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Test Center - Patch 1.1 Notes (01/27/08)(01/30/08) Patch 1.1 Notes January 27, 2008 Stonehenge has launched and we’ve been busy cleaning up a handful of issues, as well as listening to the feedback from our players on the Stonehenge Chronicles. Thanks to everyone who has posted issues and suggestions. And in fact, you’ll notice that a lot of the fixes and features in this patch are linked to posts in our forums. When we’ve addressed something you’ve brought up, we want to acknowledge your contribution to the betterment of the game! See you online! The Hellgate London Team General All Guardians, Evokers, and characters on Subscription accounts will have one Skill Retrainer when logging in after this patch goes live.すべてのガーディアンとエヴォーカー、そして課金者の全キャラは、当パッチの導入直後にRespec item ゲット。 The timer and quest requirement have been removed from the mini-game.タイマーとクエストクリアのミニゲーム削除。 Fixed a bug where chat entry becomes visible in the Character Select screen after logging in and then logging out of the game.ログアウト直後に、キャラセレクト画面でチャットウィンドウが表示されることがあったのを修正。 Fixed a crash bug associated with exiting out of the Character Creation menu.キャラ作成画面からExitを選択するとクラッシュすることがあるのを修正。 Players that had beaten Normal mode with a character but then were unable to access Elite mode with a new character should now have access to that game mode by logging in once with the character that completed Normal Mode.Eliteモードが開放されない問題は、このパッチ導入後にNormalモードをクリアしたキャラでログインすれば、正常に機能するよう修正された。 Fixed a bug which caused audio and sound effects to sometimes stop playing.音関係が止まることがあったバグ修正。 (2008/01/30 追加) Party and PRD Portals created by a character in a group will now properly close when that character leaves the group.PPとPRDは、パーティを抜けると閉じる。 Monsters The Beast of Abbadon, Occulis, and Sydonai can no longer be exploited via re-spawn farming.Abbaddon/Occulis/Sydonaiは、もうファームできない。(即狩り・即popが出来ないということかな？) (2008/01/30 追加) The loot algorithm for Ash (Beast Caste General) has been adjusted to drop better items.Ashのドロップが良くなるようにLootアルゴリズムが調整された。 Stalkers and Burning Fiends are now part of the Beast caste (to balance a disparity of Essence drop rates between castes).StalkerとBurning Fiendは、EssenceをDropにバランスを持たせる為に、Beastの類になった。 (2008/01/31 追加) Fixed a bug which would sometimes prevent Oculis or the Furuncle from spawning properly.OcilusやFuruncleが正常に湧かないことがあったバグを修正。 (2008/01/31 変更) Errgoth(Demon Caste General) now does less damage.Errgothのダメージ減少。 User Interface Offline friends are now properly displayed in the Friends List.Offlineでもフレンドリスト登録者は表示される。 The “Player Requests” confirmation buttons have been reordered to [accept] [decline] [ignore].[accept] [decline] [ignore]のボタンを一度押しても、確認ボタンが出るようになった。 Skill Retrainers now have a confirmation dialogue to help players from accidentally using them.Skill Retrainerを間違って使用しても、確認ボタンが出るようになった。 (2008/01/31 削除(笑)) A new Japanese font has been added.新しい日本語フォントが入った。(想像だけど、日本語のアイテムの説明とかに使うのかな？) Items Armors with the "minion damage bonus" affix now work for the Engineer.Engの"minion damage bonus"が、正常に機能するようになった。 Restorative injectors are usable when either health or power is below the player’s maximum since they can help recover both health and power for the user.Restorative injectorは、ヘルスかパワーが減ってる時じゃないと使用できないようになった。(Restorative injectorは課金者専用箱の合成アイテムかな？知らんけどｗ) (2008/01/30 Generalから移動) Guild Heralds can now be sold back to merchants for full price.ギルド作成アイテムは、購入時の値段で返品できる。 (2008/01/31 追加) Increased the amount of Shields found on items and affixes, ramping up after level 10. Note that this change is not retroactive and will not apply to existing items; however, newly dropped items and existing items upgraded through the Nanoforge will receive the adjusted amount of shields.アイテムやAffixによるシールド値を増やすよう変更される。この変更は既存アイテムには適用されないが、アップグレードしたり新しくドロップしたアイテムにはシールドが適当な値に調整される。 Skills Increasing ranks of Drain Power now work properly at all power ranges.要するに正常に機能するようになった？これまで表示される％と同等には回復してなかったということかな。（ちょっと正確な意味が把握できない。) (2008/01/31 追加) Increased the amount of Shields granted by skills that provide Shields.SkillによるShield値が増加する。 Engineer Drones now come with a base armor rating.EngのDroneは、？意味不明。(Wirt s Legとか装備しても、Armor変わらないってこと？) Stonehenge Bug Fixes Players may now Recall or Party Portal out of the Hell s Heart level.Hell s Heartのポータルで外に出れるようになったよ。 Party Portal limitations have been removed from the Stonehenge levels.Stonehengeから出たら、ポータルはなくなるよ。 Stonehenge now appears as a destination on the Station Transit Terminal.StonehengeでTransit Terminalが目的地として表示されるようになった。 Stonehenge weapons can now have Mod slots.武器にModスロットが付いたよ。 The stash in Stonehenge now properly detects collision.まぁ、そういうことなんでしょう。 Fixed a blocking bug in the Essence Caves which prevented a portal into that specific Caste General s Lair from opening.ブロック(?)が邪魔して、Caste General s Lairが開けられなかったバグ修正。 Essence drop chance increased from 15% to 20%.Essenceのドロップ率が15%から20%に上がった。 Fixed rare cases where Essence Caves were not connected to the next level.次のレベルに繋がっていなかったごく稀に起こるバグ修正(笑）。 Fixed bad pathing around the Stonehenge wilderness huts.Stonehenge wilderness hutsの周辺の道が悪いから修正。 Fixed a bug causing additional Skill Retrainers to spawn when they shouldn t have. Duplicate Skill Retrainers should now be removed.Skill Retrainerが複製されていたバグ修正と既存の複製アイテムは削除。(大丈夫かよ・・・) Patch Notes Disclaimer While we make every effort to include all upcoming changes in our patch notes, please be aware that occasionally some changes are unintentionally omitted. ---- Community feedback is very important to us. Thank you all for participating on the forums and telling us both what you like about Hellgate London and what you think could be changed to improve it. (2008/01/31 追加) EDIT Updated for the patch loaded onto Test Center this evening. EDIT Retitled, patch loaded onto Live Servers this morning. --Scapes
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【Tags Miku Pinokio-P tM M】 Original Music title マッシュルームマザー English music title Mushroom Mother Romaji music title Masshuruumu Mazaa Music Lyrics written, Voice edited by ピノキオP (Pinokio-P) Music arranged by ピノキオP (Pinokio-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： Aaaah. There s a bizarre mushroom growing on the top of your freakin head. It s indeed a disgusting mushroom, which doesn t grow on the top of my head. It stirs up disgust in me, but it s ridiculously fun to fiddle with, so I let out an outburst of laughter from the bottom of my stomach. The mushrooms sprout up one after another. I don t want to be contaminated, so stay away. The stupid mushrooms shoot up one after another. Don t cry, or you ll end up releasing the spores. Yay! Yay! Mushroom. Your mom is a mushroom mother. Yay! Yay! Mushroom. Mushroom mother, mother. There re bizarre mushrooms spreading slowly in the streets. They re indeed disgusting mushrooms, which are completely hollow inside. I can t just have them thinking they re in control because they outnumber me, so with a flamethrower, I ll scorch them hot, burned, and melted. The mushrooms sprout up one after another. I m becoming used to their colors and stalks now. The stupid mushrooms shoot up one after another. I feel quite haughty in the center of the fairy ring. Yay! Yay! Mushroom. At the rate this is going, Yay! Yay! Mushroom. my prejudice has coagulated. Disgusting mushrooms are growing on my beloved you. A common sight now, mushrooms are growing on everyone s heads. The ubiquitous mushrooms turn their white eyes to me with sympathy. Because I don t have mushrooms growing on me, I m silly-looking and pitiful. The mushrooms sprout up one after another. I attached some fake mushroom replicas on me. I can now smile and have fun all I want around the mushrooms shooting up one after another. But, but, although I have my eyes turned away, I have come to my realization. Actually, what is hollow, what is insufficient, and what will fill "that" up... Yay! Yay! Mushroom. Your mom is a mushroom mother. Yay! Yay! Mushroom. Mushroom mother. Yay! Yay! Mushroom. This mushroom fever will never subside. Yay! Yay! Mushroom. Mushroom fever, fever. The conflict goes on. Different values come and go. The conflict goes on. Different values come and go. Romaji lyrics (transliterated by animeyay)： Aaaa kisama no atama ni haete iru shumi no warui kinoko atashi no atama ni haete nai kimochi warui kinoko ken o ni hakusha o kakete sara ni kokkei asobaseru no de hara no soko kara GERAGERA waraou nyokinyoki nyokinyokinyo kinoko ga utsuru kara chikazuku n ja nee nyokinyoki nyokinyo kinoko yarou nakuna houshi ga tobu kara ne yaai yaai MASSHURUUMU omae no kaachan MASSHURUUMU MAZAA yaai yaai MASSHURUUMU MASSHURUUMU MAZAA MAZAA chimata ni jiwaru habikotte ru shumi no warui kinoko nakami wa SUKASUKA karappo no kimochi warui kinoko kazu no ronri o kasa ni kita kanchigai wa totemo YABAI no de kaen-houshaki de MERAMERA moyasou nyokinyoki nyokinyokinyo kinoko no iro mo kara mo choushizuite nyokinyoki nyokinyo kinoko yarou wa no naka de funzorikaettari ne yaai yaai MASSHURUUMU sou shite atashi no sennyuukan wa yaai yaai MASSHURUUMU korikatamatta matta daisuki na kimi ni haechatta kimochi warui kinoko minna no atama ni haechatta atarimae no kinoko shiroi me mukete awarende ru atarimae no kinoko atashi wa hayashite inai kara baka de kawaisou na ko nyokinyoki nyokinyokinyo kinoko haezu ni REPURIKA tsukechatte nyokinyoki nyokinyo kinokotachi no temae herahera warattari ne demo demo me o somukenagara dandan kizuite iru jitsu wa karappo na no wa tarinai mono wa "sore" o mitasu no wa... yaai yaai MASSHURUUMU omae no kaachan MASSHURUUMU MAZAA yaai yaai MASSHURUUMU MASSHURUUMU MAZAA yaai yaai MASSHURUUMU itsu made tsuzuku no MASSHURUUMU FIIBAA yaai yaai MASSHURUUMU MASSHURUUMU FIIBAA FIIBAA arasoi wa tsuzuku, kachikan wa meguru arasoi wa tsuzuku, kachikan wa meguru [Pinokio-P, PinokioP, Pinocchio-P, PinocchioP]
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曲データ Lv タイトル アーティスト ジャンル BPM TOTAL NOTES TOTAL値 判定 ★05 Cosmoscape [kei another] 傾向 ダウンロード (曲へのリンク) (差分へのリンク) 動画 コメント 名前 コメント
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総合・ストーリー #setlinebreak ストーリー・考察 アーマード・コア２ アナザーエイジ [#rdf9b6e0] 火星で起こったクーデター事件から数年 地球は再び戦いの時を迎えていた・・・。 ストーリー・考察 アーマード・コア２ アナザーエイジ [#rdf9b6e0]ストーリー [#db5c207d]公式サイトより [#dd773710] 取扱説明書より [#p300016c] 勢力 [#haa0bf53]ナーヴス・コンコード（CONCORD） [#o3dd1bba] ジオ・マトリクス（ZIO MATRIX） [#l0482c24] エムロード（EMERAUDE） [#rccce123] バレーナ（BALENA） [#m56dcc31] 地球政府（the Central Union of Earth） [#ud2e5362] 監督局（B.O.C Bureau of Control） [#p03cca6e] インディーズ（INDIES） [#g05b639a] 考察コーナー [#s07de49d] ストーリー [#db5c207d] 公式サイトより [#dd773710] 火星で起こったレオス・クラインによるクーデター事件から数年…。 火星での騒乱の後、地球政府は、事態の収拾と復興に、多大な労力を割くことを余儀なくされた。 なかでも、有力な権力機構をことごとく失った火星世界の秩序の回復と維持に、 強い指導力を発揮する必要があり、そのための軍事力の増強は避けられない状況にあった。 一方の当事者であった企業体は、政府の所有する軍事力の急激な増大に対し、 自らの存在に対する強い危機感を覚え、秘密裏に各々の軍備を強化させていた。 政府と企業体との関係は徐々に悪化し、情勢は混迷を深めていった。 軍事力の確保を急いだ政府は、地上世界の開発に対して消極的にならざるを得ず、 地下世界から地上への移住計画は明確な遅れを見せ始めていた。 30年戦争の影響によって、住環境に致命的な打撃を受けていた多くの地下都市では、 現在の政府および企業体の姿勢を地下世界の住民を無視するものとして反発し始め、 各地では小規模な武装蜂起が頻発するようになっていた…。 取扱説明書より [#p300016c] 火星での騒乱から5年後。 地球政府は、騒乱の収集とその後の復興に、多大な労力を割くことを余儀なくされた。 有力な権力機構をことごとく失い、 混沌の様相を強くしていた火星世界の秩序の回復と維持のためには、 強い指導力を発揮する必要があり、そのための軍事力の増強は避けられない状況であった。 軍事力の拡大を急務とした政府は、相対的に地上世界の開発に対して消極的にならざるを得ず、 地下世界から地上への移住計画は明確な遅れを見せ始めた。 30年戦争の影響によって、住環境に致命的な打撃を受けていた多くの地下都市では、 政府及び企業体の姿勢を地下世界の住民を無視するものとして反発、 各地で小規模な武装蜂起が頻発していた。 一方の当事者であった企業体は、政府の所有する軍事力の急激な増大に対し、 自らの存在に対する強い危機感を覚え、火星社会復興のために動きのとれない政府を横目に、 半ば公然と各々の軍備を強化させていた。 政府と企業体との関係は徐々に悪化し、情勢は混迷を深めていった・・・・ 勢力 [#haa0bf53] ナーヴス・コンコード（CONCORD） [#o3dd1bba] →ナーヴス・コンコード ジオ・マトリクス（ZIO MATRIX） [#l0482c24] →ジオマトリクス エムロード（EMERAUDE） [#rccce123] →エムロード バレーナ（BALENA） [#m56dcc31] →バレーナ 地球政府（the Central Union of Earth） [#ud2e5362] →地球政府 監督局（B.O.C Bureau of Control） [#p03cca6e] →監督局 インディーズ（INDIES） [#g05b639a] →インディーズ 考察コーナー [#s07de49d] #article RIGHT ストーリーへ戻る
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Musician / 音楽 + ﾆｭｰｽｻｰﾁ〔The Japanese House〕 Coachella s first day was an audio mess - SFGATE Coachella 2024 Suki Waterhouse, Peso Pluma, Cimafunk among Day 1 highlights - The Press-Enterprise Modern Japanese houses and Japanese architecture - Wallpaper* Japan s Lower House Passes FY24 Budget after Unusual Saturday Deliberations - The Japan News Win tix to Maggie Rogers and The Japanese House in Cincinnati - Louisville Public Media Taiwan s President-elect Lai Ching-te thanks Japan for TSMC support - The Japan Times A New Life for an Edo-period Treasure Shōya House in Los Angeles - JAPAN HOUSE Los Angeles small courtyard illuminates 70-year-old japanese house in odawara - Designboom The Japanese House Performs Softly Sweet Tiny Desk Concert - Consequence The Japanese House s Tiny Desk Concert Is a Vibe - RELEVANT - Relevant Magazine The Japanese House Tiny Desk Concert - WPRL The Japanese House 来日公演 | indienative - indienative The Japanese House is going to support The 1975 on their sold out UK arena tour - readdork.com The Japanese House Concert Review ‘Sad to Breathe,’ Happy to Be Here | Arts - The Harvard Crimson Photos The Japanese House plays a sold-out show at Metro in Chicago - Eponymous Review Amber Bain ventures her audience through themes of cyclicality as The Japanese House - North by Northwestern The Japanese House serve cute, gender-fluid soup of a show at Liberty Hall - Kansas City Pitch Review — The Japanese House Dreams Through Deacades at Summit Music Hall - 303 Magazine The Japanese House at Liberty Hall, Lawrence KS (2023-11-30) - Type PAD The Japanese House on Linklater s Boyhood, Joni Michell s tuning, and covering ABBA - Louisville Public Media The Japanese House makes sadness feel so good - The Georgia Straight PHOTO REVIEW The Japanese House – San Francisco, CA 11/21/2023 - B-Sides The Japanese House Flips ABBA s Super Trouper | News - Clash Magazine The Japanese House covers ABBA s Super Trouper for ITEIAD Sessions EP - NME The Japanese House shares ITEIAD Sessions and a cover of ABBA s Super Trouper - The Line of Best Fit Renting akiya A backdoor into Japan s abandoned homes - The Japan Times FEATURE India man lives in Japan-inspired house, conducts his tea ceremony - Kyodo News Plus The Japanese House | Indie Synth-scapes & Indelible Pop - flaunt.com An unexpected visitor stops by our cheap Japanese house in the countryside【SoraHouse】 - SoraNews24 Amber Bain announces another run of The Japanese House UK tour dates - UK.COM Live Review The Japanese House - Redbrick The Japanese House announces 2024 UK tour - NME The Japanese House announces 2024 UK tour • News • DIY Magazine - DIY Magazine Review The Japanese House at SWG3 - The Glasgow Guardian NA Chairman congratulates new Speaker of Japanese House of Representatives - Vietnam+ (VietnamPlus) The Japanese House is incomparable at London s Here At Outernet - readdork.com The Japanese House on In the End It Always Does Podcast - Consequence The Japanese House at Here at Outernet | Live review - The Upcoming The Japanese House at Outernet review | Amber Bain is an exquisite vocalist - whynow The Japanese House live in London a songwriter transformed - Rolling Stone UK The Japanese House live at New Century, Manchester - UK.COM Gig Review The Japanese House at Rescue Rooms - Leftlion - Nottingham Culture - LeftLion The Japanese House is on a cyclical journey of self-discovery - Gay Times This 320-year-old Japanese house has been relocated to the Huntington, and you can step inside it - Time Out Live Review The Japanese House at SWG3 ★★★★ - Brig Newspaper Naomi Pollock Explores Eight Decades of Japanese Residential Architecture - Architectural Record Louis Renault The Japanese House Tax Decision and the Tai Ji Men Case - Bitter Winter Life after 1945 The Japanese House at the Barbican - The Week The Japanese House | THE HAUNT - flaunt.com ザ・ジャパニーズ・ハウス（The Japanese House）『In The End It Always Does』カリブーなどに通じるフォークトロニカな音が ... - Mikiki In the End It Always Does A Conversation with The Japanese House - Atwood Magazine The Japanese House – In The End It Always Does - chorus.fm ザ・ジャパニーズ・ハウスの４年ぶりの新作は、前作に続き、別れがテーマのアルバムになった。「何でも最後にはどうにかなる。もしならなかったら、それはまだ終わってないということ」ＭＶを見て欲しい。 - rockinon.com The Japanese House on Making Music About Her Relationships and Embracing Pop - WWD The Japanese House on new album In the End It Always Does It s a great record, I genuinely am so proud of it - Hotpress The Japanese Houseが語る、クィアとして音楽業界に思うこと、The 1975との信頼関係 - マイナビニュース Interview with The Japanese House about “In the End It Always Does” - NeoL The Japanese House celebrates a special album with a special show at London s XOYO - readdork.com In The End It Always Does is a perfectly delicate record from The Japanese House - The Line of Best Fit The Japanese House - In The End It Always Does - readdork.com The Japanese House breaks down In the End It Always Does - Alternative Press Magazine The Japanese House In the End it Always Does – Fans of The 1975′s cigarette-stained pop songs will enjoy this - The Irish Times ザ・ジャパニーズ・ハウス、1月に来日公演が決定 - NME Japan How The Japanese House Shed Labels & Embraced Queerness on ‘In the End It Always Does’ - billboard.com The Japanese House - In The End It Always Does | Reviews - Clash Magazine The Japanese House On New Album, Relationships, & Making Pop Music - NYLON ザ・ジャパニーズ・ハウス、ザ・1975のマット・ヒーリーの物議を醸した発言に言及 - NME Japan CoSign The Japanese House s New LP In The End It Always Does - Consequence The Japanese House I wrote Matty Healy a really long thing about the podcast - The Independent The Japanese House - In the End it Always Does Distinctly understood and uplifted - The Mancunion Watch The Japanese House and Matty Healy Cover Shania Twain - SiriusXM The Japanese House & Matty Healy Cover Shania Twain Watch - Stereogum The Japanese House and Matty Healy Cover It Only Hurts When I m Breathing Watch - Consequence Watch The Japanese House and The 1975 s Matty Healy cover Shania Twain for SiriusXM s The Coffee House - readdork.com July 2023 (The Japanese House cover) - Dork | Down With Boring The new issue of Dork, featuring The Japanese House, is coming soon – pre-order - readdork.com ザ・ジャパニーズ・ハウス、来たる新作より新曲“One for sorrow, two for Joni Jones”が公開 - NME Japan The Japanese House recruits MUNA s Katie Gavin for One for sorrow, two for Joni Jones - The Line of Best Fit The Japanese House（ザ・ジャパニーズ・ハウス）｜Dirty Hit所属の女性シンガーソングライターによるプロジェクト ... - TOWER RECORDS ONLINE The Japanese House – The Official Guide to Portland - Travel Portland The Japanese Houseが最新アルバム『In the End It Always Does』を6月30日にリリース！ - BUTTER MUSIC WEB MAGAZINE The Japanese House、The 1975マット・ヒーリー参加の新曲を公開 - OTOTOY Metropolis Japan - Metropolis Japan ザ・ジャパニーズ・ハウス、ボン・イヴェールやThe 1975などが参加した新作を発表 - CDJournal ニュース - CDJournal.com ザ・ジャパニーズ・ハウス、ジェンダーの複雑さをたたえる2年半ぶりの新曲「ボーイフッド」を発表 - CDJournal ... - CDJournal.com ザ・ジャパニーズ・ハウス、ニュー・シングル“Boyhood”がミュージック・ビデオと共に公開 - NME Japan The Japanese House、セカンドアルバム『In The End It Always Does』をリリース！ - indienative Bamboo in Japanese Culture & Lifestyle | JAPAN HOUSE LA - JAPAN HOUSE Los Angeles Why was an Ordinary Japanese House Entered into the International Architecture Exhibition? | TOKYO UPDATES [The ... - TOKYO UPDATES（トーキョー・アップデーツ） 【fhánaのわんだふるレコメン紀行】第59回 至上の愛――towanaがジャパニーズ・ハウス（The Japanese House）、FKJ、ジョン ... - Mikiki The Japanese House、新作EP『Chewing Cotton Wool』をリリース！ - indienative The Japanese House、待望の初来日公演が9月に東京/大阪で決定！ - indienative The Japanese Houseの初来日公演が9月に開催 〈Dirty Hit〉所属の英インディ・ポップ・プロジェクト - Spincoaster（スピンコースター） The Japanese House 待望のデビューフルアルバム『Good at Falling』をリリース！ - indienative ジャパニーズ・ハウス、最新シングル“Lilo”のミュージック・ビデオが公開 - NME Japan ジャパニーズ・ハウス、ニュー・シングル“Lilo”の音源が公開 - NME Japan The 1975の寵愛を受けるポスト・ギター・バンド世代の逸材、ジャパニーズ・ハウスは有閑左翼か？ ポストThe xx最右翼なのか？ - The Sign Magazine Reconstructing the Japanese house - The Japan Times The xx、The Japanese House、The fin......ロンドンと日本をつなぐ“夢想”の音楽 - Real Sound ● The Japanese House ● The Japanese House〔Wikipedia〕 + 他５曲 ■ The Japanese HouseというUKアーティストの魅力 「Freedia（2017-10-01）」より （※mono....前半記事導入部略） / The Japanese Houseって知ってる？ The Japanese House（ザ ジャパニーズ ハウス）というアーティストがいます。このアーティスト、日本人でハウスミュージックをするグループなのかと思いきや、イギリスのロンドンを拠点とする女性アーティストAmber Bainのソロプロジェクトです。 彼女、実はThe1975のドラマーであるGeorge Danielと楽曲を製作することが多いようです。また、デビューEPはGeorge DanielとMatthew Healyがプロデュースをしました。彼女とThe 1975は同じレーベルに所属をしているので、今後も一緒に魅力的な楽曲を製作してくれると思います。 （※mono....中ほど略） / The Japanese Houseの音楽は、エレクトロな音を重ねることで、ドリーミーな雰囲気がやさしく包んでくれます。ソロプロジェクトですが、彼女自身がボーカル・シンセサイザー・キーボード・ギターをこなしています。彼女自身の声は甘くないので、ドリーミーな音楽でもファンタジー感はありません。ボイス・エフェクトを使用しているので、本当に雰囲気が独特です。声はあきらかに女性なんですが、個人的にはジェンダーレスな印象を受けます。 どの曲もゆったりと聴くことができる音楽なので、読書やティータイムなど、リラックスしたいときにおすすめです。 （※mono...以下略） ■ 日本の”趣き”を体現したような最高にチルい音楽をぜひこの夏に！ 「Spincoaster（2016.06.28）」より / The Japanese House（ザ・ジャパニーズ・ハウス）は、弱冠19歳のボーカルAmber Bainを中心としたロンドンを拠点とするプロジェクト（正直バンド形態か、ソロプロジェクトであるかはわかりません…）。 彼女たちの素顔についてはまだあまり明かされておらず、謎が多きバンドなのです。。。 この夏の暑い日差しや、体にまとわりついてくる湿気も、The Japanese Houseを聴けばスッキリと爽やかに、除湿もしてくれるんじゃないかっていうくらい最高にチルいです。 それにしても一体どういう育ち方や経験をしたら19歳でここまで洗練された曲が作れるのでしょうか……。 .
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苺ましまろ 第2巻 表紙 表がBC-0003、裏はBC-0004 表紙のアナの持っているバッグの色が一部抜けてしまっている（画像）。彩色か印刷時のミスと思われるが、重刷でも修正されていない（少なくとも第6版まで色抜けを確認） 口絵 BC-0005 目次 空から降ってくる苺を受け止める5人 エピソード間 5人＋笹塚がいろいろな職業に就いているイラスト 収録エピソード episode.11 アナ episode.12 アナん家 episode.13 詰め合わせ episode.14 寝る女 episode.15 アナVS美羽 episode.16 クリスマス episode.17 銭湯 episode.18 一次方程式の応用 episode.19 お医者さんごっこ episode.20 誘拐 episode.11 アナ ページ数：16ページ 初出：電撃大王2002年10月号 扉絵 イチゴ柄のバッグを持った5人 あらすじ 茉莉のいる5年2組にアナが転校してくる。本人は学校で日本語を話したくないようだが・・・ 登場キャラ アナ 千佳 美羽 茉莉 伸恵 5-2担任 小ネタなど アナ・コッポラ、5-2担任初登場 千佳が右側で髪を結うように 5-2担任はまだメガネをかけていない episode.12 アナん家 ページ数：16ページ 初出：電撃大王2002年11月号 扉絵 起きたばかりのパジャマ姿の千佳と伸恵 あらすじ 美羽の提案でアナの家に遊びにいくことに。そこは大きな豪邸で・・・ 各ネタに副題が付いていて小話集のような形にもなっている 登場キャラ アナ 美羽 千佳 伸恵 茉莉 フルシアンテ 小ネタなど フルシアンテ初登場 アナの部屋のパソコンのモニタのモデルは「三菱 Diamondtron Flat RDF17S」 美羽の思い浮かべたのは「東ハト キャラメルコーン」 美羽が落とした消しゴムは「PILOT フォームイレーザー」 外国の映画監督にはゴッドファーザーを監督した「フランシス・フォード・コッポラ」などがいる アナの読んでいる漫画は「徳間書店 ヤダモン」 大王掲載時とは11ページ目(利点)の最後のコマの展開が異なる(画像) episode.13 詰め合わせ ページ数：16ページ 初出：電撃大王2002年12月号 扉絵 オープンカーに乗る伸恵・アナ・美羽。車は「ホンダ S2000」のデフォルメ あらすじ 1～3ページ程度の短いネタを複数収録 登場キャラ 伸恵 千佳 美羽 茉莉 アナ さたけ ジョン 小ネタなど ゴミ箱に「ハローキティ」、コップに「コカコーラ」のロゴ 自販機はコカコーラのもので広告は「ジョージア」 買った飲み物は伸恵が「紅茶花伝」、千佳が「ファンタグレープ」、茉莉が「NEW Qoo オレンジ果汁20%」、美羽が「スプライト(ドライレモン）」 その他の自販機に「コカコーラ」「ファンタオレンジ」「爽健美茶」「煎茶」「ジョージア」など テーブルの漫画「Dr.スランプ」 8P目最後のコマ『貸りてねえー』は誤用。正しくは『借りてねえー』 episode.14 寝る女 ページ数：08ページ 初出：電撃萌玉 2002 SUMMER (コミケC62配布本) 扉絵 なし あらすじ 伸恵がアイスを買って帰ってくると部屋では3人がお昼寝中。目が覚めた3人はベッドの取り合いになり・・・ 登場キャラ 伸恵 千佳 美羽 茉莉 小ネタなど episode.15 アナVS美羽 ページ数：16ページ 初出：電撃大王2003年01月号 扉絵 ぬいぐるみを抱えて座る美羽とアナ あらすじ アナと美羽が低レベルな罵り合いをしている。どうやら原因は学校での美羽にあるようで・・・ 登場キャラ アナ 美羽 千佳 伸恵 茉莉 5-2担任 笹塚 小ネタなど 笹塚初登場。さっそく散々な目にあっている 5-2担任はサングラス 千佳の部屋の漫画「ジャンプコミックス Dr.スランプ第5巻」 episode.16 クリスマス ページ数：16ページ 初出：電撃大王2003年02月号 扉絵 雪の降る中たたずむ5人 あらすじ クリスマスの前日に雪が積もる。茉莉はまだサンタクロースを信じているようで・・・ 登場キャラ 美羽 千佳 伸恵 アナ 茉莉 としひこちゃんとその彼女 小ネタなど こたつの上の本はなかよす。「なかよし」のパロ 茉莉がサンタにお願いした本は「静山社 ハリーポッターとアズカバンの囚人」のパロディ 千佳が買ってもらったゲームは時期から考えて「PS2 テイルズ オブ デスティニー2」 いくら雪が積もっているとはいえ2階から投げだされて何ともない美羽はタフである episode.17 銭湯 ページ数：16ページ 初出：電撃大王2003年03月号 扉絵 中央に伸恵。周りに伸恵に目線を向ける子供たち あらすじ ある日伊藤家の給湯器が壊れる。どうしても風呂に入りたい伸恵は銭湯に行くことを提案し・・・ 登場キャラ 伸恵 千佳 茉莉 美羽 アナ 小ネタなど 千佳が読んでいる漫画は「Dr.スランプ」 5人が行った銭湯は富秀の湯 シャンプーのモデルは「ライオン エメロン」 大王掲載時とは15ページ4コマ目の美羽の表情が変化している(画像) episode.18 一次方程式の応用 ページ数：16ページ 初出：電撃大王2003年04月号 扉絵 5人の位置関係を題材にした一次方程式の問題 あらすじ お腹の空いた伸恵は佐鳴湖近くの居酒屋へ行くため学校を早引けして子供たちを呼び出す。ところがなかなか合流できず・・・ 登場キャラ 伸恵 千佳 美羽 アナ 茉莉 愛子 高校数学教師 ジョン 小ネタなど 授業中の早弁に喫煙宣言。さすがです。 作中の佐鳴湖は実際の佐鳴湖を東西南北に反転した形をしている 5人が食べに行くあぶられ屋は実在の居酒屋「あぶり屋」がモデル 扉絵の問題を素直に解くと答えはそれぞれ1 13、1 23である。茉莉・アナの位置と速度を問題文に絡めているところがひっかけになった応用問題である 自販機は「ダイドー」 千佳が買ったのはつぶたんまりコーンポタージュ。似た名前の商品はたくさんあるが時期や缶のデザインから考えて「クノール つぶたっぷりコーンポタージュ」がモデルと思われる episode.19 お医者さんごっこ ページ数：16ページ 初出：電撃萌王Vol.5 扉絵 看護師姿をした千佳・茉莉・美羽・伸恵 あらすじ 千佳が風邪を引いてしまう。さっそく美羽はお医者さんごっこを始め・・・ 登場キャラ 千佳 伸恵 美羽 茉莉 医者 小ネタなど 千佳が飲んだジュースは「サントリー CCレモン」 美羽が速達した雑誌は「りぼん」 美羽がかかった医者は伊藤家のとなりにある「多々見クリニック」 episode.20 誘拐 ページ数：04ページ 初出：電撃萌王Vol.4 扉絵 リビングのこたつでくつろぐ千佳・伸恵・茉莉・美羽 あらすじ 珍しく宿題をする伸恵に美羽から電話が。茉莉を誘拐したとして身代金を要求するも・・・ 登場キャラ 千佳 伸恵 美羽 茉莉 小ネタなど 伸恵のタバコは「マイルドセブンライト」 財布に5千円札が入っている小学生はレアな気がする
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Cabela s African Adventure 項目数：33 総ポイント：1000 難易度： Achiever Had 100% completion in all regions 50 Gunsmith Unlocked all upgrades for all firearms 50 Dangerous 7 Hunted the Dangerous 7 (Leopard, Lion, Rhino, Elephant, Buffalo, Crocodile, Hippo) in Story Mode 50 No Scratch Completed one region without dying 50 King s Statue Gathered all the pieces of the statue 50 Controlled Fire Finished a Shooting Gallery Map without downing animals with the wrong firearm 50 In Mid Air Took down 15 predators as they jumped on you in Story Mode 50 Random Encounters Took down 20 Hyena groups during the game in Story Mode 50 No More Darkness Explored one region to remove all the fog covering the map 50 Arsenal Unlocked all rifles and shotguns 50 Justice Keeper Took down 5 Hyenas that were chasing herbivores in Story Mode 30 Efficiency to the Max Took down all the animals between 2 gates in a Shooting Gallery Map 30 Not a Single Leaf Moved Completed at least 6 hunts without being detected 30 Leg Grabber Took down 5 animals after they ve grabbed your leg 30 The Wrong Order Took down 10 animals called by the same animal in Story Mode 30 Real Mix Took down 4 animals from different species in a row in a Shooting Gallery Map 30 Something to See Visited all the Vista Points in one region 30 Africa s Big Boys Hunted the Big 5 (Leopard, Lion, Rhino, Elephant, Buffalo) in Story Mode 30 Fast Hands While shooting from the hip, took down 20 animals 30 Feline Grace Completed at least 3 hunts without being detected 30 Full Options Unlocked all the abilities 30 Lucky Guess Gathered at least 20 Fossils 30 The Perfect Match Created 4 unique ability combinations and used them in hunts and/or combat 30 No One Leaves the Room Took down 10 scared Hyenas in Story Mode 30 Dancing in the Ring Dodged at least one Lion, Leopard, and Cheetah during Story Mode 10 Dodge This! Dodged an Elephant, Hippo, Rhino, and Buffalo at least once during Story Mode 10 My Style Created your first deck of 3 abilities 10 Back-up Firearm Completed a hunt against a dangerous animal species using only a shotgun 10 Time is Standing Still Took down 5 animals while in Adrenaline Mode in Story Mode 10 One is Enough Took down 5 Hyenas in combat using a single shot for each one in Story Mode 10 Show Off Made all the animals in a stealth hunt cautious 10 Fast Approach Rolled 5 times without being detected in a stealth hunt 5 African Hunter Took down one animal in Story Mode 5
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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.