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Attacker s Result.攻撃者の結果 Critical.決定的成功 Success.成功 Fail.失敗 Fumble.ファンブル Defender s Result.防御者の結果 Critical.決定的成功 Attack succeeds but causes minimum damage..攻撃は成功しますがダメージは最小になります。 Attack fails..攻撃は失敗します。 Attack fails. Attacker is Overextended..攻撃は失敗します。攻撃者はのめり込んだ状態になります。 Attack fails. Attacker is Overextended. Attacker must roll on the appropriate Fumble Table..攻撃は失敗します。攻撃者はのめり込んだ状態になります。攻撃者は適切なファンブル表でロールしなくてはなりません。 Success.成功 Attack succeeds..攻撃は成功です。 Attack succeeds but causes minimum damage..攻撃は成功しますが、ダメージは最小になります。 Attack fails..攻撃は失敗です。 Attack fails. Attacker must roll on the appropriate Fumble Table..攻撃は失敗です。 攻撃者は適切なファンブル表でロールしなくてはなりません。 Fail.失敗 Attack succeeds and causes maximum damage. Defender forced to Give Ground..攻撃は成功し、ダメージは最大になります。防御者は後退を強制されます。 Attack succeeds. Defender forced to Give Ground..攻撃は成功します。攻撃が成功します。 防御者は後退を強制されます。 Attack fails. Defender forced to Give Ground.攻撃は失敗します。防御者は後退を強制されます。 Attack fails. Attacker must roll on the appropriate Fumble Table..攻撃は失敗します。 攻撃者は適切なファンブル表をロールしなくてはなりません。 Fumble.ファンブル Attack succeeds and causes maximum damage. Defender must roll on the appropriate Fumble table..攻撃は成功し、ダメージは最大になります。防御者は適切なファンブル表でロールしなくてはなりません。 Attack succeeds and causes maximum damage. Defender must roll on the appropriate Fumble Table..攻撃は成功し、ダメージは最大になります。防御者は適切なファンブル表でロールしなくてはなりません。 Attack fails. Defender must roll on the appropriate Fumble Table..攻撃は失敗です。防御者は適切なファンブル表でロールしなくてはなりません。 Attack fails. Both sides roll on the appropriate Fumble Table..攻撃は失敗です。双方適切なファンブル表でロールしなくてはなりません。
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自動連番付与プラグイン(table_autoincrement)リリースのお知らせ #table_autoincrement() と、記述することで、表の一番左の行に自動連番を付与する機能をつけることができます。 利用するには、table記述の直後にtable_autoincrementプラグインを設置してください。 ※なお、この機能はatwiki構文のみの対応となります。 例) |~column1|~column2|~column3|~column4|~column5|h |aaa|bbb|mmm|ddd|eee| |fff|ggg|hhh|iii|jjj| |kkk|lll|ccc|nnn|ooo| |ppp|qqq|rrr|sss|ttt| |aaa|www|ddd|ccc|fff| #table_autoincrement(){} column1 column2 column3 column4 column5 aaa bbb mmm ddd eee fff ggg hhh iii jjj kkk lll ccc nnn ooo ppp qqq rrr sss ttt aaa www ddd ccc fff なお、指定できるパラメータは以下となります。 パラメータ名＝値という形で指定できます。複数指定する際は、「,」で区切って記述してください。 パラメータ 説明 label 連番の列にラベルを付けたい場合に指定します。例）ID、番号など skip 上から何行分連番をスキップするかを指定します。例）3行目から連番を振りたい場合は2など start どの番号から連番を開始したいかを指定できます。例）0、100など inc 1行毎に増加する量を指定できます。例）10、100など 例） #table_autoincrement(){label=ID} #table_autoincrement(){label=ID,skip=2} #table_autoincrement(){start=100,inc=10} また、その他、ご要望等お気づきの点ございましたらお気軽にお問い合わせください。 これからもどうぞよろしくお願い致します。
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Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.
https://w.atwiki.jp/jpops/pages/15255.html
4D VIABLEをお気に入りに追加 4D VIABLEのリンク #bf Amazon.co.jp ウィジェット 4D VIABLEの報道 gnewプラグインエラー「4D VIABLE」は見つからないか、接続エラーです。 4D VIABLEとは 4D VIABLEの70%は保存料で出来ています。4D VIABLEの25%は怨念で出来ています。4D VIABLEの3%は睡眠薬で出来ています。4D VIABLEの2%は野望で出来ています。 4D VIABLE＠ウィキペディア 4D VIABLE Amazon.co.jp ウィジェット 掲示板 名前（ＨＮ） カキコミ すべてのコメントを見る ページ先頭へ 4D VIABLE このページについて このページは4D VIABLEのインターネット上の情報を集めたリンク集のようなものです。ブックマークしておけば、日々更新される4D VIABLEに関連する最新情報にアクセスすることができます。 情報収集はプログラムで行っているため、名前が同じであるが異なるカテゴリーの情報が掲載される場合があります。ご了承ください。 リンク先の内容を保証するものではありません。ご自身の責任でクリックしてください。
https://w.atwiki.jp/timeout/pages/20.html
学年別 M2 B4 B3 B2 B1 マネージャー ４期生(OB) メンバー表(背番号順) 背番号 名前 学年 歴代(OB) ０ おすぎ M２ ００ ゆーぞー Ｂ３ ０５ ちーさん Ｂ２ ０７ みなみ Ｂ３ １ アパーティ ２ なかねゆーた Ｂ２ ３ 石プー ４ おばた Ｂ４ ５ あみーご Ｂ３ ８ 大門 Ｂ３ ９ かっち Ｂ４ １０ はっしー Ｂ２ １１ こーめー Ｂ３ １２ やだお Ｂ２ １３ カズオ M２ １６ ひろふみ Ｂ４ １７ もも Ｂ２ １８ うっちー Ｂ３ ２１ 今井 Ｂ３ ２２ 大田 Ｂ４ ２３ やま Ｂ３ ２４ バンビ Ｂ３ ２７ 拓さん Ｂ３ ３３ Ｊ Ｂ２ ３５ かー Ｂ２ ４６ 矢田 Ｂ３ ５７ のぐち M２ ５８ チャン Ｂ１ ６９ オッカム ＯＢ? ７１ ギブ Ｂ４ ８８ ボブ Ｂ４ あいづ Ｂ２ 阪本 Ｂ１ テツ Ｂ１ 高橋 Ｂ１
https://w.atwiki.jp/m_shige1979/pages/1267.html
tablesort 概要 表を項目別にソートできる表を作成 ダウンロード http //neil.fraser.name/software/tablesort/ デモ サンプル
https://w.atwiki.jp/edf2pcwc/pages/18.html
黒蟻（噛み付き) object\giantant1_5.vob 赤蟻 object\giantant2.vob 金蟻 object\giantant_psp1.vob 紅蟻 object\giantant2_psp1.vob 羽蟻 object\giantantfly.vob 女王蟻 object\giantantqueen.vob 蜘蛛 object\Giantspider.Vob 蜘蛛（夜仕様） object\Giantspider_Night.Vob 鎧蜘蛛 object\GiantSpider_psp1.vob 鎧蜘蛛(夜仕様) object\GiantSpider_Night_psp1.vob 大蜘蛛 object\Giantspiderlord.vob UFO（夜仕様） object\Ufo-Small_Night.Vob キャリアー object\ufo-middle.vob 精鋭 object\ufo-small2.vob 鏡面 object\ufo-mirror.vob 近衛兵 object\ufo-small3.Vob 空爆 object\ufo-small3-2.Vob 超爆 object\ufo-bomber.vob ダロガ object\ufo-tank.vob ディロイ object\ufo-tank2.vob 鉄球 object\dumplingmech.vob 重装鉄球 object\dumplingmech2.vob ムカデ object\centipede.Vob ムカデ（夜仕様） object\centipede_Night.Vob ミニソラス object\dinosaurMini.vob ソラス object\dinosaur.vob メカソラス object\dinosaurMech.Vob キングソラス object\dinosaurbig.vob 蟻塚 object\giantanthill.Vob インセクトヒル object\giantanthill2.Vob 卵 object\giantantegg.vob 金卵 object\giantantegg_psp1.vob 隕石 object\ufo-tank2_drop.vob 母船全パーツ object\ufo-mothership.vob 浮遊都市全パーツ object\ufo-mothership2.Vob 市民男1 Object\PeopleM01.vob 市民男3 Object\PeopleM03.vob 市民男4 Object\PeopleM04.vob 市民女 Object\PeopleF01.vob バイク object\bike.vob 戦車 object\tank.vob 上へ
https://w.atwiki.jp/voc2vip/pages/48.html
※ 以下の内容は古くなっています 著作権問題 案件 担当者 議題 現状 課題点・補足 進行スレ 波音リツキャラクター NRP - 著作権保有者：NRP（団体保有） 解決済 議論スレ 釣り用イラスト線画 NRP ZENIGAME氏？NRP団体？ 不明 誰がどの範囲の権利を持つか明確化をする。 本スレ・議論スレ 釣り用イラスト塗り NRP - 本人の希望によりNRPに委譲 解決 本スレ・議論スレ コスチュームデザイン NRP 描いた人が行方不明。画像のExif情報にて本人確認はある程度可能。 著作権は一時的にNRP団体保有。仮決定であり要検討。 この人どこいったんだろうhttp //www40.atwiki.jp/voc2vip/?plugin=ref serial=51 本スレ・議論スレ 新公式イラスト NRP 塗り・線画ともに著作者を統一したい 著作権保有者：ZENIGAME 仮決定http //www.geocities.jp/vippaloid/new_official.html 本スレ・議論スレ 「りっつりつにしてあげる♪」 - - 著作権保有者・歌詞：不明 ・楽曲：ika氏 ・（楽曲管理：JASRAC） みくみくにしてあげる（してやんよ）替え歌 - 「Vermillion★Girl～炎髪の歌姫～」 - - 著作権保有者・歌詞：不明 ・楽曲：ika氏 ・（楽曲管理：JASRAC） みくみくにしてあげる（してやんよ）替え歌 - 「カノンロック」 - - 著作権保有者・歌詞： １・楽曲： HIM Inc. （作曲者 JerryC 氏のエージェント） - - 「想いよ届け～Whisper voice～」 - - 著作権保有者・歌詞・楽曲：３曲目 - - 「E.F.B～恒久の氷結～」 - - 著作権保有者・歌詞：不明・楽曲：4曲目（○ンドリストP） カラオケにリクエストしたいとの声あり。ただし著作権等の問題が解決しておらず、現状リクエストはできない。（しても通らない） - 「E.F.B～恒久の氷結～」フルバージョン - - 著作権保有者・歌詞：不明・楽曲：4曲目（○ンドリストP） カラオケにリクエストしたいとの声あり。ただし著作権等の問題が解決しておらず、現状リクエストはできない。（しても通らない） - - - - - - - 利用規約 案件 担当者 議題 現状 課題点・補足 進行スレ パーティーキャッスルについて NRP パーティーキャッスルへの投稿を禁止するかどうか 議論スレにて協議中。規約からPTCに関する記述を削除する方向で纏まりつつあり。11月22日正午までに異論が出なければFAQから項目削除予定。 何か問題が起きた場合の対応は？ 議論スレ - - - - - - - - - - - - web関連 案件 担当者 議題 現状 課題点・補足 進行スレ りつろだ wiki管 １、転載を阻止するには？２、容量制限がある３、週末重い レンタルロダの為アクセス解析が設置不可能であり、閲覧者のアクセスキックは無理。鯖機を設置すれば問題回避は可能だが鯖PCが落ちたときの対処が遅れる可能性。公式サイトと同サーバーにアップローダーを設置する案あり Wiki管理人の作業負担が多い 関連総合/総合議論 公式サイトデザイン ドメイン いつまで某企業の真似した形にしておくか？ デザインドラフトhttp //www.cryptom.info/images/draft2.jpg http //www.cryptom.info/images/draft3.jpg http //cryptom.info/images/draft4.jpg http //cryptom.info/images/draft5.jpg 期日とリニューアル内容が不明確 総合議論 「波音リツ」ロゴ 釣html 公式サイトリニューアルにあたり新ロゴが必要（仮置きの予定） デザインラフ完成http //loda.jp/voc2vip/?id=168 意見・要望募集中 あくまでサイトリニューアルの為の仮ロゴであり、いずれ公募することも考案中 議論スレ・本スレ WaveSoundロゴ ドメイン・釣html サイトリニューアルに伴い変更する？しない？ 未着手 公式サイト内のみで使われるもののため、協議はあまり必要ないが、仕様用途・フォントに問題があるため変更する必要がある。 議論スレ NRPロゴ NRP 現在NRPのロゴが無い 未着手 公募はしない方向。波音リツのロゴが決定してからそれにあわせたデザインにすると良いかも？ 議論スレ - - - - - - UTAU 案件 担当者 議題 現状 課題点・補足 進行スレ 単独音 ver.1.0 UTAU班 - 製作完了、2009年10月17日配布開始http //www.nicovideo.jp/watch/sm8541405 斧ダウンロード期限：2014/02/21（金） 音源スレ 連続音源 ver.1.0 UTAU班 - 製作完了、2009年11月2日配布開始http //www.nicovideo.jp/watch/sm8683940 斧ダウンロード期限：2010/07/3 （土） 音源スレ 単独音 ver1.5 UTAU班 - 製作完了、2009年11月18日配布開始http //www.nicovideo.jp/watch/sm8846116 斧ダウンロード期限：2010/12/07 （火） 音源スレ 単独音 ver1.5 Lite版 UTAU班 - 製作完了、2009年11月18日配布開始http //www.nicovideo.jp/watch/sm8846116 斧ダウンロード期限：2014/03/25 （火） 音源スレ - - - - - - 公式開催イベント 案件 担当者 議題 現状 課題点・補足 進行スレ イラストコンテスト NRP・スレ住民全体 テーマ案・和服・和風の喪服・喪服（和洋問わず）・クリスマスっぽい衣装・公式以外なんでも・公式の最新動画のPV向けに、構図を指定して募集 公式サイトリニューアルが優先 いつ開催？開催場所はpixivでFA？その他・募集規約・募集期間・掲載期間・宣伝方法・投票方式・投票期間・サイズ規格等どうするか 議論スレ 塗り絵コンテスト なし 釣り公式絵の塗りの人が現われない間、新しい線画を作って塗り絵コンテストを行う話が進行していた ZENIGAME氏が塗り含む新しいイラストを作成してくれた為コンテスト案は白紙撤回http //www.geocities.jp/vippaloid/new_official.html 新公式絵は、あのデザインでスレ民全員賛成なのか？ 本スレ・議論スレ - - - - - - - - - - - - - - - - - - 動画・楽曲作成企画 案件 担当者 議題 現状 課題点・補足 進行スレ 「カノンロック」PV 本スレ36 - 制作進行中 - 本スレ 「カノンロック」リメイク 1 完成したらUTAUに歌わせる？カノンさんに歌ってもらう？機械音と生声、両方混ぜちゃう？ 制作進行中 PVに合わせて頑張る 1萌え 本スレ - - - - - - メイキング動画 案件 担当者 議題 現状 課題点・補足 進行スレ 1スレ目 OP：ドメイン本編：カノンED：不明 動画が数スレ分に渡るようなら、EDは最後のスレの分のみでいいかも？ OP：不明本編：完了ED：未着手 - 本スレ 2スレ目 OP：不明本編：カノンED：不明 OP：不明本編：カノンED：不明 - 本スレ - - - - - - - - - - - - 「MMD」・「なんでも機」製作 案件 担当者 議題 現状 課題点・補足 進行スレ MMD製作 コテ無し 仕様説明とバージョンを書いたtxtを添付したほうが良い。仕様説明は手の空いているスレ住民が協力して考えてはどうか？ テストバージョン発表。今後追加パーツなど随時更新されていく予定MMD進捗状況 １、スペックによっては動作が重い２、配布動画の製作は？ 本スレ キャラクターなんでも機 コテなし - 製作を名乗り出た人がいたものの、その後行方不明 - 本スレ - - - - - - 解決済の案件 案件 担当者 議題 現状 課題点・補足 進行スレ スレッド・チャット進行関連 スレ民 スレッドをいくつ立てて、それぞれどういう役目にするか 【パー速 本スレ】議題の最終決定、報告、雑談、その他自由。楽しくいこうぜ！！【製作速報 議論スレ】著作権、運営、企画、スケジュール等の提案/検討【製作速報 音源スレ】UTAU製作班専用スレッド【会議チャット】現状報告所。突発会議は行ってはならない。毎週土曜日22 00～2 00 定期会議開催、議題は予めスレにて提示。 解決。しいて言うなら議論スレに人が少ない？ 本スレ・議論スレ・チャット Crystal Roomさんとの渉外 wiki管 ブレスレット販売が波音リツの商用利用にあたるのではないか 商品ページを削除対応して下さり、渉外完了 解決 避難所・本スレ テト・ルコ製作者さんとの渉外 １ 画像の無断転用と無断リンクのお詫び 各サイドから返信あり。NRPが両企画とは無関係であることなどを公式サイトに明記し、ご了承を得た為渉外完了 両サイドにご迷惑をかけないようサイトリニューアル時に気を配る 避難所・議論スレ・本スレ - - - - - - NRP運営について 案件 担当者 議題 現状 課題点・補足 進行スレ 会議チャットの運用 NRP 本スレにて、次回の議題を予め提示 運用中。 1かドメインにメールを送信すれば誰でも気軽に参加可能。コテなし、携帯でも大丈夫。 あくまで「案を煮詰める場」であり、「ものごとを決定する場」ではない。会議終了後は必ず話し合いの結果をスレに報告し、スレ住民からの意見も盛り込んで案件の決定を行う。 本スレ・チャット - - - - - - - - - - - - - - - - - - 項目 案件 担当者 議題 現状 課題点・補足 進行スレ - - - - - - - - - - - - 項目 案件 担当者 議題 現状 課題点・補足 進行スレ - - - - - - - - - - - -
https://w.atwiki.jp/doragonkuseido/pages/49.html
画像 PLAYER名 種族 ギルド入隊日 メッセージ短歌『五・七・五・七・七』 添付 2009年7月日 BURASSEN アンデット 2009年4月16日 - puyan ヒューマン 2009年4月16日 - mamaredo ヒューマン 2009年4月16日 - ヒーヨ ヒューマン 2009年4月16日 - nibtan! アンデッド 2009年4月16日 - miria エルフ 2009年4月17日 - hana エルフ 2009年4月17日 - びゅー エルフ 2009年4月17日 - okotya エルフ 2009年4月17日 - sushi ヒューマン 2009年4月18日 - levens ヒューマン 2009年4月18日 - フール エルフ 2009年5月18日 - unkosuki アンデッド 2009年4月18日 - ゴッドドラゴン ヒューマン 2009年4月20日 HPつくり はじめ1ヶ月 人気なし 2ヶ月たって ちょいうれしい rayer エルフ 2009年4月20日 - マサヒロ エルフ 2009年5月20日 - クラコット ヒューマン 2009年5月21日 - kabax エルフ 2009年4月22日 - hoka アンデッド 2009年4月22日 - ねこじる エルフ 2009年4月24日 - mogumogumogu ヒューマン 2009年4月25日 - ミツルギ エルフ 2009年4月26日 - imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (ぷるー.jpg) elle エルフ 2009年4月26日 - ヴェサソン ヒューマン 2009年4月29日 - ジーノ エルフ 2009年4月30日 - bucks アンデッド 2009年5月3日 - Piacere ヒューマン 2009年5月3日 - 巨像 ヒューマン 2009年5月6日 - KOH アンデット 2009年5月9日 - ヒラト アンデッド 2009年5月12日 - まるまる エルフ 2009年5月16日 - ファントム ヒューマン 2009年4月25日 -
https://w.atwiki.jp/runequest_e2j/pages/94.html
Situation.状況 Skill Modifier(*1).技能修正値(*1) Spellcaster is unable to hold runes.術者がルーンを保持できない Automatic Failure.自動的失敗 Spellcaster is gagged or silenced.術者が猿轡をされているあるいは沈黙させられている Automatic Failure.自動的失敗 Spellcaster is restrained (but still able to hold runes).術者が拘束されている(しかしルーンを保持することは可能) -30%.-30% Spellcaster is prone.術者がうつ伏せ状態である -20%.-20% Spellcaster is on unstable ground.術者の足元が不安定 -20%.-20% Partially obscured target.目標の一部が隠れている -20%(*2).-20%(*2) Heavily obscured target.目標がほとんど隠れている -40%(*2).-40%(*2) Totally obscured target.目標が完全に隠れている Automatic Failure.自動的失敗