening? The whole city is trying to cover up this truly horrifying case. The suspects are sons of powerful figures in town. The victim’s father requested investigation three times at the local police but all refused. It is said one of the bully’s relative is an ex-high ranking police officer. Last few days netizens in Japan started self-investigations and found a lot cover-ups and terrible stories which media did not release. What did the suspects do to the victem? according to some questionnaire answers from other students after his death; suicide practice jumping from height, suicide practice by himself, make him eat a dead wasp , threatened to withdraw cash from his parent’s account and they used it, show him dead body pictures and asked him if he wants to be like this, forced to do shoplifting then threatened reporting this to the police, constantly assaulted, used sleeping drug and left him in a park naked, forced to do masturbation to ejaculation in naked, burnt his pubic hair using a lighter they call it “today’s hair cut”, put chili on his penis and laugh , pull down his pants and laugh, tortured in a group at a school athletic festival, urinate on his gym uniform and said to him “You stink”, put spit, sputum and trash in his launch, they pictured the act and enjoy watching, upload these pics on the net and let him know, forced to drink dirty water used to extinguish fireworks, duct taped on his mouth and tortured, tie him up on a chair and tortured, forced to eat paper There are many horrible stories even after his death. We ll up date this. Media 2012/July/08 【ABCNews】Kids and Laughing Teachers Bullied Suicide Teen http //abcnews.go.com/blogs/headlines/2012/07/kids-and-laughing-teachers-bullied-suicide-teen/ 【Mainich】 http //mainichi.jp/english/english/perspectives/news/20120705p2a00m0na005000c.html
https://w.atwiki.jp/comma-plus/
This is comma-plus project page "comma plus" is the temporary name of a project by Ayumi KIZUKA and Kazuki MATSUMOTO. We have started this project from April 2010. This page is used to review the progress. If you have any message or question, please visit here. Products of This project is open-source software. SVN repository is here New ★★ (5 to 23 Nov. 2011) We ll exhibit Bird Platform (tentatively name) in Machinaka Art Gallery 2011.11.5(sat),23(wed) at Hakata-Station. Link http //tenjin.jp/mag/ This page allow sharing of information among us. (with using password) New ★ (14 to 15 May. 2011) We Exhibited Torikage / Mebuki in Design Festa vol.33 2011.5.14(sat),15(sun) at Tokyo-Bigsight. (It s a international art event.) Thanks for your coming! Then, artists from various countries brought their works, putting them on display or sell. Torikage / Mebuki used a white board. First, an audience uses a pen. Second, he or she should wait. Three, some birds may come flying, and some buds may come out and bloom trees, flowers, or berry. If you block light from a projector, the birds would flied off and the botanical would sporulate toward fall leaves. Many guests tried and enjoyed Torikage / Mebuki. Some people have been amazing. We have finished this work "Mebuki" or "Torikage", and have exhibited !! But, we ll developing Mebuki continuously, thanks. The full work photos are here Finished. Sample Movie is here Prototype Movie. "torikage" performance, at Ishibashi Museum of Art 1F, July 2009. today - , yesterday - , total - ｜ + + + ｜ ｜ ｜
https://w.atwiki.jp/gyakusai/pages/89.html
Entrevista com produtor (ou quase) de Apollo Justice Ace Attorney http //hadouken.wordpress.com/2008/02/28/entrevista-com-produtor-ou-quase-de-apollo-justice-ace-attorney/ ブラジルのゲームサイトの方が、カプコンUSAマーケティングマネージャーのColin Ferris氏へのインタビューを行い、ポルトガル語に翻訳したもの。（ブラジルはポルトガル語圏） ポルトガル語翻訳http //translation.infoseek.co.jp/?ac=Web lng=pt こちらで機械翻訳したものを若干修正。 （ポルトガル語が解る方の訂正募集） Hadouken Por que vocês decidiram trocar o personagemprincipal da série Ace Attorney? Como os fãs vêmreagindo a esta mudança?Hadouken： なぜ、Ace Attorneyシリーズの主役を変えることに決めましたか？ Colin Ferris O universo da série Ace Attorney é tão rico em personagens que quisemos dar aos gamers a oportunidades de ver este mundo por um diferente par de olhos. Até agora, as reações têm sido fantásticas. Os fãs estão adorando Apollo Justice e como ele vai tropeçando pelo caminho na estréia como novato. Até me perguntaram se a Capcom lançaria um programa de treinamento vocal “Chords of Steel”![NE O mesmo usado pelo protagonista no game]Colin Ferris：Ace Attorneyシリーズの世界は、我々が1対の異なる目についてこの世界を参照する機会にゲーマーに与えたかったように、キャラクターが豊富です。今まで、ファンの反応は素晴らしかったです。ファンはApollo Justiceを崇拝しています、そして、彼の様に、それは初心者として初日に道のためにつまずきに行っています。カプコンが声の「鋼のような感情」を訓練するプログラムを開くならば彼らが私に聞くまで！ Hadouken Uma grande característica dos casos de Phoenix Wright era o auxílio espiritual das integrantes da família Fey. Que elementos de jogabilidade e narrativa foram implementados para compensar a ausência desta ajuda do outro mundo?Hadouken： Phoenix Wrightのケースの大きな特徴は、Fey（綾里）一族のメンバーの精神的な助けでした。 jogabilidade要素と物語が補償するために組み込んだものは、他の世界のこの援助の欠如でしたか？ Colin Apollo Justice possui habilidades únicas para compensar a falta de ajuda spiritual que existe nos jogos passado. Não apenas sua assistente, Trucy, usa mágicas para distrair o tribunal quando necessário, Apollo tem truques novos nas mangas. Ele pode notar sutis detalhes de linguagem corporal, como no pôquer, que lhe permitem saber quando alguém está mentindo.Colin Ferris： Apollo Justiceは、ゲームの中に存在する援助霊力の不足に補償する能力だけを備えています。彼はアシスタントに汗をかかせません、Trucy、magicsは必要に応じて裁判所を散らします、Apolloには新しいトリックがあります。彼は、ポーカーの場合のように、誰かが存在しているとき、あなた/彼らが彼/彼女を知らせておく微妙な詳細に気がつくことができます。 Hadouken Devo confessar ver Ema Skye em Apollo Justice foi uma grande surpresa. Quando ela foi criada para o caso especial no remake para DS do primeiro Ace Attorney já estava planejado que ela iria aparecer em Apollo Justice?Hadouken： Apollo JusticeでEma Skyeを見ることは、大きな思いもかけないことでした。彼女はApollo Justiceの中に現れることがすでに計画されていましたか？ Colin Conforme o universo Ace Attorney cresce, não queremos esquecer dos personagens do passado. Só porque ele não está no último Ace Attorney quer dizer que não aparecerá no futuro. Quanto a Ema, nós adoramos ela e ficamos muito felizes em trazê-la de volta com um papel maior em Apollo Justice.Colin： Ace Attorneyシリーズの世界が成長しましたが、我々は過去のキャラクターを忘れたくありません。我々は彼女を敬慕しました、そして、我々はApollo Justiceの中により大きな成長とともに彼女を連れてくる際に非常に幸せでした。 Hadouken Apesar de o hardware Nintendo DS ser amplamente superior ao do Game Boy Advance – para o qual foi lançada originalmente a primeira trilogia Ace Attorney no Japão – Apollo Justice não apresenta um grande salto qualitativo em termos de gráficos e som? Por quê?Hadouken：完全に優れているニンテンドーDSというハードウェアにもかかわらず、ゲームボーイアドバンスのシリーズに比べてなぜApollo Justiceは、グラフと音に関して大きな質的な進化を提示しませんか？ Colin Ace Attorney tem um visual e ambientação únicas que não desejamos mudar. Tendo dito isto, há diversas mudanças sutis que são novidades. Desde as recriações 3D das cenas de crime até os novos instrumentos legistas que deve-se aprender a usar, nós focamos em expandir a jogabilidade para combinar com as características únicas que o DS oferece. Meu pessoal favorito é quando as pessoas me olham estranho no trem quando grito “Objection!” para o meu Nintendo DS.Colin： Ace Attorneyは、我々が変わって欲しくなかった観察とambienta oだけを持っています。これを言って、革新であるいくつかの微妙な変化が、あります。 犯行現場の3Dからそれが利用する博識な方法でなければならない新しい器具法律専門家まで、我々はDSが提供する唯一の特徴と組み合わさるためにjogabilidadeを拡大する際に焦点に集まりました。 Hadouken Como foi o processo de localização de Apollo Justice? Houve algum termo ou diálogo específico que foi difícil de adaptar?Hadouken： 翻訳は大変でしたか？ いくらかの語または特定の対話がありました、何が適応させるのが難しかったです？ Colin O time de localização de Apollo Justice é excelente. Tendo trabalhado em diversos jogos japoneses no passado, digo honestamente que eles são a melhor equipe com quem já trabalhei.Colin： Apollo Justiceの翻訳のチームは、素晴らしいです。 過去にいくつかの日本のゲームにおいて働いて、私は彼らが私がすでに働いた最高のチームであると正直に言います。 Hadouken Falando sobre o futuro a produtora Minae Matsukawa já confirmou que vem aí um quinto episódio da série Ace Attorney. Poderia nos dizer algo sobre ele?Hadouken： 将来について、松川美苗プロデューサーは、すでに、Ace Attorneyの5回目のエピソードに近付くことを確認しました。 そのことについてコメントできますか？ Colin Eu gostaria de poder lhe contar todas as coisas excitantes que temos planejadas para a próxima incursão da série, mas você terá de esperar. Temos grandes surpresas guardadas para os fãs.Colin： 彼女に我々がシリーズの次の流入のために漂っていたという刺激的なことの全てを話したいです、しかし、あなたは待たなければなりません。 我々は、大きな思いもかけないことをファンのためにとっておいておきます。 Hadouken Qual s possibilidade de vermos um game da série Ace Attorney no Wii? Adoraríamos usar o Wiimote para apontar o dedo na cara de promotores e gritar “Objection!” para nossas TVs.Hadouken： 我々はWiiでAce Attorneyシリーズを見ることができますか？ 我々は、コントローラーで指さして、「異議あり！」を叫ぶ事ができますか？ Colin Por ora, não temos planos de levar Ace Attorney para nenhum outro sistema. Sentimos que o DS é a casa perfeita para a série.Colin： 今のところ、我々には他のどのシステムのためにもAce Attorneyを移植する計画がありません。 我々は、DSがシリーズのための完全なプラットフォームであるのを感じました。 Hadouken Alguma chance de vermos um lançamento ocidental da Gyakuten Saiban Encyclopedia que veio na Edição Especial de Gyakuten Saiban 4 no Japão?Hadouken： 我々は日本にGyakuten Saiban 4の限定版に入っていたGyakuten Saiban Encyclopedia（逆転裁判辞典）の邦訳を得ることはできますか？ Colin Estamos pesquisando maneiras de lançá-la fora do Japão. Contudo, no momento não há nenhum plano definitivo para a enciclopédia digital.Colin： 我々は、日本から輸出する方法を研究しています。 Hadouken Qual seu personagem favorito da série? Por quê?Hadouken： あなたが好きなシリーズのキャラクターは？ Colin Sou um grande fã de Winston Payne, muito por conta de seus cortes de cabelo. Eu adoro ver os diferentes estilos que a equipe cria para ele em cada nova versão.Colin： 私は、Winston Payne（亜内）の大ファンです。 私は、チームが各々の新しいバージョンで彼のために作成する異なるヘアスタイルを見るためにあがめます。 Hadouken Apesar de os jogos terem muito texto em inglês, há muitos fãs da série Ace Attorney. Poderia mandar um recado – ou uma objeção – para eles?Hadouken： 彼らが英語でテキストのたいへんするゲームにもかかわらず、Ace Attorneyシリーズの多くのファンがいます。 彼/彼女は、メッセージを注文することができますか？ Colin Gostaria de agradecer pessoalmente a todos os fãs por gostarem de nosso jogo. Enquanto fãs como vocês estiverem comprando, continuaremos a fazê-los. Espero que vocês se divirtam tanto jogando Apollo Justice Ace Attorney quanto nós tivemos em produzir o game.Colin： 個人的には全く、彼/彼女は感謝したいと思います。ファンの、彼らは我々のゲームが好きです。あなたのようなファンが買い続けている間、我々は彼らをまね続けます。 私は、あなたがそれほどApollo Justiceと対戦して楽しむことを望みます。 ▲ページ上へ▲
https://w.atwiki.jp/conlang_arka/
Arka is an a priori conlang (naturalistic artlang to be exact) with more than 15,000 words and its own conworld. It started in 1991 in Japan. It is known among conlangers in Japan but is little known abroad because sites on Arka are written in Japanese. We hope you will be interested in this language. It would be very helpful if anyone would inscribe Arka on a list of conlangs. Here is the official site in Enlgish (under construction). Please visit this site first. Introduction First of all, please watch an introduction anime of Arka and an introduction video of Arka in English(FLASH. 3.2 MByte). Features A priori vocabulary (more than 15,000 words) Detailed descriptions of basic words Online dictionary (Arka-Japanese dictionary) Etymological note(s) on every single word in its dictionary Unique characters and various fonts Literary and artistic expressions Affluent synonyms A constructed world (conworld) which was made for Arka Constructed cultures (concultures) associated with Arka Myth and history which are related to the conworld and etymologies of words Lexicon which reflects historical changes Influence from foreign languages Detailed notes on the conworld Instructional texts of Arka on the web Book of Xion , a novel where a high school girl summoned from Japan learns Arka Melidia , a novel written in Arka Calendar and almanac 366 colors related to the calendar (xistina) Usages of words based on linguistics A priori usages of words Complete grammar as if Arka were a natural language Games (Avelantis, a shooter game, for instance) Manga and anime Textbook with sound Constellations (The stars are from 100 constellations in this world) Philosophical thoughts Magic theory Paintings Musics Clothes Notes If you google for jinkougengo (人工言語) in kanji, you will find Arka on the page 1 (google Japan). We just want you to know it exists, so this site is not a textbook of Arka. What learners say is not always correct, so please do not ask them. You can only trust the following sites. The official site of Arka Arka-Japanese dictionary (The character code of Arka-Japanese dictionary is UTF-8) Conlinguistics Association(the association for conlinguistics) How to Make a Conlang (A website which tells "what a conlang is" and "how to make a conlang" in Japanese) Conlinguistics(A website which tells "the history of conlangs" in Japanese) First Guide to Esperanto (A beginners guide to Esperanto in dialogue) Japanese Edition .