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https://w.atwiki.jp/lillian7887/pages/10.html
Some people love being in the center of attention; for some, that comes naturally. Some might say it s easy to be the main star at social events. They think that just creating drama is enough. Well, it surely helps, but that s maybe not the kind of attention you d had in mind. People who don t like being the leading star of gatherings often turn to online dating. There s no need to compete for attention. People are chatting one on one. That s how almost every relationship online starts. It s easier to thrive in a secure place such as an inbox or a chat room. But, the time will come when they ll have to leave their shells; maybe a breakup will force them to go outside and mingle. And that s when the competition for the attention of the opposite sex starts. It s ruthless out there, and one must be ready. There are a few things to keep in mind if they want to shine the brightest. Everybody gets what it takes to be an absolute master in grabbing others attention. Just follow some simple rules we collected to help out. Have a Unique Profile Description on Dating Sites Getting attention is impossible for those who are the same as everybody else. Most people on dating sites have similar photos and boring profile descriptions. That doesn’t get them much attention because no one remembers them after browsing their profile. To get noticed on https //www.quickflirt.com/, take a different approach than everybody else. Upload a photo that will make people stop browsing and send you a message. Someone is online 24/7 on the site, so your profile can grab attention even while you’re sleeping. Let Everybody Know You Are Kinky It doesn’t matter if you’re flirting in person or online you have to show you’re kinky. Everybody likes that (even people who pretend they don’t). One of the easiest ways to show you love experimenting in the bedroom is by mentioning sex toys. People love trying new things. Routine is good, but it can be a killer in a bedroom. Take the lead in conversation and stir it in the bedroom direction. Casually mention what you prefer. Someone will catch that spark in your eye and continue the conversation while other people listen carefully. Be the First to Approach Other Singles while With Friends Few things are better than hanging out with friends. One of the better things is showing confidence while in a group of friends. How? If there s a single girl, usually, people don t approach them in front of friends because they fear they ll get turned down and be embarrassed in front of their crew. And singles know that; we ve all been there before. But, if you take a deep breath and go for it, that shows you have more confidence than a regular person. Also, look at the envious faces of your friends. Come up with a funny line, compliment their looks, smile, and watch singles melt in front of you. It s a win-win. Focus on One Person in the Group This one is a classic. Stay in disguise in a bar or a restaurant and observe. Try to figure out who s single in a group and begin your mission. Lock them with a meaningful stare (don t push it too hard, you may look like a psycho), smile, raise a glass for them, maybe even throw a wink there. At first, a person may feel shy or be in shock - after all, you are flirting shamelessly while they re in a group of friends. Then, watch their behavior change. They ll throw a shy wave or a small smile. Read their body language. Once you re sure you are getting the same signals you ve been sending, act. Approach them, knock them off their feet with a funny joke and confidence when you ask them to grab a drink with you. Nothing beats a brave lion or lioness. Be Loud (But Don’t Be Too Loud) The simplest way to grab someone s (or everyone s) attention is by being loud. When you hear a joke, laugh out loud. But be careful; no one wants to hear hyenas unless they re in savannah. Be moderate, like in everything in life. Tell an interesting story, and when you want to emphasize something brave, important or funny, say it a little louder. Grabbing the attention of others is your main goal. In a quieter room, everybody will instinctively turn towards the sound source. Moderation is the key. Don t be too loud, don t be too quiet. Balance it out. Feel the room and the atmosphere. Trust your guts; they re rarely wrong. With a little bit of practice, everything is possible. By following these simple tricks and tips, you ll grab people s attention just by walking into the room. Online dating is a great place to try out some of your jokes and approaching styles. If a relationship happens online, great. Ask the person out and put your skills to the test. It s not that hard. Put a smile on your face, take a deep breath, and jump into it.
https://w.atwiki.jp/ssb_sokuhou/pages/47.html
imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 A lot of developers will buy photo books or travel videos based on the locations they re designing a game around; Avalanche Studios collects vacation photos. Anytime someone on staff gets back from a trip to the Mediterranean they send over their photos to Avalanche s art team and writes it off as a travel expense. Avalanche has used this database of photos to create the fictional world of Medici, the setting for Just Cause 3. To get a better understanding of this new world, we spoke with art director Zach Schlappi who walked us through the game s entire ecosphere. ゲームの舞台を作る際、写真集や旅行のビデオなんかを参考にするだろう。 アヴァランチスタジオは様々なスタッフを地中海へ向かわせ、アートチームに写真を遅らせている。もちろん経費でな。 そうやって蓄積された写真データベースを元にメディチという架空の国を作り上げるのだ。 我々はこの世界をもっと知りたいので、 以前我々をゲームの世界に案内してくれたアートディレクターのザック・シュラッピー氏に話を伺った。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 "For Just Cause 3, we wanted a sort of new location, and no one has tackled the Mediterranean in the way we saw it. Of course, Assassin s Creed had Florence and Italy, but we were looking at Monaco and the central/southern Mediterranean. It s such a good area because it s a little bit of everything. Everyone s done South America. Everyone has done Eastern Russia, but we thought that the Mediterranean was an untapped resource. I looked at a span of places from Sicily to Northern Africa to Greece to Albania, which gave us a nice quilt to work with. There are some great dusty environments, and you get some of that hot hazy feeling, those beautiful emerald waters, and those great big skies. It seems like a great area to lay waste to, because it was so beautiful." 「ジャストコーズ3の為の舞台探しをしてたんだけど、誰もどういう風に地中海を舞台にすればいいのか思い浮かばなかった。 そんな中でアサシンクリードは当然のようにイタリアとフィレンツェを舞台にしたんだけど、 僕等は違った、モナコや中央/南地中海あたりにしようと思ってたんだ。こういう場所はありふれてないいい場所だし、 南米や東ロシアはやった事があっけど、地中海はまだ手を付けてなかった。 シチリアや北アフリカ、グリースやアルバニアはとてもいい素材を提供してくれたよ。僕はそれらを繋ぎ合わせた場所を作ったんだ。 どこか懐かしく、暑く霞んでいる感じ、美しいエメラルド色の海、広く青い空、暴れるのにもってこいな美しい場所だよ。」 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 "A deep world has to have some culture, it has to have a lot of meaning, it can t be something that s throw-away or disposable. Medici is believable and yet very approachable. It s a place you might want to go on vacation, yet it has trouble. It has a dictatorship. After that, I wanted to ask ourselves, How do you play with that language in the environment? So, I created a system of colors grey, yellow, and red are the colors of oppression. While the pristine world is full of more natural colors. If you look at any picture of the Mediterranean you see blue skies, wheat fields, and a lot of lavender. If you look at all our concept art there is a constant color theme of golden ochre versus teal blue. It s always those two complementary colors bouncing around." 「重厚な世界観には多様な文化が必要だ、ありふれた物やどっかのパクリとかじゃいけないよね。 メディチはとても親しみやすい場所だよ。君も旅行に行きたくなる筈だ。だけど、独裁国家という裏の顔があるけどね。 だからこの環境にどういう風にその要素を混ぜるか追求したんだ。 灰色、黄色、赤なんかの抑圧的な色を自然溢れる世界に入れてみたんだ。 地中海の写真を見れば、青い空や小麦畑、無数のラベンダーが目に映るはずだ。 このコンセプトアートにも "We have five different biomes and they all have there own palette feel. Each one has an identity. There is an air of exploration and expanse as people travel the world. We have two different coasts. One that is brutal with jagged rocks and deep sea cliffs, and the other is very smooth and sandy were all the tourist go. As you wander further inland you have the pastoral areas, which are full of fields of lavender and sunflowers like in Italy or Spain. That adds a sense of the human element to the game; this is a place where people live. It also creates a contrast for the scrublands which is like the Mediterranean wild west, which is full of industry and deforestation. Beyond that you have the forest, which are full of mystery and have a smokey atmosphere. Finally, players will approach the icy mountains. So players have this full sense of progression of all representations of water, from mountain snow to watery coasts." For more details on Avalanche s upcoming open-world title be sure to check out our cover hub, which is filled with exclusive content such as hands-on impressions and a video history of the studio.
https://w.atwiki.jp/cocet/pages/7.html
アーカイブ @wikiのwikiモードでは #archive_log() と入力することで、特定のウェブページを保存しておくことができます。 詳しくはこちらをご覧ください。 ＝＞http //atwiki.jp/guide/25_171_ja.html たとえば、#archive_log()と入力すると以下のように表示されます。 保存したいURLとサイト名を入力して"アーカイブログ"をクリックしてみよう サイト名 URL
https://w.atwiki.jp/altmcws/pages/19.html
This page explains various roles in the regular meeting. It also provides script and tips. Useful files are also available at Public Downloads. When you are assigned to a speech, be sure to bring your manuals to allow your evaluator to write a written evaluation for you. 1. Club Bylaws 2. Competent Communication Manual (Objectives) 3. Competent leadership Manual 4. Advanced Manuals (Descriptions) 5. Scripts (Timer, Vote Counter, GRAHCO) 6. Tips for Table Topics Master 7. Tips on Evaluation 8. Agenda Sample (Members Only Downloads) 9. Tips forTMOD (Members Only Downloads) 10. Glossary 11. You Can t Talk About That 12. Rules, Guidelines, Shopping - Introduction of TI Site Description 1. Club Bylaws These bylaws and constitution are used by all toastmasters club worldwide. 2. Competent Communication Manual (List of objectives) 3. Competent leadership Manual Read page 58 of your Competent Communication Manual on Communication and Leadership Tracks. This explains how to use the above two manuals includedin the new member kit. Members should bring two manuals everytime they serve a role. 4. Advanced Manuals Read page 76 of your Competent Communication Manual Upon completion of the first ten projects of Competent Communication Manual you will acquire the title CC (Competent Communicater) and be entitled to choose two manuals from 15 advanced manuals. The fees for the first two advanced manuals are included in your original payment on your application for membership. 5. Scripts Your first roles in the meeting will be invocation (Mission of the club, Thought of the day, vote counter, timer, and perhaps later GRAHCO (gra-cou). You will be requested to give an explanation of your role by TMOD (tea-mode Toastmaster Of The Day) at the start of the meeting. Feel free to modify these scripts (except for the Mission of the Club) to create your own version. When you are TMOD, and need to call a member, call the person as Toastmaster so and so - rather than TM (tea-em) so and so - even though the abbreviation may be used on the agenda. On the other hand GRAHCO and TMOD are acronyms and used as such. TMOD is preferably called Toastmaster or Madam Toastmaster typically at the start or end of a speech. Toastmaster of the Day is also used for this purpose. 6. Tips for Tabletopics Master To make your session most exciting. 7. Tips on Evaluation For a positive and effective evaluation. 8. Agenda Sample This file is at the Members Only Downloads. * This sample can be used for overwriting when you are TMOD 9. Tips for TMOD This file is at the Members Only Downloads. Please find * TMOD_duties_as_of_909.pdf . 10. Glossary 11. You Can t Talk About That! Members often tell us that other Toastmasters have told them that speeches concerning politics, religion and sex are forbidden by Toastmasters International because such controversial subjects are not appropriate. This is not true. Toastmasters International does not prohibit any speech topic, content or language. Toastmasters International recognizes club members may learn much about the world around them from listening to others’speeches on a variety of subjects. This variety can add interest to club meetings and stimulate thoughts and ideas. For these reasons, Toastmasters International does not place restrictions on topics, content, or language of any speeches. It also recognizesthat a club is a diverse group of people and recommends members be sensitive to this diversity and use good taste and responsibility when selecting speech topics, content, and language. While Toastmasters International has no restrictions, a club may guide its nembers on how to observe good taste and sensitivity in the context of that particular club. (from TIPS, toastmasters Bimonthly Magazine)
https://w.atwiki.jp/shanghai/pages/12.html
I Visited Longhua Temple with my wife yesterday by bus. Usually when we plan to go sightseeing in Shanghai, we use to take taxi it seemd very comvenient because price is good and easy to tell the place by talk or write the Kanji letter. But I wanted to take bus, becaude shanghai bus s keeps very high speed and many lines. So I bought bus line map near my house bookstore. and I found many topics such as transportation to and from doesn t use same road and bus stop doedn t have frequent distance. We took line 20 to Shanxi Road and change to line 41 which terminated Longhua. We entered the Temple and prayed the happiness in this year and prayed many Buddhas which has many looks and expression. After visiting Longhua Temple we found line 44 bus and rided to Xujiahui and change bus line 855 to Xianxia and ZunyiRd. At there my wife visited Chinese foot hospital, while staying my wife in house, I entered coffee shop and red book about 2 and half hours. After that we took noodle near Loushangguan Rd and took bus 121 to Zhongshang and subway to Nanjing east station. So yesterday we ride 5 bus lines and 1 subway. 20070103
https://w.atwiki.jp/v-lyrics/pages/511.html
2010-03-22 First Entry 2010-03-22 08 38 47 (Mon) Last update Trasnlated by angelica Title Cendrillon Lyric Dancing until the morning, it all felt just like a dream But the bell of the clock undoes this ma~agic Ambiguous fingertips beckon me towards the staircase I leap up them, skipping, taking three steps at a time In a horse-drawn carriage, I was shivering Ignore these miserable rags and dance regardless all through the night Look for an unfamiliar face/That stranger whispers softly to you Grasp your blade’s hilt tightly and thrust as hard as you can/Bringing ruin to everything Orphans gather inside the castle/Portraying smiles by means of a mask This untrue compassion is still accepted and/Hides under the wings of seraphim Ashes of a fire burning red mix with the remains of a pair of glass slippers At this time I must go home, but I am still shivering You take a nervous glance towards the clocktower Kicking off my glass slippers, dancing, running, up the slope I extend my fingers and put them around his throat Teardrops fall down her cheeks, I kiss them away But an impulse ran down my spine to fear her in that very moment I don’t ever want the bell to ring/I pray it is never rung by you I knew it was bad; still I shouted, as my right hand/Stabbed him through the heart “adieu” You could not remove the gunpowder/Perfume which surrounds this lovely princess Those powerful eyes so easily froze my mask/And put out the fire within me Even now I can hear the sound of your labored breathing I stabbed him, I stabbed him, in a distant dream Through the stained glass windows, the moon is shining so brightly Like you, its face is draped in a veil Ripping the dress apart at the knee, abandoning the tiara too We look at each other, staring in each other’s eyes/And within them a spark ignites Two lonely souls, burning in the flames, are drawn together inexorably If it’s impossible to brush away the tears/It’s just like a single person play Oh, time, stop for us in this moment/I am intoxicated by you Every one of these wonderful seconds here with you/Makes me want to stick on longer This glorious warm, wet sensation/Inflames my heart in such a striking way I am no longer able to move more than this/So it’s almost like a fairy tale Note This is NOT a literal translation, but rather deliberately written in such a way that it fits the meter of the original song. (The only exception is the second line, where "magic" takes up three syllables.) In many parts preservation of meaning is sacrificed. In particular the second chorus uses quite a bit of artistic license (the concept of knees is thrown out entirely), but I also think it s the part that sounds the best, so. However, I assure you that it can be sung. Honest, I ve tried several times. Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Thank you for the contribution. This is a singable fan lyric, so could you change the headline to "English lyrics" or "Fan lyrics" for the clarification? -- (damesukekun) 2010-03-22 14 35 10
https://w.atwiki.jp/matchmove/pages/78.html
Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.
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ローディング画面のチップス和訳 ※多少意訳が入ってます、あとキーアサインはデフォルトの場合です。 loading.jpg Tip Standing still makes you an easy target. You can move around the map faster by bunny hopping. Also use the strafe keys to move sideways, making you even harder to hit. 立ち止まっていたらいい的だ。バニーホップで素早くマップをまわったり、ストレイフで横に動く事でより撃たれにくくできる。 loading2.jpg Tip Spectating other (good) players helps to learn new tricks. To spectate, press F3 then mouse1 to switch players. F5, F6 or jump will get you back into the game (default keys) 他の優れたプレイヤーを観戦(スペクト)する事で新しいトリックを学ぶ手助けになるだろう。観戦中F3かマウス1で他のプレイヤーにスイッチできる、またF5,F6かジャンプキーでゲームに戻ることができる。 loding3.jpg Tip Always watch your back. Do not just run away, Fight back as you retreat. Otherwise, you could get shot in the back. 背後にはいつも注意しろ。まっすぐ逃げるな、戦いながら後退しなければ、背後を取られる。 loding4.jpg Tip To cast a vote, use the vcall command in the console. When a vote is called, you can accept it via F1 or reject it via F2 (default keys) 投票を呼びかけるときはコンソールをだしてvcall命令を入力する。投票の呼びかけに対してF1キーで承認、F2キーで拒絶する。 loding5.jpg Tip You can drop the gun you currently have with backspace (default key). You can help your unarmed teammates this way. バックスペースキーで持っている武器を落として、武器を持たないチームメイトを助けることができる。 loding6.jpg Tip Notice what is happening around you! If your base is empty in CTF, stay and defend the flag! Make sure someone defends the flag carrier, or assist him yourself. 自分の周りで何が起きているか注意すべきだ。もしCTFの最中チームのベースが空ならベースに留まって旗（フラッグ）を守るべきだ。また誰が旗の運び手を守っているか確認して、あなた自身がそのアシストをするのもいい。 loding7.jpg Tip Try to get as much armor and health as you can, but remember your teammates need armor and health too. アーマーとヘルスを十分保つよう心がけたい、しかしチームメイトもアーマーやヘルスを必要としているのを忘れてはいけない。 loding8.jpg Tip Look for servers that have a good ping for you. You can t play this game well with a ping 100. If there are no servers close enough to you, cooperate with your friends to setup one. ピン（ping)の低いサーバーを探そう、ピンが100以上だと上手くプレイできない（訳注 ラグの影響を受ける）。もし満足なサーバーを見つけられないなら、友人と協力してサーバーをセットアップしよう。 loding9.jpg Tip You can use the zoom key with all guns. Only the Nexgun has it as an extra function on mouse2 (default key) ズームはすべての武器で可能だ。Nexならmouse2を押すことで、さらに効果的に（ズーム）できる。 loding10.jpg Tip Don t shoot at players who are typing / chatting. You recognize those players by the keyboard symbols above their head. キータイプ中（チャット中）のプレイヤーを撃ってはいけない。プレイヤーの頭上にキーボードのシンボルがあったら、そのプレイヤーはその最中である。 loding11.jpg Tip Be friendly and helpful to other players! Being angry at others mistakes is understandable, but nobody is perfect. Try to use calm words when telling them how to correct their mistake. 他のプレイヤーにはフレンドリーにしよう。間違い（失敗）に怒るのはわかるが、誰も完璧ではない。間違いをただすなら言葉を選ぼう。 loding12.jpg Tip Xonotic is a free and open source project. If you like it and wish to help, consider contributing to its development. If you re not an artist or developer, tell other people who are about us. Xonoticは無料のオープンソースプロジェクトです！ もし気に入って協力したいと思ったら、開発に貢献してみてはいかがでしょうか。あなたがアーティストやデベロッパーでないなら、他の人に相談して誘ってみてください。 loding13.jpg Tip Choose the right weapon for the job, not just the one that the game automatically puts in your hand. 目的に最適な武器を選べ、ゲームは丁度いい武器を自動的には選んでくれない コメント欄 なんか翻訳おかしなところがあったらコメントください -- dote_chauwa (2012-03-12 23 30 59) Tipsこんなに多かったんですねｗ翻訳お疲れ様です -- 名無しさん (2012-03-13 15 02 36) 名前 コメント
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Jungle or Dou Shou Qi (Chinese 鬥獸棋; pinyin dòushòuqí; literally "fighting animal game") is a traditional Chinese board game played on a 7×9 board. The game is also known as The Jungle Game, Jungle Chess, or Animals Chess, and is sometimes called Oriental Chess or Children s Chess. Jungle is a two-player strategy game and has been cited as resembling the Western game Stratego,[1] but Stratego actually has more in common with another Chinese board game known as Jun Qi (Chinese 軍棋; pinyin jūnqí; literally "army game"). 1 Rules 1.1 Objective The goal of the game is either to move a piece onto a special square, the den, on the opponent s side of the board, or capture all of the opponent s pieces. 1.2 Board The Jungle gameboard consists of seven columns and nine rows of squares. Pieces move on the square spaces as in international chess, not on the lines as in xiangqi. Pictures of eight animals and their names appear on each side of the board to indicate initial placement of the game pieces. After initial setup, these animal spaces have no special meaning in gameplay. There are several special squares and areas of the Jungle board The den (Chinese 獸穴; pinyin shòuxuè; literally "lair") is located in the center of the first row or rank of the board, and is labeled as such in Chinese. Traps (Chinese 陷阱; pinyin xiànjǐng; literally "snare") are located to each side and in front of the den, and are also labeled in Chinese. Two water areas or rivers (Chinese 河川; literally "river") are located in the center of the Jungle board. Each comprises six squares in a 2×3 rectangle, and labeled with the Chinese characters for "river". There are single columns or files of ordinary land squares on the edges of the board, and down the middle between the rivers. 1.3 Pieces Each side has eight pieces representing different animals, each with a different rank. Higher ranking pieces can capture all pieces of identical or weaker ranking. However, there is one exception The rat may capture the elephant, while the elephant may or may not capture the rat (depending on the variant). The animal ranking, from strongest to weakest, is Rank Piece Name 8 Elephant 象 xiàng 7 Lion 獅 shī 6 Tiger 虎 hǔ 5 Leopard 豹 bào 4 Wolf 狼 láng 3 Dog 狗 gǒu 2 Cat 貓 māo 1 Rat 鼠 shǔ Pieces are placed onto the corresponding pictures of the animals which are invariably shown on the Jungle board. All pieces move one space orthogonally. 1.4 Movement Players alternate moves with White moving first. During their turn, a player must move. Each piece moves one square horizontally or vertically (not diagonally). A piece may not move to its own den. There are special rules related to the water squares The rat is the only animal that is allowed to go onto a water square. However, some players prefer that the dog is also allowed to go onto a water square, which makes it easier to capture the opponent s rat in the water. The rat may not capture the elephant or another rat on land directly from a water square. If the dog is also allowed to go onto a water square, the dog may not capture the rat on land directly from a water square. Similarly, a rat on land may not attack a rat in the water. The rat may attack the opponent rat in the water if both pieces are in the water. If the dog is also allowed to go onto a water square, the dog may also attack the opponent s rat when both pieces are in the water. The lion and tiger pieces may jump over a river by moving horizontally or vertically. They move from a square on one edge of the river to the next non-water square on the other side. Such a move is not allowed if there is a rat (whether friendly or enemy) on any of the intervening water squares. If the dog is allowed on water, a dog (friendly or enemy) on any intervening water square also prevents the lion and the tiger from jumping over the river. The lion and tiger are allowed to capture enemy pieces by such jumping moves. 1.5 Capturing Animals capture the opponent pieces by "eating" them. A piece can capture any enemy piece which has the same or lower rank, with the following exceptions The rat may kill (capture) the elephant. Many published versions of the game say this is done by the rat crawling in the elephant s ear and eating its brain. As stated above, the rat may not capture the elephant from a water square. The powers of the rat resemble those of the spy in Stratego. The player may capture any enemy piece in one of the player s trap squares regardless of rank. 1.6 Variations There are some commonly played variations to the rules official published by the board/pieces maker as follows The elephant may not kill the rat under any circumstances. This is because a rat is able to dodge the attack of an elephant because of its size. Some play the game with the lion and tiger being equally strong, and they can kill each other. This is the more modern version. Some versions have the tiger outranking the lion. The leopard may jump over the river horizontally but not vertically (due to its lesser strength than the tiger or lion). It cannot jump over a rat in the river though. All traps are universal. If an animal goes into a trap in its own region, an opponent animal is able to capture it regardless of rank difference if it is beside the trapped animal. The rules for being on one s own trap do vary. A variant has the wolf replaced by the fox, in which case the dog is stronger than the fox. There are variations in which the lion is not able to jump across the river horizontally. The rules for the rat to capture either the elephant or rat from or into the water do vary. There is a simplified version called Animal Checkers, which has no traps or rivers, and only the rat, dog, tiger and elephant.[2] Amongst the many examples shown on boardgamegeek there is at least one where the pieces are designed so that they are no longer visible by the opponent (mounted as a card on a stand like Stratego pieces). This apparently minor change alters the game from one of stochastic full-knowledge to one of partial-knowledge. There is a version of the game that limits which animals (levels 1–4) can move on to the trap squares. Some players prefer allowing the dog to move onto a water square. This is because dogs are good swimmers. Jungle (board game) https //en.wikipedia.org/wiki/Jungle_(board_game)
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It s a surveillance camera. It s connected to the station feed via an optical cable. "OmniTek Security Control". This must be the HQ of station surveillance. He s part of the station security force. I need to find a place where Adrian can be safe while I figure out what to do next. If I go any further, I ll be caught on camera, and that s one show I don t want to be the star of. If I go any further, I ll be caught on camera. It s locked from the inside. What s going on? Who s there? Hey, hold on! Stop right there! You re not getting away, colonist! Back to the pen with the other sheep.