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Chapter 1 Logs Voice Log(1)Rent Due Text Log(1)I For an Eye EarthGov Artifact(1)EarthGov Artifact 01 Unitologist Artifact(1)Unitologist Artifact 01 Voice Log(1) Rent Due System Playback, massage thirty-three. Caller Earthrise Apartments. This message is for the residents of apartment sixteen. Your rent is past-due. This is your final notice. Failure to pay in three days will result in eviction. System 再生、メッセージ33番。発信者：Earthside Apartments。このメッセージは16号室の住人に向けて発信されています。あなたの賃貸契約は期日が過ぎています。これは最後の通知です。3日以内に家賃をお支払い頂けない場合、強制退去して頂くことになります。 Text Log(1) I For an Eye PERSONAL JOURNAL ISAAC CLARKEWe each lost a part of ourselves during that nightmare on the Titan Sprawl. For Ellie it was her eye. Luckily, we found a replacement we could afford. Even though the color doesn t quite match, at least she can feel whole again.Me. I lost part of my soul. And there s not a damn thing I can do to buy that back. I guess, ultimately, that s why she left.People want things they can fix and I m permanently broken. 個人日誌：ISAAC CLARKETitan Sprawlでの悪夢の中で、俺たちはそれぞれ自らの一部分を失った。Ellieの場合、それは目だ。幸運にも、俺たちはなんとか買えるだけの値段で替えを見つけた。色は完璧とは言えないが、少なくとも彼女はすっかり元通りの気分、ってわけだ。そして俺。俺は心のどこかをなくしてしまった。そいつを買い戻すためにできる事なんてありはしない。つまるところ、彼女が去ってしまったのはそのせいだろう。人は直せるものを欲しがるものだ、そして俺はいつまでも壊れたままなんだ。 EarthGov Artifact(1) EarthGov Artifact 01 EXCERPT FROM "AN END OF EARTHGOV?"EarthGov officials yesterday denied rumors that the government was no longer able to contain the widespread violence that has gripped the colonies in recent weeks. The violence began 16 days ago on Uxor following a year-long campaign by the Church of Unitology.Five colonies have gone dark since the Unitology riots began. There have been rumors of bombings at government laboratories and eyewitness accounts of brutal killings following shortly after. 「EarthGovの終焉？」から抜粋昨日EarthGov関係者は、ここ数週間コロニーに横行している広域な暴力事件を食い止める能力がもはや政府には存在しない、という噂を否定した。Unitology教会の年単位の運動により、16日前のUxorから暴力事件は発生した。Unitologyの暴動が発生してから、5つのコロニーが連絡を絶った。政府の研究所が爆破されたと噂されており、そのすぐ後に起こった残酷な殺人事件の目撃証言もあります。 Unitologist Artifact(1) Unitologist Artifact 01 MISSIVE TO THE FAITHFULWhen the Black Marker was first discovered on Earth so long ago, the government at the time hid all evidence of it from us. When our prophet Michael Altman spoke out against them, he was silenced.Now EarthGov continues that legacy. They tamper with the Markers - making blasphemous copies as part of their secret research programs. They have taken our sacred relic and turned it into a desease.But nature has ways of correcting itself. By liberating the Markers we can end this cycle of death and begin the cycle of rebirth.Join me as we take back our future - the future the Marker promises to us all.- Jakob Arthur Danik 信者たちへ遠い昔、BlackMarkerが地球にて初めて発見された際、時の政府はその事実を我々に公表することは決してなかった。我らが預言者、Michael Altmanは彼らに反対を表明したが、殺されてしまったのだ。現在も地球政府はその遺産を継承している。極秘調査計画の一部として、愚かにもマーカーの複製にまで着手しているのだ。聖なる遺物は彼らに奪われ、今や病にかかっている。しかし、自然には自身を回復する力がある。マーカーを解放することで、我々は死の循環から抜け出し、再生の循環を始められるのである。Markerが我らに約束して下さった未来 - 我らが未来を取り戻すための戦いに、力を貸してほしい。- Jakob Arthur Danik
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読む前に キャラ別（CP版） 読む前に あくまで「簡易対策」なので、これを読んでも見えない2択、分からん殺しが見えるようになるわけではない。最低限の、事前知識として覚えておこう。 ゲーセンの場合、対戦相手に聞いてみるのも有効。ネットで質問するより、眼前の他人の方がダイレクトなコミュニケーションが出来る。 キャラ別（CP版） ラグナ ジン ノエル テイガー タオカカ レイチェル アラクネ ライチ カルル バング ハクメン ν-13 ツバキ ハザマ μ-12 マコト ヴァルケンハイン プラチナ レリウス アマネ バレット アズラエル イザヨイ カグラ テルミ ココノエ ぜんぜん書かれてねーな -- (名無しさん) 2014-01-13 04 07 05 コメントなり意見がないと需要があるかわからないわけで、 黙っていれば手をつけにくいですね -- (管理人) 2014-01-19 19 46 35 いやいや、まとめてくださいよ 管理人さんよ 需要は確実にあります 何の為のwikiなのか -- (名無しさん) 2014-02-17 08 41 24 需要あるに決まってんだろ、こんな分からん殺しが横行するゲームじゃ 単に管理人の知識不足＆めんどくさがりだろ -- (名無しさん) 2014-04-18 04 07 06 現状の課題は ・編集者が足りていない ってことです ＞知識不足、めんどくさがりだろ じゃあ「んじゃ、書いても知識不足やめんどくさがりで納得されないと予測できるので、書かなくていいですね。別のページを更新しますね」ってなります 更新を熱望するのならコメント欄にキャラ対策となる部分を書き込むなり、 キャラスレから持ってくるなりしたり、このキャラのここがわからないなどの需要をコメント欄で伝えてくれればやる気出てまとめたりしますよ Wikiってのは自動的に埋まる攻略サイトではないですし、一人でやるもんじゃないです分からん殺しが横行して困っているなら、編集を手伝ってください お互いに助かりますよ-- (管理人) 2014-04-20 11 48 33 管理人さんがそういう姿勢では、誰も手伝ってくれなくなりますよ -- (名無しさん) 2014-04-20 14 56 40 ・Wikiは、誰しもが自分のやれる範囲のことをやる場所です ・編集者としての自分は、やれるところはやりますし、 やりたくないところ、やれないところはやりません ・他の編集する人も、やれる範囲で手伝ってくれています それだけのことです ここで言い合いをしても意味がありません 「まずは隗より始めよ」ということです 以上です -- (管理人) 2014-04-20 21 17 32 ボランティアでやってくれてる管理人叩いても意味はない リアル忙しかったりで現役かもわからんしね -- (名無しさん) 2014-04-21 02 46 19 bbプレイヤーはガキ多し -- (名無しさん) 2015-02-23 00 57 24 言い合いに乗っかんないで無視すればいいだけ -- (名無しさん) 2015-05-11 16 51 48 名前 コメント すべてのコメントを見る
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MISSION3 MISSION4 MISSION5 MISSION6 MISSION7 MISSION8 MISSION9 MISSION10 MISSION11 MISSION12 MISSION13 MISSION14 MISSION15 jc＝ジャンプキャンセル hjc=ハイジャンプキャンセル dc=ダッシュキャンセル RC=ラピッドキャンセル fc=フェイタルカウンター HF=214A＞追加=214D GH=214B＞追加=214D(空中可) CID=623C(空中可) DID＝623D(空中可)＞アッパー=236C＞横吹き飛ばし=236C or踵落とし=214D ベリアル=(空中で)214C DS=214D まだお=(相手ダウン状態で)22C カーネイジシザー=632146D BK=214214D 闇喰い=(BK中)214214D MISSION3 5B＞5C＞HF＞追加 ラグナ MISSION3 解説へ MISSION4 5B＞3C＞まだお ラグナ MISSION4 解説へ MISSION5 6投げ＞GH＞追加＞DID＞アッパー 踵落とし ラグナ MISSION5 解説へ MISSION6 6A(jc)＞JC＞JD(jc)＞JC＞JD＞DID＞アッパー＞踵落とし ラグナ MISSION6 解説へ MISSION7 空中投げ＞5B＞5D(dc)＞6A(jc)＞JD(jc)＞JD＞DID＞アッパー＞踵落とし ラグナ MISSION7 解説へ MISSION8 6B＞5C＞6C(dc)＞6B＞5C＞5D(dc)＞6A(jc)＞JD(jc)＞JD＞DID＞アッパー＞踵落とし ラグナ MISSION8 解説へ MISSION9 5B＞5C＞HF(RC)＞6C(dc)＞6B＞5C＞5D(dc)＞6A(jc)＞JD(jc)＞JD＞DID＞アッパー＞踵落とし ラグナ MISSION9 解説へ MISSION10 GH＞追加＞ハイジャンプ＞JC＞JD(jc)＞JD＞ベリアル＞ダッシュ＞5D＞カーネイジシザー(ゲージ50消費) ラグナ MISSION10 解説へ MISSION11 (画面端)5B＞5C＞HF＞追加(RC)＞6B＞5C＞5D1＞DS＞5C(hjc)＞JC＞JD(jc)＞JC＞JD＞ベリアル＞5D＞DID＞アッパー＞踵落とし (ゲージ50消費) ラグナ MISSION11 解説へ MISSION12 (画面端)5B＞3C＞まだお(RC)＞6C(dc)＞6B＞5C＞5D1＞DS＞5C(hjc)＞JC＞JD＞ベリアル＞5D＞CID＞アッパー＞横吹き飛ばし＞ダッシュ＞3C＞HF＞追加(ゲージ50消費) ラグナ MISSION12 解説へ MISSION13 (画面端)2D(RC)＞5C＞5D1＞DS＞5C(hjc)＞JC＞JD＞ベリアル＞6D＞JD＞5D＞DID＞アッパー＞横吹き飛ばし＞ダッシュ＞3C＞まだお(ゲージ50消費) ラグナ MISSION13 解説へ MISSION14 (画面端)投げ＞DS＞5C＞5D1＞BK＞5B＞5D1＞DS＞5D1＞GH＞追加＞6D＞DID＞アッパー＞踵落とし＞JD＞ベリアル＞5D(dc)＞5D＞闇喰い(ゲージ100消費) ラグナ MISSION14 解説へ MISSION15 (画面端)2C(fc)＞DS＞2C＞5C＞6C(dc)＞6B＞BK＞まだお(RC)＞6D＞空中GH＞追加＞5D1＞DS＞5D1＞DID＞アッパー＞踵落とし＞JD＞ベリアル＞5D＞HF＞追加＞HF＞追加＞闇喰い(ゲージ100消費) ラグナ MISSION15 解説へ
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RCからの3C＞チェーンリボルバー(レイド〆)＞チェーンリボルバー(ブルーム〆) レシピ：2D＞(RC)＞3C＞22BC＞(ダッシュ)＞6C(1段目)＞5D＞623D＞(ダッシュ)＞6C(1段目)＞(jc)＞JD＞6D＞6B＞5B＞5C＞236D 18hit、4308dmg [コツ] ノエルのチャレンジモードで、初のラピッドキャンセルをからめたコンボ。 RCは早すぎず遅すぎずを心がける。 レイドで打ち上げてからの6Cなどは、これまでのMISSIONと同様に。 RCのタイミングとレイド後の拾いさえできていれば、そんなに難しくはないコンボ。 ＜＜MISSION7へ ｜ MISSION9へ＞＞
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概要 プレーヤーキャラクターの攻略はν-13にて。 「ブレイブルー」の最後を飾るラスボス。 独眼の少女。人に限りなく近い体を持つが、何かのシステムの一部分のようで発言は非常に機械的。 ただし、ラグナと会ったときには少女らしい人格を露にする。 戦闘時は棺桶のような大型ユニットと合体して戦闘形態となる。 背部に複数の刃を浮遊させ、自由に操るほか、脚部も丸々刃物型のブーツになり、常時飛行している。 四方八方から飛び道具を発射し、攻撃してくる。 気を抜くとバリアクラッシュの憂き目に晒されるが、懐に入られると脆い。 最後の最後、エンディングを見たいのであれば最善を尽くしたい。 攻略法 基本的にはボスキャラクター共通で、インファイトによる手数と粘着。 どうやら飛び込みに対して有効な対空が少ないようなのでその弱点をきちんと突くこと。 CPUなので、勝手にガードは解いてくれるため、HIT確認からちゃんとコンボに行くこと。 しかも、特徴的な無敵技を持たないので御しやすいと言える。 とはいえ、画面いっぱいに降り注ぐドライブ技『ソードサマナー』に気が滅入るだろう。 しかし、ガード方向は本体基準なので問題は無い。 それよりも、距離を選ばず手数を出せるため、通常ガードであるとすぐにガードライブラが尽きる。 ハクメンより増してバリアゲージのマネージメントをしたい。 『グラビティシード』という移動・落下が遅くなるフィールドに設置したりする。 中に入ると、ダッシュの加速や受身可能時間といった攻撃・防御以外のあらゆる動作が遅くなる。 しかし、ダメージは無く、持続時間も短いため、入ってしまうか、離れるかはプレーヤーの判断次第。 もし真ん中に吸い込まれたらなかなか脱出できないため、無理に逃げるよりはそのまま様子見をするほうが無難。 ボス戦なのでとにかくダメージを受けないことが肝心。 ディストーションドライブとして目の前に黒い魔方陣を出し、無数の飛び道具を放つ『レガシーエッジ』がある。 要するに2D格ゲー『ヴァンパイア セイヴァー』の「モリガン」が使う“フィニッシングシャワー”である。 かなりのHIT数で、距離を離される。その間に本体が接近してくるのでガード方向はしっかりと見きりたい。 飛び道具はともかく、打撃技のダメージはプレーヤーキャラクターの平均値。投げも必要経費と割り切って無理な攻めをしないことが勝利のコツである。 キャラ別対策 テイガー：しゃがみＤ→コマンド投げのごり押し。コイツにかぎらずＣＰＵ戦はこれでＯＫ（覚醒ラグナには確認とれず） アラクネ：画面端に追いやってひたすらゲロ。真面目にやりあうと辛いがコレでそのままノックアウトできる。（たまに逃げられる name comment すべてのコメントを見る HELLでもNORMALでもνは強さが変わってないと思うんだが… アークの歴代ボスの中で一番に弱いんじゃないか？ -- (名無しさん) タオのDEにグレイズ判定つけてください＞＜ -- (名無しさん) ようやく安定して勝てるようになった。 アラクネなら３Ｃを狙って当てられると、くぐれるよね。 -- (ぬえ) 出てくるゲーム間違えた弾幕素敵です -- (名無しさん) 体力は１２０００ -- (Ｆ) HELL難易度のニューが理不尽すぎる・・・ -- (名無しさん) もりもりがツボにはまったwww -- (名無しさん) テイガーは2DよりBスレッジがいいと思う。 本当にいまさらながらｗ -- (名無しさん) ニュー プロフィール 身長 ： 155cm 体重 ： 45kg 血液型 ： 不明 出身地 ： 第十三階層都市カグツチ 誕生日 ： 12月31日 趣味 ： ラグナの事を考える 大切なもの ： ラグナ 嫌いなもの ： すべて CV ： ？？？ アルカディア 2009年2月号NO.105 に載ってました!! -- (みょん) アストラルドライブの正式名称は、 アストラルヒートなので修正お願いします。 -- (シュナイダー)
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CON... Conboy, Martin. 2010. The Language of Newspapers Socio-historical Perspectives. London Continuum. Conde-Silvestre, J. Camilo. 2016. "A 'Third-Wave' Historical Sociolinguistic Approach to Late Middle English Correspondence Evidence from the Stonor Letters", in Current Trends in Historical Sociolinguistics, ed. Cinzia Russi, pp. 46-66. De Gruyter. Condorelli, Marco. 2022. Standardising English Spelling The Role of Printing in Sixteenth and Seventeenth-Century Graphemic Developments. Cambridge Cambridge University Press. Condorelli, Marco. 2022. "The rationalisation of vowel diacritic spelling in Early Modern English (1500–1700)". Journal of Historical Sociolinguistics 8(2) 293-323. Condie, Victoria. 2022. "‘Abroad in One’s Own Tradition’ Old English Poetry and Kenneth Grahame’s The Wind in the Willows (1908)", in Old English Medievalism Reception and Recreation in the 20th and 21st Centuries, ed. Rachel A. Fletcher, Thijs Porck, Oliver M. Traxel, pp. 37-52. Boydell Brewer. Considine, John. 1997. "Etymology and the Oxford English Dictionary a response". International Journal of Lexicography 10(3) 234-236. Considine, John. 2008. Dictionaries in Early Modern Europe. Cambridge Cambridge University Press. Considine, John. 2022. Sixteenth-Century English Dictionaries. Oxford Oxford University Press. Considine, John Giovanni Iamartino (eds). 2007. Words and Dictionaries from the British Isles in Historical Perspective. Newcastle Cambridge Scholars Publishing.
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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
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MISSION3 MISSION4 MISSION5 MISSION6 MISSION7 MISSION8 MISSION9 MISSION10 MISSION11 MISSION12 MISSION13 MISSION14 MISSION15 jc＝ジャンプキャンセル hjc＝ハイジャンプキャンセル ch＝カウンターヒット fc＝フェイタルカウンター RC＝ラピッドキャンセル 双掌打＝236B(空中可) バング落とし＝623C(空中可) 釘＝236(空中可) 大噴火＝2363214C 阿修羅＝236236A MISSION3 5B＞2B＞6C＞JD バング MISSION3 解説へ MISSION4 5C＞6A＞大噴火 (ゲージ50消費) バング MISSION4 解説へ MISSION5 J4B＞5A＞5B＞2B＞2C＞双掌打 バング MISSION5 解説へ MISSION6 5B＞2B＞6C＞JD＞2B＞6C(jc)＞JB＞J4C＞空双掌打 バング MISSION6 解説へ MISSION7 5B＞2B＞5D(jc)＞JB＞J4C(jc)＞J4C＞JC バング MISSION7 解説へ MISSION8 5B＞2B＞6C＞JD(jc)＞空中C釘＞5C＞6D＞大噴火 (ゲージ50消費) バング MISSION8 解説へ MISSION9 投げ＞空中ダッシュ＞J4C＞5B(jc)＞JB＞J4C(jc)＞JB＞J4C＞空双掌打 バング MISSION9 解説へ MISSION10 空投げ＞ダッシュ＞3C＞ダッシュ＞2A＞5B(jc)＞JA＞JB＞J4C(jc)＞J4C＞JC＞空中A釘 バング MISSION10 解説へ MISSION11 5A＞5B＞2B＞6C＞JD(jc)＞空中C釘＞JD(jc)＞空中C釘＞5D バング MISSION11 解説へ MISSION12 (画面端)バング落とし(RC)＞5C＞2C＞双掌打＞5B＞6C(jc)＞J4C＞空双掌打＞5B＞2B(jc)＞JB＞J4C(jc)＞J4C＞JC (ゲージ50消費) バング MISSION12 解説へ MISSION13 (画面端)5B＞2B＞6C＞空双掌打＞ダッシュ＞5B＞双掌打＞6C＞JD＞2B＞6C(jc)＞JB＞J4C＞空双掌打＞阿修羅 (ゲージ50消費) バング MISSION13 解説へ MISSION14 5B＞2B＞6C(jc)＞空中ダッシュ＞J4C＞空双掌打＞ダッシュ＞6C＞JD＞2C＞双掌打＞5B＞2B(jc)＞JB＞J4C(jc)＞J4C＞JC バング MISSION14 解説へ MISSION15 (画面端)(風林火山中)JC＞5B＞2C＞6移動＞5C＞6D＞6移動＞2D＞6移動＞5C＞5D＞8移動＞J4C＞8移動＞J4C＞JD＞2B＞双掌打＞6C＞8移動＞J4C＞8移動＞J4C＞空双掌打＞阿修羅 (ゲージ50消費) バング MISSION15 解説へ
https://w.atwiki.jp/touhoukashi/pages/5478.html
【登録タグ D DESTINE ASH DESTINE ASH/Love Love Scarlet cheluce イノライ 亡き王女の為のセプテット 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
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ドライブ「マジカルシンフォニー」マジカルにゃんこ マジカルピコハン マジカルバット マジカルフライパン マジカルボム マジカルミサイル マジカルどれみボックス オーバードライブ「マジカルハートキャッチ」 ドライブ「マジカルシンフォニー」 Dボタンを押すとアイテムを装備。もう一度Dボタンを押すことでアイテムを使って攻撃。アイテムは弾数制限有り。 次に装備できるアイテムはNEXTとしてゲージの上に表示されている。何がNEXTに出るかはランダム。 マジカルにゃんこ 先端が猫の杖で上から殴る。空中版も下に叩く。5回。 マジカルピコハン ピコハンで上から叩く。空中版はハンマーに乗りながら下に落下。2回。 クラッシュトリガーと同じ通常ガードクラッシュ効果有り。ただしバリアを削る効果はない。 マジカルバット バットでホームラン。空中版は真横に振る。3回。 マジカルフライパン フライパンで横に叩く。空中版は下に叩く。空中版は追撃可能な高速中段。リーチ短め。4回。 マジカルボム 放物線を描く軌道で爆弾を3発発射。3回。 マジカルミサイル 真横に飛ぶミサイルを発射。3回。 マジカルどれみボックス 新アイテム。プレゼントを地面に設置。相手がプレゼントに近づくと真上を攻撃。2回。 オーバードライブ「マジカルハートキャッチ」 OD中はアイテムの使用回数が減らなくなる。猫やハンマーはミスティックモモで投げると一回で無くなるが、爆弾やミサイルはモモしても回数が減らないので無くならない。 ディストーションドライブ(DD)のキュアドットタイフーンが強化される。 OD持続時間は以下の通り(キャンセル発動すると持続時間が通常時の半分に)体力51~100%時 3カウント 体力11~50%時 6カウント 体力1~10%時 10カウント 名前 コメント すべてのコメントを見る