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Top / 講座一覧 / 英語 / 疑問詞 / when be動詞 When is your birthday? 一般動詞 When do you study?
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詳説・特徴 ジェムレベルによる変化 入手方法 関連リンク Cast when Damage Taken Support Support,Spell,Triggerアイコン !マナ倍率 100.0%クールダウン 0.25秒 Each supported spell skill will track damage you take, and be triggered when the total damage taken reaches a threshold. Cannot support skills used by totems, traps, or mines. Vaal skills, channelling skills, and skills that reserve mana cannot be triggered. クオリティ1%あたりSupported Skills deal 0.5% increased Damage日本語訳求む Trigger Supported Spells when you take a total of (528-3272) Damage日本語訳求む Supported Skills deal (-70-6)% more Damageサポートされたスキルは(-70-6)%moreダメージを与える。 This Gem can only Support Skill Gems requiring Level (38-70) or lower日本語訳求む You cannot Cast Supported Triggerable Spells directly日本語訳求む 詳説・特徴 ジェムレベルによる変化 +... レベル cast_on_damage_taken_% cast_on_damage_taken_damage_+%_final cast_on_damage_taken_threshold local_support_gem_max_skill_level_requirement_to_support 1 38 40 27 100% -70% 528 38 2 40 41 29 100% -66% 583 40 3 42 43 30 100% -62% 661 42 4 44 45 31 100% -58% 725 44 5 46 47 33 100% -54% 812 46 6 48 49 34 100% -50% 897 48 7 50 51 35 100% -46% 1003 50 8 52 53 37 100% -42% 1107 52 9 54 55 38 100% -38% 1221 54 10 56 57 39 100% -34% 1354 56 11 58 58 41 100% -30% 1485 58 12 60 60 42 100% -26% 1635 60 13 62 62 43 100% -22% 1804 62 14 64 64 44 100% -18% 1980 64 15 65 65 45 100% -14% 2184 65 16 66 66 46 100% -10% 2394 66 17 67 67 46 100% -6% 2621 67 18 68 68 47 100% -2% 2874 68 19 69 69 48 100% 2% 3142 69 20 70 70 48 100% 6% 3272 70 21 72 72 50 100% 10% 3580 72 22 74 72 50 100% 14% 3950 74 23 76 72 50 100% 18% 4350 76 24 78 72 50 100% 22% 4780 78 25 80 72 50 100% 26% 5240 80 26 82 72 50 100% 30% 5730 82 27 84 72 50 100% 34% 6250 84 28 86 72 50 100% 38% 6800 86 29 88 72 50 100% 42% 7380 88 30 90 72 50 100% 46% 7990 90 31 91 72 50 100% 48% 8310 91 32 92 72 50 100% 50% 8630 92 33 93 72 50 100% 52% 8965 93 34 94 72 50 100% 54% 9300 94 35 95 72 50 100% 56% 9650 95 36 96 72 50 100% 58% 10000 96 37 97 72 50 100% 60% 10365 97 38 98 72 50 100% 62% 10730 98 39 99 72 50 100% 64% 11110 99 40 100 72 50 100% 66% 11490 100
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It s just the cutest thing when you get to fussing, cussing Yelling and throwing things I just want to eat you up I don t mean no disrespect when I start staring Knowing that it makes you mad I m sorry, but seeing you mad is so sexy Could it be the little wrinkle over your nose When you make your angry face That makes me want to just take off all your clothes And sex you all over the place Could it be the little way you storm arounf That makes me want to tear you down Baby I ain t sure but one thin that I do know is Every time you scream at me, I want to kiss you And when you put your hands on me, I want to touch you, yeah And when we get to arguing, just got to kiss you baby I don t know why it s like that, but you re so damn sexy when you re mad Baby don t think I don t take you seriously But I just can t help the fact your attitude excites me, so exciting And you know ain t nothing better when we get mad together And have angry sex, I blow you out Then we forget what we was mad about Could it be the little wrinkle over your nose When you make your angry face That makes me want to just take off all you clothes And sex you all over the place Could it be the little way you storm around That makes me want to tear you down Baby I ain t sure but one thing that I do know is Every time you scream at me, I want to kiss you And when you put your hands on me, I want to touch you, yeah And when we get to arguing, just got to kiss you baby I don t know why it s like that, but you re so damn sexy when you re mad Every time you scream at me, I want to kiss you And when you put your hands on me, I want to touch you, yeah And when we get to arguing, just got to kiss you baby I don t know why it s like that, but you re so damn sexy when you re mad
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Update History 20/10/23Fixed a bug that caused HP to not be displayed as an integer in some cases. This plugin is compatible with RPG Maker MV and RPG Maker MZ. Summary You can create a state where your HP remains even if you take damage so large that your HP drops to 0. It also allows you to keep a certain amount of HP even if you take a lot of damage. Applying this effect to an enemy s setting could make the enemy s behavior even more varied. Of course, you can also set up the actors, so try to find different ways to use it. Usage Fill in the notes section of the states. Example 1 If you want to create a state where your HP is at least 5% of your maximum and you want to hold on at 1 HP even if you get hit by an attack that reduces your HP to 0 Guts 5 Example 2 If you want to create a state where you can maintain HP at 70% of maximum value even if you receive attack that reduces HP to less than 70% of maximum value SuperGuts 70 All numbers are percentages. You can also put multiple guts states on it, so use it to your advantage. The state also has a once you have withstood an attack that reduces your HP to 0, or an attack that reduces your HP to a specified value or less, the state is immediately canceled, regardless of the condition for canceling the state. But, you can add the following setting to the guts state so that the state is removed at the end of a turn that you hold on to(In TPB mode, when it s that battler s turn after hold on). RemoveGutsAtEndOfTurn Guts (except for Super guts) is automatically removed when you reach a lower HP than the value of guts you set, even if you don t hold on at 1 HP. Removed states in any setting will not be revival even if HP is healed. Caution If you want to create more than one guts state, you must set them all to different values. If you set more than one state with the same number, it will not behave correctly when you receive more than one of those states. Notes You don t need to worry about the plugin parameters. It s just that the way you set up the notes field is different depending on whether you are using the English or Japanese version. Download https //img.atwikiimg.com/www20.atwiki.jp/type74rx-t/attach/243/437/RX_T_GutsState.zip
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There are lots of a lot more sleeping luggage accessible to the market place nowadays than there are purposes for which they may be used. The traits and attributes of a sleeping bag that is definitely made use of for just a kid s sleepover are vastly various from people required of the bag that is to become utilized for sleeping during a trek in a very freezing mountainous region, and there are plenty of selections obtainable for the multitude of needs which lie somewhere in between these two extremes. Sleeping bags which might be for indoor use are certainly not required to be weatherproof, and they are frequently known as slumber baggage. They re extra probable to be manufactured from all-natural fabrics than from synthetic from which nearly issey miyake crossbody bag all of outside baggage are made. They are mostly made to make sleeping about the flooring much more comfortable, and to provide additional heat, as would a blanket. Certainly the technological know-how of sleeping bag manufacture has enhanced tremendously above the years, but sleeping luggage day again to 1861 when Francis Fox Tuckett produced his prototype. Originally camel fur and kapok were applied for insulation till duck and goose down were introduced. Sleeping baggage were not produced commercially right until the eighteen nineties every time a Norwegian firm commenced their manufacture, but customers needed to wait around one more hundred many years for manufacturing standards to become released while in the United states and Europe. The two main shaped sleeping baggage tend to be the rectangular luggage as well as mummy baggage. The rectangular luggage are formed as their title implies, and provide more home to maneuver about inside of, but then again that additional place signifies that you can find more space inside of wherein heat should be retained. Alternatively, the mum bags are tapered in condition in order that there is certainly considerably less place on the amount from the toes which requires the upkeep of warmth. The mother baggage have got a hood which dior jewelry guards your neck and head from the chilly, and when fully closed only your mouth and nose are uncovered. Insulation resources for sleeping luggage may be labeled into two principal groups; down and synthetic. Goose down is a superb insulator and is particularly also outstanding in terms of excess weight and bulk. Alternatively, its insulation features are compromised when the bag receives moist, and it really is tough to clean and dry. It is additionally more expensive than its artificial counterparts. There may be a variety of synthetic fibres which happen to be made use of for insulation, several of which can be Microloft, Hollowfibre, and Polarguard. Synthetic fibres are typically heavier and bulkier than down, nevertheless they tend to be more water-resistant and continue to supply heat if wet. The artificial baggage also tend to price tag considerably less compared to the down luggage. When purchasing a sleeping bag, look at the score in the bag and ensure that it satisfies your demands. Should you be going to be sleeping in alpine conditions you won t wish to be caught that has a bag that has a temperature score all the way down to only 40 degrees Fahrenheit. On the other hand, when you are sleeping out in delicate disorders you won t have to have a bag which is rated right down to zero degrees. This can be clearly simply just a matter of prevalent sense. For those who match your prerequisites with all the ideal sleeping bag, your tenting working experience will be enhanced, fairly than spoiled.
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Exporting to Your Animation Package Once you are happy with the object paths and tracker positions, use the Export menu items to save your scene. The following options are currently available (note that this list is constantly being expanded; check the web site) · 3ds max 4 or later (Maxscript). Should be usable for 3D Studio MAX 3 as well. Separate versions for 3dsmax 5 and earlier, and 3dsmax 6 and later. · After Effects (via a special maya file) · Bentley Microstation · Blender · Carrara · Cinema 4D (via Lightwave scene) · Combustion · ElectricImage (less integrated due to EI import limitations) · FLAIR motion control cameras (Mark Roberts Motion Control) · Flame (3-D) · Fusion 5 · Hash Animation Master. Hash 2001 or later. · Houdini · Inferno 3-D Scene. · Lightwave LWS. Use for Lightwave, Cinema 4D · Maya scene file · Mistika · Motion – 2-D · Nuke (D2 Software, subsidiary of Digital Domain) · Particle Illusion · Poser · Realsoft 3D · Shake (several 2-D/2.5-D plus Maya for 3-D scenes) · SoftImage XSI, via a dotXSI file · Toxik · trueSpace · Vue 5 and 6 Infinite · VIZ (via 3ds Max scene) SynthEyes offers a scripting language, SIZZLE™, that makes it easy to modify the exported files, or even add your own export type. See the separate SIZZLE User Manual for more information. New export types are being added all the time, check the export list in SynthEyes and the support site for the latest packages or beta versions of forthcoming exporters. General Procedures You should already have saved the scene as a SynthEyes file before exporting. Select the appropriate export from the list in the File/Exports area. SynthEyes keeps a list of the last 3 exporters used on the top level of the File menu as well. Hint SynthEyes has many exports. To simplify the list, clickScript/System Script Folder, create a new folder “Unused” in it, and move all the scripts for applications you do not use into that folder. You will have to repeat this process when you later install new builds, however. There is also an export-again option, which repeats the last export performed by this particular scene file, with the most-recently-used export options, without bring up the export-options dialog again to save time for repeated exports. When you export, SynthEyes uses the file name, with the appropriate file extension, as the initial file name. By default, the exported file will be placed in a default export folder (as set using the preferences dialog). In most cases, you can either open the exported file directly, or if it is a script, run the script from your animation package. For your convenience, SynthEyes puts the exported file name onto the clipboard, where you can paste it (via control-V or command-V) into the open-file dialog of your application, if you want. (You can disable this from the preferences panel if you want.) Note that the detailed capabilities of each exporter can vary somewhat. Some scripts offer popup export-control dialogs when they start, or small internal settings at the beginning of each Sizzle script. For example, 3ds max does not offer a way to set the units from a script before version 6 and the render settings are different, so there slightly different versions for 3dsmax 5 and 6+. Settings in the Maya script control the re-mapping of the file name to make it more suitable for Maya on Linux machines. If you edit the scripts, using a text editor such as Windows’ Notepad, you may want to write down any changes as they must be re-applied to subsequent upgraded versions. Be aware that not all packages support all frame rates. Sometimes a package may interpret a rate such as 23.98 as 24 fps, causing mismatches in timing later in the shot. Or one package may produce 29.96 vs 29.97 in another. Handle image sequences and use frame counts rather than AVIs, QTs, frame times, or drop-frame time codes wherever possible. TheCoordinate System control panel offers an Exportable checkbox that can be set for each tracker. By default, all trackers will be exported, but in some cases, especially for compositors, it may be more convenient to export only a few of the trackers. In this case, select the trackers you wish to export, hit control-I to invert the selection, then turn off the checkbox. Note that particular export scripts can choose to ignore this checkbox. Setting the Units of an Export SynthEyes uses generic units a value of 10 might mean 10 feet, 10 meters, 10 miles, 10 parsecs—whatever you want. It does not matter to SynthEyes. This works because match-moving never depends on the overall scale of the scene. SynthEyes generally tries to export the same way as well—sending its numbers directly as-is to the selected animation or compositing package. However, some software packages use an absolute measurement system where, for instance, Lightwave requires that coordinates in a scene file always be in meters. If you want something else inside Lightwave, it will automatically convert the values. For such software, SynthEyes needs to know what units you consider yourself to be using within SynthEyes. It doesn’t care, but it needs to tell the downstream package the right thing, or pre-scale the values to match your intention. To set the SynthEyes units selection, use the Units setting on the SynthEyes preferences panel. Changing this setting will not change any numbers within SynthEyes; it will only affect certain exports. The exports affected by the units setting are currently these · After Effects (3-D) · Hash Animation Master · Lightwave · 3ds max · Maya · Poser Before exporting to one of these packages, you should verify your units setting. Alternatively, if you observe that your imported scene has different values than in SynthEyes, you should check the units setting in SynthEyes. Hint if you will be exporting to acompositing package, they often measure everything, including 3-D coordinates, in terms of pixels, not inches, meters, etc. Be sure to pick sizes for the scene that will work well in pixels. While you might scale a scene for an actor 2m tall, if you export to a compositor and the actor is two pixels tall that will rarely make sense. Image Sequences Different software packages have different conventions and requirements regarding the numbering of image sequences whether they start at 0 or 1, whether there are leading zeroes in the image number, and whether they handle sequences that start at other numbers flexibly. For example, if you have a shot that originally had frames img1.tif-img456.tif, but you are using only images img100.tif-img150.tif of it, SynthEyes will normally consider it as a 51 frame shot, starting with frame 0 (img100.tif) or, withFirst frame is 1preference on, as frame 1 at img100.tif. Other software sometimes requires that their frame numbers match the file number, so img100.tif must always be frame 100, no matter what frame# they normally start at. SynthEyes gives you the option to pad the beginning of IFLs with extra copies of the first frame, so that the SynthEyes frame number matches the image frame number, by turning on the Match frame# s preference. While this sounds simple, it will cause trouble for many of the exports. It is especially a problem if you do not have the unused frames, as is often the case. By being aware of these differences, you will be able to recognize when your particular situation requires an adjustment to the settings—typically when there is a shift between the camera path animation and the imagery. Generic 2-D Tracker Exporters There are a number of similar exporters that all output 2-D tracker paths to various compositing packages. Why 2-D, you protest? For starters, SynthEyes tracking capabilities can be faster and more accurate. But even more interestingly, you can use the 2-D export scripts to achieve some effects you could not with the compositing package alone. For image stabilizing applications, the 2-D export scripts will average together all the selected trackers within SynthEyes, to produce a synthetic very stable tracker. For corner-pinning applications, you can have SynthEyes output not the 2-D tracker location, but the re-projected location of the solved 3-D point. This location can not only be smoother, but continues to be valideven if the tracker goes off-screen. So suppose you need to insert a painting into an ornate picture-frame using corner pinning, but one corner goes off-screen during part of the shot. By outputting the re-projected 3-D point (Use solved 3-D points checkbox), the corner pin can be applied over the entire shot without having to guess any of the path. Taking this idea one step further, you can create an “extra” point in 3-D in SynthEyes. Its re-projected 2-D position will be averaged with any selected trackers; if there are none, its position will be output directly. So you can do a four-corner pin even if one of the corners is completely blocked or off-screen. By repeating this process several times, you can create any number of synthetic trackers, doing a four-corner insert anywhere in the image, even where there are no trackable features. Of course, you could do this with using a 3-D compositing environment, but that might not be simplest. At present, there are compatible 2-D exporters for AfterEffects, Digital Fusion, Discreet (Combustion/Inferno/Flame), Particle Illusion, and Shake. Note that you will need to import the tracker data file (produced by the correct SynthEyes exporter) into a particular existing tracker in your compositing package. There is also a 2-D exporter that exports all tracker paths into a single file, with a variety of options to change frame numbers and u/v coordinates. A similar importer can read the same file format back in. Consequently, you can use the pair to achieve a variety of effects within SynthEyes, including transferring trackers from SynthEyes file to SynthEyes file, as described in the section onMerging Files and Tracks. This format can also be imported by Fusion. Generic 3-D Exporters There are several 3-D exports that produce plain text files. You can use them for any software SynthEyes don’t already support, for example, non-visual-effects software. You can also use them as a way to manipulate data with little shell, AWK, or Perl scripts, for example. Importantly, you can also use them as a way to transfer data between SynthEyes scene files, for example, to compute some tracker locations to be used by a number of shots. There are several ways to do this, see the section onMerging Files and Tracks. The generic exports are Camera/Object Path for a path, Plain Trackers for the 3-D coordinates of trackers and helper points, and corresponding importers. You can import 3-D locations to create either helper points, or trackers. This latter option is useful to bring in surveyed coordinates for tracking. After Effects 3-D Procedure 1. Export to After Effects in SynthEyes to produce a (special) .ma file. 2. In After Effects, do a File/Import File 3. Change Files of Type to All File Formats 4. Select the .ma file 5. Double-click the Square-whatever composition 6. Re-import the original footage 7. Click File/Interpret Footage/Main and be sure to check the frame rate and pixel aspect. 8. Rewind to the beginning of the shot 9. Drag the re-imported footage from the project window into the timeline as the first layer 10.Tracker nulls have a corner at the active point, instead of being centered on the active point as in SynthEyes. After Effects 2-D Procedure 1. Select one or more trackers to be exported. 2. Export using the After Effects 2-D Clipboard. You can select either the 2-D tracking data, or the 3-D position of tracker re-projected to 2-D. 3. Open the text file produced by the export 4. In the text editor, select all the text, using control-A or command-A. 5. Copy the text to the clipboard with control-C or command-C. 6. In After Effects, select a null to receive the path. 7. Paste the path into it with control-V or command-V. Bentley MicroStation You can exporter to Bentley s Microstation V8 XM Edition by following these directions. Exporting from SynthEyes MicroStation requires that animated backgrounds consist of a consecutive sequence of numbered images, such as JPEG or Targa images. If necessary, the Preview Movie capability in SynthEyes s Perspective window can be used to convert AVIs or MOVs to image sequences. Perform tracking, solving, and coordinate system alignment in SynthEyes. (Exporting coordinates from MicroStation into SynthEyes may be helpful) File/Export/Bentley MicroStation to produce a MicroStation Animation (.MSA) file. Save the file where it can be conveniently accessed from MicroStation. The export parameters are listed below. SynthEyes/MicroStation Export Parameters Target view number. The view number inside MicroStation to be animated by this MSA file (usually 2) Scaling. This is from MicroStation s Settings/DGN File Settings/Working Units, in the Advanced subsection the resolution. By default, it is listed as 10000 per distance meter, but if you have changed it for your DGN file, you must have the same value here. Relative near-clip. Controls the MicroStation near clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects closer than this to the camera will not be displayed in MicroStation. Relative view-size.Another option to adjust as needed if everything is disappearing from view in MicroStation. Relative far-clip. Controls the MicroStation far clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects farther than this from the camera will not be displayed in MicroStation. Importing into MicroStation Open your existing 3-D DGN file. Or, create a new one, typically based on seed3d.dgn Open the MicroStation Animation Producer from Utilities/Render/Animation File/Import .MSA the .msa file written by the SynthEyes exporter. Set the View Size correctly—this isrequiredto get a correct camera match. Settings/Rendering/View Size Select the correct view # (typically 2) Turn off Proportional Resize Set X and Y sizes as follows. Multiply the height(Y) of your image, in pixels, by the aspect ratio (usually 4 3 for standard video or 16 9 for HD) to get the width(X) value. For example, if your source images are 720x480 with a 4 3 aspect ratio, the width is 480*4/3 = 640, so set the image size to X=640 and Y=480, either directly on the panel or using the “Standard” drop-down menu. This process prevents horizontal (aspect-ratio) distortion in your image. Hit Apply Turn Proportional Resize back on Close the view size tool On the View Attributes panel, turn on the Background checkbox. Bring up the Animation toolbar (Tools/Visualization/Animation) and select the Animation Preview tool. You can dock it at the bottom of MicroStation if you like. If you scrub the current time on the Animation Preview, you’ll move through your shot imagery, with synchronized camera motion. Unless you have some 3-D objects in the scene, you won’t really be able to see the camera motion, however. If desired, use the Tools/3-D Main/3-D Primitives toolbar to create some test objects (as you probably did in SynthEyes). To see the camera cone of the camera imported from SynthEyes, bring up Tools/Visualization/Rendering, and select the Define Camera tool. Select the view with the SynthEyes camera track as the active view in the Define Camera tool, and turn on the Display View Cone checkbox. Transferring 3-D Coordinates If you would like to use within MicroStation the 3-D positions of the trackers, as computed by SynthEyes, you can bring them into MicroStation as follows. You have the option of exporting only a subset of points from SynthEyes to MicroStation. All trackers are exported by default; turn off the Exportable checkbox on the coordinate system panel for those you don’t wish to export. You may find it convenient to select the ones you want, then Edit/Invert Selection, then turn off the box. In SynthEyes, File/Export/Plain Trackers with Set Names=none, Scale=1, Coordinate System=Z Up. This export produces a .txt file listing all the XYZ tracker coordinates. In MicroStation, bring up the Tools/Annotation/XYZ Text toolbar. Click the Import Coordinates tool. Select the .txt file exported from SynthEyes in Step 1. Set Import=Point Element, Order=X Y Z, View=2 (or whichever you are using). Transferring Meshes SynthEyes uses two types of meshes to help align and check camera matches mesh primitives, such as spheres, cubes, etc; and tracker meshes, built from the computed 3-D tracker locations. The tracker meshes can be used to model irregular areas, such as a contoured job site into which a model will be inserted. Both types of models can be transferred as follows In SynthEyes, select the mesh to be exported, by clicking on it or selecting it from the list on the 3-D panel. Select the File/Export/STL Stereolithography export, and save the mesh to a file. In MicroStation, select File/Import STL and select the file written in step 2. You can use the default settings. Meshes will be placed in MicroStation at the same location as in SynthEyes. You can bring up its Element/Information and assign it a material. To Record the Animation Select the Record tool on the Animation toolbar (Tools/Visualization/Animation) Important Be sure the correct (square pixels) output image size is selected, the same one as the viewport size. For example, if your input is 4 3 720x480 DV footage, youMUSTselect640x480output to achieve 4 3 with square pixels (ie 640/480 = 4/3). MicroStation always outputs square pixels. You can output images with any overall aspect you wish, as long as the pixels are square (pixelaspect ratio is 1.0). Note that HD images already have square pixels. Don’t clobber your input images! Be sure to select a different location for your output footage than your input. Blender Directions Blender has a tendency to change around frequently, so the details of these directions might best be viewed more as a guide than the last word. When working with image sequences and blender, it will be a good idea to ensure that the overall frame number is the same as the number in the image file name. Although you can adjust the offset, Blender incorrectly eliminates a frame number of zero. 1. In SynthEyes, export to Blender (Python) 2. Start Blender 3. Delete the default cube and light 4. Change one of the views to the blender Text Editor 5. In the text editor, open the blender script you exported in step 1. 6. Hit ALT-P to run the script 7. Select the camera (usually Camera01) in the 3-D Viewport 8. In a 3-D view, select Camera on the View menu to look through the imported, animated, SynthEyes camera 9. Select View/Background image 10.Click Use Background Image 11.Select your image sequence or movie from the selection list. 12.Adjust the background image settings to match your image. Make sure the shot length is adequate, and that Auto Refresh is on. If the images and animation do not seem to be synced correctly, you probably have to adjust the offset. 13.Decrease the “blend” value to zero, or you can go without the background, and set up compositing within blender. 14.On the View Properties dialog, you might wish to turn off Relationship Lines to reduce clutter. 15.Use a Timeline view to scrub through the shot. Cinema 4D Procedure 1. Export from SynthEyes in Lightwave Scene format (.lws) — see below. 2. Start C4D, open the .lws file 3. From the Objects menu, add a Background 4. Create a new Texture with File/New down below. 5. At right, click on “…” next to the file name for texture. 6. Select your source file. 7. Click on the right-facing triangle button next to the file name, select Edit. 8. Select the Animation panel 9. Click the Calculate button at the bottom. 10.Drag the new texture from the texture editor onto the “Background” on the object list. Background now appears in the viewport. DotXSI Procedure 1. In SynthEyes, after completing tracking, do File/Export/dotXSI to create a .xsi file somewhere. 2. Start Softimage, or do a File/New. 3. File/Import/dotXSI... of the new .xsi file from SynthEyes. The options may vary with the XSI version, but you want to import everything. 4. Set the camera to Scene1.Camera01 (or whatever you called it in SynthEyes). 5. Open the camera properties. 6. In the camera rotoscopy section, select New from Source and then the source shot. 7. Make sure “Set Pixel Ratio to 1.0” is on. 8. Set “Use…” pixel ratio to “Camera Pixel Ratio” (should be the default) 9. In the Camera section, make sure that Field of View is set to Horizontal. 10.Make sure that the Pixel Aspect Ratio is correct. In SynthEyes, select Shot/Edit Shot to see the pixel aspect ratio. Make sure that XSI has the exact same value 0.9 isnota substitute for 0.889, so fix it! Back story XSI does not have a setting for 720x480 DV, and 720x486 D1 causes errors! 11.Close the camera properties page. 12.On the display mode control (Wireframe, etc), turn on Rotoscope. ElectricImage The ElectricImage importer relies on a somewhat higher level of user activity than normal, in the absence of a scripting language for EI. You can export either a camera or object path, and its associated trackers. 1. After you have completed tracking in SynthEyes, select the camera/object you wish to export from the Shots menu, then select File/Export/Electric Image. SynthEyes will produce two files, an .obm file containing the trajectory, and an .obj file containing geometry marking the trackers. 2. In ElectricImage, make sure you have a camera/object that matches the name used in SynthEyes. Create new cameras/objects as required. If you have Camera01 in SynthEyes, your camera should be Camera 1 in EI. The zero is removed automatically by the SynthEyes exporter. 3. Go to the Animation pull-down menu and select the Import Motion option. 4. In the open dialog box, select All Files from the Enable pop-up menu, so that the .obm file will be visible. 5. Navigate to, and select, the .obm file produced by SynthEyes. This will bring up the ElectricImage motion import dialog box which allows you to override values for position, rotation, etc. Normally, you will ignore all these options as it is simpler to parent the camera/object to an effector later. The only value you might want to change is the start time to offset when the camera move begins. Click OK and you will get a warning dialog about the frame range. This is a benign warning that sets the range of frames rendering option to match the length of the incoming camera data. Hitting cancel will abort the operation, so hit OK and the motion data will be applied to the camera. 6. Select Import Object from the Object pull-down menu. 7. Enable All Files in the pop-up menu. 8. Select the .obj file produced by SynthEyes. 9. Create a hierarchy by selecting one tracker as the parent, or bringing in all trackers as separate objects. 10.If you are exporting an object path, parent the tracker object to the object holding the path. Fusion 5 There are several Fusion-compatible exporters. The main exporter is the Fusion 5 composition export, which can be opened directly in Fusion. The Tracker 2-D Paths export can write all the exportable trackers to a text file, which can then be read in Fusion with the Import SynthEyes Trackers script and assigned to any Point-type input on a node. Select a node and start the Import script from its right-click menu. At present, it appears that you should animate the desired control before importing, then tell the script to proceed anyway when it notices that the control is already animated. There is also a generic 2-D path exporter for Fusion. Houdini Instructions 1. File/New unless you are addding to your existing scene. 2. Open the script Textport 3. Typesource c /shots/scenes/flyover.cmd or equivalent. 4. Change back from COPs to OBJs. Lightwave The Lightwave exporter produces a lightwave scene file (.lws) with several options, one of them crucial to maintaining proper synchronization. As mentioned earlier, Lightwave requires a units setting when exporting from SynthEyes. The SynthEyes numbers are unitless by changing the units setting in the lightwave exporter as you export, you can make that 24 in SynthEyes mean 24 inches, 24 feet, 24 meters, etc. This is different than in Lightwave, where changing the units from 24 inches would yield 2 feet, 0.61 meters, etc. This is the main setting that you may want to change from scene to scene. Lightwave has an obscure preferences-like setting on its Compositing panel (on the Windows menu) named “Synchronize Image to Frame.” The available options are zero or one. Selecting one shifts the imagery one frame later in time, and this is the Lightwave default. However, for SynthEyes, a setting of zero will generally be more useful (unless the SynthEyes preferenceFirst Frame is 1is turned on). The Lightwave exporter from SynthEyes allows you to select either 0 or 1. We recommend selecting zero, and adjusting Lightwave to match. You will only have to do this once, Lightwave remembers it subsequently. In all cases, you must have a matching value on the exporter UI and in Lightwave, or you will cause a subtle velocity-dependent error in your camera matches in Lightwave that will drive you nuts until you fix the setting. The exporter also has a checkbox for using DirectShow. This checkbox applies only for AVIs, and should be on for most AVIs that contain advanced codecs such as DV or HD. If an AVI uses an older codec and is not opened automatically within Lightwave, export again with this checkbox turned off. Nuke The nuke exporter produces a nuke file you can open directly. The pop-up parameter panel lets you indicate if you have a slate frame at the start of the shot, or select renderable or non-rendering tracker marks. The renderable marks are better for tracking, the non-rendering marks better for adding objects within Nuke s 3-D view. Poser Poser struggles a little to be able to handle a match-moved camera, so the process is a bit involved. Hopefully Curious Labs will improve the situation in further releases. The shot must have square pixels to be used properly by Poser; it doesn t understand pixel aspect ratios. So if you have a 720x480 DV source, say, you need to resample it in SynthEyes, AfterEffects or something to 640x480. Also, the shot has to have a frame rate of exactly 30 fps. This is a drag since normal video is 29.97 fps, and Poser thinks it is 29.00 fps, and trouble ensues. One way to get the frame rate conversion without actually mucking up any of the frames is to store the shot out as a frame sequence, then read it back in to your favorite tool as a 30 fps sequence. Then you can save the 640x480 or other square-pixel size. Note that you can start with a nice 720x480 29.97 DV shot, track it in SynthEyes, convert it as above for Poser, do your poser animation, render a sequence out of Poser, then composite it back into the original 720x480. One other thing you need to establish at this time---exactly how many frames there are in your shot. If the shot ranges are 0 to 100, there are 101; from 10 to 223, there are 214. 1. After completing tracking in SynthEyes, export using the Poser Python exporter. 2. Start Poser. 3. Set the number of frames of animation, at bottom center of the Poser interface, to the correct number of frames. It is essential that you do this now, before reading the python script 4. File/Run Python Script on the python script output from SynthEyes. 5. The Poser Dolly camera will be selected and have the SynthEyes camera animation on it. There are little objects for each tracker, and also SynthEyes boxes, cones, etc are brought over into Poser. Open Question How to render out of Poser with the animated movie background. The best approach appears to be to render against black with an alpha channel, then composite over the original shot externally. Shake SynthEyes offers three specific exporters for Shake, plus one generic one 1. MatchMove Node. 2. Tracker Node 3. Tracking File format 4. 3-D Export via the “AfterFX via .ma” or Maya ASCII exports. The first two formats (Sizzle export scripts) produce shake scripts (.shk files); the third format is a text file. The fourth option produces Maya scene files that Shake reads and builds into a scene using its 3-D camera. We’ll start with the simplest, the tracking file format. Select one tracker and export with the Shake Tracking File Format, and you will have a track that can be loaded into a Shake tracker using the load option. You can use this to bring a track from SynthEyes into existing Shake tracking setups. Building on this basis, #2, Tracker Node, exports one or more selected trackers from SynthEyes to create a single Tracker Node within Shake. There are some fine points to this. First, you will be asked whether you want to export the solved 3-D positions, or the tracked 2-D positions. These values are similar, but not the same. If you have a 3-D solution in SynthEyes, you can select the solved 3-D positions, and the export will be the “ideal” tracked (predicted) coordinates, with less jitter than the plain 2-D coordinates. Also, since you might be exporting from a PC to a Mac or Linux machine, the image source file(s) may be named differently perhaps X \shots1\shot1_#.tga on the PC, and //macmachine/Users/tom/shots/shot1_#.tga on the PC. The Shake export script s dialog box has two fields, PC Drive and Mac Drive, that you can set to automatically translate the PC file name into the Mac file name, so that the Shake script will work immediately. In this example, you would set PC Drive to “X \\” and Mac Drive to “//macmachine/Users/tom/”. Finally, the MatchMove node exporter looks not for trackers to export, but for SynthEyes planes! Each plane (created from the 3-D panel) is exported to Shake by creating four artificial trackers (in Shake) at the corners of the plane. The matchmove export lets you insert a layer at any arbitrary position within the 3-D environment calculated by SynthEyes. For example, you can insert a matte painting into a scene at a location where there is nothing to track. You can use a collection of planes, positioned in SynthEyes, to obtain much of the effect of a 3-D camera. The matchmove node export also provides PC to Mac/Linux file name translation. trueSpace Directions Warning trueSpace has sometimes had problems executing the exported script correctly. Hopefully Caligari will fix this soon. 1. In SynthEyes, export to trueSpace Python. 2. Open trueSpace. 3. Right-click the Play button in the trueSpace animation controls. 4. Set the correct BaseRate/PlayRate in the animation parameters to match your source shot. 5. Open the Script Editor. 6. From inside the Script Editor, Open/Assign the python script you created within SynthEyes. 7. Click Play (Time On) in the Script Manager. 8. When the Play button turns off, close the ScriptManager. 9. Open the Object Info panel. 10.Verify that the SynthEyes camera is selected (usually Camera01). 11.Change the Perspective view to be View from Object. 12.Select the Camera01Screen. 13.Open the Material Editor (paint pallete). 14.Right click on Color shaders button. 15.Click on (Caligari) texture map, sending it to the Material Editor color shader. 16.Open the subchannels of the Material Editor (Color, Bump, Reflectance). 17.On the Color channel of the Material Editor, right click on the Get Texture Map button and select your source shot. 18.Check the Anim box. 19.Click the Paint Object button on the Material Editor. 20.Click on File/Display Options and change the texture resolution to 512x512. 21.You may want to set up a render background to overlay animated objects on the background, or you can use an external compositing program. Make the Camera01Screen object invisible before rendering. 22.In trueSpace, you need to pay special attention to get the video playback synchronized with rest of the animation, and to get the render aspect ratio to match the original. For example, you must add the texture map while you are at frame zero, and you should set the pixel aspect ratio to match the original (SynthEyes s shot panel will tell you what it is). Vue 5 Infinite The export to Vue Infinite requires a fair number of manual steps pending further Vue enhancements. But with a little practice, they should only take a minute or two. 1. Export from SynthEyes using the Vue 5 Infinite setting. The options can be left at their default settings unless desired. You can save the python script produced into any convenient location. 2. Start Vue Infinite or do a File/New in it. 3. Select the Main Camera 4. On its properties, turn OFF Always keep level 5. Go to the animation menu, turn ON the auto-keyframe option. 6. Select the Python/Run python script menu item, select the script exported from SynthEyes, and run it. 7. In the main camera view, select the Camera01 Screen object (or the equivalent if the SynthEyes camera was renamed) 8. In the material preview, right-click, select Edit Material. 9. The material editor appears, select Advanced Material Editor if not already. 10.Change the material name to flyover or whatever the image shot name is. 11.Select the Colors tab. 12.Select Mapped picture 13.Click the left-arrow Load icon under the black bitmap preview area 14.In the Please select a picture to load dialog, click the Browse File icon at the bottom --- a left arrow superimposed on a folder 15.Select your image file in the Open Files dialog. If it is an image sequence, select the first image, then shift-select the last. 16.On the material editor, under the bitmap preview area, click the clap-board animation icon to bring up the Animated Texture Options dialog 17.Set the frame rate to the correct value. 18.Turn on Mirror Y 19.Hit OK on the Animated Texture dialog 20.On the drop-down at top right of the Advanced Material Editor, select a Mapping of Object- Parametric 21.Turn off Cast shadows and Receive shadows 22.Back down below, click the Highlights tab 23.Turn Highlight global intensity down to zero. 24.Click on the Effects tab 25.Turn Diffuse down to zero 26.Click the Ambient data-entry field and enter 400 27.Hit OK to close the Advanced Material Editor 28.Select the Animation/Display Timeline menu item (or hit F11) 29.If this is the first time you have imported from SynthEyes to Vue Infinite, you must perform the following steps a. Select File/Options menu item. b. Click the Display Options tab c. Turn off Clip objects under first horizontal plane in main view only , otherwise you will not be able to see the background image. d. Turn off Clip objects under first horizontal plane (ground / water) e. Turn off Stop camera going below clipping plane (ground / water) if needed by your camera motion. f. Hit OK 30.Delete the Ground object 31.If you are importing lights from SynthEyes, you can delete the Sun Light as well, otherwise, spin the Sun Light around to point at the camera screen, so that the image can be seen in the preview window. 32.You may have to move the time bar before the image appears. Vue Infinite only shows the first image of the sequence, so you can verify alignment at frame zero. 33.You will later want to disable the rendering of the trackers, or delete them outright. 34.Depending on what you are doing, you may ultimately wish to delete or disable the camera screen as well, for example, if you will composite an actor in front of your Vue Infinite landscape. 35.The import is complete; you can start working in Vue Infinite. You should make probably save a copy of the main camera settings so that you can have a scratch camera available as you prepare the scene in Vue Infinite. Vue 6 Infinite Export from SynthEyes using the Vue 6 Infinite option, producing a maxscript file. Import the maxscript file in Vue 6 Infinite Adjust the aspect ratio of the backdrop to the correct overall aspect ratio for your shot. This is important since Vue assumes square pixels, and if they aren’t (for all DV, say), the camera match will be off badly
https://w.atwiki.jp/matchmove/pages/101.html
Preferences and Scene Settings Reference 初期設定とシーン設定リファレンス Scene settings for the current scene are accessed through theEdit/Edit Scene Settingsmenu item, while the default preference settings are accessed through theEdit/Edit Preferencesmenu item. The preferences control the defaults for the scene, taking effect only when a new scene is created, while the scene settings affect the currently-open scene, and are stored in it. TheEdit/Reset Preferencesitem resets the preferences to the factory values. When you reset the preferences, you can select the user interface colors to be either a light or dark color scheme. You can tweak the individual colors manually after that as well. デフォルト選択セッティングがEdit/Edit Preferencesメニュー項目を通してアクセスされる間、カレント・シーンのシーン・セッティングはEdit/Edit Scene Settingsメニュー項目を通してアクセスされます。 シーン・セッティングが現在開いたシーンに影響を及ぼす間、選択は、新しいシーンがつくられる時だけ、実施されて、シーンのためにデフォルトを支配して、それに保存されます。 Edit/Reset Preferencesアイテムは、工場値に設定をリセットします。 初期設定をリセットしたとき、小さいか暗い色彩設計であるユーザ・インタフェース・カラーを選択することができます。 同様にその後マニュアルで個々の色をつまむことができます。 Preferences Preferences apply to the user interface as a whole. Some preferences that are also found on the scene settings dialog, such as the coordinate axis setting, take effect only as a new scene is created; subsequently the setting can be adjusted for that scene alone with the scene settings panel. Other preferences are set directly from the dialog that uses them, for example, thespinal editingpreferences. Apologies in advance We concede that there are too many controls on this panel. Preferences （初期設定）は、全体としてユーザ・インタフェースに適用されます。 シーン・セッティング・ダイアログ（例えば座標軸セッティング）でも見つかるpreferencesは新しいシーンが作成されたときだけ適用されます。 その後、セッティングはシーン・セッティング・パネルとともに単独でそのシーンのために調節されることができます。 他の初期設定は、それらを使うダイアログ（たとえば、spinal editing preferences）から、直接セットされます。 前もってお詫び： あまりに多くのコントロールがこのパネルにあると認めます。 16 bit/channel (if available). Store all 16 bits per channel from a file, producing more accurate image, but consuming more storage. After… min. Spinner. The calculation-complete sound will be played if the calculation takes longer than this number of minutes. Anti-alias curves.Checkbox. Enables anti-aliasing and thicker lines for curves displayed by the graph editor. Easier to read, but turn off if it is too slow for less-powerful OpenGL cards. Auto-switch to quad.Controls whether SynthEyes switches automatically to the quad viewport configuration after solving. Switching is handy for beginners but can be cumbersome in some situations for experts, so you can turn it off. Axis Setting. Selects the coordinate system to be used. Back Plate Width. Width of the camera s active image plane, such as the film or imager. Back Plate Units. Showsinfor inches ormmfor millimeters, click it to change the display units for this panel, and the default for the shot setup panel. Click-on/Click-off.Checkbox. When turned on, the camera view, mini-tracker view, 3-D viewports, perspective view, and spinners are affected as follows clicking the left or middle mouse button turns the mouse button on, clicking again turns it off. Instead of dragging, you will click, move, and click. This might help reduce strain on your hand and wrist. Color Settings. (Drop-down and color swatch) Change the color of many user-interface elements. Select an element with the drop-down menu, see the current color on the swatch, and click the swatch to bring up a Windows dialog box that lets you change the color. Compress .sni files. When turned on, SynthEyes scene files are compressed as they are written. Compressed files occupy about half the disk space, but take substantially longer to write, and somewhat longer to read. Constrain by default (else align). If enabled, constraints are applied rigorously, otherwise, they are applied by rotating/translating/scaling the scene without modifying individual points. This is the default for the checkbox on the solver panel, used when a new scene is created. Default Export Type. Selects the export file type to be created by default. Enable cursor wrap. When the cursor reaches the edge of the screen, it is wrapped back around onto the opposite edge, allowing continuous mouse motion. Disable if using a tablet, or under Virtual PC. Enabled by default, except under Virtual PC. Enhanced Tablet Response. Some tablet drivers, such as Wacom, delay sending tablet and keyboard commands when SynthEyes is playing shots. Turning on this checkbox slows playback slightly to cause the tablet driver to forward data more frequently. Export Units. エクスポート単位。 エクスポートされるファイルでの単位（インチ、メーター、その他）を選択します。 一部の単位は一部のファイルタイプで利用できないかもしれません、そして、一部のファイルタイプはまったく単位をサポートしないかもしれません。Exposure Adjustment increases or decreases the shot exposure by this many f-stops as it is read in. The main window updates as you change this. Supported only for certain image formats, such as Cineon and DPX. First Frame is 1 (otherwise 0). Turn on to cause frame numbers to start at 1 on the first frame. Folder Presets. Helps workflow by letting you set up default folders for various file types batch input files, batch output files, images, scene files, imports, and exported files. Select the file type to adjust, then hit theSetbutton. To prevent SynthEyes from automatically to a certain directory for a given function, hit theClearbutton. Maximum frames added per pass. During solving, limiting the number of frames added prevents new tentative frames from overwhelming an existing solution. You can reduce this value if the track is marginal, or expand it for long, reliable tracks. Maya Axis Ordering. Selects the axis ordering for Maya file exports. Match image-sequence frame # s.If you open an image sequence ‘in the middle,’ say at frame 35, SynthEyes will jimmy in additional extra frames so that SynthEyes s frame numbers match the image sequence s. This will require more memory in SynthEyes, but may simplify interacting with other programs that have fixed ideas about sequence frame numbers, and also eliminate the need to Prepend Extra Frames if the “in” point of the shot later changes. Multi-processing.Drop-down list. Enable or disable SynthEyes use of multiple processors, hyper-threading, or cores on your machine. The number in parentheses for the Enable item shows the number of processors/cores/threads on your machine. The Single item causes the multiprocessing algorithms to be used, but only with a single thread, mainly for testing. The “Half” option will use half of the available cores, which can be helpful when you have another major task running, such as a render on an 8-core machine. No middle-mouse button. For use with 2-button mice, trackballs, or Microsoft Intellipoint software on Mac OSX. When turned on, ALT/Command-Left pans the viewports and ALT/Command-Right links trackers. Playbar on toolbar. When checked, the playbar (rewind, end, play, frame forward etc) is moved from the command panel to a horizontal configuration along the main toolbar. Usable only on wider monitors. Prefetch enable. The default setting for whether or not image prefetch is enabled. Disable if image prefetch overloads your processor, especially if shot imagery is located on a slow network drive. Put export filenames on clipboard. When checked (by default), whenever SynthEyes exports, it puts the name of the output file onto the clipboard, to make it easier to open in the target application. Safe #trackers. Spinner. Used to configure a user-controlled desired number of trackers in the lifetimes panel. If the number is above this limit, the lifetime color will be white or gray, which is best. Below this limit, but a still acceptable value, the background is the Safe color, by default a shade of green the number of trackers is safe, but not your desired level. Shadow Level. Spinner. The shadow is dead black, this is an alpha that ranges 0 to 1, at 1 the shadow has been mixed all the way to black. Sound [hurrah]. Button. Shows the name of the sound to be played after long calculations. Start with OpenGL Camera View. When on, SynthEyes uses OpenGL rendering for the camera view, which is faster on a Mac and when large meshes are loaded in the scene. When off, SynthEyes uses simpler graphics that are often faster on PCs, as long as there aren’t any complex meshes. This preference is examined when you open SynthEyes or change scenes. You can change the current setting from the View menu. When you change the preference, the current setting is also changed. Start with OpenGL 3-D Viewport. Same as for the camera view, but applies to the 3-D viewports. Thicker trackers. When check trackers will be 2-pixels wide (instead of 1) in the camera, perspective, and 3-D views. Turned on by default for, and intended for use with, higher-resolution displays. Trails. The number of frames in each direction (earlier and later) shown in the camera view for trackers and blips. Undo Levels. The number of operations that are buffered and can be undone. If some of the operations consume much memory (especially auto-tracking), the actual limit may be much smaller. Wider tracker-panel view.Checkbox. Selects which tracker panel layout is used. The wider view makes it easier to see the interior contents of a tracker, especially on high-resolution display. The smaller view is more compact, especially for laptops. Write .IFL files for sequences.When set, SynthEyes will write an industry- and 3ds MAX-standard image file list (IFL) file whenever it opens an image sequence. Subsequently it will refer to that IFL file instead of re-scanning the entire set of images in order to open the shot. Saves time especially when the sequence is on a network drive. Scene Settings The scene settings, accessed throughEdit/Edit Scene Settings, apply to the current scene (file). The perspective-window sizing controls are found here. Normally, SynthEyes bases the perspective-window sizes on the world size of the active camera or object. The resulting actual value of the size will be shown in the spinner, and no “key” will be indicated (a red frame around the spinner). If you change the spinner, a key frame will be indicated (though it does not animate). After you change a value, and the key frame marker appears, it will no longer change with the world size. You can reset an individual control to the factory default by right-clicking the spinner. There are several buttons that transfer the sizing controls back and forth to the preferences there is no separate user interface for these controls on the Preferences panel. If a value has not been changed, that value will be saved in the preferences, so that when the preferences are applied (to a new scene, or recalled to the current scene), unchanged values will be the default factory values, computed from the current world size. Important Note the default sizes are dynamically computed from the current world size. If you think you need to change the size controls here, especially tracker size and far clip, this probably indicates you need to change your world size instead. シーン・セッティング（Edit/Edit Scene Settingsを通してアクセスされる）は、カレント・シーン（ファイル）に適用されます。 パースペクティブ-ウインドウ・サイジング・コントロールは、ここで見つかります。 通常、SynthEyesはアクティブなカメラまたはオブジェクトのワールド・サイズに、パースペクティブ-ウィンドウ・サイズの基礎をおきます。 サイズの結果として生じる実際の値はスピナーで表示されますが、「キー」は表示されません（スピナーのあたりの赤いフレーム）。 スピナーを変えると、キー・フレームはそれを示します（ただしそれがアニメーションはしません）。 値を変更し、キー・フレーム・マーカーが表示されたあとでは、ワールド・サイズでは変更できません。 スピナーを右クリックすることによって、工場デフォルト値に個々のコントロールをリセットすることができます。 前後にサイジング・コントロールを初期設定へ移すいくつかのボタンが、あります： 別々のユーザ・インタフェースが、初期設定パネルの上にこれらのコントロールのためにありません。 値が変わらなかったならば、その値は初期設定でセーブされます、そのため、初期設定が適用される（あるいは、カレント・シーンから呼び戻されて、新しいシーンに）とき、不変の値はデフォルト工場値です。そして、カレント・ワールド・サイズから計算されます。重要事項：デフォルト・サイズは、カレント・ワールド・サイズからダイナミックに計算されます。 ここのサイズ・コントロール、特にトラッカー・サイズと遠いクリップを変える必要があると思うならば、これは多分、その代わりにワールド・サイズを変える必要があることを示すでしょう。 Axis Setting. Selects the coordinate system to be used. Camera Size. 3-D size of the camera icon in the perspective view. Far Clip. Far clip distance in the perspective view Key Mark Size. Size of the key marks on camera/object seed paths. Light Size. Size of the light icon in the perspective view. Load from Prefs. Loads the settings from the preferences (this is the same as what happens when a new scene is created). Mesh Vertex Size. Size of the vertex markers in the perspective view—in pixels, unlike the other controls here. Near Clip. Near clipping plane distance. Object Size. Size of the moving-object icon in the perspective view. Orbit Distance. The distance out in front of the camera about which the camera orbits, on a camera rotation when no object or mesh is selected. Reset to defaults. The perspective window settings are set to the factory defaults (which vary with world size). The preferences arenotaffected. Save to prefs. The current perspective-view settings are saved to the preferences, where they will be used for new scenes. Note that unchanged values are flagged, so that they continue to vary with world size in the new scene. Tracker Size. Size of the tracker icon (triangle) in the perspective view.
https://w.atwiki.jp/juria/pages/121.html
@あれこれ-2010年3月 [2010-03-31]手繰る bookmark_hatena [2010-03-27]ばら撒く bookmark_hatena [2010-03-20]襷に長し bookmark_hatena [2010-03-17]帯に短し bookmark_hatena [2010-03-13]心配性？ bookmark_hatena [2010-03-31] 手繰る bookmark_hatena Evernote にデータをメール投稿する際に、収納する Notebook と タグを指定できる ようになりましたね。（ Emailing Into Evernote Just Got Better ） 件名の後に、@notobook name、#tags と、それぞれの名前の前に規定のシンタックスを 付ければいいようです。（既存のもののみで新規作成はできない。） が、嬉しいようでちーと困りました。Pixelpipe 経由であちこちに自動投稿しているので 「件名」にそれらを挿入しちまうと、みんな素で見えちゃいます。 特に可笑しいのは Flickr2Twitter でしょうね。件名が tweet になりますから。 Flickr みたいに（行頭に tags XXX と入れればタグと認識してくれる。）本文中でも いいことにしてくれませんかね？ メール投稿の仕様もさることながら、データにタグを付けて放り込み、そのタグを 手掛かりに柔軟に情報を引っ張り出すのが当たり前になるかもしれない今の時代、 いや、この先も、どんなタグをどう付け、どうシェアするか、林立するサービスごとに バラバラなそれらを統一することができるのか、当分、試行錯誤が続くのかな。 [2010-03-27] ばら撒く bookmark_hatena GMail で受信、 Evernote に転送している一日分の tweets(powered by twtr2src ) を はてなダイアリー にも転送してみたくなった。GMail の自動転送は便利ではある。 が、 はてなダイアリー も Pixelpipe も転送メールは受け付けてくれない。 しかたないから順番を逆にした。つまり、 ×：twtr2src → GMail →× Pixelpipe（→ Evernote、はてな） → GMail →× はてな → GMail →○ Evernote ○：twtr2src → Pixelpipe → GMail、はてな、Evernote twtr2src の設定は、text か Hatena で。HTML は ダメ。 本文末におまけが付くのは全自動がゆえのご愛嬌ってことで^^; Pixelpipe は、画像ファイルだけではなく様々なファイルを送信可能で、しかも 添付ファイルの有無やタイプにより pipe するサービスを自動選別してくれるが、 対応していれば有無を言わさず（送りたくない所にも）送ってくれるし、EMail に pipe する場合は受け取り側で無視されゴミパケットを生じさせることになるものもあるので （例えば Flickr2Twitter）複数のアカウントを取得、場合によって使い分けている。 [2010-03-20] 襷に長し bookmark_hatena 携帯から送信した画像投稿メールの、転送によるアドレス詐称が受け付けられない問題の 解決のために導入した Pixelpipe ですが、その他にも色々といいことがありました。 送信元の携帯アドレスが表示されなくて済む（=アドレス詐称問題） Exif 情報に従って回転してくれる 収納するアルバム・セット・Notebook 等を指定可能 登録してあるサービスを選んで（常時転送不可にしてあっても）Re-Post が可能 （添付画像、件名・本文とも。件名・本文・タグの編集も可） Twitter アカウントでサイン・インすると、初回のみ「Create Twitter Pipe?」と 聞かれるので [No] にチェック。(理由は最後に。) [Yes] にしてしまったら次に 表示される Twitter Pipe Settings ページで [Remove this destination] するか、 [Don t Send] にチェックすればオッケ。 もちろん後からでも My Pipes ページで remove や enable/disable の変更が可能。 必要に応じて「Auto-rotate images when sending」にチェック（デフォルト）。 全て Auto-rotate のままでも特に問題はないけど、Pixelpipe 側で Orientation に 従って回転後 Horizontal (normal)に書き換えて転送されるので、拘るなら、Gmail や Sugarsync、Flickr2Twitter 等受け取り側で対応しているところはチェックを外す。 送信者のアドレスが postmaster-noreply@pixelpipe.com になるのがイヤだったら、 [Default Sender] を [Me] にしてお好みのメールアドレスを入力。 但し、Email 利用の場合、本文末に投稿元（Sent via Pixelpipe と url）が挿入される 場合がある。（受け取り側次第） 設定が済んだら Pixelpipe 投稿用の メールアドレスに携帯から送信するだけ。 以下は、自分のアカウントでテストした例。完璧を望むべくもないけど、この他多数の サービスが利用できるので色々試してみたくなるね。 ■Email Flickr ：API 利用ではタグ付け（件名or本文に tags xxx を記載）が有効に ならないので Email投稿（Flickr2Twitter）に。 Twitter ：API 利用では http //pi.pe/-1dmjqy みたいな Pixelpipe の ticket への URLが挿入されるので、Email投稿（Flickr2Twitter） Sugarsync ：OK（件名・本文が無視されるのは同じ。Sugarsync の仕様） はてなダイアリー ：Auto-rotate。本文末に投稿元挿入あり。 はてなフォトライフ ：件名 OK、本文なし。収納フォルダは「はてな」側で設定。 フォト蔵 ：タイトル・本文の日本語が文字化け。 GMail（自分） ：確認用。投稿元挿入あり。フィルタで振り分け。 ■API Evernote ：収納する Notebook を指定可。 （default Notebooks = Uploads via Pixelpipe） Auto-rotate、Note本文 OK、但し改行なし（Email投稿なら改行 OK だけど投稿元挿入あり。迷うところだね、これ。） Attributes の source 属性なし Facebook ：収納するアルバムを指定可。(default album = Pixelpipe Photos) Auto-rotate、description OK アルバムに表示するには、Facebook 側で承認する必要がある。 23 ：Auto-rotate、本文 OK（ 23 側の設定で [Use filenames as photo captions] を [NO] にしておくこと。） Flickr ：Email の項を参照のこと Twitter ：Email の項を参照のこと ■Windows live spaces フォト Windows Live Spaces ：件名 OK、本文なし。アルバム選択可 対応サービス一覧の中にありますが、Email 投稿のようです。 ちとハマりやすいので覚書。 １．Windows Live Spaces で「電子メール投稿」の設定をする ・[電子メールでの投稿を可能にする] にチェック ・ステップ 1 投稿に使用する電子メール アドレスを入力 アドレスは、 Pixelpipeのアカウント@pixelpipe.com （ここでハマる） Twitter アカウントでログインしている場合は Twitter のアカウントになる。 ・ステップ 2 秘密のキーワードを入力 ・ステップ 3 フォト アルバムを選択 投稿先アルバムを指定する場合は、アルバムに設定されたキーワードをメモ。 ・ステップ 4 投稿方法 デフォルト（記事を下書きとして保存する）でオッケ ・ステップ 5 アルバム投稿用の電子メール アドレスを保存（ブログ用ではない） ２．Pixelpipe に Windows Live Spaces を追加する ・Spaces名（url が http //juria-no.spaces.live.com/ だったら juria-no）と ステップ 2 で設定した Email投稿用「秘密のキーワード」を入力→[Add Service] ・Windows Live Spaces Pipe Settings ページが表示されたら詳細を設定 Auto-rotate 不要 投稿先アルバムを指定する場合は、[specify album] にチェックして、 ステップ 3 でメモしたキーワードを入力（アルバム名ではない。ここでもハマる） → [Submit] アルバムを指定しなければ BlogImages（ブログの画像）フォルダに入る。 ステップ 1 で投稿用メールアドレスを登録する枠がもう無い時は。。。 ってか、最初から、ステップ 5 でアルバムごとに発行されるメールアドレスを使って Email 投稿で登録するのと同じことだから、そうした方が楽です。 [2010-03-17] 帯に短し bookmark_hatena せっかくの Cloud なんだから全てを WEB を完結させたい。ローカルに保存したり 同期させたりするのは気が進まないけど、一応 Evernote Portable 3.1.0.1139 (#1) と SugarSync Manager Portable 1.7.6 を入れておく。 どちらもレジストリの書き込みは無いが、 Sugarsync の My Document/Magic Briefcase フォルダは作成される。 （ Magic Briefcase の場所の変更 や自動同期フォルダの追加も可能。ただし、 ウチの環境では、場所の変更はうまく行かなかった。 Portable.bg の仕様の所為 なのかも知れないけど。） SugarSync Manager Portable は、携帯を繋いで、Flickr で未公開の画像を 一括アップロードする為で、同期はさせない（同期対象外のフォルダ[Web Archive]に アップする。） DropBox と比して、同期するフォルダとさせないフォルダを使い分けられるのが利点。 サポートブラウザは IE 7.0, Firefox 2.0 以上ってことだけど、Chrome はオッケ、 IE6 はやっぱダメでした。 Evernote Portable は、WEB ではできないデスクトップのキャプチャーや選択範囲の クリップ機能（特にこっち）を使いたい。 もう一つ WEB ではできない画像の編集機能がある。但し、編集結果をCloud 上の データに反映させる（同期させる--ユーザが明示的に Synchronize させなければ 同期しない）と、元の画像とは別物になる。（フォーマットは PNG、当然、元 JPEG の Exif 情報は消える。） 「同期」と言っても、 Sugarsync や DropBox とは違って、ローカルに置かれるのは メールに添付したファイルそのものではなく SQLite3 データベースのファイル。 Optionで指定した場所/DataBases3/ユーザ名.exb #1 Evernote 公式の Portable 版は Evernote for Windows インストーラー版 の tool メニューからインストールできるが、 これ はインストーラー版は不要。 インストーラー版と Porttable版を併用するとどっちが新しいデータベースだか 混乱を招くので、本来は別々に配布すべきだよな。 SugarSync Manager Portable 1.7.6 も Evernote Portable 3.1.0.1139 も 起動する WEBブラウザを指定できないのが痛い（関連付け起動）。 [2010-03-13] 心配性？ bookmark_hatena 携帯で撮影した画像をGMailに送信するだけで、 Flickr と Twitter と Buzz で公開、 （公開urlも含めて）GMail＋Buzz と Evernote でデータベース化、 SugarSync と Buckupy でバックアップが完了するようにしてみた。 不思議なもんで、Cloud サービス導入直後はセキュリティや信頼性が心配だったけど、 今では、ローカルPC に置いておく方が心配でね、あはは。 （ちなみに、 Sugarsync も DropBox も referral url からサイン･アップすると 250MB おまけがもらえる。） 設定： 携帯画像添付 → Gmail → Flickr + Twitter 転送( Flickr2Twitter )(1) ← Flickr を Buzz に取り込み（接続サイト） ← Buckupy で Flickr と Twitter をバックアップ（weekly） ← twtr2src で timeline を HTMLで Gmailに送信（daily） → Evernote 転送(2) → Evernote に転送（default に設定した notebook）(3) → SugarSync に転送（Magic Briefcase/Uploaded by Email フォルダ）(4) (1)(2)(3)(4) は Gmail のフィルタで、各サービス発行の投稿用メールアドレスへの 転送やラベル・アーカイブの設定をしておく。（条件は発信元と添付ファイル有り） (1)(3)(4) は１回で済めば良いのだけど、フィルタ一つに付き転送先は一ヶ所しか 指定できないので３回設定。その内のどれかにラベル（flickrとか）とアーカイブ （受信トレイをスキップ）の設定をする。 Flickr2Twitter へのポストは、メールの件名が画像のタイトル兼 tweet になり、 画像ページへのリンク（Flic.kr URL）が挿入される。 Evernote では、件名が Note のタイトル、本文と添付画像がコンテンツ。 SugarSync では、件名・本文とも無視される。添付ファイルのバックアップ。 Flickr ・Buzz・GMail・ SugarSync では Exif タグ情報の Orientaion を見て縦横が 正しく表示されるが、 Evernote や 23 はダメ。 （ちなみに、 Facebook やはてなダイアリーにも送ってみましたがこちらも rotate 修正なしですね。） フォト蔵などいくつかのサービスは送信元の詐称は受け付けないので、 Pixelpipe の 利用を検討中。続きは何れ。 -
https://w.atwiki.jp/vocaloidenglishlyric/pages/457.html
【Tags Miku Nashimoto-P P tW】 Original Music title ペテン師が笑う頃に English music title When Crooks Laugh Romaji music title Petenshi ga Warau Koro ni Music Lyrics written, Voice edition by 梨本P (Nashimoto-P) / 梨本うい(Nashimoto Ui) Music arranged by 梨本P (Nashimoto-P) / 梨本うい(Nashimoto Ui) Singer(s) 初音ミク (Hatsune Miku) Fanmade Promotional Video(s) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： What d I love, you ask? Well, it sure ain t you, it s all about me! Hey, everybody out there! You hear me? Get on your knees and beg to the sky! A crimson, rusted color Clowns who wanna off emselves Without makeup, they re just stupid faces! Stayin up and prowlin at night When mornin comes, you gotta run... Oh yeah? Where? My trickery s best in bed The sorrow of others? My sweetest nectar! Bitch of a "lady," totally naked Everybody in the world s no more than moron * My trickery s a trickery that s best of all in bed Other people s sorrows? The best thing since sliced bread! Hussy of a "lady" gets around with no clothes on vrybody in the world s no more than moron * When crooks laugh Oh, please, whine to us bout your petty sorrows! When crooks laugh The good rave madly, the pure get pain! A flower blooming in the city? Who the hell s gonna notice it? It s got no purpose there! Couple days from now, I m gonna wanna have moved on from that crap Corpses goin through a CRT But you ain t interested, it ain t real! If you re that scared, Go ahead, say your prayers! Lord have mercy, you sure as hell need it! The bluebird of happiness Take off its feathers and it s crap Tricked morons, tricking morons Same ol morons, laugh at em both! * Bluebird bringing happiness to everywhere it flaps Take away its feathers and it s just a piece of crap Morons tricking morons and the morons getting tricked Laugh at em both, cause it s the same ol moron shtick! * When crooks laugh Oh, please, come to us with your lousy pride! When crooks laugh Think you re just almighty, what a disgrace! A regular ol love song? Who the hell s gonna wanna hear that same crap again? Go ahead and search for the face of love But don cha know what s gotta come first? Sheep awaking from a dream Can t get to sleep, going round and round Until when? Until where? If you re lost, hey, over here... With more and more love than you can handle, I ll suck you down to the BONE! When crooks laugh Oh, please, whine to us bout your petty sorrows! When crooks laugh The good rave madly, the pure get pain! A flower blooming in the city? Who the hell s gonna care in five minutes? Couple days from now, I m gonna wanna have moved on from that crap With all due respect, I have one word for you... Die. Romaji lyrics (transliterated by vgboy / vgperson)： Aisareteita no wa Kimi janakute boku jishin sa Koe no kikoeru hou e Hizamazuite sora o ogamu Beni sabita iro Shinitagari no piero wa Keshou mo sezu manuke zura Yofukashi mo hodohodo ni Asa ga kiru yo nigenakucha Doko e Damasare jouzu wa toko jouzu Tanin no fukou wa mitsu no aji Abazure kifujin maru-badaka Wataru seken wa baka-bakari Petenshi ga warau koro ni Yasui fukou jiman de o-namida choudai Petenshi ga warau koro ni Wameku kichigai zennin pyua na nin gai Tokai ni saku hana no you ni Nante kidzukanakereba muimi na sonzai Asatte no ima-goro ni wa Sono minikui karada o wasurete shimaitai no Buraun-kuda koshi no shitai ni Kyoumi nai no riaru janai Sonna ni kowai no nara Nenbutsu demo tonaenasai Namuamidabutsu Shiawase o hakobu aoitori Hane ga mogereba tada no gomi Damasareru aho ni damasu aho Onnaji aho nara waraimasho Petenshi ga warau koro ni Usupperai puraido katatte choudai Petenshi ga warau koro ni Ga naru jishou kyouso-sama hidoi shoutai Arikatari na rabu songu Nante taikutsu sugite kikitakunai wa Ai no katachi sagasu yori mo Saki ni suru beki koto nani nano ka shitteru desho Yume kara sameta hitsuji-tachi wa Nemeru koto mo dekizu mawaru mawaru Itsu made doko made Maigo nara saa oide Motto aise tsuyoku shabure Hone no zui made Petenshi ga warau koro ni Yasui fukou jiman de o-namida choudai Petenshi ga warau koro ni Wameku kichigai zennin pyua na nin gai Tokai ni saku hana no you ni Nante go-fun mo sureba wasureru sonzai Asatte no ima-goro ni wa Sono minikui karada o wasurete shimaitai no Keii aru kimi ni kono kotoba okuru wa Shine. [Nashimoto-P, NashimotoP, Nashimoto Ui]
https://w.atwiki.jp/matchmove/pages/76.html
Troubleshooting Sliding. This is what you see when an object appears to be moving, instead of stationary on a floor, for example. This is a user error, not a software error, typically due to object placement errors. Almost always, this is because the inserted object has not been located in exactly the right spot, rather than indicating a tracking problem. Often, an object is inserted an inch or two above a floor. Be sure you have tracked the right spot to determine floor level, track marks on the floor, not tennis balls sitting on it, which are effectively an inch or two higher. If you have to work from the tennis balls, set up the floor coordinate system taking the ball radius into account, or place the object the corresponding amount below the apparent floor. Also, place trackers near the location of the inserted object whenever possible. Another common cause of sliding a tracker that jumps from one spot to another at some frame during the track. “It lines up in SynthEyes, but not XXX.” The export scripts do what they can to try to ensure that everything lines up just as nicely in your post-tracking application as in SynthEyes, but life is never simple. There are preferences that may be different, maybe you’re integrating into an existing setup, maybe you didn’t think hitting xxx would matter, etc. The main causes of this problem have been when the field of view is mangled (especially when people worry about focal length instead, and have the wrong back plate width), and when the post-tracking application turns out to be using a slightly different timing for the images, one frame earlier or later, or 29.97 vs 30 fps etc, or with or without some cropping. “Camera01 No trackers, please fix or set camera to disabled.” You have created a scene with more than one camera, opening a new shot into an existing file—one with no trackers. The message is 100% correct. You need to select the original camera on the Shot menu, then Shot/Remove object. “Can’t locate satisfactory initial frame” when solving. When the Constrain checkbox is on (Solver panel), the constrained trackers need to be active on the begin and end frames. Consequently, keeping Constrain off is preferable. Alternatively, the shot may lack very much parallax. Try setting the Solver Panel s Begin and/or End frames manually. For example, set the range to the entire shot, or a long run of frames with many trackers in common. However, keep the range short enough that the camera motion from beginning to end stays around 30 degrees maximum rotation about any axis. “I tried Tripod mode, and now nothing works” and you get Can’t locate satisfactory initial frame or another error message. Tripod mode turns all the trackers to Far, since they will have no distance data in tripod mode. Select all the trackers, and turn Far back off (from the coordinate system control panel). Bad Solution, very small field of view. Sometimes the final solution will be very small, with a small field of view. Often this means that there is a problem with one or more trackers, such as a tracker that switches from one feature to a different one, which then follows a different trajectory. It might also mean an impossible set of constraints, or sometimes an incomplete set of rotation constraints. You might also consider flipping on the Slow but sure box, or give a hint for a specific camera motion, such as Left or Up. Eliminate inconsistent constraints as a possibility by turning off the Constrain checkbox. Object Mode Track Looks Good, but Path is Huge. If you’ve got an object mode track that looks good---the tracker points are right on the tracker boxes---but the object path is very large and flying all over the place, usually you haven’t set up the object s coordinate system, so by default it is the camera position, far from the object itself. Select one tracker to be the object origin, and use two or more additional ones to set up a coordinate system, as if it was a normal camera track. Master Reset Does Not Work. By design, the master reset does not affect objects or cameras in Refine or Refine Tripod mode they will have to be set back to their primary mode anyway, and this prevents inadvertent resets. Can’t open an image file or movie. Image file formats leave room for interpretation, and from time to time a particular program may output an image in a way that SynthEyes is not prepared to read. SynthEyes is intended for RGB formats with 8 or more bits per channel. Legacy or black and white formats will probably not read. If you find a file you think should read, but does not, please forward it to SynthEyes support. Such problems are generally quick to rectify, once the problematic file can be examined in detail. In the meantime, try a different file format, or different save options, in the originating program, if possible, or use a file format converter if available. Also, make sure you can read the image in a different program, preferably not the one that created it some images that SynthEyes “couldn’t read” have turned out to be corrupted previously. Can’t delete a key on a tracker (ie by right-clicking in the tracker view window, or right-clicking the Now button). If the tracker is set to automatically key every 12 frames, and this is one of those keys, deleting it will work, but SynthEyes will immediately add a new key! Usually you want to back up a few frames and add a correct key; then you can delete or correct the original one. Or, increase the auto-key setting. Also, you can not delete a key if the tracker is locked. Crashes By far the largest source of SynthEyes crashes is running your machine out of memory. Large auto-tracked HD scenes can do that on 32-bit systems. If you suspect that may be a problem, turn the queue length down to 10 on the shot setup dialog when you open the shot (or by doing a Shot/Edit Shot). It is also a good idea to re-open SynthEyes if you have auto-tracked the same shot several times—or turn down the undo setting because the amount of data per undo can be very large. In the event that SynthEyes detects an internal error, it will pop up an Imminent Crash dialog box asking you if you wish to save a crash file. You should take a screen capture with Print Screen on your keyboard, then respond Yes. SynthEyes will save the current file to a special crash location, then pops up another dialog box that tells you that location (within your Documents and Settings folder). You should then open a paint program such as Photoshop, Microsoft Paint, Paint Shop Pro, etc, and paste in the screen capture. Save the image to a file, then e-mail the screen capture, the crash save file, and a short description of what you were doing right before the crash, to SynthEyes technical support for diagnosis, so that the problem can be fixed in future releases. If you have Microsoft s Dr. Watson turned on, forwarding that file would also be helpful. The crash save file is your SynthEyes scene, right before it began the operation that resulted in the crash. You should often be able to continue using this file, especially if the crash occurred during solving. It is conceivable that the file might be corrupted, so if you recently had saved the file, you may wish to go back to that file for safety.