約 5,618,856 件
https://w.atwiki.jp/api_programming/pages/229.html
Content https //llamalab.com/automate/doc/block/index.html BlocksBlocks Apps App decision App start App start shortcut App clear cache App foreground App installed App kill App kill background App list App notifications enabled App notifications set state App notifications priority get App notifications priority set App notifications visibility get App notifications visibility set AppOp mode set AppOp mode App pick App usage Broadcast decision Broadcast receive Broadcast send Google Now voice command Plug-in action Plug-in decision Plug-in event Preferred activity Resolve activity Resolve receiver Resolve service Service start Shell command Shell command superuser Battery power Battery level Device doze mode active Device doze mode set state Device interactive Device keep awake Device reboot Device restart Device shutdown CPU speed get CPU speed set Power save mode enabled Power save mode set state Power source plugged Camera sound Audio device connected Audio player control Audio record Audio record stop Audio stream muted Audio stream set mute Audio volume Audio volume set Bluetooth SCO set state Camera start Flashlight Hotword detected Media playing Media store add Media store remove Media tags read Microphone muted Microphone set mute Ringtone pick Screenshot Sound level Sound play Sound stop Speak Speak stop Speak to file Speakerphone on Speakerphone set state Speech recognition Take picture Tone play Tone stop Vibrate Vibrate stop Video record Video record stop Concurrency Atomic add load Atomic compare store Atomic clear all Atomic load Atomic store Variables give Variables take Connectivity Airplane mode enabled Airplane mode set state Bluetooth device connect Bluetooth device connected Bluetooth device disconnect Bluetooth device pick Bluetooth device scan Bluetooth enabled Bluetooth set state Bluetooth tethering enabled Bluetooth tethering set state Data usage HTTP request Infrared transmit Mobile data enabled Mobile data set state Mobile data network type NFC enabled NFC set state NFC tag scanned NFC tag write Network connected Network throughput Network type Ping Restrict background data enabled Restrict background data set state USB tethering enabled USB tethering set state Wake-on-LAN send Wi-Fi connect Wi-Fi connected Wi-Fi enabled Wi-Fi hotspot enabled Wi-Fi hotspot set state Wi-Fi network scan Wi-Fi network pick Wi-Fi set state Wi-Fi signal strength Content Account generic add Account pick Account sync request Account sync enabled Account sync set state Alarm Alarm add Calendar event add Calendar event get Calendar event query Calendar pick Contact query Contact pick Content changed Content copy Content delete Content insert Content pick Content query Content shared Content update Content view Database modify Database query Timer add Date time Delay Date pick Duration pick Time await Time pick Time window Time zone get File storage FTP delete FTP download FTP list FTP make directory FTP upload File copy File delete File exists File list File make directory File monitor File move File pick File read File write Google Drive delete Google Drive download Google Drive list Google Drive make directory Google Drive share Google Drive upload Storage media mounted Storage space Zip compress Zip extract Flow Failure catch Fiber stop Fiber stopped Flow beginning Flow beginning pick Flow pick Flow start Flow stop Fork Go to Label Log append Subroutine General Android version Array add Array remove Array set Dictionary put Dictionary remove Expression true For each Variable set Interface Assist request Attention light Car mode enabled Car mode set state Clipboard get Clipboard set Color pick Device docked Device lock Device unlocked Dialog choice Dialog confirm Dialog input Dialog number Dialog web Display on Fingerprint gesture Fullscreen Interact Interact touch Key pressed Keyboard visible Login failed Quick Settings tile show Media button Night mode enabled Night mode set state Notification action Notification cancel Notification channel pick Notification interact Notification posted Notification show Notification snooze Process text selection Process text set Screen lock set state Screen orientation Screen orientation set Toast posted Toast show Wired headset plugged Location Geocoding reverse Geocoding Location at Location get Location mock Location pick Location provider enabled Location provider set state Location show Weather Messaging Cloud message send Cloud message receive Compose MMS Compose SMS Compose e-mail E-mail send Gmail send Gmail unread count MMS send SMS received SMS send SMS sent Sensor Ambient light Ambient temperature Atmospheric pressure Device acceleration Device orientation Magnetic field strength Motion gesture Pedometer Personal activity Proximity Significant device motion Settings CyanogenMod profile CyanogenMod profile set Input method pick Input method set Interruptions Interruptions set Notification policy get Notification policy set Ringer mode Ringer mode set Ringtone get Ringtone set Screen brightness set Screen brightness Screen off timeout set Screen off timeout System language get System language set System property get System setting get System setting set Wallpaper image set Wallpaper live set Telephony Call answer Call end Call incoming Call number Call outgoing Call state Cell signal strength Cell tower near Cell tower pick Dial number Mobile network preferred Mobile network preferred set Mobile operator Mobile service state Subscription pick Ringer silence Roaming USSD request
https://w.atwiki.jp/codbo_twit/pages/17.html
模擬戦場がモデルの小規模ステージ。簡単に坂の下やマップ上側に押し込まれるので明暗がくっきり分かれる。 ;
https://w.atwiki.jp/matchmove/pages/94.html
Motion Capture and Face Tracking SynthEyes offers the exciting capability to do full body and facial motion capture using conventional video or film cameras. STOP! Unless you know how to do supervised tracking and understand moving-object tracking, you will not be able to do motion tracking. The material here builds upon that earlier material; it is not repeated here because it would be exactly that, a repetition. First, why and when is motion capture necessary? The moving-object tracking discussed previously is very effective for tracking a head, when the face is not doing all that much, or when trackable points have been added in places that don’t move with respect to one another (forehead, jaws, nose). The moving-object mode is good for making animals talk, for example. By contrast, motion capture is used when the motion of the moving features is to be determined, and will then be applied to an animated character. For example, use motion capture of an actor reading a script to apply the same expressions to an animated character. Moving-object tracking requires only one camera, while motion capture requires several calibrated cameras. Second, we need to establish a few very important points this is not the kind of capability that you can learn on the fly as you do that important shoot, with the client breathing down your neck. This is not the kind of thing for which you can expect to glance at this manual for a few minutes, and be a pro. Your head will explode. This is not the sort of thing you can expect to apply to some musty old archival footage, or using that old VHS camera at night in front of a flickering fireplace. This is not something where you can set up a shoot for a couple of days, leave it around with small children or animals climbing on it, and get anything usable whatsoever. This is not the sort of thing where you can take a SynthEyes export into your animation software, and expect all your work to be done, with just a quick render to come. And this is not the sort of thing that is going to produce the results of a $250,000 custom full body motion capture studio with 25 cameras. With all those dire warnings out of the way, what is the good news? If you do your homework, do your experimentation ahead of time, set up technically solid cameras and lighting, read the SynthEyes manual so you have a fair understanding what the SynthEyes software is doing, and understand your 3-D package well enough to set up your character or face rigging, you should be able to get excellent results. In this manual, we’ll work through a sample facial capture session. The techniques and issues are the same for full body capture, though of course the tracking marks and overall camera setup for body capture must be larger and more complex. Introduction To perform motion capture of faces or bodies, you will need at least two cameras trained on the performer from different angles. Since the performer s head or limbs are rotating, the tracking features may rotate out of view of the first two cameras, so you may need additional cameras to shoot more views from behind the actor. The fields of view of the cameras must be large enough to encompass the entire motion that the actor will perform, without the cameras tracking the performer (OK, experts can use SynthEyes for motion capture even when the cameras move, but only with care). You will need to perform a calibration process ahead of time, to determine the exact position and orientation of the cameras with respect to one another (assuming they are not moving). We’ll show you one way to achieve this, using some specialized but inexpensive gear. Very Important You’ll have to ensure that nobody knocks the cameras out of calibration while you shoot calibration or live action footage, or between takes. You’ll need to be able to resynchronize the footage of all the cameras in post. We’ll tell you one way to do that. Generally the performer will have tracker markers attached, to ensure the best possible and most reliable data capture. The exception to this would be if one of the camera views must also be used as part of the final shot, for example, a talking head that will have an extreme helmet added. In this case, markers can be used where they will be hidden by the added effect, and in locations not permitting trackers, either natural facial features can be used (HD or film source!), or markers can be used and removed as an additional effect. After you solve the calibration and tracking in SynthEyes, you will wind up with a collection of trajectories showing the path through space of each individual feature. When you do moving-object tracking, the trackers are all rigidly connected to one another, but in motion capture, each tracker follows its own individual path. You will bring all these individual paths into your animation package, and will need to set up a rigging system that makes your character move in response to the tracker paths. That rigging might consist of expressions, Look At controllers, etc; it s up to you and your animation package. Camera Types Since eachcamera s fields of view must encompass the entire performance (unless there are many overlapping cameras), at any time the actor is usually a small portion of the frame. This makes progressive DV, HD, or film source material strongly suggested. Progressive-scan cameras are strongly recommended, to avoid the factor of two loss of vertical resolution due to interlacing. This is especially important since the tracking markers are typically small and can slip between scan lines. While it may make operations simpler, the cameras do not have to be the same kind, have the same aspect ratio, or have the same frame rate. Resist the urge to use that old consumer-grade analog videotape camera as one of the cameras—the recording process will not be stable enough for good results. Lens distortion will substantially complicate calibration and processing. To minimize distortion, use high-quality lenses, and do not operate them near their maximum field of view, where distortion is largest. Do not try to squeeze into the a small studio space. Camera Placement The camera placements must address two opposing factors one, that the cameras should be far apart, to produce a large parallax disparity with good depth perception, and that the cameras should be close together, so that they can simultaneously observe as many trackers as possible. You’ll probably need to experiment with placement to gain experience, keeping in mind the performance to be delivered. Cameras do not have to be placed in any discernable pattern. If the performance warrants it, you might want coverage from up above, or down below. If any cameras will move during the performance, they will need a visible set of stationary tracking markers, to recover their trajectory in the usual fashion. This will reduce accuracy compared to a carefully calibrated stationary camera. Lighting Lighting should be sufficient to keep the markers well illuminated, avoiding shadowing. The lighting should be enough to be able to keep the shutter time of the cameras as low as possible, consistent with good image quality. Calibration Requirements and Fixturing In order for motion tracking footage to be solved, the camera positions, orientations, and fields of view must be determined, independent of the “live” footage, as accurately as possible. To do this, we will use a process based on moving-object tracking. A calibration object is moved in the field of view of all the cameras, and tracked simultaneously. To get the most data fastest and easiest, we constructed a prop we call a “porcupine” out of a 4” Styrofoam ball, 20-gauge plant stem wires, and small 7 mm colored pom-pom balls, all obtained from a local craft shop for under $5. Lengths of wire were cut to varying lengths, stuck into the ball, and a pom-pom glued to the end using a hot glue gun. Retrospectively, it would have been cleverer to space two balls along the support wire as well, to help set up a coordinate system. The porcupine is hung by a support wire in the location of the performer s head, then rotated as it is recorded simultaneously from each camera. The porcupine s colored pom-poms can be viewed virtually all the time, even as they spin around to the back, except for the occasional occlusion. Similar fixtures can be built for larger motion capture scenarios, perhaps using dolly track to carry a wire frame. It is important that the individual trackable features on the fixture not move with respect to one another their rigidity is required for the standard object tracking. The path of the calibration fixture does not particularly matter. Camera Synchronization The timing relationship between the different cameras must be established. Ideally, all the cameras would all be gen-locked together, snapping each image at exactly the same time. Instead, there are a variety of possibilities which can be arranged and communicated to SynthEyes during the setup process. Motion capture has a special solver mode on the Solver Panel individual mocap. In this mode, the second dropdown list changes from a directional hint to control camera synchronization. If the cameras are all video cameras, they can be gen-locked together to all take pictures identically. This situation is called “Sync Locked.” If you have a collection of video cameras, they will all take pictures at exactly the same (crystal-controlled) rate. However, one camera may always be taking pictures a bit before the other, and a third camera may always be taking pictures at yet a different time than the other two. The option is “Crystal Sync.” If you have a film camera, it might run a little more or a little less that 24 fps, not particularly synchronized to anything. This will be referred to as “Loose Sync.” In a capture setup with multiple cameras, one can always be considered to be Sync Locked, and serve as a reference. If it is a video camera, other video cameras are in Crystal Sync, and any film camera would be Loose Sync. If you have a film camera that will be used in the final shot, it should be considered to be the sync reference, with Sync Locked, and any other cameras are in Loose Sync. The beginning and end of each camera s view of the calibration sequence and the performance sequence must be identified to the nearest frame. This can be achieved with a clapper board or electronic slate. The low-budget approach is to use a flashlight or laser pointer flash to mark the beginning and end of the shot. Camera Calibration Process We’re ready to start the camera calibration process, using the two shot sequences LeftCalibSeq and RightCalibSeq. You can start SynthEyes and do a File/New for the left shot, and then Add Shot to bring in the second. Open both with Interlace=Yes, as unfortunately both shots are interlaced. Even though these are moving-object shots, for calibration they will be solved as moving-camera shots. You can see from these shots how the timing calibration was carried out. The shots were cropped right before the beginning of the starting flash, and right after the ending flash, to make it obvious what had been done. Normally, you should crop after the starting flash, and before the ending flash. On your own shots, you can use the Image Preprocessing panel s Region-of-interest capability to reduce memory consumption to help handle long shots from multiple cameras. You should supervise-track a substantial fraction of the pom-poms in each camera view; you can then solve each camera to obtain a path of the camera appearing to orbit the stationary pom-pom. Next, we will need to set up a set of links between corresponding trackers in the two shots. The links must always be on the Camera02 trackers, to a Camera01 tracker. This can be achieved at least three different ways. Matching Plan A Temporary Alignment This is probably easiest, and we may offer a script to do the grunt work in the future. Begin by assigning a temporary coordinate system for each camera, using the same pom-poms and ordering for each camera. It is most useful to keep the porcupine axis upright (which is where pom-poms along the support wire would come in useful, if available); in this shot three at the very bottom of the porcupine were suitable. With matching constraints for each camera, when you re-solve, you will obtain matching pairs of tracker points, one from each camera, located very close to one another. Now, with the Coordinate System panel open, Camera02 active, and the Top view selected, you can click on each of Camera02 s tracker points, and then alt-click (or command-click) on the corresponding Camera01 point, setting up all the links. As you complete the linking, you should remove the initial temporary constraints from Camera02. Matching Plan B Side by Side In this plan, you can the Camera Perspective viewport configuration. Make Camera01 active, and in the perspective window, right-click and Lock to current camera with Camera01 s imagery, then make Camera02 active for the camera view. Now camera and perspective views show the two shots simultaneously (Experts you can open multiple perspective windows and configure each for a different shot.). You can now click the trackers in the camera(02) view, and alt-click the matching (01) tracker in the perspective window, establishing the links. Reminder The coordinate system control panel must be open for linking. This will take a little mental rotation to establish the right correspondences; the colors of the various pom-poms will help. Matching Plan C Cross Link by Name This plan is probably more trouble than it worth for calibration, but can be an excellent choice for the actual shots. You assign names to each of the pom-poms, so that the names differ only by the first character, then use the Track/Cross-Link by Name menu item to establish links. It is a bit of pain to come up with different names for the pom-poms, and do it identically for the two views, but this might be more reasonable for other calibration scenarios where it is more obvious which point is which. Completing the Calibration We’re now ready to complete the calibration process. Change Camera02 to Indirectly solving mode on the Solver panel . Note the initial position of Camera01 is going to stay fixed, controlling the overall positions of all the cameras. If you want it in some particular location, you can remove the constraints from it, reset its path from the 3-D panel, then move it around to a desired location Solve the shot, and you have two orbiting cameras remaining at a fixed relative orientation as they orbit. Run the Motion Capture Camera Calibration script from the Script menu, and the orbits will be squished down to single locations. Camera01 will be stationary at its initial location, and Camera02 will be jittering around another location, showing the stability of the offset between the two. The first frame of Camera02 s position is actually an average relative position over the entire shot; it is this location we will later use. You should save this calibration scene file (porcupine.sni); it will be the starting point for tracking the real footage. The calibration script also produces a script_output.txt file in a user-specific folder that lists the calibration data. Body and Facial Tracking Marks Markers will make tracking faster, easier, and more accurate. On the face, markers might be little Avery dots from an office supply store, “magic marker” spots, pom-poms with rubber cement(?), mascara, or grease paint. Note that small colored dots tend to lose their coloration in video images, especially with motion blur. Make sure there is a luminance difference. Single-pixel-sized spots are less accurate than those that are several pixels across. Markers should be placed on the face in locations that reflect the underlying musculature and the facial rigging they must drive. Be sure to include markers on comparatively stationary parts of the head. For body tracking, a typical approach is to put the performer in a black outfit (such as UnderArmour), and attach table-tennis balls as tracking features onto the joints. To achieve enough visibility, placing balls on both the top and bottom of the elbow may be necessary. Because the markers must be placed on the outside of the body, away from the true joint locations, character rigging will have to take this into account. Preparation for Two-Dimensional Tracking We’re ready to begin tracking the actual performance footage. Open the final calibration scene file. Open the 3-D panel . For each camera, select the camera in the select-by-name dropdown list. Then hit Blast and answer yes to store the field of view data as well. Then, hit Reset twice, answering yes to remove keys from the field of view track also. The result of this little dance is to take the solved camera paths (as modified by the script), and make them the initial position and orientation for each camera, with no animation (since they aren’t actually moving). Next, replace the shot for each camera with LeftFaceSeq and RightFaceSeq. Again, these shots have been cropped based on the light flashes, which would normally be removed completely. Set the End Frame for each shot to its maximum possible. If necessary, use an animated ROI on the Imaging Preprocessing panel so that you can keep both shots in RAM simultaneously. Hit Control-A and delete to delete all the old trackers. Set each Lens to Known to lock the field of view, and set the solving mode of each camera to Disabled, since the cameras are fixed at their calibrated locations. We need a placeholder object to hold all the individual trackers. Create a moving object, Object01, for Camera01, then a moving object, Object02, for Camera02. On the Solving Panel, set Object01 and Object02 to the Individual mocap solving mode, and set the synchronization mode right below that. Two-Dimensional Tracking You can now track both shots, creating the trackers into Object01 and Object02 for the respective shots. If you don’t track all the markers, at least be sure to track a given marker either in both shots, or none, as a half-tracked marker will not help. The Hand-Held Use Others mode may be helpful here for the rapid facial motions. Frequent keying will be necessary when the motion causes motion blur to appear and disappear (a lot of uniform light and short shutter time will minimize this). Linking the Shots After completing the tracking, you must set up links. The easiest approach will probably be to set up side-by-side camera and perspective views. Again, you should link the Object02 trackers to the Object01 trackers, not the other way around. Doing the linking by name can also be helpful, since the trackers should have fairly obvious names such as Nose or Left Inner Eyebrow, etc. Solving You’re ready to solve, and the Solve step should be very routine, producing paths for each of the linked trackers. The final file is facetrk.sni. Afterwards, you can start checking on the trackers. You can scrub through the shot in the perspective window, orbiting around the face. You can check the error curves and XYZ paths in the graph editor . By switching to Sort by Error mode , you can sequence through the trackers starting from those with the highest error. Exports Rigging When you export a scene with individual trackers, each of them will have a key frame on each frame of the shot, animating the tracker path. It is up to you to determine a method of rigging your character to take advantage of the animated tracker paths. The method chosen will depend on your character and animation software package. It is likely you will need some expressions (formulas) and some Look-At controls. For full-body motion capture, you will need to take into account the offsets from the tracking markers (ie balls) to the actual joint locations. Modeling You can use the calculated point locations to build models. However, the animation of the vertices will not be carried forward into the meshes you build. Instead, when you do a Convert to Mesh operation in the perspective window, the current tracker locations are frozen on that frame. If desired, you can repeat the object-building process on different frames to build up a collection of morph-target meshes.
https://w.atwiki.jp/sibuyanoking/pages/152.html
“King of Shibuya”（1986 April 17th - ）is a Internet contributor who started video service in “nikoniko namahoso”. He has distributed, changing the various sites of video service. Overview Personal History Overview Since the distribution began, he has made himself better known by creating a lot of nuisance through the sites of video service. He has experienced the sanctions by a great variety of Internet service. For example, he must leave “nikoniko namahoso”, “Stickum” ,or “Skype” forever and he experienced the discontinuance of the utilization twice from Internet service providers. This is one of the reasons why he has altered the various sites of video service. He has the title of “For Great Cancers” in nikoniko. “Skype BAN”, which means that a lot of people report the Skype account of the attack target and freeze it, is known as a word symbolizing the Internet troll of “King of Shibuya” in the past. He boasted that he found this attack method, but latter he was not able to do “Skype BAN” because the number of his listeners had been decreasing. “King of Shibuya” got to this fact, but he misunderstood that the system had changed and diffused this in Twitter. However, the popular distributor, “Korekore”, reported that this fact was completely false. For a period of time, more than 30,000 people took part in his community and in his retirement distribution in October 10, 2010, 3,000 people waited his distribution at IRC chat. Then, the whole viewer including the mirrors was more than 10,000. These time was best in his distribution life. Although he calls himself “King of Shibuya”, the fact is that he lives in his parents house in Koshigaya of Saitama. This is because he came to have the name of “The goblin of Koshigaya”. Someone disclosed his private information such as his real name, address, and the name of his parents. He is on the verge of becoming the Kenshi Takada position as a troll word. For example, his real name was used as the name of the main character appearing in “Jyunichi literature” and was used as consecutive comments in unrelated distributions. He is a trouble maker and tend to cause trouble for the unrelated distributors. The cause is his character and his character is so intense that the people around him doubted that he has narcissistic personality disorder. By the runaway of the narcissistic personality disorder, he has deeply interfered in other distributions (especially Ema and the surroundings) and listeners.（ related human ） He is a social withdrawal by himself and others and it is not too much to say that he always stays at home.For example, we do not know why, but through the Internet he bought foods which can be bought in convenient stores and supermarkets.Then, even if he has a chance that he can act with other distributors, he will definitely not go out.In August 24, 2013, he had the opportunity of appearing with Backass in “Sonminsai”, which means that Backass, who is a distributor in nikoniko, hosts a music event.However, he did not go to the place and appeared through the video. Although he had a important role in the movie, 「 Y Do You Step 」, which several nikoniko distributors made together, he still appeared only through the video.The woman distributor, “Special Ema”, who used to be in good terms with “King of Shibuya”, said, 「 “The yellow person cannot go out, so I broke off the relations with him.” 」(summary) Because he did not graduate from high school, or because he had not studied at all in addition to the short student’s time, his vocabulary is very poor and there are many times when he cannot understand the comments of his listeners. In spite of this, in the latter period of his distribution, he tried to establish the image of an intellectual distributor by reading news and talking about the world affairs. However, when he read news, he often read Chinese characters mistakenly. Listeners call him handsome, but he is also called 「“Mr.Egg Man”」because his face looks bloated and round when he took his pictures by himself in the past and showed it. As a result, there have appeared a lot of pictures which is produced and processed to imitate goblins. Because he cares about this, when he show his appearance in his distribution, he always makes aspect ratio longer than is wide and puts on the gasmask. Some listeners points out that his face may become bigger and bigger day by day because of his obesity. This is not amazing because there are cases when he eats snack food on his distribution. We often discusses the source of his misdeed. What we points out most frequently is his father. Others points out that his mother, who permitted his father to creampie, is the reason. Besides, some points out that his grandfather, who permitted his parents to go around. At its most extreme, others points out that what is the worst is the big bang, which created nature. Personal History Age Main events referrences 2008年~2009年-??/?? 22 He was jilted by a woman with whom he had been going about for 7 years and came to stay at home forever. 2008年~2009年-??/? ? he was really into Hangame. ① 2009年-04/26 23 In Stickam, he started the distribution, using the name of Writer Thief. The contents were idle talk and music. ① 06/19 In 2ch, he created the Yellow Busters ① 07/17 In the distribution style of “If you get the best fight, I will give you 1,000,000 yen", he made his debut in nikoniko. In spite of his fist time, his distribution was full of people. ① 07/28 Because he called the younger sisiter of “Dantyo" Down s syndrome, his distribution went wild. ① 08/14 Police revealed that he lives in Koshigaya. 09/?? His mother disclosed social withdrawal. 09/09 His community of 4000 disappeared and he must leave nikoniko forever. 10/03 He created the Ranking of King to demolish the ranking of Tikuwa. 11/?? In 2ch, someone wrote his real mane. 2010年-01/?? Kazuki went to his house. 02/01 He made a debut in Twitter. 02/03 He received BAN in Twitter. 04/15 He closed the Ranking of King. 06/09 24 the accident of Samejima ①② 06/16 He flattered Samejima and stopped his distribution. ① 06/17~06/30 He got to know Ema. 07/01 He made the Angel of Usa (8 years old) debut in nikoniko. This became a festival and was put on Yahoo News. ① 08/16 the summer meeting of Four Great Cancers ① 08/28 He took part in the World Cup of the imitation of voice as a judge. ① 10/10 He distributed for the first time in 7 months. ① 11/02 For the first time, he made Ema appear in his disribution. ① 2011年-10/30 25 He showed his Afro hairdo. He collapsed the image that King of Shibuya is handsome for himself. 2012年-03/06 the accident of Kojima ① 10/10 26 the fraud of the retirement→came back after one month 2013年-01/28 He showed his face such as egg in Lucky bag paln. 02/08 the accident of Korekore mouse pad. 03/02 The refuge chat, The spring of Eggs, was created. 04/10 He received BAN in Amazon affiliate. ①② 04/12 The name of Koshigaya s goburin was born in Gahaku s distribution. 04/14 Hatoya pursued him with returning the profits of Affiliate to listeners. However, King of Shibuya said that that is my money. ① 04/17 27 In his birthday, he was furious at the paint which a listener gave him. ① 04/?? fight with Ema～and part～ 06/13 Someone BAN the main ID of Skype. 06/13 He started FC2 Internet service. 08/17 He released the legend of music, 666. 09/13 He created sub-community in nikoniko. XX/XX Mr.PPP hit! from ust chat to YB chat 2014年-01/?? He created Wiki of Shibuya King. XX/XX He was not put on the recommendation in twitcasting. XX/XX The Ranking of Tikuwa matched FC2. and he changed his name to Game and Small talk. ① XX/XX Official mirror community was created. 05/18 28 He suspended his distribution. 08/15 We succeeded in take the picture of his father, Keiichi Koyama. ① 10/05 He declared his restart of his distribution to celebrate the 5 years of subuya.com ① 10/10 In the anniversary of 5 years, he suddenly disappeared without notice. ① 12/22 indefinite suspension of his distribution 【return to Top】
https://w.atwiki.jp/iracing_wiki/pages/42.html
FUEL BRAKE BIAS DIFFERENTIALClutch Plates Preload Drive ramp angle Coast ramp angle CHASSISSpring rate Spring perch offset Camber Anti-roll bars Bump stiffness and Rebound stiffness Bumpstop gap Caster Toe-in Wing setting TIRES CONCLUSION [This guide has been updated to cover the changes for the NTM. The NTM is still very new at this time having only been out for 2-3 weeks, and learning its ins and outs is still an ongoing task. I share a lot of my setup secrets I have discovered so far about the NTM which are scattered throughout the guide in the relevant sections.] The NTM has transformed the Corvette substantially both in terms of driving technique and setup. The setup parameters still have the same effects they had before, but the sweet spots have definitely changed, and there are new nuances to understand. Heat is a very central element now. The Corvette can overheat its tires very easily... particularly if the tires are sliding around to any degree. So the new goal is smooth and quiet. It no longer pays to design sets around sliding the car effectively. In general, much less oversteer is called for than before. Now the main task is to plant both ends of the car as firmly as possible so that it doesn t eek out any noises while going fast as hell. There are a myriad of settings that can be changed. And they can all seem rather bewildering at first. Which setting gives me more oversteer, please? Well, there s not quite an easy answer to that. Many of the settings affect the car s balance. But the trick is that they each affect the balance under different circumstances. So in order to adjust the car properly, you need to feel out exactly where and when you want more or less oversteer, and know what settings affect that specifically. FUEL Fuel is always the first setting to work with. The fuel tank in the Corvette is located toward the rear of the car. So the amount of fuel being carried changes the balance of the car. Determine the amount of fuel you ll need, and set that first before you change anything else. Then take the car for a spin to see what it feels like. The fixed set starts with maximum fuel, and since you re probably going to run less fuel than that, the rear of the car is going to become lighter. This will lift the rear of the car, change the rake, and alter the wheel cambers... all of which would tend to make the car oversteer more. However, the great loss of weight rearward generally causes the car to understeer more overall. BRAKE BIAS Front brake bias Brake bias is the first real setting to work with on the car. It has significant impact on the driving style that will be used, and thusly how the remainder of settings will come into play. Front brake bias is the percentage of brake force that applies to the front wheels when you brake. A value of 63% is approximately neutral. 64% and higher will tend to lock up the fronts first. 62% and lower will tend to lock up the rears first. Beginning drivers tend to favor higher values here because the car is much more stable under braking with more forward bias. As they become more experienced, they ll tend to want to move the bias rearward. Brake bias below 63% tends to be used with gas on brake techniques to allow the driver greater dynamic range in their brake bias from moment to moment. That is, a bit of throttle is applied to cancel some of the rear brake at will. The driver can intentionally lock the rears at any point by simply letting off the on the throttle while braking. Gas on brake techniques require either left foot braking or heel and toe. I don t think low bias values are generally used with straight braking. Low brake bias settings are one of the chief reasons why alien setups are slow and dangerously unstable in the hands of less advanced drivers. Fixed setups tend to have rather high brake bias settings of 64% or more. Dropping it down to 63% or 62% will reduce the braking distances, but also make the car much less stable under braking. Keep in mind that if you re struggling to keep the car under control while braking, the potentially shorter stopping distances aren t worth it. Don t try for a lower brake bias than feels comfortable, or you ll be slower, not faster. DIFFERENTIAL The Corvette as a car is defined by its massive power. The differential has a dramatic effect on what s going on with those meaty rears, and its affect on the balance and overall driving experience of the Corvette is more dramatic than many drivers might expect. The differential tends to lock the rear wheels together the tighter you set it. The main purpose of this is to prevent the car from wasting its power spinning the inside wheel at the exit of a turn while the outside wheel remains unpowered, as would happen with an open differential. The downside of locking the wheels together is that the car won t want to turn properly. Imagine lifting the front of the car off the ground and then trying to rotate the car on its rear wheels while they are locked together. They wouldn t roll. You d have to force them to slide to turn the car. When your differential is tight, your own tires resist against your car turning. This seems like it should promote understeer and stability, but it actually doesn t. The forces that are preventing your car from turning properly are actually subtracting from the available traction in your rear tires. Your rear tires are resisting _each other_! So loosening the differential promotes more understeer because then the rear tires aren t wasting their traction on infighting. This is a good thing to do as much as possible because there are more efficient ways of tuning that oversteer back in with other settings. Loosening the differential improves the overall traction of the car. The down side of loosening the differential is that you can start spinning that inside tire on turn exit. That will lose speed. So the general idea is to have the differential just tight enough to prevent that from happening. The fixed sets all feature tight differentials which exhibit their locking force all the time. There s speed to be gained by loosening them. Clutch Plates You can have between one and three clutch plates. More clutch plates makes the differential much tighter with the same other settings. It multiplies the effects of those settings. So two clutch plates will be twice as tight. And three clutch plates will triple the effects of the other settings. With the OTM, I never saw a need for more than one clutch plate. But the NTM seems to respond well to settings which are roughly twice as tight as before. So two clutch plates seems to be a good standard. Though I still sometimes run singles. Preload The tightness of the differential is variable depending on how much engine power is being applied. This setting determines how tight the differential is when no engine power is applied at all. I generally set this to 0. I prefer not having my rears resist each other from letting the car turn when I m neither accelerating nor decelerating. You may want to run with a preload if you find the balance transition of locking the rears together when you do get on the gas too jarring, but that s the only reason I can think of to do it. Note that reducing the preload on the car versus the fixed sets will add substantially more traction in the rear... and thus quite a lot of global understeer. Soften the front sway bar or tighten the rear to counteract this effect and restore your desired balance. Drive ramp angle The lower you set this value, the more tightly the rears will lock together when you get on the gas. The car will rotate more when you punch it. You generally don t want to set this value so low that the car wants to kick out when you get on the gas. With the OTM, this could be a desirable effect. But not with the NTM. Now what you re looking for is the rear to stay planted under heavy acceleration and not wash out into understeer. Coast ramp angle When you re completely off the gas, the engine drags, effectively applying a braking force to the rear wheels through the drive line. This setting determines how tightly the rears lock together when this happens. It s just like the Drive ramp angle, but the opposite direction. In general, it is no longer so effective to coast through the mid turn with the NTM as it was with the OTM. Instead, neutral throttle generally produces the best cornering speed. Therefore, the coast ramp no longer effects portions of the mid turn that it used to. The car has to coast for this setting to have any effect at all. Now the coast ramp is primarily of value only in the braking zone prior to the turn. Whereas locking the rear wheels together tends to reduce stability in the midturn, it has the opposite effect during straight line braking. It will tend to resist any tendency of the car to want to turn while in the brake zone, promoting stability as the car approaches turn in. The coast ramp is commonly set with lower values (tighter) than the drive ramp. This can seem counter intuitive, but remember that there s much less force being applied through the drive line on the coast side. So the same amount of locking requires a lower angle to achieve. CHASSIS Spring rate I subscribe to the notion that the purpose of springs is to keep the car s chassis from sitting on the ground. They are not a primary method of balancing the car. As such, we will fiddle with them early. The things to consider with spring rates are ride height and compliance with the road. The more bumpy a track is, or the more three dimensional it is with steep bankings, crowns, crests, and other non-flat features, the softer your springs need to be in order to keep the wheels in contact with the road at all times. The softer your springs are, the more ride height you ll need to keep the car from bottoming out. Stiffer springs allow you to lower the car more, but they only work well on tracks which are rather flat. And remember that curbing counts, too. The lower and stiffer you make the car, the more it will freak out over the curbs. Contrary to common belief, stiff springs _do not_ reduce weight transfer. The same amount of weight transfers from the inside to the outside in a turn whether the car leans on soft springs or not. However, reducing the ride height does reduce weight transfer. And stiffer springs allow lower ride height. So this may be the origin of the misconception. But understand that it s not the springs themselves. With the OTM, spring rates near the minimum (1000lb) were generally ideal. The NTM tires seem to have considerably more bounce to them, and so the suspension needs to be relatively stiffer to compensate. Values more toward the middle of the range (1300-1600) seem to work well. Note that if you re making a qualifying set with low fuel, you re removing quite a lot of weight. And consequently the springs will lift the rear of the car up. It can be a good idea to take some spring out of the car to compensate, dropping the car back down a bit. The car is lighter, so less spring force is needed to hold it at the same level. Spring perch offset This is the other end of the spring rate and ride height equation. This is how to directly adjust the ride height of the car. Higher numbers drop the car down. Keep in mind that you re not just lowering the car, you re also compressing the suspension which changes all of the geometry. In particular, your cambers will change when you adjust the ride height. Take note of what your cambers were prior to the change and then set the cambers back to what they were afterward. Now the goal here is not actually to lower the car as much as you possibly can before it bottoms out. There s a diffuser under the car, and it stalls at less than about 2 inches of clearance. The ideal ride height at the front of the car seems to be in the range of 2.2 to 2.5 inches. The rake of the car is important primarily because of its aerodynamic effect. That is, the lower the front of the car is compared to the rear end, the greater the angle on the otherwise fixed wing and other aero elements. That s right. We can t adjust the angle of the wing, so we just tip the whole car instead. Clever, no? Good values for the rake seem to be roughly 0.5-0.8 inches. The rear ride height should be in the range of 2.7-3.0 inches or so. There s a trade off here between getting the rear end of the car as low as possible for reduced weight transfer and raising it up higher for greater rake and thus down force. Or to put it another way, that s a trade off between better low speed turning (where aero is weak anyway) or better high speed turning (where down force is strong). Camber Negative camber tilts the tires inward so that when the car leans into a turn, the outside tire will be flat against the track. The NTM currently has unrealistically weak side walls, and so seems to run best with rather low cambers near -1.0 front and back. The fixed sets use considerably more camber, and this does seem to have a good feel to it, but it has less traction, produces very uneven wear on the tires over time, and seems to make the tires more susceptible to overheating (presumably because the heat isn t spread across the whole surface). In general, the more camber you run, the harder the car will turn (up to a point... which isn t very much right now). But the trade off is you lose straight line braking because the tires are not flat against the track surface when moving in a straight line. In the real world, camber is set by checking the outside, middle, and inside tire temperatures after running a few laps. These values are reported for the NTM, but they re unusable because the inside and outside temperatures are averaged with the sidewall temperatures. There are the tire wear percentages, too. Those do work properly and they do help, but it takes quite a few laps to get enough wear to see if the tires are wearing evenly. So your only real tool for setting camber at the moment is driving the car and feeling for it. You can tell whether a change in camber increased or decreased the car s traction if a change on one end of the car changes the balance of the car in that direction. For instance, if you add negative camber to the front of the car and the car starts oversteering more, then it worked! This is increasing the overall traction of the car, not just shunting the balance around like swaybar adjustments do, so it s definitely worth pursuing. Note that positive camber is never used in road course sets. Anti-roll bars The sway bars are your primary overall balance tuning devices for the car. They pretty much adjust the balance evenly across the board. Soften the front and/or stiffen the rear to produce more oversteer. Stiffen the front and/or softer the rear to produce more understeer. The more stiff the sway bars are overall, the less compliance the wheels will have with bumpy and unflat roads, just like using heavier springs. Bump stiffness and Rebound stiffness These are damper (shock absorber) settings. They affect the balance of the car just like swaybars do except that they only affect the stiffness of the suspension when it s in motion. So that means the stiffness of the suspension is momentarily increased when the car leans into a turn. Or when it levels back out again after a turn. You can tune these settings to make the car more lively so that it has a more oversteery edge when you first start to turn. Or you can set it opposite to ease into a turn more smoothly. One effect to watch out for in particular is when you turn the car, and the front end initially turns in very rapidly as if too spin, and then immediately washes out again and settles into the turn all on its own. This is what happens when your dampers are set for a lot of nervous oversteer while the springs/swaybars are set for much less. The balance difference is too extreme. In general, I like to set the dampers to the same relative stiffness front and back as the springs have. This will help the car maintain steady and predictable balance as it goes over bumps. Otherwise, if you were to make the front dampers relatively stiffer, for instance, then whenever the car passed over a bump during a turn, the balance of the car would momentarily shift toward understeer. That could be desirable in some circumstances, but in my opinion usually not. Bumpstop gap The bumpstops limit the suspension movement in an effort to prevent the car from ever bottoming out. Essentially, they re like very stiff springs which are reached only when the suspension compresses beyond a certain point. They would be important to work with on a real car, but in iRacing, there doesn t seem to be much downside to just letting the Corvette bottom out on the track if it s going to. So I always set these to the maximum gap possible. I also suspect that if they are set to a smaller value where they ll actually get hit before the car bottoms out, it becomes possible to break your suspension by just running over curbs on the track. Caster Caster is a wonderful thing. This is a rearward tilt of the wheel such that when the steering wheel is turned, negative camber is increased. This is great because it allows the wheels to have less camber when travelling in a straight line and more camber when turning. Theoretically, caster can be used in combination with static camber settings to tune the car s behavior in low speed and high speed corners seperately. However, I have found that maximum caster values seem to work best all of the time. Note that lower caster values also reduce steering wheel feel. Toe-in Theoretically, you can use positive toe-in to make the car more stable. And negative (toe-out) to make it less stable. In practice, I haven t found a reason to change these settings on the Corvette. I don t believe in toe settings very much because it s another example of making wheels fight each other. Wing setting Unless you re visiting the salt flats, leave this on the highest downforce setting for the Corvette. Always. TIRES The tires pane shows you the condition of the last set of tires that came off the car. That is... their condition at the moment that you left the track after slowing the car to a halt. Keep in mind what effects that will have. Tires heat up and cool down rather quickly. So if the last turn you did was a hard left sweeper, your right front tire is going to show more temperature. And if you just locked up all four tires while you came to a halt, your readings will pretty much all be garbage. Unfortunately, as I mentioned earlier, the tire temperatures being reported aren t very useable at this time. Only the center temperature is reported correctly, but it s not all that useful by itself other than telling you if you re overworking a tire. Values in the range of 220-240 degrees F are good. 250 and higher is around where the tire will lose traction due to overheating. If you are destroying a particular tire, the most common cause isn t setup. It s driving technique. The usual culprit is turning the steering wheel even further when the car won t turn any harder. Even if the tire doesn t emit smoke (which you currently wouldn t be able to see anyway, you re hurting it unnecessarily when you do this. This will show up as very high overall temperatures for that tire immediately after the turn in question. Setup can be used to try to make life easier on particular tires. You could try lowering that end of the car to reduce weight transfer to the outside tire. You could also concentrate on making that end of the car more planted so that it s sliding less. CONCLUSION Setting up the car is an iterative process. Make changes slowly and try them out for a while before giving them the yay or nay. Often times a good setup change will feel bad at first because you have to change the way you re driving to accomodate it. Save each iteration of your setup so that you can go back to it later if you decide that a whole direction you were going with the setup doesn t work (and that will happen). Also, don t consider a setup change to be an improvement unless you can actually produce a better lap time with it. I find it can be easy to just judge a setup change to feel better . But this can be deceptive because feeling better may just mean easier for you to drive and can easily be slower overall. Let me know if you found this guide helpful. I write up these materials to aid the Corvette community in general and promote participation for this awesome car. The more drivers it helps, the more motivated I am to write more of this stuff.
https://w.atwiki.jp/rockband/pages/162.html
項目数：62 総ポイント：1250 大概はMY GOALで解除条件の確認が出来る Live Free or Die The Perfect Drug Is This Just Fantasy? Triple Awesome Drum Roll, Please! Well Connected You Ain't Seen Nothing Yet Bass Streaker Keys Streaker Rock Band Master / Rock Band Legend / Rock Band Immortal Drum Trainer Initiate Drum Trainer Graduate The Endless Setlist III Dave Grohl Band Shameless Self-Promotion Face Melter Just Another Band Out of Boston Mercurial Vocalist Pro Keys Graduate Tune Up Calibrate your audio/video setup for the optimal Rock Band 3 experienceキャリブレーション設定をする 4G Self-Made Dude or Lady Create a Characterキャラクターを作成する 5G Best. Name. Ever. Rename your band作成したBandに名前を付ける 5G Well Connected Connect your Rock Band 3 Band with rockband.com at http //www.rockband.com rockband.com/linkにアクセスする 6G You Ain t Seen Nothing Yet Maintain overdrive for 60 secondsoverdriveを発動して60秒間維持する 20G Millionaire Club Get 1,000,000 on one song1曲中に1000000点到達する 25G Rock Band Master 5 Star on Medium (or 3 Star on a higher difficulty) any 50 Rock Band 3 songsRock Band 3収録のいずれかの50曲を難易度Mediumで☆5を獲得またはHard以上の難易度で☆3を獲得する 25G Rock Band Legend 5 Star every song in Rock Band 3 on HardRock Band 3収録の全ての曲を難易度Hardで☆5を獲得 30G Rock Band Immortal 5 Star every song in Rock Band 3 on ExpertRock Band 3収録の全ての曲を難易度Expertで☆5を獲得 50G Alex s Luggage Combination Beat a Rock Band 3 score of 12,345,678Rock Band 3で累計得点が12,345,678点に到達 30G Hometown Threwdown Complete the "Hometown Throwdown" Road ChallengeHometown ThrowdownのRoad Challengeを完了する 20G Real Nor easter Complete "The Wicked Awesome Tour"The Wicked Awesome Tourを完了する 20G Hell Defrosted Win all rewards on the "Hell Freezes Over" Road ChallengeHell Freezes OverのRoad Challengeで勝利する 25G Wilderness Survival Complete the "Through the Wilderness, Eh?" Road ChallengeThrough the Wilderness, Eh?のRoad Challengeを完了する 20G Major Mileage Get 90 or more spades on "The Long Drive South" Road ChallengeThe Long Drive SouthのRoad Challengeで90以上のspadesを獲得する 25G Party Animal Completed the "Total Debauchery" Road ChallengeTotal DebaucheryのRoad Challengeを完了する 20G The Connoisseur s Connoisseur Get 90 or more spades on "The European Connoisseur" Road ChallengeThe European ConnoisseurのRoad Challengeで90以上のspadesを獲得する 25G Mile High Club Complete the "Really Frequent Flyers" Road ChallengeReally Frequent FlyersのRoad Challengeを完了する 25G Ultimate Road Warrior Win all awards on the "Really Frequent Flyers" Road ChallengeReally Frequent FlyersのRoad Challengeの全てのawardsに勝利する(？) 30G HOPO-cidal Maniac Kill 53,596 Hammer-ons and Pull-offsHammer-onsとPull-offsの累計が53,596回到達 25G Bleeding Fingers Get 85% on all Guitar Solos in Rock Band 3 on Hard or Expert難易度HardかExpertのGuitarでRock Band 3収録曲の全てのGuitar Soloで85%以上達成する 30G Guitar Perfectionist Get 100% accuracy on Expert Guitar難易度ExpertのGuitarで1曲を100%で弾き終える 25G Guitar Apprentice 5 Star on Easy Guitar (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsGuitarでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Bass Streaker Get a streak of 500 notes on BassBassでいずれかの曲中に500コンボ達成する 10G Most Authentic Strummer Hit 100% of the notes, only strumming up, on Hard Bass難易度HardのBassで1曲中アップピッキングのみで100％達成する 10G Bass Apprentice 5 Starred on Easy Bass (or 3 Starred on a higher difficulty) 25 Rock Band 3 songsBassでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Drum Roll, Please! Nail a drum rollDrum rollをする 10G Fastest Feet Hit 90% of the Kick notes in a song on Hard Drums難易度Hardかそれ以上のDrumでキックノーツを90％以上踏む Proドラムでの解除は不可 15G Drums Apprentice 5 Star on Easy Drums (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsDrumでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Keys Streaker Get a streak of 350 notes on Keyskeyboardでプレイし350コンボ達成する 15G Keys Apprentice 5 Star on Easy Keys (or 3 Star on a higher difficulty) any 25 Rock Band 3 songskeyboardでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Pro Bass Apprentice 5 Star on Easy Pro Bass (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsPro BassでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Drum Trainer Initiate Complete the introductory Pro Drum Trainer lessonsPro Drum Trainer lessonsを完了する 15G Drum Trainer Graduate Complete the final Pro Drum Trainer lessonsfinal Pro Drum Trainer lessonsを完了する 30G Play a Real Guitar Already! Play "The Hardest Button to Button" on Pro GuitarPro Guitarで"The Hardest Button to Button"をプレイする(？) 15G Pro Guitar to the Max Max out your Score Multiplier meter on Pro GuitarPro GuitarでMultiplier meterの倍率を最大にする 15G Power Chords Complete the "Power Chords" lessons in the Pro Guitar trainerPro Guitar trainerのPower Chords lessonsを完了する 15G Complex Chords Complete the "More Chord Holding and Arpeggiation" Pro Guitar lessonsPro Guitar trainerのMore Chord Holding and Arpeggiationを完了する 25G Pro Guitar Apprentice 5 Star on Easy Pro Guitar (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsPro GuitarでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G Pro Keyboardist Hit at least 90% of the notes in 3 songs on Expert Pro Keys難易度ExpertのPro keyboardでいずれかの3曲を90%以上で弾き終える 15G Pro Keys Graduate Complete the final Pro Keys trainersfinal Pro Keys trainersを完了する 25G Pro Keys to the Max Max out your Score Multiplier meter on Pro KeysPro KeysでMultiplier meterの倍率を最大にする 15G Pro Keys Apprentice 5 Star on Easy Pro Keys (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsPro KeysでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得、またはMedium以上の難易度で☆3を獲得する 20G Triple Awesome Get a Triple Awesome while playing with Vocal HarmoniesVocal Harmoniesの3人ハモリ部分でAwesome評価を獲得(一部分？) 10G Is This Just Fantasy? Nailed all triple awesomes in "Bohemian Rhapsody" on Medium or a higher difficulty難易度Medium以上のBohemian Rhapsodydeで全ての3人ハモリ部分でawesomes評価を獲得する 25G Vocals Showmanship Deploy overdrive four times in a single song as a vocalistVocalistで1曲中に4回以上overdriveを発動する 10G Tambourine Master Hit 100% of the notes in a percussion sectionvocalistでpercussion section(タンバリン部分)を100％叩く 10G Vocal Virtuoso Earn an Awesome rating on at least 90% of the phrases in 6 songs on Hard Vocals難易度HardのVocalでいずれかの6曲を90%以上歌い終える 15G Vocal Apprentice 5 Star on Easy Vocals (or 3 Star on a higher difficulty) any 25 Rock Band 3 songsVocalでRock Band 3収録のいずれかの25曲を難易度Easyで☆5を獲得またはMedium以上の難易度で☆3を獲得する 20G The Endless Setlist III Sucessfully complete "The Endless Setlist III!"The Endless Setlist IIIを完了する 50G Mercurial Vocalist Earn 5 stars on Vocals on a downloaded Queen songQueenのdownload SongをVocalで☆5を獲得する 30G Live Free or Die Beat all of the free downloadable songs for Rock BandRock Bandの全ての無料配信曲をプレイする 25G Downloader Play a downloaded songdownloaded songをプレイする 20G Fistful of Awesome Beat 5 downloaded songsdownloaded songを5曲プレイする 15G Accountant s Dozen Beat 12 downloaded songsdownloaded songを12曲プレイする 15G Decent Collection Beat 20 downloaded songsdownloaded songを20曲プレイする 15G I Want It All Play a downloaded Queen songQueenのdownloaded songをプレイする 15G Shameless Self-Promotion Download and play three songs from a band that has Harmonix team members in itHarmonix team memberが居るバンドでDownload Songを3曲プレイする 15G Just Another Band Out of Boston 5 Star any Boston songBostonのいずれかの曲で☆5獲得する 15G Face Melter Melt faces by beating any three 80s Metal songsいずれかの 80s Metal songsを3曲プレイする 25G Dave Grohl Band Beat 5 songs from any band that has had Dave Grohl as a memberDave Grohlがバンドに居る状態で5曲プレイする 30G The Perfect Drug Get a 200 note streak on "The Perfect Drug"NINのThe Perfect Drugで200コンボする 30G Dave Grohlは元Nirvanaのドラマー、現Foo Fightersのボーカル・ギター The Perfect DrugはNine Inch Nailsの曲 2008/2/26 Nine Inch Nails Pack 01(440MSP)にて配信 Singleで購入すると160MSP/$1.99 Live Free or Die 無料で配信されている曲全てをプレイするのが解除条件だが、以下の4曲が条件となっている GLaDOS - Still Alive Vesuvius - Promised Land Stephen and the Colberts - Charlene (I m Right Behind You) Miranda Cosgrove - Headphones On The Perfect Drug パート条件が記載されていないがドラムパート限定 難易度Easyからの解除報告あり Is This Just Fantasy? 難易度はMediumかそれ以上で34個のトリプルハーモニーを成功させる マイクは3本必要! トレーニングモードからハーモニーパート2つの音声を抜き出し合成させるのが手っ取り早いかも？ 外人によるハーモニーサポートファイル(不完全な部分あり？) Brown/Orange http //www.megaupload.com/?d=5C9TLE88 Blue http //www.megaupload.com/?d=BX644FQT 参考にこちらも 上記の物で解除検証中 報告求む Triple Awesome 最低マイク2本必要 曲は3人ハーモニーのであれば何でもOK Green Day Rock Band をエクスポしてあれば21st Century Breakdownが簡単かも Drum Roll, Please! 難易度エキスパート限定 RB3の曲では以下の曲で出現する NoFail有りでOK 25 or 6 to 4 Beast and the Harlot Bohemian Rhapsody Caught In a Mosh Cold As Ice Foolin I Feel Good Lasso Llama Low Rider Roundabout Space Oddity Stop Me If You Think You ve Heard This One Before Walking on the Sun Well Connected リンク開始 MENU→OPTIPNS→EXTRAS→ACCOUNT LINKING CODEから表示されるコードとゲームタグをhttp //www.rockband.com/linkにて入力 その後曲をプレイするなどしてサーバに接続するか再起動してサインインしなおすと解除される 公式サーバーが未だ不安定なので解除出来ない例もあり その場合は時間をおいて再度登録してみましょう You Ain t Seen Nothing Yet overdriveを60秒維持する 多人数でオーバードライブを切らさないように交互に使って維持すれば簡単。 ヴォーカルとドラムは特定の箇所でしかOD発動出来ないので注意 Bass Streaker ベースで500コンボする ストラムはUP＆DOWNでおｋ Keys Streaker 難易度EasyのAntibodiesで解除可能 Rock Band Master / Rock Band Legend / Rock Band Immortal 1種類の楽器ではなく、他の楽器と混同しても問題ない 進行度はmain menu Career My Goals Rock Band Epic Rock Band 3 Rock Band Masterで確認出来る Drum Trainer Initiate 11/1現在 Rock Band 2のドラムとProシンバルの拡張セットが無いと解除不可 MIDIアダプタ発売後はエレドラでProドラム対応(?) 3つのセクションを完了すると解除 Introduction To The Kit (5 lessons) Basic Beats (5 lessons) Basic Fills (10 lessons) Drum Trainer Graduate 11/1現在 Rock Band 2のドラムとProシンバルの拡張セットが無いと解除不可 MIDIアダプタ発売後はエレドラでProドラム対応(?) 3つのセクションを完了すると解除 Advanced Techniques (22 lessons) Advanced Beats (40 lessons) Advanced Fills (15 lessons) The Endless Setlist III 収録曲全てを1度にプレイするRB伝統のセットリスト 全て終えるのに6時間以上かかるが途中休憩をとってもお咎め無し RB1,RB2と違い最初からプレイ可能 main menu Career My Goals Rock Band Epic Rock Band 3 クリア後にアイコンがもらえないとか… 難易度指定は無くNo-fail使用可能報告あり Dave Grohl Band My Goalsから確認 以下のいずれかの5曲をプレイすると解除 Foo Fighters—All My Life Foo Fighters—Best of You Foo Fighters—DOA Foo Fighters—Doll Foo Fighters—Enough Space Foo Fighters—February Stars Foo Fighters—Hey, Johnny Park! Foo Fighters—I ll Stick Around Foo Fighters—onely As You Foo Fighters—Monkey Wrench Foo Fighters—My Poor Brain Foo Fighters—New Way Home Foo Fighters—The Pretender Foo Fighters—See You Foo Fighters—This is a Call Foo Fighters—Times Like These Foo Fighters—Up in Arms Foo Fighters—Walking After You Foo Fighters—Wheels Foo Fighters—Wind Up Foo Fighters—Word Forward Garbage—Why Do You Love Me Nine Inch Nails—Burn Nine Inch Nails—Capital G Nine Inch Nails—The Collector Nine Inch Nails—Last Nine Inch Nails—March of the Pigs Nine Inch Nails—The Perfect Drug Nirvana— About a Girl Nirvana—Blew Nirvana—Breed Nirvana—Come As You Are (Live from MTV Unplugged) Nirvana—Lithium (Live at Reading) Nirvana—Lounge Act Nirvana—On A Plain Nirvana—Polly Nirvana—School Nirvana—Smells Like Teen Spirit Nirvana—Something in the Way Nirvana—Stay Away Nirvana—Territorial Pissings Queens of the Stone Age—3 s and 7 s Queens of the Stone Age—Little Sister Queens of the Stone Age—Sick, Sick, Sick Tenacious D—The Metal Tenacious D—Tribute Them Crooked Vultures—New Fang Shameless Self-Promotion My Goalsから(ry 以下のどれかをプレイ Bang Camaro—Bang Camaro Bang Camaro—Blood Red Rock Bang Camaro—Nightlife Comando Bang Camaro—Push Push (Lady Lightning) Bang Camaro—Revolution Bang Camaro—Rock Rebellion Bang Camaro—Swallow The Razor Count Zero—Shake Father Octtopus—Blink Freezepop—Get Ready 2 Rokk Freezepop—Less Talk More Rokk Freezepop—Science Genius Girl Freezepop—Sprode Honest Bob and The Factory-to-Dealer—Entangled Megasus—Megasus Shaimus—All of This Shaimus—Like A Fool Shaimus—Tie You Down Tijuana Sweetheart—No Mercy Tijuana Sweetheart—Trash Candy Face Melter いずれかの 80s Metal songsを3曲プレイする Anthrax—Among The Living Anthrax—I m the Man Anthrax—Indians Anthrax—Madhouse (Live) Anthrax—Metal Thrashing Mad (Live) Dio—Holy Diver Dio—Stand Up And Shout Iron Maiden—2 Minutes to Midnight Iron Maiden—Can I Play with Madness Iron Maiden—The Clairvoyant Iron Maiden—The Number of the Beast (Cover Version) Iron Maiden—The Number of the Beast (Original Version) Iron Maiden—Powerslave Iron Maiden—Run to the Hills (Original Version) Iron Maiden—The Trooper Iron Maiden—Wasted Years Judas Priest—Bloodstone Judas Priest—Devil s Child Judas Priest—Fever Judas Priest—The Hellion / Electric Eye Judas Priest—Pain and Pleasure Judas Priest—Riding on the Wind Judas Priest—Screaming for Vengeance Judas Priest—(Take These) Chains Judas Priest—You ve Got Another Thing Coming Megadeth—Bad Omen Megadeth—The Conjuring Megadeth—Devil s Island Megadeth—Good Mourning / Black Friday Megadeth—I Ain t Superstitious Megadeth—My Last Words Megadeth—Wake Up Dead Metallica—…And Justice for All Metallica—Blackened Metallica—Ride the Lightning Ministry—Stigmata Ministry—Thieves Motorhead—Killed By Death ‘08 Motorhead—We Are The Road Crew ‘08 Motley Crue—Don t Go Away Mad (Just Go Away) Motley Crue—Dr. Feelgood Motley Crue—Kickstart My Heart Motley Crue—Rattlesnake Shake Motley Crue—Same Ol Situation (S.O.S) Motley Crue—She Goes Down Motley Crue—Slice of Your Pie Motley Crue—Sticky Sweet Motley Crue—Time for Change Motley Crue—Without You Ozzy Osbourne—Crazy Babies Slayer—Black Magic Just Another Band Out of Boston Bostonのいずれかの1曲で☆5獲得する パート、難易度問わず Foreplay/Long Time Hitch A Ride More Than a Feeling Peace of Mind More than a Feeling Rock and Roll Band Smokin’ Something About You Mercurial Vocalist Queenのdownload Song1曲をVocalで☆5を獲得する 難易度問わず Lego Rock BandのWe Will Rock YouとWe Are The Championsでは解除されないので注意 Another One Bites The Dust Crazy Little Thing Called Love Fat Bottomed Girls I Want It All I Want To Break Free Killer Queen One Vision Somebody to Love Tie Your Mother Down Under Pressure Pro Keys Graduate 1音弾く度にスタートボタンを押し、次に弾くノーツの確認が出来たらポーズをキャンセルする 少し譜面が戻るのでタイミングに注意して次のノーツを弾きスタートボタンを押す これを繰り返すだけで簡単に解除出来る 難易度HARD ギターで解除確認しました。 -- The Endless Setlist 3 (2010-11-08 17 09 25) 解除報告 コメント
https://w.atwiki.jp/nanohass/pages/2410.html
【LYRICAL PSYCHIC FORCE StrikerS】 ♯EPISODE：1-1 □■□■□ ━━赤い、朱い、緋い、赭い。 あの時、あたし━━スバル・ナカジマはまだ小さく幼くて、 自分が何に巻き込まれたのかも良く解らずに焔が周りを破壊的に彩る中を、 一緒に来た筈のはぐれてしまったお姉ちゃんやこれから逢いに行く筈だった お父さんに助けて貰いたいと一婁の望みに縋って二人の姿を探しながら、 只泣きじゃくって彷徨い歩いていた。 翼の生えた大きな女性のモニュメントが中央に飾られたガレリアに差し掛かった時だったろう、 横手から突然生じた爆発に煽られてあたしはその余波に吹き飛ばされて、悲鳴を挙げながら 抗う術も無く床に転がされた。 「……いたいよぅ…あついよぅ…ひっく…こんなのいやだよぅ… ひっく…かえりたいよぅ……」 その時のあたしは、只々今自分が置かれていた状況を否定して、そうすれば自分は助かると 言わんばかりにその言葉に縋ろうとしていた。それが例え只の逃避に過ぎなかったとしても。 「━━すけて…ひっく…だれか、たすけてぇ」 そうしてあたしが泣いて絶望して諦め掛かった時に、あたしは正面の焔の向こうに 人影を見掛けた様な気がして、両膝を着いて蹲りつつも自身の右手の甲で涙と一緒に 目を擦りながら改めて正面に視線を遣ると、確かにそこには焔の向こうに 一人の男の人が佇んでいた。 派手な柄のスーツを羽織り、馬の尻尾の様に襟足で括った癖の無い長い黒髪を 炎熱に煽られた熱風に棚引かせたその長身の男の人は、向こうもあたしに気付いているらしく 丸いレンズの眼鏡越しに覗く眼差しは真っ直ぐにあたしを見据えていた━━様な気がした。 その男の人の口許に僅かに浮かんでいた笑みに何か怖くて厭なものを直感で感じて、 あたしは最初は声を掛ける事に少し尻込みしてしまったけど、漸く救いの手を見付けたと思ったあたしは 最後の気力を振り絞って必死の叫びを放つ。 「……おじさん、おねがい━━あたしをたすけてぇっ！！」 そのあたしの叫びと同時に、それまでの火災や爆発の余波で根元が脆くなったと思われる 翼を生やした女性のモニュメントが倒壊して、あたしに向かって倒れ掛かって来た。 倒壊の音と投げ掛けられる影に気付いて振り向いたあたしの視界は、 迫るモニュメントで埋め尽された。 （たすからないっ！？） 瞬間的にそう悟って両目を瞑って顔をモニュメントから背けて 再び蹲ったあたしの耳に、男の人の方から落ち着いた感じの声が響いた。 「━━時(とき)よっ！」 ……そして気が付くと、あたしはモニュメントに潰される事も無く無事だった。 ゆっくりと見上げると、倒壊したモニュメントは桜色の魔力の 幾つもの輪に絡め取られて倒れ掛かる途中で静止していた。 「━━……良かったぁ、間に合ったぁ。助けに来たよ」 空中で静止したモニュメントの更に斜め直ぐ上からあたしに向けて息を切らせながらも そう声を掛けてくれる、明茶色の髪を頭の左右で白い大きなリボンで括ってツインテールにして 白地に蒼と金のラインをあしらったバリアジャケットにその身を包んで左手にはまるで錫杖の様な デバイスを携えたその女の人の魔導師は、あたしの傍に降り立つとこちらを安心させようと 優しく微笑み掛けながら声を掛けて来る。 「良く頑張ったね、偉いよ。わたしが駆け付けた時にモニュメントが 空中で少しの間だけ止まってたけど、あれは貴方が？」 それを聞いて、あたしは頭にはてなマークを浮かべてぽかんとした顔で相手の魔導師の女の人を見上げていた。 ━━あたしにそんな力は無いし、そんな事を願う隙も無かった。 そんな時、あの焔の向こうに佇んでいた男の人が脳裏を横切る。 （あのひとがなにかしてくれたんだ！ そうだ、このおねえさんに あのおじさんのこともはなして、いっしょにたすけてもらわなきゃ！） そう考えたあたしは男の人が居た辺りに顔を向けたけど、 そこにはもう誰の人影も見当たらなかった。 魔導師の女の人はあたしの仕草に多少怪訝そうに小首を傾げたけど、 あたしが見た先に自分も視線を向けて誰も居ない事を確認すると、 気を取り直して次の行動に移ろうとする。 「もう大丈夫だからね、安全な場所まで一直線だから」 そう言うと魔導師の女の人はデバイスの先端を一度天井に向け、 掲げられたデバイスの宝玉が自ら輝き光を明滅させながら電子音声の台詞を放つ。 『Upward clearance confirmation.(上方の安全を確認)』 そのデバイスからの声を受けた魔導師の女の人は、 デバイスを一振り下ろすと自身の足下に二重円の内に八芒星を重ねた ミッドチルダ式の魔法陣を桜色の魔力光で描き展開する。 『A firing lock is cancelled.(ファイアリングロック、解除します)』 「一撃で地上まで抜くよっ！」 『All right.Lord cartrige.(了解。カートリッジ装填)』 魔導師の女の人の呼び掛けにそう応えたデバイスの杖頭の付け根辺りのパーツが 二回スライドしてその度毎に開く穴から空になったカートリッジが排筴されて、 次いでデバイスの杖頭の付け根辺りから三方に桜色の魔力光の羽根が展開される。 その時の魔力光の羽根の欠片がに舞い散る様は、今もあたしの瞼に焼き付いている。 そして、デバイスから『Buster set.』と云う声に応えて、魔導師の女の人は 再びデバイスを両手で掲げてその先端を天井に向けて腰溜めに構え━━ 「ディバイィーン…バスター！」 デバイスの先端を取り巻く三段の桜色の魔力円帯の内に生じた 同じく桜色の丸い魔力塊が瞬時に膨れて、そこから膨大な太さと威力を持った 砲撃魔法が放たれていとも簡単に何階層もの空港の天井を撃ち貫く。 ……それらの光景に茫然としていたあたしが次に気が付いた時には、 あたしはその白い魔導師のお姉さんに抱き抱えられて一緒に夜空を飛んでいた。 魔導師のお姉さんは念話で誰かと連絡していてその時はあたしからは話し掛けられなかった けれど、焔の中から助けだして貰って連れだして貰ったあたしの視界に映った 満天に星が散りばめられた広い夜空と、焔の熱で熱っていたあたしの頬を優しく撫でてくれる 冷たい風と、温かく抱き締めてくれるその女性(ひと)の手の温もりは、 今でもあたしは鮮明に覚えている。 そしてわたしは後に知る。 あの火災は空港全体に及ぶ程の大規模だったもので、 あたしを助けてくれたあの女性(ひと)は “高町なのは”と言う名前の時空管理局魔導師だと云う事を。 ━━助けてくれたあの女性(ひと)は、強くて、優しくて、格好良くて。 泣いてばかりで、何も出来ない自分が、情けなくて……。 あたしはあの時、生まれて初めて、心から思ったんだ。 『泣いてるだけなのも、何も出来ないのも、もう嫌だ、って ━━強くなるんだ』って……。 ……けど、何でだろう？ 今の今まで、あの焔の向こうに佇んでいた男の人の事を あたしが忘れていたのは……。 □■□■□ 「━━スバル、あんまり暴れてると、試験中にそのおんぼろローラーが逝っちゃうわよ」 何処ぞの廃墟らしいビルの屋上で虚空に向かってパンチやキックを放ってウォームアップしていた “スバル”と呼び掛けられた少女は、馳ていた思い出をその呼び掛けを切っ掛けに精神集中と共に解き、 ウォームアップも切り上げて自分を呼び掛けて来た主に向き直る。 羽織った白地のパフスリーブ半袖ハーフジャケットの下は ハイネックの黒地に水色ラインのチューブトップにジーンズのホットパンツと 肘膝のサポーターだけのスバルの立派な胸や露になっているお腹とおへそや太股は 中々輝かしい健康美を醸し出しているが、その両脚に履くローラーブレードと 右腕を手先から肘手前まですっぽりと被う黒鉄色に鈍く輝く大きなギアを組み込んだ 手甲型デバイス“リボルバーナックル”、そしてトレードマークの如く額に巻いていて 明るい黒髪ショートヘアの後ろ頭でリボンの様に括っている風に棚引く白い長鉢巻きが、 スバルの健康美よりも先に周囲の視線を集める物々しさを醸し出している。 「うぇ～ん、ティア～嫌な事言わないで～。ちゃんと油も差して来た～」 僅かに機嫌を損ねた様に応えつつ軽く伸脚屈伸を始めたるスバルに対し、 ティアと呼ばれたスバルの傍らの少女は手にしている拳銃型デバイス “アンカーガン”の中折れさせ露にした薬室にカートリッジを込めたり、 自身の左腕に小さな空間ディスプレイを浮かべて腕時計の様に時間の確認をしたりして スバルに応える素振りは欠片も見せなかった。 こちらもスバルの様なストレートスリーブ半袖ハーフジャケットを羽織っているが、 その下は黒地に緋のツートンカラーのインナーシャツと一体型のミニスカートに 身を包み、白いハイニーソックスと黒いブーツを履いて両手は薄手の黒い手袋を嵌めていて、 スバルと比べるとおとなしめな格好に見えるが、頭の左右でツインテールに括った 明るいオレンジ色の髪と少々強気を帯びた絶妙なバランスのツリ目が一際周囲の目を惹きそうな 感じを醸し出している。 とまぁ、そんな感じに二人の間に遣り取りが交されたが、そこは陸士訓練校の頃から 長年コンビを組んで来た二人で在る。スバルの方は一向に気にせず伸脚屈伸を続ける。 と、突然にスバルとティアナの斜め前の頭上に1DKのアパート部屋並みの大きさの 空間ディスプレイが展開され、そこに癖無く流れる白銀のロングヘアも艶やかな つぶらな瞳の可愛らしい陸士制服姿の少女がバストアップで大きく映し出される。 スバルとティアナが揃って見上げると、画面の少女は明るく挨拶して スバルとティアナの点呼を取った後に二人の時空管理局内での所属階級と 二人がこの場に居る理由を確認口調で問い、二人が元気良く間違い無い事を返すと 画面の少女も自身の姓名階級と自身の役目を二人に向けて述べ、 スバルとティアナは敬礼を以て返事を返す。 「━━本日のおふたりの陸戦魔導師Ｂランク昇格試験の試験官を務ますのは、 わたくし、リィンフォース・ツヴァイ空曹長です！ 宜しくですよー♪」 「「宜しく御願いします！」」 □■□■□ 「━━おぉ、早速始まっとんなぁ。リィンもちゃんと試験官しとる」 スバルとティアナが空間ディスプレイ越しにリィン試験官に敬礼を返している上空、 白い機体の幹部輸送用ヘリの側面のスライドドアを開け放して、陸士制服姿のはやてが 下の様子を眺めて微笑ましく笑みを浮かべる。 「はやて、ドア全開だと危ないよ。モニターでも見られるんだから」 そんなはやてに、後ろから別の女性から声が掛けられる。 「はぁい」と応えて顔を振り向かせたはやての前には、 艶やかな金髪を開け放たれているドアから吹き込む風に乱されぬ様に 右手で押さえている鳶色の瞳の美女が、二つ有る内の今のはやてから見て 奥側のシングルシートに着いていた。 彼女は、フェイト・Ｔ(ﾃｽﾀﾛｯｻ)・ハラオウン。 はやての十年来の幼馴染みで在り、今は時空管理局本局所属の執務官を務めており ━━そして、二人の共通のもう一人の親友と共に幼い頃から今に到るも仲良し三人組で 遣って来た内の一人で在る。 こちらは、はやてとは違う黒地に白ラインをあしらった次元航行士官の女性制服に身を包んでいる。 「それにしてもフェイトちゃんも何て言うか、忙しいんやねぇ」 直ぐ横手に有るボタンを押して開放していたドアを閉めたはやては、 振り返って自分のシートに着きながら軽く労う様にフェイトに話し掛ける。 「本当なら今頃はフェイトちゃん、空港にフェイトちゃんの呼んだ子達迎えに行ってた筈なんやろ？」 「うん、まぁ…そうなんだけれどね」 応じるフェイトは、少々困り気を交えた微笑みを浮かべてはやてに声を返す。 「……私が追っている次元犯罪者の捜査に関して、もう一人の捜査員から新しい進展の情報が 齎されたから至急地上本部に来て欲しいって連絡が来たから、何よりも優先して駆け付けたんですもの。 今から空港へ向かってもあの子達を長く待たせてしまって悪いわ。けど、丁度会えたはやてを通じて シグナムにあの子達の御迎えを御願い出来たのは幸運だったわ。有難う、はやて」 自分の席に着いて空間ディスプレイとホログラフ・コンソールを展開しているはやてに向けて、 フェイトは柔らかく微笑みつつ感謝の言葉を述べ、薄暗い席室内に唯一灯った空間ディスプレイや ホログラフ・コンソールからの照りを受けるはやてもそれに微笑みで返す。 「ええんよ。丁度殆んど同じ時間に、時空管理局の本局に遣いに出してた シグナムが帰りに乗る便が空港に到着するかんな。序での出迎え位、シグナムなら 連絡した機内で快く引き受けてくれたで。フェイトちゃんからの御願いやとも言うたら、 何や余計張り切って受けとった感じもしたけどなぁ」 その時のシグナムと云う人物との遣り取りを思い出したのだろう、 くすくすと思い出し笑いを洩らすはやて。 そんなはやての様子を見て少々きょとんとしながらも、気を取り直して はやてが開いた空間ディスプレイに顔を向けるフェイト。 「━━けど、あの子達が来る日時が決まってから此方の試験の開催日時が決まって、 その結果として偶然予定が重なってしまったから本当なら諦めてたこの試験に立ち会えたのは 都合が良くなったわ。あの子達にはこの後直ぐに会えるけれど、この試験は見逃したら 同じ事をもう一度━━なんて言えないからね」 先刻までのくすくす笑いを収め、ホログラフ・コンソールを操作して 地上のスバルとティアナを空間ディスプレイに映し出させたはやては、 その動画像に視線を注ぎつつフェイトに応じる。 「まぁ、その子達がこっち来る日程とこの試験の日程とは 別々んトコが決めてるさかいな、そう云う不都合な偶然が有ってもしゃあないわ」 困った様な微苦笑を浮かべるはやて。 そんなはやての様子を横目で認めつつ、手を伸ばしてホログラ・フコンソールを 操作して副情報を表示するサブの空間ディスプレイを数枚展開させながら フェイトははやてに話し掛ける。 「━━この二人が、はやての見付けた娘達だね？」 「うん。二人共、中々伸び代が有りそうな良ぇ素材や」 興味から生じる愉しみへの期待感を露にしつつフェイトに応えるはやて。 続けてフェイトがはやてに問い。 「今日の試験の様子を見て、行けそうなら正式に引き抜き？」 「う～ん…直接の判断は、なのはちゃんにお任せしてるけどなぁ」 「そっかぁ」 フェイトに顔を向けて少し考えながらの はやてからの応えに、簡潔に納得するフェイト。 そして、モニターとして稼動している空間ディスプレイに再び向き直り、 そこに映るスバルとティアナに視線を注ぎながらはやては嬉しげに宣言する。 「━━部隊に入ったら、なのはちゃんの直接の部下で、教え子になる訳やかんなぁ」 □■□■□ スバルとティアナが試験開始に向けて準備を進め、 はやてとフェイトがヘリ上からその二人をモニター越しに観察しているのと同じ時刻、 と或る廃ビルの一室では白地に紺ラインのアクセントを彩ったタイトスカート姿の 制服に身を包み、明茶色の長髪をサイド・ポニーテールにした一人の女性━━高町なのはが ぽつんと佇み、正面の大きな天窓から射し込まれる陽光の下で目の前に開いた空間ディスプレイの アイコンを操作して幾つもの何かをチェックして行く。 ディスプレイに映された情報群を見るに、それがスバルとティアナがこれから受ける 魔導師ランク昇級試験のコースやターゲットの最終確認で有ろう事は間違い無い。 リィンと共に今回の試験官を務める彼女としては、試験が滞り無く進むよう、それでいて 想定難易度に誤りが無い様に入念に黙々とチェックを進めて行く。 『━━These is no life response within the range. There is no dangerous object either. (範囲内に生命反応、危険物の反応は有りません)』 と、なのはの胸元から理知的で落ち着いた感じの電子音声が、 コースとなる廃棄都市内部の走査の状況をなのはに伝える。 『…Check of the course was finished.(コースチェック、終了です)』 「……うん、有難う、レイジングハート」 なのはの首から提げられた胡桃大の紅珠━━なのはのデバイスで在り、 なのはが魔法に目覚めた切っ掛けを与えてくれて以来から続く付き合いになる 相棒たる“レイジングハート”は、自身からの発光の明滅と陽光にその身を煌めかせつつ 走査完了をなのはに告げると、信頼篤い響きでなのはもレイジングハートに応える。 「━━観察用のサーチャーと…障害用のオート・スフィアも設置完了。 私達は、全体を見ていようか」 『Yes,my master.』 レイジングハートと打ち合わせをしながらも、これから試験を受けるあの二人が どの様に障害をクリアして行くのかを様々に想像して、なのはの口許に快く愉しげな微笑みが浮かぶ。 そして、モニターの画像を広範囲観察モードに調整しつつ、なのはの眼差しは スタート地点に立つスバルとティアナが映る一画面に自然と注がれる。 ━━だが、なのはとレイジングハートは大きな見落としをしていた。 二人はあくまで「試験コースとその周辺の地表部分」までしか走査しておらず、 また時空管理局仕切りの試験で有るのだからそれ以上への注意は意識過剰と思っていた。 その為、走査の目を向けなかった空間━━廃棄都市区画・地下水路に蠢く “害意”達の存在に気付けてはいなかった。 ……そして、運命の魔導師ランク昇級試験の開始が迫る━━。 戻る 目次へ 次へ
https://w.atwiki.jp/youge_wiki/pages/36.html
LAN LANへの接続の仕方 必須： HUD_Connection_Analysis Bypath_Monitor Ver5.0 Bypath_Proxy Ver5.0 Bypath_Firewall Ver5.0 HUD_LAN_Viewer 50000c LAN_SCAN Ver3.0 LAN_Probe Ver3.0 LAN_Spoof Ver3.0 Breake_password Ver1.0 Voice_Analaysis Ver1.0 Encypehr Ver3.0 それ相応のChain構成後、LANへ接続 Lan_Scan実行 表層の機器が見える。 Lan_probeで、空白の解析 表層から外せるLockをLan_Spoofで外す 再度、Lan_Probeで解析できる箇所がないか見極める。 LANの構成に応じて、Terminal、AutheticationPC、VaildPCを Hacking 場合に応じて、Terminalからの再侵入をしつつセキュリティーを解除して MainServerまで辿り着く。 MainSereverで仕事して終了。 LAN_SpoofとLAN_Force LAN_SpoofとLAN_Forceをどちらを買うべきか と問われれば迷わず、Spoofです。 気づかれてもなんとかなるは、LAN上では通用しません。 SysAdminが気づいた場合、追跡完了よりも強制切断に なり、にっちもさっちもいきません。どんなにChain しようとも、LAN上では、70sec程度で追跡が完了 する場合が多く、作業できる時間はわずか２０秒程度 このことから、気づかれないというのが非常に 重要になってきます。 LANConnect FAQ LANのRouter自体に繋いだ時点では、Traceされない。 Probeを打ち込んだだけでも、気づかれない。 一度Probeで探知したネットワーク機器は既知となる。 Smaple LocalAreaNetwork 127.432.543.123 LAN_SpoofとLAN_Force 参考： Lan Hacking Guide 1. Have LAN_Scan, LAN_Probe, and LAN_Spoof. Also required (these should be obvious, but I ll list just in case), are The highest versions of Password_Breaker (for terminals and pretty much everything else), Decypher (For Elliptic-Curve on Authentication Comps, and I belive Isolation Bridges), Monitor/Proxy Bypass to keep the admin off your butt while you are hacking everything except the main server, IP_Lookup for any modem numbers you run accrss, and have the Administrators voice-print ready for playback on your voice-analyzer if you plan on hitting the Main server. 2. After Logging in to the LAN (the bounce right before the LAN should be a "trusted" connection, basically one that is the same company as the LAN), run your LAN_Scan program adn click the scan button on teh program to Scan as many Devices as you can. 3. After Scanning, go through and LAN_Probe every device you see, or every black box with white outline. Start with the ones closest to your connection and move outward. 4. Now is a good time to slap on your Monitor and Proxy bypasses, just in case. 5. Connect step by step to each device. For example, click on the hub, hit connect, click on the terminal, hit connect. THere may be a faster way, this is just the way I do it. 6. Hubs/Routers/Switches - Look like boxes with a bunch of light sand buttons on them, no security just connections. 7. Terminals - Look lik elittle computers, Password-Required Security. Make sure to note any Radio frequencies or Modem Numbers on any Terminals you hack, be sure to write them down. 8. Locks - Look like small blue diamonds with a Padlock icon on them. By default they are enabled, so they well block LAN_Probes until they are disabled. The status of these are controlled by Authentication Comps and Isolation Bridges. 9. Authentication Comps - Look like big computers, with a padlock icon on them. Password and Elliptic-Curve Security. When clicking on them, the lock it controls is highlighted by a yellow box (one lock per Authentication Comp). Locks are enabled on Authentication Comps by default, but once disabled, will remain disabled (unless you re-enable them) after you log off (or even quit Uplink). 10. Isolation Bridges - Look like small blue boxes with three computer icons on them. To be honest I can t remeber the security on these, its either Password and Elliptic-Curve or none (Will check tomorrow morning). Isolation bridges contro the status of two locks. Here s the trick. Isolation Bridges are DISABLED by default. FOr them to have an affect, you have to ENABLE them (took me awhile to get that. . When enabled, it will switch the status of the two locks. For example, if LOCK1 is enabled and LOCK2 is disabled, enabling the Isolation Bridge will cause LOCK1 to become disabled and LOCK2 to become enabled. 11. Modems - Looks liek a telephone, allows external access of LAN. Often, phone numbers are found on computers for Modems. RUn IP_Lookup adn typ teh phone number in (*****-******), and click go. This will add the LAN to your bookmarks, and accessing form the new location will connect you to the phone. This is often used to access areas of the LAN not accessible from the main switch. 12. Wireless Networking Transmitters (or just Radio Transmitters) - Looks like a radio transmitter, can t get much mroe experienced than that. . Used to connect different areas of the LAN without wires. Frequencies for these transmitters are often found on Terminals. Just enter the frequency and click connect. 13. Main Server - Looks like a computer with a tower. Password Security, plus requires the Administrators Voice Authorization. Here comes the fun part. No matter what bypasses you have on, upon connecting to teh Main Server, the SysAdmin smells something fishy. He will log on shortly after accessing the Main Server (you will hear an alarm if you have your sound on), and he will start a trace shortly after. While some peopel say its a good idea to hit reset now, it generally semms like the trace starts and continues anyway, so I just keep going. (Don t close your Voice-Analyzer after using it the first time, you may need to log into the LAN again to finish the job). Onc eyou are in, the Main Server is basically any Mainframe you hack into. But be quick, the SysAdmin will not wait for th etrace to complete before booting you. The most time you can hope for is 30-40 or before being kicked, the least 2 or 3 seconds (At least this was my experience on the ARC LAN, the trac started with 120 seconds remaining, I was often booted before it hit 100). 14. Yellow Boxes Contoller - ANy item listed as a Controller governs the status of the item you have selected; generally found on Authorization Comps or Isolation Bridges when you have a Lock selected. Locks/Unlocks, Locks, Unlocks - THese boxes generally appear on Locks when you have an Authentication Comp or an Isolation Bridge Selected; it describes what functions they can perform on the locks. Valid Subnet - These often appear around Terminals when you have an item slected that performs some function (Authentication Comp, Isolation Bridge, Main Server, could be anumber of things). Anythign and everything listed as a valid subnet must be spoofed using LAN_Spoof. Be sure to leave LAN_Spoof open after spoofing each terminal. After you are done with whatever item required the Valid Subnets to be spoofed, you can close the LAN_Spoofs. Guarded by - I first noticed this whiel hacking the ARC LAN when I clicked the Main Server, the Guarded By box showed up on the three locks surroundign the Main Server. Basically it means you have to disable every lock before accessing the Main Server. 15. Other tips If for any reason you cannont connect to some item, such as a lock, terminal, Authentication Comp or whatever, check a few things. IF a lock is not disabled, you will not be able to connect to it. If you do not have all of an item s Valid Subnet s spoofed (make sure all of the LAN_Spoofs are still open), you also will no tbe able to connect. Items in the LAN you can t seem to get to GO step by step through each item in the LAN. Everytime you disable a LOCK, run LAN_Probe on it again to make sure you ve foun dall the paths. Also, IP_Probe only workes if you have awire connection to the item, so reuse LAN_Probe on the items tou can conenct to by wire to check for new openings. Also, if you have aradio transmitter o rmodem but no numbers, hack every terminal you can access adn write down anything you can find. If for some reason you are booted or have to disconnect, don t worry. All locks you disabled will still be disabled. Also, if fo rexample you had time to hack teh passwor don the Main Server (for example), but not the Voice-Print, upon loggin back on you will have the Passowrd already done (once both are completed they will reset after disconnecting). " On the question about the dead agent s e-mail, you have to connect to ARC s central mainframe through another ARC server (search for "ARC" on Internic). You don t have to worry about going through anything special, you can just make the bounce path look like "ARC Access Terminal- ARC Central Mainframe". Next, you d go into the user/password screen. Try logging in as the dead agent (his name and password will appear in the known password list) and disconnect. In exactly three days, ARC will send you the e-mail. On the "how to destroy a mainframe" question, the "cd log; delete" is unnecessary, as the active trace would have passed that point already. Skipping that saves about five seconds. I know how to set Uplink up for multimonitor, also, so you can complete the "multiplayer" question. What you have to do is start multiple copies of Uplink (you ll probably have to run them in seperate windows; full screen doesn t let you assign one instance to a display) with the main play window set up as the server. The other one or two windows should be set up as clients connecting to 127.0.0.1 (or localhost). From there, the two client windows should be set for either of the two status modes available. Finally, on the "disavowed" question, it s impossible to get your agent back. The second you are disavowed, your agent file is reduced to an extremely small file (usually less than 500 bytes) that only contain the reasons for your failure. Because of this, it s impossible to get back your agent file. Isn t Chris a bastard?
https://w.atwiki.jp/akinya/pages/44.html
The Landing Balloons are a type of generated vehicle that help the player to land on Mars without any fall damage. This vehicle spawns along the player upon entering the dimension. Once the player has entered Mars, the landing balloons attached to a parachute spawn involving the player and start to fall to the surface. For the first seconds, a parachute will help slow down the descend and then detaches. The landing balloons will carry the player down to the surface and then bounce a few times until they stop. The controls are quite limited, the player can roll and steer the balloons a little bit while moving. The player can exit the balloons by dismounting (shift-key or right-click). Once exiting, the player cannot mount anymore. Dismounting the landing balloons before they land and stop completely can lead to fall damage and death. Crafting Recipe They have no crafting recipe as they cannot be crafted. They are entities generated by the game. They are unobtainable on survival or creative mode, unless by cheat commands. Internally they are called EntityLandingBalloons. Usage Landing Balloons have their own inventory space which can be accessed by right-clicking the balloons. The inventory consists of the slots for the items transported by the rocket before entering the dimension, two slots to retrieve the rocket itself and Rocket Launch Pads and another slot to retrieve the remaining Rocket Fuel which can be collected with Empty Liquid Canisters. Even after exiting the balloons, the inventory can be used as a chest to store items. The landing balloons can be busted by punching or firing arrows. They will drop all the content except the fuel and itself. Trivia The landing balloons are based on the airbags used to land the real-life Opportunity and Spirit rovers on Mars.
https://w.atwiki.jp/flatline/pages/81.html
用語集_LOCK LOCKER御用達！(予定) LOCKER以外は聞いても得しないけど、LOCKをやる上で重要な用語なんかはここにバリバリじゃんじゃん書いちまおう！ オープンジャンプ |大きく垂直に跳んで開脚した状態に足を広げる技。その際手をつま先に向けて伸ばしたりする。 跳ぶ筋力と、足を広げるためのストレッチが重要。 か行 ガンマン |たぶんジャンプして両手で前にポイントすることだと思う。 キック |LOCKの場合は膝から蹴るのが大事！詳しくは先輩に聞こう！ 軌道(きどう) |LOCKの技は胸の位置を通すような軌道で出す技が多い。ドラム、ポイント、トゥエルなどがそれに当てはまる。 必ずしも通さなければいけないわけではなく例外もあるのだが、基礎としてこれができてないとみっともない。 大きく綺麗に見せるために大事なので要チェック！ キャメルウォーク 気を抜かない(きをぬかない) |用語集の方にあったのでこっちにも記載。LOCKにおいてかなり重要になってくる要素。 同じ技を多用するので、ひとつの技の見栄えの良さがムーブ全体の見栄えの良さに大きく関わるためである。 見た目のバランスに気を配ろう！ クラップ |セルフファイブとも言う。要は手を叩けばいい。 スタイリッシュに叩くも良し。ハッピーに叩くも良し。ファンキーに叩くも良し。 可能性(バリーション)は無限大！ クラブステップ |どのジャンルでもよく見かけるベーシックな技。 由来がディスコの方のクラブなのか、カニさんのほうのクラブなのかは知らない……。 さ行 た行 ダイブ |オリジナルロッカーズの誰だっただろうか……。 誰かがよく使ったこの技。ただ高く跳んでダイブするだけというシンプルかつ大胆な技である。 落ち方を膝から落ちるよう工夫しないと怪我しちゃうので注意！ ドンキャンベルロックウォーク |上の荷物を下に運ぶ動きに由来している。右上にブラッシュアップ→左下にロック この流れを何度か繰り返したりする。 な行 ナイフ |両手をまっすぐ上に！ その際手は指を閉じたパーでキレよく肘の位置は肩と同じ高さで直角に。 親指を離すとでかく見える……らしい。とにかく繰り返したり筋トレしてキレ良くするべし！ そうじゃないと某ヒップホッパーH氏のように切れることのないバターナイフに……。 ニーダウン |膝で落ちる技。膝パットが真価を発揮する。 ちなみに慣れると痛くなくなる。 ニューギター |ファンキーギターとは大きく異る動きになる。 しかし何気に腰の基本的な動きは変わっておらず、向きが違うだけ。 は行 ハンドシェイク |胸の位置で握手のように手を交わして、それを上にやったり。 ファンキーダック |ファンキーギターとステップはそのままに、背を向けておしりの位置で手のひらを上に向けてひらひら。 オリジナルロッカーズの紅一点、トニー・バジルがよく使った。 フォルクスワーゲン |ポンコツ車に乗っている様を表している。ギアを入れる素振りから跳ねる動きまで、オリジナルの意味合いを大事にしよう。 や行 ら行 ロッカーズタイムズステップ |ファンキーギター・ベビーシッター・ファンキーダックをする時の足の動き。 わ行