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https://w.atwiki.jp/clashofclansgame/
COC Hack may be a private server which have a special server than of original game. Hacking the server is extremely tough work and it ll ban your account. But using the newest version Hack Mod is safe. It offers you unlimited gems, resources, new troops and spells and defence buildings. It’s like COC but a free version during which we don’t need to spend any value of cash . Every COC player wishes that if he had unlimited gems, he can do everything, he can train his favourite troops with no training time, he can upgrade his king and queens to the max and may use them in wars! Well, these features aren t available within the original game, but these are available in our Hack APK. Read the incredible features of Clash of Clans hack APK down here. https //tech4blog.com/clash-of-clans-hack-apk/ This Hack APK isn t an ingenious game but it doesn’t mean you won’t get newly released troops and buildings. you ll get the max level of troops, buildings and everything because you ve got unlimited gems and resources. And with unlimited gems and resources, you re the God.
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 .
https://w.atwiki.jp/vocaloidenglishlyric/pages/184.html
【Tags Andoo Gakupo tI N】 Original Music Title ナスが好き I Love Eggplants (Nasu ga Suki) Music Lyrics written, Voice edited by アンドー (Andoo) Music arranged by アンドー (Andoo) Singer 神威がくぽ (Kamui Gakupo / Camui Gackpo / Gackpoid) Click here for the Japanese Lyrics English Lyrics (translated by Devi Apri Riyanti)： I love eggplant I love eggplant Eggplant is so chubby, tinny, so cute! since the first day I met you I have fallen for you I want to always be able to see your soft bare skin and beautifull lines I want to know you more I want to protect you because you are easy to be hurt I love eggplant I love eggplant When I touch you its so amazing, feel so good! Always, even when I m asleep, I want you near me so soft, yet you have sticks on you make me want to touch you more, want to ride you And with you I m sure we can go to the far away world where words aren t needed I love eggplant I love eggplant lunch time is coming, it s too much for me to wait! i m ready and i ve washed your raw form but i cant bear your wet form I know it s not good, but I want to eat you raw But because I like you I ll just cook plenty of you Romaji lyrics (transliterated by Devi Apri Riyanti)： nasu ga suki nasu ga suki koro koro chicchai nandaka kawaii hajimete atta sono hi kara boku wa kimi ni mero mero nanda sono tsuyayaka na hada kireina rain zutto mite itai kimi o shiritai kizutsuki yasui kimi no koto boku ga mamotte agetai na nasu ga suki nasu ga suki sawaru to funi funi tottemo kimochi ii nee zutto neru toki sae mo boku no soba ni ite hoshiinda yawarakakutte dakedo hari mo atte motto furetetai kimi ni noritai kimi to nara ikeru hazu kotoba no iranai tooi sekai e nasu ga suki nasu ga suki mou sugu gohan da mou machi kirenai kimi no koto heta no ura made yasashiku aratte ageta kedo nureta kimi no sugata ni mou gaman dekinai dame to shitte temo nama de tabetai kedo kimi ga suki dakara tappuri ryouri shitageru ne
https://w.atwiki.jp/hmiku/pages/51275.html
【検索用 With you 登録タグ ASTERIAN Mai Synthesizer V W バーミーズ 曲 曲英】 + 目次 目次 曲紹介 歌詞 コメント 作詞：でも幸せならOKですP（バーミーズ） 作曲：でも幸せならOKですP（バーミーズ） 編曲：でも幸せならOKですP（バーミーズ） 唄：Mai・ASTERIAN 曲紹介 でも幸せならOKです 曲名：『With you』(ウィズ ユー) 野生のディ○ニー曲。その曲調には思わず感動しそうだ。 だが、よくよく歌詞を聴いてみると、大変な歌詞となっている。ただの犯罪である。 ネタ曲投稿祭2023参加曲であり、リスナー投票優勝曲。 歌詞 （動画より書き起こし） I feel destined for you（あなたに運命を感じています。） Me too（私もです。） Have you noticed that?（あなたは気づいていますか？） I know（気づいています。） It is like a dream（夢みたい） You know everything about me（私のこと何でもわかるのね。） It is not a dream（夢じゃない） I know everything about you（君のことなら何でもわかる。） I evaded tax（私は脱税しています。） I know（知ってるよ） So does my mother（母もしてます。） I know（そうだね。） I have a forged passport（これは偽造パスポートです。） I know（知ってる。） Oh, you got me!（あなたは何でもわかるのね！） No wonder（当然さ） I have been looking for you（ずっと探してた） What a miracle to meet you（君に出会えた奇跡） Let's sing now, with you（さあ歌おう） I'm glad I met you（あなたに会えてよかった） You are special in my heart（特別な人） My magic is（私の常套手段は） I know（うん） a Ponzi scheme（ポンジ・スキームです） OK（そうだね） I won't let you go（君を逃さない） I have (You have), in my house (Your house)（私〔君〕の家には） a lot of PS5s（たくさんのPS5がある） Your brother is（君のお兄さんは） So, My brother is（私の兄は） Tenbaiyer（転売ヤー） Me too（私もです。） I know（知ってます。） My father is Gang（私の父はギャングです。） and head of drug cartel（そして、麻薬カルテルの頭です。） And He smuggles guns（あと銃を密輸しています。） Maji（…まじ？） Maji（マジ） Maji?（まじ？） Gachideeeesu（ガチです） Majikaaa（マジか～） Omae Shirisugita（オマエ知りすぎた） Yabeee（やべ～） Konya Kesu（今夜消す） Matte（待って） Kanarazu Kesu（必ず消す） Demo（でも） I won't change my mind（この気持ちは変わらない） I'm glad I met you（あなたに会えてよかった） You have a lot to ask（聞きたいことがたくさんあります） Kyohi（拒否～） Mou Akiramero（もう諦めろ） Temee Koso（テメェこそ） Tsurakaseya（ツラ貸せや） to the Police station（警察署へ） Tokyo Wan（東京湾へ） With you（あなたと） + 色分け歌詞 パート分け：Mai・ASTERIAN I feel destined for you（あなたに運命を感じています。） Me too（私もです。） Have you noticed that?（あなたは気づいていますか？） I know（気づいています。） It is like a dream（夢みたい） You know everything about me（私のこと何でもわかるのね。） It is not a dream（夢じゃない） I know everything about you（君のことなら何でもわかる。） I evaded tax（私は脱税しています。） I know（知ってるよ） So does my mother（母もしてます。） I know（そうだね。） I have a forged passport（これは偽造パスポートです。） I know（知ってる。） Oh, you got me!（あなたは何でもわかるのね！） No wonder（当然さ） I have been looking for you（ずっと探してた） What a miracle to meet you（君に出会えた奇跡） Let's sing now, with you（さあ歌おう） I'm glad I met you（あなたに会えてよかった） You are special in my heart（特別な人） My magic is（私の常套手段は） I know（うん） a Ponzi scheme（ポンジ・スキームです） OK（そうだね） I won't let you go（君を逃さない） I have (You have), in my house (Your house)（私 〔君〕の家には） a lot of PS5s（たくさんのPS5がある） Your brother is（君のお兄さんは） So, My brother is（私の兄は） Tenbaiyer（転売ヤー） Me too（私もです。） I know（知ってます。） My father is Gang（私の父はギャングです。） and head of drug cartel（そして、麻薬カルテルの頭です。） And He smuggles guns（あと銃を密輸しています。） Maji（…まじ？） Maji（マジ） Maji?（まじ？） Gachideeeesu（ガチです） Majikaaa（マジか～） Omae Shirisugita（オマエ知りすぎた） Yabeee（やべ～） Konya Kesu（今夜消す） Matte（待って） Kanarazu Kesu（必ず消す） Demo（でも） I won't change my mind（この気持ちは変わらない） I'm glad I met you（あなたに会えてよかった） You have a lot to ask（聞きたいことがたくさんあります） Kyohi（拒否～） Mou Akiramero（もう諦めろ） Temee Koso（テメェこそ） Tsurakaseya（ツラ貸せや） to the Police station（警察署へ） Tokyo Wan（東京湾へ） With you（あなたと） コメント 転売ヤーでもうダメだったｗｗｗ -- 名無しさん (2023-02-16 14 12 58) ……maji？のところがマジで天才 -- 名無しさん (2023-03-21 06 55 48) .....maji?がすごい好き -- 名無しさん (2023-04-22 16 27 36) maji?のとこ考えたときの作曲者様にまじでアカデミーネタ曲賞差し上げたい -- ﾃﾝﾊﾞｰｲﾔｰｲﾔｰ (2023-12-07 09 02 04) 名前 コメント
https://w.atwiki.jp/kaeuta-matome/pages/1598.html
元ネタ：グレート・ウォール・オブ・チャイナ（原題The Great Wall of China Billy Joel） 作：ヤジタリウス Hey, hey... A break is peak you can t slake on the sneak What s wrong to break of companions with weak Anyway how about the possible summary Anyway you ll make other hilarity s story It s traits deemed phase too strong to bind out to bate Most ends are not remaining because of happening One rule fits about one thing, other rules have to fit into which Most simple best would leave a part of it affected We couldn t have done all the things for the crack of the earth It must be quite a while you re in it Inane of demands, all of priority business will still put it to right Most things that anyone sense and focus Must put what we used to flout as cons too bizarre You should have taken notice of the hidden back of acedia Hey, hey... Who takes notice of whatever they choose So any chices belong to all of them as a daze Who ever thinks that they ll be puzzled as to phrase You treat me only if you re going to cheat Who must be so surely, who think that you re sure Your heady breath you take has passed along to us It s not been offensive itself, but made you sensitive Do it in the front of parade while getting drive We couldn t have done all the things for the crack of the earth How dare you imply to me very victory Warp yourself, who s abandoned with the dire sisters for fight They coulda been calm, you shoulda getted heartened Barely we would be getting each other You should have taken just notice of the hidden back of acedia Ah, ha, ha, ha... They have urgent willing, just how to be grandiose We make ourselves vain they ve got to impose again These things are that those who have only it just brandish Why clear this crust out, so it s ever been unjust We couldn t have done all the things for the crack of the earth It must be quite a while you re in it Inane of demands, all of priority business will still put it to right Most things that anyone sense and focus Must put what we used to flout as cons too bizarre You should have taken notice of the hidden back of acedia... Ah, ha, ha... Ahh... 検索タグ Billy Joel その他ネタ フルコーラス ヤジタリウス 洋楽 メニュー 作者別リスト 元ネタ別リスト 内容別リスト フレーズ長別リスト
https://w.atwiki.jp/reginn666/pages/119.html
CheckIO Mineの問題和訳 問題ページのうち, 問題の前提となる小話は訳してません. また各問題ページ下部にある「Precondition」は「前提条件」のため訳しません(数値の範囲などだけなので). Skew-symmetric matrix Flatten a list Call to Home Pattern Recognition Cipher map Buildings visibility Painting Wall Palindromic Palindrome Magic Square Mathematically Lucky Tickets Periodic Table Skew-symmetric matrix Discover if a square matrix is skew-symmetric. In mathematics, particularly in linear algebra, a skew-symmetric matrix(also known as an antisymmetric or antimetric) is a square matrix A whose transpose is also its negative. This means it satisfies the equation A = −A^T. If the entry in the i-th row and j-th column is aij, i.e. A = (aij) then the symmetric condition becomes aij = −aji. You should determine whether the specified square matrix is skew-symmetric or not. You can find more details on Skew-symmetric matrices on its Wikipedia page. Input A square matrix as a list of lists with integers. Output If the matrix is skew-symmetric or not as a boolean. How it is used Skew-symmetric matrices can be useful for the cross product, an operation in mathematics used in the calculation of movement of forces. Matrixes are basis for the linear algebra and vector graphics. 訳 数学のとりわけ線形代数において, 歪対称行列(反対称行列とも知られる)とは正方行列Aが自身の転置の-1倍と等しいものを言う. これはA = -A^Tという方程式を意味する. i行目とj列目の要素a_ijは, 条件から, a_ij = -a_jiとなる. あなたは正方行列が歪対称行列かどうかを判定する. 歪対称行列について詳しくはWikipediaを参照のこと. 入力 リストのリストで表現された正方行列, 要素は整数 出力 歪対称行列かどうか, boolean 備考 歪対称行列はクロス積(外積), 力の移動の計算などの操作でよく使われる. 行列は線形代数とベクタグラフィックスの基礎である. Flatten a list Make out Nicola s nested list and tweet how you did it. Nicola likes to categorize all sorts of things. He categorized a series of numbers and as the result of his efforts, a simple sequence of numbers became a deeply-nested list. Sophia and Stephan don t really understand his organization and need to figure out what it all means. They need your help to understand Nikolas crazy list. There is a list which contains integers or other nested lists which may contain yet more lists and integers which then… you get the idea. You should put all of the integer values into one flat list. The order should be as it was in the original list with string representation from left to right. We need to hide this program from Nikola by keeping it small and easy to hide. Because of this, your code should be shorter than 140 characters (with whitespaces). Input data A nested list with integers. Output data The one-dimensional list with integers. How it is used This concept is useful for parsing and analyzing files with complex structures and the task challenges your creativity in writing short code. 訳 ニコラはあらゆる物事を分類するのが好きだ. 彼はいくつかのシリーズを分類した結果, 単純なシーケンスは深くネストしたリストになった. ソフィアとステファンは彼の構成を理解できず, どのような意図があるかもわからなかった. 彼らはニコラのクレイジーなリストを理解するためにあなたの助けを必要としている. 整数または複数のネストしたリストがありあなたはアイデアを得ている. あなたは全ての整数を1つの平たんなリストにしなければならない. 順序は元のリストの左から右にたどったものとする. 私たちはこの問題をニコラから隠す必要がある. このため, あなたのコードは140文字以内(ホワイトスペースを含む)にしなければならない. 入力 ネストしたリスト 出力 1次元のリスト 備考 このコンセプトは複雑な構造のファイルを解析, 分析するのに使われたる. またこのタスクはあなたの創造性に対する挑戦である. Call to Home So-phie phone home. 1Nicola believes that Sophia calls to Home too much and her phone bill is much too expensive. He took the bills for Sophia s calls from the last few days and wants to calculate how much it costs. The bill is represented as an array with information about the calls. Help Nicola to calculate the cost for each of Sophia calls. Each call is represented as a string with date, time and duration of the call in seconds in the follow format "YYYY-MM-DD hh mm ss duration" The date and time in this information are the start of the call. Space-Time Communications Co. has several rules on how to calculate the cost of calls First 100 (one hundred) minutes in one day are priced at 1 coin per minute; After 100 minutes in one day, each minute costs 2 coins per minute; All calls are rounded up to the nearest minute. For example 59 sec ≈ 1 min, 61 sec ≈ 2 min; Calls count on the day when they began. For example if a call was started 2014-01-01 23 59 59, then it counted to 2014-01-01; For example 2014-01-01 01 12 13 181 2014-01-02 20 11 10 600 2014-01-03 01 12 13 6009 2014-01-03 12 13 55 200 First day -- 181s≈4m -- 4 coins; Second day -- 600s=10m -- 10 coins; Third day -- 6009s≈101m + 200s≈4m -- 100 + 5 * 2 = 110 coins; Total -- 124 coins. Input Information about calls as a tuple of strings. Output The total cost as an integer. How it is used This mission will teach you how to parse and analyse various types data. Sometimes you don t need the full data and should single out only important fragments. 訳 ニコラはソフィアが何度も電話してくるため, 彼女の電話代が高額だと確信しています. 彼はここ数日のソフィアの電話代を取り, そのコストを計算したい. 請求書は電話の情報を伴った配列で表現される. ニコラがソフィアの電話代のそれぞれのコストを計算するのを手助けする. それぞれの電話は日, 時間, 通話時間(秒)を含んだ文字列で表現され, 以下のフォーマットに従う. "YYYY-MM-DD hh mm ss 通話時間" 日付と時間は電話の開始時の情報である. スペースタイムコミュニケーションズ会社は通話のコスト計算にいくつかのルールを決めている. 1日のうち最初の100分は1分あたり1コイン それ以降の100分は, 1分あたり2コイン 全ての通話時間は最も近い分に切り上げる. たとえば59秒は1分で, 61秒は2分だ. 通話は開始した日から数える. たとえばもし通話が2014-01-01 23 59 59から始まったなら, それは2014-01-01として数える. たとえば 2014-01-01 01 12 13 181 2014-01-02 20 11 10 600 2014-01-03 01 12 13 6009 2014-01-03 12 13 55 200 初日 181秒≈4分 4コイン 2日目 600秒=10分 10コイン 3日目 6009秒≈101分 + 200秒≈4分 100 + 5 * 2 = 100コイン 合計 124コイン 入力 文字列のタプルとして通話に関する情報. 出力 合計コストを整数で. 備考 このミッションはあなたに様々な種類のデータの解析と分析について教える. 時々あなたは完全なデータを必要とせずに, 情報の重要な一部だけを選び出すだろう. Pattern Recognition Teach the robot’s drones to recognize basic patterns and flag them. To explore new islands and areas Sophia uses automated drones. But she gets tired looking at the monitors all the time. Sophia wants to learn the drones to recognize some basic patterns and mark them for review. The drones have a simple optical monochromatic image capturing system. With it an image can be represented as a binary matrix. You should write a program to search a binary matrix (a pattern) within another binary matrix (an image). The recognition process consists of scanning the image matrix row by row (horizontal scanning) and when a pattern is located on the image, the program must mark this pattern. To mark a located pattern change 1 to 3 and 0 to 2. The result will be the image matrix with the located patterns marked. The patterns in the image matrix are not crossed, because you should immediately mark the pattern. Input Two arguments. A pattern as a list of lists and an image as a list of lists. Output The marked image as a matrix as a list of list. How it is used As we can see in the first paragraph, this task is simple monochromatic pattern recognition. You can take a monochrome image and find various subimages inside such as the alien spaceships in the Galaxy Game ;-) 訳 新しい島を探索するためにソフィアは自動操縦ドローンを使う. しかし彼女は毎時間モニターを見るのに飽きた. ソフィアはレビューのためにドローンに単純な認識とマーク付けをさせることを学びたい. ドローンはモノクロ写真を撮影するシステムを持っている. このとき画像は二進数の行列として表現される. あなたはバイナリ行列(画像)の中から, バイナリ行列(パターン)を検索するプログラムを書く. 認識処理は画像を走査(水平スキャン)によって構成され, パターンが画像の中で見つかると, プログラムはこのパターンをマークする. パターンが一致する箇所のバイナリを0なら2に, 1なら3にすることでマーキングする. 結果はパターンがマーキングされた画像になる. 画像内のパターンは交わらない. 入力 2つの引数. パターンとしてのリストのリスト, 画像としてのリストのリスト. 出力 リストのリストとしてマークされた画像。 備考 最初のパラグラフで見たように, このタスクは単純なモノクロ画像認識である. あなたはモノクロ画像を得, 銀河のゲーム内のエイリアンの宇宙船のように内部の様々なサブイメージを見つけることができる. Cipher map Write a cipher program to encode a secret password. Help Sofia write a decrypter for the passwords that Nikola will encrypt through the cipher map. A cipher grille is a 4×4 square of paper with four windows cut out. Placing the grille on a paper sheet of the same size, the encoder writes down the first four symbols of his password inside the windows (see fig. below). After that, the encoder turns the grille 90 degrees clockwise. The symbols written earlier become hidden under the grille and clean paper appears inside the windows. The encoder then writes down the next four symbols of the password in the windows and turns the grille 90 degrees again. Then, they write down the following four symbols and turns the grille once more. Lastly, they write down the final four symbols of the password. Without the same cipher grille, it is difficult to discern the password from the resulting square comprised of 16 symbols. Thus, the encoder can be confident that no hooligan will easily gain access to the locked door. Write a module that enables the robots to easily recall their passwords through codes when they return home. The cipher grille and the ciphered password are represented as an array (tuple) of strings. Input A cipher grille and a ciphered password as a tuples of strings. Output The password as a string. How it is used Here you can learn how to work with 2D arrays. You also get to learn about the ancient Grille Cipher, a technique of encoding messages which has been used for half a millenium. The earliest known description of the grille cipher comes from the Italian mathematician, Girolamo Cardano in 1550. 訳 ソフィアがパスワードを解読するを手助けをしよう. そのパスワードはニコラが暗号化マップで暗号化したものだ. 暗号化格子は4×4の平方の紙で, 4つの窓が切り取られている. 同じサイズの紙に格子を置くと, エンコーダは窓の中にある彼のパスワードの最初の4つのシンボルを書きとめる(下記図参照). その後, エンコーダの格子を時計回りに90度回転させる. 前のシンボルは格子の下に隠れ, 窓の中には別のシンボルが現れる. エンコーダは窓の中にあるパスワードの次の4つのシンボルを書きとめ, 再び格子を90度回転させる. そして, 更に4つのシンボルを書きとめ, 更に回転させる. 最後に, パスワードの4つのシンボルを書きとめる. 同じ暗号化格子がなければ, 16のシンボルから構成される正方形のパスワードを識別することは困難である. したがって, エンコーダがよそ者がロックされたドアを容易に開けられないことを確信している. ロボットが家に帰ってくるときに簡単なコードを通してパスワードを思い出すのを可能にするためのモジュールを書こう. 暗号化格子と暗号化されたパスワードは文字列の配列(タプル)として表現される. 入力 暗号化格子と暗号化されたパスワードを文字列のタプルとして. 出力 パスワードを文字列で. 備考 ここであなたは2次元配列の操作方法を学ぶことができる. 古代の格子暗号, 500年前に使用された符号化メッセージの技術について学ぶことができる. 最も古く知られる格子暗号の記述はイタリアの数学者で, 1550年のジェロラモ・カルダーノだ. Buildings visibility Determinate how many of the buildings are visible from the area just south of where we set up base. The robots have requested your help setting up a new base on the island. They need you to define the visibility of a building from a specific direction, in this case, south. To help you out, you have been given a map of the buildings in the complex. The map is an orthogonal projection of each of the buildings onto a horizontal plane. It is oriented on a rectangular coordinate system so that the positive x-axis points east and the positive y-axis points north. No two buildings in the map overlap or touch. Each of the buildings have perfectly rectangular sides and are aligned from north to south and from east to west. The map is a list of buildings. Every building is presented as the list with coordinate of south-west corner, coordinate of north-east corner and height - [Xsw, Ysw, Xne, Yne, height]. We need to determinate how many of the buildings are visible from the area just south of the base (excluding the angle of vision, just using projection.) See the illustration below. Input A list of lists with buildings coordinates and heights. The coordinates are integers. The heights are integers or floats. Output The quantity of visible buildings, an integer. How it is used Image recognition systems. 訳 島で新しい基地を作るために, ロボットはあなたの助けを必要としている. ロボットは特定の方向から建物の視界を決めるためにあなたを必要とする. このケースでは南である. あなたを助けるために, あなたに複雑な建物のマップが与えられる. マップはそれぞれの建物の水平面への正投影である(俯瞰図). これは正を東とするx軸と正を北とするy軸の座標からなる. 2つの建物はマップの中で重ならない. それぞれの建物は完全な四角で, 北から南, 東から西に整列している. マップは建物のリストでもある. それぞれの建物は南西角の座標と北東角の座標と高さのリスト, [Xsw, Ysw, Xne, Yne, height]で表さられる. 私たちは基地の南からの視界に映る建物の数を数える必要がある(視野角などは除く, 平面だけを使う). 詳しくは下のイラストの通りだ. 入力 建物の座標と高さを含むリストの律祖. 座標は整数で, 高さは整数か浮動小数点. 出力 視認可能な建物の数, 整数. 備考 画像認識システムだ. Painting Wall How many times do you have to paint a wall? Nicola has built a simple robot for painting of the wall. The wall is marked at each meter and the robot has a list of painting operations. Each operation describes which part of wall it needs to paint as a range from place to place, inclusively. For example the operation [1, 5] means to paint the sections from 1 to 5 meters including sections 1 and 5. Operations are executed in the order they are placed in the list of operations. If the range of various operations are overlapped, then they must be counted once. Stephan has prepared a list of operations, but we need to check it before the robot executes its painting plan. You are given the number of meters on the walls which need painting, (the painted zones can be separated by non painted parts) and the list of operations prepared by Stephan, you should determine the number of operations from this list required to paint the designated length of the wall. If it s impossible to paint that length with the given operations, then return -1. Input Two arguments. The required length of the wall that should be painted, as integer. The second is a list of the operations that contains the range (inclusive) as a list of two integers. Output The minimum number of operations. If you cannot paint enough of the length with the given operations, return -1. Hint To handle the beginning-end of the list, you could try running a binary search. How it is used This skillset is often used in computer simulations. 訳 ニコラは壁を塗るために単純なロボットを組み立てた. 壁はメートルごとに区切られており, ロボットは塗装操作のリストを持っている. それぞれの操作は塗装を必要とする場所から場所への範囲として記述される. たとえば, [1, 5]という操作はセクション1と5を含む1から5mを塗装することを意味する. 操作はリストの順序に実行される. 様々な操作の範囲が重なっているときは, ただ1回だけカウントすべきである. ステファンは操作のリストを用意するが, 私たちはロボットは塗装計画を実行する前に, チェックする必要がある. あなたにはステファンが用意した操作のリストと塗装に必要な壁の長さ(塗装エリアは塗装されない箇所で区切られる)の数が与えられる. あなたは壁の長さが示された, 塗装が必要なリストの操作の数から決定する. 与えられた操作が実行不可能な長さの場合, -1を返す. 入力 2つの引数. 塗装するのに必要な壁の長さと, 2つの整数からなる塗装範囲を含んだ操作のリストのリスト. 出力 操作の最小階数. 不可能な場合は-1. ヒント リストの開始から終わりまでの操作をするために, あなたは二分探索に挑むことができる. 備考 このスキルセットはコンピュータシミュレーションでしばしば使われる. Palindromic Palindrome Can you write a palindromic program with a function that checks for palindromes? Write a palindromic program with a checkio(s) function that checks whether s (a string) is a palindrome. For this task, using "#" is forbidden. You can use other methods for the function s definition (for example a lambda). The test will try to run the function "checkio" from your code. The example of the palindromic code checkio=lambda x x#x x adbmal=oikcehc However, in your code, you can not use "#". Input A text as a string. Output Palindrome or not as a boolean. How it is used This task is a challenge in creativity and is designed to show you the hidden depths of programming languages. 訳 回文sかどうかを判定する回帰性のあるcheckio(s)関数を書こう. このタスクのために, # を使うことは禁じる. あなたは関数の定義のために他のメソッドを使うことができる(たとえばラムダ式など). テストはあなたのコードからcheckio関数を実行しようとする. 回帰性のあるコードの例をあげよう. checkio=lambda x x#x x adbmal=oikcehc ただしあなたのコードでは"#"は使用禁止だ. 入力 文字列としてテキスト 出力 回文かどうか, boolean 備考 このタスクはあなたの創造力への挑戦であり, プログラミング言語の隠された深層をあなたに見せるだろう. Magic Square Use your skills to finish an incomplete magic square. In mathematics a magic square is an arrangement of numbers (integers in our case) in a square grid, where the numbers in each row, each column and the numbers in the forward and backward main diagonals, all sum up to the same number. You have been given an incomplete magic square (with a size from 3 to 5). With your coding skills, you must finish the square. It must be a normal magic square and contain integers from 1 to n^2 without repeating. The square is presented as a list of lists with integers. Zero is used to mark an empty cell. You should return a completed magic square. The task may have multiple solutions. You can read more about the about Magic Squares on Wikipedia. Input A partially filled magic square as a list of lists with integers. Output The completed magic square as a list of lists with integers. How it is used This is a constraint satisfaction problem. It s used not only for solving puzzles, but also for planning and resource allocation in city planning, construction and just about everywhere else. 訳 数学の魔方陣とは, 正方形のグリッドに整数を配置するもので, ここで数字は行, 列, 並びに対角線の和が全て同じ値になるように配置しなければならない. あなたには不完全な3x3～5x5の魔方陣が与えられる. あなたのコーディングスキルを使えば, 魔方陣を完成させられるはずだ. 普通の魔方陣は重複なしに1からn^2までの整数を含む. 魔方陣は整数を含んだリストのリストとして表現される. ゼロは空のセルのマークとして使われる. あなたは完全な魔方陣を返す. このタスクは多重解を持つこともある. 魔方陣について詳しくはWikipediaにて. 入力 不完全な魔方陣, リストのリストとして表現される 出力 完全な魔法陣, リストのリストとして 備考 これは制約付き問題である. パズルを解くときだけでなく, 都市計画のリソース制限計画などでも使われる. Mathematically Lucky Tickets Determine whether a 6-digit number on a ticket is mathematically ‘lucky’ or not. The "Mathematically lucky tickets" concept is similar to the idea of the Russian "Lucky tickets". It refers to the old public transport tickets that had 6-digit numbers printed on them. You are given a ticket number and the combination of its digits can become a mathematical expression by following these rules. 1. The digits of the number can be split into groups of numbers. 2. You cannot change the order of groups or digits. 3. Each group is treated as a one integer number. (1 and 2 would become 12, etc.) 4. Operational signs (+, -, * and /) are placed between the groups. 5. Parenthesis are placed around subexpressions to eliminate any ambiguity in the evaluation order. For example * 238756 - (2 * (38 + ((7 + 5) * 6))) * 000859 - (0 + (00 + (8 + (5 + 9)))) * 561403 - (5 * (6 + (1 + (40 / 3)))) The ticket is considered mathematically lucky if no combination of its digits evaluates to 100. For example * 000000 is obviously lucky, no matter which combination you construct it always evaluates to zero, * 707409 and 561709 are also lucky because they cannot evaluate to 100 * 595347 is not lucky (5 + ((9 * 5) + (3 + 47))) = 100 * 593347 is not lucky (5 + ((9 / (3 / 34)) - 7)) = 100 * 271353 is not lucky (2 - (7 * (((1 / 3) - 5) * 3))) = 100 The combination has to evaluate to 100 exactly to be counted as unlucky. Fractions can occur in intermediate calculations (like in above examples for 593347 and 271353) but the result must be an integer. Task Given a 6-digit number of the ticket, the program should determine whether it is mathematically lucky or not. Input 6 digits as a string. Output Is it mathematically lucky or not as a boolean. How it is used This is a nice game to improve mind-calculation skills. If you have coder or math-geek friends, then you can give them this as a challenge. Who’s code will check digits faster than the others? After solving this task you will have the skills to cheat! ;-) "数学的ラッキーチケット"のコンセプトは, ロシアの"ラッキーチケット"のアイデアと似ている. それは古い公共交通のチケットで, チケットには6桁の数字が印刷されていた. あなたにはチケットの数字と, いくつかのルールに従ったそれぞれの桁を数式が与えられる. 1. 数字の桁は数字のグループとして分離することができる. 2. あなたは数字のグループの順序を変えることはできない. 3. それぞれのグループは1つの数字として扱かわれる(1と2からなるグループは12として扱う). 4. 演算記号(+, -, *, /)はグループの間におかれる. 5. 丸括弧は順序評価のあいまさをなくすために, 部分式の周りに置かれる. たとえば, * 238756 - (2 * (38 + ((7 + 5) * 6))) * 000859 - (0 + (00 + (8 + (5 + 9)))) * 561403 - (5 * (6 + (1 + (40 / 3)))) チケットの数字の桁の計算結果が100にならないものを, 数学的にラッキーとする. たとえば, * 000000 は明らかにラッキーだ, 0はどういう組み合わせでも0だ, * 707409 と 561709 は100になる組み合わせがないのでラッキーだ * 595347 はラッキーではない (5 + ((9 * 5) + (3 + 47))) = 100 * 593347 はラッキーではない (5 + ((9 / (3 / 34)) - 7)) = 100 * 271353 はラッキーではない (2 - (7 * (((1 / 3) - 5) * 3))) = 100 100と評価された組み合わせは確実にアンラッキーとしてカウントされる. 分数は計算の途中に発生する(593347や271353など)が, 結果は整数となる. タスク チケットの6桁の数字が与えられる, その数字が数学的ラッキーかどうかを判定するプログラムを作成せよ. 入力 6桁の数字を文字列として 出力 数学的ラッキーかどうかをbooleanで 備考 これは計算スキルと改良するよいゲームである. あなたにコーダーか, 数学オタクの友達がいるなら, 彼らに挑戦としてこの問題を教えよう. 誰よりも早くチェックできるコードを書くのは誰か? このタスクを解いたあとならあなたにはチートのためのスキルがある! ;-) Periodic Table Hacking the Periodic Table of Elements, because ‘why not’?
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MonkyMajik change 日本語訳 yahoo知恵袋より転載です。 URL http //detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1243830752 日本語訳： You had your wishes but you threw them away It made you happy yeah for more than one day But now you re lost and cannot figure a way To get out of this lie that comforts you And you know that I would lie to comfort you 君には夢があったのに、みんな投げ捨ててしまったんだ 少なくとも1日位は、ホッとした気分でいられたけど 今じゃ何をしたらいいかわからず、やっと捨てられたっていう 心地のよい嘘から、抜け出すこともできなくて そして僕も同じ嘘をつくって、きっと思っているんだろう Renew your wishes get on out of this fray You ll never change if you keep running away A little time, you need to figure a way Cause you know it doesn t lie in front of you And you know it doesn t lie in front of you もう一度夢を取り戻せ、こんなメチャクチャから抜け出そう 走り続けてさえいれば、自分を見失うことはない ほんのちょっと立ち止まって、未来を形づくるんだ だって前へと広がっている、未来は嘘をつかないから 未来は嘘をつかないって、君はきちんと気づいているから （※） I need a change Cause it s all gone wrong for me Somebody else to lead me now I need a change Cause it s all gone wrong for me Somebody else to lead me now (I want) Somebody else to lead me now (I said) Somebody else to lead me now 変化が僕には必要だ なんにも巧くいかなかったし 導いてくれる人が必要なんだ 変化が僕には必要だ なんにも巧くいかなかったし 導いてくれる人が必要なんだ （誰か）導いてくれる人が必要なんだ （つまりは）導いてくれる人が必要なんだ Brothers on the top pressing all the melodies Never can stop cause it s a necessity You like the way the northern brothers They make ya dance I think we re changing the sound of sweet romance Time to party １２本の腕 Everybody wants to get started Takatantan!!! Sweet sound of the shamisen Tsugaru style if you know where they re coming from Wouldn t it be nice if the whole world got along Even on a small scale change is possible We keep saying these things Don t even know what they mean As if we had never seen The other end of the street Start travelling, communicating, educating Sing them your song You d be surprised how many people wanna hear what you re saying Apples are red, But taste the same as green WOOO!! 頂点に立つ兄弟たちは、あらゆる種類の音色を奏でる 決してとどまることを知らずに、それは必然と言えるから 北の兄弟たちのやり方が、きっと気に入ってくれるはず 彼らが作り出すのは、そう、ダンス 甘ったるいラブソングの、音色を変えようとしているんだ この僕らの「12本の腕」が、集まるのは今この時 タカタンタン!!!と三味線の、粋な音色が響きわたる これが津軽のやり方、ルーツを知ればわかるはず 世界の流れを止めなくたって 小さな変化は起こせるはず 僕らは伝え続けよう 行ってみたことのない道の向こうの 事は、なんにも分からないように 知らない人とは分かりあえない だから、旅立とう、話してみよう、学んでみよう 君の歌を歌って聞かせよう ビックリするほどたくさんの人が、君の歌を聞きたがるんだ リンゴは見た目は赤いけど 味は緑の森を思わせるんだよ!! （※）繰り返し I need a change Cause it s all gone wrong for me (I want) Somebody else to lead me now I need a change Cause it s all gone wrong for me (I want) Somebody else to lead me now I need a change Cause it s all gone wrong for me (I want) Somebody else to lead me now (I want) Somebody else to lead me now (I said) Somebody else to lead me now 変化が僕には必要だ なんにも巧くいかなかったし （誰か）導いてくれる人が必要なんだ 変化が僕には必要だ なんにも巧くいかなかったし （誰か）導いてくれる人が必要なんだ 変化が僕には必要だ なんにも巧くいかなかったし （誰か）導いてくれる人が必要なんだ （誰か）導いてくれる人が必要なんだ （つまりは）導いてくれる人が必要なんだ
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CHILDREN OF BODOM - ARE YOU DEAD YET? 前へ前へと進むことしか許されないブルータルメタルバンド、5枚目のアルバム。 前作で見せたストレートでブルータルなメタルサウンドをさらに成熟させた前作の正統進化盤。 先行EP「TRASHEDLOST＆STRUNGOUT」からも判る通り、ヘヴィネス強調系ブルータルメタルサウンドである。楽曲にはサビが最近のIN FLAMES風なものが多い。よって推し進めてモダンな気配が強くなったものの、サウンド一発で判る彼らの個性はそのままだ。 キーボードの不穏な音色による危険な空気感の中、重々しいヘヴィネスを叩き付け、そしてアレキシの闇夜を切り裂くかのような凄まじいシャウトヴォーカルが圧し掛かって来るミドルテンポのヘヴィナンバー①。1曲目にしてはやや意外な感じのモダンメタルだが、このアルバムの掴みとしてはばっちりの曲である。今やお決まりとなっているアレキシとヤンネによる超高速なギター＆キーボードソロも決まりまくっている曲だ。 SLAYERのようなスラｯシーなブルータリティを持つイントロから一転し、ミディアムで哀感溢れるメロディを叩き付けまくる②はタイトルトラックとしてかなりの出来だ。特にサビ部分は最高である。 過去最高とも言えそうな攻撃性の③は獰猛なリフと獰猛なシャウトによる凄まじい疾走曲だ。そんな中にも彼らの名曲HateMeのようなメロディアスなフレーズもちらつく。とてつもないアグレッションを放ちながらも彼ら特有のメロディ個性は失うことは無い。 ④はEverytime I DieやAngels Don t Killに通じる泣きのスローナンバー。例の通り、COBのやる哀愁スローナンバーはどれも最高の出来である。④はEverytime I DieやAngels Don t Killを超えるかのような哀しいメロディで我々の涙を誘う。 ありそうでなかったスラッシーな疾走感の⑤は先行シングルに選ばれただけあってかなり優れた曲だ。ゴリゴリの硬質リフにミステリアスなキーボードサウンドが絡んでくる。まさしく今のCOBを象徴するサウンドだ。ヴィデオクリップにもなっている。この曲のサビもまた良い。 3rd頃や初期のCOBを思い出させるようなメロディアスなキーボードサウンドで始まる⑥はキャッチーなミディアムテンポナンバー。メロディアス。 Needled24/7とTrashedLost＆Strungoutをこねくり回してHateMeのイントロでサビを最近のIN FLAMESで味付けしたかのような⑦。以前の曲の焼き回し？と言ってしまえばちょっとアレだが、アルバムの中でもかなり良いメロディアスナンバーだ。 ⑧は説明不要のTrashedLost＆Strungoutだ。先行EPになった曲である。 本編ラストを飾る⑨は⑦、⑧タイプの曲。あまり存在感が無い曲だということは否めない。 日本盤ボーナストラックとして２つのカヴァー曲が入っている。なんとあの有名ポップシンガー「ブリトニー・スピアーズ」のカヴァー（！！！）、そして80年代メタルフリークな彼等が選んだLAメタルバンド「POISON」だ。 ブリトニーのカヴァーに関しては結構な話題を呼んだことであろう（笑） 一体どんなネタ曲（失礼）になるのやら…と思い聴いてみや… あ、意外に・・・・・ なんともダーティなヘヴィチューンと化している。 ある意味お見事か・・・。 おかげで⑪のPOISONのカヴァーの影が薄れてしまったぞ！もちろんお見事な出来だが。 アルバム全体的に見ると、良曲は揃っていてかなりの出来だが、やはり今までに比べるとさっぱりしない感がある。前作の正統進化作品でメタル元々の豪快性、ワイルドさは期待できる作品である。一番「ワイルドチャイルド」なメタルバンドに忠実に向かっていることが認識できる非常に豪快でメタリックなアルバムだ。もちろん初期のようなキラキラでネオクラシカルな要素を期待して聴くような作品ではない。彼らにもはや煌びやかで美麗なネオクラシカル要素は必要無いのだ。 Living Dead Beat Are You Dead Yet? If You Want Peace... Prepare for War Punch Me I Bleed In Your Face Next in Line Bastards of Bodom Trashed Lost Strungout We re Not Gonna Fall Oops I Did It Again(Britney Spears cover)[Bonus] Talk Dirty To Me(POISON cover)[Bonus]
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Supervised Tracking 手動トラッキング カメラの３Ｄの位置とシーンの要素のために解析するためには、ショットの一部もしくは全部を通してトラッキングされるトラッカーの集まりが必要になります。 ショット内に、7または8個のトラッカーがあれば十分です（少なくとも6）、しかし、複雑なショットは、ブロックされていたり、フレームでおかしな移動しているトラッカーで、もっと多く必要になることがあります。 自動トラッキングが満足なトラッカーをもたらすことができないならば、直接トラッカーを加える必要があります。 または、自動的に生成されたトラッカーを改善するために、このテクニックを使うことができます。 特定の手動トラッカーは、特にオブジェクトを挿入するための、または、要望通り座標系を一列に並べるためのリファレンスとして役に立ちます。 WARNING 手動トラッキングは体がつかれるので休憩をとりながら実施して下さい。Click-on/Click-offモードを参照してください. To begin supervised tracking, select theTracker control panel. Turn on the Create button. Tip You can create a tracker at any time by holding down the ‘C’ key and left-clicking in the camera view. Or, right-click in the camera view and select the Create Trackers item. In either case you will be switched to the Tracker control panel. Rewind to the beginning of the shot. Locate a feature to track a corner or small spot in the image that you could reach in and put your finger on.Do not select a reflective highlight that moves depending on camera location. Left-click on the center of your feature, and while the button is down, position the tracker accurately using the view window on the command panel. The gain and brightness spinners located next to the mini-tracker-view can make shadowed or blown-out features more visible. Adjust the tracker size and aspect ratio to enclose the feature, and a little of the region around it, using either the spinner or inner handle. Adjust the Search size spinner or outer handle based on how uncertainly the tracker moves each frame. This is a matter of experience. A smooth shot permits a small search size even if the tracker accelerates to a higher rate. Create any number of trackers before tracking them through the shot. It is easier to do either one or 3-6 at a time. To track them through the shot, hit the Play or frame forward button or use the mouse scroll wheel inside the mini-tracker-view (scrubbing the time bar does not cause tracking). Watch the trackers as you move through the shot. If any get off track, back up a frame or two, and drag them in the image back to the right location. The Play button will stop automatically if a tracker misbehaves, already selected for easy correction. Prediction Modes and Hand-Held Shots SynthEyes predicts where the feature will appear in each new frame. It has different ways to do this, depending on your shot. By default, in theSteady cameramode, it assumes that the shot is smooth, from a steadi-cam, dolly, or crane, and uses the previous history over a number of frames to predict its next position. If you have a hand-held shot, selectHand-Held Use otherson the Track menu. In this mode, SynthEyes uses other, already-tracked, trackers to predict the location of new ones. Start by tracking a few easy-to-track features that are distributed around the image. You will usually need a large search area, and to re-key fairly frequently if the shot is very choppy. But as you add trackers, you can greatly reduce the search size and will need to set new keys only occasionally as the pattern changes. Using the predict mode, you’ll sometimes find that a tracker is suddenly way out of position, that it isn’t looking in the right place. If you check your other trackers, you’ll find that one of your previously-tracked trackers is off course on either this or the previous frame. You should unlock that tracker, repair it, relock it, and you’ll see that the tracker you were originally working on is now in the correct place (you may need to back up a frame and then track onto this frame again). If your shot and the individual trackers are very rough, especially as you are tracking the first few trackers, you may find that the trackers aren’t too predictable, and you can set the mode toHand-Held Sticky, in which case SynthEyes simply looks for the feature at its previous location (requiring a comparatively large search region). For some special situations, theRe-track at existingmode uses the previously-tracked location, and looks again nearby (perhaps after a change in some tracker settings). The search size can be kept small, and the tracker will not make any large jumps to an incorrect location, if the track is basically correct to begin with. SynthEyes uses this mode during fine-tuning. Note on any frames that were not previously tracked, Hand-Held Sticky mode will be used. Adjusting While Tracking If a tracker goes off course, you can fix it several ways by dragging it in the camera view, by holding down the Z key and clicking and dragging in the camera view, by dragging in the small tracker interior view, or by using the arrow keys on the number pad. (Memo to lefties use the apostrophe/double-quote key ‘/” instead of Z.) You can keep an eye on a tracker or a few trackers by turning on thePan to Followitem on the Track menu (keyboard 5 key), and zooming in a bit on the tracker, so you can see the surrounding context. When Pan To Follow is turned on, dragging the tracker drags the image instead, so that the tracker remains centered. Or, the number-pad-5 key centers the selected tracker whenever you click it. Staying on Track and Smooth Keying Help keep the trackers on course with theKey Everyspinner, which places a tracker key each time the specified number of frames elapses, adapting to changes in the pattern being tracked. If the feature is changing significantly, you may want to tweak the key location each time the key is added automatically. Turn on theStop on auto-keyitem on the Track menu to make this easier. When you reposition a tracker, you create a slight “glitch” in its path that can wind up causing a corresponding glitch in the camera path. To smooth the glitches away, set theKey Smoothspinner to 3, say, to smooth it over the preceding 3 frames. When you set a key, the preceding (3 etc) frames need to be re-tracked. If you turn onPre-Roll by Key Smoothon the Track menu, SynthEyes will automatically back up and retrack the appropriate frames when you resume tracking (hit Play) after setting a key. The combination ofStop on auto-keyandPre-roll by Key Smoothmakes for an efficient workflow. You can leave the mouse camped in the tracker view window for rapid position tweaks, and use the space bar to restart tracking to the next automatic key frame. See the web-site for a Flash movie example. Warning if SynthEyes is adding a key every 12 frames, and you want to delete one of those keys because it is bad, it may appear very difficult. Each time you delete it (by right-clicking in the tracker view, Now button, or position spinners), a new key will immediately be created. You could just fix it. Or, you should back up a few frames, create a key where the tracker went off-course, then go forward to delete or fix the bad key. Suspending or Finishing a Track If an actor or other object permanently obscures a tracker, turn off its enable button, disabling it for the rest of the shot, or until you re-enable it. Trackers will turn off automatically at the edge of the image; turn them back on if the image feature re-appears. (If the shot has a non-image border, use the region-of-interest on the Image Preprocessing panel so that trackers will turn off at the right location.) You can also track backwards go to the end of the shot, reverse the playback direction, and play or single-step backwards. You can change the tracking direction of a tracker at any time. For example, you might create a tracker at frame 40 and track it to 100. Later, you determine that you need additional frames before 40. Change the direction arrow on the tracker panel (not the main playback direction, which will change to match). Note that you introduce some stored inconsistency when you do this. After you have switched the example tracker to backwards, the stored track from frames 40-100 uses lower-numbered reference frames, but backwards trackers use higher-numbered reference frames. If you retrack the entire tracker, the tracking data in frames 40-100 will change, and the tracker could even become lost in spots. If you retrack in the new direction, you should continue to monitor the track as it is updated. If you have regularly-spaced keyframes, little trouble should be encountered. When you are finished with one or more trackers, select them, then click theLockbutton. This locks them in place so that they won’t be re-tracked while you track additional trackers. Combining Trackers You might discover that you have two or more trackers tracking the same feature in different parts of the shot, or that are extremely close together, that you would like to consolidate into a single tracker. Select both trackers, using a lasso-select or by shift-selecting them in the camera view or graph editor. Then select theTrack/Combine trackersmenu item, or the Shift-7 (ampersand ). All selected trackers will be combined, preserving associated constraint information. If several of the trackers being combined are valid on the same frame, their 2-D positions are averaged. Any data flagged as suspect is ignored, unless it is the only data available. Similarly, the solved 3-D positions are averaged. There is a small amount of intelligence to maintain the name and configuration of the most-developed tracker. Note the camera view s lasso-select will select only trackers enabled on the current frame, not the 3-D point of a tracker that is disabled on the present frame. This is by design for the usual case when editing trackers. Control-lasso to lasso both the 2-D trackers and the 3-D points, or shift-click to select 3-D points. Filtering and Filling Gaps in a Track To produce even smoother final tracks, instead of Locking the trackers, click theFinalizebutton. This brings up theFinalizedialog, which filters the tracker path, fills small missing gaps, and Locks the tracker(s). Though filtering can create smoother tracks, it is best used when the camera path is smooth, for example, from a dolly or crane. If the camera was hand-held, smoothing the tracker pathscausessliding, because the trackers will be smoother than the camera! If you have already begun solving and have a solved 3-D position for a tracker, you can also fill small gaps or correct obvious tracking glitches by using the Exact button on the tracker panel, which sets a key at the location of the tracker s 3-D position (keyboard X key,notshifted). You should do this with some caution, since, if the tracking was bad, then the 3-D tracker position and camera position are also somewhat wrong. Pan To Follow While tracking, it can be convenient to engage the automatic Pan To Follow mode on the Track menu, which centers the selected tracker(s) in the camera view, so you can zoom in to see some local context, without having to constantly adjust the viewport positioning. When pan to follow is turned on, when you start to drag a tracker, the image will be moved instead, so that the tracker can remain centered. This may be surprising to begin with. Once you complete a tracker, you can scrub through the shot and see the tracker crisply centered as the surroundings move around a bit. This is the best way to review the stability of a track. Skip-Frame Track If a few frames are untrackable due to a rapid camera motion, explosion, strobe, or actor blocking the camera, you can engage the Skip Frame checkbox on the feature panel to cause the frame to be skipped. You should only skip a few frames in a row, and not that many over all. The Skip Frames track will not affect supervised tracking, but it affects solving, causing all trackers to be ignored. After solving, the camera will have a spline-interpolated motion on the resulting unsolved frames. If you have a mixture of supervised and automatic tracking, see the section on theSkip-Frame track in Automated Trackingas changing the track after automated tracking can have adverse effects.
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http //www.haaretz.com/hasen/spages/1072230.html IDF killed civilians in Gaza under loose rules of engagement By Amos Harel During Operation Cast Lead, Israeli forces killed Palestinian civilians under permissive rules of engagement and intentionally destroyed their property, say soldiers who fought in the offensive. The soldiers are graduates of the Yitzhak Rabin pre-military preparatory course at Oranim Academic College in Tivon. Some of their statements made on Feb. 13 will appear today and tomorrow in Haaretz. Dozens of graduates of the course who took part in the discussion fought in the Gaza operation. Advertisement The speakers included combat pilots and infantry soldiers. Their testimony runs counter to the Israel Defense Forces claims that Israeli troops observed a high level of moral behavior during the operation. The session s transcript was published this week in the newsletter for the course s graduates. The testimonies include a description by an infantry squad leader of an incident where an IDF sharpshooter mistakenly shot a Palestinian mother and her two children. "There was a house with a family inside .... We put them in a room. Later we left the house and another platoon entered it, and a few days after that there was an order to release the family. They had set up positions upstairs. There was a sniper position on the roof," the soldier said. "The platoon commander let the family go and told them to go to the right. One mother and her two children didn t understand and went to the left, but they forgot to tell the sharpshooter on the roof they had let them go and it was okay, and he should hold his fire and he ... he did what he was supposed to, like he was following his orders." According to the squad leader "The sharpshooter saw a woman and children approaching him, closer than the lines he was told no one should pass. He shot them straight away. In any case, what happened is that in the end he killed them. "I don t think he felt too bad about it, because after all, as far as he was concerned, he did his job according to the orders he was given. And the atmosphere in general, from what I understood from most of my men who I talked to ... I don t know how to describe it .... The lives of Palestinians, let s say, is something very, very less important than the lives of our soldiers. So as far as they are concerned they can justify it that way," he said. Another squad leader from the same brigade told of an incident where the company commander ordered that an elderly Palestinian woman be shot and killed; she was walking on a road about 100 meters from a house the company had commandeered. The squad leader said he argued with his commander over the permissive rules of engagement that allowed the clearing out of houses by shooting without warning the residents beforehand. After the orders were changed, the squad leader s soldiers complained that "we should kill everyone there [in the center of Gaza]. Everyone there is a terrorist." The squad leader said "You do not get the impression from the officers that there is any logic to it, but they won t say anything. To write death to the Arabs on the walls, to take family pictures and spit on them, just because you can. I think this is the main thing To understand how much the IDF has fallen in the realm of ethics, really. It s what I ll remember the most." The head of the pe-military course, Danny Zamir, told Haaretz yesterday that he did not know in advance what the soldiers would say at the gathering, and what they said "shocked us." He said that after hearing the soldiers, he told IDF Chief of Staff Gabi Ashkenazi about his fears of a serious moral failure in the IDF. The chief of staff s bureau requested a copy of the transcript of the discussion, and Zamir provided it. This week Zamir met with the IDF s chief education officer, Brig. Gen. Eli Shermeister, to discuss the matter. Zamir said he believed the army would take the matter seriously. "They do not intend to avoid responsibility," he said. The IDF Spokesman s Office said "As a result of the request of the head of the Rabin pre-military course, Mr. Danny Zamir, to the chief of staff s bureau, a meeting was held between Zamir and the chief education officer, Brig. Gen. Eli Shermeister. The chief education officer described to the head of the preparatory course the processes of the operational and ethical inquiries being conducted by the IDF and the chief education officer s staff at all levels." The chief education officer also described "the actions taken before during and after the operation to inculcate the soldiers and commanders with the moral aspects of the fighting." The spokesman said that "Brig. Gen. Shermeister also made it clear that the IDF is now conducting intensive and comprehensive inquiries, and that commanders are encouraging discussion of these matters. The IDF has no supporting or prior information about these events. The IDF will check their veracity and investigate as required. The head of the preparatory course was also asked to pass on to the IDF any information he has so we can deal with it and investigate it in depth." イスラエル紙ハアレツの Week end 特集